نشریه کاوش نامه زبان و ادبیات فارسی
پیاپی 33 (پاییز و زمستان 1395)

Khaqani sharvani excels all writers of qasida in Persian literature. Despite useful researches carried out on his style of poetry and the events took place at the time when he lived, there remain unknown aspects and a lot of ambiguous points which need to be addressed in this field. Some of the ambiguities stem from the comments, not so reliable, of the pioneer biographers and repeating them in recent biographies. These external evaluations have caused the popularity of some incorrect information among literary men and even in sources of research on khaqani. Surveys indicate that no independent study has been done concerning the necessity for reviewing comments and words of biographers in the area of research on khaqani. Hence, the present study focusing on the internal evaluation method (works-based) based on khaqani's words and hints in his Divan, Tohfat- ul Iraquein and Monshaat examines the works of biographers in the area of research on khaqani in order to reveal the extent of innovation and impression as well as the veracity of the contents of this kind of literary works. The present study presents both the results of research on khaqani and evaluation of Persian biographers and some ancillary information which can be considered important; the ancillary results of the study will be useful in textology of works such as Tarikh-e Gozideh.

Researchers have expressed various comments on the source or sources of Ferdowsi’s Shahnameh. Some of them believe that Ferdowsi used from oral and written sources, some of them just have known Abu-Mansouri's Shahnameh as Ferdowsi’s source and the others believe that Ferdowsi’s source is tradition of oral narration. We have a narrator and a poet in Shahnameh; no doubt the poet of Shahnameh is Ferdowsi, but the narrator of Shahnameh that he was the narrator of Shahnameh's source (Abu-Mansouri's Shahnameh) is a person who has one hundred twenty years old, he was from Chach and his name was Bahram. The features of Ferdowsi’s source become clarify for us with understanding the differentiation of words of the narrator and poet. Features that show us the source of Ferdowsi’s work was only a book and Ferdowsi was committed himself to use the Dehghan’s words for keep his narration. This caused a few Arabic words entered in the Shahnameh, and in some cases the old pronunciation of the word is preserved.

Amongst the theories about the functions of language, Jakobson’s communication framework looks more delicate and comprehensive. Based on this framework each verbal communication consists of six elements and that a massage takes its dominant function as a result of inclining to each of these six elements. This means that there are six functions for language. “Conative function” is one of these functions which occurs as a result of focus of massage towards interlocutors. Because of having such characteristics as having propagative aspect, inclining towards maxim and advice, addressing tone of Nāser-e Khosrow's quasidas and etc, his language generally inclines towards interlocutors . So it is worth researching his works regarding “conative function” of language.
This study is going to examine and identify conative constructions in Nāser-e Khosrow’s poetry and to compare them statistically with constructions which lead to emotive and referential functions. Imperatives, exclamations, interrogatives, second person verbs and pronouns, some auxiliaries and interjections are considered as effective factors of forming “conative function” in Nāser-e Khosrow’s quasidas. According to the results in Nāser-e Khosrow’s poetry “conative function” is the most dominant function -after poetic function- and in this way such factors as using second person verbal phrase, separate second person pronouns, imperatives, and interrogatives are respectively important factors in inclining his language towards the interlocutors.

This article examines the impact of Khayyam’s Quatrains (Rubaiyat) on Khaghani’s, and shows that Khaghani influenced in various aspects such as poetry style, verbal, style of expression and philosophical ideas. Whatever in this descriptive-analytical research, we will scrutinized, is the answer to this question that what are the aspects of this influence? And to what extent are these? The results shows that Khaghani, in many cases, remained at the level ofrhetoric in writing questions. But in many cases, he wanted to be close to Khayyam in verbal aspects and in this way he achieved some success. Also there are similarities philosophical ideas and intellectual between Khayyam and Khaghani (in their Quatrains). Although there is some diffrence in this aspects; the philosophy is the centered thinking of Khayyam but Khaghani is away from philosophical thoughts, even he is against them. Other result of this research, researchers to pay more attention to Khaghani’s Quatrains and recognizing this section of this poems that is hidden behind his ode’s shadow.

Prominent literary texts have the ability to accept criticism and comprehensive studies, and it can open many windows to researchers for further studies. According to many analysts and literary critics the book "Shazdeh Ehtejab" by Golshiri has attracted a lot of attention of critics. Many articles on this subject have been published in scientific research-based journals. Some of them have also investigated the relationship among the different types of the analyses made. The analyses highlighted this work from the perspective of literary criticism and the relevant theories. In the present study we selected seven articles and based on their scientific level and their approximate content homogeneity, an attempt was made to study them. The form, structure and the content of the papers were the matter of concern. The analyses indicated that the papers possess some weaknesses in term of their form and content analyses. The only strong point of the papers is the way they have approached the subject and the content of the book. The result of the study also showed that some of the selected papers do not deserve to be considered as researched-based articles. It can be highly recommended to the editors of the journals and particularly their commentators to feel more responsibility in their jobs. In this regard, the articles in “Naghde Adabi” magazine have less research-oriented approach and those in “Shenakht” magazine possess more research-based one.

Missing Soluch is a novel by Mahmoud Dowlatabadi. It is among the most important social novels with an idyllic setting in literature, which can be discussed and analyzed from different perspectives. From one standpoint the novel can be analyzed in terms of the theory of polyphony by Bakhtin, the well-known Russian critic. In the present study, Missing Soluch was analyzed and compared according to Bakhtin’s polyphony theory. In his view, a valuable valid novel is one in which all voices including voices of characters, author, etc. are heard in parallel and no single voice dominates the others. Research results indicated that although the author’s voice dominates other voices in some parts of this novel and the author seems to feel, think, ask, and answer instead of the characters, due to the presence of several other components and examples in other parts of this novel, it still falls into the category of polyphonic novels.

The art of “Naqqali” (public storytelling) as an important branch of folkloric literature, reflects the reconstructed experiments of national epics and chivalry. The storytellers try to simplify the concepts and reconstruct the interesting events of the story, thus, changing or supplementing the items in the story in accordance with the mentality of the audience. Thus the storytellers pad out the main story with a complex of details. The present study reviews the “Naqqali” tradition, and investigates the narrative methods of Naqqals (storytellers) in two chief dimensions: 1. symmetricalization 2. fabricating reasons.
The storytellers’ symmetricalization of the events in this story is realized in three subjects: the hero’s horse, falling in love, and the application of religious expressions and concepts. In the second part of the research, we will consider the mechanism of reason fabrication. We will comparatively show that the topics in the story such as the robbery of Rakhsh (Rostam’s horse), his marriage with Tahmineh, Sohrab’s promise to marry Afrsyab’s daughter, Rostam’s argument with Kavous and the confrontation of Rostam and Sohrab are all pretexts for Naqqals to justify and reasons for the events in the story. The results of the research will help to sociologically study the artistic taste of Naqqals and their audience as well as their narrative skills.

Faramarznameh is one of the most valuable and comparatively voluminous epics after Ferdowsi’s Sahnameh. A reflection on the cultural and literary history of Iran demonstrates that there are a lot of narratives about Faramarz in both written and oral forms. Tales of this hero have been preserved in a scattered way in Sahnameh, post-Sahnameh heroic poems, written sources, raconteurs’ narratives and oral ones. There are four oral narratives of post-Sahnameh heroic poems in Kohmareh-Sorkhi, a region in Fars province in Iran two of which, namely Borzunameh and Banugosasbnameh are still rampant among some of storytellers and raconteurs, but the other two, Faramarznameh and Shahryarnameh are abandoned among the native people. These last two are narrated today just by Alihossein Alinejad, the oldest and the most famous raconteur of the mentioned region and the last survivor of the storytellers. The raconteurs’ narrative of Faramarznameh in this area is an amalgam of the epic on one hand and the mythical beliefs of the native people on the other hand. A scrutiny on this narrative will eventuate in recording a narrative that has never been written down before and, moreover, will show some of the mythical beliefs of the people of this region. In the present study an attempt has been made to report the raconteurs’ narrative and, thereafter, examining the similarities and differences between the written version and the raconteurs ’one; It also tries to examine the way through which the beliefs and myths of the native people of the region have affected the raconteurs’ narrative; and finally to discuss the identity of the composer of this work on the basis of raconteurs’ narrative.

The Rise of Nima Youshij and establishment of New Poetry led to emergence of new schools in Persian literature such as language-centered poetry, which lays stress on language, and linguistic behavior. The present study is a descriptive-analytic investigation of language in Persian literature based on theories by Wittgenstein. Results reveal that language-centered poetry relies on linguistic capability and generative power of language to create innovative forms and atmosphere. Here, poetry is a language game that, instead of conveying a certain idea, aims at providing for pluralistic reading of the text. The present study is a descriptive-analytic investigation of language in Persian literature based on theories by Wittgenstein. Results reveal that language-centered poetry relies on linguistic capability and generative power of language to create innovative forms and atmosphere. Here, poetry is a language game that, instead of conveying a certain idea, aims at providing for pluralistic reading of the text.

Satire is one of the sub-types of literature born of protest. It is a mirror that everyone can see the faces of others but himself. Satire has been known as artistic picture of contradictions. Satire has a long history in the Persian tales, but its history in the short story goes back to the period after Constitution. Themes, objectives, and satiric methods are the most important elements of it. Methods means satiric techniques and practices including vocabulary incompatibility, situational, discourse, semantic, underestimation, overestimation, parody, and destroying symbols. Rasoul Parvizi, by publishing the short story called "patchy pants", became famous. This collection has literary language- spoken and motifs from biting and informative satires and its author, through using satire, mentions his critical insights, and uses most satiric techniques to influence and attract readers. Parvizi’s satire is a sense of humor. He creates conflicting situation both in vertical and horizontal axis and challenges ancient and contemporary attitudes with contradictions, and contradictory discourses and practices with semantic inconsistencies. He uses image underestimation to humiliate incompetent decision and policy makers, and, by destroying symbols, proves the inferiority of symbols and encourages fighting with dictators. In sum, it can be said that Parvizi’s satires are formed to criticize the economic and cultural poverty.