نشریه تاریخ ادبیات
سال سیزدهم شماره 1 (بهار و تابستان 1399)

Situational humor is created by overturning situations and juxtaposing contradictory situations, producing a scene that is funny to imagine. Among contemporary novelists, Ali Ashraf Darvishian uses humorous situations in his works to express social, cultural and economic problems. Therefore in the present study we attempt to investigate the types of situational humors in one of Darwishian’s collections of short stories, entitled “Abshouran”, which includes eleven short stories. In the present paper, by using descriptive-analytical methods, we seek to answer three questions: first, according to the theory of situational humor, by what means does Darvishian create humorous situations in his short stories? Second, which component of situational humor can be considered as an indicator of Darvishian’s style in this short story series? Third, what goals did the author pursue by using humorous situations? The results of this research indicate that with the help of four tricks, "characterization, plot, behavior, scene" and a few subtricks, Darvishian creates situational humor in his stories and in creating such humor he means to express the social, cultural and economic problems of Abshouran village people in particular and the people of Iran in general. Also, the main factor in creating situational humor is the component of "behavior", especially in the use of microtechniques such as "repetition of an action, surprise, incompatibility of behavior with the situation and ridiculous movements." Therefore, it can be considered as the main indicator of Darvishian’s writing style.

This Article is about  Transformation’s Predictiontexts in Pahlavi language refer to works that predict future events, a future that may be end of the world, or events related to the period of a kingdom that will comein future, or even to the events after death. This article critically studies the issue of numbers and its transformation in Pahlavilanguage texts. There are references to prediction in works such as Bundahishn, Zadspramselections, Zand-i Wahman Yasn, Book of Arda Viraf,and works that Jamasp.in many cases because they work with the unit of time which is important, and it also requires a measure forevents thatit expects to predict, for example if referring to people, how many are they or, if referring to a natural occurrence, how much or how many peripheral issues are involved. Repeated numbers, such as the Saoshyant millennium, are three, four, seven, or thirty and forty. Some numbers vary in different contexts for an event, suchas periods of creation or the hardship of ending the millennium. These differences are often caused from one text to another because the authors of the texts have had to change some contentstomatch predictions or make other reasons that research at this Article.

Feminine writing is one of the topics of interest to literary scholars and stylists, which deals with questions such as feminine writing and what characteristics it has. In this context, Sara Mills has presented a model based on "feminist stylistics", which is one of the socio-cultural approaches to stylistic knowledge, and is the most widely used term for examining and analyzing the subject of feminism using linguistic and linguistic analysis methods. He knows the texts. In the present study, we answer the question of what are the characteristics of feminine writing and how does it appear in the novel in question. Mills argues that women writers use different linguistic options in the structure and content of their work, influencing feminine traits, emotions, and feminine perspectives. In linguistic analysis, three levels of analysis based on vocabulary, sentences and discourse should be considered. At the vocabulary level, the words should express the states and emotions of women, feminine interpretations, the multiplicity of female characters and colors; at the level of sentences in simple, descriptive, short sentences; and at the level of discourse, important elements of the story, such as; The tone, theme and narrator paid off. Therefore, this paper is based on practical stylistics and descriptive-library method and Shahrnoush Parsipour's novel "Dog and Long Winter", as an example of contemporary Iranian fictional literature, was studied according to Mills' model in these three levels. The findings of the study indicate that the feminine characteristics of the work are illustrated by the use of: At the vocabulary of the use of feminine expressions, the multiplicity of female characters, the use of colors and their high frequency; at the level of sentences using short, descriptive, news And partiality. At the level of discourse, the perspective of the first observer, the polite tone, the woman's narrative, the dynamic main character and the thematic of feminist ideas.

During the period of literary return, the epistemology of the secretary and the teachings of epistemology writing flourished, and abiding works emerged in the form of social-court literature. Understanding the concept of epistemology writing and the introduction of stylistic epistemology writers in Iranian court literature is one of the main objectives of this study, which is revealed through biographies, literary status and stylistic and individual characteristics. This article is descriptive-analytical and where necessary, discusses practical definitions, types of correspondence, epistemology writers (stylist), etc. In order to match the title and content of this article with a historical and literary perspective, we have used all available sources and references, epistemology books, court documents and correspondences. One of the main findings of this study is the causes and factors that have influenced the stylistic characteristics of epistemology writers during Zand and Qajar dynasties. Literary device mastery, gaining posts in state (court), thinkers’ appraisal on their style and following orders on correspondence formats are factors that influenced their particular writing style. Another result of this article is the association with the genre of court literature, in which epistemology writing and epistemology writers can make a significant contribution to the evolution of scribe's prose and social and court lexicography.

The reflection of educational components has been very common in the literature of civilizations. These didactic issues have also been considered in Persian historical texts, which are closely related to the moral teachings of mystics. Although historical texts and mystical texts are two separate literary types, the maturation and formation of these moral components give rise to There are commonalities between these texts, and this article is supposed to address one of these commonalities, namely the method of giving advice. Among historians, the one who most skillfully expresses the teachings is Abolfazl Beyhaqi, and among mystics, Rumi is the most prominent figure in providing indirect advice. The similarity of the two methods in the narrative structure and the application of the story-by-story technique to express moral teachings, led the author to read the intertextual history of Bayhaqi and the spiritual Masnavi in ​​this research. The authors of these texts seem to have had educational purposes and to have addressed direct and indirect moral advice. In expressing moral themes, there are common tricks between them, which probably also originate from single sources. They seek to express their thoughts by using counseling; Beyhaqi's view embodies the political goals of his history, and Rumi's view draws on his mystical perspective.

Any misinterpretation of the word or combination by the scribe and "correction" can lead to semantic ambiguity of the text, and it makes it difficult for the audience to understand the meaning of the poem. In addition, writing descriptions and suspensions on these inaccurate recordings leads to a more sophisticated concept of verses. The effect of these issues on correcting a text is multiplied when the book is corrected from ancient Persian literature, and the use of inappropriate and sometimes derogatory words is used. This claim can be traced back to Sana'i's Hadiqat al-Haqiqa; text that is difficult in itself, and various books and corrections have added to its difficulty, as far as can be seen in the corrected texts, the recorded form of some verses does not provide a clear meaning. This study seeks to highlight the inaccurate recording of some of the verses of this poem by using ancient manuscripts in a descriptive-analytical manner. The most important achievement of the research is suggestions for correctly recording or correctly reading some of the words, combinations and verses in the Sana'i Hadiqat al-Haqiqa, whereby the conceptual node of the verses in question will be resolved.

The theme of the world is one of the most important central images in Neser Khosro’s works. The poet’s special experiences, the extend of his knowledge and dedication to the society put contemplation on the world and human at the center of his art and thinking. Sometimes he considers the world from a judgmental point of view and points to the creation, intelect, general soul, the position of the sky and earth, the effects of the heavens on the lower world and the creation of the humankind. Nevertheless on another level, he deprecates the material world and regards it as the enemy of the mankind. However the posive face of the world, as a venue to store provisions for the journey and a corridor of liberation, is again another level of his enccounter of the world. This study purports to be an evaluation and a macro-analysis of the world image, the clusters of which have been set forward for 700 times in Neser Khosro’s poem. Such an account will shed light on Neser Khosro’s unique image-creation style as well as recognizing his mentality and worldview.

The fifth HA century was a turning point in Khorasan and Transnistria in areas like mysticism, interpretation, hadith, jurisprudence, speech, preaching and sermon, regarding both the quality and quantity of progress; particularly in two branches of romantic mysticism emphasizing "affection, love, and chivalry" and wise mysticism based on acquainting with Islamic educations. AbuAli Farmadi (dead 477) is one of the erudite of this century full of mystic thoughts and Islamic educations. Skill and mastery of Farmadi in speaking and holding preaching ceremonies was known to almost everybody and gave him such titles as "the tongue of time, and the tongue of Khorasan". Farmadi accompanied by five other mystics namely "AbuAli Rudbari, AbolGhasem Nasrabadi, AbuAli Daghagh, AbuSaied Abulkheyr, and AbulGhasem Korrakani" made the chain of romantic and wise mysticism in Khorasan in 4th and 5th century, and they shared the concern about such contents as elements as "preaching, mastery of Islamic educations, being polite and respecting the old and the teacher, shari'a, and revitalizing the ascetic ways of ancestors, believing in affection, favor, and kindness of God, tolerance, being good tempered, and not being fanatic, generosity and chivalry and finally Hallaji thinking system".In this article, we have tried to briefly point out to the life of Farmadi and elaborate on his role and significance in completing and regulating the legacy and the trend that had started from AbuAli Rudbari and ended with Farmadi, so that hidden aspects, attraction, and the art of mysticism in Khorasan is manifested more than before.

The Hamedanian government with a Shiite orientation was formed in the golden age of Islamic civilization with two branches, Mosul and Aleppo. Ali ibn Abdullah ibn Hamdan, known as Sayf al-Dawlah, the founder of the Hamdanids Aleppo branch, who himself knew poetry and the literature, played an important role with the financial and spiritual support of the poets and literates to provide suitable bases for the creation of numerous literary works. This research method has been studied by descriptive-analytical method and by studying historical and literary sources, peruses the ways and means of linking Sayf-al-Dawlah Hamdani with poets and its intellectual and cultural consequences. The communication and interaction of Saif al-Dawlah Hamdani with the poets during the period of weakness of the Abbasid caliphate led to scientific development and intellectual and cultural  promotion of society, and the poets, in addition to the creation of literary and scientific works, strengthened the epic and resistance spirit against invasion of Rome, promoted Shiite beliefs, such as defense The legitimacy of the Ahlul-Bayt (as) and the censure of the system of the Umayyad and Abbasid caliphs.

Marzbanname is the name of a book which includes narrations and allegories and marzban wrote it in old tabari language. Mohammad Ibn Ghazi maltivi in 598 A.H. and sadoddin varavini in the first half of seventh century translated it to farsi. Onsorolma' ali keykavos, the writer of Ghaboosname and Ibn Esfandyar, the writer of tarikhe – Tabarestam believe that marzban ibne Rostam ibne shervin (the 13th king of Bavandiya kiyosiye chain) in the real writer of marzbanname. But sa'daddin varavini believes that marzban ibne shervin (shervin = 5th king of Bavandiye kiyosiye) is the writer of it. Reza Gholi khane – hedayat knows marzban- Ibn – e – rostam as the outher of marzban-e-Deylami in some other books. Among the contemporaries, shefer knows marzban-ibn –e-rostam-ibn –e- sorkhab – ibn – e- Gharan as the author of marzban name, but Allame Ghazvini rejects this hierarchical order. Allame Dehkhoda, Esmaeil mahjouri, Ardeshir Barzegar and Hossein Eslami believe that marzban- ibn- e- Rostam wrote maezban name. mohammad Roshan reject all and say that there is no book named marzban name tabari.This article believes that varavini's speech about the writer of marzbanname is correct but not of onsorolma' ali keykavoos and ibne Esfandyar's speech.