نشریه جستارهای نوین ادبی
سال پنجاه و پنجم شماره 3 (پیاپی 218، پاییز 1401)

Popular literature began a century ago with the collection of texts and in the following decades was analyzed using different approaches. Research related to women is an important field in popular literature that has a great potential for study due to the reflection of the silent voices of society. Simultaneously with the universityization of popular literature, various factors led to special attention to the issue of women, especially in this field. In this article, with an analytical-critical approach, first by studying and classifying works related to women in popular literature written from 1300 to 1400, we showed the upward trend of this research and their topics, then the impact of dual approaches of tradition and modernity. We explored the development of different attitudes toward women in popular literature texts, and finally critically examined the analytical theories of several dissertations related to women in the field of folk literature. The results of this study show: The dominant view of women in popular literature texts is negative. They have usually tried to institutionalize the traditional patriarchal approach in the minds and languages ​​of the people. Think of women as cunning creatures and the second sex. In a few works, the woman has been positively praised as a mother. Different theoretical approaches have not been well used in women-centered dissertations and new and different results have not been reached.

Teaching classical literature, especially Shahnameh, is very important for children. The main question of this research is how to introduce Shahnameh to children in an attractive way so that in addition to their benefiting from this huge treasure, their cognitive abilities are also developed. To design this method, we have combined knowledge and methods from three areas: learning theories, methods of promoting creativity, and Sabotsky's findings about the benefits of using magical reality for children. By analyzing this knowledge, we found that using magic games, most of the indicators of active teaching are achieved, such as the child's enjoyment of the educational process, the development of problem-solving ability, creativity, and multiple intelligences. Finally, we named this method "Game and Shahnameh". The games in this method are classified under four headings based on the chronology of performances and their role in the realization of the goals of this method background games, review games, visual games, and finally, theatrical/story games.

In the historical texts written in Persian and Arabic in the first four centuries of Islam, only in two books, Shahnameh of Ferdowsi and Ghurar Akhbar Muluk of Tha'alabi, the Nowzar's kingdom is mentioned. Most historians after Manouchehr refer to the kingdom of Afrasiab and Zav (Zaab) and never refer to the kingdom of Nowzar. On the other hand, the story of Arash the Archer (Kamangir), which many historians consider to be in Manouchehr's kingdom, is not included in Ferdowsi's Shahnameh, and Ferdowsi does not mention Afrasiab's campaign in Manouchehr's period. Arash's name is only mentioned in a few scattered verses in various of Shahnameh's stories. This research seeks to answer the question of whether there is any connection between the absence of Arash's story in Shahnameh and the lack of Nowzar's kingdom in historical texts. According to the evidence, it is possible that the kingdom of Nowzar was not in Khodaynameh and the authors of the Shahnameh of Abu Mansouri narrated the story of the kingdom of Nowzar from another book. On the other hand, the story of Arash the Archer has not been mentioned in Abu Mansouri Shahnameh and consequently in Ferdowsi Shahnameh; otherwise, the Zoroastrian priests should have noted the Afrasiab's kingdom in Iran for the two periods of time, and this was in contradiction with historical narrations.

The 19th century was characterized by great socio-political ups and downs both in Iran and France. In the meantime, literature could not be indifferent to such developments. In France, Arthur Rimbaud managed, despite his startlingly short and turbulent life and the unorganized works he authored, to attract a lot of attention. Today he is recognized as one of the influential figures of modern poetry in France. On the other hand, the contribution of Nima Yoshij to contemporary Persian poetry is undeniable. However, these two prominent figures have rarely appeared in a comparative study. Focusing on the socio-political context and framework of the two poets and their well-known artworks (The Myth by Nima and The Drunken Boat by Arthur Rimbaud) the researcher seeks to draw a comprehensive pictorial, rather than a mechanical, comparison between the nature and different aspects of the attitudes of these two poets towards the aesthetic literary tradition of their time as well as the requirements and developments of the turbulent era of their life. In the first section, we study the material-historical framework involved in Nima Yoshij and Arthur Rimbaud’s artistic creativity. In the second section, textual review instruments such as the linguistic instruments used to address literary works, will be used to conduct a more concrete study. In the end, it can be seen that both poets, are almost equally sensitive about the issues of their time.

A myth has always changed since it was created. This change is repeated in different nations, specially in Iran & India. Using a descriptive-comparative method based on structural analysis. This study aims to show that in spite of similarities between myths in Iran & India there are different distinguishing aspects too. The changes can have different types such as breaking into water, fire, a terminator & a hero. Some myths have divine positions but they break too. This breaking can also be seen in myth with are not myth-god. In fact breaking in Iranian myths is the repeat of breaking Indian myths; but it causes Iranian & Indian myths getting for away. When Indian myths break, they don't stop. This non-stationary can be seen in Iranian myths too. Breaking in Indian myths has caused some of them play an opposite role & this is not be seen in Iranian myths.

AbstractBooklets of disciplining written from the late Safavid period to the Constitutional Revolution have formal and content characteristics of a separate genre, due to the confrontation of male vs. female discourses. "Co-occurrence of the concepts of disciplining and gender in the title of booklets of disciplining", "collection of individual booklets of disciplining in a single volume for publication" and "the role of author gender in educational orientation of the booklet" are three main paratextual and formal characteristics of this genre. In addition, "alignment of the textual world of booklets of disciplining with the titles", "the role of intertextual and interdiscoursal relations in the development of booklets of disciplining", and "the sources of legitimacy for antifeminist and feminist discourse" are among the content characteristics of the disciplining genre. The set of formal and content characteristics of the booklets of disciplining distinguishes these texts from those which are classified in didactic genre. The texts belonging to the genre of disciplining men and women have a different style and discourse that can be identified on a continuum of antifeminist, male-centered, female-centered and feminist.Keywords: booklets of disciplining women, booklets of disciplining men, genre, paratext, feminism, Qajar literature.