ziba parishani pnu university author majid sarmadi payam nour University author fateme kouppa payame- noor university author Hosein yazdani payam nour University author text article 2020 per   Ziba Parishani   Abstract “Home” is a key concept in literal imagination through which different imaginations are formed. Through the image of home in poetry different notions like identity, intimacy, belonging, the spatiality of the being (Heidegger), place seeking of the soul (Bachelard), the unification of psychological entity (Schultz) and the image of Mandala or centralization of unconscious (in Jung psychology) is formed. Home is the birthplace of the most important images which is seen in poetry and prose and is full of romantic perception of the world. This image finds particular perceptions in accordance with every poet's worldview, and the understanding of these images is a crucial path in the understanding of inner world and imagination of every poet. This paper is aims to understand the image and meaning of home to Sohrab Sepehri. Through the classification of his poetry into three different phases, this paper investigates the approach to and understanding of Sohrab from the concept of home through studying and analyzing his poetry and the unfinished book of Blue Room.     Shiraz University 2008-8183 12 v. 2 no. 2020 1 25 https://jba.shirazu.ac.ir/article_5188_56e57e8138dec1605d277b35c1931734.pdf dx.doi.org/10.22099/jba.2019.30640.3139 hasan tofighi PhD. Student of Persian Language and Literature, Hakim Sabzevari University,sabzevar,Iran author Ali Tasnimi Assistant Professor of Persian Language and Literature, Hakim Sabzevari University,sabzevar,Iran author mehyar Alavi Moghaddam Associate Professor of Persian Language and Literature, Hakim Sabzevari University,sabzevar,Iran author Ebrahim Estaji Hakim Assistant Professor of Persian Language and Literature, Hakim Sabzevari University,Sabzevar,Iran author text article 2020 per   Abstract   The Conceptual metaphor in the context of the cognitive linguistics emphasizes the role of experiences in structuring the categories of mind and cognition of concepts. The seasons of the year are the most experimental areas for explaining the mystical worldview. Meanwhile, Mowlana is more interested in spring. This research shows that "spring" in the Mowlana's Ghazals, as a macro meaning-making trait, with all its visual, audible,  olfactory, tastable, and  tactile presentation , serves as an explanation for an intuitive worldview and concepts such as the truth, occult (Gheib), love, lover, spirit, manifestation and unification. The focal point of his poems, in fact, comprises a network of metaphor through the metaphorical aspects of "spring" and related and even contrasting image clusters, as well as the symmetrical power of metaphors; metaphors that, due to their dependency on the central meaning, play an important role in the artistic originality of  Mowlana's style and the in-text coherence of the ghazals.  Also, the use of this conceptual mapping in the context of Mowlana's Ghazals, intellectually, shows Mowlana as a mystic beliving in bast (expansion). He, then, shows that all spring-metaphors or spring-related ones are micro metaphors deriving from the macro-metaphor asserting that "knowledge is a pleasant experience". Then, this spiritual expansion in Mowlana's Ghazals goes hand in hand with metaphorical clusters, resulting in the unification of the uniqueness of his insight into the uniqueness of his poetic style.     Shiraz University 2008-8183 12 v. 2 no. 2020 26 52 https://jba.shirazu.ac.ir/article_5186_2675801f06dc9b9a834081ec766395fa.pdf dx.doi.org/10.22099/jba.2019.32023.3266 mohammad hadi khaleghzadeh Assistant Professor of Persian Language and Literature Islamic Azad University, Yasouj Branch author text article 2020 per     Abstract Maulana Mohammad Taleb Jajarmi (854 AH) is one of the less known poets of Shiraz in the 9th century AH. In addition to the "Diwan ", the poem of "Guy va Chougan" (lit. ball & polo)  is also attributed to him. This Shiite poet, who was the student of Azari Toosi, used to compose praise-poems, admiring the Timurid and Fars rulers in the 9th century AH. However, there has not been enough information about his life, works and thoughts before finding two manuscripts in the library of the National Museum of Iran and in the library of Ayatollah Marashi Najafi (RA). This encouraged the researcher to perform a research in this regard. In this article, after giving a brief introduction about the poet's life and works, based on his handwritten works, and the principles of correcting manuscripts, the researcher has attampted to make the structural and content analysis of the text. Hence, employing a descriptive-analytical approach, in addition to introducing Tayeb Jajarmi and his works briefly, he addresses the religion, thought, textology and poem manuscripts of the poet to shed a light onto the dark aspects of his life, as well as the style and features of his poetry and manuscripts. Taleb Jajarmi composed poems praising Ibrahim Sultan, Abdullah, and son of Ibrahim, Khalil Sultan, Younes-khan, Sultan-Wes, Jahangir, Sultan Hasan Khodadad, Majid Hajibig, Alishah, Hassan-Shah and Mahmud. As found in his manuscripts, he deeply respected and heartily admired sultan Mohammad Ruzbehan , Muhammad b. Seyyed Sharif Jarjani, Sharaf al-Din Ali Yazdi, Sheikh Abu Eshag Kazerooni. ط   Shiraz University 2008-8183 12 v. 2 no. 2020 53 83 https://jba.shirazu.ac.ir/article_5261_5e5496bbb5c971997945744f902bad2a.pdf dx.doi.org/10.22099/jba.2019.31896.3255 Masoud Dehghan Department of Linguistics, University of Kurdistan, Sanandaj, Iran author Behnaz Vahabian PhD Student in Linguistics, Instructor of Language at University of Ganjnameh, Hamadan, Iran author text article 2020 per   Abstract The purpose of this study was to study and read the metaphors used in the poems of Shamloo and Bahar from a linguistic standpoint. They are contemporary poets, the former composing Sepid Poems (literally meaning white, a kind of free verse) and the latter, classical ones.  Data analysis has been carried out based on the Cognitive approach and in particular on the Fauconnier and Turner's Conceptual Blending Theory (henceforth CBT model) (1994, 1998, 2002) which aims to provide a general cognitive model for meaning-construction and creativity. In this theory, not only is metaphor used in the two domains of source and target, but also refers to the third domain in the emergence of the audience's mental conceptualization, which is obtained from the mapping of the two domains of source and target. The present study is a qualitative–descriptive– analytical research in which due to space limitations imposed by the journal policy, the authors, employing the CBT model,  have randomly examined metaphors used in the poems of Shamloo and Bahar. The findings have showed that the metaphors and combinations used in this collection of poems through blending, composition and completion have created new spaces. That is, in addition to the two domains of source and target, another emerging space has been created in such a way that Shamloo and Bahar in their poems have gone beyond the concept of the Conceptual Metaphor Theory (henceforth CMT model)proposed by Lakoff and Johnson (1980) and have used the CBT model. The findings indicate that the metaphors used in these poems are of the double-scope network type. Studies have shown that Bahar and Shamloo have used the metaphor of despair and the metaphor of hope in their poems, respectively.       Shiraz University 2008-8183 12 v. 2 no. 2020 84 117 https://jba.shirazu.ac.ir/article_5305_a771e088363fdbe082fc6ec61579bb90.pdf dx.doi.org/10.22099/jba.2019.31867.3250 fatemeh salahshour Fatemeh salahshour Ph.D. Student, Department of Persian literature, Faculty of Humanities, Najafabad branch, Islamic Azad University, Najafabad, Iran. author ata mohammad radmanesh Professor, Department of Persian literature, Faculty of Humanities, Najafabad branch, Islamic Azad University, Najafabad, Iran author yaser hamzavi Assistant professor, faculty of applied Art, Tabriz Islamic Art University, Tabriz, Iran. author mahbube khorasani Associate Professor, Department of Persian literature , Faculty of Humanities, Najafabad branch, Islamic Azad University, Najafabad, Iran. author text article 2020 per   Aim: The purpose of the present study is to identify samples of Iranian natural dyes which were used in ancient Persian but have been forgotten, renamed or imported and used with other names. The data worked on in this study comprised historical literary documents and Persian poetry. Method and approach of research: This research has been carried out on information gained from library studies performed on the poems of poets from the fourth to the eighth century AH, dictionaries, old books on medicine and stones and jewelries. To this end, the researcher performed content analysis on the data obtained.  Findings and results:  Persian poems are considered as important historical evidence, giving witness to the large number of natural dyes used in ancient Iran. Based on the findings of this study, it is found that many natural dyestuffs have been used in poetry. The dyestuffs pointed out in the poems studied include: Sakahan, amber, Safflower and Bahraman. These dyes were important dyes in ancient Iran and their dyeing properties remained over time. ط   Shiraz University 2008-8183 12 v. 2 no. 2020 118 140 https://jba.shirazu.ac.ir/article_5187_4ce123fd22b942cd5a619e44e9412189.pdf dx.doi.org/10.22099/jba.2019.31344.3192 Omid Shahmoradi Ph.D. student of Persian Language and Literature, Department of Persian Language and Literature, Faculty of Letterse and Humanities, Ferdowsi University of Mashhad, Iran author Mohammad-ja’far Yahaghi Department of Persian language and literature, faculty of literature and human science, ferdowsi university, Mashhad, Iran author arif naushahi Retired professor, Persian Language and Literature Department Government Gordon College, Rawalpindi, Pakistan author text article 2020 per     Abstract Due to the absence of authentic manuscripts of the diwans of some poets, anthologies and collections of poems can be important sources for the correction and re-correction of such diwans. More ancient anthologies typically consist of more genuine and trustworthy records. "Majmue-ye-Lataef-va-Safine-ye-Zaraef" compiled by "Seif-e-Jam-e-Heravai" is one of the most significant anthologies remained from the late eighth and early ninth century AH written in the Indian subcontinent. Although the main focus of this anthology is on rhetorical aspect, "Seif-e-Jam-e-Heravai" has gathered numerous poems from famous and even less known poets; these collected poems can be used to advance and improve literary studies. One of the key usages of this anthology is in retrieval and re-correction of poems of older poets. In this study, performed on Seif-e-Jam-e-Heravai" anthology, 39 newly-found verses from the poets whose poems have already been published are presented. The poets are chronologically as follows: Amir-Moezzi, Nezami-ye-Ganjavi, Zahir-e-Faryabi, Shams-e-Tabasi, Homam-e-Tabrizi, Naser-Beje-ye-Shirazi, Nazaari-ye-Ghohestani, Hasan-e-Kashi, Ebn-e-Yamin, and Obeid-e- Zakani. Additionally, this work presents the corrections of several manuscripts existing in the diwans of several poets; such corrections have been carried out based on the poems found in Majmue-ye-Lataef-va-Safine-ye-Zaraef, emphasizing the importance of such anthologies in the field of manuscript correction. Key Words:   Shiraz University 2008-8183 12 v. 2 no. 2020 141 170 https://jba.shirazu.ac.ir/article_5268_8c484354f04747d71771bb1ca0c287f9.pdf dx.doi.org/10.22099/jba.2019.33671.3400 razie fani aski PHD condidate in guilan uni author ali safayi professor of guilan uni author text article 2020 per     Abstract   In recent decades, various views have been presented showing coherence and semantic depth of the work. All these views have focused on text analysis. Among them is the model presented by Halliday and Hassan (1976), which is very fundamental in examining texts as a whole and as a unified whole. Therefore, in the present study, based on the model of the coherence proposed by Halliday and Hassan in systemic-functional linguistics, various components, such as lexical, phonetic, syntactic and semantic signs in Saadi's lyrics, have been analyzed. Studies show that Saadi's poetry (including the poem in question) has a strong coherence at the lexical, cohesive, musical, phonetic and semantic levels, and what creates this cohesion and unity is the poet's innermost thought, vertically flowing in his poems.     Shiraz University 2008-8183 12 v. 2 no. 2020 171 187 https://jba.shirazu.ac.ir/article_5275_7aee5816eb5de318257d4111f25a5c8c.pdf dx.doi.org/10.22099/jba.2019.31909.3256 Mohammad Qadamyari Islamic University of Iran, Bushehr author SEYEDMAHMOOD SEYEDSADEGHI BUSHER author Seyed Jafar Hamidi Islamic Azad university of Iran, Busherhr author text article 2020 per   Algirdas Julien Greimas is one of the semioticians in the field of narrative who, after Propp,  presents a pattern in structural semantics  known as the actional model. This model includes components showing that the fundamental structure of narrative and language is the same. In this model, the actors create a plot within three contradictory pairs. Another component of this theory is the semantic square, which stem from a given oppositional properties. The present study, based on the Griemas theory, has performed a morphological analysis of one of the anecdotes of Attar’s Ilāhī-Nāma, The important point of this study is that the outline of the story, the manner of narration and characterization of the protagonists are subject to a general order and framework. This narrative is consistent with the criteria of Griemas model. Also with the help of semantic square, the general structure of narrative with its contradictory elements has been examined and analyzed and it is found that the actors, i.e. the brother-in-law, the young man, the merchant and ship inhabitants take a move from lust and evil desires to “no-evil” and as a result, they move from the status of “no-lust” to chastity.   ط Shiraz University 2008-8183 12 v. 2 no. 2020 188 213 https://jba.shirazu.ac.ir/article_5271_3963a82a61ffbd9382f643e166778fe9.pdf dx.doi.org/10.22099/jba.2019.31812.3248 MOHAMAD MORADI SHIRAZ UNIVERSITY author text article 2020 per     Abstract   Ode is one of the main forms of Persian poetry, common from the fourth century until the beginning of the seventh century, which has been effective in reflecting the cultural and social concepts of Iranian society. In this article, based on content analysis method, after studying more than 3200 odes of twenty poets, the poems composed on happy or sad occasions and events have been chosen and the process of poet's attentions to those occasions in connection to the courts during different periods has been analyzed. The results show that in the poems of the fourth and fifth centuries, paying attention to the description of spring, describing feasts and, above all, insisting on the reflection of the celebrations of Mehregan and Sadeh, has given a happy atmosphere to most courts; but in  the following centuries, the attention paid to Iranian celebrations has diminished, and most poets of the central regions of Iran have insisted on describing Arabic feasts, such as Eid al-Fitr and Eid al-Adha in their poems. Also, in the course of these centuries, the joy of court raised from of conquests, congratulations of Positions, celebrations, and other happy events related to praised one, were replaced with the personal or social grief of the poets, which are often reminiscent of the death of their loved ones, poverty, wars and conflicts, complaints, imprisonments, and famine of their time. From this viewpoint, poets connected with the courts of the Ghaznavids and Seljuks were happier than religious poets or those of the other courts.       Shiraz University 2008-8183 12 v. 2 no. 2020 214 242 https://jba.shirazu.ac.ir/article_5270_9c054a498a658164625d469551285ddb.pdf dx.doi.org/10.22099/jba.2019.32837.3323 mohammadsaeed mirzaee Ph.d student author maryam salehiniya ferdowsi mashhad university author text article 2020 per       Abstract      In his Masnavi, Bīdil has seriously addressed human beings as a pivotal character. Human beings, his dimensions and existential potentials are among the most important concerns of the poet. To Biddle, all manifestations of existence lie in human "perception". In his stories – where there is only one single central character – Bīdil narrates the journey of human in search of his own existence. In this journey, he finally realizes that there is nothing beyond the scope of his own “perception” and “existence”. This makes man the sole truth of the universe. The study tries to show what sort of relationship Bīdil establishes with his hypothetical reader, as a “typical human”, and how he achieves this by drawing on the potentials and power in his narratives. This is carried out by examining the various aspects of narration in Bīdil’s longest stories. In fact, this study, in order to draw a pattern of Biddle's narrative at various layers of the story, along with examining the relationship between the "story" and "discourse", examines the relationship between the narrator, the single pivotal character of the story and the hypothetical reader. ط     Shiraz University 2008-8183 12 v. 2 no. 2020 243 263 https://jba.shirazu.ac.ir/article_5254_4967e0d27731f35012bafd0329385b29.pdf dx.doi.org/10.22099/jba.2019.32330.3286 abdollah vacegh-abbasi Assistant Professor of Persian Language and Literature author mohamad choharmahali teacher/ecducation author hosayn sadeghi education, teacher author text article 2020 per   Abstract "Simile" plays an important role in the emergence of anecdotes in the third book of Masnavi-ye-Ma'navi, and has led to the emergence of special types of allegorical anecdotes, which in this article, are referred to as "clustered and non- clustered allegorical anecdotes". These anecdotes as vehicles (object of the simile) are like a compound or broad metaphor whose starting point is placed in one or more than one verse. In the cluster allegorical type, each anecdote has a multi-core narrative and a dependent anecdote as a cluster, while in the non-cluster type, there are only one or more narrative cores and there is no anecdote as a cluster. In this context, allegory, narration, anecdote, cluster and non-cluster anecdotes are inextricably linked to simile. The present article addresses the questions found in both rhetorical and narrative domains. The questions are as follows: "How does simile relate to and affect the narrative structure of the anecdotes?" and "What classifications have similes created in the structure of the anecdotes of the third book of Masnavi?" From this perspective, the researchers have analyzed the anecdotes of the third book of Masnavi-ye-Ma'navi, scrutinizing different types of short and long allegorical anecdotes. It is found that in all anecdotes studied, simile is manifested as the main and constructive element in the vertical axis of the anecdotes   Shiraz University 2008-8183 12 v. 2 no. 2020 264 289 https://jba.shirazu.ac.ir/article_5297_c8c79893c4112a444c2b6d3a662aeff5.pdf dx.doi.org/10.22099/jba.2019.32467.3298 masoud bavanpouri دانشجوی دکتری زبان و ادبیات عربی دانشگاه شهید مدنی آذربایجان author text article 2020 per Abstract   Undoubtedly, the articles published in scientific journals will not be free from defects, and their critique, which is called "critique of critique", can provide the ground for other authors to learn and refrain from using such flaws in their subsequent articles.  The Journal of Poetry Studies (boostan Adab), which is published under the auspices of the Vice Chancellor for Research of Shiraz University, is one of the most reputable Q2 journals (ISC). In order to critically review this journal, the author of the present study has reviewed the titles of articles published in this journal (Nos. 1-40) and has tried to pathologize them. The results of this study show that, out of 347 published articles, a total of 153 titles are not in accordance with the scientific principles of essay writing, most of which have used the word "review" and its equivalents in the title. There are ten titles that are ambiguous and twenty titles which used general titles.     Shiraz University 2008-8183 12 v. 2 no. 2020 290 297 https://jba.shirazu.ac.ir/article_5529_88dd99200b5fb8ff06a54561c857061f.pdf dx.doi.org/10.22099/jba.2019.33858.3418