@article { author = {Aghadadi, Samaneh Al_Sadat and Mirbagherifard, Sayyed Ali Asghar and Khoshhal Dastjerdi, Tahereh}, title = {The Astonished Inebriate or The Vigilant Astonished? "The Analysis of Molavi's and Shams's Slants about Mystical State and Consternation"}, journal = {Journal of Poetry Studies (boostan Adab)}, volume = {13}, number = {1}, pages = {1-28}, year = {2021}, publisher = {Shiraz University}, issn = {2008-8183}, eissn = {2980-7751}, doi = {10.22099/jba.2020.35371.3573}, abstract = {Introduction Moulana’s attitude in mystical principles has a connection with the first mystical convention and   in minors with Bayazid- Bastami's mystical doctrines that todays are mostly recognized as Khorasan ideology. The parameters which have been spread in Bayazid's doctrines from the third century have been reflected completed in Moulana’s ideas making his method different from other mystical attitudes. Shams' attitude also in depiction of mystical principles is in accordance with the mystics of the first convention and in the minors with Jonayd's ideology. So, although the people of knowledge like Moulana and Shams reached a consensus on the principles in a frame of mystical convention, they are different in minors, considering their mystic attitude in the exposition of the method of epistemology and reaching the unification. The mystical state, consternation, the contrast articles, awareness and, vigilance are examples of minors which are the basic subjects of the difference between the mystic methods of Shams as well as Moulans's epistemology. These two matters are the parameters for recognizing Khorasan's and Bagdad's mystical ideology. Each of the cults of the two schools preferred one to the other and for proving their ideology have conflicted and brought different reasons.   Research Methodology, Background, Purpose In this essay the research methodology is analytical descriptive and is attributed to the authentic works of the first mystical convention, especially, Masnavi Manavi and Sham's pieces. In this analysis separately according to the mystical pattern of Shams and Moulana their ideas are going to be monitored considering the different aspects of mystical state plus consternation, namely, enunciation, prefaces, compartments and its results (total intellect, profanity(Shath), annihilation, eternity and unification) reaching the reason of the conflict, according to the forecited discussions. Also, it clarifies the main reason of Sham's first meeting with Moulana, using the results of the previous discussions by describing Shams's view toward the prophet Mohammad, Bayazid and Moulana. It should be said that the second meaning of the total intellect according to Moulana and describing the meeting of these two mystics on mystical state and awareness are new findings which have been analyzed for the first time in this study. Also, considering the searched background in the realm of comparative studies of Shams and Moulana no independent searching has been done before relating "The Analysis of Molavi's and Sham's Slants about Mystical State and Consternation".   The Debates and Analysis Bayazid and his cults acknowledge the domination of the mystic state to the awareness and they know it more completed comparing to the awareness. So, the mystic state and consternation are the main parameter of this mystical pattern which is the most important element of Moulana's attitude and he tries to extend it. On the other hand Shams' mystical pattern for describing mystical state and consternation has conformity with main parameters of Jonayd's ideology, that is, the preference of awareness to the mystic state. Accordingly, Shams in pieces tries to describe this important mystical method applying two features, namely, wrath and mercy. The wrath and the mercy which are the features of God are another interpretation of the awareness also the mystic state and actually the reason for the being of these two. The total mystic is an observant wayfarer who uses wrath and mercy in right context. Shams believes that Moulana is merely God's indulgence which this element causes his limitless inebriation. And the mystic who is just an epitome of kindness, is stayed in the diminution of the estate of the inebriation. But, the observant wayfarer uses the mystic state condition and takes the responsibility of guiding others for reaching the excellent inebriation, namely, the estate of awareness. Actually according to Shams Moulana advocates those who like mystic state such as Bayazid and Halaj, because Moulana is in the same level of inebriation which they are staying there, namely, the level of inebriation of the soul. In fact, it is common that Moulana starts to defend them impeccably but Shams achieved the level of leadership by reaching to the awareness and knows the diminution and its weakness adequately. So, Shams believes that approaching to the unification, the fact of the religion and epistemology are just possible by knowing the observant leader, the describer of all prophets and former religion, namely, the prophet Mohammad and being loyal to his ideology by applying the layout of the observant, sight and beseech. While the main intention of Shams for asking the level of superiority of the prophet Mohammad to Bayazid in the first meeting with Moulana is, directing him from the matter of inebriation, partiality for the people of mystic, namely, Bayazid to the level of awareness and recognition of the highest observant, namely, the prophet Mohammad, therefore, by knowing the prophet he (Moulana) achieves noble unification.   Conclusion The mystic state and the consternation are the main disagreement subjects in the mystic pattern of Shams and Moulana. Moulana believes that the mystic states and the consternation are the results of the love that finally come to the annihilation, eternity and the unification. According to him the people of mystic are the great ones that because of the infinite inebriation they miss themselves so much and they are in such a level of intuition, knowledge, annihilation, and unification with God which they connect the utterance of profanity (Shath) to God and are silent and disoriented themselves until they achieve the base of religion by the help of GOD that is the exact consternation and knowledge. But, in Sham's ideology their utterance of profanity (Shath) does not have any meaning except immanence, arrogance, frustration and insincerity. Also, in Sham's idea the consternation is equal to the knowledge but, the consternation which is originated from the real words of the observant and the wayfarer comes to such a level of information and cleverness that because of the excess knowledge and reaching to God cannot say any word or voice just because of being occupied by the beloved.     This paper is sponsored by the chair of Moulavi Pazhohi (Studies concerning Moulavi) the title help by the Iran's National Science Foundation (INSF).References:  Aflaki, A.(2017). Managheb al-Arefin. Corrected by Tahsin Yaziji, Tehran:The Friends.Ansari, A.(1983). Tabaqatol-Sofiyeh. Corrected by Mohammad Sarvar Moulaii, Tehran: Toos.Atar, F.(2012).Tazkeratol-Olya.(2012).Corrected and Described by Mohhamd Estealami, Tehran:Zavar. Badavi, A.R. (1997). The History of The Islamic Mysticism.Kuwait:Vecalatol Matbouat.Bakhazri, Y.I.A.(2004).Awrad al-ahbab va-fusus al-adab .Exertioned by Iraj Afshar, Tehran: University of Tehran.Baqli Shirazi, R.(1987).Abharol-Ashequin. Corrected by Hanry Karboun,Tehran: Manouchehri..-------------------------.(1995).The description of Shatyat. Corrected by Hanry Karboun, Tehran:Tahouri.Elahi Qomshe'I, M.(2011). Translation of the Holy Qur'an.Isfahan:Aria Qalam.Estealami, M.(2008).The Text and Description of Masnavi- Maanavi of Moulana (Volume 4). Tehran:Sokhan.Fourozanfar, B.(1988). The description of the Noble Masnavi (Volum2). Tehran:Zavar.Gazali, A.(1997). Savanehol Oshaq. Corrected by Ahmad Mojahed, Tehran: The University of Tehran.Hajviri, A.H.(2017).Kashfo-Mahbob.Corrected and Suspended by, Mahmod Abedi, Tehran: Soroush Publication.Halaj, M.I.M.(2002). Divane-Alhalaj. Described and Corrected by Hashem Osman.Beyrout: Dar-ol-Ketabe-Elmeyeh.Hamedani, E.G.(1977).The Description of The World of Baba Taher, Translated by MohhamdIbn Ibrahim Khatib Vaziri, Exertioned by Javad Maqsood. Tehran: The Association of the State Works.Kalabadi, A.I.B.(1960). Altaarof-Le-Mazhab-e-L-Tasavof. Corrected by Ahmad Ali Rajaii, Tehran: The Establishment for Translation and Publishing of the Books. Kashani, A.(2008). Mesbahol- Hodaiyeh And Mafatehol Kafaye. Corrected and Described by Efat Karbasi and Mohammad Reza Barzeqar Khaleqi. Tehran: Zavar.M.I.M.(2007).Asrarol-Tohid.Corrected by Mohammad Reza Shafii Kadkani (Volum1).Tehran: Agah.Mesbahol- Sharieh,(1980). Literary to Imam Jafar- Ibne- Mohahmad Hail to Him, Beyroot: Aalami.            Mir Bageri Fard, S.A.A.(2012). "Functional and Theoretical Mysticism or The First or Second Convention?". The Searching about Mystical Urbanity(The eloquent Jewel).University of Isfahan, Year 6, No 2, Page 65-88..------------------------ (2015). The History of Sufism 2. Tehran: Samt.Mostamali Bokhari,S.(1984).Shar-ol-Taaraf-Le-Mazhabel-Tasavouf. Corrected by Mohahmad Roushan(Volum4). Tehran:Asatir.Movahed, M.A. (2017).The Green Garden, Saying about Shams and Moulana. Tehran: karnameh.Mulavi, J.(2005). The Great Poetical Works of Shams, Corrected by Badiol-Zaman- Foroza- Far, Tehran: Talayeh.------------.(2007).Fihe-Mafihe,Corrected and Edited by Badiol-Zaman  Forozanfar, Tehran: Negah.-------------.(2008).Masnavi-Manavi, Exertioned by Mohhamad Estealami (Volum 1,2,3, 4, 5, 6).Tehran:Sokhan.Nasafi, A.M.(2012).Bayanol-Tanzil.Corrected and Suspended by Sayed Ali Asqar Mirbaqeri Zadeh, Tehran: Sokhan.Noya, P.(1994).The Interpretation of Quran And mystical Language.Translated by Esmail Ismail Sadat, Tehran: The Center of Academic Publication.Qashyri, A. (2009).The Translationof The Essay of Qashyrieh.Tranlated by Abou Ali Osmani. Corrected by Badiol- Zaman Forozanfar. Tehran: The Scientific and Cultural.Razi, N. (2008). Mersadol- Ebad. Corrected by Mohhamad Amin Riyahi, Tehran: Scientific and Cultural.Sediqi,& Kobra&Rouhani.(2015)." The Discord of Shams with Moulavi in the Ideologies, Thoughts and Judgements'. The Mystical Studies, University of Kashan, The year 11, No.21, P95-122. Seraj Tousi, A.A.(1914).Almae-Fe-Tasavouf, Corrected by Reynold Nicolson, Liden: Matbaa Beril.------------------(2009).Almai-Fe-Tasavouf, Corrected by Reynold Nicolson. Translated by Mahdi Mohebati, Tehran: Asatir.Shahidi, S. J.(1994). The Description of Masnavi (Volume5).Tehran: The Scientific and Cultural.Soltani, B & Yusef Pour.(2017). The writings of the meaning of the Mystic State in the Mystical Texts, Kavoush Nameh. University of Yazd, year 18, No.35,P 31-60.Tabrizi, Sh.M.I.M.D.(2006). Maqalate-e-Shams Tabrizi. Corrected by Mohammad Ali Mouvahed, Tehran: Kharazmi.Taroumi,S.M.(1998).Anisol-Arefin. Corrected by Ali Ojbi, Tehran:Rozaneh.The Summary of The description of Taarof. (1970). Corrected by Ahmad Ali Rajaii, Tehran: The Foundation of Iran Culture.}, keywords = {Keywords: Mystic State and Consternation,Awareness,Mystic pattern,Moulavi,Shams-e-Tabrizi}, title_fa = {حیران مست یا هوشیار حیران؟ «بررسی و تحلیل دیدگاه‌های مولوی و شمس دربارة سکر و حیرت»}, abstract_fa = {هرچند موافقت آرای شمس و مولانا و اثرگذاری‌های دوسویه‌شان از کسی پنهان نیست؛ ولی در مواضعی با یکدیگر اختلاف دارند. سکر و حیرت از مواضع اساسی اختلاف در مشرب عرفانی و معرفت‌شناسی این دو عارف است که در وجوه مختلف، اعمّ از تعریف، مقدمات، اقسام و نتایج، شایسته‌ی تأمل و مقایسه‌ی تحلیلی است. این مقاله بر آن است علاوه‌ بر بیان و بررسی تفاوت دیدگاه‌ها، پاسخ مناسبی برای چرایی این اختلاف آراء داشته باشد. تبیین این اختلاف‌ در مطالعات تطبیقی مولوی‌پژوهی و شمس‌پژوهی اهمیت ویژه‌ای دارد؛ زیرا می‌توان‌گفت تفاوت آراء شمس و مولانا از همان دیدار اول با موضوع سکر و حیرت و در بیانی دقیق‌تر، رجحان صحو بر سکر آغاز می‌شود. به این دلیل که اهل‌ صحوی همچون شمس از اهل ‌سکری چون مولانا درباره‌ی میزان برتری مقام هوشیار اعلا یعنی پیامبر(ص) بر مرتبه‌ی بایزید، مست مشهور، سؤال می‌پرسد. در واقع، غرض اصلی شمس از ملاقات با مولانا، رساندن وی به مرتبه‌ی ‌صحو و شناخت برترین هوشیار است تا به‌تبعِ معرفت ایشان بتواند به معرفت‌النفس، معرفت‌الرب و توحید اصیل دست‌ یابد. بنابراین، همان‌طور که پیامبر(ص) بر تارک مقام ولایت و نبوت، خواهان دستگیری و هدایت بایزید است، شمس نیز با برخورداری از اوصاف قهر و لطف حق، چونان نبی و ولیّ صاحب‌سرّ هوشیاری است که بر همه‌ی امور از جمله مرتبه‌ی مستی مولانا آگاهی دارد و راضی به توقف او در مرتبه‌ی ‌دوم مستی نیست؛ بنابراین خود را بنده‌ی نازنین حق می‌داند تا مولانا در سایه‌ی هدایتش پس از طی مستی عالم‌ روح به مستی ‌راه ‌خدا، مستی‌ از خدا و درنهایت هوشیاری رسد تا در این جایگاه هرچند مست‌تر، هوشیارتر و هوشیارکننده‌ی جهان و عالمی باشد. }, keywords_fa = {واژه‌های کلیدی: سکر و حیرت,شمس تبریزی,صحو,مشرب عرفانی,مولوی}, url = {https://jba.shirazu.ac.ir/article_5531.html}, eprint = {https://jba.shirazu.ac.ir/article_5531_95308969cc0d2f55634b3d0f5d6950c9.pdf} } @article { author = {Ehsani Estahbanati, Mohammadamin and sharifpour, enayatollah and sarfi, mohammad reza}, title = {The Analysis of tension square in sign- semantics approach of satire in a poem by Abolqasem Halat}, journal = {Journal of Poetry Studies (boostan Adab)}, volume = {13}, number = {1}, pages = {29-46}, year = {2021}, publisher = {Shiraz University}, issn = {2008-8183}, eissn = {2980-7751}, doi = {10.22099/jba.2020.35082.3552}, abstract = {IntroductionAbolqasem Halat (1919 – 1992) was one of the most hardworking and well known political satirist in contemporary era. He was at the top of his field considering diversity and multiplicity of his poems. Between his poetic works three exclusively satiric books named "Abol-eynak", "Shookh" and "bantam" were published in the time of Pahlavi dynasty. In these books, Halat portrayed the political and social corruption of his own era with a critical view and in a plain and sarcastic tone.In semantic square, discursive linguists use the term "state" which describes a situation that an agent is in, or the link between an agent and an object or emotional form. For example, if we say "Ali is sad", here "Ali" is the state agent, because we are telling about a state which he is in.Because of the wide array of satire and comedy in Persian language, we have to limit our observation to one poem from the book "bantam" by Abolqasem  Halat. Research method, review and goalThe present study was written in descriptive-analytic form using data analysis as a tool for library research based on semio-semantics. In discursive analysis of satire in Abolqasem  Halat's works, we tried to avoid individual signifiers, macro-signifiers and micro-signifiers or a set of signifiers in order to reach behind signs where a relation between them and a discursive reading of them can be found. Results show that the poet changes terms of discourse and produces a stream of meanings by transitioning from semantic square to tension square.Discursive semio-semantic approach is a new development in the field of semio-semantics, highlighted in the recent years by linguists such as Greimas, Fantoni, Courtes and others. In Iran, Hamidreza Shaeiri have been pioneering this area and have published two books and a number of research papers in introduction of the theory of discursive semantics and its various aspects including "discursive semo-semantic analysis" (2002) and "an approach to semio-semantics" (2009). DiscussionSemio-semantics is based on emotional cognition. Greimas defines emotional cognition in his book "the imperfection" (1987) as the result of an escape from reality. Meaning that confrontation with one thing causes the reality of that thing to hide behind a curtain and this creates a diverted –not real- meaning.Semio-semantics insists that discourse is a process that causes diversion of meaning and defines a new application for narrative. When we use the term "Semiotics" or "Semiology" without any prefixes or suffixes, we refer to the science of studying, identifying and classifying signifiers and finally placing the signified next to them. Also, "Semantics" alone means finding small and big units of meaning and examining its implications. But "Semio-Semantics" or "Semantics" refers to the process in which both signifiers and their implicated meanings are examined. In this approach, by placing the signifier in a system of processes (or discourse), meaning is acquired. A meaning that is not fixed and static. Greimas invented the concept of semiotic square (Shaeiri and vafaei 2009: 127). According to Joseph Courtes, semantic square is a visual and clear representation of a semantic element (ibid: 126). What makes this representation possible is an extensive study of processes of linguistic dynamics. Semantic square is based on "conceptual" connection and in semantics, concepts are two words in a contradictory relation. According to Greimas, if two words are in a contradictory relation, then presence of one is followed by the presence of other and also, absence of one is followed by the absence of other.In the structure of satire, subject is not initially moving on its predetermined path but is facing a chaotic world in which meanings are attributed to it and in this path towards object, abnormalities of social, political and cultural life in its surroundings create dynamic and ever-changing meanings in the narrative. In the satiric narrative, a predetermined element (like a change in economic or cultural situation) is introduced to the routine everyday life of the subject's action and creates the semantic signifier of "laughter" in the narrative structure.  ConclusionSatiric discourse in Halat's poems creates an "open semantic system". Occurrence of meaning which is criticism of modern human is not stopped and finished but is dynamic and changing and causes the poem not to be merely a place of semantic analysis but be the subject of another analysis which is "repulsion of human abnormalities". In this poem, cognitive aspect of satire is one of "state": a cognition that determines the conditions of reader's appearance in front of the subject and portrays reader's relationship with modern world in a critical and satiric way.Halat, as a wordsmith, sensitizes the reader through discourse to his own values so that he could pave the way for the reader's persuasion. Applying the theory of semantic square to the poem, earth as a signifier of destruction with full glory and influence is placed in contradiction to moon in all the discursive units and elements. In another word, in a single semantic whole, we have units which are in front of each other in a binary way and create meaning in the semantic process of tension square (not semantic square). The contradictory relation between the general and the particular consists of: Agent (modern human) and poet as the social reformer, earth and moon, peace and destruction.Keywords:  Semantic square, satire, Abolqasem  Halat, Sign-semantics, contemporary poetry.  References:A. books:1. Abrams, Meyer Howard (1957), A glossary of literary terms2. Pollard, Arthur (1970), Satire3. Chandler, Daniel (2001) Semiotics, The basics4. Halat, Abolqasem  (1983), bantam5. Shaeiri, Hamidreza (2002), basics of modern semantics6. Shaeiri, Hamidreza & Vafaei, Tarane (2009), an approach to semio-semantics7. Fatoohiroodmajani, Mahmood (2011), Stylistics of theories, approaches and methods8. Greimas, A.g (1987), The imperfectionGreimas, A.g and courtes (1993), semiotique. Dictiomnaire raisonne de latheorie du lanyage paris: Hachette9. Lunacharsky, Anatoly (1965), On literature and art B. Articles:1. Abbasi, Ali & Yavarmand, Haniye (2011) Transition from the Semantic Square to Tension Square in the Case Study of "Mahi Siahe Kocholo"}, keywords = {semantic square,satire,Abolqasem Halat,sign-semantics,Contemporary Poetry}, title_fa = {تحلیل مربع تنشی طنز در فرایند نشانه‌معناشناسی شعری از ابوالقاسم حالت}, abstract_fa = {الگوی تحلیل نشانه‌معناشناسی گفتمانی، به‌عنوان رهیافتی نو برای دستیابی به کل معنای متن، یکی از روش‌های مناسب تجزیه و تحلیل آثار ادبی است. این رویکرد، توانایی تحلیل ساختمان طنز را در اختیار مخاطب می‌گذارد. طنز، به‌مثابه‌ ژانری هنری، همواره در متون ادبی اهمیت و اقبال ویژه‌ای داشته است. بررسی نشانگانی نمودهای طنز در یک اثر، می‌تواند نقاط پررنگ را در طیفِ اندیشه‌ی خالقِ آن، آشکار سازد. ابوالقاسم حالت (1298-1371) یکی از موفق‌ترین طنز‌پردازن در حوزه‌ی ادب فارسی معاصر است و اشعار او بیان حقایق جدی و واقعی از موقعیت سیاسی، اجتماعی و فرهنگی ایران در قالب عباراتی طنزآمیز است. در این مقاله، با خوانش دقیق طنز در شعر «ابوالقاسم حالت»، مؤلفه‌های نشانه‌معناشناسی آن را باتوجه‌به آرایش نیروهای هم‌سو و معارض، بررسی و تمهیدات متن بر اساس مربع تنشی برای تأمین مقاصد گفتمانی را واکاوی می‌کنیم. بدین منظور، نخست به بررسی نشانه‌شناسی شعر می‌پردازیم و پس از آن، به تحلیل طنز در شعر وی خواهیم پرداخت. پژوهش حاضر از نوع توصیفی‌تحلیلی است و داده‌ها با استفاده از شیوه‌ی تحلیل محتوا، به روش کتابخانه‌ای و بر اساس دانش نشانه‌معناشناسی بررسی، تجزیه و تحلیل شده است. در تحلیل گفتمانی طنز ابوالقاسم حالت، تلاش بر این است تا از نشانه‌های منفرد، خُرد‌نشانه‌ها، کلان‌نشانه‌ها و مجموعه‌ای از نشانه‌ها عبور کنیم تا بتوانیم به ورای نشانه‌ها، یعنی آنجایی که نشانه‌ها با یکدیگر تعامل برقرار می‌کنند، برسیم و بدین ترتیب بتوانیم به خوانشی گفتمانی دست یابیم. یافته‌ها نشان می‌دهد که شاعر با گذر از مربع معنایی و رسیدن  به مربع تنشی، چگونه شرایط گفتمان را تغییر می‌دهد و معانی سیال را تولید می‌کند. }, keywords_fa = {واژه‌های کلیدی: مربع معنایی,طنز,ابوالقاسم حالت,نشانه‌معناشناسی,شعر معاصر}, url = {https://jba.shirazu.ac.ir/article_5606.html}, eprint = {https://jba.shirazu.ac.ir/article_5606_441efdb68fe015dfff6347e6d66df8da.pdf} } @article { author = {afshari, asghar and shafieioun, saeid}, title = {The intellectual and social aspects of Raji kermani's Hamleh Haydari}, journal = {Journal of Poetry Studies (boostan Adab)}, volume = {13}, number = {1}, pages = {47-74}, year = {2021}, publisher = {Shiraz University}, issn = {2008-8183}, eissn = {2980-7751}, doi = {10.22099/jba.2020.34112.3444}, abstract = { IntroductionUsually, the literary type of epic in Persian literature is divided into two genres, namely, mythological and historical, and in accordance with the subject of the work, scholars consider the type of religious epic to be derived from historical epic (Ref. Safa, 1333: 5). Next, the religious epic is divided into sub-genres, one of which is Hamlehnameh. With the advent of Heidari's Hamlehnameh by Bazel Mashhadi (1123 AH) and with the numerous addenda that have been written following it, Hamlehnameh of Bazel establishes its position as the model and instance of Hamleh sub-genre. In continuation of the social and literary movement of Hamlehnameh, comes Heidari Hamleh of Raji Kermani (1220-1241 AH) with the pivotal role of the bravery of Imam Ali (AS). This epic poem follows the sub-genre of Hamleh in terms of literary form and structure; But in terms of content and social status of the work, it is significantly different even from its peers such as Heydari's jazabeh and Heydari's Hamleh of Bazel. In this poem, in addition to epic exaggerations such as courage, bravery and glory, the poet presents a God-like and mysterious image of Imam Ali (as). This is, on the one hand, incompatible with epic exaggeration and, on the other hand, with fundamentalist Shiite beliefs. The main question is what can be the root of this kind of exaggeration in Raji's Hamleh? Research method, background and purposeRegarding Raji's condition, the contents of the memoirs of Majma 'al-Fasaha are of primary importance due to Hedayat's special care in collecting Raji's Hamleh (Hedayat, 2002: vol. 4, 471). Wameq Yazdi has also mentioned Raji in his Meykadeh memoirs, which is in the next rank in terms of importance (Wameq, 1371: 143-145). Regarding Raji's Hamlehnameh, some researches have been done by examining the content aspect of the work, which is a little closer to the purpose of the present study; For example, we can refer to the article "The Epic of Qasim Ibn Hussein (AS) Martyr of Karbala" by Talebian (2001), but the author does not explain the origin of the work. "The Ashura Incident in Heydari's Hamleh" by Khoshhal Dastjerdi (2001), "The Environment, Life, Works, Thoughts and Ideology of Ibn Hussam and Raji Kermani" by Dejband Solouieh (2016) are examples of research that have examined the content of this Hamlehnameh. This study attempts to reveal the social context of the creation of Raji's Hamleh by analyzing the dominant intellectual and doctrinal aspects of the work and examining its connection with society. It also finds reasons for its exaggerated content as distinguished from other religious epics. To achieve this goal, first the researches in this field were studied and then by comparing Raji's Hamleh with similar works, its content and intellectual difference was determined and then while studying the history of Beman Ali Raji and the Sheikhism sect, the aforementioned content was matched with Sheikhite texts.DiscussionRaji's Heydari attack is one of the religious epics that Malabiman Ali Raji wrote with the encouragement of Zahir al-Dawla Qajar (1316-1341 AH) focusing on the heroism of Imam Ali (AS) in the battles of the early Islam, between 1320-1341 AH. Raji was one of the Zoroastrians of Kerman who converted to Islam in his youth and became the Imam of Friday Prayer in Yazd and preached. He also started writing Heydari Hamleh there and after returning to Kerman with the support of Zahir Al-Dawlah, he finished his work (Rak Wameq, 1371: 143-145; Hedayat, 1381: vol. 4, 471). There are wonderful stories on Raji's inclination towards Islam (see: Behzadi Andohjerdi, 1349: 131; Dahesh, 1357: 110). If any suspicion or optimism is put aside, this change was something positive was not limited to Raji (cf. Shahmardan, 1363: 628; Majlisi, 1370: 518-521). However about his Shiite tendency, which in our opinion is the tendency of Sheikhism, there is still room for discussion. Comparing the stories of Raji Kermani and Sheikh Ahmad Ehsaei (founder of the Sheikhiite sect), there are strong signs of their alignment, which can confirm the ideological connection between the two. However, Raji Kermani's connection with Sheikh Ehsaei is not mentioned in historical texts; But Raji's relationship with Zahir al-Dawla, on the one hand, and Sheikh Ehsa'i's simultaneous relationship with him, on the other, is proven and undeniable. These issues show that Raji was associated with the main circle of the Sheikhiite, which could be a valid justification for his exaggerated beliefs.The beliefs of the exaggerators of Sheikhiite can be categorized into several main axes: belief in the reincarnation of the divine spirit in the Imams, their participation in creation and delegating matters to them; belief in the eternity of the Imams, especially Ali (AS); (Ref. Ehsaei, 1432: J 4: 58) Exaggeration in the dignity of the Imams, especially Ali (AS) and their preference over the Prophet Muhammad (PBUH) (Ref. Mushkur, 1379: 158, 165, 2 172) and intense hatred of Abubakr and Umar . (Ref. Kermani, 1261: 64). These are the main axes of the exaggerators' ideas about the Imams, which also manifests itself in various ways in the Raji Hamleh. ConclusionRaji's Hamleh is one of the relatively successful examples of the religious epic of Persian literature. This work is a subgenre of Hamleh in terms of formal features. However, like other examples of Hamleh, the description of the bravery of Ali (as) constitutes the general content of this work; but in terms of the details of the story, the theme, the tone and the poet's attitude towars issues, there is a clear difference between it and other examples such as Bazel's Hamleh, Eftekhar-ol-olama's Hamleh and so on. In this work, Raji, unlike the mentioned poets who have a moderate policy in the Shiite religion, is affiliated with the Akhbari movement and its unrighteous son, the Sheikhite sect. There are very clear signs of the poet's connection with the early circle of the Sheikhite sect, which shows that Raji Kermani was one of the pioneers of this movement in Yazd and Kermai. This shows his conversion to Islam which, at the same time, contradicts the poet's miraculous transformation.In addition, the exaggerated content of the work with numerous examples confirms Raji's tendency to Sheikhism, in such a way that the poet, in harmony with the spirit of the social environment of his time, with the support of the supporters of the Sheikhite movement, reflects the beliefs of his fellow believers. This connection is so strong that it is thought that even the poet was commissioned to compose this epic poem with the acceptable Sheikhite content. Influenced by the beliefs of the Sheikh sect, Raji elevates Ali (AS) to the level of divinity and, with extremism, prefers him even over the prophet. He also goes to extremes with the first and second caliphs to some extent, which sometimes violates the certain rules of the epic type. However, it provides a coherent and successful picture of the beliefs and ideas of its social group, which in addition to the literary aspect, is also important from the perspective of historical and sociological research.  Keywords: religious epic, Heydari Hamleh, Raji Kermani, Sheikhite, exaggeration.  References Abdullahi Kachosangi, Alireza. (1390). "The pome of battles, the completion of Heydari's attack or an independent work?" Mirror of Heritage, Volume 9, Number 2, pp. 123-144.Amiri Khorasani, Ahmad (1380). "The Manifestation of the Qur'an and Mysticism in the System of Attack of Heidari Raji". By Yahya Talebian, Proceedings of the Beman Ali Raji Conference, Kerman: Kerman Cultural Works and Honors Association, pp. 241-268Ansari, Sheikh Morteza. Almakaseb . Volume 1, Qom: torathBaghdadi, Abdul Qahir1333) . ) The difference between the teams. Translated by Mohammad Javad Mushkour, Tabriz: Shafaq.Bazl Mashhadi, Mirza Mohammad Rafi (unpublished). Heidari attack. 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By Hossein Masrat, Tehran: Our series of publications.}, keywords = {religious epic,Haydari battle writing,Raji kermani,Shaykhiyyah,belief extreme- overstatement}, title_fa = {وجوه فکری و اجتماعی حملۀ حیدری راجی کرمانی}, abstract_fa = {حمله‌نامه، خرده‌گونه‌ای از حماسه‌ی دینی است که توصیف رشادت‌ها و بیان فضایل اخلاقی علی(ع) محور اصلی محتوای این آثار را تشکیل می‌دهد. حمله‌ی حیدری راجی کرمانی یکی از مصادیق مهم این خرده‌گونه‌ی ادبی است که از قواعد نوع حماسه و خرده‌گونه‌ی حمله‌نامه پیروی می‌کند؛ ولی از جهت محتوا تمایز آشکاری با دیگر مصادیق این نوع دارد. شاعر در این منظومه، افزون‌بر اغراق حماسی مانند رشادت، دلاوری و شکوهمندی، تصویری خداگونه و رازآمیز از حضرت ‌علی(ع) ارائه می‌دهد. این موضوع از یک ‌سو، با اغراق حماسی و از سویی دیگر با عقاید شیعه‌ی اصولی، ناسازگار است. مسئله‌ی اساسی این است که بروز این نوع غلو در حمله‌ی راجی، ریشه در چه عواملی می‌تواند داشته باشد؟این پژوهش سعی دارد با تحلیل وجوه فکری و اعتقادی مسلط بر حمله‌ی راجی و بررسی پیوند آن با جامعه، از زمینه‌ی اجتماعی خلق این اثر پرده برداشته و دلایل موجهی را برای تمایز محتوای غلوآمیز آن از سایر حماسه‌های مذهبی بیابد. برای رسیدن به این مقصود، پس از مطالعه‌ی تطبیقی حمله‌ی راجی با آثار هم‌سنخ، تمایز محتوایی و فکری آن مشخص گردید و سپس ضمن مطالعه‌ی سرگذشت تاریخی بمانعلی راجی و فرقه‌ی شیخیه، مطالب پیش‌گفته با متون شیخیه تطبیق داده شد. در فرجام، این نتیجه حاصل شد که آفریننده‌ی اثر ارتباط آشکاری با پایگاه اجتماعی خود دارد و این عقاید افراطی از طریق فرقه‌ی شیخیه به تفکر بمانعلی راجی کرمانی و اثرش نفوذ کرده است. }, keywords_fa = {واژه‌های کلیدی: حماسه‌ی مذهبی,حمله‌ی حیدری,راجی کرمانی,شیخیه,غلو}, url = {https://jba.shirazu.ac.ir/article_5543.html}, eprint = {https://jba.shirazu.ac.ir/article_5543_7cb99fe040cb747eee1270c2a0e4dc87.pdf} } @article { author = {bagheri, Abbas and Mahdipour, Mohammad and Ranjbar, Ebrahim and Vahed, Asadollah}, title = {Function of language and dialogue in Attar's Asrarnameh stories}, journal = {Journal of Poetry Studies (boostan Adab)}, volume = {13}, number = {1}, pages = {75-100}, year = {2021}, publisher = {Shiraz University}, issn = {2008-8183}, eissn = {2980-7751}, doi = {10.22099/jba.2020.32259.3282}, abstract = {  1. Introduction     In educational literature, dialogue is simple, explicit, short, direct, borderless, and merely in the service of propagating the message. Because the story begins without the premise that is common in today's short stories, the dialogue begins without the premise and progresses rapidly. In such stories, instead of the type of dialogue and speech being a function of the characters' narrative character and the characters speaking according to their character and social status and thus the type of dialogue is chosen, the characters are subject to the type of dialogue and the type of dialogue is subject to the message of the story. The character enters the story simply because it is presented as a statue of the poet's thought and imagination, so that the audience uses the power of self-visualization and cognition of the social base of narrative patterns to achieve the poet's intent that most mystical misunderstandings and experiences are out of reach. He is a clergyman, easier to understand. According to the necessity of this method of expression in educational dialogues, most of the speech and the turn of the dialogue is from the character from whom the message of the story is quoted.     The tool of dialogue is language. The author approaches his artistic goal through the indirect language of dialogue (v. Najafi, 1380: 35-38). Therefore, the role and function of language in conversation and their connection is very important.2. Research method, background and purposeThe research method in this research is descriptive-analytical using library sources. Books and researches about Attar's thoughts and works such as: The Voice of Simorgh Wing ( Seday-e Ball-e Simorgh ), the sources of stories and allegories of Attar's Masnavi, the meeting with Simorgh and the fictional elements of the story of the pious woman have been written in Attar's Elahinameh; However, in none of the mentioned works and similar ones, there has been any discussion about the element of dialogue, especially the type of dialogues from the perspective of the multiplicity and variety of characters and the type of language function in anecdotes.For Attar, the story is a means, not an end. Therefore, in most anecdotes, the story ends in the shortest possible time, and most of the anecdote is devoted to the often mystical and moral conclusion. According to this introduction, the main questions of this research are what language skills Attar has used as a storytelling artist; What are the different forms of dialogue in terms of the multiplicity and variety of characters? How he left a message in the shortest possible time; To which strata did he pay attention and how did he harmonize the character of the characters with their speech? The authors therefore intend to examine the quality and quantity of the suggested issues.3.Analysis and DiscussionThe themes of Attar's anecdotes can be summarized as follows: the words of mystics and elders that are mentioned in a story and are drawn from it; Mystical description of historical figures such as Sultan Mahmud of Ghaznavi; Deciphering the romantic situation of lovers such as Lily and Majnoon, Sheikh Sanaan, etc .; Mystical thematization about objects and animals and mystical explanation of famous myths (cf. Ashrafzadeh, 1373: 34-39). Such themes have been Attar's pendants for expressing mystical purposes and miracles and psychological experiences.Attar has been familiar with the situation and thoughts of various sections of society. The characters of his stories have been selected from various strata of society, including prophets, kings, ministers, caliphs, mystics, lunatics, Zahedan, preachers, beggars, nobles and craftsmen (cf. Zarrinkoob, 1380: 105 and Sanatinia, 1369: 15 And 16). One of the most important parts of the story is expressing the characteristics of the characters, and this is achieved through dialogue. Attar has used the capacity of identifying and informing the dialogue to recognize the characters of the story in a desirable way. The dialogue in Asrarnameh takes place in four ways: direct, indirect, internal and theatrical.In Asrarnameh anecdotes, the three functions of referral, emotion and encouraging have the largest share of all types of language maps. In fact, anecdotes consist of two main parts and the result. In the main part of the story, the characters of the story play a role, and most of the sentences of the story are news and are likely to be true and false, and indicate external meanings; Thus language finds referral function; But in the second part, after the end of the anecdote, in which the narrator expresses mystical and moral meanings as the result of the story and invites the audience to understand the concepts and persuade them to act on them, the persuasive function has the greatest share. The change in the function of language in the conclusion of the story is very limited, and the motivational function is generally very pronounced. Bilateral dialogues account for the largest share of all types of conversations in the Secretariat. Of the one hundred anecdotes of the Asrarnameh, in the fortieth anecdote there is two sided dialogue. The conversations of these anecdotes are varied from the point of view of the parties to the conversation. The characters of the dialogue are in the thirty stories of two human beings, in one story two animals, in three stories one man and one animal, in two stories man and God and in one story man and angel.The language of the stories is simple and fluent. In educational anecdotes, the poet intends to teach mystical concepts and encourage the audience to learn it; Therefore, simple language is an important tool for the poet to achieve his goal.4 - ConclusionThe characters in Attar's Asrarnameh anecdotes have considerable variety. This diversity includes the Creator of the universe, angels, humans (of different classes), and animals. This colorfulness of the characters removes the dust of boredom from the reader. Character dialogues are the essence of anecdotes. In two sided dialogues, the characters are two human beings, two animals, a human being with an animal, a human being with God, and a human being with an angel. Among them, the two-way dialogue between two human beings plays a role more than other characters in anecdotes.One of the important points in all conversations is that one of the characters in the story represents the poet's thoughts, and ultimately the victory is from that character; thus, in educational anecdotes, the monograph secret dominates.Attar uses anecdote as a tool to achieve his goal, which is the expression of educational and mystical content and concepts, and conveys his message to the reader and explains this content and encourages him to do it for him; thus, in most dialogues of anecdotes, the message is about the context and the language has a referential role. 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Storytelling (basic theories of storytelling). Tehran: Baztabnegar.Mirsadeghi, Jamal (1376). Story elements. Tehran: Sokhan.Mastoor, Mustafa (1379). Short story basics. Tehran: Markaz. Najafi, Abul Hassan (1380). Basics of linguistics and its application in Persian. Tehran: Niloufar. Nobel, William. (1377). Writing and Dialogue Guide. Translated by Abbas Akbari, Tehran: Soroush. Westland, Peter. (1371). Storytelling methods. Translated by Mohammad Hossein Abbaspour Tamijani, Tehran: Mina. Younesi, Ibrahim. (1365). The art of storytelling. Tehran: Suhrawardi.}, keywords = {Asrarnameh,Dialogue,Referral,Encouraging,emotional}, title_fa = {کارکرد زبان و گفت وگو در حکایات اسرارنامه عطار}, abstract_fa = {گفت‌وگو یکی از عناصر لازم و مهم ادبیات روایی است.اسرارنامه‌ی عطارکه اثری روایی‌تعلیمی است، حکایت‌های دلنشینی دارد. در این حکایت‌ها گفت‌وگو نقش مهمی دارد تاآنجاکه جای کردار را گرفته است. عطار در این حکایت‌ها با استفاده از شیوه‌های مختلف گفت‌وگو، از جمله گفت‌وگوی مستقیم، غیرمستقیم، درونی و نمایشی به‌خوبی از این عنصر برای پیشبرد داستان بهره جسته است. در اسرارنامه‌ گفت‌وگوها از نظر تعدد صداها، چند‌طرفه، دو‌طرفه، یک‌طرفه و روایت، تک‌صدایی راوی است. گفت‌وگوهای دو‌طرفه از حیث تعداد و از بُعد تنوع طرفین، بیشترین تعداد و تنوع را به خود اختصاص داده است. زبان در گفت‌وگوی حکایت‌های اسرارنامه، حداقل یکی از شش کارکرد ارجاعی، عاطفی، ترغیبی، فرازبانی، همدلی و ادبی را به عهده دارد. سه کارکرد ارجاعی، عاطفی و ترغیبی بیشترین سهم از انواع نقش‌های زبانی را دارند. در این مقاله، انواع گفت‌وگو، به‌ویژه گفت‌وگوهای دوطرفه‌ی حکایت‌های اسرارنامه و کارکرد زبان در آن‌ها‌ را بررسی کرده‌ایم. نتیجهی بررسی نشان می‌دهد که عطار اسرارنامه را به منظور تعلیمات عرفانی سروده و روایت را راه مناسبی برای مقصود خود یافته است. وی بیش از همه‌ی وجوه فعل، از وجه خبری استفاده کرده است و زبان او بیشتر نقش ارجاعی و در مرتبه‌ی بعد نقش عاطفی و ترغیبی دارد و به اعجاز زبان در بیان مفاهیم آگاهی کافی داشته است.  }, keywords_fa = {واژه‌های کلیدی: اسرارنامه,ارجاعی,ترغیبی,عاطفی,گفت‌وگو}, url = {https://jba.shirazu.ac.ir/article_5541.html}, eprint = {https://jba.shirazu.ac.ir/article_5541_83795740e89b25a243add821572b6b49.pdf} } @article { author = {bakhshaei, sudabeh and Varedi, Zarintaj}, title = {A Study and Comparison of Persian Romantic Poems of Iran and the Subcontinent in the Safavid era (With Emphasis on the Works in the Central Library of Astan Quds Razavi)}, journal = {Journal of Poetry Studies (boostan Adab)}, volume = {13}, number = {1}, pages = {101-126}, year = {2021}, publisher = {Shiraz University}, issn = {2008-8183}, eissn = {2980-7751}, doi = {10.22099/jba.2020.34219.3455}, abstract = { 1.         IntroductionRomantic -poem is one of the most prevalent types of Persian lyric poetry. This literary field's development in the Safavid era is very significant, especially in the subcontinent. Lyric poetry's increasing popularity in this era led to numerous romantic stories by diverse poets (whether innovative or imitative) in various forms. Mughal court's great interest and encouragement in Persian poetry, poetic stories, and the translation of Indian stories and legends into Persian attracted numerous poets from all over Iran. Furthermore, many Indian poets turned to Persian poetic stories at the behest of Mughal kings and courtiers. In this way, poem writing became a tradition during this period. In other words, each poet achieved their mission with a romantic poetic story. Although many of these works' manuscripts have been lost over time, a considerable share of these poems is preserved in the form of manuscripts, lithographs, and movable type printing in the Central Library of Astan Quds Razavi.,  The author has collected  several romantic poems from the Safavid era of Iran and the subcontinent through visiting this library. In this research, twenty  poems have been studied and analyzed and then compared with each other.1-1-      Research MethodThis research has been done by the descriptive-analytical method (text research) .  Moreover, the data collection method is the use of library tools.1-2-      Literature ReviewAmong the essential studies that have been done in this field, the following studies can be mentioned:Seddighi (1998) has classified and introduced the  subcontinent's poetic stories’s types in the Timurid era.Babasafari (2013) has introduced 1389 romantic stories, including Persian poetry and prose from pre-Islamic to the contemporary period, which holds  considerable storied poems relating to the Safavid era.Zolfaghari (2013) has addressed the classification, typology, morphology, and introduction of romantic  poems and their themes. Notwithstanding the significance of these studies in lyrical literature, the Safavid era's romantic  poems, especially the works related to the subcontinent, have not been comprehensively analyzed compared  to any of the introduced works.  Through avoiding repetition, this paper has reviewed works that have not been analyzed and reviewed so far or those of which only little details have been mentioned in catalogs and bibliographies.1-3-      Research ObjectivesIntroducing and reviewing the Safavid era's romantic poems.Understanding the causes and factors of the wide acceptance of Iran and the subcontinent's Persian poets of this literary genre.Study and comparison of stylistic and linguistic features of poems written in Iran and the Indian subcontinent.2-         Discussion2-1-      The Differences between the Poems2-1-1-  Differences in Volume and Size (Number of Verses)The number of verses of Iran's poems is more than the number of verses of poems written in the subcontinent. Out of a total of six poems written in Iran, Shirin and Farhad by Mir Aghil Kowsari (1331) includes 3770 verses, Naz and Niaz by Vahid Qazvini includes 3200 verses, Sam and Bahram by Fayyaz Lahiji includes 3048 verses, Majnoon and Leily by Navidi Shirazi includes 3000 verses, Mehr and Vafa by Shouri Kashani includes 1432 verses and Salaman and Absal Navidi Shirazi  contains 860 verses. However, the most extended  poem out of fourteen works in the subcontinent is Candles and Butterflies (Padmavat and Ratan), with 2333 verses. The number of verses in other poems differs from 156 to 1500 verses.2-1-2-  Differences in  Poems’ Preface or IntroductionsRegardless of the independent poem of Kamdi and Madan and the incomplete poem of Khosrow and Shirin by Shahpour Tehrani, fifteen of the other eighteen works have started with monotheism, praise, prayers, and the Prophet's admiration. However, among the fourteen compositions of the subcontinent, only the preface of one poem (Nahid and Akhtar) is adorned with the praises, supplications, and Holy Prophet's (PBUH) admiration as well as Imams' (AS) admiration.  The preface of one poem (The Passion of Imagination) is also adorned with Ascension. Meanwhile, the openings of four poems out of the six works in the geographical area of Iran are adorned with praise, monotheism, prayers, Holy Prophet's (PBUH) admiration, Ascension, and Imam Ali's (AS) and Imams' (AS) admiration. This indicates the type of society's religious beliefs in the Safavid era of Iran.2-1-3-  Differences in the Story's Final Elements" A woman’s self-immolation," " lovers’s resurrection," and "attaining eternal life" are common themes of Indian and subcontinental stories which do not exist in Iranian stories. In  Kamdi and Madan, lovers die due to the news of a false death out of experiments and come back to life after death or unconsciousness. Moreover, Hir and Ranjha come to life by drinking the elixir of life from the hands of the old man in green (Khidr prophet) and attain eternal life.2-2-      The Commonalities of the Poems2-2-1-  Common MotifsCommon motifs of this era's most romantic poems are the commonality in the commencement of love or the beginning elements (falling in love by seeing face image, hearing the beloved's description, seeing the beloved's face), lovers' royal lineage, king's death, helper, mediator (nanny/parrot), travel, sea crossing, hunting, desert wandering, intrigue, lovers' secret meetings, lovers' prayers, the tact of those around, love letters, experiments, love parties, wars, lovers' sudden death, failed love, and death after joining.2-2-2-  Application of SimileSeveral types of imagination forms, including simile, metaphor, personification, metonymy, and irony, have been utilized in the studied poems with variable proportions. However, simile (according to its frequency) is the most significant literary element of this era's romantic poems. The similes' roots are in nature and the world around the poet and are often of the sensory simile type.Conclusion The Safavid era's romantic poem study and analysis indicate that most romantic poetical stories (about seventy percent) were written in the subcontinent.  Due to the shared cultural backgrounds and motifs of Iran and the subcontinent, these two regions’ poems are alike in general structure, lexical features, type of similes, and some narrative motifs. However, there are significant differences in volume and size, preface and introductions, cultural roots, and selection of characters in the story. Iranian poets have created their stories or poems with a complete structure, broader development, stress on the type of characters, and places beyond the realm of authorship. However, in choosing the heroes and describing the story's scenes, most of the subcontinental storytellers (according to Indian traditions) have depended on characters and places limited to the subcontinent and have acted with the utmost brevity and conciseness. Furthermore, many Indian poems are different from Iranian poems in terms of the final elements of the story. " A woman’s self-immolation," " lovers’ resurrection," and "attaining eternal life" are common motifs of Indian and subcontinental stories that do not exist in Iranian poems.Keywords: Iran, subcontinent, Safavid era, Astan Quds Razavi Central Library, Persian romantic  poemsReferencesAbarquhi, Haji (2014). Haji Abarquhi's Diwan. Introduction and research by Malihe Karbasian, under the supervision of Eva Ortman and Mohammad Karimi Zanjani Asl, Islamic Reserves Association, Qom: Institute for Oriental and Asian Studies, University of Bonn (Germany).Achehi Sahib, The Lucky Prince. (1837). Nahid and Akhtar. Manuscript, Property Registration Number: 35067M, Mashhad: Astan Quds Razavi Central Library.Endrejit Monshi. (1959). Love letter (Sassie and Penon). Lahore: Panjabi Literary Academy Publications.Anisi Shamloo, Yulqoli Beig. (1077). Mahmoud and Ayaz. Manuscript, property registration number: 32690M, Mashhad: Astan Quds Razavi Library.Babasafari, Ali Asghar. (2013). Culture of Romantic Stories. Tehran: Institute of Humanities and Cultural Studies.Bidel Dehlavi, Abdulqader Ibn Abdulkhaleq. (2009). Flame of Song (Bidel Dehlavi's Masnavi). Edited by Akbar Behdarvand, Tehran: Negah.Binesh Keshmiti, Mirjafar Beig. (2016). The Passion of Imagination. Rasht: Haghshenas Publications.Tehrani, Shapoor (Shahpour) (Arjaseb Ibn Khawjegi). (2003). Diwan Shapoor Tehrani. Edited and suspended by Yahya Kardgar, Tehran: Library, Museum, and Documentation Center of The Parliament of Iran.Khazanehdarlou, Mohammad Ali (2007). Persian Poems. Tehran: Rozaneh.Zulfaqari, Hassan (2013). One Hundred Romantic Poems. Tehran: Charkh.Sarhandi (Sahrandi), Naser Ali. (2000). Painter and The Face (Naser Ali Masnavi). Edited by Mahdi Dadashi Arani, Supplement to the Treasury of Baharestan (a collection of 16 treatises on Persian Literature), by Behrouz Imani's effort, Tehran: Library, Museum, and Documentation Center of The Parliament of Iran.Sanjar Kashani, Mir Mohammad. (2008). Sanjar Kashani's Diwan. Corrected and suspended by Hassan Atefi and Abbas Behnia, Tehran: Library, Museum, and Documentation Center of The Parliament of Iran.Shouri Kashani. (2010). Mones Akhyar and Love and Loyalty Poems. Correction, introduction, and suspension by Hossein Ghorban Pourarani, Tehran: Hasti Nama.Seddiqi, Tahereh. (1998). Storytelling in the Subcontinent during the Timurid Period. Islamabad (Pakistan): Persian Research Center of Iran and Pakistan.Aqelkhan Razi. (1069 AH). Candles and Butterflies Masnavi (Padmavat and Ratan). Manuscript, property registration number: 52233M.Erfani, Abdul Hamid (1961). Pakistan's Love Stories. Bija: Ibn Sina.Ghanimat Kanjahi, Molana Mohammad Akram. (1925). The Trick of Love (Ghanimat Masnavi). Lithography, Lucknow: Mat̤baʻ Munshī Navalkishor.Klanuri, Hamid (1985). Esmat Nameh (Story of Mina and Lorak). Edited by Seyed Amir Hossein Abedi, New Delhi: Persian Language and Literature Research Center in India.Kowsari Hamedani, Mir Aqeel. (1952). Shirin and Farhad. Manuscript. Property registration number: 11785M, Mashhad: Astan Quds Razavi Central Library.Lahiji, Abdulrazzaq Ibn Ali. (2009). Sam and Bahram. Edited by Abdolhossein Navai and Elham Malekzadeh, Tehran: Loh-e- MahfuzNaw'i Khabushani, Mohammadreza. (1969). Burning and Melting (Suz o Godaz). Edited by Amir Hossein Abedi, Tehran: Iranian Culture Foundation.Navidi Shirazi (Abdi Beig), Zeinol-Abedin Ibn Abdulmomen (1966). Majnoon and Leily, Contrast, correction, and introduction by Abolfazl Hashem Oghli Rahimov, Moscow: Danesh.___________________________. (2012). Salaman and Absal, Correcting and comparing it with other narrations. Fatemeh Modarresi et al., Urmia: Buta.Monzavi, Ahmad (1987). Shared List of Pakistani Persian Manuscripts. Islamabad: Persian Research Center of Iran and Pakistan._________________. (2011). Catalogs of Persian Books. Volume 2/11, Tehran: The Great Islamic Encyclopedia Center.Vahid Qazvini, Mirza Mohammad Taher. (2010). Naz and Niaz. Research and correction by Zabihollah Habibinejad, Tehran: Institute of Humanities and Cultural Studies.Yekta, Nawab Ahmad Yarkhan. (1327 AH). Hir and Ranjha. Lithographic version, Mashhad: Astan Quds Razavi Central Library.}, keywords = {"Persian love poetry","Safavid era","Iran","subcontinent","central library of Astan Quds Razavi"}, title_fa = {بررسی و تطبیق منظومه‌های عاشقانه‌ی فارسیِ ایران و شبه‌قاره در عصر صفوی (با تأکید بر آثار موجود در کتابخانه‌ی مرکزی آستان قدس رضوی)}, abstract_fa = {منظومه‌های عاشقانه بخش وسیعی از ادبیات غنایی فارسی را تشکیل داده‌اند. گسترش این حوزه‌ی ادبی در عصر صفوی، به‌ویژه در شبه‌قاره بسیار چشمگیر است؛ کتابخانه‌ی مرکزی آستان قدس رضوی به‌عنوان یکی از کهن‌ترین و غنی‌ترین کتابخانه‌های ایران محافظت و نگهداری بخش عظیمی از این آثار را بر عهده دارد. پژوهش حاضر با رویکرد توصیفی‌تحلیلی به بررسی منظومه‌های عاشقانه‌ی فارسیِ عصر صفوی، اعم از نسخه‌های خطی و چاپی این کتابخانه پرداخته است. نتایج حاصل از مطالعه و تحلیل آثار، حاکی از آن است که منظومه‌سرایان این دوره در نظم داستان‌های خود، در مقایسه با آثار مشابهِ دوره‌های گذشته (آثار نظامی و جامی) تمایل بیشتری به ایجاز و خلاصه‌گویی و خلق منظومه‌های کوتاه‌تر داشته‌اند؛ گرچه بیشتر منظومه‌های تألیف‌شده در ایران و شبه‌قاره در ساختار کلی، ویژگی‌های لغوی و برخی بن‌مایه‌های داستانی مشابهت دارند، ولیکن در حجم و اندازه، دیباچه، ریشه‌های فرهنگی، نوع شخصیت‌ها و عنصر پایان‌بخشِ داستان‌ها اختلافات چشمگیری دارند. }, keywords_fa = {واژه‌های کلیدی: ایران,شبه‌قاره,عصر صفوی,کتابخانه‌ی مرکزی آستان قدس رضوی,منظومه‌های عاشقانه‌ی فارسی}, url = {https://jba.shirazu.ac.ir/article_6042.html}, eprint = {https://jba.shirazu.ac.ir/article_6042_57c9eb9fc4b6b2517b492ef12f37898f.pdf} } @article { author = {Kkhaleghi, Anita and Mozaffari, Alireza and Nazariani, Abdolnaser}, title = {Function of narrative syntax (model of actors) and plot in Weiss and Ramin systems}, journal = {Journal of Poetry Studies (boostan Adab)}, volume = {13}, number = {1}, pages = {127-148}, year = {2021}, publisher = {Shiraz University}, issn = {2008-8183}, eissn = {2980-7751}, doi = {10.22099/jba.2020.35333.3567}, abstract = {IntroductionEvery work of art is a combination of structure and beauty. Aesthetic values ​​are in the role of the building blocks of a work of art, and a principled and purposeful structure can be used to apply them. The arrangement of aesthetic values ​​depends on the structure of the work; That is, a proper structure contributes to the relationship between aesthetic values.Narratology, as a science, strives to achieve clear narrative patterns. Propp and Garms are theorists who have defined narrative based on the actions of actors. The role model is one of the most important tools that provides semantic cues to critics. With the help of this model of action, it is possible to understand the presence or absence of internal coherence between narrative elements. Pirang is another important theoretical issue in the field of semantics and narratology with a constructivist approach and the most important part of a narrative and it can be considered as one of the most important elements related to the model of actors on which the coherence of the narrative structure depends.Weiss and Ramin is a Persian lyric poem that has always had a high place in Persian literature. In the present study, we have tried to establish this position by using Garms theory and by prescribing scientific frameworks.Method, Precedent, research goalThis research is a descriptive-analytical method and the sources used in it are library documents.Babak Ahmadi (1991) in the book Structure and Interpretation of the text and (2017) the book from visual signs to the text took a big step in introducing the development of new approaches to narratology. Ahmad Okhot (1992) also tried to prove the compatibility of Persian literature with them by introducing the theories related to narratology by writing the book Grammar of the Story. Other authors such as Hamid Reza Shairi (2002) with the book Basics of Modern Semantics, Ali Abbasi (2016) with the book Applied Narrative and Mohammad Hadi Mohammadi and Ali Abbasi (2002) with the book Samad Structure of a myth in introducing this scientific approach and localization of this Theories have made a significant contribution.The purpose of this study is to prove the coherence of the plot and the narrative of Weiss and Ramin based on the structuralism of Propp and Garms.DiscussionThis narrative consists of four action models, each of which is based on a plot. The first and second action models work in parallel in a contradictory relationship to achieve a goal and form an independent story.Following these plots, a new story begins with two other action models, both of which (in conjunction with Weiss and in conjunction with Ramin) operate in parallel; But the relationship between them is interactive and they advance the narrative to achieve a common goal. The plot on which these two narratives are based is the same.In Weiss and Ramin's narrative, we are faced with two types of plots: linear plots that follow each other and parallel plots that tell the story at the same time. These plots themselves fall into two groups of confrontation and interaction.In Weiss and Ramin, it can be seen that a fictional character is placed in the position of two actors. Sometimes these two positions of action have an interactive relationship with each other and move towards a goal; In the first plot, the target (viro) acts in the position of the actor, and in the second plot, the midwife appears in the position of the actor and the actor. This shows the importance of these fictional characters in the narrative; Because they take on the narration of an important part of the story and by being in two positions, they bring the most help to the active actor to reach the goal. In some cases, the actions of the actors change; That is, from the front of helping the active actor, they are transferred to the opposite front. As in action model First, the actor (city) has become a deterrent actor, and in action model second we see this change in city action. Given the material motivation of the city for this change of action, the most important feedback received from the analysis of his position in these models of action is the realization of his shaky personality and the sudden change of direction of the narrative.By summarizing the initial and final parts and devoting as much volume as possible to the middle part, the author has created a fit and a principle of uniformity that causes order and coherence in the story of Weiss and Ramin.ConclusionWeiss and Ramin's lyrical system is a narrative based on Grimas structuralist theory that has a complete structural pattern and narrative; Because in addition to having three initial, middle and final parts, the element of change is also seen in it. Also, based on the type of text that was chosen (narration), there is a kind of semantic coherence in it and no part of the anecdote is ineffective in advancing the flow of narration. This is a privilege that many literary works lack.Another feature of the story of Weiss and Ramin is the multiplicity of narrative syntax and plot in this work, which shows the complexity of the narrative. There is more than one plot in a long narrative of tricks that prevent the audience from getting bored and accompany him with the narrator.Despite the various narrative patterns in Weiss and Ramin, Weiss is a fixed point around which other elements revolve, which contributes to the coherence of the text.The result of the above results is the proof of the high position of Weiss and Ramin's system on the basis of a lawful and scientific system that responds to linguistic theories after nine centuries and has the ability to make the audience have a better reading based on scientific theories.Keywords: action pattern, plot, narratology, grimace, narrative syntax, Weiss and Ramin. ResourcesAbbasi, Ali (1385). "Research on the Pirang Element". 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"Analytical study of the structure of narrative in the discovery of Mahjoub Hojviri based on the semiotic model of Garmas narrative", Literary Text Research Quarterly, No. 48, pp. 9-32.Dezfulian, Kazem and Fouad Moloudi. (1390). "Analysis of Al-Tair region based on narratology". Scientific-Research Quarterly of Persian Language and Literature Research, No. 20, pp. 113-120.Gorgani, Fakhreddin Asad. (1395). Weiss and Ramin. Edited by Mojtaba Minavi, Tehran: Hirmand.Mohammadi, Mohammad Hadi (1378). Methodology of criticizing children's literature. Tehran: Soroush.Mohammadi, Mohammad Hadi and Ali Abbasi. (1381). Samad: The structure of a myth. Tehran: Chista.Nabiloo, Alireza. "Narrative of the story of the boom and the crow in Kelileh and Demneh". Journal of Literature Research, Volume 4, Number 14, pp. 7- 28.Okhovvat, Ahmad (1371). Grammar of the story. Tehran: Farda. Rafatkhah, Fatemeh and Ali Tasnimi (2015). "Analysis of Weiss and Ramin Stories Based on Narrative Theories". Conference of the Iranian Persian Language and Literature Promotion Association. Volume 11, pp. 1747 - 1775.Rouhani, Massoud and Ali Akbar Shobkolaei. (1391). "Analysis of the story of Sheikh Sanan in Attar region based on Garmas action theory". Research in Mystical Literature, Volume 6, Number 22. Scholes, Robert (1383). An Introduction to Structuralism in Literature. Translated by Farzaneh Taheri, Tehran: Agah.Shaeeri, Mohammad Reza (1381). Fundamentals of Modern Semantics, Tehran: Samt.Taqwa Kotanani Alireza (1395). "Study and analysis of the personality element in Weiss and Ramin by Fakhreddin Asad Gorgani". Conference on Communication, Persian Language and Literature and Linguistic Studies.____________ (1396). "Recognizing the plot element of the story in Masnavi Weiss and Ramin Fakhreddin Asad Gorgani". Conference on modern research in Iran and the world in management, economics, accounting and humanities.Wallace, Martin. (1382). Narrative theories. Translated by Mohammad Shahba, Tehran: Hermes.   }, keywords = {Narrative syntax,action pattern,Plot,Narrative,Grimas,Wiss and Ramin}, title_fa = {«کارکرد نحو روایی (مدل کنشگران) و پیرنگ در منظومه ی ویس و رامین»}, abstract_fa = {گذر از سلیقه در توصیف و ارزیابی کیفیت اثر ادبی و به‌کارگیری نقد ادبی در جایگاه مرجعی علمی برای ارزش‌گذاری آثار، مطلوبی است که همواره بسیاری از نظریه‌پردازان و منتقدان ادبی در پی آن هستند. روایت‌شناسی با تحلیل نظام حاکم بر روایت‌ها و کشف ارتباط میان عناصر سازنده‌ی روایت، در این راستا می‌کوشد. در این نوشتار کوشش شده است تا ساختار روایی داستان ویس و رامین به‌عنوان یکی از برجسته‌ترین منظومه‌های غنایی، بررسی‌ شده و نحو روایی و در پی آن پیرنگی که مدل کنشگران بر بستر آن قرار می‌گیرد، تحلیل شود. پژوهش حاضر به روش توصیفی‌تحلیلی و منابع به‌کاررفته در آن اسنادی‌کتابخانه‌ای است. دستاوردهای پژوهش گویای این است که جایگاه والای این منظومه در ادبیات روایی به‌دلیل کارکرد درست عناصر در قوانین روایت‌شناسی است. طرح داستان از ساختار و انسجام روایی برخوردار بوده و چهار نحو روایی دارد که همگی در خدمت روایت هستند. }, keywords_fa = {واژه‌های کلیدی: الگوی کنشی,پیرنگ,روایت‌شناسی,گریماس,نحو روایی,ویس و رامین}, url = {https://jba.shirazu.ac.ir/article_5617.html}, eprint = {https://jba.shirazu.ac.ir/article_5617_8605078c07f840c27f6cd03a6b55f7ff.pdf} } @article { author = {دشتی, سیدمحمد and motevassel, mojgan and moosavi, tahereh}, title = {"Critical discourse analysis" in Masnavi, case study: ghesse ahle Saba va taaghi kardan nemat ishan ra}, journal = {Journal of Poetry Studies (boostan Adab)}, volume = {13}, number = {1}, pages = {149-178}, year = {2021}, publisher = {Shiraz University}, issn = {2008-8183}, eissn = {2980-7751}, doi = {10.22099/jba.2020.35052.3548}, abstract = {3.Introduction and preface: Critical discourse analysis includes theories and methods for the empirical study of the relationship between discourse and social change. Critical discourse analysts believe that literary texts, like other texts, are relevant; Therefore, they can be analyzed with a critical attitude and approach. In this research, the sentences, phrases and structures containing discourse-oriented components in the story \"Ahl-e-Saba and the rebellion of blessings upon them\" from the third book of Masnavi have been studied and analyzed with a descriptive-analytical approach. The results of this study show that Rumi, in addition to using his extensive knowledge in formal sciences, mysticism and Persian and Arabic literature, also used the reproduction of discourse order to expand his spiritual dominance over his followers and his success is such that the discourse of power in Masnavi is completely natural. And it manifests itself in full harmony with mystical ideas and provides the necessary ground for changing the mystical discourse at the hands of Rumi's successors. With the help of word contrast, syntactic structure, and the legitimacy of his own discourse, he seeks to establish and extend domination over his followers.   4.Research method, background and purpose: The present study intends to look at the discourse of power in the story of "the people of Saba and the rebellion of blessings on them" in the third book of Masnavi, with a view free from prejudice and by acknowledging the high mystical thoughts of Rumi in Masnavi and based on the views of the critics of critical discourse analysis theory. Examine and show how Rumi uses authoritarian discourse to legitimize himself in the face of his followers. Finally, ideology and power relations are represented and introduced in the text through the study of language and text superstructure.The approach of discourse analysis and critical discourse analysis in the study of humanities texts can be clearly traced in the works of Fairclough and Roger Fowler. In recent years, this approach has flourished in Iran. For example, the book Critical Discourse Analysis by Ferdows Aghagolzadeh (2007) is a handful of this.The present study is based on a descriptive-analytical approach and is based on library resources. After raising the issue and defining the general framework of the research, the authors have carefully collected the relevant materials; Then, by referring to the book Masnavi Manavi, they extracted the data related to the research objectives and in accordance with the research approach, analyzed the poems, sentences, phrases and structures containing discourse-oriented components.  5. Discussion: Critical analysis studies the discourse of the text in relation to its situational, cultural, social, political and historical contexts and considers meaning as a product of cultural and social conditions. Power relations are the key concept in critical discourse analysis. The Sufi discourse in its interior shows a level of superiority and inferiority around which in the center of gravity the sheikh, pir, murad or pole as the center of power and the disciples and disciples as the circles connected to the center, are formed. Social rivalry is the process by which a discourse designs the "other" or "enemy" for itself; Because the existence of another threatening discourse, the formation of discourse identity and demarcation of values. The two main "rival discourses" in Masnavi are the discourses of philosophy and Etzal. In "The Story of the People of Saba" and related allegories, Rumi introduces his rival discourse through "rejection and negation". Rumi mentions his own discourse with words such as "Jesus' monastery" or "Reader of the heart" and refers to Jesus (pbuh), who is an allegory of the elder and the guide, with attributes such as savior of the jinn, his goodness and healer. Rumi, on the other hand, refers to dissenting discourse or those outside it with the following attributes: ungrateful, dog, rebellious, rebellious, unfaithful, donkey, raw, and child. In any discourse, words carry an ideological burden and carry certain values.In a discourse, "sentence arrangement has many functions, including ideological functions" (Wendike, 1394: 77). The syntactic structures of this story and other allegories also refer to the ideology of mystical discourse. One example is the extensive use of grammatical structure. This grammatical structure shows the upstream view of the speaker. This structure is often seen in this story.The "Story of the Sabaeans" is itself a story whose narrative purpose is an interpretive interpretation in the direction of mystical "judgment". Interpretation can be considered the most important tool for legitimizing mystical discourse. Mystics believe that "the interpretation of the text of appearance restores the original and true meaning that the similes of the text of appearance are encoded" (Carbon, 1387: 127). In this way, at the beginning of the story, Rumi likens the reader or any non-indigenous discourse to a mountain that has no understanding of the sound it reflects. He thus demonstrates the superiority of his own discourse and places it in an upward position, stating that it is the only mystical discourse that leads the way and opens the door to interpretation, and that the reader's mind for the final conclusion of this anecdote that serves the purpose. It is his discourse, he prepares. 6.Conclusion On the horizon of Iranian mystic thought, Rumi uses mystical poetry and the familiar genre of narrative artistically to take over the actions of power and use its forces for the benefit of his ideological goals; That is, he used the expansion of spiritual dominion over the disciples. Rumi's special language with a considerable volume of intra-religious and ideological words with a spice of tangible allegories and objective similes, has highlighted the role of language and its artistic tricks in advancing this goal of Rumi. In the story of the people of Saba, he identifies his rival discourse through rejection and negation.Rumi, by disguising his ideology in words, phrases and using linguistic tricks, has included the discourse of submission of the disciple to the old man in his anecdotes. Examining the traces of this discourse and re-reading the story of the people of Saba in Masnavi based on this kind of analysis shows that Rumi, like other elders, considers the character of Pir and Murad as the main element of the discourse of Murid and Moradi. On the opposite side of the object is the position of the disciple. The character of the disciple is passive, submissive, obedient and submissive throughout Masnavi. In this story, Rumi uses various methods such as the use of allegories, names and titles, the use of verbs and the interpretation of verses and hadiths in order to establish the superior discourse of the intended and the old against the discourse of the inferior disciple.  7. Keywords Ideology, critical discourse analysis, rival discourse, power discourse, Masnavi, Rumi. 8.references:Aghagolzadeh, Ferdows. (2007). Critical discourse analysis and literature. Journal of Adab pazhoheshi. Vol 1. No 1. pp17-27.___________________. Ghiasian, Maryam Al-Sadat. (2007). Dominant approaches in critical discourse analysis. Journal of language and linguistics. Vol 3. No 5. pp 39-54.Aflatoon.(2015) ).  Collection of works by Aflatoon. Translated by Reza Kaviani and Mohammad Hasan Latifi. Vol 2. Tehran: Ibn Sina.Amoli, Seyed Haidar. (1422). ). Al-Mohite al-azim and Al-bahre al-khazm. 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Sufism in Azerbaijan Mongol Era.Tehran: elmifarhangi.Jahangard, Nasrin. (2009). The secret of the permanence of Rumi's Masnavi in the informatics era. Tehran: Scientific. Jani, tahereh. (2011). Analysis of the discourse of the characters in the anecdotes of the spiritual Masnavi. Master Thesis. Ilam University.Jorgensen, Marianne. Louise Phillips. (2018).  Discourse analysis as theory and method. Translated by Hadi Jalili. Tehran: Ney.Mahyar, Abbas. (1997). Kharkharband and prison (description of the ode of fear. Tehran: GHatreh.Meier, Fritz. (2009). Bausteine: ausgewählte Aufsätze zur Islamwissenschaft. Translated by Mehr Afagh Abivardi, Tehran: Institute for Humanities and Cultural Studies.:                                        Mills, Sara. (2009). Discourse  Translated by Fatah Mohammadi. Zanjan: hezare sevom.Mohammad ebn Monavar. (1987).Asrar al-Tawhid fi Maghamat al-Sheikh Abusa'id.  Vol 1. Introduction and correction by Shafiee Kadkani. Tehran: Agah.Moshayedi, Jalil and Hojjatullah Karami. (2015). Rumi and the reproduction of the discourse of absolute monarchy in a mystical allegory. 8th Persian Language and Literature Research Conference. Vol 8. pp 1969-1984.Naraghi. Ahmmad. (1991). Review of the relationship between disciple and intended in mysticism. Kian. No 2. pp18-26.Quran karimRumi, Jalaluddin Muhammad. (2006). Masnavi. Karim Zamani. Vol 3. Tehran: Etelaat.________________________. (2007). Karim Zamani. Vol 1. Tehran: Etelaat.Sadrinia, Bagher. Mohammad Ebrahimpoor, Namin. (2014). The relationship between the Sufism and Mutzilism. Journal of Mytho-Mystic Literature. Vol 10. No 37. pp 145-182.Saussure, Ferdinand dow. (1999). General Linguistics Course. Translated by Kourosh Safavi, Tehran: Hermes.Sobhani, Tofigh. (2003). Critical Analysis of the Discourse of the "Officials" of the Sufi Elders Journal of association letter. No 12. pp 65-91.  Sojodi, farzan. Akbari, Zeynab. (2014). Classical Persian Literature. 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Tehran: Scientific.     }, keywords = {keywords : Critical discourse analysis,Mawlānā,Masnavi,Political discourse,Ideology,Rival discourse}, title_fa = {تحلیل انتقادی گفتمان قدرت در مثنوی (بررسی موردی: قصه اهل سبا)}, abstract_fa = {تحلیل گفتمان انتقادی شامل نظریه‌ها و روش‌هایی برای مطالعات تجربی روابط میان گفتمان و تحولات اجتماعی است. تحلیل‌گران گفتمان انتقادی برآنند که متن‌های ادبی مانند سایر متن‌ها در خدمت ارتباطند؛ بنابراین آن‌ها را می‌توان با نگرش و روش انتقادی تحلیل کرد. در این پژوهش جملات، عبارات و ساخت‌های دربردارنده‌ی مؤلفه‌های گفتمان‌مدار در حکایت «اهل سبا و طاغی‌کردن نعمت، ایشان را» از دفتر سوم مثنوی با رویکرد توصیفی‌تحلیلی، بررسی و تحلیل شده است. نتیجه‌ی این بررسی نشان می‌دهد که مولانا افزون‌بر بهره‌گیری از دانش گسترده‌ی خود در علوم رسمی، عرفان و ادب فارسی و عربی از بازتولید نظم گفتمانی نیز برای گستردن سلطه‌ی معنوی خویش بر مریدان بهره جسته و توفیق او تا بدان‌جا است که گفتمان قدرت در مثنوی کاملاً طبیعی و در هماهنگی کامل با اندیشه‌های عرفانی جلوه‌گر می‌شود و زمینه‌ی لازم را برای تغییر گفتمان عرفانی به ‌دست جانشینان مولوی فراهم می‌سازد. وی به یاری تقابل واژگان، ساختار نحوی و مشروعیت‌بخشی به گفتمان خودی، سعی در تثبیت و گسترش سلطه بر مریدان دارد. }, keywords_fa = {واژه‌های کلیدی: ایدئولوژی,تحلیل گفتمان انتقادی,گفتمان رقیب,گفتمان قدرت,مثنوی,مولوی}, url = {https://jba.shirazu.ac.ir/article_5532.html}, eprint = {https://jba.shirazu.ac.ir/article_5532_035e18150bfef49b3dfdd07eaa506a3d.pdf} } @article { author = {Sabzevari Beydokhti, Vida and Roozbahani, Saeid and Amirahmadi, Abolghasem and Davoodi, Mohammad}, title = {Approaching Methods of Reasoning in Parvin Etesami's Dialogic Discourse Based on Toliman's Theory}, journal = {Journal of Poetry Studies (boostan Adab)}, volume = {13}, number = {1}, pages = {179-204}, year = {2021}, publisher = {Shiraz University}, issn = {2008-8183}, eissn = {2980-7751}, doi = {10.22099/jba.2019.32472.3299}, abstract = {Abstract     Dialogism is a two-way exchange of ideas in which one party supports a particular action, practice, procedure, hypothesis, or theory, while the other is opposed with it and tries to overcome the others by argumentation. Parvin Etesami is considered as one major great poet in this genre of speech that has expressed her moral and social claims and advice through dialogism via allegory. The aim of this study was to identify Parvin's reasoning style in debates using Tolmen's theory. Sample argumentations were analyzed from three aspects including a. identification of arguments; b. identifying the claims and their rationales and c. the indicators of certainty. From among the thirty-two arguments (rational position) as identified in Parvin's poems, the positions of history and experience; the need for caution and prevention of danger and threat; the control of sensual desires; affordability and provision of definitions had the highest frequency. The arguments had formed the basis for claims and recommendations in areas such as chronology, cosmology, aesthetics, jurisprudence, risk caution, combating government and administrative corruption, denial of superficiality, fighting with oppression, identifying the challenges of poverty, rationalism, perfectionism, kinship rituals and companionship customs. Another finding of this research is the high frequency of certainty tokens such as "should", "should not", "nothing" and "never" in the poet's reasoning style. Key words: Parvin Etesami, Argumentative Style, Dialogism, Tolmin Theory.  Method and Aims of the Study     In this library research, data analysis was conducted with "inductive" techniques with the aim of examining the components of Parvin Etesami's reasoning style in the design and context of rational arguments, and the persuasion of the audience. Studies in this field include the relationship between dialogism and logic and its use as a logical argument to prove the claim and persuasion of the other party. Some instance include Vashghani Farahani and Mehri in which case, they brought “Stylistic features in Parvin Etesami's debates” or  Ebrahim Tabar’s study titled "A Stylistic Study and Analysis of Parvin's Drunk and Conscious dialogism with Rumi's Drunk and Wise Man";  Expression of dialogism and its relation with rationalism by Zakeri and Samsami titled "Sparks of dialogism in Persian Literature (rhymes)"; expressing the most official method of discussion and reasoning, as in Mohebbi’s study titled "Debate in Persian Literature"; "Sociological analysis and analysis of Parvin's poems and debates through political and social ideas", Majdaldin and ModirShaneshchi, and "Manifestation of the two principles of imitation of ancestry and ethics in Parvin's poems" by KordNowdeh.     According to above-mentioned ideas, in this article, an attempt has been made to study the method of reasoning in debate based on Parvin Etesami’s works as mapped on Toliman's theory.Results     In the present article, the dialogic poems were analyzed in terms of three aspects including identification of arguments, identifying the claims and their rationales and finally the indicators of certainty. In all, thirty two arguments based on rational positions were identified in the poems, within which the arguments associated with cleanliness as a necessity, concentration on beauty, the balance between supply and demand, kinship interest with and obliteration by the stronger companions based on their ideas and descriptions, definitions and existing nomenclature in the literature were finally identified and extracted. In terms of frequency, history and experience, the need for caution and risk prevention, control of sensual desires and affordability had the highest frequency. Arguments for necessity and urgency, and efficiency and productivity were in the second place, and positions of honesty, coping with abuse, decompression, sequence of difficulty, and inefficiency in the third place. Rational positions, kinship interest, destiny, philanthropy, reality, responsibility, culture, work-life balance, consensus, concentration on beauty, the effects of companionship, and prohibited tendencies towards extremes were also detected.     On the other hand, the above-mentioned arguments had triggered various claims such as cooperation, punctuality, maternal love and endeavor, truth seeking, denial of racism, unity, gaining experience, governmental ethics, anti-government corruption, anti-crime movements, hopefulness, challenging the poverty, rationalism, and perfectionism.  Certainty-enhancing indicators such as "should", "never", "always", "times", "unless (except)" were also frequent in her argumentative style.ReferencesChavosh Akbari, R. (1378). Iran’s Hakim Bano "Life and Poetry of Parvin Etesami". Tehran: Saleth.Dad, S. (1375). Dictionary of Literary Terms. Tehran: Morvarid.Dadbeh, A. (1383). "Parvin E'tesami". The Great Islamic Encyclopedia. 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Tehran: Scientific Publications.}, keywords = {Argumentation Style,Parvin Etesami,Debate Poems,Toulmin Theory,Warrants}, title_fa = {بررسی شیوه‌ی استدلال‌ورزی در مناظرات پروین اعتصامی بر اساس نظریه‌ی تولیمن}, abstract_fa = {مناظره، گفت‌وگویی است دوطرفه که در آن یکی از طرفین، حامیِ اقدام، عملکرد، روال، فرضیه یا نظریه‌ای خاص است و طرف دیگر مخالفِ آن و تلاش می‌کند با ارائه‌ی استدلال بر دیگری فایق آید. پروین اعتصامی یکی از سرایندگان بزرگ مناظره است و از طریق مناظره و با استفاده از صنایع بیانی مانند تشخیص و تمثیل، دعاوی و توصیه‌های اخلاقی‌اجتماعی‌اش را بیان کرده است. پژوهش حاضر با هدف شناخت سبک استدلال‌ورزیِ پروین در مناظره‌ها، با کاربستِ نظریه‌ی تولمین و بر اساس روش تحقیق پیشنهادی مزینانی و نصیری صورت گرفته است. نمونه‌ی مناظرات از سه جنبه‌ی‌ الف. شناسایی برهان‌ها؛ ب. شناسایی دعاوی و زمینه آن‌ها و ج. شاخص‌های قطعیت تحلیل ‌شده که شرح کامل چهار قطعه در این مجال آمده است. در راستای شناسایی برهان‌ها، 32 برهان (موضع عقلی) در نمونه‌ اشعار پروین شناسایی شده که از این تعداد، مواضعِ تاریخ و تجربه؛ لزوم احتیاط و پیش‌گیری از خطر و تهدید؛ کنترل امیال نفسانی؛ استطاعت و تعریف، در شش مناظره (از دوازده قطعه) در نمونه‌های بررسی‌شده، بیشترین بسامد کاربرد را دارند. از طرفی، برهان‌های به‌کاررفته، زیربنای دعاوی و توصیه‌هایی در زمینه‌هایی همچون: وقت‌شناسی، جهان‌شناسی، تفرج، زیبایی‌شناسی، حق‌شناسی، سعادت، احتیاط در برابر خطرات، مبارزه با فساد حکومتی و اداری، نفی ظاهربینی و خودپسندی، خرافه‌ستیزی، ظلم‌ستیزی، آسیب‌شناسی فقر، عقل‌گرایی، کما‌ل‌گرایی، واقع‌گرایی، رسم خویشاوندی و آداب هم‌نشینی قرار گرفته‌اند. یافته‌ی دیگر این تحقیق، بسامد بالای شاخص‌های تقویت‌کننده‌ی اطمینان و قطعیت مانند «باید»، «نباید»، «هیچ» و «هرگز» در سبک استدلالی شاعر است. }, keywords_fa = {واژه‌های کلیدی: پروین اعتصامی,سبک استدلال‌گرایی,مناظره,نظریه‌ی تولمین}, url = {https://jba.shirazu.ac.ir/article_5495.html}, eprint = {https://jba.shirazu.ac.ir/article_5495_43620e33d632f52bd13e497d1ecf98cc.pdf} } @article { author = {Sadeghpour, Abdul Hamid and nazari, jalil and Masoumi, Mohammad Reza}, title = {The fusion of metaphor with paradox in contemporary poetry}, journal = {Journal of Poetry Studies (boostan Adab)}, volume = {13}, number = {1}, pages = {205-224}, year = {2021}, publisher = {Shiraz University}, issn = {2008-8183}, eissn = {2980-7751}, doi = {10.22099/jba.2019.34768.3515}, abstract = {2.IntroductionImages of poetry that can be considered wider than fantasy; It is always one of the most fundamental elements of poetry. An artist is someone who thinks about a picture,  Sees a picture and expresses a picture. He with pictures that from the world around yourself in poetry Offers, To poetry novelty and gives strangeness and  do a lot of mental things  to wathc lays. One of these images that poets use a lot, metaphorical images that the contemporary poets try up to it with other mental images seasoning  to capture and  charm find more. Contemporary poets in some of their metaphorical images, It is the most efficient and artistic tool with imagination  The images are paradoxical. This playfulness and fusion of metaphor with paradox  In addition to adding complexity, ambiguity and secrecy to the word, It also shows the poet's high knowledge of poetic images and the maturity of her imagination. Just as the attractiveness of a painting depends not only on the painting techniques but also on the artistic application and proper combination of colors; The greater attractiveness of poetic images also depends on the combination of images with each other.3. Research method, background and purposeThe authors try to use descriptive-analytical methods to make the reader more familiar with the aesthetics of metaphorical images and the combination of these images with the literary and artistic trick of paradox help. Just as understanding metaphor is inferring and experiencing something based on something else It is a matter of concept and thought that relates to the mind and Understanding and receiving it is complex and ambiguous. There are ambiguities in every paradox  that can be done with Further curiosity and mental effort received the truth beyond the appearance of contradictory speech. By presenting evidence and examples from contemporary poets, the author tries to acquaint the reader with these metaphorical contradictions or paradoxical metaphors and help him face unexpected metaphorical challenges and complex anomalies that are contrary to custom and rule in this way, to draw the audience's literary and artistic attention and pleasure to complex metaphorical images.Much research has been done in the field of poetic imagery, both in general and in particular. In general, Mohammad Reza Shafiei Kadkani (1987) in the book Images of Imagination in Persian Poetry, Reza Braheni (1992) in the book Gold in Copper, Kavous Hassanli (2012) in the book Types of Innovation in Contemporary Iranian Poetry, Mohammad Fotouhi Rudmajani (2007) In the book of picture rhetoric.4. DiscussionPoetry is due to new combinations of innovative ideas and metaphorical processes that can both nurture the imagination and make the word stand out. Contemporary poets in the field of using metaphorical language have each resorted to various tricks to confront the reader's mind with unexpected challenges; One of the challenging images that has complicated the visual network of words in contemporary poetry is the fusion of metaphorical images with paradox. The findings of this study show what role these metaphorical contradictions play in stimulating the reader's mind to think and question. By descriptive-analytical method, the author has reached the conclusion by mentioning examples of contemporary poets that first, by what tricks have contemporary poets mixed metaphorical images with paradox? Second, what was their motivation and purpose in bringing these two images together? The author also tries to make the reader more aware of this literary technique in modern metaphorical illustrations of contemporary poetry and to fill his mind with the most technical artistic highlighting, which is to combine the most artistic tool of imagination (metaphor) with the most ambiguous poetic image (paradox).In this article, the authors try to answer the questions of why contemporary poets try to mix metaphorical images with paradox by providing evidence from some contemporary poets, and what is their purpose by bringing this complex anomaly? The authors also answer the question of how and in what ways they combine the most efficient tool of imagination (metaphor) with the most complex poetic image (paradox)? For example, one group mixed paradox with Meccan metaphors and another group with explicit metaphors, another group was interested in combining these two images in descriptive combinations, and other poets were interested in this mixture in additional combinations. ...Contemporary poets have exhibited innovative and modern art in order to complicate poetic images as well as verbal concealments due to political and social aversions in creating metaphorical images. Knowing these aesthetic tricks and tricks will help us to understand more precisely the beauties hidden in metaphorical images.The fusion of metaphor with paradox, in addition to making the audience more curious to receive the truth that is beyond the appearance of the word; It also leads to more contemplation, thoughtfulness and a sense of pleasure for the reader, and makes the story more lasting in his mind.5. ConclusionIn a comprehensive look at the collection of poems of contemporary poets, it can be concluded that contemporary poets, for their literary movements and art to convey different concepts and themes in the field of using metaphorical language, have each resorted to various techniques to understand Postpone the poem for a moment and confront the audience with unexpected challenges in the face of metaphorical images. Contemporary poets have resorted to the fusion of metaphor with paradox, both in order to promote the literary, artistic, and spiritual aspects of poetry, and for the purpose of political and social considerations and inevitability, concealment, and avoidance of direct and simple expression. These modern metaphorical images, mixed with paradox, show the contemporary poets' high knowledge of poetic images and the maturity of their imagination. In this article, the authors have tried to introduce their audience by combining the most efficient and artistic tools of imagination (metaphor) with the most ambiguous and complex poetic image (Pardacus) by mentioning various evidences and familiarizing their minds with various artistic highlighting techniques and tricks. In modern metaphorical illustrations, make it more productive to provide suitable grounds for further discussions in the field of imagination.6.KeywordsFusion, Metaphor, Paradox, Imagination, Contemporary poetry7.ResourcesAhmadi, Ahmad Reza, (2008), All My Poems, Volume 1, Tehran: Cheshmeh.___________________,(2018), Summer and Sorrow, Tehran: Cheshmeh.Akhavan Saless, Mehdi, (1991), the end of Shahnameh, Tehran: Morvarid.____________________, (1991), from this Avesta, Tehran: Morvarid.____________________, (1991), I love you, ancient canvas, Tehran: Morvarid.Aminpour, Qaisar, (2017), complete collection of poems, Tehran: Morvarid.Braheni, Reza, (1992), Gold in Copper, Tehran: Book of Time.Behbahani, Simin, (2016), Simin Behbahani Poetry Collection, Tehran: Negah.Biddle, Abdolqader, (2010), Divan, by Akbar Behdarvand, Tehran: Negah.Tehrani, Shapoor, (2003), Divan, edited and researched by Yahya Kardgar, Tehran: Islamic Consultative Assembly.Hasanli, Kavous, (2012), Types of Innovation in Contemporary Iranian Poetry, Tehran: Saless.Hoghoghi, Mohammad, (2017), Poetry of Time (2), Mehdi Akhavan Sales, Tehran: Negah.Dad, Sima, (2008), Dictionary of Literary Terms, Tehran: Morvarid.Ditches, David, (1991), Literary Criticism Methods, translated by Mohammad Taghi Sadeghiani et al., Tehran, Elmi.Rastgoo, Seyed Mohammad, (1989), Khalaf Amad, Kayhan Farhangi, Volume 6, Number 9, Pages 29-31.Rahmani, Nosrat, (2017), a collection of poems by Nosrat Rahmani, Tehran: Negah.Royaei, Yadollah, (2011), Yadollah Royaei Poetry Collection, Tehran: Negah.Zarrinkoob, Hamid, (1988), collection of articles, Tehran: Elmi and Moeen.Zarrinkoob, Abdolhossein, (1985), Poetry without a mask, Poetry without a lie, Tehran: Mohammad Ali Elmi.Sepehri, Sohrab, (2016), eight books, Divan Kamel, Qom: Qom WritersSelajgeh, Parvin, (2016), Critique of Contemporary Poetry by Amirzadeh Kashiha, Ahmad Shamloo, Tehran: Morvarid.Shamloo, Ahmad, (2013), Shamloo Poetry Collection, First Office, Tehran: Negah.Shafiee Kadkani, Mohammad Reza, (1987), Images of Imagination in Persian Poetry, Tehran: Agah.Shamisa, Sirus, (2013), Bayan, Tehran: MitraFotoohi Rudmajani, Mahmoud, (2007), Picture Rhetoric, Tehran: Sokhan.Farrokhzad, Forough, (2004), Divan, by Bahman Khalifa Banarvani, Tehran: Talaieh.Motaghedi, Mahmoud, (2016), The Spread of Poetry Today, Tehran: Sales.Naderpour, Nader, (2003), Naderpro collection of poems, Tehran: Negah.Hawks, Trance, (2016), Metaphor, translated by Taheri, Tehran: Markaz.Herati, Soleiman, (1988), Door to the House of the Sun (Salman Herati Poetry Collection), Tehran: Islamic Republic of Iran Radio and Television.Herati, Soleiman, (1989), From the Green Sky (Salman Herati), Tehran: Islamic Propaganda Organization Art Center.}, keywords = {Synthesis,metaphor,Paradox,Imagination,Contemporary Poetry}, title_fa = {آمیختگی استعاره با پارادوکس در شعر معاصر}, abstract_fa = {شعر به‌دلیل ترکیبات جدیدی از اندیشه‌ها و فرایندهای استعاریِ نوآورِ دیریاب است که می‌تواند هم قوه‌ی تخیل را تغذیه کند و هم باعث برجستگی کلام شود. شاعران معاصر در عرصه‌ی به‌کارگیری زبان استعاری، هرکدام به شگردهای گوناگون روی آورده‌اند تا ذهن خواننده را با چالش‌های غیرمنتظره روبه‌رو کنند؛ از جمله تصاویر چالش‌برانگیزی که در شعر معاصر باعث پیچیدگی شبکه‌ی تصویری کلام شده است، آمیختگی تصاویر استعاری با پارادوکس است. یافته‌های این پژوهش نشان می‌دهد که این تناقض‌گویی‌های استعاری، چه نقشی در برانگیخته‌شدنِ ذهن خواننده به اندیشه‌ورزی و پرسشگری ایفا می‌کند. نگارنده، به روش توصیفی‌تحلیلی با ذکر مصداق‌هایی از شاعران معاصر به این نتیجه دست یافته است که اول، شاعران معاصر با چه شگردهایی تصاویر استعاری را با پارادوکس آمیخته کرده‌اند؟ دوم، انگیزه و هدف آن‌ها از همراه‌کردن این دو تصویر با هم چه بوده است؟ همچنین نویسنده می‌کوشد خواننده را به این شگرد ادبی در تصویرپردازی‌هایِ نوینِ استعاریِ شعر معاصر آگاه‌تر و ذهن او را به تکنیکی‌ترین برجسته‌سازی هنری که همان آمیختن هنری‌ترین ابزارِ تخیل (استعاره) با مبهم‌ترین تصویر شعری (پارادوکس) است؛ پربارتر کند. }, keywords_fa = {واژه‌های کلیدی: آمیختگی,استعاره,پارادوکس,تخیل,شعر معاصر}, url = {https://jba.shirazu.ac.ir/article_5496.html}, eprint = {https://jba.shirazu.ac.ir/article_5496_006a401ba4c802997798bf407ac3fd3a.pdf} } @article { author = {kafi, gholamreza}, title = {Analysis of the application of elements of popular literature in the poetry of Ahmad Shamloo}, journal = {Journal of Poetry Studies (boostan Adab)}, volume = {13}, number = {1}, pages = {225-248}, year = {2021}, publisher = {Shiraz University}, issn = {2008-8183}, eissn = {2980-7751}, doi = {10.22099/jba.2020.35021.3545}, abstract = {1. IntroductionPopular literature is called the oldest type of literature in human society even dating back to before the emergence of inscription and writing (Kafi & Ameri, 2014: 2). It can be argued that the inherent sincerity of these works and the pure and liberating spirit embedded in the elements popular literature have usually attracted great and thoughtful poets and writers. Ahmad Shamloo has also shown interest in elements of popular literature at some point in his poetic career.Shamloo's connection with popular literature, especially Koocheh as a research encyclopedia, shows the importance of suspension as will be discussed in this paper. Accordingly, this study aims to find out how this connection is represented in Shamloo's poetry and consequently making his poetry, strong, emotional, and welcome by the public.2. Literature review and research methodology It seems that the praise of personalities such as Jamalzadeh and Sadegh Hedayat of a particular genre of popular literature along with works in recognizing the nature of popular literature and its elements such as The folk culture of the Iranian people by Sadegh Hedayat (1963) and The collection of articles of Iranian folk literature by Mohammad Jafar Mahjoub (2018) has attracted the interest of literary scholars.Besides, considering the fame of Ahmad Shamloo's conversational poems, tracing the elements of popular literature in the poems of this poet also attracted the attention of critics to the extent that the book Shamloo’s biography: Almost everything about Shamloo by Mohammad Ali Ronagh (2009) with that sub-title almost provided a full description of Shamloo and his works. However, not attention has been paid to the “application of elements of popular literature in Shamloo poetry" in this bibliography. The article “A Look at Ahmad Shamloo's Songs” by Siamak Bahrampour (2009) has also examined his three poems written in a colloquial language. It is clear that none of these works have pursued our goal in this article, namely the impact of popular literature on the linguistic development of Shamloo.   3. DiscussionShamloo is considered one of the most famous figures of contemporary literature and is often ranked second after Nima as an important figure of modern poetry. In Shamloo's view, “the roots of many world-famous works are popular literature, music, public art” (Shamloo, 1996: 26).The elements of popular literature have a special intimacy and sincerity, and the original and capable poets including Shamloo use these elements in their poetry to increase the attractiveness of their works, including Shamloo. However, the application of the elements of popular literature in poetry can be examined in terms of several meta-structures including language, words, idioms, tone, and onomatopoeia, as will be detailed as follows:3.1 Use of colloquial languageIn Shamloo's poetry, eight poems have been written based on colloquial language including fairy, the story of a man without lips or Hossein Gholi, and the daughters of Nenhdarya which are long and detailed poetic works:“I am the spring in the earth/I am the ground in the tree / I am the tree in the springThe coquetry of the fingers of your rains turns me into a garden. And I am lost in the middle of the forest” (Ibid: 455).A survey of the poems written by Shamloo in informal languages shows that there two poems written in macaronic verses and conversational language. These two poems are interestingly different from other poems. Both poems are based on parasitic dialogue; except that the poem "Pare 4 Shabaneh" is longer.3.2 Reasons to use colloquial languageThere are different reasons for using the colloquial language including differentiation, time requirements, and the need of society, and the poet's connection with popular literature.3.3 Use of popular and folk words and termsShamloo's trick in the language is to create a hidden harmony in the discourse and to reconcile strange words with each other to create a chain of speech to provide a special context that is interpreted as "inbreeding with words" as a positive feature in his poetry (Hoghoughi, 1989: 44).The use of popular words and expressions in Shamloo poetry can be categorized to come up with a better understanding of this technique. These include the use of words from specific dialects, the use of modified forms of words, the use of words that are rhyming and often meaningless, and the use of colloquial words.3.4 Reasons for using popular words and termsExtending the use of words to have a rich collection of words at disposal, creating a more tangible sense of colloquial words, and inducing music3.5 Use of onomatopoeiaOnomatopoeia is considered to be the first components and elements of language that are derived from the imitation of nature, and because the relationship between the signifier and signified is simple and they are not governed by a special grammatical rule, they are closer to popular literature and its elements than formal literature.In Shamloo's poetry, there are several examples of onomatopoeia, some of which are composed by the poet: bloop, dribble, drip, drizzle, splash, sprinkle, squirt, etc.3.6 Reasons for using onomatopoeiaSome reasons for using onomatopoeia include objectivity and understanding of natural music.3.7 Using popular beliefs and mythsThe popular beliefs, anecdotes, and myths have been used by poems and writers for a long time as they helped them convey their meanings concisely and poetically using people’s background knowledge. Envoutment “Destiny has buried a magic spell of you in the blood/ and you have no escape from defeat and death” (Shamloo, 2002: 872).Envoutment is a French term in witchcraft and Envoutment". The client surrenders a piece of nail, hair, or eyelash that he has seized from the conspirator to apply magic to it.Solomon’s Bagpipes, Shabgir, the legend of Sinbad, and Ashti Konan (reconciliation) alley are among other popular beliefs.3.8 Reasons using popular beliefs and mythsCreating brevity and compression in speech and a pleasant feeling of mental activity in the audience.3.9 The use of other elements of popular literatureThe use of proverbs, folk songs, folk tales, and famous figures of popular literature are other strategies used by Shamloo.3.10 Reasons for using proverbs, songs, and characters of popular literatureStimulating the audience's sense of nostalgia, the act of awareness and reconstruction of real but forgotten scenes of life 4. ConclusionThe most important findings of this article are summarized as follows:-         Shamloo's approach to the elements of popular literature and their application in his poetry is the result of an intellectual transformation in which language, in his view, changed nature from a means of conveying a message to a sacred temple.-        Shamloo’s linguistic approach which is visible in his poetry has caused him to focus more on the elements of popular language and their abilities, words, and idioms. For this reason, semantic elements such as beliefs, myths, as well as theological and doctrinal points hidden in popular literature as represented in Shamloo’s poetry.-        The natural and uncomplicated state of popular language along with its more natural music is one of the important reasons for using popular elements in Shamloo’s poetry.-        In his unique poetic style, he even uses the parables and anecdotes of popular literature in favor of his political point of view and the context of some elements seeks his ideals and interprets them in line with his value point of view.-        Research in popular literature has given him a great deal of knowledge of the minutes and functions of the elements of popular literature, and in the light of this awareness, he has used them with the necessary care in speech.-        Despite Shamloo’s inclination towards popular literature and the use of its elements, his poetry never seems vulgar, commonplace, and popular.Keywords: Folk Literature, Shamloo, Contemporary Poetry, Fairies ReferencesAsadi Firooz Abadi, M. S. (2014). The function of elements of popular culture in the poetry of Akhavan Thaleth.  Journal of Dehkhoda Texts Interpretation and Analysis, 6(21), pp. 201-229.Bahrampour, S. (2009). A look at the songs of Ahmad Shamloo". Journal of Hichestan, 9.Tamimdari, A. (2015). Popular culture. Tehran: Thaleth.Hasanli, K. (2004). Types of innovation in contemporary Iranian poetry. Tehran: Thaleth.Hoghoughi, M. (1989). Poetry of contemporary novel (I), Ahmad Shamloo. Tehran: Negah.Dastgheib, A. A. (1352). Critique of Shamloo’s works. Tehran: Chapar.Zulfiqari, H. (2013). The great dictionary of Persian proverbs. Tehran: Science.Zarghani, M. (2008). Perspectives on contemporary Iranian poetry. Tehran: Thaleth.Ziyani, J. (2014). Diaries of the culture and beliefs of the people of Shiraz. Shiraz: Avand Andisheh.Shamloo, A. (1996). Selected poems. Volume 3, Tehran: Morvarid.Shamloo, A. (2002). A collection of works (I). Poems. Edited by N. Yaghoub Shahi, vol. 3, Tehran: Negah va Zamaneh.Shamloo Jani Beig, A. (2012). The reflection of the effects of popular culture in the stories of Al-Ahmad". Journal of Fictional Literature Studies, 1(2), pp. 34-47.Sahebakhtiari, B. & Bagherzadeh, H. R. (2002). Shamloo, the poet of nightly stories and romances. Tehran: Helmand.Faqiri, A. Q. (2006). A survey of Persian local songs. Shiraz: Navid.Kafi, G. & Ameri, Z. (2014). Beliefs and elements of popular literature in Suoshun's Novel. Journal of Popular Culture and Literature, 2(4), pp. 1-26.Mahjoub, J.. (2018). Iranian popular literature. Edited by H. Zolfaghari, Tehran: Cheshmeh.Ronagh, M. A. (2010) Shamloo’s biography: Almost everything about Shamloo. Tehran: Maziar.Hedayat, S.. (1963). The folk culture of the Iranian people. Tehran: Cheshmeh.Yazdani, R. (2006). An upside-down image in restless glass: Shamloo’s life and poetry. Tehran: Surah Mehr.}, keywords = {Keywords: Ahmad Shamloo,public literature,colloquial language,folklore}, title_fa = {تحلیل کاربستِ عناصرِ ادبیات عامه در شعر احمد شاملو}, abstract_fa = {در این مقاله، عناصری از ادبیات عامه از قبیل زبان محاوره یا شکسته، واژگان و اصطلاحات ادب عامه، اسم صوت‌ها، باورها و افسانه‌ها، ضرب‌المثل‌ها، ترانه‌ها و حتی شخصیت‌های نامور در ادبیات عامه که در شعر شاملو بسامد بیشتری داشته‌اند، بررسی شده است. دقیقه‌ها و ظرایف چگونگی کاربست این عناصر بررسی و تحلیل شده است و در پایانِ هر عنوان، دلایل استفاده‌ی شاعر از آن‌ها بیان شده است. همچنین افزون‌بر  مقدمه و بیان پیشینه، نسبت و رابطه‌ی احمد شاملو با ادبیات عامه به‌عنوان مدخل ضروری برای ورود به بحث اصلی بازنموده شده است. این مقاله ثابت کرده است که رویکرد شاملو به عناصر ادبیات عامه و کاربست آن‌ها در شعرش پیامد یک تحول اندیشگانی است و زبان‌گرایی که در شعر شاملو ویژگی بارزی است، سبب شده تا وی بیشتر از داده‌های لفظی ادب عامه سود ببرد تا عناصر معنوی آن. همچنین تبیین شده است که رویکرد شاملو به ادب عامه، اگرچه به سفارش اجتماع و نیاز جامعه صورت گرفته ولی هرگز سطح شعر او را به اثری بازاری یا عامه‌پسند تنزل نداده است.  }, keywords_fa = {واژه‌های کلیدی: احمد شاملو,ادبیات عامه,زبان محاوره,شعر معاصر,فولکلور}, url = {https://jba.shirazu.ac.ir/article_5530.html}, eprint = {https://jba.shirazu.ac.ir/article_5530_f07ba41d9571104eda37c93b4da03337.pdf} } @article { author = {mohseni, morteza and Raihani, Atene}, title = {Comparison between “Naqde Niazi” and “Latifeye Gheibi’ on hafiz poems based on reception theory}, journal = {Journal of Poetry Studies (boostan Adab)}, volume = {13}, number = {1}, pages = {249-274}, year = {2021}, publisher = {Shiraz University}, issn = {2008-8183}, eissn = {2980-7751}, doi = {10.22099/jba.2020.34193.3451}, abstract = {    "Naqde Niazi" is a brief description of two verses and one Qazal by Divan-e-Hafiz that Allameh has written in response to eagers and questioners toward  poetry of Hafiz. Naqde Niazi was written in the style of the Teimourid era with artificial language, replete with similes along with verses and poetic evidences, signs and narrations. The description of Latifeye Gheibi was written by Shah Mohammad Darabi in the twelfth century and during the Safavid era and in response to the objections raised by the opponents to some of Hafiz's poems. In this description, rather than paying attention to the mystical analyzes of Divan-e-Hafiz, emphasis is placed on theological and Shiite understanding along with some mystical concepts. Given that focusing on the reasons of the continuity and cognitive and perceptual changes existed in the audience of a work in the theory of reception by Jauss, in this article, it  has been attempted to compare Naqde Niazi written in the ninth century as the first and closest description after solmization of  Divan-e-Hafiz, with the second description on  Hafiz's Qazals, which were written in Iran with Persian language and in terms of historically, has the shortest interval (3 centuries) with the Naqde Niazi, so that the reading changes over time, among the closest descriptions can be examined. - Research Method, Background and the Purpose of the Research However, so far, it has not been a collective study to examine the Davani's Naqde Niazi and Darabi's Latifeye Gheibi, and also it has not done a research in the field of comparison between Naqde Niazi and Latifeye Gheibi based on the theory of reception; sporadic studies exist on each of these two descriptions. Bahador Bagheri (1387) has introduced Naqde Niazi by Jalaluddin Davani Kazeruniy in Hafiz's culture of descriptions. He considers the style of Naqde Niazi as an imitation of the style of illuminatus and sages in the past. Seyyed Massoud Razavi (1388), in a short essay named "Sholeye Edrak" has collected studies about Shah Mohammad Darabi and his description and has considered him as one of the scholars and mystics of the Safavid era. According to the theory of reception, this study seeks and attempts to answer the following questions: 1-      What was the paradigm and horizon of expectations at the time of writing Naqde Niazi and from what point of view has Naghd-e-Niyazi described Hafiz? 2-      What was the paradigm and horizon of expectations at the time of writing Latifeye Gheibi and from what point of view has Darabi described Hafiz? 3-      What are differences between these two descriptions from point of view of theory of reception and according to the time interval (three centuries) and cognitive changes in the society?         Discussion and Examination In the aesthetic theory of reception, it was emphasized that the concept of a literary work is not necessarily comprehensible at the time of publication or outside of the publication time, rather it can be understood during history and on the basis of the different experiences resulted from reading the text. The history of real literature is the history of continuous perceptions of a text. This theory has two basic components of paradigm and horizon of expectations. Jauss uses the concept of "paradigm" in describing the major categories that effect on the readers' perceptions and horizon of expectations in each era. The main point in clarifying the horizon of expectations in the flexibility of the text during different periods and the transformation of its questions and answers is the time period. In Jauss' words, "the horizon of expectations is in fact the perspective and the ultimate reader's attitude and other members of society, and its bounds is linked with the paradigms of the same era" (Jauss, 135: 1998); Therefore, given that the theory of reception emphasizes the mechanism between literary texts and readers, the horizon of expectations is worth to be examined at two levels: The literary horizon of expectations "is the result of the impact and action of the text on its audience and is determinant of the literary expectations of the audiences in the text" (Namvar Motlagh, 107:1387). The social horizon of expectations is mainly a reflection of the intellectual frameworks of the audience rather than the author. This intellectual framework is influenced by the society and the period in which the audience lives in it.  The social paradigm of the ninth century because of the absence of a powerful central government and sufficient security has inclined to be an introvert, which concentrates on the importance of the relationship instead of law and dictatorial structure in Iran and focuses on the importance of indirect expression and the tendency to censorship. Therefore, the expression of social corruptions and mystical concepts in the form of encrypted words can be considered as the most important indexes of horizon of expectations in the Davani's era. The formation of the Safavid's state played an effective role in changing the paradigm of society, which altered structure of the paradigm in society paved the way for inclining to the integration of religion with politics (in the Teimourid and Mongol periods) rather than to separation of religion and politics. Expectation toward attention to imams and appealing to them are considered as important changes in horizons of this era. Comparison of these two works demonstrates; since the mysticism in the Teimurid era had imitative and tasteless manners, Davani's description has been written in the same way as well. Davani has received all the words in an encrypted manner and in the interpretation of the sacred image and the heavenly creeds. While in the Safavid era, Darabi was affected by the paradigm of grounding and consequently paying attention to natural sensations versus the unseen evidences, has understood poems and verses pragmatically and even he has considered the dignity of descending for some verses. Darabi was influenced by the Shiite paradigm in the Safavid's era he also has gotten Shiite verbal reception of many verses, which was a novel phenomenon in the history of description about Hafiz.  The change of Iranian paradigms from the probing about the perfect man in heaven in the ninth century toward the discovery of the perfect man on earth among the Shiite imams in the twelfth century is obvious in two descriptions of Davani and Darabi; While Naqde Niazi was written in the ninth century, coincident with the alien Teimourid government, as the first description about Divan-e-Hafiz, with index of Modaresy's mystical horizon of expectations. The horizon of expectations of Darabi's era changed significantly due to the significant alternations that occurred in the paradigms of Iran with the advent of the Safavid's Shiite government. Keywords: paradigm, Shiite, changing of horizons of expectations, Hafiz's descriptions, mysticism, theory of reception Resources Ismaili, Morad (1393). Examination of Indian style poetry paradigm. PhD Thesis in Persian Literature, guided by Hassan Hassanpour Alashti, University of Mazandaran.Bagheri, Bahador. (1387). Hafiz Dictionary of Words. Tehran: Amirkabir Publications.Darabi, Shah Mohammad Bin Mohammad (1385). Latifeye Gheibi, Corrected and edited by Nusratullah Forouhar, Tehran: Taravat.Davani, Allama Jalaluddin (1367). Naqde Niazi. Edited by Ali Moallem, Tehran: Amirkabir Publications.Razavi, Seyed Massoud (1388). "Re-reading of Sholeye Edrak bout Shah Mohammad Darabi and the Latifeye Gheibi in the description of Hafiz's Qazals". Journal of Wisdom and Philosophy Information, No. 48, pp. 67-69.  Sevari et al. (1380). Safavid. Translated and edited by Yaghoub Azhand, Tehran: Movala Publications.Golamrezaee, Mohammad (1381). Persian Poetry Stylistics, Tehran: Jammi. Fotuhi Rudmajani, Mahmoud. (1379). Naqde Khiyal. Literary Criticism in Indian Style, Tehran: Roozgar PublishingNamvarr Motlagh, Bahman. (1387). "Jauus and Iser: A Theory of Reception." Journal of the Academy of Arts, No. 1113, pp. 93-110Yarshater, Ehsan. (1383). Persian poetry in the era of Shahrokh  (first half of the ninth century). Tehran: University of Tehran Press. }, keywords = {Reception Theory,Hans Robert Jauss,Naqde Niazi,Latifeye Gheibi}, title_fa = {مقایسه‌ی شرح‌های نقد نیازی و لطیفه‌ی غیبی بر غزلیات حافظ بر اساس نظریه‌ی دریافت یاوس}, abstract_fa = {نظریه‌ی‌ دریافت با تأکید بر تأثیر ساختار و پارادایم جامعه بر گرایش‌ها و افق‌ انتظارات خوانندگان یک اثر در طول زمان به بررسی تفاوت‌ دریافت‌های خوانندگان در تداوم حیات اثر ادبی‌ می‌پردازد. باتوجه‌به اهمیت غزلیات حافظ به‌عنوان شاهکاری ادبی در تمامی ادوار تاریخی ایران، این مقاله در نظر دارد با استفاده از روش توصیفی‌تحلیلی و با تکیه بر منابع کتابخانه‌ای به بررسی و تحلیل تفاوت‌های دریافت در دو شرح حافظ که در دو زمان مختلف و با افق ‌انتظارات متفاوت بر غزلیات حافظ نگاشته ‌شده‌اند، بپردازد. بررسی‌ها نشان می‌دهد که نقد نیازی به‌عنوان نخستین شرح بر حافظ در قرن نهم باتوجه‌به پارادایم دنیاگریز جامعه‌ی تیموری در افقی عرفانی حافظ را فهمیده ‌است و لطیفه‌ی غیبی در قرن دوازدهم، در پارادایم دنیاگرا و شیعی‌کلامی جامعه‌ی صفوی، متأثر از میراث خوانش‌های قبلی تلاش کرده ‌است که حافظ را عرفانی شرح کند؛ اما افق‌ انتظارات عصر صفوی، برداشت‌های شیعی و کلامی را در شرح دارابی پررنگ‌تر کرده‌ است. این تلفیق افق‌ها در انتصاب ماهیت پیر و مرشد به ائمه و امامان عصر در لطیفه‌ی ‌غیبی مشهود است.   }, keywords_fa = {واژه‌های کلیدی: پارادایم,تشیع,تغییر افق‌ انتظارات,شروح حافظ,عرفان‌گرایی,نظریه‌ی دریافت}, url = {https://jba.shirazu.ac.ir/article_5544.html}, eprint = {https://jba.shirazu.ac.ir/article_5544_4a215898e5b252d95ea0a3c8541f96d6.pdf} } @article { author = {Ebrahimi Vinicheh, Asghar and mohammadifesharaki, mohsen and Barati Khansari, Mahmoud}, title = {Talk / Tägh / Täg /Täk ? A word review in Garshasb Asadi Tusi}, journal = {Journal of Poetry Studies (boostan Adab)}, volume = {13}, number = {1}, pages = {275-286}, year = {2021}, publisher = {Shiraz University}, issn = {2008-8183}, eissn = {2980-7751}, doi = {10.22099/jba.2020.33608.3550}, abstract = {In Persian literature, one of the most considerable reasons in manuscript editing is the treasures of words which stored in these tradition books. Emphasizing for having enough knowledge in facing by these texts is related to the importance of how an encounter with them. In most of these manuscripts because of the mistakes, lack of knowledge, and deliberate preference of the scribers for altering the unknown words, some of these words have changed or forgotten forever. Precision on old manuscripts gives the ability to researcher for finding ancient words that survived from changing by scribers. This article surveys about a word that changed during long time and new face of changed word has accepted by literature society and they have tried to find a reliable meaning for new created word by notice in text pattern and new meaning has entered in dictionaries by new face and original word has forgotten.}, keywords = {Talk,Tägh,Täg,Täk,edition,alteration}, title_fa = {مقاله کوتاه : تلک /طاق /تاک /تاگ؟بررسی کلمه‌ای در گرشاسب‌نامه‌ی اسدی طوسی}, abstract_fa = {یکی از دلایل مهم توجه به تصحیح متون فارسی، وجود گنجینه‌ی واژگانی محفوظ در این دست‌نویس‌ها است و تأکید بر اهلیت در ورود به این عرصه، به‌دلیل اهمیت شناختن راه‌ و روش صحیح این کار است. در بسیاری از دست‌نویس‌های موجود زبان فارسی، به‌دلیل خطای کاتبان، کم‌دانشی و اعمال سلیقه‌ی متعمدانه‌ی آن‌ها در تغییر و جایگزین‌کردن کلمات مهجور، بخشی از واژگان محفوظ در این متون دستخوش تغییر و فراموشی شده‌اند. آشنایی با شیوه‌ی درست برخورد با این متن‌ها به پژوهشگران این امکان را می‌دهد که بخشی از این واژگان کهن را که از بلای تصحیف، تحریف و تغییر چنان کاتبانی جان به در برده‌اند، بازیابی و معرفی کنند و آن را به گنجینـه‌ی واژگانــی زبان فارسی بیفزایند. این مقاله به تغییر صورت یکی از این واژگان در متن گرشاسب‌نامه اسدی طوسی خواهد پرداخت و نشان خواهد داد چگونه صورت تحریف‌شده‌ی یک کلمه در درازنای زمان در متن پذیرفته می‌شود و فرهنگ‌نویسان از طریق متن، صورت محرف آن کلمه وارد فرهنگ‌ها می‌کنند و با‌توجه‌به بافت متن برای آن معنایی ساخته می‌گردد و صورت اصلی کلمه به دست فراموشی سپرده می‌شود.  }, keywords_fa = {واژه‌های کلیدی: اسدی‌طوسی,تاک,تحریف,تصحیف,تلک,طاق,گرشاسب‌نامه}, url = {https://jba.shirazu.ac.ir/article_5721.html}, eprint = {https://jba.shirazu.ac.ir/article_5721_2ddd5219acedbde3b70081b5ae6cbca5.pdf} } @article { author = {Ghafouri, Reza}, title = {A new document about the composer of SamName}, journal = {Journal of Poetry Studies (boostan Adab)}, volume = {13}, number = {1}, pages = {287-298}, year = {2021}, publisher = {Shiraz University}, issn = {2008-8183}, eissn = {2980-7751}, doi = {10.22099/jba.2020.37810.3833}, abstract = {A new document about the composer of  SamName Reza Ghafouri 1.Introduction SamName is one of the heroic poems about the courage of Sam Nariman, which was written in imitation of Ferdowsi's Shahname. Knowing the composer of this poem and also the period of its composition is one of the complex topics of Iranian epic literature. In some recent sources, SamName has been attributed to Khajooie Kermani, the famous poet of the eighth century, and the attention to this point and the mention of Khajou in a number verses of this poem, the authenticity of which is doubtful, has caused some scholars to consider the SamName as the poem of this poet. However, a number of other scholars have rejected this attribution. Recently, by examining the manuscript versions of the ShabrangName and based on the phrase at the end of one of its manuscripts, a researcher has hypothesized that SamName is the poem of an anonymous poet named Khajou Shahname Khan Korati.   In this paper, we first examine the different opinions and theories of researchers about the narrator of the system, then by providing the final verses of one of the manuscripts of this poem, we that the poet of SamName as Khajou Shahname Khan, , he composed this poem around the tenth century.             2.Methodology The research method in this paper is library and fiching (indexing). Among orientalists, Spiegel was the first one who considered the SamName as the composition of Khajou. After him, Jules Moll referred to the SamName, in the introduction of Shahname, without mentioning its composer and only wrote that its source goes back to the stories of the Sassanid period. Shortly afterward, Herman Ateh considered it a kind of forgery and change of Homay and Homayoun prepared by Khajoui Kermani, without mentioning the composer of SamName, Jan Ripka also called the SamName shameless plagiarism of  Homay and Homayoun and argue that it belongs to the Timurid period. In Iran, Bahman Sarkarati was the first one who hypothesized that perhaps a poet named Khajou, and not the famous Khajavi Kermani, composed the system with little literacy. Shortly later, Mahmoud Abedi wrote in an article that the composer of SamName is apparently someone from the class of narrators, storytellers, and familiar with the Shahname and Garshasbname, which is attached to verbal folklore stories. After rejecting the attribution of the system to Khajoo, Vahid Royani, the editor of the SamName, considered it a combination of  Homay and Homayoun with some folk tales, which probably happened from the tenth century onwards. By investigating these disagreements, the aim of this study is to introduce the true poet of the SamName and to clarify one of the ambiguities of Iranian epic literature.   3.Discussion In a number of manuscripts of SamName, Khajoo has been introduced as the composer of SamName. Examining these verses, we can find that these poems are taken from Homay and Homayoun of Khajavi Kermani, which entered into some manuscripts of SamName. Therefore, they cannot be cited when investigating the poet of  SamName, because it is not the composition of the poet of the SamName on the one hand, and also in is not mentioned in most manuscripts of this poem on the other hand. However, most of the people who considered the SamName to be a poem of Khajou, have cited these verses. One of the noteworthy evidences associated with the composer of SamName is the phrases appeared at the end of one of the manuscripts of Faramarzname, which Shabrangname has been written before that. In this version, a poet named "Maulana Khajoui Shahname Khan Karati" is mentioned. Based on this phrase and by examining and matching the manuscripts of Shebrangname, Abolfazl Khatibi guesses that Khajavi Shahname Khan Karati was an anonymous poet who plagiarized the two poems of small Faramarzname and Shebrangname. This researcher also writes about the Samname that until convincing evidence is found, it can be assumed that around the tenth century AH, a poet named Khajoui Shahname Khan Karati, which it is obvious from his title is Shahname Khan, and attached to epic poems, has composed SamName as a combination of Homay and Homayoun of Khajoui Kermani, by changing the name of Homay to Sam and Homayoun to Paridokht, in addition to creating some other poems about Sam and Paridokht, which were popular among the people at that time. Although Khatibi could not provide evidence to prove his conjecture, the author eventually obtained a manuscript of the poem that confirmed the researcher's conjecture.   4.Conclusion At the end of the manuscript of this poem dated 1129 AH, registered in the National Library of Tabriz, the poet mentions his name and title, Khajoui Shahname Khan, and he is undoubtedly the same Khajoui Shahname Khan Karati that Khatibi has mentioned in his article. Apart from the art of reading Shahname, Khajoui Karati was also a poet, and he may have read the poems of SamName to the people. Khajoui Karati did not study in the presence of any teacher and what he had learned was due to his attachment to reading and learning, and apparently, this has caused loose verses in his poem and perhaps the inclusion of Homay and Homayoun verses in his system, or changing some of its verses was due to his little illiteracy and lack of knowledge of the principles of poetry. Key Words Samname, Homay and Homayoon, Khajou Kermani , Khajouie Shahname Khan    References [In Persian] Abedi, M. (2009). Samname, Encyclopedia of Lersian languege and litrature, Vol:3, Tehran:  Academy of Persian Language and Literature. Aydenloo, S .(2009). Selection from heroic poems, Tehran: Samt. ____ (2013). Check the new correction of the SamName, Journal Book of the Month of Literature, (70), 58-65.   Bazel. Hamleie Heidari, Manuscript in national library & Archives of Iran, No 34028-5. Dameshqi Khiabani, B. (2018) .Samname, Encyclopedia of Iranian People's Culture, Tehran: Center for the Great Islamic Encyclopedia Ethe, H .(1977). History of Persian literature, (S .Reza zade Shafaq,Trans), Tehran: Book translation and publishing company. Faramarznama. Manuscript of Leiden Library, no: Ms. Acad.150. Khajou Kermani. (1969). Homay o Homayoon, (K. Eini, Ed), Tehran Iranian Culture Foundation. ــــــــــــــ (1991). Ḵamsa, (S. Niaz Kermani, Ed), Kerman: Bahonar uviversity. 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A. ĀleDavood. Ed.), Tehran:Toos. .                               }, keywords = {"SamName","Homay o Homayoon","Khajou Kermani"," Khajou Shahname Khan"}, title_fa = {مقاله کوتاه: سندی نویافته دربارۀ سرایندۀ سام‌نامه}, abstract_fa = {سام‌نامه یکی از منظومه‌های پهلوانی درباره‌ی دلاوری‌های‌ سام نریمان است که به تقلید از شاهنامه‌ی فردوسی سروده شده است. شناخت سراینده‌ی این منظومه و نیز دوره‌ی سرایش آن، یکی از مباحث پیچیده‌ی ادب حماسی ایران است. در برخی منابع متأخر، سام‌نامه را به خواجوی کرمانی، شاعر معروف سده‌ی هشتم نسبت داده‌اند و توجه به این نکته و نیز نام‌بردن از خواجو در ابیاتی از این منظومه که در اصالت آن‌ها تردید است، سبب شده که برخی محقّقان، سام‌نامه را سروده‌ی این سراینده بدانند؛ حال آنکه شمار دیگری از محققان، این انتساب را مردود دانسته‌اند. اخیراً یکی از پژوهشگران با بررسی نسخه‌های شبرنگ‌نامه و بر پایه‌ی عبارتی که در پایان یکی از دستنویس‌های آن آمده، این فرضیه را مطرح کرده که سام‌نامه سروده‌ی شاعری گمنام به نام خواجوی شاهنامه‌خوان کراتی است. در این مقاله نخست به بررسی آرا و نظریه‌های متفاوت پژوهشگران درباره‌ی گوینده‌ی سام‌نامه می‌پردازیم، سپس با آوردن ابیات پایانی یکی از دستنویس‌های این منظومه، نشان می‌دهیم که سراینده‌ی سام‌نامه‌ همان خواجوی شاهنامه‌خوان است و این منظومه را در حدود قرن دهم سروده است. }, keywords_fa = {واژه‌های کلیدی: خواجوی شاهنامهخوان,خواجوی کرمانی,سام‌نامه,همای و همایون}, url = {https://jba.shirazu.ac.ir/article_5764.html}, eprint = {https://jba.shirazu.ac.ir/article_5764_ca3ec3adbb90326bf516d8edc302641c.pdf} }