Mohammad-Reza Shafi’i Kadkani,
Volume 1, Issue 3 (10-2004)
Abstract
In this article, first, the author introduces Abolhassan Kharghani – the great Iranian Sufi- in brief. Then, the remains of old language in Ghumis region (a part of the newly-established province of Semnan) will be sought. The old language of Ghumis has lived on in the words of Kharghani through a thousand years. This language manifests the differences between modern terms, verb structures and prefixes of Dari and those of Ghumis language dating a thousand years ago. Up to now, no study -neither Iranian nor Orientalist or European one- has been carried out on Ghumis language. Thus, this work can break the ground for such studies. The newly-discovered, yet old, sources of Maghamat– e Kharghani and Maghamat-e bayazid upon which this study builds have not been accessed by researchers.
Ph.d. Abolfazl Horri,
Volume 8, Issue 21 (9-2021)
Abstract
Due to the closeness of the two words "history" and "story" the debate between narrative and history has long been a multi-faceted issue: to what extent is "history" narrative, and to what extent can narrative be historical? Is narrative utterly devoid of truth, and does history have a direct relation to truth, so much so that if history is emptied of truth, it loses its validity. If the truth is not recorded in history, will it no longer be the truth? What is the difference between historical narrative and narrative history? What is the difference between a narrative and a non-fiction and, or historical narrative? All the discussion between narrative and history is but between fiction and non-fiction. From this perspective, what is the status of Beyhaqi's History? From White's point of view, Beyhaqi's History is neither a chronology nor a chronicle but contains Beyhaqi's epistemological and teleological selections from the history of this period of Iran, which ironically has both an ideological and a political burden. Beyhaqi has turned "the real" into "the fiction". This article shows firstly how the History of Beyhaqi, as the product of a particular political discourse, has been prevailed in the Ghaznavid era, and secondly how it reflects the characteristics of this discourse, both on and off the screen. The History of Beyhaqi is a transition from a mythical and epic narrative to a historical and worldly narrative.
