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This article presents a new aspect of the poems of Soltan Valad, Jalaleddin Mohammad Moulawi's senior son.  In his poetry, one may spot a new prosodic feature which is drastically different from all classical Persian poems. This difference is so significant that one can hardly attribute it to such typical errors made by scribes, typists or publishers. After highlighting this feature, the author presents two possible factors underlying this difference: The contrasts in the phonological system of the Persian words due to proximity with the Greek and Turkish languages in Qunieh, and the impact of the music dominating the House of Dervishes and the style of the story tellers and writers of that age.

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order to communicate with the celestial world. Also, it is a unique means to introduce and suggest many key thoughts of Sufism. Dreams are normally stated in a narrative style. All dreams of Sufi literature depict narrative themes. This paper examines the qualities of dream narration and the role of the two substantial elements: narrator and addressee in forming the narrative style of dream.

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The noble principle of «saint–ship» is one of the most important aspects of Islamic Sufism.The prose and poetic books written by suphies emphasized that a disciple needs to follow the guidance and instructions of a wise sheikh in order to have the frightening valleys and dark ways behind him. Meanwhile it is impossible to ignore the key role of the most important Sufism prose books such as Att’aarrof, Kashf–ul–Mahjub and Mesbah-ul-Hedaya. Att’aarof is one of the primary works of Sufism which reinforced the beliefs of sufists in the very beginning of the fourth century very briefly but in as exact a way as possible and with good reasoning – this was the golden age in which Sufism was approaching its scientific and technical ultimate; Kashf-ul-Mahjub followed by Sharh-e-T’aarrof by Mostamali Bokhari is the first book written in Persian on Sufism which is considered as a work of great importance among sufist books. Also Hojviri in a complete and detailed way addresses the issues including the issue of «saint–ship» which was typical of the tassavof discussions then. Misbah-ul-Hidaya is also unique in terms of Sufism and morality among Persian works of 7th century. Examining the ideas of 3 authors regarding «saint-ship» can, to a large extent, represent the common ideas in this field during different eras, that is, fourth, fifth and seventh centuries. Studying these books can yield a good sample representing the general ideas about the issue of «saint-ship» in Islamic Sufism, since these 3 books have certainly taken advantage of their previous or contemporary works and had also influenced the works after themselves

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Magic Realism is a modern fiction style. Although it  invokes  a  South  American's  name  and  Gabriel  Garsia  Markez, specially, it  is  typical of  the third  world  nations. In fictions of this style, reality and fantasy tie together but in the manner that reality dominates fantasy rather than the other way around. Among Persian novelists, Qolamhossein Saedi is inclined to this style in his fictions. It is possible to divide Saedi 's fictions  into  two  groups: The  first  one, fictions  that  have  been written  in  Magic  Realism  style. The second one, fictions in which only traces of Magic Realism can be found. In this article, both  groups  of fictions and the rational why Saedi followed this style will be  discussed.  

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Social Realism belonging to the domain of art and literature is a type of political aesthesiam affirming the mechanical unity of idealogic and static principles. The post-revolution theoretical discussions of this literary school in Octobr 1917 were inspired by the ideas of Karl Marx, Friedri Engels and Veladimir IIych Lenin. The Mother by Maxim Gorki is the masterpiece written in this era. The basic principles of Social Realism, emphasizing the realistic reflections in the social domain of artistic productions and philanthropy were approved in Moscow, Augest- September 1934. Although this congress was a literary one, but its principles were generalized to other domains of art, i.e. painting, music and cinema etc. Social Realism was rather concerned with making changes in the of literary works.This is why some themes such as fighting capitalism, historical optimism, war, revolution, informed history-orientasion, labourer, revoluton leaders and red army were taken up by literature and art field.      

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According to the contemplations advanced by Russian formalists as well as scholars such as Lui Shtrus with regards to the concept of construct and its attributes, any change in the construct will influence all constituents of the construct.  These transformations are concerned with the structures of construct in each cycle. As the structures of construct are perfect, the other structures cannot be in a state of complete decline. Looking at the cultural history of Iran from the same perspective, one can see that the structures of construct were perfect in the 4th century. Thus, all smaller structures such as poetry, prose, music, mysticism, medicine and architecture enjoyed a prominent position. The wisdom liberty in poets and mu'tazilites's discussions is the main reason behind the prominence and grandeur of Iranian culture and its macro scale structure in Ferdowsi and Biruni age. The dominance of Ashaari doctrines over the Iranian culture led to the decline of wisdom with the structures of constructs secured by certainty giving way to skepticism arguments and logical propositions replaced by speculative propositions

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In this article, fantastic genre as a literary genre which nowadays has significantly become common in contemporary literature of Russia, will be studied. "My Father is an Antibiotic" is an outstanding example of this genre, which has been written on the basis of critical conditions and abnormal events of the present world and their influence on humans' life. Afterwards, through introduction of Sergei Vasilivich Lokiyanenko as one of the pioneer fantast writers in modern literature of Russia, we will  examine his works and his motivations for choosing this specific genre. Sergei Lokiyanenko is a writer with a marvelous skill at portraying life in past, present and future, with the help of imagination and science. He wrote "My Father is an Antibiotic" in 1992. In Lokiyanenko's view, it is hard for contemporary man to get accustomed to modern lifestyle, numerous numbers of newspapers, increase of contacts, and new methods of communications. He believes that unprepared for facing such an attack, man's spirit sometimes prefers to sacrifice real world and sink in a world made by his own mind. In this novel, the writer tries to show that children are the main victims of abnormalities and pugnacities of adults in the present world. Through analysis of "My Father is an Antibiotic", as a fantastic work of Russian contemporary literature, we have also tried to somehow pave the way for the Iranian readers to get familiar with contemporary literature of Russia, particularly fantastic genre.

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Structuralism  mostly  investigates narrative  elements in  stories. A structural  narratologist  basically intends to  compile  a  coherent  structure  among  other  different  aspects of a story. The  present  study   investigates  the  structure  of  AmirArsalan  story, the last  important  fragment  of  Persian  folksy  long  story  generation, according  to  some  structuralist  theories. According to  Grard Genette,  we  can  analyze  AmirArsalan  story  at  two  levels  of  recite  and  narration. At  “recite” level,  it  has  been  discussed  based  on  narrative  perspective. At  “narration”  level,  the  narrative  structure  has  been  investigated and  then  the  similarities  and  differences  have  been  mentioned  compared to  other  folksy  long  stories.  In  the  second  part  of  narration  level,  its syntactic  structure  has  been  pointed  out  and  we have tried to  summarize  the story  characters,  their  acts,  and  manners  in  the  most  compact  way.

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This article, first takes a formalist approach and attempts to achieve two goals: defining the term defamiliarization, its essence and function. Then, it illustrates one of the prosodic features of Naser khosrow’s poetry which could be considered as an appropriate example of rhythmic defamiliarization. For this purpose, seven meters from his Divān, of which rare meters are usually called unpleasant/ unfamiliar, will be discussed; and, according to their different structures, they will be categorized into  two groups: one incorporating six meters, and the other containing only one. The meters of the first group which are mainly analyzed in this study have different length from their current forms. When a poet such as Naser Khosrow employs these infrequent meters in his poetry, it sounds odd to most of Persian readers who are accustomed to the ordinary rhythms. This can be called rhythmic/ prosodic defamiliarization.

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Dependency nominal phrases are among the main kinds of nominal phrases. These phrases have spread in kinds and types. In this paper, we investigate these kinds of phrases in the whole text of Tarikh-e-Balámi from the historical grammar perspective. This work is indeed one of the first remained Dari Persian manuscripts. More specifically, we study issues that have historical aspects or are semantical and considered as stylistic features. The method adopted in this study is based on the definitions and divisions that late professor Farshidvard who wrote extensively on these nominal groups. Also, we use other grammar books, whenever they are relevant to our discussion. The main goal of this article is providing an accurate historical recognition of dependency nominal phrases that are subtle issues in syntax and are considered as frequently used syntactic groups in discourse. It is assumed that the scientific investigation of grammatical subjects in a specific text may enrich the historical grammar and also may shed lights on old texts.

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The faults and inconsistencies found in semantics have undermined the place of this scientific field in literary studies and its importance in understanding the beauty of the texts and its capacity in analysis of literary issues. These faults often arise from lack of scientific method and clear definition of the principles of semantics. The aim of this research is to review, critique and explain 'omission and mention', which is one of the major questions of semantics. ‘Mention and omission’ are among the most important rhetoric tools of the Persian poets and writers variously and repeatedly used over the course of literary history. Therefore, its explanation along with the analysis of its rhetorical effects has been at the center of attention since the early periods

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The early mystics were actively involved in Jihads wherein they strove for social and political activism and alsofought the enemies of God. Because of the Islamic conquests and wars against the infidels in the early centuries AD, many Sufis lived in conventson the borders and participated in the war against enemies. Among them the names of Hassan Basri, SufyanSauri, Ibrahim Adham, ShaghighBalkhi, Hatam Assam, Abdullah IbnMubarak, Mohammed ibn Karram and the followers of the Karramiyeh are noteworthy. Also,when Sufis began to write books, many of them concentrated on the issue of Jihad; among these writes we can refer toKolabazi, Tirmazi, Neffari, Sarraj, Makki, Khargushi and Sollam .This article is a library based research and draws on the major primary sources on Mysticism. It aims to study the quality of the presence of the Sufis in Jihads, and the issue of Jihad in books by the Sufis.
 

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Proverbs as a part of colloquial literature are always nourished by religion, culture, traditions, and philosophical beliefs of a community, and thus they mirror the common beliefs of a people. The frequent repletion of a proverb pregnant with a specific thought makes that type of thought a behavioral pattern and affects the actions and behaviors of the people of a society. In the Iranian society, always two trends in theological rhetoric were dominant; i.e. the Mu'tazila's espousal of free-will and the Ash'ari's advocacy of determinism. However, because governments continually and in different ways have reinforced the Ash'ari’s determinism, these beliefs have penetrated into the mindset and language ​​of the people. This mentality is so widespread that most Persian proverbs reverberate with this deterministic overtone. A similar determinism in ancient Iran is traceable in the creed of Zorvani who knows this through the concept of "bhakht" which is reflected, for example, in belief in absolute determinism, belief in God's judgment, the will of God and the lack of independence to control one’s own destiny. It also led them to misconstrue issues such as trust in God, delegation of authority, and submission to the will of God: misunderstandings that have had damaging consequences for the Iranian culture throughout ages.

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The terms “majmūʻe”, “safīne”, and “jong” are presently used in the senses which may differ from their past meanings. Some related terms in Arabic and Persian languages, such as “bayāż”, “jarīde”, even “korrāse”, “daftar”, “mofrad”, and “jozv” have been coined for special concepts, which are hardly definable in some cases. Therefore, acquiring a relative perception of these terms, with regard to their application in the texts and documents of each period, is indispensably necessary. Some of these terms have been inserted into each other’s semantic fields or have lost their exact meanings in various periods; therefore, it is necessary to pay attention to their semantic evolution. In this paper, firstly the oldest uses of the three basic terms “majmūʻe”, “safīne”, and “jong” are studied in Persian texts up to the end of the ninth century A.H. For this purpose, the literati and poets’ references in the texts, and the old anthologies (safīnes and jongs) are examined to clarify the meanings of the terms and their semantic changes during several periods. In addition, the relationship between the terms and their common uses in other eras are referred to in brief.
 

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Implied author and implied reader are components of a narrative structure, playing a crucial role in illuminating hidden elements within a text. Therefore, studying these elements in literary works can expose the underlying layers of narration and open up new critical outlooks to the readers. Furthermore and in cases of cinematic adaptations, it explains whether this was the novel or the film that has managed to unravel narrative complexities of the other medium more successfully and better facilitate audience understanding. The novel GavKhuni and its film adaptation are among works in which the plot is not causal, but internal and fluid. Thus, the reader has to decode textual evidence in order to understand how conceptions and viewpoints are formed in characters. Afkhami’s adaptation of GavKhuni is totally loyal and all elements of the story are faithfully mirrored in the film. However, Afkhami has made use of these elements to present his own ideological concepts. Repetition is a method that both the author and the director have used to transfer their ideas to the audience. Using a descriptive-analytical methodology and a narratological and inter-disciplinary approach, the present research attempts to analyze the ways in which implied author and reader are represented in the novel and the film. Since the author and the reader of each era are thrown into their work and new meanings are discovered in fulfillment of their expectations, thus the audience of this novel and film would discover new meanings from out of the narrative text of GavKhuni as well as its adaptation.
 

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Moralistic and didactic texts make up a large part of Persian literature. Undoubtedly, if "the inculcation of a particular concept into the mind of the reader and the attempt to persuade and conquer his mind" is not the main purpose of these texts, it is definitely one of their most important goals. In this sense, the poet or writer of such texts tries to persuade the reader and sway his mind to his desired position. This paper has extracted various methods of “capturing the mind of the reader” in Golestan by Saadi, and has divided these methods into four general categories and nine sub-categories. The most frequent statistical frequency in the methods of persuading the audience in Golestan is the argument, with a frequency of 30%, and then the allegory with a frequency of 26,6%, which shows argumentative and literary aspects of the Iranian mind to be active.

 

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The study of text cohesion is a linguistic tool for understanding the structure of Persian literary works based on objective and accurate descriptions using a single model. In this paper, verses from Sanai’s Hadiqat al-Haqiqah (The Walled Garden of the Truth) were studied using the theory of text cohesion by Halliday and Hassan in systemic linguistics and the results were presented in diagrams. According to this theory, cohesion has grammatical, lexical and relational devices each of which includes more detailed devices. The purpose of this paper is to analyze each of these cohesive devices in Sanai’s Hadiqat. The research method is descriptive and each of the cohesive devices is investigated by mentioning couplet samples and their repetition frequencies. The results show that among the various types of cohesion, lexical cohesion, especially contrasts, and relational cohesion, especially causal relationships, have the greatest effect on the cohesion and integrity of the verses of Hadiqat.   
 

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The purpose of this study is to identify Gardizi’s main motivation for writing the history of Zayn-al-Akhbar.
As the historian’s aim of writing history is reflected in the structure of his text, and Gardizi’s narrative of historical events is a meaningful narration that forms a distinct result in the mind of the reader and promotes, confirms and documents a political thought, the present researchers sought to discover and decipher the meaning and political thought underlying the narrative structure of the history of Zayn-al-Akhbar. To achieve the purpose of the research, Gerard Genette's theory of narrative time was used in harmony with the atmosphere of Gardizi’s history. In this method, the highlighting elements of the narrative time were selected and finally, parts of the text, which were prominent in terms of time, were examined regarding the ideas. As a result, two vital elements of the narrative structure of Gardizi, namely “decline narrative poetics” and “narrative interface loops” were proposed and explained. The analysis of these two elements indicated that the main aim of Gardizi while writing Zina al-Akhbar was to motivate the Ghaznavids to regain control of Khorasan, and his motivation for writing a historiography was to discover the root causes of the decline of various governments to find a way to save the Ghaznavids’ reign from destruction and revive it to the height of Mahmoud Ghaznavi’s rule.
 

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In Modern Persian, different forms of the verb “goftan” (meaning “to say”) are used as grammatical tools for denoting modality. Some of these forms such as “gu”, “gu’i”, “gofti”, “gu’iyâ” and “guyâ” went through historical changes and were used as modal adverbs in Persian literary texts and among them, “gu’i” and “guyâ” are still common. In Modern Persian, there are other forms of the verb “goftan” such as “begu”, “nagu” and “begu’i”, which function as modals in certain contexts. In this paper, we studied the semantic features of the verb “goftan” in texts belonging to different stages of Persian language from Old Persian to Modern Persian and we also tracked the process of grammaticalization of certain forms of the verb “goftan” to show how they changed into modal adverbs. Based on our findings, “gu’i” has been used for purposes such as simile and allegory to represent imaginary and unreal statements and “guyâ” has had a modal role to represent doubt and uncertainty of the speaker. Both forms are still in use. Moreover, some forms of the verb “goftan” are in the middle stages of grammaticalization. These forms represent the modalities of inference, conjecture, assumption, and imagination, but some of them are gradually losing their verbal characteristics and are changing into adverbs to represent modality.  
 

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The purpose of this research is to describe and analyze the elements of Persian language in ancient jurisprudence texts. In this paper, using induction, descriptive and analytical method, examples of Persian words and elements in selected ancient jurisprudence texts, and some linguistic, grammatical, and syntactic features of these examples are analyzed.Additionally, some prominent features such as the simultaneous use of Persian and Arabic words, changing the syntactic structure of the sentence, and the semantic change, phonological and phonetic evolution and distortion of Persian words in the ancient Arabic and Persian jurisprudence sources are examined in more detail.The results show that the Persian language has a special place in ancient jurisprudence texts among non-Arabic languages as most non-Arabic words in these texts are taken from Persian language.In addition to the ancient jurisprudence sources in Arabic, there are a few valuable ancient jurisprudence sources in Persian, which are considered valuable examples of the use of Persian as the language of religion.This study shows that most of the authors of ancient Arabic jurisprudence texts who were influenced by Persian language were either from Persia or familiar with Persian language of Fars province or were Arabic-speaking jurists in whose works the social life of Persian-speaking Muslims is manifested.In the present study, two parts of these jurisprudence works have been dealt with more precisely: First, the ruling on the Persian translation of the recitation of Surah Al-Fatihah in prayer, in which the jurisprudence sects have three distinct views on this issue.Examining the arguments and evidence of these views, a detailed view on the permissibility of the Persian translation of Surah Al-Fatihah in case of inability to read correctly and its impermissibility in case of ability to read correctly has been chosen.The other is the jurisprudence view of expressing divorce in Persian, in which there are two distinct views. The chosen word in this issue is the view of the correctness and jurisprudential possibility of divorce in the language of any ethnic group.