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Jalaloddin Davani who has written many books, treatises, and letters, is one of the great scholars of the Shiraz school of thought during the Timurid period. Considering his influential attitude in the dynamics and excellence of Persian mystical literature, it is important to know about his Persian works which often include mysticism, philosophy, and theology. Obviously, before judging his opinions and beliefs, one should investigate the authenticity of his works. Therefore, the present research aims at the critical codicology of Persian works attributed to Davani to determine their authenticity. Reviewing the catalogue of manuscripts in the libraries shows that, in most catalogues, there are many mistakes in the title of Davani's Persian works. These bibliographic mistakes have been repeated in the works of many subsequent authors. To write the paper First, based on the Union Catalogue of Iran Manuscripts (Fankha), the titles of all Persian works attributed to Davani were identified. Then, using his Persian manuscripts and other sources, the authenticity of his Persian works in the catalogue of manuscripts was examined. In this study, through the comparative investigation of Davani's Persian manuscripts in Iran, some of our codicological and bibliographic information about Davani's Persian works have been corrected, especially the title and number of his authentic and non-authentic works. The result of the current critical codicology showed that Davani has written at least twenty original Persian works. In addition, according to the entries of Davani's Persian works in Fankha, at least nine nonoriginal Persian works have been attributed to him. Thus, at least nine entries of Davani's Persian works in Iran seem incorrect. [ABSTRACT FROM AUTHOR]

Atabat-ol-kataba is a book written by Montajab-o-ddin Badi'e Joveini which includes samples of administrative and court-related correspondence as well as friendly letters of the Sultan Sanjar Saljuqi era. The book was edited and published in 1950 by Allameh Ghazvini and Eghbal Ashtiani based on a photo version of the book as the only existing version of the work in question. It was also reprinted in 2005. A re-edited version of the book including an index and commentaries has recently been published in 2017 by Maryam Sadeghi. She has resorted to a comparative method based onthe version published by Ghazvini and Eghbal. The present paper aims to explore Sadeghi's method of editing and correcting and to criticize some shortcomings with her work as opposed to Ghazvini and Eghbal’s edition. The findings indicate that in spite of correcting several errors resulting from typesetting in Ghazvini and Eghbal’s work, when it comes to refining the text itself, Sadeghi has frequently deviated from the comparative methodology and has rather made subjective corrections. As a result, in many cases, she has changed Ghazvini and Eghbal’s correct choices on the basis of her own taste and subjective perception and has entered huge mistakes into the text. The paper examines some cases of such arbitrary changes. [ABSTRACT FROM AUTHOR]

Book Review, which is a form of literary criticism that evaluates a book based on the content, methodology, and goodness and badness of it. Usually, book reviews are according to the critic's opinion. In most cases, a review is based on the critical analysis of critics. The critics may consider the effects of different factors such as the reputation and credibility of the author, thematic analysis of writing, text, method of processing, reliability and value of the references, approaches, and methods of writing chapters, validity and invalidity of meanings, universality of the text and so on. The authors of this paper have criticized and analyzed the books that have explained Saeb's poetries. Because of the efforts of poets in the Indian style, that Saeb is the best representative of it, for finding new ideas and different contents and crating relationships between tangible and intangible phenomena, this style is a complex one. Hence, his poetry needs to be analyzed and explained accurately. For this need, several authors have written some books and have tried to analyze and explain his poetries. In this paper, we have analyzed and criticized these books regarding the validity of authors' thematic analysis of writing, text, method of processing, reliability and value of the references, approaches, methods of writing chapters, validity and invalidity of meanings, universality of the text and so on. [ABSTRACT FROM AUTHOR]

Sa'id Nafisi's critical edition of Rashid-al-din Vatvat's Divan is up-to-date and the only available edition of the poet's Divan. It is also the only edition presented to academic assemblies. This book was published by Barani library in Tehran in 1960. This edition despite many advantages especially in terms of gathering almost all the poems attributed to Rashid-al-din Vatvat, contains plenty of errors and flaws and some inserted poems from other contemporary or subsequent poets to Rashid-al-din Vatvat. Some scholars have already pointed out some of these errors and deficiencies in their published research papers. These scholars have also stressed the need for a new critical edition of this precious heritage from 12th century AH based on newly-found sources and the poet's style of poetry. This paper also highlights fourteen important errors in Sa'id Nafisi's edition of Rashid-al-din Vatvat's Divan based on eleven old manuscripts and handwritten anthologies from previous centuries. This study not only can collaborate and contribute to enriching studies related to Rashid-al-din Vatvat and Persian literary manuscript analysis, critical edition studies, and textual analysis but also can help scholars and researchers of Persian language and literature to solve other complexities in other Persian literary texts. [ABSTRACT FROM AUTHOR]

Structuralism is an attempt to apply linguistic theory to non-linguistic subjects and activities. In this paper, the narrative of Zahak Mardush is examined based on the theory of Claude Bremond, the French structuralist narrator. Bremond considers sequence to be an essential element of narrative. His model is based on the dual approach of winning or not winning the champion. In this paper, the narrative has been analyzed by a descriptive-analytical method. After examining it, it was concluded that the narrative has a systematic design and has used the method of narration linearly. [ABSTRACT FROM AUTHOR]

Abutaleb Kalim Kashani (Hamedani), Creative Al-Ma'ani Thani, is considered one of the first poets of the 11th century. The use of elements such as theme, artistic, allegory, and elements of folklore has made Kalim the pioneer of Indian-Isfahani style, whose accuracy in speech and poem opens the door to the so-called Hindi poets. This research has been done using a descriptive-analytical method and we have attempted to reflect on some of the controversial words, phrases and verses of Kalim Kashani (Hamedani)’ Divan (collection), and tried to simultaneously investigate some of his controversial verses to clarify his nature of the image and poem. Therefore, we present some of the misreading related to the corrected forms of Kashani's illusions, and give some suggestions on the correct form of the phrase ‘the houses in the eyes of the compass’ and ‘hot eyes’. Then, we combed the combination of hot eyes in a sonnet from Kalim, and through this combination with the concept of green eye, we examined the history of the use of the eye and the face of it. Then, through the inter-textual relationships in the poetry of this era, by examining the neglected and obscure motifs of Kalim's poetry, such as nail art, paper and Totoya paper, it was concluded that the key words for the effect of the universal language on Indian poetry came from the status of specific and personal motifs that has become one of the most popular Indian style characteristics. [ABSTRACT FROM AUTHOR]

Nameye Bastan is a book written by Mir-Jalal-al-Din-Kazzazi, in the editing and interpretation of Ferdowsi's Shahnameh. In editing, marking helps readers read and understand texts, but the great beauty of this work is in the aspect of its interpretation This book contains useful and educational points in linguistic and literary discussions, the etymology of words in Iranian languages and mythological discussions. However, this book could be better than this, and because of that, the author published new editions of the work. Obviously, criticism should help to improve this, but criticism must have the characteristics of accuracy, honesty, and trust. This paper seeks to discuss the mistakes in Nameye Bastan, especially in the interpretation of poetry, as well as in the correct writing of poems. But it can be seen that the discussions in a significant number are inadequate, short, and simple, sometimes based on self-citation, physical and far-fetched expert knowledge, lack accuracy in terms of interpretations, sufficient evidence, precision in referral, honesty, and trustworthy. As some of the author's commentary has been cut off, they have narrated one of the few points that the author has discussed for immersive curiosity, in order to be able to violate it, they have hidden the other aspects of the debate. In this paper, we also quoted and criticized five of the criticisms of this article to illustrate the deficiencies of the article. Meanwhile, the other purpose of this review, as will be seen, is a detailed report, full of evidence, of the same poems that had been criticized before. [ABSTRACT FROM AUTHOR]

There are anecdotes and stories about the spiritual transformation and repentance in Tazkirat al-Awliya which indicate that a gnostic person leaves sin and crime and starts obedience and worship. This is seen in different aspects of Gnosticism. A gnostic repents in different aspects of Gnosticism such as obedience, hierarchy, position, situation, and even in its existence. This has caused to construct a broad range or awakening areas in this prominent mystical work. Besides, as mentioned by writers of gnostic texts, the awakening areas in each position depends on an earlier position. So, the question of awakening, how it is realized, and how it is linked in mystical research is of great importance. This paper examines the nature of awakening, its extent, and its continuity in Tazkirat al-Awliya through the library and documentary methods. The results show that awakening in Tazkirat al-Awliya anecdotes is not limited to the initiation of a mystical journey, but rather in all stages and aspects of the journey, and it has different areas each having different aspects, features, and effects in the journey. Without understanding these areas, it is not possible to analyze and explain the position of stages of the journey. [ABSTRACT FROM AUTHOR]

Editing manuscripts is the most fundamental type of research in academic research. Taleb-e Amoli is among the most well-known poets in the eleventh century AH. His sonnets, which include more than half of his songs, contain nearly 13000 verses. Although Taheri Shahab (in 1968) has corrected and published Taleb-e-Amoli's Divan (collection), in order to correct, it is necessary to use all the authentic sources and copies available. Issues such as not using numerous available manuscripts, not reporting inaccurate versions and alternatives in the printed version, and wrong selections lead the authors of this paper while introducing a valid manuscript not used in the previous correction of this work, to criticize and investigate the previous correction of the book. This re-examination attempts to address some of these shortcomings and misreading by researching the text and using the new manuscript. As a result of the present study, a number of new sonnets and verses were added to Taleb’s collection. This completes the shortcomings of the printed version as far as possible. Recording the duplicate version and some new vocabulary is another result of this study. In addition, research into the work makes a new introduction to the stylistic features of Taleb's sonnets and other related topics to be made easier for scholars of Persian poetry and literature to ensure proper judgment and interpretation about Taleb's collection. [ABSTRACT FROM AUTHOR]

Olfati Savoji is a Shiite poet at the court of Abdullah Qutb Shah, the seventh king of Qutb Shahi Dynasty. The dynasty ruled over Deccan, Golkonda, and Heydarabad areas between 924 and 1098 AH. Little is known about Olfati Savoji’s life. Little information about Olfati's life and the existence of many poets who adopted Olfat pen name in Indian courts have led some biographers to mistakenly refer to him as "Olfati Yazdi", a contemporary poet of Vahshi Bafghi period and an entourage at Jalaluddin Akbar Shah Gurkani’s court. Biographers have also falsely attributed the works of Qlfati Savoji to Qlfati Yazdi. Olfati Savoji has two books that have not yet been edited and published: "Reyaz-al-Sanaye Qutb shahi", a book about prosody and rhyme, and ‘Ravayeh-e-Golshan Qutb Shahi’, a book about the praise of Abdullah Qutb Shah and a description of the royal monuments and some of his court customs. The authors of this paper seek to provide accurate information about Savoji's life and works through the study of the manuscript of his works, and analysis and historical comparison of what has been written about him in biographies. The findings of this study will be useful in studies of Persian literature history and stylistics of the 10th and 11th centuries. [ABSTRACT FROM AUTHOR]

A work’s intended audience and the context from which it springs and in which it develops can determine and generate a new and altered content for certain concepts which are unitary at the origin. This influence becomes evident when a target text ends up being clearly attuned to the readers’ needs and concerns. Taking such influences into account, the present paper examines Suhriwardī’s ʿAwārif al-Maʿārif and two of its translations by Abū Manṡūr Ismāʿīl Iṡfahānī and ʿAbd al-Raḥman Buzğuš Šīrāzī. The author has chosen four criteria – the translators’ world view, the nature of their imagery, the influence of their personal convictions on their work, and the impact of their lifeworld – as yardsticks for assessing the two works. The comparison reveals that in Abū Manṡūr’s translation of the ʿAwārif his paying attention to the readers’ likes and dislikes makes him inclined to succinctness and leads him to exhibit his eloquence, whereas ʿAbd al-Raḥman, in his Maʿārif al-ʿAwārif forbears to meddle with the text in favour of a more literal rendition. It appears that Abū Manṡūr’s interference results in an alteration of Suhriwardī’s thought in a number of ways and that the translator in some places seizes control of the meaning replacing Suhriwardī’s statements and thoughts with his own theories. ʿAbd al-Raḥman, on the other hand, is striving, as far as possible, not to distort Suhriwardī’s thinking. It appears that the gloomy atmosphere of Isfahan during the reign of the Mongols prevented Abū Manṡūr from providing an exact and specialist translation, whereas the relatively safe and calm environment of the Fars province, where ʿAbd al-Raḥman lived and worked, proved conducive to a deeper understanding of Suhriwardī’s concepts and enabled him to give an accurate and scientific rendition of every single expression of the ʿAwārif. [ABSTRACT FROM AUTHOR]

Moshaf -e- Arzanda is one of the Quran with translation (no. 39795) which has recently been added to the collection of manuscripts of the National Library. In this paper, Moshaf -e- Arzanda has been analyzed in terms of cognitive, orthographic, and linguistic features. Due to the artistic significance of the work, in particular, because of the beautiful script ‘Naskh’, its Old Persian language and the and the way in which old Persian script was used in the text of the translation, in particular the widespread letters and words with e'rab, this manuscript can be considered as a valuable work. The definitive date and place of writing the manuscript, as well as the exact name of the translator, scribe, and the ordering party are not known. Analysis of the linguistic and orthographic features of this text in comparison with some of the works from the first period of Persian language (before the seventh century), especially the translation and commentary of the Qur'an, shows its similarity to the works mentioned. However, the codicological features of the work, especially the perfection and beauty of the scribe's hand, along with a limited number of linguistic applications and later recordings, regardless of geographic and taste differences, the individual characteristics of the interpreter and/or the scribe, have removed this translation from some of the works in the fifth and sixth centuries and show that Moshaf -e- Arzanda was created about the seventh century. These surveys reinforce the likelihood of writing this manuscript in the year 654. It is unlikely that this manuscript would be related to Heravi, Sistani, and Central languages. It is more likely that the origin of the text is in Khorasan and one of the northern or or north-eastern regions. [ABSTRACT FROM AUTHOR]

Hakim Hajj Mullah Hadi Sabzavari known as ‘Asrar’ was born in the13th century AH (1312 AH) in Sabzevar. He is one of the philosophers who honed his skills in theoretical and practical wisdom of his time. He achieved a great degree of intuition and mysticism and flourished his talents in the world of mysticism and knowledge. He has written and classified many works in philosophy and wisdom, and has also left a collection of poems that contains elegant and beautiful mystical (gnostic), philosophical, wisdom, desire and passion. His genealogy has been published several times, however it has not been done based on scientific criteria of correcting texts. One instance is that none of these editions have a well-defined methodology and it is not clear to the reader or the researcher that based on which edition or manuscript the task of editing is carried out and some of these editions (e.g. the Hassan Amin edition) are completely based on taste. The authors of this article, which have done the correction based on the original version, consider, on the basis of three manuscripts one of which is a new edition of the text, the shortcomings and disadvantages of what has been published so far as the correction of the Hajj Mullah Hadi Sabzevari's divan are not reliable because of numerous problems referred to in this paper and the necessity of writing a critical review on his Divan (collection of poem) is inevitable. Obviously, if his work is corrected and republished, a meaningful text representing the closest intention of the poet will be available to both readers and researchers. [ABSTRACT FROM AUTHOR]

Due to inappropriate historical, political and social conditions, many authentic literary manuscripts, such as several poets' collections, have vanished throughout history. Therefore, poem anthologies comprising various poets' poem selections are considered important references for the correction and re-correction of several literary texts. Majmue-ye-Lataef -va- Safine-ye-Zaraef from Seif-e-Jam-e-Heravi is one of the oldest anthologies remained from the eighth and ninth centuries AH in Indian subcontinent. Majmue-ye-Lataef -va-Safine-ye-Zaraef can be employed to re-correct parts of Arafatul- Asheghin–va-arasa-ul-arefin. Majmue-ye-Lataef-va-Safine-ye-Zaraef was written two hundred years before Arafat-ul-Asheghin in the Indian subcontinent, and hence the original and correct version of several poems from the latter can be found only in the former, making the former a significant resource for the re-correction of the latter. This work re-corrects several mistakes of two printed copies of Arafat-ul-Asheghin based on Majmue-ye-Lataef -va- Safine-ye-Zaraef as follows: incorrect assignment of poems, incorrect biographies of poets, mistakes in the record of poets' names, and wrongreadings of poems. Additionally, this paper points to the several other flaws increasing the mistakes existing in the two printed copies of Arafat-ul-Asheghin copies: weaknesses of the correction methodology, failing to refer to other reliable resources (e.g., printed poets' collections, Majmue-ye-Lataef -va- Safine-ye-Zaraef), and misreading of the manuscripts. [ABSTRACT FROM AUTHOR]

Narcissism (Mofakhere) is one of the minutiae of epic literature and one of the contents which has comprised a major part in the Persian literature. Poets and writers have dealt with the issue based on their personality and the social condition and issues of their time. In addition to the literary works, narcissism (Mofakhere) is also present in the religious-mystic works and the religious and mystic leaders have unraveled their real characters by referring to their admirable and good characteristics and traits. This paper is a descriptive-analytic study based on the library resources which investigates narcissism (Mofakhere) in the sonnets of Soltan Valad and the reasons for doing so. The results of the study indicate that, in addition to honoring his poetry and the theme of speech, Soltan Valad recounts his spiritual qualities. He praises friendship with the elders of the Mowlavi Order along with his spiritual advancement. The achievement of the high mystical levels has made Soltan Valad one of the greatest leaders of the Best Way and, in many cases, he regards himself as a prophet. Another point is that most of his mystical honors are sometimes exaggerated are rooted in his mystical viewpoint. Moreover, the social and cultural condition of the Anatolia (Minor Asia) at that time as well as the condition in which the works were created have also affected his works. [ABSTRACT FROM AUTHOR]

Background: Masnavi Manavi written by Jalaleddin Mohammad Balkhi (Rumi) is one of the most prominent mystical works in Persian literature. This book has been and is influential; consequently, the readers' needs have been and are subject to many descriptions in different languages. Purpose: Assessing and analyzing the method and the content of descriptions of Masnavi are considered the most important study subjects in searching the works of MowlaviAnalyzing the affectivity of the available descriptions would demonstrate the significance and stance of such works in the field of writing description. The description of Mostafa Ibn Shaban Soruri on the subject here is considered one the most complete and the oldest in Asia Minor in Persian. Regarding the antiquity and the description language of Soruri, it is essential to specify the rate of its affectivity in the process of writing a description. The objective here is to find the extent of the oldest Persian descriptions of Masnavi by comparing Soruri's description with Javaherolasrar and Zavaherolanvar by Kharazmi. Results: The results of this comprehension indicate that the description of Soruri has been affected by Javaherolasrar in terms of structure and content. An important part of Kharazmi's description is included in Soruri's description without any reference, while Soruri, in his foreword claimed that he perceived this work by discovering the spirit of Mowlavi. [ABSTRACT FROM AUTHOR]

Since Saeed Nafisi's research until now, various collections of Rudaki's poems (Divan-e Rudaki) have been published. The authors of these collections have endeavored to provide a more accurate correction and explanation of Rudaki's verses. The disappearance of Rudaki's Divan and the scattering of his poems in various versions have made the compilation of all versions and providing texts containing Rudaki's poems a challenging task for editors. Consequently, correcting Rudaki's compositions to achieve a revised and refined text has also faced difficulties. Sometimes, despite the existence of versions, editors have incorrectly incorporated deviations into the text of their books deviations that are unsupported by any version. In such cases, editors have either followed Nafisi's corrections and his alternative versions or they have been indifferent to the old and challenging versions, neglecting the distortions and alterations introduced by copyists. Careful consideration of the aforementioned issues, and taking into account the recurring mistakes in Rudaki's collections raises the question of which verses the editors of Rudaki's Divan have included in their books with disregard for the accuracy of versions. In the present study, an attempt has been made to propose corrections for some of Rudaki's verses with precision in manuscript versions, including the vocabulary versions of Asadi Tusi (Lughat-e Furs) and the historical version of Sistan. [ABSTRACT FROM AUTHOR]

In recent years, attempts are made to overcome some of the ambiguities in Naser Khosrow’s Divan verses, while the remaining are yet to be overcome. The objective of this descriptiveanalytical study is to explain and interpret some of the available ambiguous verses of Naser Khosrow’s Divan by referring to different resources. The objective here is to demonstrate that being aware of philosophical thoughts affects overcoming the ambiguity of vases in Naser Khosrow’s Divan. The results indicate that to facilitate the undertaking of correction and description of the subject, which is the core of the poet’s philosophical thoughts about the world, humans, and life, next to referring to the old manuscripts, close attention to the poet’s thoughts’ principles and origins is of high essence. As an example, with no deep grasp of the abstruse concepts as the central world topic and the element’s tendency toward it: 1) the elements’ love and hate in the world of existence and decadence, 2) the pairing of the wisdom and general soul and its contribution in constructing the lower world, the minor world, the major world, 3) overturning the tree and viewing its roots as its mouth, and 4) the advantages of a cat that catches a mouse, a major part of the ambiguous verses in this Divan would remain ambiguous. [ABSTRACT FROM AUTHOR]

To correct and complete Sana`i’s works, it is necessary to refer to secondary sources, including Persian dictionaries. In this study, verses attributed to Sana`i in thirteen early Persian dictionaries are reviewed and his nineteen newly found verses are introduced. The method of this research is citation analysis, where, first, the verses attributed to Sana`i are extracted by the library method and based on some Persian dictionaries, and next, by applying the method of citation analysis, the status of each of the attributions is determined. His nineteen verses not available in his edited works are mentioned here. The cases where other verses are mistakenly attributed to Sana`i are introduced in brief. For critical editing and completing Sana`i’s works, it is necessary to resort to his poetic evidence in Persian dictionaries. By assessing thirteen Persian dictionaries from the 7th to the 13th century AH, a total of 1515 verses, are attributed to Sana`i is found, among which, his nineteen verses are absent in his printed works. The attribution of poetic evidence in Persian dictionaries is sometimes incorrect and a verse is mistakenly attributed to another poet. As in these thirteen dictionaries, thirty-one verses and one stanza are wrongly attributed to Sana`i. This mistake occurred mostly in the Suzani Samarqandi poems and Nezami Ganjavi's Haft-Peykar. In Persian dictionaries, among the works of Sana`i, the verses of Hadiqat al-Haqiqah and his Divan are cited the most. Sana`i’s printed works do not represent all his poems. [ABSTRACT FROM AUTHOR]

Background: Translation scholars have developed different approaches to demonstrate the nature of translation, one being the cannibalistic post-colonial approach. The story is -Brazilian natives ate the Portuguese priest (a symbol of colonization) during a ritual. This event was later presented as the Declaration of Cannibalism, and symbolically, the act of digesting and absorbing the achievements of the colonizer, by eating the flesh and drinking blood through which, the colony got stronger. Purpose: If we look at Masnavi Ma’navi from this perspective, the reason for the Quran’s tremendous influence on it will be completely clear. To clarify the impact of the Quran on Masnavi Ma’navi from a post-colonial translation perspective, Vinay and Darbelnet’s model is adopted because the post-colonial perspectives often have descriptive approaches. Vinay and Darbelnet’s model is concerned with two direct and indirect translation strategies in linguistics and translation studies. Results: The results of the study indicate that Masnavi Ma’navi, from a post-colonial perspective, is a form of translation of the Quran. Molavi’s motivation in resorting to Quranic verses, in parallel to the meaning of his poems, is to establish a Utopia of Persian literature so that Persian language and literature can reach the level of the high cultures of the world. Although Molavi applied both direct and indirect translation strategies in transferring Quranic verses into Masnavi Ma’navi, he is interested in ingurging, modulation, and equivalence methods as well. [ABSTRACT FROM AUTHOR]

In today’s interdisciplinary studies, assessing the relationship between literature and other sciences is highly beneficial in literary criticism. The psychoanalytic criticism is one of the pioneers of this phenomenon. This approach in the contemporary era has entered a new phase with the formation of new psychoanalytic cores in terms of psychoanalytic theories of love initiated by Robert Sternberg, who defines his analysis system based on the type of action of individuals in romantic relationships. He has developed efficient model in identifying the form of love in each person in this context. The objective here is to adopt a descriptive-analytical method to assess the love poem Khosrow va Shirin and Leili va Majnoon by Nezami Ganjavi with a comparative approach from Sternberg’s view and explain why the titles Eshq Nameh (love) and Havas Nameh (lust) are applied to the narration of Leili va Majnoon and Khosrow va Shirin. The results indicate that from Sternberg's point of view, perfect and holy love is a threefold relationship of commitment at the highest level and intimacy and passion at the lowest levels. In a narrative based on the failure of love in the direction of "ideal and perfect love" and its victorious hero is involved in "sad and romantic love", the type of relationship is based on lust the Havas Nameh and if the type of mutual love is of the "ideal love" type orientation, due to the priority of the commitment component, love is formed in its true meaning, the Eshq Nameh. The results here indicate that the element of commitment in Ganjavi’s self-consciousness has an operational structure and function in lovebased relationships in terms of Robert Sternberg’s theory and cognitive psychoanalysis in the contemporary period. [ABSTRACT FROM AUTHOR]

Shahrasp is a name that is proved in the most of printed, corrected versions of Shahnameh for the minister of Tahmureth. According to Ferdowsi's narration, he is a pious who practiced praying and fasting. Tahmureth was guided by Shahrasp to gain such refinement so that he could impress the Ahriman and make him his horse. There is no mention of a minister with such a base in the Avesta and the middle ages. In the modern Iranian era, the prevailing form of the name of this person, regardless of whether being the minister of Tahmureth or not, is in keeping with the piousness of the piety, in a proper way and in a form with it. Therefore, it can be said that Shahrasp’s name in Shahnameh is adventitious for him while piously descriptions are essential for him. In this paper, we aimed at describing the originality of piously descriptions for him according to mythical critiques and archetype so that Shahrasp and Tahmureth personalities in Shahnameh are components of a single and older mythological personalities that, in stages of dissociation, have appeared in two incarnations of the king and priest. Then, according to piously descriptions of Shahrasp form of his name in the new Iranian texts and the form of this name in the Sanskrit language, his name should be Budasb that is a level of piousness and Shahrasp is created from reading Budasb dictation without point. [ABSTRACT FROM AUTHOR]

Poverty is one of the most important stages in the mystical conduct. At this stage, the seeker reaches the absolute God that is the purpose of the mystics, through the rejection of material attachment and the declaration of pure necessity. Along with the truth of poverty, the pattern of poverty is also influenced by the Holy Qur'an and narratives, and because of the importance of guiding man and avoiding deviations, it has repeatedly been discussed the words of Mashayekh and the mystical texts, which indicates the importance of this issue in conduct and the achievement of God's door. The author, in a descriptive-analytical method based on mystical prose texts until the seventh century, in this paper, answers the question that what do they think according to mystical prose texts until the seventh century and the words of Mashayekh and writers of mystical texts about worldly poverty? And what is their opinion about the superiority of poverty on the wealth or preference of wealth on poverty during the journey to reach Allah? These questions are proposed to prove that, according to the sources of revelation and the words of the Mashayekh and the mystical texts, along with the emphasis on the importance of mystical poverty and attention to the worldly poverty and the benefits of it and its conditions is necessary for conduct. The words of the Mashayekh and mystical texts and the diversity of views confirms this worldly poverty. Also, attention to the duality of the concept of worldly poverty of the mystical texts and the importance of both of concepts in the mystical conduct, leads to a more correct understanding of the term poverty in these texts and views of the Mashayekh. [ABSTRACT FROM AUTHOR]

The book of Tareb Al-Mujales by Mir Hosseini Heravi is a moral and educational work related to the seventh century. This book was first corrected in 1352 AH by Seyed Alireza Mojtahedzadeh, a professor at Ferdowsi University of Mashhad, using a written version in the library of Ferdowsi University of Mashhad. This attempt and correction is worthy of mentioning. The corrections are defective and incomplete for various reasons, such as shortcomings of the basic and duplicate versions of the book, footnotes and the existence of many spelling mistakes that are found in the book, the defects of the content and the end of the book, such as insertion of incomplete footnotes and inscriptions and inadequate indexes, and generally non-observance of the methods of scientific and critical correction. Due to the importance of this work and its author, this book has to be corrected once again and its defects should be resolved. The present paper reviews the correction of Mojtahedzadeh using the written version of number 20667 in the library of Ferdowsi University. [ABSTRACT FROM AUTHOR]

From the modern approaches to reading and criticizing literary texts, the theory of the ‘Gerard Genette’, which, in its interrelated axis, suggests three types of "explicitly deliberate", "hidden-deliberate," and "implicit" links between the two texts. In the field of literary studies, in the subject of the impact of texts from each other, important points in literary techniques such as adaptation, assurance, resolution, insertion, interpretation, and sometimes plagiarism are raised, which have always been the subject of attention from the rhetoric. The book, "Mesbah al-Hadaee and Moftah al-Faha", by Ezeddin Mahmoud Kashani (d. 735 AH), according to his firm position in the studies of Islamic mysticism in mystical topics that are the idiosyncratic terms of mystical expressions. All three types of effects based on the theory of Genette were from the Nahj al-Balaghah. In this paper, we try to revisit the four chapters of this book from this perspective. According to what follows, it can be said that Nahj al-Balaghah is a hypertext that Kashani has approached by authoring Mesbah al-Hdayah and the presence of the words of Imam Ali (as) in most of the lines of Kashani's book is bold and undeniable. The research method in this analytical-descriptive study is done by comparative analysis and providing evidence. [ABSTRACT FROM AUTHOR]

Katebi Nieshaburi is one of the famous poets of ninth century AH and is a pioneer of the Indian style. His divan (collection) of Ghazals (sonnets) has been corrected and published only once using a limited number of manuscripts. The published divan of sonnets of Katebi does not include all of his sonnets; so that there are 124 sonnets more than published version in other manuscripts that the correctors have not used them. In addition to the corrected divan, there are shortcomings that necessitate re-correction of this divan. There are defects such as lack of complete introduction and tables of content, lack of a section called glosses, incorrectness of the alphabetic order of sonnets for easy reference, existence of mistypes, missing words and incorrect refrains and so on, which necessitate exact correction of this eminent poet for eliminating these shortcomings. The purpose of this paper is to elaborate on the dimensions the defects of the Katebi’ published divan and to provide a context for improvement. To correct the problems in divan, seven new manuscripts were not used by the correctors. Because none of the manuscripts is significant in terms of accuracy, dating, and completeness over the other, problems in the published version of divan have been corrected by the eclectic method. [ABSTRACT FROM AUTHOR]

The story of Siavash has an old mythological theme, and hence one can consider him a mythic-ritual person whose study of various aspects of his story calls for the recognition of ancient rituals. The present research has examined Siavash in ancient texts and Shahnameh with a descriptive-analytical method. Contrary to the views of previous scholars, this paper concludes that Siavash has had the signs of Mitraism within himself. Such signs contain different features than common ones. Incidentally, these signs are those that are not part of Mehr rituals, but are its distinctive features. These signs revolve around the issues of belief in action and wisdom, and those aspects of religion that emphasize the role of intellectuals showed Siavash as the owner of Farah meaning the follower of religion and country, relating to Mehr rituals. So, a number of Siavash’s traits and mythical events around him should be found in beliefs such as believing in theism (Farah bavari), a pass-by-fire test, a horse and a Teshter in ancient mythologies, the source of the alliance, the righteousness, skillfulness in archery and vendetta are beliefs of the worshipers of Mehr. [ABSTRACT FROM AUTHOR]

The subject of the present paper is to investigate the Dah Majles written by Asfazari. This work belongs the ninth century AH, and is part of the Persian and educational prose. The book is spelled out orally in ten sections by the mystical followers and is written by disciples and enthusiasts. In this article, the author has tried to introduce this valuable work of Timurid period by using a descriptive-analytical method of the content to examine the structure and textology of this work from speech viewpoint and to reveal its stylistic features. The most important finding of the research is the outstanding mystical aspect of the work. In addition, the speaker in many cases has brought Quranic verses and many hadiths and tried to explain these issues. Bringing religious and mystical stories, beautiful poetry and austere speech have also attracted the attention of the book's prose. Simplicity and observance of the present requirement have always been of great importance to Asfazari. All these have made this book one of the important works of mystical prose. [ABSTRACT FROM AUTHOR]

The writing of mystical texts in Persian literature started from the second half of the fifth century. Although a good deal of this kind of interpretation of Quranic verses and sayings come sporadically, but, in the meantime, the first mystical interpretation of Quranic verses, and prophetic sayings on Persian mystical literature are not well known. According to the documents which had been handed down to us, it seems from the sixth century that traditional Persian interpretations of some philosophers and mystics have grown substantially due to their mystical worldview and with an emphasis on Quranic verses that prophetic traditions have attempted to interpret them. Among the rare samples in this area which are available to us are two treatises on the interpretation of verses and hadiths that have been written separately and independently and are presented in the writings of Salim Agha and Süleymaniye Library. One of these treatises was corrected by Forouzanfar under the title of "Interpretation of Sura Muhammad and al-Fatah" as a single manuscript, but the other treatise regarding the translation and interpretation of hadiths has still remain unknown. This paper analyzes the formation and historical development of Persian mystical interpretations of the Quran and sayings of the Prophet's mystical interpretation and describes one of the oldest examples that we have discussed. [ABSTRACT FROM AUTHOR]

Salarnameh is an epic book based on the style of Ferdowsi's Shahnameh, in which the history of Iran has been depicted from the beginning until the reign of Mozaffar al-Din Shah Qajar. The book consists of two parts: the first part from the beginning of Iranian history to the end of the Yazdgerd Sassanid's kingdom was written by the intellectual and libertarian Kermani poet ‘Mirza Aqa Khan' under the title of the Ancient Letter. Shortly after the creation of this work and the death of Mirza Aqa Khan, Mullah Ahmad Hafez Aghili Kermani continued the work until the time of Mozaffar al-Din Shah and changed the name of the book into Salarnameh. The author of this paper reviewed the textual content of three versions of this book (currently only available in three versions). In view of the poet's new look at past events and expressing it in the epic style, based on Ferdowsi, he introduced a comprehensive framework of Iranian history from the earliest to the Qajar era, with the language of poetry. The Aqa Khan's poetic language is far from literary and explicit but monotonous; however, Mullah Ahmad Hafez has tried to use the elements of rhetoric, especially simile and equivocalness in the text. Compared to the ancient language, poetry is not uniform. From the historical point of view, the Aqa Khan's ideas have been discussed since the earliest times of Iran as a true history, and the ambiguity that was observed at that time due to the lack of historical documents has been influenced by the books of descendants, but in the later periods of history, especially the Medes, the Achaemenids, the Parthians, Seljuks, and Sassanids, with archaeological discoveries and the translation of the old lines, a perfect date for poetry was provided. [ABSTRACT FROM AUTHOR]

Applying discourse analysis as the research method, this paper analyzes Shirin's characterization and its change in two different stories (Shahnameh, and Khosrow and Shirin) in order to show how the lingual and meta-lingual (social, political, cultural and historical status) factors besides the ideology of the authors (Ferdowsi and Nezami) have influenced the representation of her character. Furthermore, this paper focuses on the change of political and cultural discourse from the period of Samanids to the Seljuks and the alternation of the views towards women -Ferdowsi's misogynist views in contrast to Nezami's philogynist views- as the other possible factor which have influenced Shirin's characterization. According to this paper, Shirin's image in Shahnameh is simultaneously negative and positive which is the result of class ideology plus power relations which have dominated Ferdowsi's text, while in Khosrow and Shirin, the character of Shirin changes because of the change of genre and Nezami's ideological involvement with this especial character of his story. Accordingly, in Nezami's version, Shirin is not a Roman slave but an Armenian princess. [ABSTRACT FROM AUTHOR]

Nature with its awesome powers was so overwhelming to humankind that he, by every look round, saw a shape of magic or mystique. First communities, for safer habitation, used to took their fears for sacred, henceforth initiated totemic beliefs in similar circumstances. In Totemists' mind, the plants and animals grown for food supply and a class of which was imagined to bear the soul of ancestors, this way guarding the tribe and saving the people, and to deserve special values. Therefore, the current paper aimed at exploring Totemism and its picture in the epics composed after Shahnama. Following the totemic beliefs in the epics, we found a variety of sacred animals such as cows, horses, and the Simurgh, along with the manifestation of worship of plants and trees, as well as some totemic plants with mythologies on human genesis from the plant and the healing attributes of herbs and trees; all of which pinpoint totemism featuring in ancient Persian beliefs and myths, thus explaining social taboos against killing and eating totemic things. [ABSTRACT FROM AUTHOR]

The study of word selection in speech of Saadi shows that central words in sentence or verse usually have influence over each other. Proportion, in general meaning, as a traction between words, is his main criterion in selecting a word from available possibilities. Even his stimulant in making use of ‘metaphor', ‘simile’ and ‘compounds that have allusive meaning', is regarding this proportion and harmony between words in the associative axis. In addition to subject of proportion, another important subject in selection of word in Saadi's speech is his skill to avoid repetition a word at one meaning by using of lingual capacities. In this paper, first, the subject of synonym and some other capacities such as ‘metaphor', ‘trope’, ‘changing the grammatical form of a word' and ‘Arabic equivalent of words' which Saadi has used them to avoid repetition of word, will be considered. In the following, we study the proportion and harmony in his words. [ABSTRACT FROM AUTHOR]

Persian travelogues of the Qajar period are amongst the first encounters of Iranians with the-West-as-the-Other and due to this various forms of othering of the Europe can be recognized in them. Since metaphor is one of the principal devices in the process of othering, the main aim of this paper is to provide a critical-cognitive study of metaphorization of the "the West as the Other" in two early instances of Persian travel account in such an era. The under-study travelogues in this research are Masir-e Talebi and Hayrat Nameh. The main approach used in this study is Critical Metaphor Analysis which provides the ground for offering a critical-cognitive analysis of the role metaphor plays in different texts and discourses. Exploring these two travel books, it is found out that a number of conceptual metaphors have been used in them for representing the West which offer a hyperbolic, idealized and heaven-like image of Europe to the readers. The combination of these conceptual metaphors finally leads to the formation of an iconographic frame of reference or megametaphor which suggests a coherent integrated picture of Europe. Such metaphors metaphorize that place as the Heaven or utopia which could be used as a model for Iranian society in that time. [ABSTRACT FROM AUTHOR]

Sociology and psychology of war are new research areas, expressing the detrimental effects of war on communities in these two aspects. Few researchers dug into these fields. In this paper, this subject has been studied by using translation of Yamini History book, written in the year of 603 AH by Abushraf Nasehiben Zafar Jarfadeghani which is a translation of Atabi History book, written in 427 AH; the fifth century, by Abu Nasr Mohammdiben Abdoljabar Atabi. Observation of suffering of many people, destruction and devastation of human, spiritual and unspiritual resources and difficulties and suffering caused by the war have stimulated the scholars to engage in researching this field. The results of this study indicated that, from the sociology of war view angle in era of Ghaznavian earning power, enthusiasm and zeal, greed, revenge, anger, looting and religious issues were causes of war which had social impacts such as change in the population, economy and values. From the perspective of the psychology of war mental disorders, stress, anxiety, fear, hatred, suspicion and jealousy, deception and bondage which resulted sometimes in death were results of war. The world has always been and will be a battlefield; we can get to know with the great works of our own scientific and cultural icons in order to learn how to behave encountering unexpectedness and become an obstacle to looters. For the purpose of this study, literature, historical, literary and narrative resources were used and fisheye technique and expression were utilized directly and then the analysis was performed. [ABSTRACT FROM AUTHOR]

In this research, by referring to an old description and several contemporary descriptions of Makhzan al-Asrar, while comparing the commentators' opinions in the analysis of verses from this work, the differences and ambiguities of the description of the verses have been discussed. Considering that the selected verses are controversial, paying attention to the opinion of each commentator and comparing them with each other, on the other hand, shows the importance and position of each work, ambiguities, and possibly the semantic inadequacies of each verse become obvious. Mohammad Qavam Balkhi's commentary is one of the oldest manuscripts of MakhzAn alAsrar, which dates back to the 8th century and has influenced many later commentaries. Hassan Vahid Dastgerdi's commentary is one of the first contemporary printed commentaries, and along with Behrouz Servatiyan's and Barat Zanjani's commentary on Makhzan al-Asrar, it has been of great interest to researchers in this field. The results of the current research shows that the difference in meaning and interpretation in these explanations is relatively high, and sometimes they have differences. In addition, some of these meanings do not solve the problem in the end, and the ambiguity of the verse remains. Therefore, it is necessary to understand the more precise meaning of the verses while referring to the textual context of the verses, and taking advantage of the poetic evidence of other Nizami poems, descriptions, and interpretations of Makhzan al-Asrar should be discussed again. [ABSTRACT FROM AUTHOR]

Manuscript 2754 at the library of Astan Quds Razavi is one of the translated copies of the Quran dedicated to the fifteenth part of the scripture (from 17:16 to 18:73). The translation is written between the Arabic lines of the Quran and in Naskh style. The translator and writer of this manuscript are unknown but, due to the antiquity of the language and the script, it dates back to the fifth century AH. In the 6th century (AH), the manuscript was gifted by Abi al-Qasim’s daughter, a lady from Khorasan. It has 53 pages each with the size of 17 × 25 cm, 5 lines of text, and 5 lines of translation. In terms of orthography, the text is free of mistakes, cross-outs, and left-outs. The verses in this inkwritten script are in four colors (black, red, green, and yellow). The text of the translation is written between the lines of the verses in a small font but in a legible manner, and there is no trace of a specific dialect in it. Therefore, it cannot be attributed to a specific area. Considering the old script and phonetic, grammatical, and lexical features, the translation seems to belong to the 5th century (AH). [ABSTRACT FROM AUTHOR]

The historical book of Jahangosha Joveyni (658 AH) holds significant importance as a historical work from the Mongol period, surpassing similar works in terms of its historical and literary value, as well as its early composition. This superiority can be attributed to the literary qualities of the text, particularly its artistic order, which differs from the standard syntactic construction. Artistic order characterized by ungrammatical syntactic construction contributes to the aesthetic quality of the text, playing a crucial role in its artistic expression and literary significance. The avoidance of grammatical norms in syntax is achieved through 4 principles: displacement, substitution, reduction, and increase. Through an examination of Jahangosha's history, it was found that while this syntactic norm avoidance led to unconventional syntax, it also enhanced the prominence and aesthetic impact of the text. Notably, Joveyni artistically employed the principle of "increase" through protest sentences, transforming it into a distinctive stylistic feature and a unique linguistic behavior. This study demonstrated the effective use of grammatical avoidance by Joveyni, highlighting the artistic and aesthetic value of his work. [ABSTRACT FROM AUTHOR]

Alexander the Great is one of the historical figures whose life, Adventures, and campaign stories have such a wide reflection in Persian poetry and prose that such a great Persian poet as Nizami Ganjavi also has addressed this issue in his Iskandernāme. This largest Nizami's work has two parts: Sharafnāma and Iqbalnāma. Many of the stories and anecdotes in Nizami's Khamsa and especially Iskandernāme are taken from many oral and written sources, historical and fictional texts, Legends, and myths in Persian, Arabic, and other languages to which Nizami, in his own way, has had direct and indirect reference. Certainly, Nizami has relied on his knowledge and other existing works and sources to form the story of Alexander. This article aims to introduce the sources used by Nizami from his statements and references in Iskandernāme by the method of descriptive and content analysis. Findings indicate that Nizami while being mastered in various sciences and other languages, especially Arabic, had access to historical, Geographic, literary, philosophical, and mythical works of nations and a large part of narrations, anecdotes, and events of his Iskandernāme are taken from these works or their translations and with his rhetorical art he has embellished and composed them and then has made some changes in them. [ABSTRACT FROM AUTHOR]

Categorization of literary works into various types has been a focal point for literary critics since ancient times. Persian literary texts have been classified into genres, such as epic literature, didactic literature, and lyrical literature. However, there has been independent research on the introduction of other literary genres. To date, the role of texts, such as the histories of Bal'ami, Bayhaqi, Jovini Jahāngoshā, and Wasāf, which blur the lines between their historical and literary values, has not been clearly defined. These texts have not been collectively examined to identify their general and common characteristics and establish a precise classification of their various branches and subbranches as an "independent literary genre." Due to the shared features among historical texts and their distinctions from other literary works, they can be considered an independent literary type termed "historical literature." This study aimed to define the characteristics of this new literary genre and provide a comprehensive classification. [ABSTRACT FROM AUTHOR]

Persian grammar has a long history in the subcontinent. The influence of Iranian culture and the Persian language in the subcontinent has led many people to seek education and learning in this language, resulting in a serious development of Persian language education. Amadnames and Safwat al-Masader are among the works that have been written in the subcontinent of India for teaching Persian grammar, specifically in the direction of source derivation in Persian. In this research, first, a brief overview of the influence of culture and the Persian language in India and the tradition of Amadname writing in the subcontinent is mentioned. Then, the introduction of handwritten and lithographic versions of these works, the explanation of each work, and the correction of selected sections containing important aspects of source derivation and classification methods are examined. The next step in the research is to compare the methods of these works with each other and mention their differences and similarities. In this study, a comparison is made between the methods of these works and two important historical works in Persian grammar, namely, Jam'e al-Fawaid and Dasture Sokhan, and their similarities and differences are highlighted. In general, this study critically evaluates the scientific reasons, characteristics, and shortcomings of these works. [ABSTRACT FROM AUTHOR]

In the treasure of Persian manuscripts, there are many epic and religious verses on the subject of the biography, beneficences, and battles of the Prophet Mohammad (PBUH) and Imam Ali (AS). Saqib's Masnavi (Hamleyeh Heydari) attributed to Mohammad Hossein Saqib Isfahani, is an epic and religious epopee, a unique copy of which is kept in the National Library of Iran by number 15752. The manuscript of this unknown epopee was composed in 1255 AH; however, due to the loss of the first pages and its preface, the name of the composer, the title of the poem, the date, and the reason for its composition are not known precisely. The current research, while introducing this manuscript, seeks to answer two research questions: What is the significance of Saqib's Masnavi from the point of view of literature, rhetoric, and terminology? How can its attribution to the composer be proven? The edition and examination of this manuscript show that Saqib's Masnavi is one of the most significant and precious religious poems, which, in addition to its religious worth, deserves attention in terms of literature, language, and the inclusion of rare ancient words of Persian texts. [ABSTRACT FROM AUTHOR]

The book Ma'dan ol-Javaher (Mine of Gemes) is the only available work written by Doulat Khane Tarzi Dehlavi, a poet and writer in the Indian subcontinent, authored in the years 1024-1025 AH and dedicated to Jahangir Shah Gourkani. This book is being kept in the form of manuscripts with libraries around the world and among them, three manuscripts are available in Iran. The present descriptive study aims to introduce and analyze the text of Ma'dan ol-Javaher. Research findings indicate that the book is composed of seventeen chapters in the same format as Golestan of Saadi, that is a mixture of prose and poetry. The book consists of thirty-six stories, and Tarzi Dehlavi considers himself the compiler of these tales, not the creator of them. Most of the poetic evidence of the book belongs to the author himself, but the verses of other Persian poets such as Saadi, Hafez, Nezami, Jami, and others have also been cited. Most of the poems cited from others belong to Saadi. This shows that Tarzi, in addition to imitating Golestan in his prose, had also an eye on Saadi's Bustan. Employing rare Indian words such as 'sokhpal', 'mooti', 'joogi', etc., agreements of adjectives and adverbs, word formation and the use of verbs in special meanings, the use of redundancy, and the like are among the stylistic features of Ma'dan ol-Javaher. [ABSTRACT FROM AUTHOR]

Throughout its periods of prosperity and adversity, Iranian Islamic culture has experienced significant ideological shifts under the influence of two prominent figures in Sufism and Islamic philosophy. The regions of Great Khorasan and ancient Transoxiana, which served as the cradle and hub for various major sects, such as Jabriyya, Mu'tazila, Ash'ara, Maturidiyya, Hashviyya, Moshbaha, Karramiyya, Murji'ah, and the Shia sects, became a battleground for religious conflicts and a diversity of theological perspectives, particularly up to the 4th and 5th centuries. These religious conflicts, which ignited a wide array of inter-sectarian and intra-sectarian disputes, gradually found expression in the thoughts and language of Iranian poets, giving rise to a rich tapestry of ideological beliefs in their poetry. Regrettably, the theological analyses of Persian literature to date have often been marred by generalizations and biases. In this article, the authors proposed the concept of "ideological stylistics with a theological approach" to circumvent generalizations and demonstrate the departure from sectarian belief norms in Persian poetry. From this vantage point, the concept of "sighting God" within Islamic sects has been dissected into more nuanced intellectual themes. By comparing the beliefs of various theological sects regarding this concept, the authors have unveiled the ideological interplay of symbolic and meaningful words in Hakim Nizami's poetry, revealing two grammatical and rhetorical layers. The theological stances of Hakim Nizami in the realm of "Sighting God in the Ascension" have been found to align with the beliefs of Abu Hasan al-Ash'ari. [ABSTRACT FROM AUTHOR]

The Wave Discourse is formed based on an event system and provides the basis for discourse proliferation. As a result, we encounter fluid, open, and leaping situations that expand the scope of the actor's presence and, as a result, create a presence for the actor that is no longer under his control. Discourse systems are divided into two general types: conservatism and risk-taking. Conservatism is based on adaptation, and risk-taking is based on an accident. The Wave Discourse is also the result of the risk-taking system, which leads to the formation of accidental and unexpected meanings by creating a rupture process. In the present study, the story of Bustan Saadi's 'Safar-e Hindustan va Zalalat-e Botparastan' is examined from the perspective of the Wave Discourse Theory. In this study, the type of interaction between the two systems of conservatism and risk-taking and the conditions of these two systems are analyzed. Examining the story under discussion shows that the narrator continuously puts the discourse space in a challenging situation in such a way that the systems of conservatism and risk-taking advance the narrative in parallel and in a competitive atmosphere. The actor also participates in this competitive space according to the symbolic position in which he is placed, and finally, with the act of murder, he creates an event space that causes the formation of risk-taking and the realization of the Wave Discourse. [ABSTRACT FROM AUTHOR]

The story of Yusuf and Zulaikha is a Hebrew story narrated in the Holy Quran in a Surah titled 'Yusuf'. After Islam was introduced in Iran, many literary scholars focused their attention on it, and different narratives of it were written in the form of poems with various meters. Toghanshahi's Yusuf and Zulaikha and Jami's Yusuf and Zolaikha are among the most important stories of Yusuf and Zulaikha currently available to knowledge enthusiasts. They are two different narrations of this story. Mohammad Kazem Saheb Isfahani, also known as Masih al-Bayan, one of Alamgir's era poets, travels from Iran to India and, while employed as a physician in the royal hospital, due to his talent in poetry, composes and leaves behind several books. Sabahat Yousefi is one of his masnawis that he composed following Bahr Khafif meters. In this study, in addition to introducing this work, this narration will be compared with the narration of Yusuf and Zulaikhai attributed to Ferdowsi. The results showed that there is a clear difference between these two works in terms of the type of narration, language, meter, and literary themes. This study is fundamental in terms of type. The aforementioned text will be analyzed using the qualitative content analysis method. [ABSTRACT FROM AUTHOR]

The story of Joseph, as one of the most well known story of Quran, has always attracted interpreters. In these interpretations, in addition to what has been written as a main text in Quran, some items have been repeated which don't follow the common narrative pattern and seem to be different from the general structure of Iranian stories specifically those categorized in Iran's mystical narrations. These differences have not been scrutinized. To analyze these differences, the structuralism approach is still a firm approach for one can analyze the narrative from a general point of view. It is then possible to examine these structures from different perspectives. The aim of this study is to analyze the structure of the story of Joseph in these interpretive texts: Translated tabari's interpretation (A group of translators), the story of Joseph (Ahmad ibn Mohammad Zeyd Tousi), Kashf-ul-Asrar va Eddat-ul-Abrar (Ahmad ibn Mohammad Al-Meybodi) and Rawd al-djinan wa- rawh al -djanan (Abul-futuh Razi). The method of this paper is analysis of the plot and sequence in the narratives, and after that, the similar functions are going to be evaluated and a general pattern will be extracted. The data analysis showed that although the functions of this story in each context are different, one can distinguish 19 similar functions like Vladimir Prop's work. It is also possible to reduce these 19 functions in 4 fundamental narrative units like Toudorf'’s work. This general pattern probably is compatible with Quran and other interpretations. [ABSTRACT FROM AUTHOR]

Zahir Faryabi (died 1201 AD) is one of the prominent figures and poets of Iran's odes in the 13th century. His Divan has been published several times in Iran and India. The late Yazdgerdi's correction of Zahir Faryabi's Divan, originally published in 2013 by his student Asghar Dadbeh, can be considered the best and most revised correction of Zahir's Divan, but in this version, the corrector did not use older versions, including the version of Noor Usmaniyeh Library, the manuscript of Hakim Oglu, and the manuscript of Safineh Tabriz. We can find some problems in this Divan. To date, many researchers have focused on the late Yazdgerdi's edition and its errors including Seyyed Ali Mirafazli and Sharifi Sahi. They have addressed these problems based on the Safineh Tabriz and the manuscript of the Noor Osmaniye library. In the present study, the authors have addressed some of these shortcomings using the descriptive-analytical method and by comparing the late Yazdgerdi's correction with Hakim Oglu's copy. Hakim Oglu's copy is one of the looted copies of Astana Sheikh Safi in Ardabil, which has no written date, and according to the type of writing and its contents, it was probably written in the 7th century AH from the original copies. The present study shows that by collecting better editions and other collections such as essays and tazkiras, a comprehensive and revised edition of this divan can be available. It can also be used as a reference for researchers. [ABSTRACT FROM AUTHOR]

Undoubtedly, Hafez Shirazi is one of the most famous poets of the Persian language. Despite the many worthy studies, still, some secrets and the causes and factors of this fame and popularity have not been discovered and explained. In the present study, one of the creative linguistic and semantic subtleties of Hafez's poetry has been examined using a descriptive-analytical method, and its dimensions and unsaid aspects have been discovered and represented. In this research, the author tries to interpret the word "an" (it) in Hafez's poetry and investigates the intentions of the poet for the use of "it" with the two approaches of formalism and interpretation. While referring to the uses of "it" in grammar (pronoun and adjective), the author, to the best of his knowledge, paid more attention to the idiomatic and mystical concepts of "it" in the language of mystics and especially Hafez's sonnets. The marked word "it" in Hafez's poetry can have different artistic and aesthetic meanings and functions that have not been studied before. One of the main results of the study is that the word "it" is used for different purposes in Hafez's poetry, and its meaning has been developed with the art of ambiguity and equivocation. In this way, the brevity and coherence of the poem have increased, and the meanings have been honored and magnified. [ABSTRACT FROM AUTHOR]

Anis ol-Arefin (Mathnavi of Nakhoda) is a fictional poem. This mathnavi has been written by Agha Mohammad Hosein Sahib Shirazi and is dedicated to Nakhoda. He composed this verse in 1293 A.H. (during the reign of Nasir al-Din Shah) in his old age and when he was the ambassador of Iran in Bengal, India. The purpose of this study is the linguistic analysis of the poem of Anis al-Arefin based on two existing lithographs of this poem. In addition, this text, apart from the linguistic benefits, has explanations and novelties from a literary point of view. This includes historical information about the Qajar era and the rulers, especially Fath Ali Shah and Naser al-Din Shah and some local border guards of India, geographical information, especially about Shiraz and India, and the birthplace and residence of the poet. Anis al-Arefin is noteworthy, readable, and fresh in terms of folk literature, anecdotes, legends, and parables. In addition, the poet of this poem was a political-literary person. This poem is a unique document in knowing the poet and with it you can get some of his personal and family information and get to know some of the political-historical figures that have not been left in history. Since literary works find meaning in a literary system, we also mentioned the connection of this work with other works, especially Khosrow and Shirin of Nizami, with which the poet of Anis al-Arifin wrote this poem. [ABSTRACT FROM AUTHOR]