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Showing 393 results for Type of Study: Research
Dr Ebrâhim Vâsheqâni Farâhâni,
Volume 32, Issue 97 (1-2025)
Abstract
The numeral system is one of the most important and challenging components of the writing system, which has two dimensions and is not simply limited to the written form of numbers. The challenge of number writing, on the one hand, is due to the nature of numbers and the way they exist in each language, which itself is the result of the different attitude of each nation to existence, and the second dimension of the challenge is related to the way of writing numerical entities in each language. Therefore, even though number writing is a phenomenon of the writing system, it cannot be considered a purely inscriptive phenomenon, but to describe the numeral system, it is necessary to pay attention to the type of attitude and vision of peoples and nations towards existence and especially the mythological foundations of the attitudes of each nation. Middle Persian is no exception to this approach, and one of the neglected requirements for responding to the ambiguities of the Middle Persian numeral system is the attitude towards existence, particularly the mythological beliefs of Iranians. Following the valuable efforts made so far to compile and describe the Middle Persian numeral system, this article proposes other considerations while discussing the answers to some uncertainties still existing in the Middle Persian numeral system. Moreover, some of the traces and reflections of this system are tracked in the Modern Persian language and script, which on the one hand helps compile the Middle Persian numeral system and on the other hand, facilitates the understanding of Modern Persian words and texts. The findings of this study show that it is possible to describe the Middle Persian numeral system, and to do so, seeking help from the mythological foundations of Iranian thought is beneficial and crucial. The present article does not claim it has formulated the Middle Persian numeral system, although it presents considerations and suggestions for compiling it.
Gholâm Rezâ Pirouz, Hourâ Âdel, Msr Gharib Rezâ Gholâmhosseinzâdeh, Fattâneh Mahmoudi,
Volume 32, Issue 97 (1-2025)
Abstract
Poetry and painting are two different paths for creating works of art, and their close relationship has always been of interest to art history researchers and literary critics. Sohrab Sepehri is an artist who tested his taste in both poetry and painting. Therefore, using purposive sampling of Sepehri’s paintings of trees and his Hasht Ketab (Eight Books) poems, and based on Panofsky’s theory of iconology, the present research is a comparative study of these works. It focuses on the images of trees in his poetry and painting to analyze and explain various structural and semantic aspects of common icons to discover the characteristics and connections between his poetic world and his art of painting. The current research tries to answer the questions of why and how the tree image acts differently in the two linguistic and visual systems. Sepehri’s approach to the ‘tree image’ in both poetry and painting is contrasting in such concepts as dynamism and staticity, life and death, rootedness and rootlessness, fertility and infertility, openness and closure, and disconnection and connection, while it is sometimes approaching in themes such as strangeness and the sense of suspense. The results showed that Sepehri is under the influence of the paradigm of modern Iranian painting in drawing the image of the tree and its space, in which the space is mainly contracted, dark, and desperate. Hence, the trees in his works move in the direction of disconnection from the world and the essence of existence which can be an allegory of Sepehri’s objective world. However, the image of the tree in his poems is in line with the dominant common concepts - a symbol of growth, freshness, and vitality - which is far from the rhetorical signs and the uncommon domain of connotation in Persian literature. It is, in a way, an explanation of the ideal world of the poet.
Masoumeh Taheri, Dr Mahin Panāhi, Dr Ali Muhammadi Āsiābādi,
Volume 32, Issue 97 (1-2025)
Abstract
The concept of happiness has always been a subject of morality and mysticism. It has been studied in philosophy from two perspectives: Epicurean hedonism and Aristotelian bliss. Epicurus (341-270 BC), a philosopher of the Hellenistic period of ancient Greece, considered lasting pleasure as the ultimate good of man and presented a practical method that leads to happiness and is sustainable. For Rumi (1207-1273 AD), happiness is similarly sustainable and does not decline with external and internal factors. In this article, an attempt has been made to investigate whether there is a connection between Epicurean hedonism and Rumi’s hedonism through library study and data comparison and analysis. We compared several features from Epicurean and Rumi’s perspectives on happiness based on historical genealogy. The results showed that pleasure from Epicurus’s perspective is lasting and expressed in the end as eudaimonia or happiness (bliss). The goal of his philosophy is to achieve lasting happiness. In this way, man tries to achieve ataraxia by creating limits to his temporary and unstable pleasures. On the other hand, Epicurus’s practical philosophy expresses features that have commonalities with some of the views of Muslim mystics, including those of Rumi.
Mehdi Nourian, Hadi Noori,
Volume 32, Issue 97 (1-2025)
Abstract
This article seeks to critique the elitism in the thoughts of Iranian intellectuals of the 1950s and 1960s. To do so, it carries out a deconstructionist reading of Jalal Al-e-Ahmad’s story titled Farewell from the collection Sitar (literally: Three String Musical Instrument). The book contains 13 stories of Al-e-Ahmad published in 1948. The current study was conducted from the perspective of the French philosopher Jacques Derrida and employed the eight-step strategy of David Boje as a postmodern critical analysis in dealing with the narrative. Boje’s method includes searching for duality, reinterpreting hierarchies, discovering rebel voices, revealing the other side of the narrative, negating the plot, finding exceptions, tracing between the lines, and resituating. The article follows each of these steps to bring about the deconstructionist reading of the story. After using the 8-step strategy of Boje, eight dualities were found: beauty vs. ugliness, core vs. periphery, naked vs. clothed, enlightenment vs. gluttony, rational vs. superstitious, quiet vs. garrulous, boy vs. girl, and activity vs. passivity. Each of these dualities has a hierarchical dominant/subordinate structure, and the narrator narrates the story in a way he is in the dominant position. Then the hierarchy in each duality was reinterpreted so the rebels found their voice and the other side of the story appeared. The romantic plot of the story was replaced with a tragic one, exceptions were found, and between the lines were read. Based on Boje’s strategy and adopting Jacques Derrida’s deconstructionist approach to read Farewell, a new narrative emerged that made possible the critique of the elitist views of Iranian intellectuals during the 1950s and 1960s. It is necessary to go beyond the person of Al-e-Ahmad and get closer to the subject of Al-e-Ahmad as an Iranian intellectual; a subject that has been made possible in a particular context and has produced works. According to the narrative that emerged from the deconstructionist reading of the story, it is concluded that the intellectual subject reproduces the hierarchical relationships, puts himself in a superior position, relies on modern reason, and without considering and understanding the existential relations of the subaltern, seeks to represent them and aims to accomplish what he calls an intellectual mission.
Ms Fâezeh Qorbâni Jouybâri, Ms Zahrâ Alizâdeh Birjandi, Mr Abbâs Vâezzâdeh, Mr Muhammad Shâh Hosseini,
Volume 32, Issue 97 (1-2025)
Abstract
Language reform is one of the most controversial reforms in the process of modernization. Hence, language engineering is regarded as a risky social-political experimentation in any country. In Iran, The Berliners, an influential school of thought in Iranian intellectualism, were the pioneers of Persian reform. Through their activities including publishing treatises, journals, and holding conferences in Iran and Europe, they formed the most active intellectual group of Iranian immigrants in the contemporary era. Exploring their journals reveals they adopted a pathological approach to language-related problems in addition to proposing practical reform solutions. The Berliners’ Journals also adopted a moderate policy toward describing the challenges faced by the Persian language and criticized reforms through purging mechanisms. Considering the importance of The Berliners and their influential journals in the process of Persian reform, the present paper explores the role of these publications in language engineering in Iran.
Dr Mostafâ Mirdâr Rezâyi,
Volume 32, Issue 97 (1-2025)
Abstract
Nasir Khusraw’s poetry is full of intellectual arguments, religious topics, sermons, and wisdom, which has given his words a philosophical and somewhat complicated flavor. On the other hand, in his works, Attar of Nishapur has tried to present the heritage of Sufism of Khorasan and the poetry before him in a different style, through simple language, without glamor and impressive embellishments. The question of this research is whether the simplicity or complexity of language plays a role in the simplicity or complexity of the structure of poetic images. Adopting a quantitative and statistical method, the present research investigates the statistical and comparative analysis of the structure of the poetic images of Nasir Khusraw and Attar. The results of this study show that the simplicity or complexity of a poet’s language has little to do with the structure of his images. In other words, the geometry of the poet’s images cannot be considered simple or complex merely because of the simplicity or difficulty of his words. The language of Nasir Khusraw’s poetry is difficult and complex, but this feature has not had a significant effect on the geometry of his poem’s images, and most of his poetry’s images are simple and far from complex. On the other hand, the structure of Attar’s poetic images, despite the simplicity of the language and appearance, has a subtle and delicate complexity that cannot be understood except by analyzing the rhetorical materials used in the construction of the images. In other words, Attar’s language is simple but his images are complex.
Shirin Roshani , Habibollah Abbasi, Dr. Nasergholi Sarli, Seyed Morteza Mirhashemi,
Volume 33, Issue 98 (5-2025)
Abstract
The historical event of the liberation of Bukhara is among those highly significant occurrences that have been recorded by numerous historians. The manner in which this event has been chronicled across different historical texts reflects the diversity of approaches and perspectives regarding historiography and the narration of events. In some of these texts, the accounts are presented in greater detail, to the point that the narrative transcends a mere historical report. One historian who recorded this event with an approach beyond simple reporting is Aṭa-Malik Juvayni, the author of Tarikh-i Jahangushay (The History of the World Conqueror). An analysis of Juvayni’s account reveals multiple factors that persuade the reader that he documented the events not solely for the purpose of reporting but from a broader outlook. In the present study, the event of the liberation of Bukhara was examined through a descriptive–analytical method and a narratological approach. The analysis is based on David Herman’s four-level narrative analysis theory, which examines narratives at the levels of happening, event sequencing, worldmaking/world disruption, and experientiality, thereby revealing the degree of narrativity within an event. At the first level of Juvayni’s narrative (happening), the narrator’s position can be identified in four distinct roles. In other words, Juvayni, by alternately assuming the roles of writer (reporter and reminder) and teller (reporter, moralizer), employs strategies that elevate the event beyond the confines of mere reporting to arrange a literary creation. At the second level (event sequencing), by skillfully arranging a beginning, middle, and end, Juvayni organizes the events into a causal structure, which presupposes a narrative plot. In shaping this narrative, Juvayni distinguishes between main and subsidiary events. This ordering of events, combined with precise depictions of time and place, illuminates Juvayni’s narrative method at the third level (worldmaking). Finally, at the fourth level, Juvayni induces a sense of experientiality in the reader through three techniques. It must be noted that such evocation is rarely perceived in historical texts. Yet, in their reports, Iranian historians often aim at purposes beyond mere chronicling, pursuing what can be termed the principle of instruction to influence their audience. At this level, by adopting three distinct techniques—an eloquent proemial description at the beginning of the narrative, the blending of discourse and image, and the incorporation of poetry and proverbs at the service of instruction—Juvayni affects the reader’s emotional system and transforms feeling into understanding. Ultimately, this process generates a central idea within the audience. This process results in the emergence of one of the essential elements of narrativity: the transition from the level of mere reporting to that of literary creation.
Parvin Mortazâei, Rahâ Zâreifard, Zahra Hosseini,
Volume 33, Issue 98 (5-2025)
Abstract
Mosibatnāma (book of afflictions) is one of Attar’s most significant masnavi (rhyming couplet) poems in the realm of mystical literature, wherein the poet’s supplications to the Divine have endowed it with a unique charm. The structure of these supplications—with dimensions of fear, intimacy, and reproach—assists the poet in articulating social and ethical ideas. In this study, using a descriptive-analytical method, the discursive dimensions of the supplications in Attar’s Mosibatnāma and the way social and power relations are articulated and interpreted in the text are examined through Fairclough’s model. According to this approach, Attar’s supplications in Mosibatnāma fall into three categories—fearful, intimate, and reproachful—each analyzed at three levels: description, interpretation, and explication. At the descriptive level, lexical features, sentence structures, and grammatical patterns reflect the poet’s social experience and convey the social anxiety and turmoil of Khorasan in the 7th century AH. At the interpretive level, the poet’s focus on describing God’s essential attributes conveys submission of the servant before the Divine, confirming the dominance of Ash’ari determinist thought within the poet’s social environment. At the explicative level, we observe the traces of courtly authority and the poet’s desire to purify the spiritual atmosphere of his era, an atmosphere in which social, religious, and doctrinal chaos have accumulated and materialism and self-interest have flourished. Other findings include the poet’s representation of the society’s governing system alongside his idealistic aspiration for peace and friendship.
Sinâ Bashiri, Qodratullâh Tâheri,
Volume 33, Issue 98 (5-2025)
Abstract
Life in the modern world is accompanied by anxiety, meaninglessness, and despair, which ultimately culminates in the inescapable fate of death – a theme that has become a central focus in modern art and literature. Due to his pessimistic worldview and his fascination with the concept of death, Hedāyat made the existential impact of death on human life the subject of many of his stories. In Hedāyat’s works, most of the characters suffer from a kind of isolation, pessimism, nihilism, and neurosis, which in many cases lead to their death or suicide. In this article, using a descriptive-analytical method, the fundamental significance of the concepts of "madness" and "terror of death" and the function of madness in confronting the terror of death in Hedāyat’s stories, Buried Alive (Zendeh beh Gur) and Three Drops of Blood (Seh Qatreh Khun), were analyzed. The findings showed that in Hedāyat’s stories, by rendering modern life futile and meaningless and by emptying individuals’ minds, madness plays with death and the terror arising from it, and liberates the characters’ minds from existential anxiety and concerns. By renouncing life before death and making an ironic use of suicide, madness ultimately frees the individuals from the terror of death.
Mohammad Hasan Jalâliân Châleshtari,
Volume 33, Issue 98 (5-2025)
Abstract
The goal of achieving an older, more authentic version of the Shahnameh requires meticulous attention to every element, from the general themes to the smallest details. The unique features of this work, in terms of its antiquity and impressive volume, make it one of the most important sources of the Persian language in various fields such as history, mythology, historical language grammar, and rhetorical techniques. They increase the importance of this special attention a hundredfold. With this approach, the current article deals with two main issues, under which some other topics are also addressed. The first issue is to find and prove some cases of using the words bād “wind” and gard “dust” containing the meaning of haste and speed, with or without the preposition az. Another issue focuses on the fact that in the critical revision of the Shahnameh, regarding seemingly unimportant topics that do not differ much between the recording of the oldest (i.e., Florence) manuscript and the consensus of others, such as key and effective issues about the meaning of the verses and the flow of the stories, it is essential to use maximum care and precision in the selection of recordings, and the mere presence of a word of this kind in the oldest manuscript should not be used to judge its authenticity and include it in the text. This question has been addressed by relying on the verse containing the first mention of Zahhāk in the Shahnameh: ke az mehr bahra-sh nabud andaki.
Leila Azarnivar, Khodabakhsh Asadollahi,
Volume 33, Issue 98 (5-2025)
Abstract
One of the fundamental emotions is sadness, which, due to the intensity of its impact on human behavior and psyche, can sometimes cause serious problems. Sadness is significant not only in the field of psychology but also in linguistics, to the extent that Lakoff and Johnson have employed it as a target domain in their theory of conceptual metaphor. Nezami’s poetry reflects human emotions and feelings, expressed in a complex and sometimes ambiguous metaphorical language, and decoding and understanding it can influence the thoughts and daily interactions of the audience. This is because, according to Lakoff and Johnson, a major part of our verbal communication is constituted by such metaphors. In the present study, using a descriptive-analytical method based on a cognitive approach, the conceptualization of the emotion of sadness in Nezami’s Panj Ganj (also called Khamsa or the Five Treasures) has been examined from the perspective of conceptual metaphor to clarify the strategies Nezami employed to depict this abstract concept. The findings indicated that the emotion of sadness imparts a particular character to Nezami’s poems as its frequency is high in some of his works, such as Khosrow and Shirin and Layla and Majnun. For conceptualizing sadness, especially that associated with losing something valuable, such as love or death of loved ones, he draws upon various source domains, including humans, plants, animals, natural disasters, and others.
Hossein Dânâ, Fâtemeh Ma’navi, Afshin Mottaqi Dastnaei,
Volume 33, Issue 98 (5-2025)
Abstract
Geoculture is one of the most prominent concepts that has emerged in the field of international politics and geopolitics after the Cold War, and it has highlighted the importance of the issue of culture in advancing political and economic goals in relations between different societies and nations. Accordingly, Iranian statesmen have also placed attention on the cultural sphere of Iran at the forefront of their cultural-political programs in order to achieve cultural convergence and interaction with neighboring countries. Despite ethnic differences, the geographical sphere of cultural Iran, with its shared components such as customs, religion, art, and literature, provides a suitable platform for the development of a common identity. Among the aforementioned components, language and literature hold a special place in terms of attractiveness and persuasive power. In this paper, we have conducted a descriptive-analytical study of the Azerbaijani Turkish poetic literature of the oral literature branch, especially by focusing on Turkish bayats common among the people of Iran with common themes in the field of patriotism. This shows that with a realistic perspective and proper planning in the field of poetry and literature, especially the literature of Iranian ethnic groups, due to ethnic commonalities with neighbors such as Azerbaijan, we can take solid steps towards convergence with neighboring countries and improve our cultural position and, consequently, our political and economic position in the region.
Hasan Shahryâri , Kiânoush Beirânvand,
Volume 33, Issue 98 (5-2025)
Abstract
Epic stories and ideas have capacities that partly nourish revolutionary and liberation movements and partly serve antihuman, dictatorial systems and various forms of fundamentalism. The epic potential of Iranian stories, depending on the needs of each period, has manifested itself occasionally in epic poems, at times between the lines of historical works, and at other times as novels and historical stories. The historical fiction, as one of the newly emerging literary genres in the Qajar period, maintains a deep connection with epic narratives and ideas, and writers have made use of it with different aims and methods. Therefore, it is necessary to conduct a study aimed at examining the goals of the writers, how they were used, and even the developments that led to the epic and epic ideas in these works. This study was conducted using library sources and a descriptive-analytical and comparative method. The findings indicate that in the first period of historical novels (1905–1921), considering the danger of the destruction of Iranian identity in the face of foreigners, authors sought to promote epic ideas with an educational view to create a spirit of resistance, unity, and defense of the homeland, while in the second period (1921–1941), the epic element functioned as a tool at the service of the court and the expression of the nationalist ideas of the first Pahlavi era. In the third period (1941–1953), under the influence of the Allied occupation of Iran and the weakening of the court, epic ideas declined, and stories and ayyar (rogue) heroes replaced epic thought and heroic champions.
Farah Jahânshâhi, Mohammad Farahmand, Ebrâhim Dânesh, Farâmarz Jalâlat,
Volume 33, Issue 98 (5-2025)
Abstract
Roman Jakobson considered the differences between linguistic roles to stem from the prominence of some communicative elements (addresser, addressee, message, content, contact, and codes). He believed that every message has several linguistic roles, usually one of which is more prominent. In literary texts, due to their complexity, multilayered structure, and the fluidity of signs, rhetorical devices not only create or enhance the poetic function and elevate the formal quality of the text, but also interact with other linguistic functions. When used intelligently, they foster harmony and alignment between the form and meaning of the text. In the present study, using a descriptive-analytical method, the role of rhetorical devices in shaping the interplay between form and meaning in Attar’s Mantiq-ut-tayr (The Conference of the Birds) is examined. The findings reveal that, with a deep understanding of the diverse functions of language, Attar established balance and coherence between rhetorical devices and the moral-mystical content of Mantiq-ut-tayr. He employed these devices based on their literary essence and function to convey specific concepts. For instance, he used ḥusn-i taʿlīl (elegant justification) to explain educational and mystical ideas, murāʿāt al-naẓīr (parallelism) to create thematic unity and textual cohesion, and mutanaqez-namāʾī (paradox) to depict the contradictory nature of mystical experiences and the internal and external conflicts of the mystic. The proper use of rhetorical devices according to the subject matter and content of the anecdotes of Mantiq-ut-tayr has created a lot of beauty, influence, interaction, and harmony of form and content.
Narges Oskouie,
Volume 33, Issue 98 (5-2025)
Abstract
This article, adopting a phenomenological approach and focusing on the fundamental concepts of Heidegger’s philosophy, provides an ontological analysis of Khābnāmeh (dream narrative) by Yaghma Jandaghi, centered on existential questions. It examines the representation of dream/death and being within the framework of Dasein’s experience. In Heideggerian philosophy, Dasein refers to the questioning being, continuously engaged in the pursuit of meaning and identity in relation to time, death, and other existential dimensions. In this study, dreams and sleep are considered not only as contexts for Dasein’s lived experience but also as liminal conditions between life and death, providing a field for the emergence of existential tensions. From a psychological and ontological perspective, these states offer an experience akin to a rupture from everyday life and an encounter with the most concealed aspects of human existence. Drawing on key Heideggerian concepts related to Dasein and fundamental ontology, such as “hiddenness,” “existential anxiety,” and “being-there/being-in-the-world,” the study demonstrates that dreams, conceived as death and as figurative experience, position Dasein on a trajectory that confronts the hidden dimensions of existence and self. Furthermore, Dasein’s internal conflicts during the processes of dreaming and awakening reflect the fundamental tension between authentic and inauthentic possibilities of being, which can simultaneously be interpreted as a symbolic manifestation of the existential struggle between good and evil in Heidegger’s philosophy. Consequently, the dreams in this work symbolically invite Dasein to face the truth, make existential choices, and recognize human limitations, thereby facilitating a deeper understanding of being and human identity.
Saeed Amiriniâ, Javâd Dehqâniân,
Volume 33, Issue 98 (5-2025)
Abstract
The trajectory of the Shahnameh studies from its inception in 1915 until the end of 2006 has been critically evaluated in several articles. These studies have examined factors such as the quantitative growth of articles, the reasons behind the fluctuations in the Shahnameh scholarship, and the thematic, content-related, and structural weaknesses of the articles. However, these earlier analyses have paid less attention to the degree of innovation in research methods, hypotheses, and novel findings, which are among the most crucial components of a scholarly article. This study addresses two fundamental indicators of scholarly research articles on the Shahnameh and Ferdowsi published between 2007 and 2011, examining innovation in two of their main sections: the research problem and the research method. For this purpose, 210 scholarly research articles published in the last five years of the 1380s (in the Iranian calendar) were categorized into nine thematic groups based on academic criteria. Subsequently, the level of innovation and trend-setting impact of these articles was assessed based on specific indicators. Quantitatively, the thematic categories of "Textual Studies of the Shahnameh," "Comparative Analyses of the Shahnameh with Other Works," and "Analyses of Characters in the Shahnameh" have higher frequencies than other topics. The results indicate that, compared to previous periods, qualitatively, thematic and methodological shortcomings have diminished in the articles of this era, and fresh perspectives and new approaches have emerged in the Shahnameh studies. In the thematic category of "Textual Studies of the Shahnameh," due to various factors such as the publication of a critically edited version of the Shahnameh, a greater focus on literary theories, and comparative and intertextual studies, some articles have been published that have, at times, been trend-setting.
Shakilâ Najjâri, Ali-Rezâ Nikouei, Masoumeh Qayouri,
Volume 33, Issue 98 (5-2025)
Abstract
Gaston Bachelard (1884–1962), the renowned French theorist, explored imagination in literary texts through a psychological interpretation of archetypal elements—fire, water, air, and earth. In Bachelard’s view, the task of the power of thought is to produce concepts, and imagery is the product of the power of imagination. He argues that human beings imagine before they perceive or experience. From this perspective, literature and art originate from pure imagination. Bachelard maintains that conventional or rhetorical imagery has little significance; rather, what matters are those creative images that arise from the four primordial elements. In his view, imagination draws inspiration from the unconscious, determining which element predominates in a writer’s creative vision. Although an author may allude to all four elements within a single work, only one ultimately dominates the author’s imaginative field. The roots of these differences in poetry lie in the poet’s unconscious mind—encompassing inner desires, childhood memories, and the environment in which the poet’s reveries were formed. Hence, the fact that the material imagination of each writer is different from that of another is rooted in their biological, experiential, sensory, and intellectual differences. In this study, after examining Bachelard’s views on the imagination of fire—particularly as discussed in The Psychoanalysis of Fire and The Flame of a Candle—we analyze all of Forough Farrokhzad’s works that address these elements. The findings indicate that among the four elements, fire is the most dominant in Farrokhzad’s early poetry, symbolizing her passionate love, emotional intensity, and the sensual dimension of her amorous experience.
Hâmed Dâlvand, Mohammad Khosravishakib, Safiyeh Moradkhani, Rasul Heydari,
Volume 33, Issue 98 (5-2025)
Abstract
The story of “Rostam and Šaqâd” is one of the most technical and coherent narratives in the Šâhnâmeh. In this story, the most prominent hero, Rostam, is removed from the narrative flow. His interest and attachment to Rostam caused Ferdowsi to show great sensitivity and obsession in removing Rostam from the narrative. In order to remove this national figure, Ferdowsi had to exert a lot of linguistic and psychological precision to make the death of such a great and invincible character appear reasonable. As a concrete and systematic approach, new criticism attempts to show the verbal patterns, harmony, coherence, and the internal unity of the components in a work by giving authenticity to the text. The premise of this article is that Ferdowsi tried to make the death of a hero like Rostam believable to the reader by using categories called “trust game” and “emotional deception”. Premises such as “charming”, “persuading”, “creating crisis and urgency”, “creating astonishment”, “transforming my story into ours”, “collusion”, “attracting trust”, “accelerating trust”, and “conspiracy” make Rostam’s murder believable to a great extent. In this article, using the method of qualitative and precise description and analysis of the text, an attempt is made to evaluate Ferdowsi’s linguistic and psychological premises for the justification of the death of his great hero.
Mr Mojtaba Asgharnasab, Dr Aiyoub Kooshan, Dr Hamidreza Farzi,
Volume 33, Issue 99 (10-2025)
Abstract
The poets and writers of the past eras are part of the messengers of the written history of nations and civilizations, and studying their works helps to explain more and better the prevailing atmosphere during the author's lifetime and the geography of his life. Considering the importance of poetry and music in Iranian culture, examining the lives, thoughts and works of poets and musicians of each historical period leads to a more detailed analysis of the characteristics and cultural behaviors in the society of that period and the neglected dimensions of their thought. Mirza Mohsen Ta'sir Tabrizi is one of the prominent and melodious poets of the Indian style, whose abundance of musical words in his poetry is due to his considerable interest and familiarity with this art. Part of the specialized terms used by the poet in his theme are the names of the authorities and branches of music, which are known today as the institutions and corners of the Iranian music hierarchy, and so far no research has been done in this field on the works of "Ta'sir Tabrizi". has not been In this interdisciplinary essay, we have studied the library of the poet's divan and analyzed the verses that were written using the names of the authorities and branches of music, and we have discussed the role of these terms in creating new themes and concepts intended by the poet.
Dr. Alireza Mohammadi Kalesar, Ms. Fariba Torabi,
Volume 33, Issue 99 (10-2025)
Abstract
Proportionality as an element in history of literary criticism has a key role in GolamHossein Yosefi’s critique. The purpose of this article is to study the nature, types, and consequences of proportionality in literary criticism according to Yousefi’s works specially CheShme-ye Roshan, Didar Ba Ahl-e Ghalam, Yaddasht-ha, Kaghaz-e Zar, Barghaei Dar Aghoosh-e Bad. This paper have studied His attitude of proportionality, the types of proportionality in his works, and the relationship with other components of literary criticism. It can be said that Yousefi applies a wide range of vocabulary to refer to proportionality. For him, types of proportionality also include the proportion between character and his nature, the proportion between different parts of the text, the proportion between formal and content elements. He applies proportionality in relation with some elements such as ellipsis, periphrasis and imaging. according to Yousefi, Thus, observing various types of proportion is a strong point of a text and has consequences such as unity and coherence of the text, realism and credibility, and impact on the readers. In Yousefi's criticisms, (a) no precise definition or description of the aforementioned components is provided, as if everyone agrees on their meaning. This naturalization of concepts is one of the features of Yousefi's view of literary criticism. (b) Despite his theoretical emphasis on the necessity of proportionality between form and content, in practice, it seems that content is more important than form; as formal elements are described by content characteristics. (c) From an evaluative perspective, he considers the types of proportionality and its consequences to be the advantage of a literary work. finally, Yousefi's view of proportion is most indebted to the classical and neoclassical view of this criterion.
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