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Showing 391 results for Type of Study: Research
Ahmad Rezāei,
Volume 32, Issue 96 (4-2024)
Abstract
Research on metonymy and related topics in Islamic studies stems from Muslims’ interaction with the Qur’an and their efforts to comprehend the meaning of certain verses. It sparked numerous theological debates among Islamic sects, such as the Ash’arites and the Mu’tazilites, to the extent that some scholars rejected metonymy in the Qur’an. In addition to theological (Islamic kalam) works, metonymy featured in rhetorical volumes and since the time of Sakkaki it has been transferred from theological to rhetorical works. The main issues in these works relate to the definition of metonymy and truth, the quality of their recognition, metonymy types, and so on. The main debate has been attending to one aspect and neglecting other aspects. Despite the efforts made by Muslim scholars in these works, due to the intermingling of different fields in this subject, current research on metonymy has paid less attention to previous studies. Therefore, the present research has explored this issue from various perspectives while examining the evolution of metonymy studies in the works of Muslim theologians and rhetoricians using a descriptive-analytical method. The results showed that logocentrism, the intermingling of different domains, abstract theological topics, unnecessary divisions, disregard for the functional aspect of language, overlapping types of metonymy, and repetition of the content were the main research barriers. Additionally, one should also mention the neglect of the points made by scholars such as Jurjani and Khatib Qazvini. It seems that if we pay attention to the aspects of information, pragmatics, and the context in the field of metonymy, many problems of its semantic recognition will be solved. On the other hand, dividing this category into metalepsis and compound metonymy as well as their trivial subfields will make us independent from other categories.
Doctore Mohammad Khosravi Shakib,
Volume 32, Issue 96 (4-2024)
Abstract
Proverbs are a cultural tool that, due to their expressive language and special phonetic and literary patterns, can decrease the intellectual resistance of the audience and impose certain concepts and meanings on them. The cultural semiotics of Persian proverbs shows that gender discrimination and reducing the status of women are probably rooted in cultural standards and norms. In many proverbs, women are considered “the other” and marginal while men are regarded as “the self” and central. Using analytical, descriptive, and qualitative methods, this article critically investigates several gender proverbs with an emphasis on cultural semiotics to show how the dual opposition of “man” vs. “woman” has influenced concepts such as “patriarchy”, “marriage”, “reproduction”, “formal beauty”, “masculine economy”, “mental strength”, and “leadership and management”. and placed women in the “margin” and men in the “center” of the cultural context. The cultural semiotic analysis of proverbs attests to the fact that being a “woman” is a product of patriarchal ideology; a thought that consciously or unconsciously seeks to depict women as “the other”. This thinking removes women from the social scene with hidden control and repression and ultimately seeks their “symbolic refutation”.
M.s Marjān Heydari Tamrābādi, M.s Shivā Heydari Tamrābādi, Mr Vahid Vaziri,
Volume 32, Issue 96 (4-2024)
Abstract
This research takes an interdisciplinary approach to examine the role of architectural elements in the surrealist stories “The Blind Owl” and “Prince Ehtejab”. Each of the architectural elements has its own specific definition and function that shapes the physical atmosphere i.e., it creates an atmosphere limited to time and place. However, the content of these elements with their implicit meaning creates atmospheres that are not limited to time and place. As the purpose of this research is to examine the effect of architectural elements in creating the surrealist atmosphere of these stories, first of all, the architectural elements that existed in the stories were extracted and, through comparative studies, their meaning beyond the physical aspect was analyzed using a descriptive-analytical method. Ultimately, the crucial role of these elements in creating the surrealist atmosphere of the stories was elucidated. Sadegh Hedayat’s “The Blind Owl” can be considered his most important work. Architectural elements such as the narrator’s house and the buildings in the story play a significant role in shaping the story’s atmosphere. In “Prince Ehtejab”, due to the protagonist’s reminiscence of the last night of his life in his room, a surrealist atmosphere emerges. Upon closer examination, it can be said that the architectural elements in the room, carrying meaning beyond themselves, play a fundamental role in expressing the prince’s personal circumstances and exposing his weaknesses and fears.
Mohammad Hasan Jalāliān Chāleshtari,
Volume 32, Issue 96 (4-2024)
Abstract
The Haft-Xwân/Xâns of Rostam and Esfandiyâr are prominent episodes in the Shahnameh, which have garnered significant attention throughout the history of Persian literature. These episodes depict a series of battles involving warriors. However, there is debate regarding the correct spelling of the term. Traditionally, most manuscripts of the Shahnameh and other Persian works use the term “Haft-Xwân.” Nevertheless, some contemporary researchers argue that the warrior undergoes seven stages in these battles, leading them to propose an alternative spelling: “Haft-Xân.” Additionally, some scholars suggest that the second part of the word (xwân) refers to a feast, as Esfandiyâr supposedly celebrates after each battle. In this article, we explore the accuracy and validity of both opinions, employing historical linguistics. Our interpretation aligns with the content of these battle narratives, considering the original form as “Haft-Xwân.” Furthermore, we propose a new derivation for “xwân”, associating it with the concept of “battle and struggle.”
Ali Taslimi, Farideh Faryād, Firouz Fāzeli,
Volume 32, Issue 96 (4-2024)
Abstract
For Kristeva, each text is the result of its preceding textual network. Hence, to decode a text, one must consider this textual network. Authors and poets have always benefited from previous texts. This is sometimes done as legendism which is nothing but rewriting and recreating legends, and does not help literature much. However, “trans-legendism” has a different approach that can be a cause of literary transformation. Trans-legendism does not just refer to legends by way of allusion and referencing but transforms the past texts by employing intertextuality to the point that the reader cannot easily recognize what texts and legends have been used in the formation of the new text. In the novel Spells, we are faced with three methods: legend-telling, legendism, and trans-legendism. In The Blind Owl, too, the writer has transformed the text of the past through the use of multiple legends and myths. This article investigated the two novels based on trans-legendism or legendary intertextuality. This study concluded that both novels have benefitted from legends even in opposition to legends.
Fatemeh Toobayi, Mohammad Yusof Nayyeri,
Volume 32, Issue 96 (4-2024)
Abstract
Investigating the origins of Sufism in various regions of Iran is a significant topic that has not been adequately explored. The researchers’ focus on Iraqi and Khorasan schools of Sufism has led to neglecting Sufi practices in other areas including Fars and Shiraz. Notably, the presence of over eighty Sufi sheikhs in Fars and Shiraz before the appearance of Ibn Khafif, along with the substantial growth of Sufism in this region underscores the need to study the origins and development of Sufism there. This research identified forty-three sheiks from Fars and Shiraz who lived either before or contemporaneously with Ibn Khafif and analyzed their mystical views based on the limited available information. As a result of this analysis, it is evident that four main Sufi currents existed during this period: first, the ascetic and secluded form of Sufism; second, the Iraqi school of Sufism; third, the Khorasan school of Sufism; and fourth, the pioneers of Fars school of mysticism. The findings indicated that the Shiraz school sheiks were predominant in Fars, with other currents playing a lesser role.
No Ebrāhim Hasanaklou, No Rezā Cherāghi,
Volume 32, Issue 96 (4-2024)
Abstract
The debate over literary theory and Nima’s poetry has a long history. Literary critics have interpreted Nima from their own perspectives, offering various interpretations. The issue of this research is a critical re-reading of the views of Pournamdarian and Barahani in the 1990s as representatives of academic and non-academic criticism. This research showed that Pournamdarian and Barahani have occasionally been excessive in their understanding of Nima. As a result, despite Pournamdarian’s efforts to understand Nima’s poetry anew, he remains trapped in the stereotypical traditions of literary criticism, which leads him to define modern poetry under traditional poetry. On the other hand, Barahani has neglected the historical process of theorizing and Nima’s poetry, by going to extremes in some of his views and speaking of a crisis that we witness in the poetry from the 1990s onward. In other words, tradition and modernity are clearly at odds in the views of these two critics. Pournamdarian wants to blend modern poetry with traditional criticism, while Barahani becomes dogmatic in his criticism.
Mahnoosh Vahdati,
Volume 32, Issue 97 (1-2025)
Abstract
The current study attempts to discuss one of the most mysterious and enchanting stories of Bidel Dehlavi, his autobiography, from a Lacanian psychoanalytical perspective. The primary goal is to scrutinize the psychoanalytical evolution of the story’s main character based on three significant Lacanian stages of the unconscious: the Mirror Stage, the Symbolic Order, and the Real Order. In addition, the psychoanalytical portrayal of the main character is reflected in the light of Lacanian concepts of Fantasy, the Other, Lack, Objet petit a, and Castration. The Lacanian subject in Bidel’s story encounters a huge void. To fill this gap, he strives to identify himself with the other or the picture that his friend, Anub, has painted. The shattered subject discovers himself in the harmonious and perfect image and strains to recover his lost identity in the flawless picture. The subject is unaware that by entering the Symbolic Order, he would suffer alienation and distortion. Hence, by clinging to Fantasy, he endeavors to keep the illusion of being perfect. However, by stepping into the Real Order and facing the trauma of this stage and the impossibility of symbolizing his pains, he commits symbolic suicide and breaks the chain of recurring signifiers. The findings of the current study indicate that the main character (Bidel) passes through the Mirror Stage with an imaginary identification of himself, then faces the alienation of the Symbolic Order, and in the Real Order, as a psychotic subject, he is baffled between Fantasy and Reality and commits a symbolic suicide.
Maryam Zarif, Mahdi Nikmanesh,
Volume 32, Issue 97 (1-2025)
Abstract
Rather than expressing his feelings in poetry, Bidel uses poetry to express his thoughts. This rapid flow of thought is evident in his views of natural phenomena and descriptions of the elements of nature. Since his mind is filled with mystical meanings and concepts, everything he looks at takes on the color and fragrance of mysticism and flows through his tongue. He considers art to include perfection and moral virtues and with its help, he has tried to express the capabilities of man and the nature around him. From a descriptive and analytical perspective, this research addresses the symbolism of mountain in Bidel’s masnavi of Tūr-e-Marefat (or Mountain of Knowledge) and investigates the images in which the natural element of the mountain is artistically connected with mystical concepts and meanings. First, the images were identified and classified, then the significance of the ‘mountain’ icon was highlighted and its mystical hidden meanings were explained. The findings showed that the concepts hidden in the symbols of water, fire, and earth, in a coherent set, have a mystical transcendental path from the lowest level to the highest position in Bidel’s perspective, and these elements have a conceptual relationship with the ‘mountain’.
Dr Effat Neghâbi, Dr Niloofar Sâdât Abdollâhi,
Volume 32, Issue 97 (1-2025)
Abstract
Mohammad Ali Foroughi (also known as Zoka-ol-Molk) is regarded as one of the well-known contemporary Iranian men in politics, culture, and law. His political and cultural careers motivated him to correspond with many educated friends about these issues. Due to Foroughi’s familiarity with ancient literature and his attachment to Iranian culture, his letters have been influenced by the style of his predecessors in addition to the earlier literary works. By perusing these letters, one can visibly see the influence of Ghaem Magham Farahani’s Monsha’at (Letters). While imitating the style of Farahani, Foroughi had innovations in his letters. The present article aims to reveal the extent of Foroughi’s innovation and his being influenced by Ghaem Magham’s letters by considering Farahani’s letters as an example of the return style. In the current study 11 letters from Foroughi, collected in Zoka-ol-Molk’s policy book, and 11 letters from Ghaem Magham’s Monsha’at, fallen into friendship, politics, and social categories, were analyzed. It was found that although Foroughi was influenced by the letter styles, literary techniques, and linguistic features of Farahani’s letters, he made innovations in their contents and concepts. Zoka-ol-Molk’s innovations can be seen in combining the return style with modern socio-political concepts. In writing letters, Foroughi paid special attention to the temporal conditions and people’s understanding. Therefore, besides being influenced by the return style (especially that of Monsha’at), he overcame its weaknesses with some expressive tricks and subtleties. By using this way of writing, Foroughi has achieved the goals of attracting the attention of the audience to promoting Persian culture and literature and conveying modern concepts along with reporting on current social issues. In his political and social letters, we see him imitating demanding literary-historical texts; while his friendly letters are very tender and heartwarming due to imitating lyrical texts. Hence, reading these letters gives the reader more literary pleasure than social letters.
Saeed Karimi Qarebaba,
Volume 32, Issue 97 (1-2025)
Abstract
In his play, Farhad and Shirin, the Azerbaijani poet and writer, Samad Vurgun recounted the poem of Khosrow and Shirin contrary to Nizami Ganjavi’s intentions and tried to create a “Self vs. The Other” divide. Iranians were portrayed as a threatening enemy of the lands beyond Aras and an intractable enmity between the two sides was imagined. In agreement with the communist politicians, Vurgun sought to prepare an independent identity for the newly established Republic of Azerbaijan in a way that did not overlap with Iranian and Ottoman cultural commonalities. The current research, based on a descriptive-analytical method, tries to answer the question of how Vurgun described the self and the other and what strategies he employed to determine and embody the cultural identity of the Caucasus. The author of the play portrayed the Iranians as people with negative characteristics such as raping, kidnapping, parent-killing, lying, etc. and instead, attributed all the positive qualities to the people of Barda District. On the other hand, introducing Shirin and Farhad as lovers from Azerbaijan and creating a character named Azarbaba were part of Vurgun’s strategies to promote the new identity of the Caucasus.
Hossein Bahri,
Volume 32, Issue 97 (1-2025)
Abstract
Abstract
The Persian translation of The Adventures of Hajji Baba of Ispahan by James Morier is undoubtedly one of the masterpieces of Persian literature. Mirza Habib Esfahani translated this work into Persian from the French translation of the book. The fact that a translated work, through an intermediary translation, can meet such a reception by the readers in the literature of a language is considered one of the rare and exceptional cases. Since the publication of this work, researchers of language and literature, translation, and other fields of humanities have studied its various aspects. However, so far, no research has studied the reception of this translation by Persian readers from a historical perspective. In this article, based on Jauss’s concept of “Horizon of Expectations” and using the descriptive-analytical method, the researcher has tried to investigate various aspects of the reception of this translation by the Persian readers before and after the Islamic Revolution through reviewing the works and examining the existing texts. To do so, from among the studies available on this work, which comprised about 50 Persian articles and books published since 1942, ten significant works (5 published before and 5 after the Islamic Revolution) were selected, and the expectations within them were examined and analyzed using the qualitative content analysis method. Next, the various themes of the Persian translation receptions discussed in these ten works were extracted and compared. The findings of the study indicated that during both periods, the Persian translation of The Adventures of Hajji Baba of Ispahan was of interest to the literary taste and in line with the expectations of the readers, including those of writers, critics, and researchers. It continues to be widely received by the readers, which has made this work enduring and popular.
Yahyâ Kârdgar,
Volume 32, Issue 97 (1-2025)
Abstract
Since the advent of Jesus Christ, Iranian culture and literature have paid special attention to him and Christianity. This feature became more prominent in the Safavid era for political, social, cultural, and ideological reasons. Saib Tabrizi, the greatest poet of that era, made a substantial contribution to reflecting this feature in his poems. Using a descriptive-analytical method, this article investigates the events of the life of Christ in the six volumes of Saib’s Divan. The findings showed that the religious characteristics of Saib’s era, his mystical and moral perspective, the attachment of the audience of Saib’s poetry to Christ and Christianity, and finally Saib’s tendency to thematize and elaborate his subtle imagination and his knowledge of the events of the lives of the heavenly prophets played a fundamental role in presenting a full image of Christ. By referring to the life of Christ and other divine messengers, he sought to bring religions and sects closer to one another; a goal that is needed by the global community today.
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.
Mr. Mahdi Nourain, Hadi Nouri,
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.
Mrs. Shirin Roshani, Dr. Habibollah Abbasi, Dr. Nasergholi Sarli, Dr. Seyed Morteza Mirhashemi,
Volume 33, Issue 98 (5-2025)
Abstract
The historical event of “The Seizure of Bukhara” is one of those events that has been recorded by many historians. This shows the importance of this event in the history of Iran. The recording of this event in different dates shows the difference in the approaches and the way historians look at the subject of historiography and description of the event. In some of these texts, the narratives are more detailed and the event is out of the historical reporting mode. One of the historians who has started to record this event with an approach beyond reporting is Atamalek Joveyni, the author of Jahangosha-ye Joveyni. In the analysis of Joveyni's narrative, there are several factors that convince the audience that he recorded the events not only for the purpose of reporting, but also with a perspective beyond that. In the present research, we explored the historical event of the seizure of Bukhara with descriptive-analytical method and narratological approach. In this research, we followed the analysis based on David Herman's four-level theory of narrative analysis. This theory examines narratives on four levels of situatedness, event-sequencing, world-making/world disruption, and what-it’s-like, and based on this, shows the degree of narrativity in the event. In the first level of Joveyni’s narration (situatedness), the position of the narrator can be recognized in four faces; In other words, every time, by being in one of the forms of writer (reporter and reminder) and narrator (reporter, admonisher), Joveyni takes advantage of methods that takes the event out of the reporting mode and organizes a literary creation. In the second level (event sequencing), Joveyni sets the beginning, middle and end of the narrative well, which requires a narrative plot, by arranging the events in the form of a causal system. Forming this narrative, Joveyni has set the main and secondary events. This arrangement of the events and the precise arrangement together with the precise descriptions of the time and place of the narrative illuminates Joveyni's method in dealing with the third level of narration (world-making). Finally, in the fourth level of the narrative, Joveyni has induced a state of empathy in the reader in three ways. It should be kept in mind that the induction of this feeling is less visible in historical texts; This is despite the fact that the method of Iranian historians is not only limited to mere reporting and they have a parallel goal in mind, which can be referred to as the principle of teaching in order to influence the audience. At this level, by adopting three distinct methods, namely describing the eloquence in the beginning of the narrative, combining words with images, and quoting poems and proverbs in order to follow the line of teaching, Joveyni has influenced the audience's emotional system and transformed the feeling into perception, and finally created a central thought process in the audience. This process leads to the creation of one of the important elements of narration, and its presence means passing the level of mere reporting and reaching the level of literary creation.
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