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Gérard Genette is a French structuralist theorist and critic. In this paper we have investigated the speed and time technique of narration in the story of Varqa and Golshah by Ayyuqi from the viewpoint of Genette. The result of the structural study of Varqa and Golshah indicates that for the normal progress of the story and to avoid any ambiguity the writer has chosen the present time as the base and main time. Internal retrospective anachronism in the context of the story is used to inform the audience or restating the memories, and anticipative anachronism is only used to express the ambitions of the characters of the story. The study of duration shows that the story has been narrated with negative acceleration. By using this element, the writer has built the desired form of his story and has been able to increase the epic aspect of the story more than its lyric aspect. The element of frequency has been investigated from the singular, repetition, and frequent aspects. The results show that these elements have caused the text to progress fast and have led to meaningful repetition of events and emphasis on them.

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Discourse is the domain of producing meaning and metadiscourse is the use of ploys and techniques by the speaker to protect, repair, modify, approve, justify and guarantee his own speech.Nima byemploying metadiscourse, which appearson various levels such as emotional, religious, historical, cultural, and scientific, seeks to highlight his own language and to add consolidation and continuity to the meaning of his words.The main objective of this study is to categorize and analyze the types Nima used in the discourse of his letters with a review of some of those letter, in the process of production and continuity of meaning.

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This paper is an analysis of archetypal elements in Mahan story in Haft Paykar (“The Seven Beauties”) based on Joseph Campbell's Monomyth Theory. Greed is the reason why Mahan starts his journey and duly leaves heaven where he lived without being aware of its value. His journey starts from a palm grove, which is a sign of his spiritual ascension. Since he does not have insight yet, he sees the leaders on his journey as monsters thatmake him suffer during the night but when the night endsthey changeinto light as a manifestation of God’s face.  Mahan meets Anima after passing the thousand step well (the whale’s belly) which brings himawareness, and after gaining awareness he meets his guide who is the Khidr. Their meeting is a rebirth for him and a return to heaven, and the reward and bless he acquiresthrough his journey is an eternal life in heaven.

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Studying and analyzing the ways of rewriting and recreating in Bahram Beyzai’s literary works is the main goal of this paper. He is a norm-breaker author who destroys the reader’s mental and language structures and defaults. The plays, scripts and narrations which are analyzed in this article are Azhdehaak, Arash, Ahu, Salandar, Talhak va Digaran, Pardeye neiy, Siavash Khani, Shabe hezar-o Yekom and Majlese Ghorbaniye Sennemar. At first, in this research, Beyzai’s descriptive-analytical ways are introduced, and then these ways are analyzed in Beyzai’s   works.  The ways are generally as follows: 1. recreating an old work on two levels: “changing the plot” and “changing the dutifulness of characters,” and 2. rewriting an old work in some ways by “adding dialogue between characters”, “suggesting cause and effect relation” and “changing the ways of narration.”

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Mantiqu't-Tair, a description of human love for self-scrutiny and meeting with God, is the most significant mystical work of Attar in the form of allegory of birds in search of Simurgh or phoenix. The contradictory presence of the author as a mystic and a historian at the beginning of the book is astonishing. Although the introduction is short and distinct from the mystical text, it is of great importance owing to the interaction of mysticism and history. The historian tries to discover the truth based on the valid documentations and through a retrospective look into the past and carefully analyzing the accuracy of historical quotes and reviews whereas the mystic avoids politics and analysis. In general, history is independent of mysticism but it is the best support for the mystic. Attar is a creative mystic in the sense of innovating mystical symbols and sometimes creating historical characters out of mystical symbols, while he is oblivious to the judgment of history. Symbolizing the historical figures and disregarding the historical documentations, in addition to invalidating his judgment of the individuals, have other outcomes, including a crisis of reasoning and a rejection of mystical principles that Attar himself adheres to. This study is conducted to prove this claim in the introduction of Mantiqu't-Tair.

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The modern literary movement in Iranian fiction writing is the most important movement in Iranian literature and the best author in this movement could be noted as Bijan Najdi. He was an anarchist and Empiricist author. Najdi’s stories are full of metaphors and similes, a trait which makes the language of his stories closer to the language of poetry and givessuch a stylistic distinction to his works that he is considered in Persian literature as the founder of poetic fiction. The most important factors that mark Najdi’s stories as modern stories are elements such as poetic language, use of time gaps and penetration of  the mind of his characters. In this paper surveying the narrative elements of "An Indian in Astara", we demonstrate that the story is a modern story and that Najdi employs modern narrativeelements, such as confrontation of life and death, imagination and reality, and acceptance of the situation and idealism, in order to express his ideas and the intellectual foundations of his thoughts.

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One of great Shiite scholar, Mullah Ahmad Naraghi, alias Safaee has left a book called Taghdis which has indisputable similarities to Mathnavi Maanavi in form and meaning. This book is affected by Mathnavi Maanavi written by Rumi and considerable effort has been made to compare it to Mathnavi Maanaviin matter of composition, commencement and completion of speech and also semantic goal. In this paper, an intertextual reading of Mathnavi Taghdis and Mathnavi Maanavi based on Genette’s theory of Transtextuality and three explicit and declared and hidden and implicit specifications is presented. Findings of this research show that according to the theory of Genette there is no evidence for the explicit and declared intertextual relation with Mathnavi Maanavi among 65 narratives of Mathnavi Taghdisand the most significant intertextual relation is associated with hidden and undeclared transtextuality. The results further indicate that the plot, theme and characters of at least 18 narratives have been adapted from Mathnavi Taghdis and there are different signs in the narratives of Mathnavi Taghdis in terms of space of story, tone, narration manner, name of character, etc., which associate with the narratives of Mathnavi Maanavi and are included in Genette’s classification of the implicit transtextuality.
 

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In the words of the poets, there are motifs that in addition to being frequent and extensive are linked to the knowledge and epistemology of the narrator. Among them, the "tree motif" in NaserKhosrow’s poetry and prose with a frequency of at least 177 times is one of the central themes and images which are rooted in the poet’s intellectual and religious beliefs. NaserKhosrowhas often used this motif in two major ways: First as an image of the universe in the form of a tree with human beings as its fruits, and second as an image of a human being in the form of a tree with his moral traits as the sweet and valuable fruits as well as his immoral traits as bitter and harmfulfruits.In the present study, in addition to investigating the background and origin of this theme, its different aspects have been analyzed. The results indicate the special and unique importance of tree in the poet’s mind and imagination and also the impact of Islamic teachings and Ismaili works and theories on the poet increatingsuch themes and images.

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The aim of thisarticle is to depict the true, scholarly and deep interest of Iqbal Lahori, the great Pakistani poet,in Iranian culture and Persian Language and civilization. First a couplet out of his renown Ghazal composed on Iranians, which represents the works in verse and prose attributed to Iqbal Lahori , is discussed to show that he was well familiar with the Iranian culture and even with some particular symbols in Persian literature.Thenthe five subjectsof religion, philosophy and theology, mysticism, reason and love, and Persian language, which are the most important constituents of the Iranian culturalare explained and discussed in relation to the work of Iqbal Lahori.It is concluded that the Iranian cultural components,rites and traditions are blendedthoroughly with his literary and philosophical books. 

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Tarjoman al-Balaghah written by Omar Radoviani, as the oldest Persian book on eloquence and criticism, holds a special and prominent stand among works devoted to the subject.It is the main source and reference for significant Persian books on eloquence such as Hadaeghat al-Sehr and Al-Mo'jam, which were compiled later .It was the first attempt to understand and establish Persian literary devices.The present study is devoted to a structural review as well as  an appraisal of the innovation and imitation of the book.To this end, we started with its main source, namelyMahasen al-Kalam Fi  al-Nazm va al-Nasr written by Marghinani, and analyzed its configuration, definitions, titles of literary devices, indexes,  and examples.Then, a few chapters of Mahasen-al-Kalam were compared with its main source,Al-Badi'written by Ibn-al-Mo'taz.We proceeded to review the structure of Tarjoman al-Balaghah, the way literary devices were organized, and how it was influenced by Mahasen al-Kalam.We concentrated on the similarities and differences between the two to get acquainted with indexing of literary devices based on the main reference, the alterations, as well as added devices in new classifications along with Persian examples.These enabled us to observe and explain the formation and development of Persian eloquence from the very beginning.Our findings indicated that although Radoviani was directly influenced by Mahasen al-Kalam, he added new devices and categories which were absent from Mahasen al-Kalam, and scholars in the field of eloquence used his book as a model for compiling new books.His innovations included utilizing a treasure of Persian names and poems by his own efforts.Although Radoviani adapted parts of Mahasen al-Kalam, he used a new structure, and his simple and fluent work took a pleasant Persian format.

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Modernity made widespread changes in the institution of theIranian family reflected in the Persian novels. The aim of this research is to study the effect of modernity on the traditional structure of family based on the novel of Shohar-e Ahoo Khanoom. The method of research is qualitative content analysis. The effect of modernity on the relationship between family members, changeof family functions, presence of women in the society, and marriage and divorce are among the topics which were studied in this research. Afghani tried to depict the changes of Iranian family in the period of the first Pahlavi. The findings of this study shows that modernity diminished the high status of the father in the Iranian family and, on the other hand, women attained independence and individuality and became more active in the society. Moreover, more traditional members of the family developed tendency to modernity, though their understanding of modernity has been superficial.

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The language philosophy theory of “speech acts” is one of the text analysis theories on the basis of which we can analyze rhetorical and literary concepts in smaller linguistic units (utterances). This article analyzes Sepehri’s "Seday-e Pay-e Aab" according to this theory. This poem has been analyzed according to the revised model of J. R. Searle’s five “speech acts," and the author’s three affective methods. After defining the expressions and the principles of the speech act theory and specifying the concept of the three effective methods in line with this theory, under each of the five acts (assertive, directive, commissive, expressive, declarative), some examples of the lines of the poem have been analyzed. Sepehri has used assertive and expressive acts in all the parts, directive act in most of the parts, but no commisive or declarative acts in any parts of the poem. To intensify the effects of his words, the poet has used strategies like repetition, intensification, and linking of the acts in his poetry. Using the directive, assertive and expressive speech acts, on the one hand, Sepehri describes and criticizes the past and present of the world; on the other hand, by delivering his poetic view and his ideal world, he coaxes his readers into living a specific lifestyle. To achieve this, he uses three affective methods creatively. Due to the specific features and applications of commisive and declarative acts, Sepehri has not been able to use them in this poem.
 

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The poetry of Mahdi Akhavan Sales in contemporary Persian poetry and Al-Bayati in contemporary Arabic poetry comprises many Romantic elements. This article is mainly a comparative analysis ofthe titles of the two collections: Akhavan's Zemestan and Albayati's Al-Majd lil-Atfal wal-Zeitoon.The researchers attempt through a content analytic method to show and compare the presence of Romantic elements in these poetical titles. The results show that some Romantic elements such as return to childhood, escape and travelling, sadness and loneliness and Romantic archaism are obviously reflected in the titles of the two collections of Akhavan and Al-Bayati. The title has an important role in forming the general identity of the text, and this fact indicates the special position of Romanticism in the two poets’ perspective. Some Romantic elements, such as nationality, are reflected in Al-Bayati's poetic title, but this feature is not seen in Akhavan's poetic title, though the case is different in the text of his poems

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Narrativization is an efficient manner to create literary texts, especially didactic ones.Two significant didacticpieces of literature, namely,KalileveDimne, and Golestan, have used the same method to convey their messages. This study investigates the narrative of fear and anger in the stories of these two books that have anthropomorphic animals :as char:acters. This article aims at analyzing the narrativization of fear and anger through the study of the language of narration, modes of action and expression of the actors who experience both emotions,andalso theirmotivations and the results of their actions. Some differences can be noticed in the language of narration, social class and the gender of the actors that is the result of the two authors’different perspectives, the purpose of their writings and the different origins of stories.

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Irony is one of the important and at the same time complex terms in rhetoric, philosophy and literary criticism that Persian texts have employed its potentialities under various headings such as satire, asterism, etc. In the meantime, one of the rhetorical basesofMasnavi isMawlawi's artistic and skillful use of humor and its various types. Mawlawi's specific skill in recognizing his  audience  and his dedication to explicate grand concepts of religion, mysticism and morality led him tochoosehumor as an indirect way of expression because of its high functionality, and great power to attract and persuade the audience.This paves the way for different types of irony to appear in the entire Masnavi, especially in its Fifth Book. Among different types of ironythat are present in Masnaviare verbal, situational and dramatic ironies. In this article, which is library-based and is done through descriptive-analytic method, the authors will investigate different modes of irony in Mawlawi’sMasnavi. It concludes that because of Masnavi’s allegorical and diegetic character, dramatic irony has a special standing in Masnavi.

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Dr. Noon Loves His Wife More than Mussadiqis a modern political novel written by ShahramRahimian. Focusing on psychological complications of politicians, the novelgivesa different view of 1953 coup d'état in Iran. In this study, relying on Bakhtin’s definition of polyphony,we will draw out its examples from the novel and analyze its functionsthrough a descriptive-analytic method. The question to answer in this article is what features polyphony has and howit is realized inthis text. Therefore this article stresses different features of polyphony such asabrupt shift in perspective, polyglossia among the social classes, the presence of various and opposite characteristics in one fictional character, heteroglossia, and intertextuality. Then, these will be investigated in the novel to support the claim that by providing the reader with varied tools, polyphonic novels lead the audience to a new understanding of the text.

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Ahli Torshizi is a poet of late ninth century A. H. and contemporary with Soltan Hussein Bayqara. His Divan was published about 50 years ago by Simon Israeli and OmraniChamraghi; yet, the biographical notes about his life are discordant, confused and at times distorted.In the later books, he is named as Muhammad ibn Yusuf, and Nafisi and consequently HadjSeyedDavoodi believe that he went to Tabriz after the decline of the Timuriadsand entered the court of SoltanYaghoub. He is also named as the author of Saghinameh and the translator ofTohfatolSoltan Fi ManagebolNaman.Akhtar Khan Hogoly, ModarresTabrizi, NazmiTabrizi, and OmraniChamraghiall have also claimed that he was originally from Tabriz but because he was born in the city of Tarshizi, he is known to be of this city. On the other hand, some great biographers claim that there is a poet known as AhliNavaei or AhliChagatai who was contemporary with Ahli Tarshizi.Investigation and analysis of allthe differences and the diversions in the biographical notes on Ahlicannot be explained here. However, this paper aims to carefullyanswer the following questions:
1. Was his name Muhammad ibn Yusuf?
2. Did Ahli compose Saghinameh?
3. Has Tarshizi translated the book of TohfatolSoltan Fi ManagebolNaman?
4. Is he originally from Tabriz?
5. Does a poet called AhliNavaei or Ahli Chagatai exist?
6. Has Ahli entered the court of SoltanYaghoub?

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 Bloomfield claimed the first connotation is an independent notion in linguistics. By this term, linguists invite us to have an innovative approach to meaning. According to this approach, words as utterances could be nourished by several levels of secondary signification. How lexis of a text could be interpreted has been studied through the lens of several theories,most notably: semiotics, poetics, semantics and discourse analysis. This article approached this issue from a rhetoric-semantic perspective.Methodology in this article is primarily hermeneutics and is concerned with an analysis of connotations in the field of semantics, and exploration of the meanings of interrogative statements. Through these two approaches, the author projects an analytical model to actualize a deeper study of the latent aspect of meaning or associations of utterances in the context of literature. This model includes four features which consist of semantic, lexical, phonetic and syntactic elements. First, this article concludes that connotative significance must be considered the same as the imageries of a text; Second, it shows how to analyze the significations of the text for the purpose of distinguishing the stylistic and semantic differences of two texts or authors.
 

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

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One of the basic characteristics of satire is its humour. When dealing with supreme subjects like death, Satire sometimes movesaway from its basic characteristics such as comicality, candor and accessibility and becomes less relieving and more bitter and sad. When satire deals with death, which is always mysterious and tragic for humans, it fails to provide any absolute relief;instead it brings about short term forgetfulness in the audience through diverting their attention, and givesthem a temporary sense ofbliss. This article identifies satire of death as a complex genre and analyzes its different aspects in samplepoems by Shams Langaroudi. We will see that Shams uses different methods of satire of death to deal with this phenomenon and its related concepts such as thanatophobia. The article reveals that satire of death in poems of Shams reflects human's fear and apprehension about certainty of death and emphasizes the physical and bodily dimension of human being in the natural world.