University of TabrizPersian Language and Literature2251-79797424420220319Nezami's LanguageNezami's Language1311442710.22034/perlit.2022.47080.3117FATaghiPournamdarianprofessor, Institute for Humanities and Cultural Studies,Tehran, Iran0000-0001-8834-5174MostafaMousaviAssociate Professor Department of Persian Language & literature,
University of Tehran, Iran0000-0002-5027-7214Journal Article20210719Abstract:<br /><br />Nezami Ganjavi, a Persian poet of the sixth century AH, has been introduced as a Turk in some directional studies of the last few decades. In this article, we have tried, firstly, by referring to the works of Nezami Ganjavi, in which there is no doubt about their attribution, and secondly, by referring to sources that have existed in this regard from the distant past to the present. And also published research and analysis on the subject under discussion, to examine the language of the military. In this study, it became clear that the mother tongue of the Iranian military dialect has been one of the various dialects in the history and vast geography of Iran, to which we have received many poems known as Fahlaviyyat in the margins of texts and manuscripts. The language of Nezami poetry was Persian Dari and there is no credible evidence that the verse was written in Turkish.Abstract:<br /><br />Nezami Ganjavi, a Persian poet of the sixth century AH, has been introduced as a Turk in some directional studies of the last few decades. In this article, we have tried, firstly, by referring to the works of Nezami Ganjavi, in which there is no doubt about their attribution, and secondly, by referring to sources that have existed in this regard from the distant past to the present. And also published research and analysis on the subject under discussion, to examine the language of the military. In this study, it became clear that the mother tongue of the Iranian military dialect has been one of the various dialects in the history and vast geography of Iran, to which we have received many poems known as Fahlaviyyat in the margins of texts and manuscripts. The language of Nezami poetry was Persian Dari and there is no credible evidence that the verse was written in Turkish.https://perlit.tabrizu.ac.ir/article_14427_870a4fb227ed0a136c331dfba37b8a34.pdfUniversity of TabrizPersian Language and Literature2251-79797424420220318"šād",," may" and " pašēmān šudan, ",
(A Revew of Three Words of Shahnameh)"šād",," may" and " pašēmān šudan, ",
(A Revew of Three Words of Shahnameh)33511442410.22034/perlit.2022.50092.3266FAMohammad HasanJalalian ChaleshtariAssociate Professor, Department of Ancient Culture and Languages, University of Tabriz. Iran0000-0002-0992-7158Journal Article20220126Shahnameh isone of the most detailed works of the first centuries of the officialization and spread of Dari Persian after Islam. This precious treasure contains authentic and reliable evidence of the Persian language elements of this period and contains many keys in solving the unknown issues of the mother of Dari Persian language, i.e. Middle Persian. Conversely, due to the antiquity of its language, there are points in this work that cannot be known except through the knowledge of Middle Persian and other Middle and Old Iranian Languages. In this article, three words "šād", "may" and "pašēmān šudan" are discussed in Shahnameh and using the internal evidence of this work as well as some evidence of other Persian texts as well as evidence from ancient languages, different meanings for the first two words and a lesser-known construction for a specific structure of the third one is presented in Dari Persian. The suggested meaning for "šād" is "rich and wealthy". The word "may" is considered to be the original Persian form of "maγāk" and "pašēmān šudan" is considered as an impersonal verb.Shahnameh isone of the most detailed works of the first centuries of the officialization and spread of Dari Persian after Islam. This precious treasure contains authentic and reliable evidence of the Persian language elements of this period and contains many keys in solving the unknown issues of the mother of Dari Persian language, i.e. Middle Persian. Conversely, due to the antiquity of its language, there are points in this work that cannot be known except through the knowledge of Middle Persian and other Middle and Old Iranian Languages. In this article, three words "šād", "may" and "pašēmān šudan" are discussed in Shahnameh and using the internal evidence of this work as well as some evidence of other Persian texts as well as evidence from ancient languages, different meanings for the first two words and a lesser-known construction for a specific structure of the third one is presented in Dari Persian. The suggested meaning for "šād" is "rich and wealthy". The word "may" is considered to be the original Persian form of "maγāk" and "pašēmān šudan" is considered as an impersonal verb.https://perlit.tabrizu.ac.ir/article_14424_d99b6c4a1a901fd761cd0e61e2279561.pdfUniversity of TabrizPersian Language and Literature2251-79797424420220319Validation of the Events of Abu Said's Trip to Kharghan Based on the report of Asrar-AltwahidValidation of the Events of Abu Said's Trip to Kharghan Based on the report of Asrar-Altwahid53761442210.22034/perlit.2022.48698.3209FAAmir HosseinHematiAssociate Professor, Department of Persian language and literature, Shahrekord Branch, islamic Azad University,, iranJournal Article20211029One of the detailed anecdotes in Asrar-Altawhid is the story that recounts the travel of Abu Said Abulkhair to Kharghan. The author of the book uses the account of Khaje Hasan Moadab. Corroboration of what is mentioned in Asrar-Altawhid with the same story mentioned in Montakhabeh Norol-olum and the treaty of Ghotbolsalekin, reveals some discrepancies. These discrepancies include several issues and in one case they have led to some ambiguities in the account. This issue makes it necessary to investigate the truth of the events in this trip and to disambiguate the reports of Asrar-Altawhid. The results indicate that the original raconteur of the events on this trip, in two cases and with a hidden motif, has distorted what has happened to Abu Said in Kharghan. One of these distortions recounts the real intention of Abu Said for going on this trip to Kharghan and the other one is the speech or the silence of Abu Said in the presence of Sheikh Abol-hasan.One of the detailed anecdotes in Asrar-Altawhid is the story that recounts the travel of Abu Said Abulkhair to Kharghan. The author of the book uses the account of Khaje Hasan Moadab. Corroboration of what is mentioned in Asrar-Altawhid with the same story mentioned in Montakhabeh Norol-olum and the treaty of Ghotbolsalekin, reveals some discrepancies. These discrepancies include several issues and in one case they have led to some ambiguities in the account. This issue makes it necessary to investigate the truth of the events in this trip and to disambiguate the reports of Asrar-Altawhid. The results indicate that the original raconteur of the events on this trip, in two cases and with a hidden motif, has distorted what has happened to Abu Said in Kharghan. One of these distortions recounts the real intention of Abu Said for going on this trip to Kharghan and the other one is the speech or the silence of Abu Said in the presence of Sheikh Abol-hasan.https://perlit.tabrizu.ac.ir/article_14422_d7c7c2d7a254ebb29536fd0ddece63ff.pdfUniversity of TabrizPersian Language and Literature2251-79797424420220319dating two epics called Faramarznamehdating two epics called Faramarznameh77961442510.22034/perlit.2022.50431.3278FAVahidIdgahAssistant Professor, Department of Persian Language and Literature, University of Tehran, IranHamidrezaAzimiAssistant Professor, Department of Persian Language and Literature, University of Tehran, IranJournal Article20220216Abstract<br /><br />Among the well-known heroic long poems, there are two called Faramarznameh, the first one the big Faramarznameh and the second one the small Faramarznameh. The editors of both texts have dated them as belonging to the fifth and the sixth centuries A.H., respectively. But in both works there are signs that are not compatible with these claimed dates. These signs have not yet been fully studied, but have attracted the attention of some researchers to some extent. In this article, after mentioning the opinions of researchers about the antiquity of the two works and evaluating the related arguments and documents, focusing on the language of these two poems, it is shown that neither of these two works can be regarded from pre-Mongol texts. In both works, the use of some words and grammatical constructions, especially phonetic features, along with some other linguistic and literary characteristics, leads the researcher to believe that the dating of both should be reconsidered and as a result, both of them should attributed to the eighth century A.H. or even afterwards.Abstract<br /><br />Among the well-known heroic long poems, there are two called Faramarznameh, the first one the big Faramarznameh and the second one the small Faramarznameh. The editors of both texts have dated them as belonging to the fifth and the sixth centuries A.H., respectively. But in both works there are signs that are not compatible with these claimed dates. These signs have not yet been fully studied, but have attracted the attention of some researchers to some extent. In this article, after mentioning the opinions of researchers about the antiquity of the two works and evaluating the related arguments and documents, focusing on the language of these two poems, it is shown that neither of these two works can be regarded from pre-Mongol texts. In both works, the use of some words and grammatical constructions, especially phonetic features, along with some other linguistic and literary characteristics, leads the researcher to believe that the dating of both should be reconsidered and as a result, both of them should attributed to the eighth century A.H. or even afterwards.https://perlit.tabrizu.ac.ir/article_14425_cedc06494bfc657e21613920415f8882.pdfUniversity of TabrizPersian Language and Literature2251-79797424420220319Shirin a Queen in Khuzestan or a Princess in Armenia?Shirin a Queen in Khuzestan or a Princess in Armenia?971221442110.22034/perlit.2022.48488.3199FAGhodratGhasemipourAssociate Professor, Department of Persian Language and Literature, Shahid Chamran University of Ahvaz, IranJournal Article20211017با توّجه به اینکه سیمای شیرین در منابعِ تاریخی با سیمای داستانیِ او تفاوت دارد، در این مقاله ابتدا به چگونگیِ جایگاه و موطن او در منابعِ کهنِ فارسی، سریانی، رومی و ارمنی پرداختهایم؛ در منابعی همچون تاریخ بلعمی و شاهنامه، شیرینْ کنیز و محبوبۀ خسرو است و ذکری هم از موطن و اصالت او نیامده، امّا در منابعی دستهاوّل و همروزگار با خسرو و شیرینِ تاریخی، همچون رویدادنامۀ سریانی، تاریخ سبئوس، تاریخ تئوفیلاکت سیموکاتا، شیرینْ اهلِ خوزستان و نواحیِ جنوبِ غربیِ ایرانشهرِ عهدِ ساسانی یا میانرودان دانسته شده است. امّا اینکه چرا شیرین که در روایات تاریخی، اهلِ جنوبِ غرب ایران یا خوزستان بوده و در روایاتِ ناحیۀ اران، مبدّل به شاهدختی ارمنستانی شده، برخاسته از چند پیشزمینه و دلیلِ تاریخی دانستهایم بدین قرار: 1) روایتپردازانِ این قصه خود اهلِ این ناحیه بودهاند و او را از آنِ خود کردهاند؛ 2) بینِ ایران و ارمنستان در ادوارِ تاریخیِ باستانی، با وجود کشاکشهای گوناگون و دخالتهای رومِ شرقی، روابط و مناسباتِ فرهنگیِ فراوانی وجود داشته؛ 3)با توّجه به اینکه سیمای شیرین در منابعِ تاریخی با سیمای داستانیِ او تفاوت دارد، در این مقاله ابتدا به چگونگیِ جایگاه و موطن او در منابعِ کهنِ فارسی، سریانی، رومی و ارمنی پرداختهایم؛ در منابعی همچون تاریخ بلعمی و شاهنامه، شیرینْ کنیز و محبوبۀ خسرو است و ذکری هم از موطن و اصالت او نیامده، امّا در منابعی دستهاوّل و همروزگار با خسرو و شیرینِ تاریخی، همچون رویدادنامۀ سریانی، تاریخ سبئوس، تاریخ تئوفیلاکت سیموکاتا، شیرینْ اهلِ خوزستان و نواحیِ جنوبِ غربیِ ایرانشهرِ عهدِ ساسانی یا میانرودان دانسته شده است. امّا اینکه چرا شیرین که در روایات تاریخی، اهلِ جنوبِ غرب ایران یا خوزستان بوده و در روایاتِ ناحیۀ اران، مبدّل به شاهدختی ارمنستانی شده، برخاسته از چند پیشزمینه و دلیلِ تاریخی دانستهایم بدین قرار: 1) روایتپردازانِ این قصه خود اهلِ این ناحیه بودهاند و او را از آنِ خود کردهاند؛ 2) بینِ ایران و ارمنستان در ادوارِ تاریخیِ باستانی، با وجود کشاکشهای گوناگون و دخالتهای رومِ شرقی، روابط و مناسباتِ فرهنگیِ فراوانی وجود داشته؛ 3)https://perlit.tabrizu.ac.ir/article_14421_d504135c1ae73ae9368d5327048ee002.pdfUniversity of TabrizPersian Language and Literature2251-79797424420220319Visual Language of the Tarikh Jahangosha-ye Joveyni (By Study on two Illustrated Manuscripts)Visual Language of the Tarikh Jahangosha-ye Joveyni (By Study on two Illustrated Manuscripts)1231511442310.22034/perlit.2022.48803.3218FAFatemehMahvanFatemeh Mahvan
Assistant professor
Persian Language and Literature
Ferdowsi University of Mashahd.IranJournal Article20211104Tarikh Jahangosha narrates the invasion and rule of the Ilkhanid over Iran. Illustrated manuscripts of Tarikh Jahangosha reveal the terribly painful memories that Iranian kept in their heart’s wounds by Ilkhanid rulers. Visual language of the Illustrations shows secrets of history that cannot be expressed by the text. Therefore, the study of these paintings is as important as the study of its text. This article examines Tarikh Jahangosha’s paintings from the perspective of symbolism and composition by study on two illustrated manuscripts. Then, it answers these questions: symbolism in Tarikh Jahangosha have been influenced by what cultures? What pictorial features did the painters use to show the legitimacy of the kings (Farreh)? How does the images composition reveal the narrative of victory or defeat? The results show that paintings represent a hidden part of the history that cannot be achieved in the text, so we should pay more attention to the paintings of historical texts as a visual language and valuable historic document.Tarikh Jahangosha narrates the invasion and rule of the Ilkhanid over Iran. Illustrated manuscripts of Tarikh Jahangosha reveal the terribly painful memories that Iranian kept in their heart’s wounds by Ilkhanid rulers. Visual language of the Illustrations shows secrets of history that cannot be expressed by the text. Therefore, the study of these paintings is as important as the study of its text. This article examines Tarikh Jahangosha’s paintings from the perspective of symbolism and composition by study on two illustrated manuscripts. Then, it answers these questions: symbolism in Tarikh Jahangosha have been influenced by what cultures? What pictorial features did the painters use to show the legitimacy of the kings (Farreh)? How does the images composition reveal the narrative of victory or defeat? The results show that paintings represent a hidden part of the history that cannot be achieved in the text, so we should pay more attention to the paintings of historical texts as a visual language and valuable historic document.https://perlit.tabrizu.ac.ir/article_14423_dc3aed97ca90052c3e5f8dc30b50add3.pdfUniversity of TabrizPersian Language and Literature2251-79797424420220318Introduction and Analysis Rashid Tabrizi's manuscripts and study about Its stylisticIntroduction and Analysis Rashid Tabrizi's manuscripts and study about Its stylistic1531871389910.22034/perlit.2021.44553.3017FAShahlaHajtalebiPHD Student in Persian language and literature group, Branch of Najafabad Islamic Azad University, Najafabad , Iran.MehdiNourianProfessor of Persian language and literature group, Branch of Najafabad Islamic Azad University, Najafabad , IranJournal Article20210223Persian literary works in verse and prose are included in authoritative document's history of intellectual, linguistics and literary Background about Persian language cultural. Introduced Manuscript of these works and check its features out is an important step in the study of linguistics and literary value of these writings. In this study, we pay attention to introduction and release of corpus of Rashid Tabrizi's Manuscript by descriptive – analytical method and check its method out. Rashid Tabrizi is one of the important poets of the Safavid era in the eleventh century who was related to the Safavid court directly. Corpus of Rashid Tabrizi has important features in terms of intellectual, linguistics, and literary that checking it out has necessary to understand the poetry of the Safavid era and the eleventh century. In general, the most important features of Rashid Tabrizi's poetry at the intellectual level, are praising Imam Ali, praising kings and courtiers, and complained Conditions of the day and art's stagnation. As well as Arabic vocabulary diversity, Mystical Idioms diversity and frequency diversity and mystical terms of the composition of the nominative, accusative and infinitive of the most characteristic of his poetry. The original property of his poetry is The frequency of similes and metaphors in verb in current literary, impressive frequency contradictory the use of puns and row verses feature high frequency.Persian literary works in verse and prose are included in authoritative document's history of intellectual, linguistics and literary Background about Persian language cultural. Introduced Manuscript of these works and check its features out is an important step in the study of linguistics and literary value of these writings. In this study, we pay attention to introduction and release of corpus of Rashid Tabrizi's Manuscript by descriptive – analytical method and check its method out. Rashid Tabrizi is one of the important poets of the Safavid era in the eleventh century who was related to the Safavid court directly. Corpus of Rashid Tabrizi has important features in terms of intellectual, linguistics, and literary that checking it out has necessary to understand the poetry of the Safavid era and the eleventh century. In general, the most important features of Rashid Tabrizi's poetry at the intellectual level, are praising Imam Ali, praising kings and courtiers, and complained Conditions of the day and art's stagnation. As well as Arabic vocabulary diversity, Mystical Idioms diversity and frequency diversity and mystical terms of the composition of the nominative, accusative and infinitive of the most characteristic of his poetry. The original property of his poetry is The frequency of similes and metaphors in verb in current literary, impressive frequency contradictory the use of puns and row verses feature high frequency.https://perlit.tabrizu.ac.ir/article_13899_0f3fdef424fbb489d798d43cf4bc698b.pdfUniversity of TabrizPersian Language and Literature2251-79797424420220319Psychological Critique of Shahnameh Women Based on Jung's Theory (Based on the Characters of Gordafarid, Katayoun and Tahmineh)Psychological Critique of Shahnameh Women Based on Jung's Theory (Based on the Characters of Gordafarid, Katayoun and Tahmineh)1862161442010.22034/perlit.2022.47495.3146FAVahidAlibaygi SarhaliGraduate, Doctor of Persian Language and Literature, Urmia University, IranAfsanehRamezaniPhD student in Persian language and literature, Yasouj University, IranJournal Article20210817Psychological critique is one of the most important areas of literary criticism based on modern psychology and Jung's theories. It uses a variety of archetypes to analyze people's personalities and evaluates their behavior in various cases. Meanwhile, the book Shahnameh and its female characters are important from various points of view, and in this study, their psychoanalysis is examined from Jung's point of view. Among them, Gerdafarid, Katayoun and Tahmineh have outstanding personalities who have various archetypes inherent in their nature that we have evaluated their psychoanalysis through various studies and the use of Jung's theories. Meanwhile, the archetypes of motherhood and individuality, along with the occurrence of animus symptoms in different situations, have distinguished their personality in every way, which is well demonstrated by the potential behaviors that have emerged from them, the psychology of their personality. Examining the people discussed in the Shahnameh, it was found that among the characters studied, Katayoun has the most ancient signs of the pattern, and his behavioral cues in various cases make the above theory more prominent. This research, which was done by analyzing the verses and describing their behaviors, evaluated the personality of each of the women discussed in the Shahnameh, and by using Jung's theories; we have interpreted and explained the different patterns of each individual.Psychological critique is one of the most important areas of literary criticism based on modern psychology and Jung's theories. It uses a variety of archetypes to analyze people's personalities and evaluates their behavior in various cases. Meanwhile, the book Shahnameh and its female characters are important from various points of view, and in this study, their psychoanalysis is examined from Jung's point of view. Among them, Gerdafarid, Katayoun and Tahmineh have outstanding personalities who have various archetypes inherent in their nature that we have evaluated their psychoanalysis through various studies and the use of Jung's theories. Meanwhile, the archetypes of motherhood and individuality, along with the occurrence of animus symptoms in different situations, have distinguished their personality in every way, which is well demonstrated by the potential behaviors that have emerged from them, the psychology of their personality. Examining the people discussed in the Shahnameh, it was found that among the characters studied, Katayoun has the most ancient signs of the pattern, and his behavioral cues in various cases make the above theory more prominent. This research, which was done by analyzing the verses and describing their behaviors, evaluated the personality of each of the women discussed in the Shahnameh, and by using Jung's theories; we have interpreted and explained the different patterns of each individual.https://perlit.tabrizu.ac.ir/article_14420_05ff0fd05de84d04d634ec57f7c963f5.pdfUniversity of TabrizPersian Language and Literature2251-79797424420220319The Role of Popular Words and Interpretaions in the Reflection of Social criticism. A case study of Panj NamayeshNameh by Mirza Agha TabriziThe Role of Popular Words and Interpretaions in the Reflection of Social criticism. A case study of Panj NamayeshNameh by Mirza Agha Tabrizi2172451441910.22034/perlit.2022.47489.3144FAHamidJafari Ghariyeh AliAssociate Professor, Department of Persian Language and Literature, Rafsanjan University, IranJournal Article20210817"Five Plays" written by Mirza Agha Tabrizi is one of the first plays in Persian literature. It shows the corruption in Nasserite period with a humorous tone. Despite the lack of unity of time, place and subject, these plays are important because they contain some historical facts. The status and validity of the dialectic element in plays is an important factor influencing the presence of colloquial expressions in this type of literature. In folk literary texts, the grammatical and lexical structures of the vernacular language are the focal point due to their prominence. According to their capabilities, these structures sometimes explicitly (sometimes ironically) depict images of social realities, which are criticized by the author. This descriptive-analytical research investigates the words and expressions of pop culture that increase the theatrical capacity of narratives and also effectively reflects social situations. According to the findings, in Mirza Agha Tabrizi's plays, grammatical elements, ironies, adjectives, language in Five Plays by Mirza Agha Tabrizi is purposeful. The purposeful presence of marked popular words directs narrative reports, social critique and fluent style of the author.adverbs and verbs derived from popular culture (with high frequency) are recurrent. Due to its transparency and communicative capability in theatricality of plays, they can be of help to the author. Therefore, it can be said that marked word choice of colloquial"Five Plays" written by Mirza Agha Tabrizi is one of the first plays in Persian literature. It shows the corruption in Nasserite period with a humorous tone. Despite the lack of unity of time, place and subject, these plays are important because they contain some historical facts. The status and validity of the dialectic element in plays is an important factor influencing the presence of colloquial expressions in this type of literature. In folk literary texts, the grammatical and lexical structures of the vernacular language are the focal point due to their prominence. According to their capabilities, these structures sometimes explicitly (sometimes ironically) depict images of social realities, which are criticized by the author. This descriptive-analytical research investigates the words and expressions of pop culture that increase the theatrical capacity of narratives and also effectively reflects social situations. According to the findings, in Mirza Agha Tabrizi's plays, grammatical elements, ironies, adjectives, language in Five Plays by Mirza Agha Tabrizi is purposeful. The purposeful presence of marked popular words directs narrative reports, social critique and fluent style of the author.adverbs and verbs derived from popular culture (with high frequency) are recurrent. Due to its transparency and communicative capability in theatricality of plays, they can be of help to the author. Therefore, it can be said that marked word choice of colloquialhttps://perlit.tabrizu.ac.ir/article_14419_142af62c81a426f4896a9aaf5ee0d57b.pdfUniversity of TabrizPersian Language and Literature2251-79797424420220319Critical discourse analysis of modernityCritical discourse analysis of modernity2472731441710.22034/perlit.2022.42078.2926FAMohamamdMOHAMMADI-AGHDASHAssistant Professor, Department of French Language and Literature, University of Tabriz, IranBehnamMoharamzadehPhD Student in French Language and Literature, Islamic Azad University, Science and Research Branch, Tehran, IranJournal Article20200930تحلیل گفتمان انتقادی شاخهای جدید و بین رشتهای در علوم انسانی و بالاخص در حوزه نقد زبانشناختی است که در سالهای اخیر توسعه بیشتری پیدا کرده و در تحلیل مسائل مختلف سیاسی- اجتماعی و البته متون ادبی خودنمایی میکند. نورمن فرکلاف نظریه پرداز و بنیانگذار این جریان فلسفی-زبانشناختی در اواخر قرن بیستم میلادی با دریافت و گذر از نظریات نشانهشناسی، تأویلگرایی گادامر، دیرینهشناسی میشل فوکو و با رد آراء صرفا اقتصادگرایانهی نئوکمونیستها و با نگاهی به پساساختارگرایی دریدایی توانست مفهوم گفتمان قدرت و مردم را از طریق ساختهای ایدئولوژیک به دستآمده از صورتهای زبانی تازگی ببخشد.<br /><br />مقالهی حاضر میکوشد با رویکردی تطبیقی، مفهوم کلیدی و کلان مدرنیته را در بافت موقعیتی رمانهای مدیر مدرسه از جلال آل احمد و سفر به انتهای شبِ لویی-فردینان سِلین فرانسوی، که اصطلاح مدرنیته به عنوان گفتمان قدرت در رمانهای نیمه اتوبیوگرافیک (خود زندگینامه) مذکور در تضاد با گفتمان رسمی قهرمانهای داستان است، بر اساس رویکرد نظری نورمن فرکلاف تحلیل و بررسی کند. باید گفت که آل احمد در مدیر مدرسه قصد انتقاد از عواقب جامعهای را دارد که غربزده شده و به تقلید از مدرنیتهی غربی اخلاق، معنویات و فرهنگ سنتی را به فراموشی سپردهاست. سِلین نیز در سفر به انتهای شب با دنیای پست مدرن غرب و گفتمان مدرنیته که در جایگاه گفتمان قدرت قرار دارد، رسم و رسوم جاری بین افراد جامعه را، که تحت تاثیر پدیدهی مدرنیزاسیون دولتی و ظهور بیش از پیش ماشینهای صنعتی هویت انسانی خود را باختهاند، در قالب جملات قصار و لحن عامیانه به دیدهی تحقیر مینگرد.تحلیل گفتمان انتقادی شاخهای جدید و بین رشتهای در علوم انسانی و بالاخص در حوزه نقد زبانشناختی است که در سالهای اخیر توسعه بیشتری پیدا کرده و در تحلیل مسائل مختلف سیاسی- اجتماعی و البته متون ادبی خودنمایی میکند. نورمن فرکلاف نظریه پرداز و بنیانگذار این جریان فلسفی-زبانشناختی در اواخر قرن بیستم میلادی با دریافت و گذر از نظریات نشانهشناسی، تأویلگرایی گادامر، دیرینهشناسی میشل فوکو و با رد آراء صرفا اقتصادگرایانهی نئوکمونیستها و با نگاهی به پساساختارگرایی دریدایی توانست مفهوم گفتمان قدرت و مردم را از طریق ساختهای ایدئولوژیک به دستآمده از صورتهای زبانی تازگی ببخشد.<br /><br />مقالهی حاضر میکوشد با رویکردی تطبیقی، مفهوم کلیدی و کلان مدرنیته را در بافت موقعیتی رمانهای مدیر مدرسه از جلال آل احمد و سفر به انتهای شبِ لویی-فردینان سِلین فرانسوی، که اصطلاح مدرنیته به عنوان گفتمان قدرت در رمانهای نیمه اتوبیوگرافیک (خود زندگینامه) مذکور در تضاد با گفتمان رسمی قهرمانهای داستان است، بر اساس رویکرد نظری نورمن فرکلاف تحلیل و بررسی کند. باید گفت که آل احمد در مدیر مدرسه قصد انتقاد از عواقب جامعهای را دارد که غربزده شده و به تقلید از مدرنیتهی غربی اخلاق، معنویات و فرهنگ سنتی را به فراموشی سپردهاست. سِلین نیز در سفر به انتهای شب با دنیای پست مدرن غرب و گفتمان مدرنیته که در جایگاه گفتمان قدرت قرار دارد، رسم و رسوم جاری بین افراد جامعه را، که تحت تاثیر پدیدهی مدرنیزاسیون دولتی و ظهور بیش از پیش ماشینهای صنعتی هویت انسانی خود را باختهاند، در قالب جملات قصار و لحن عامیانه به دیدهی تحقیر مینگرد.https://perlit.tabrizu.ac.ir/article_14417_5173193860f5aacb64eb592eedb3889e.pdfUniversity of TabrizPersian Language and Literature2251-79797424420220318A Study of Affecting Factors in the Speed of Narrative in Gholam Hossein Sa'edi’s Smiling Tatar in the Light of Gerard Genette's NarratologyA Study of Affecting Factors in the Speed of Narrative in Gholam Hossein Sa'edi’s Smiling Tatar in the Light of Gerard Genette's Narratology2752981441610.22034/perlit.2022.38729.2755FASedegeh KobraSadagiyaniPhDStudent in Persian Language and Literature, Islamic Azad University, Tabriz Branch, IranHamid RezaFarziAssociate Professor, Department of Persian Language and Literature, Islamic Azad University, Vahd, Tabriz, IranNasserDashtpaymaAssistant Professor, Department of English Language and Literature, Islamic Azad University, Tabriz Branch. IRANJournal Article20200306Time is a significant and essential component in the creation of a novel. It has such a fundamental position in narrative, some critics believe that the most significant feature of narrative identification is its time. The authors’ playing with time increase the attractiveness of narrative, and indicates the way s/he chooses the events. By going through the authors’ playing with time, we realize the significance of an event in the author's view to achieve her/his goal. Genette, French structuralist theorist, has played a significant role in the development of the concept of time in narrative, as one of the important components of the advancement of narrative. Considering this issue, the present research paper has explored affecting factors on the speed of narrative, through a descriptive-analytical approach in Sa'edi’s Smiling Tatar in the light of Genette's Narratology. The speed of narrative is explored to find out the duration of actions/events over time and find out what the portion of a book is devoted to them in a specific span of time. The results of this research indicate that in Sa'edi’s Smiling Tatar, the author creates a modern story by creating a narrative, based on non-linear structure, in which the element of the time is very cardinal. Based on the concept of time in Genette's narratology, it can be concluded that in different parts of Sa'edi’s Smiling Tatar, due to having a lot of reducing factors of the text narrative speed, the validity is negative and the speed of narration is slow.Time is a significant and essential component in the creation of a novel. It has such a fundamental position in narrative, some critics believe that the most significant feature of narrative identification is its time. The authors’ playing with time increase the attractiveness of narrative, and indicates the way s/he chooses the events. By going through the authors’ playing with time, we realize the significance of an event in the author's view to achieve her/his goal. Genette, French structuralist theorist, has played a significant role in the development of the concept of time in narrative, as one of the important components of the advancement of narrative. Considering this issue, the present research paper has explored affecting factors on the speed of narrative, through a descriptive-analytical approach in Sa'edi’s Smiling Tatar in the light of Genette's Narratology. The speed of narrative is explored to find out the duration of actions/events over time and find out what the portion of a book is devoted to them in a specific span of time. The results of this research indicate that in Sa'edi’s Smiling Tatar, the author creates a modern story by creating a narrative, based on non-linear structure, in which the element of the time is very cardinal. Based on the concept of time in Genette's narratology, it can be concluded that in different parts of Sa'edi’s Smiling Tatar, due to having a lot of reducing factors of the text narrative speed, the validity is negative and the speed of narration is slow.https://perlit.tabrizu.ac.ir/article_14416_9320abe893700146ea6193e3a219bc1a.pdfUniversity of TabrizPersian Language and Literature2251-79797424420220319The use of fate in Bijan Najdi's modernist storiesThe use of fate in Bijan Najdi's modernist stories2993201442610.22034/perlit.2022.47144.3120FAAliKeshavarz GadimiPhDStudent in Persian language and literature, Khodabandeh Branch.IranJavadTaheriAssistant Professor, Department of Persian Language and Literature, Islamic Azad University, Abhar Branch, IranLidaNamdarAssistant Professor, Department of Persian Language and Literature, Islamic Azad University, Khodabandeh Branch, IranJournal Article20210724Conclusion is one of the most important topics in narratology. The ambiguity and complex structure of the postmodern story, following the form, leads to various conclusions that make the understanding and reception of the results confusing and optimistic for the audience. In modern fiction, Bijan Najdi has created works by breaking the classical form and structure, which has led to various types of endings, which are in the form of rotation or rotation, multiple endings, parallel or parallel, endless end, false, open, definite, proposed for you. The use of these new techniques in the endings of the story by Bijan Najdi has not only contributed significantly to the attractiveness and variety of his works, but also shows his artistic creativity and high writing ability, so that in each of his stories, different examples of these forms can be seen. In this way, the present study, with the aim of explaining the types of endings in Najdi's postmodern novels, descriptively-analytically studies the stories of two groups of cheetahs that ran with me again from the same streets.Conclusion is one of the most important topics in narratology. The ambiguity and complex structure of the postmodern story, following the form, leads to various conclusions that make the understanding and reception of the results confusing and optimistic for the audience. In modern fiction, Bijan Najdi has created works by breaking the classical form and structure, which has led to various types of endings, which are in the form of rotation or rotation, multiple endings, parallel or parallel, endless end, false, open, definite, proposed for you. The use of these new techniques in the endings of the story by Bijan Najdi has not only contributed significantly to the attractiveness and variety of his works, but also shows his artistic creativity and high writing ability, so that in each of his stories, different examples of these forms can be seen. In this way, the present study, with the aim of explaining the types of endings in Najdi's postmodern novels, descriptively-analytically studies the stories of two groups of cheetahs that ran with me again from the same streets.https://perlit.tabrizu.ac.ir/article_14426_e3c32188cff1013ce9f0dcc46349e705.pdfUniversity of TabrizPersian Language and Literature2251-79797424420220319Narrative Grand decline in Moniru Ravanipur’ "Kuli Kanar e Atash"(Gypsy Beyond Fire)Narrative Grand decline in Moniru Ravanipur’ "Kuli Kanar e Atash"(Gypsy Beyond Fire)3213431441510.22034/perlit.2022.33751.2488FAManigeFarajianPhD student in Persian Language and Literature, Tabriz Branch, Islamic Azad University, Tabriz, IranAliDehghanAssociate Professor, Department of Persian Language and Literature, Islamic Azad University, Tabriz Branch, IranAyoubKoushanAssistant Professor, Department of Persian Language and Literature, Islamic Azad University, Tabriz Branch, IranJournal Article20190528Advances are the doctrinal and philosophical systems that legitimize the activities, institutions and social structure, values and cultural forms. In the past, these narratives represented a promising picture of the future of mankind. But in the postmodern world, they have not managed to organize the lives of people and have lost their credibility. Based on this, postmodern skepticism describes the prospectus. The decline of the prefectures is one of the important indices of post-modernist stories. Moniru RavaniPour is a writer who wrote his novels in post-modernist space. The present study examines the decline of the novelty in the novel "Kuli Kanare Atash(Gypsy Beyond Fire)" from this author. Because the collapse of many evidences with biological, religious, social, and rational and knowledgeable behaviors has been narrated in the novel "Gypsy Beyond Fire." As the evidences and analysis of the present paper show, psychoanalysis for the narrative of the decline of extras in the postmodern space rebuilt the scene of traditional life in a story, and with skillful symbolism, has been able to create a sophisticated atmosphere that The most important feature of post-modern human beings is the drawing of bias. The collapse of social traditions, the skepticism of political decades from Iranian history and violations of the classical writing styles - as a great narrative - are subjects that this article retrieves them in the novel "Gypsy to the Fire" and Has analyzed.Advances are the doctrinal and philosophical systems that legitimize the activities, institutions and social structure, values and cultural forms. In the past, these narratives represented a promising picture of the future of mankind. But in the postmodern world, they have not managed to organize the lives of people and have lost their credibility. Based on this, postmodern skepticism describes the prospectus. The decline of the prefectures is one of the important indices of post-modernist stories. Moniru RavaniPour is a writer who wrote his novels in post-modernist space. The present study examines the decline of the novelty in the novel "Kuli Kanare Atash(Gypsy Beyond Fire)" from this author. Because the collapse of many evidences with biological, religious, social, and rational and knowledgeable behaviors has been narrated in the novel "Gypsy Beyond Fire." As the evidences and analysis of the present paper show, psychoanalysis for the narrative of the decline of extras in the postmodern space rebuilt the scene of traditional life in a story, and with skillful symbolism, has been able to create a sophisticated atmosphere that The most important feature of post-modern human beings is the drawing of bias. The collapse of social traditions, the skepticism of political decades from Iranian history and violations of the classical writing styles - as a great narrative - are subjects that this article retrieves them in the novel "Gypsy to the Fire" and Has analyzed.https://perlit.tabrizu.ac.ir/article_14415_813b5d283db5a6244cfb893903c6130c.pdfUniversity of TabrizPersian Language and Literature2251-79797424420220319The Role of Empathy and Its Impact on Reader in Fariba Vafi’s "After the End"The Role of Empathy and Its Impact on Reader in Fariba Vafi’s "After the End"3453691441810.22034/perlit.2022.45877.3085FAKaramNayebpourAssociate Professor, Department of English Language and Literature, Faculty of Science and Literature, Ibrahim Chechen Aghri University, TurkeyUniversity, Turkey.NaghmehVarghaiyanDepartment of English Language and Literature, Faculty of Science and Letters,, Ağrı İbrahim Çeçen University,Journal Article20210505Emotion is one of the shared properties between fictional characters and real people. The manner and extent of representation of emotion in narrative affects the extent to which readers relate to the storyworld and determines their interpretation of the narrative meaning. In realist fiction, emotions plays a decisive role in narrative characterization. Fariba Vafi’s After the End is one of the examples. The plot in Vafi’s narrative is primarily based on the role of a sense of intimacy or empathy in how friendships between the main characters begin and end. By using a retrospective narrative method, Vafi’s novel narrates the process of the narrator’s introspection in relation to the reasons for the breakdown of her relationship with an old friend. Thus, the narration of the first person singular in Vafi’s novel can be considered as the narrator’s account of the evolution of her feelings and attitudes in regard to a past relationship. Drawing on the interdisciplinary approach of the emotion and narrative, which is a sub-branch of postclassical narratology, this paper examines the role of emotion, especially the role of intimacy or empathy in After the End. The essay has reached the conclusion that the narrative plot in Vafi’s novel is based on representation of human-like emotions such as intimacy and/or empathy. Such a familiar feature expands the reader’s feeling of empathy with the two central characters and also increases the narrative impact on the reader by facilitating his closer connection with the represented events and situations.Emotion is one of the shared properties between fictional characters and real people. The manner and extent of representation of emotion in narrative affects the extent to which readers relate to the storyworld and determines their interpretation of the narrative meaning. In realist fiction, emotions plays a decisive role in narrative characterization. Fariba Vafi’s After the End is one of the examples. The plot in Vafi’s narrative is primarily based on the role of a sense of intimacy or empathy in how friendships between the main characters begin and end. By using a retrospective narrative method, Vafi’s novel narrates the process of the narrator’s introspection in relation to the reasons for the breakdown of her relationship with an old friend. Thus, the narration of the first person singular in Vafi’s novel can be considered as the narrator’s account of the evolution of her feelings and attitudes in regard to a past relationship. Drawing on the interdisciplinary approach of the emotion and narrative, which is a sub-branch of postclassical narratology, this paper examines the role of emotion, especially the role of intimacy or empathy in After the End. The essay has reached the conclusion that the narrative plot in Vafi’s novel is based on representation of human-like emotions such as intimacy and/or empathy. Such a familiar feature expands the reader’s feeling of empathy with the two central characters and also increases the narrative impact on the reader by facilitating his closer connection with the represented events and situations.https://perlit.tabrizu.ac.ir/article_14418_99ac0e1c39124a8afc126700f0b36f35.pdf