@article { author = {Radmard, Abdollah and Radmard, Abdollah and Yahaghi, Mohammad Jafar and Najafzadeh, Mahdi}, title = {Characteristics and Function of the Ideal Prince in Farabi and Ferdowsi's Thought}, journal = {New Literary Studies}, volume = {53}, number = {3}, pages = {1-23}, year = {2020}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/JLS.2021.39468}, abstract = {Extended abstractIntroductionA large part of Ferdowsi's Shahnameh is about the kings of ancient Iran, and its central idea can also be clearly considered political.  If we compare Ferdowsi's political philosophy in Shahnameh with that of Iranian thinkers, Farabi will be the best one. Because of his philosophy about Utopia, Farabi is a pioneer. Formulating his theory, he had been influenced by Plato and Aristotle's philosophy, Islamic and Shiite theories, as well as the political thoughts of ancient Iran. However, what Farabi wrote about politics is "political philosophy" and what we found about politics in Shahnameh is "political thought" and as the word "thought" contains philosophy and beliefs, in this paper, the expression "political thought" also includes Farabi's political philosophy as well as Shahnameh's political views. It is because the political discussions talked more about the "king" and what attributes he should have and how he should govern in the ancient texts.Theoretical Framework and MethodThis paper uses a comparative approach that discusses literature, including philosophy, in relation to other fields in the arts and humanities. With this method, in a specific subject, the similarities and differences between the two texts can be shown and explained, without proving to be a direct influence on one another. The utopia of Farabi and Ferdowsi's Shahnameh are two historical products, and the study of political thinking in them will recreate a portion of the history of Iranian thought and complete our interpretation of it.The periods in which Farabi (259 / 259-339 AH) and Ferdowsi (329-411 / 416 AH) were living coincided with the ruling over Iran by Tazi and Turkish aliens. The starting point for theorizing on politics by them was to observe political crises. Farabi and Ferdowsi's strategic thinking were both formulated by witnessing the government's problem and attempting to offer a solution to it. The questions will be answered in this article: what are the qualities of an ideal ruler in the utopia of Farabi and Ferdowsi Shahnameh, and how does he govern?To address these questions, the characteristics and functions of the first ruler of the Farabi’s utopia (madine-ye fazele) are first taken from the works comprising his political thought and then the characteristics and functions of Shahe Armani in Ferdowsi's Shahnameh are drawn from the tales of the Iranian national epics and Ferdowsi’s speeches, articulated and ultimately compared with each other, and their similarities and differences are historically studied and analyzed.Review of LiteratureThere is no case that has comparatively studied the characteristics and performance of the first president in the utopia of Farabi and Shah Armani in Ferdowsi's Shahnameh, among the studies that have been performed so far and are somehow relevant to the subject of this article; however, several studies have been undertaken whose authors have separately analyzed Farabi's political thought and Ferdowsi. Moreover, there are other studies in Shahnameh that are somewhere dedicated to political concepts and issues or have discussed this subject. On the other hand, only three scholars have already made brief remarks in comparing the political theory of Farabi and Ferdowsi including Tabatabai (1367, 1383, 1395, 1397) and Rashed Mohsal (1387) and Asil (1381). The methodology of these two studies is similar to our approach in this article; Mojtabaei (1352) has tried to compare Plato's utopia with the Achaemenid Empire in Iran and Jokar (2006) has compared the utopia of Farabi in general with Saadi's utopia in Bustan.Conclusions and DiscussionThere are several contradictions between the thoughts of Farabi and the Shahnameh of Ferdowsi on the ideal prince: in a certain case, Farabi approved the rule of a council of elites, but the Shahnameh stresses the need for the Shah to be one. In Shahnameh, being Iranian requires being a ruler, but this issue has no place in Farabi's mind. In the structure of the utopia, Farabi did not consider a position for a minister or counsellor, but advisers have a very vital role in Shahnameh.The common features and roles suggested to the ruler of Armanshahr by Farabi and Ferdowsi include 1. The development and governance of Armanshahr by an individual who is superior and more complete than others with the goal of fulfilling needs and achieving prosperity and happiness. 2. The ruler's place in utopia is like God's place in the world. 3. The ideal prince must have comprehension and knowledge and be able to know the truth of God. 4. He is selected and motivated by God, the forerunner and the guide to happiness for human beings and knows the mysteries. 5. Eloquence, strength, fitness, piety, integrity, ambition, righteousness, bravery, and understanding the proper rite of governance are his other characteristics. 6. Owing to the virtue and specialization of people, this monarch organizes a special social structure and is vigilant not to disrupt it. 7. He aims through community engagement and civic collaboration to eradicate evils and accomplish the goodness.The picture of a desirable government, which is articulated in the language of philosophy as well the language of literature in the form of the national epic of Iran, is portrayed by these characteristics and functions and is a response to the crisis of rule in Farabi and Ferdowsi. In Farabi's ideology, the Islamic community (ummah) is the target society and the world is the idealistic version of it, and cultural Iran in the Persian language is the target society in Ferdowsi's political thought.It is therefore not unlikely that the parallels between the two hypotheses emerge from Iranshahri's political thought and the contradictions between the two arise from the differences in other sources, given the sources of these two concepts. But the Iranian component of both hypotheses appears to triumph over the other elements, as the correlations overshadow the differences. It may also be said that the sum of the views of Farabi and Ferdowsi on the ideal ruler is the same as the ideal of government in Iranian history, which Iranian thinkers have considered in different texts from the fourth century AH to the modern period. This is a formulation of the desired imperial perfection in texts that can somehow be considered as political thought in Iran.}, keywords = {Utopia,Shahnameh,Farabi,Ferdowsi,First ruler,Shah-i Armani}, title_fa = {ویژگی‌ها و عملکرد فرمانروای آرمانی در اندیشۀ فارابی و فردوسی}, abstract_fa = {یکی از مهم‌ترین مسأله‌ها در بررسی اندیشۀ سیاسی در متون فلسفی و ادبی این است که چه کسی با چه ویژگی‌هایی و چگونه باید حکومت کند. پاسخ به این پرسش، بخش مهمّی از آثار فلسفی و ادبی قدیم را که در حوزۀ اندیشۀ سیاسی مهم‌اند، در بر می‌گیرد. در این مقاله نیز ابتدا به بررسی ویژگی‌ها و عملکرد رئیس اوّل در مدینۀ فاضلۀ فارابی پرداخته‌ایم و سپس ویژگی‌ها و عملکرد شاه آرمانی در شاهنامۀ فردوسی را بررسی کرده‌ایم و درنهایت تفاوت‌ها و شباهت‌های این دو را نشان داده‌ایم. فارابی و فردوسی هر دو با درک بحران‌های سیاسی زمانۀ خویش، فرمانروایی آرمانی مدّ نظر خود را، یکی به‌ زبان فلسفۀ سیاسی و دیگری در قالب حماسۀ ملّی ایران، توصیف کرده‌اند که توصیف‌های آن‌ها در بیشتر موارد مشترک و نشان‌دهندۀ آرمان شاهی ایرانی در قرن چهارم هجری است. }, keywords_fa = {مدینۀ فاضله,شاهنامه,فارابی,فردوسی,رئیس اوّل,شاه آرمانی}, url = {https://jls.um.ac.ir/article_39468.html}, eprint = {https://jls.um.ac.ir/article_39468_0b41252f0963f475e3c59a2a51d6dffc.pdf} } @article { author = {Aghakhani bizhani, Mahmood and Mohammadi fesharaki, Mohsen}, title = {The Analysis of the Social Functions of Rituals and Celebrations in Shahnameh}, journal = {New Literary Studies}, volume = {53}, number = {3}, pages = {25-46}, year = {2020}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.2020.39339}, abstract = {Extended abstractIntroductionIn Iran's culture, there are symbolic and conventionalised rituals and celebrations that are held in various forms and times with different objectives. Some of these rituals and their related festivals are widely reflected in the Shahnameh. These festivals are the expressive of the mass regulations and the frequency of these practices that provide a framework for the Iranian society and culture to reproduces itself in it. In this paper, we shall be concerned with social functions of guest-accepting, mourning, festivals like Barkhahi, Sade, Norouz and Mehrgan based on the theory of Emile Durkheim along with analysing their mythical themes. The research questions include:What are the underlying rationales lying behind holding and preserving festivals in the Iranian culture and their reflection in Shahnamehh? What are the social functions of these festivals? Do these functions still continue to exist in today's society?Literature Review:There is a huge burden of various scholarly works on Shahnameh. Some of these works, in one way or another, are related to the present problem as it follows:Fazeli, M. T and Pourbakhtiyar, G. (2016). Analysing the Mourning Rituals in the Shahnameh and its Comparison with the very Rituals amongst Bakhtiyari Lor and Kokhak Lor Tribes. Quarterly Journal of Social Sciences, 10 (13), 121-144. In this paper, the authors concluded that there is quite a number of commonalities between the mourning rituals in the Shahnameh and the Luri-speaking people such as cutting hair, besprinkling dust on the head, tearing off the collar, and etc.Modaberri, M. and Alinejad, M. (2013). Guest-Accepting Rituals in the Shahnameh. Journal of Letters and Language, 16 (34), 283-309. It is concluded that accepting ritual amongst the Iranian is reflected in the Shahnameh and includes the processes such as greeting the passenger and etc.Aghakhani, B., Toghyani, I., Mohammadi-Fesharaki, M. (2018). Sacrificing Ritual in the Shahnameh (the Tale of Rostam, Esfandiyar and Siyavash). Journal of Culture and Folk Literature, 6(20), 1-21. In this study, the authors concluded that there are no indications denoting sacrificing and the mentioned points refer to nullifying the calamity with blood.Ishragi, H. (1376). the Shahnameh from the Perspective of National Solidarity. Art and People, 153-154, pp. 74-85. The author argues that the Shahnameh has always been a unitising factor amongst the Iranian people due to its attempts to preserve the Persian language and culture and represent national myths.These studies have concentrated upon cultural elements in the Shahnameh but they have not dealt with the social functions of rituals and festivals based on Durkheim's theory. The present study seeks to identify and investigate the social functions of rituals and festivals in the Shahnameh according to Emile Durkheim's theory.MethodConcerning the objectives, the present study is a fundamental-theoretic one. As far as data collection is concerned, the data are grounded upon library resources that are analysed based on qualitative content analysis. The researcher has collected the required data about the analysis of social functions of certain rituals and festivals based on Durkheim's theory along with the analysis of mythical themes from different library resources. The data collection tools include note-taking and wave-like reading (see Sadegi-Fasayi and Irfan-manesh, (2016) in regard to the social functions of rituals and festivals in the Shahnameh. In the research methodology, the qualitative content can be considered as a research method to interpret the data in terms of the subjective-content method using systematic categorising procedures and designing well-known patterns (Iman, 2009, p. 172).Findings and DiscussionThe Shahnameh is a document that reveals the ways to preserve and reproduce cultural and religious elements using the representation of rituals and festivals. Of the most important represented rituals and festivals one can refer to accepting guests, Barkhahi, Norouz, Sade and Mehregan festivals. All these festivals enjoy sanctimonious and religious features.Ritualistic practices refer to vow renewal by the people in which the group matters far more than each of its individual members. Therefore, it is always necessary to preserve these festivals. These rituals, as a matter of fact, are the real source of social integration and are regarded as real links tying people together. Durkheim believes that rituals are necessary for the real ethical life to function. This is mainly because it is only through the rituals that a group proves and preserves itself.In ancient societies, too, there was an extensive and powerful "mass consciences" which imposed a monotonous agreement on what is right and what is wrong. In consequence, the ethical unity would be guaranteed insofar as the social members would have relied upon a series of symbolic realisations and common presumptions about the world around them.ConclusionIn mourning ritual, the people get close together through particular procedures. The public feature of such ceremonies leaves deep and strong influence upon the participants. On the other hand, it provides harmony and deep sympathy amongst the represented agony of the people in life. In its covert function, this constitutes solidarity and unity. As a matter of fact, people obtain their cultural self, that is their social self in one sense, as well as their religious self by simply taking part in these ceremonies. Barkhahi ritual refers to the problem of the king and legitimacy and consequently the relations between the king and the people. This ritual makes people come together in particular events such as Norouz and Mehrgan; therefore, it contributes to increasing the solidarity and unity between the people and the king. Undoubtedly, it adds to social stability.Concerning the guest/passenger-accepting ritual, playing music, rejoicing parties, attribution and etc. accentuate certain customs that denote solidarity-making function. Instigating emotional reactions followed by music, clapping, dancing, giving presents and happiness, serves to tighten the unity. The other function is to put emphasis upon an orderly network of links that tie an individual with the society; not only does it reproduce the social identity of an individual, but also finds a social realisation. In all the Sade, Norouz and Mehrgan festivals we witness accepting ritual which is along with emotional reactions such as music, clapping, dancing, giving presents and rejoicing. The people have quite active participation in festivals and the shred feature in all these festivals is peoples' collaboration and corporation. Therefore, it clear that festivals motivate the people to gather together (the overt function of unitising) and, in consequence, leads to forgive animosity (an evil symbol) and develop happiness and kindness (the covert function of unitising). Also, these rituals in the ceremonies and festivals create inner ties, social unity and ethical reconstruction of individuals. All these covertly refer to their social functions on the unitising affair.}, keywords = {Ferdowsi's Shahnameh,Emil Durkheim,Rituals,Social Function}, title_fa = {تحلیل کارکردهای اجتماعی آیین‌‌ها و جشن‌‌ها در شاهنامه بر اساس نظریۀ امیل دورکیم}, abstract_fa = {در فرهنگ ایران­ زمین، آیین­ها و جشن­ها، فعالیت­های نمادین، متعارف و مرسومی هستند که در اشکال، اهداف و زمان­های خاصی برگزار می­ شود. برخی از این آیین­ها، جشن­ها و مناسک مربوط به آنها در شاهنامه فردوسی بازتاب داده شده­اند که بیانگر قاعده­بندی فعالیت­های جمعی و آهنگ تکرار این فعالیت­ها است که جامعه و فرهنگ ایرانی خود را در آن بازتولید می ­کند. در این پژوهش به تحلیل کارکرد اجتماعی آیین­های پذیره مهمان یا مسافر، سوگواری، بارخواهی و جشن­های سده، نوروز و مهرگان همراه با تحلیل بن­مایه­های اسطوره­ای آن‌ها می­ پردازیم. این پژوهش به شکل بنیادی، بر پایة مطالعات کتابخانه­ای و به روش تحلیل محتوای کیفی انجام ‌شده است. پس از تحلیل داده­ها و یاری گرفتن از منابع گوناگون، می­توان گفت آیین­ها، جشن­ها و مناسک مربوط به آن‌ها، به تثبیت جامعه و به‌نوعی بازسازی اخلاقی مثبت کمک می­ کنند و کارکردی اجتماعی وحدت ­آفرین در جامعه دارند؛ بنابراین وجود جشن­ها و آیین­ها با انجام فعالیت­های نمادین، همواره سبب تقویت همبستگی، اتحاد مردم (در صورت­های آشکار و پنهان)، افزایش اقتدار و مشروعیت، بازتولید جامعه، هویت ایرانی و حفظ فرهنگ ایرانی می ­شود و به همین دلیل است که چنین آیین­ها و جشن­هایی هر ساله انجام می­ شوند.}, keywords_fa = {شاهنامه فردوسی,امیل دورکیم,آیین‌‌ها و جشن‌‌ها,کارکرد اجتماعی}, url = {https://jls.um.ac.ir/article_39339.html}, eprint = {https://jls.um.ac.ir/article_39339_9c5be488ce2b5ae60ce0b919d054a1a0.pdf} } @article { author = {rezaei dasht arzhaneh, mahmud and Abbasi, Hamed}, title = {Some Consideration for Editing the Burzunama-i Kuhan}, journal = {New Literary Studies}, volume = {53}, number = {3}, pages = {47-60}, year = {2020}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.2021.39396}, abstract = {Extended abstract Introduction The Burzunama is a great epic book on the wars of Burzu, son of Suhrab, which is commonly divided into two main parts: A. the old book; which is composed by Shams al-Din Muhammad Kusaj into Mutaqareb, the most important prosodic structure to compose epic poetry in Persian literature, in 8 A.H.; the latter part is known as one of the most important works which following the Firdawsi’s method among his celebrated book which is called Shahnama; that is for the most part known as the book of kings. B. the new volume; which is probably composed in 10 A.H. by an ordinary poet, whose name is Ataei. Both books were probably assembled together by Ataei. The book was amended by a contemporary scholar, Professor Akbar Nahwi, based on five manuscripts in 1387 S.H. which is one of the most coherent works on epic books that have been circulated after Shahnama and surprisingly there is no article on Professor Akbar Nahwi’s work. In Professor Akbar Nahwi’s work, before the main passage, there is a 77-pages analyzing introduction. At the end of that, an index on persons and places is regarded. The editor of the book had shown 12 manuscripts but just used 5 of them which were considered more important; including Central Library of Tehran University, National Library of Paris (2 manuscripts), Islamic Consultative Assembly Library, and Library of Cambridge University; and the latter was used as the main manuscript and most valuable one. Although undoubtedly the work of Professor Akbar Nahwi is one of the most scientifically coherent works on the epic books which were composed after Shahnama, in some cases, there are parts which ill-understood that are shown in this article by documentation of the external and internal proofs for offering a better record or clarifying the vague verses which are marked. Literature Review There is no independent article on the old Burzunama amending. For the first time, the book was considered in west and Anquetil-Duperron took several manuscripts of the book from Paris toward India in the second part of the eighteen century. Then, in 1816, Kosegarten circulated a 275-verses version of Burzunama with a German translation. In 1829, Turner Macan embedded a 3600-verses manuscript of the book in his amended Shahnama; the latter work, which is as abridged part of the old Burzunama, is about attaching Burzu to Afrasiab’s army, coming toward Iran and getting allied with Iranian side against Afrasiab, and defeating his army. The whole passage of Burzunama was amended by Professor Akbar Nahwi for the first time. At the same time as introducing Professor Akbar Nahwi’s work, the article offers some notes on several verses.  Method The article used a conceptual analysis method by utilizing library information tool for A. perusing and taking notes; B. analyzing the data; C. classifying the data based on the external and internal proofs to gather them at the end. Obviously, to fortify the results on a comprehensive sight, in analyzing the data, both sides of internal proofs, or concept of verses, and external side, which confirm the author's’ opinion, are considered. Finding and Discussion The introducing Burzunama seems necessary for as much as the amending the old Burzunama is for the first time and because of the critical and scientific method which was used by Professor Akbar Nahwi. Hence in the article, at the first, the Professor Akbar Nahwi’s work is introduced by counting the criteria and fundamental elements; secondly, the authors have critically endeavoured to consider the verses records based on concentrating on the external proofs and internal one. The article offers approximately 30 records of verses alluding to the flaws. Conclusion The conclusions which were deduced from the article are divided into these parts: B. introducing the critical amending of Professor Akbar Nahwi of the celebrated book of the old Burzunama and counting the benefits of Professor Akbar Nahwi’s work; B. the authors have deeply endeavored to solve some problems of the book by utilizing the external sources and the internal one; and then offered another record for 33 hemistiches; C. after a deep study on the Professor Akbar Nahwi’s work, the authors have found some ill-understood cases in several verses which shaped by lack of attention to the concept and the internal side of the passage; in other words, this problem has been caused by the weakness of attention to the vertical order in the whole structure of poetry; D. in another side, the shortage of attention to the external proofs caused the selections which are not so related to the literature background; E. in some cases, the offers of authors are not imperative and the records which used by Professor Akbar Nahwi are right; F. in another part of the article, the authors have tried to reiterate the vague situations of marked verses.}, keywords = {Borzonameh Kohan,Akbar Nahvi,Critique of Correction}, title_fa = {ملاحظاتی درباره‌ی تصحیح برزونامه‌ی کهن}, abstract_fa = {برزونامۀ کهن یکی از مهم‌ترین منظومه‌‌های حماسی پس از شاهنامه است که شمس‌الدین محمد کوسج آن را در قرن هشتم هجری در 4200 بیت سروده و با لحنی حماسی و زبانی فاخر، ماجرای برزو، پور سهراب را به تصویر کشیده است. این منظومه را اکبر نحوی در سال 1387 بر اساس پنج دستنویس تصحیح کرده است که یکی از پیراسته‌‌ترین و علمی‌‌ترین تصحیح‌‌هایی است که بر روی یکی از منظومه‌‌های پهلوانی پس از شاهنامه صورت گرفته است. در این جستار ضمن معرفی چند و چون این تصحیح، کوشش شده که با توسل به منابع درون‌‌متنی و برون‌‌متنی، دربارۀ ضبط برخی از ابیات این منظومه، ضبط‌‌های پیشنهادی ارائه گردد و گره از برخی فروبستگی‌‌های این منظومه گشوده شود. در فرجام برای حدود 33 بیت از این منظومه، ضبطی پیشنهادی ارائه شده است.}, keywords_fa = {برزونامه کهن,اکبر نحوی,نقد تصحیح}, url = {https://jls.um.ac.ir/article_39396.html}, eprint = {https://jls.um.ac.ir/article_39396_96447253c4c338e96114a3f51a6fed98.pdf} } @article { author = {Mansoori, Amir}, title = {Unspoken Labibi Ode}, journal = {New Literary Studies}, volume = {53}, number = {3}, pages = {61-72}, year = {2020}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v53i2.87097}, abstract = {Extended abstractIntroductionPersian literature researchers have very little knowledge about the first phases of Persian poetry, and the closer we get to the first years of Persian poetry, the less we have information about it. Moreover, in later times, the works of unknown poets were attributed to prominent poets. One of these anonymous poets, whose name was "Sayyid al-Shu'ara" during his life is Labibi. He recited about two hundred and thirty verses, and he was recognized through articles by Mohammad Taghi Bahar, Mohammad Dabirsiyaghi, and Omid Sarvari. The aim of this article is to convey the dimensions of Labibi’s Ode that have not been fully found so far and researchers have committed various mistakes about it.Literture ReviweLabibi has an ode that begins with the verse:“When I was disappointed to meet my loved one/ I get pleasure and satisfied”In studies of Bahar and Dabirsiyaghi, his poem was addressed. Both of these scholars have concluded that this poem first appeared in thirty-three verses in Labab al-Albab Awfi at the beginning of the seventh century AH, and there is no trace of it until the 13th century. In the 13th century 59 verses have been mentioned in the Tazkirah of Majma 'al-Fasaha written by Hadayat.Then, invoicing the verses of this poem, both of these two contemporary scholars looked for the source of Hadayat and considered its position as a series of poems in the manuscript belonged to Lisan al-Molk Sepehr. The discussed poem was mistakenly attributed to Farrokhi and Manouchehri by him. In this article, we are going to figure out when this mistake arose and whether there is another version of this poem or not, by carefully analyzing the books of selective poetry (jung) before the thirteenth century.The poem was attributed to Farrokhi in Majma 'al-Fasaha at the beginning of the seventh century, six hundred years after Awfi's reference to Labibi, and to Manouchehri, whose poetry collection was published by Hedayat. A point that remains unresolved is how the ode is attributed to Farrokhi and Manouchehri.MethodIn this article, we will analyze the references quoted by previous authors and then organize the results chronologically. After that, through searching the divans of the poets to whom Labibi's Ra'iyah ode was attributed in the manuscript, we can locate the first source and place of mistakes for other scholars and can figure out the entire of the ode by the different ways provided in these sources.Findings and DiscussionBahar and Dabirsiyaghi have conclude that Hedayat has made this mistake by the collection which had belonged to Lisan al-mulk Sepehr, but this statement is wrong, as we have recently known another poetry collection of Manouchehri that had been written the time before the version of Lisan al-Mulk, in which the Ra'iyah ode attributed to Manouchehri as well (Version 1074, pp. 55-60; Version 1075, pp. 48-51). This is the last version after the publication of his article in 1951 that has been reached him. He noted in the margin of this publication that he believed that it is Labibi's ode. Manuscript S (1075) was written in the thirteenth century, but the first version of Manouchehri's poetry collection was copied in the eleventh century. Therefore, the attribution of the poem to Manouchehri existed at least two centuries before Sepehr's Manuscript. This ode was also included in two other poetry collections from the late eleventh and early twelfth centuries, in the collection 53 d, 18 verses and in the collection 2446, 17 verses of the ode have been attributed to Labibi.There is discussion of attributing the ode of Ra’iyah to Labibi or Manouchehri in all these sources, except that Sepehr wrote the ode between the two divans of Manouchehri and Ansari in his version; So the question is htat from where does the attribution to Farrokhi come? This is an issue that can be answered by reviewing the memoirs of Mir-taqi al-Din Kashi's named kholasat al-ash’ar wa zubdat al-afkar (d. 970-1016 AH).A form of this poem is provided in the biography of Farrokhi Sistani in a copy of this tazkirah dated 1007 AH. This evidence indicates that Farrokhi's attribution of this poem goes back to before 1000 AH, as Taghi al-Din Kashi wrote his biography at least thirty years before this edition and, as we know, there were undoubtedly some drafts that were lost and the final drafts of the Tazkirah which contained the Labibi’s Ra’iyah ode goes back to seven years after 1000 AH.Nevertheless, the connection between Hedayat and Farrokhi's divan and the inclusion of Libibi's Ra'iyah ode remains a mystery, until we see more carefully in the kholasat al-ashar last version dated 1007 AH in which a note has been indicated in the margin of leaf 48 R among Manouchehri's poems: “"This is from Lamieh, not Manouchehri, the poor hurrah Hedayat." Therefore, it turns out that this manuscript was in the possession of Reza-ghili Khan, and here is the origin of the mistake that Labibi’s Ra’iyah attributed to Farrokhi by Taqi al-Din Kashani.ConclusionAs a result, Labibi's  Ra'iya ode was first recorded by Awfi in Labab al-Albab in the seventh century which truly included 32 verses, but an editor had  added another verse to it and this fake version of the ode listed in Arafat al-asheqin between the years 1022-1024 AH. But before Uhudi Bliani, Taqi al-Din Kashi, in his Tazkirah Kholasat al-ash'ara va zubdat al-afkar, made a mistake recording the ode in the entry of Farrokhi Sistani, and Rezaghili Khan Hedayat  qouted  Taqi Kashi's statement without referring to it, repeated the same mistake. He also summarized the ode;Therefore, the comments of Malek al-Sho'ra Bahar and Mohammad Dabirsiyaghi that considered the root of the mistake of Reza-ghili Khan Hedayat in Lisan al-Molk Sepehr are not correct. Moreover we have found the 18 missing verses of this poem, which were not mentioned anywhere in the name of Labibi until today reciting in the article.}, keywords = {Labibi,Farrokhi,Manouchehri,raeiye ode,Awfi,Hedayat,Bahar,Dabirsiyaqi}, title_fa = {رائیۀ ناقصۀ لبیبی}, abstract_fa = {سید الشعرا لبیبی از شاعران آخر قرن چهارم و اوایل قرن پنجم هجری، قصیده‌ای دارد با مطلع «چو دل برکندم از دیدار دلبر/ نهادم مهر خرسندی به دل بر» این قصیده اولین قصیدۀ شناخته‌شده از لبیبی است که محل بحث‌های فراوان توسط عوفی، رضاقلی خان هدایت، ملک الشعرا بهار، دبیرسیاقی و ابراهیم قیصری بوده است. در مقالاتی که رشحۀ قلم هریک از این افراد بوده زوایایی از حیات و شاعری لبیبی نمایانده شده است، این محققان و در صدر ایشان بهار دریافته‌اند که انتساب این قصیده به فرخی و منوچهری به خطا بوده است و هریک تلاش کرده‌اند تا ریشۀ این خطا را بیابند، اما همگی در شناساندن منبع اصلی این قصیده و منبع انتساب آن به فرخی و منوچهری به خطا رفته‌‌اند. در این مقال به بررسی منبع اصلی قصیدۀ لبیبی و صورت کامل این قصیده خواهیم پرداخت،‌ صورتی که بیش از یافته‌ها و اشاره‌های نگارندگان و یادکنندگان شناخته‌شده از این قصیده است.}, keywords_fa = {لبیبی,فرخی,منوچهری,قصیدۀ رائیه,عوفی,هدایت,ملک الشعرا بهار,دبیرسیاقی}, url = {https://jls.um.ac.ir/article_35754.html}, eprint = {https://jls.um.ac.ir/article_35754_d0324add29dd3431302b81d249a2f79e.pdf} } @article { author = {hemmatiyan, mahbuobe}, title = {Tracing of the Principles of Writing Methods and Orthography in Rhetoric}, journal = {New Literary Studies}, volume = {53}, number = {3}, pages = {73-91}, year = {2020}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.2020.39340}, abstract = {Extended abstract Introduction In every language, there is a set of principles and rules concerning orthography, which are regulated on different levels for word selection, word formation and sentence making. These rules are fluid considering the nature of different languages and are compiled entirely in accordance with the characteristics of each language. In facing these rules, the question that comes to mind pertains to deliberation over the background and history of these rules in the foregoing literary knowledge. By pondering upon the knowledge, it becomes clear that the principles which are upheld to make speech articulate and eloquent in traditional rhetoric are, in term of nature, most consistent and harmonious with the principles and rules of writing. Many of the subjects discussed in rhetorical sciences, especially semantics, have similarities with other topics of literary sciences, including grammar, stylistics, and writing methods. It is possible to address and pursue some of the viewpoints of literary criticism and even some of the issues posed under the themes of plot elements in the field of semantics as well. Some literature on the commonalities between semantics and other sciences has been published so far; however, reflection on the topics of semantics and its theoretical foundations reveals that the most similarities and commonality of this science is related to syntax or grammar, and the theoretical foundations that shape Jurjani’s semantics are essentially focused on syntax. Literature Review There is an article titled “Application of Word Eloquence Pattern in the Process of Word Selection through Writing” which has been written by Sayyedan (2019). Focusing on the questions presented regarding the deficiencies in the eloquence of word, she has sought to find a new method for word selection. No other research has been undertaken to clarify the commonalities between semantics and writing methods, aside from this article. Method In the present study, an attempt has been made to explain the appropriateness and similarity between rules of writing and other subjects in the field of rhetorical sciences and to determine their nature in rhetorical books. Moreover, the purpose of this analysis is to understand the related theoretical foundations between writing and editing rules and some rhetorical discussions. A thorough topic that can be discussed in another analysis is creating a template and applying it to rhetoric for editing the texts. Finding and Discussion Two problems were contemplated in this research: Firstly, since the science of writing and editing is one of the later sciences and is not so old among literary sciences, what kinds of debate through the previous literary sciences were presented to them? Secondly, is it feasible to use the subjects of writing to complete the laws of eloquence and rhetoric and remove their shortcomings and shortcomings, given the similarities of the subjects of this science with certain subjects of rhetoric? Findings indicate that almost all of the subjects that are defined today in the form of the writing method, were discussed previously in the set of rhetorical sciences, the concepts of eloquence and rhetoric values, and explicitly in the form of speech and word eloquence defects and some semantic topics. On the other hand, there are generally critiques of the shortcomings in the word's eloquence and the word that can be used to complete this subject and fix its deficiencies with certain writing values. It is possible to research and clarify the commonalities of semantics and writing subjects at four levels: phonetic, lexical, morphological and syntactic. The phonetic synchronization of the letters of the word is one of the concepts explained in terms of word selection. In terms of word rhetoric, these topics are close to the subjects of "aversion to hearing" and "hate of letters". Based on the principles of word selection, we mention the rules and principles in the lexical section that is about the need to consider the audience's time and location and their taste to choose the word in each period. Among rhetorical subjects, such rules for word use are analogous to one of the requirements of word eloquence, which is referred to as "usage strangeness". The similarity of several other concepts in the word selection to rhetorical issues is discussed in the morphology section. It is about the proper usage of vocabulary, terminology and meanings, and explains more about the morphological structure of the words themselves. The topic of avoiding the opposition of analogy in the construction of words is quite familiar with certain laws in the concepts of word use, above all the rhetorical concerns. The most detailed similarities between writing methods and rhetorical topics are discussed in the syntactic section. Avoiding the weakness of authorship, verbal and spiritual attachment are purely syntactic issues among the principles of eloquence and are similar to some writing rules in sentence structures. Discussions on the concepts of long-writing avoidance are comparable to discussions of brevity in conventional semantics, and some of the principles of punctuation in writing and editing are identical to the topic of chapter and relation in semantics as well. The essence of these issues today, of course, is related to the area of writing science, and these comparative studies demonstrate the role of semantics in the rules of spelling and proper reading; In the context of rhetorical philosophy, all these laws are a sufficient requirement for the eloquence of words and speech; but they are not enough. Depending on the circumstances, such eloquent expression must be structured and organized so that it can be considered articulate or eloquent. Often subjects such as the length or brevity of the expression or the precedence and latency of a sentence's components are considered as rhetoric, It seems, however, to be contradictory to the standards of language writing. Conclusion In describing the principles and rules of writing, it seems important to pay attention to the alignment of the word with the conditions of the forces that generate it. In other words, according to the principles of logic, the relationship between the principles of rhetoric and the laws of public and private, and the observance of the collection of rules of writing and the principles of word selection is a sub-set and one of the essential issues to accomplish the key purpose of rhetoric.}, keywords = {writing and editing,word selection,Eloquence and rhetoric semantic}, title_fa = {ردیابی مقوله‌های آیین نگارش و درست‌نویسی در دانش‌های بلاغی}, abstract_fa = {در هر زبانی مجموعه‌ای از اصول و قواعد برای درست‌نویسی وجود دارد که در سطوح مختلف برای واژه‌گزینی، واژه‌سازی و جمله‌بندی‌ها تنظیم شده است. این قواعد باتوجه‌به ماهیت زبان‌های مختلف شناور است و کاملاً متناسب با ویژگی‌های هر زبانی تدوین می‌شود. در مواجهه با این قواعد سؤالی که به ذهن متبادر می‌شود، تأمل در پیشینه و سابقة این قواعد در دانش‌های ادبی گذشته است. با تأمل در این دانش‌ها مشخص می‌شود اصولی که برای فصیح و بلیغ بودن کلام در بلاغت سنتی مطرح می‌شود، ازنظر ماهیت بیشترین سنخیت و تناسب را با اصول و قواعد نگارشی دارد. در پژوهش حاضر با پرداختن به این مسئله، مشخص شد این مباحث ذیل تعریف فصاحت و بلاغت و به صورت خاص در مبحث عیوب فصاحت و بعضی از مباحث علم معانی قابل بحث است و حتی با عنایت به اصول بلاغی می‌توان الگو و مبنای دقیق‌تری برای قواعد نگارش طراحی کرد.}, keywords_fa = {نگارش و ویرایش,واژه‌گزینی,شرایط فصاحت و بلاغت,علم معانی}, url = {https://jls.um.ac.ir/article_39340.html}, eprint = {https://jls.um.ac.ir/article_39340_dae260142cc223427584b792a0fbeb63.pdf} } @article { author = {Naderi, Siamak and Hassanli, Kavoos}, title = {Determining the Approximate Location of the Narrator in The Blind Owl in the Southeastern Neighborhoods of "Safavid-Qajar Tehran"}, journal = {New Literary Studies}, volume = {53}, number = {3}, pages = {93-108}, year = {2020}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.2021.39397}, abstract = {Extended Abstract 1. Introduction Sadeq Hedayat’s “The Blind Owl” is a complicated novel shrouded in obscurity and ambiguity due to the recounting of some mental memories by a disturbed narrator. Therefore, unpacking the various elements of this novel requires meticulous attention to the details in the narrative. Location is one of the most important elements of fiction. In this article, an attempt is made to determine the possible location of the narrator by examining some spatial features in “The Blind Owl” and match them to some areas in Rey and old Tehran. “The Blind Owl” is a literary text and should not be reduced to a realistic narrative. Bearing this in mind, this article aimed to identify some textual clues in the novel and correspond them with some contextual, including spatial and temporal, elements outside the novel to show that Hedayat was not inattentive to the geographical location and setting where the novel takes place. 2. Method This study adopted a descriptive design incorporating content analysis. An attempt was made to determine the approximate location of the narrator by examining spatial features in the novel and identifying spatial elements at the time of the events. By describing the southeastern neighborhoods of Tehran, located in the northwestern part of Ray (known as ancient Rey), the approximate location of the narrator is identified and represented. 3. Results and Discussion The approximate location of the house from which the narrator describes the scenes using special narrative techniques can be determined by identifying and unveiling some textual clues in the novel and matching them to some spatial and temporal elements outside the novel. For instance, in the novel, while describing his house, the narrator says that his house is located outside the city and on the other side of the ditch and that he can easily feel the rabble and the crowd from the window of his room. Also, in this novel, the “Sar-e-Qabre Aqa Square”, which is actually the “Amin al-Sultan Square”, is referred to. In describing his room, the narrator in “The Blind Owl” refers to some features that implicitly remind us of the “Sar-e-Qabre Aqa Mausoleum”. The morgue of the “Chahardah Masum Cemetery”, which the dead were kept, was near the “Sar-e-Qabre Aqa Mausoleum”. The presence of the old coachman near the narrator’s place of residence further supports the identification of the above locations and places. Furthermore, the narrator refers to the ruins surrounding his house, the narrow and crooked alleys, the garbage dump by the ditch, the unscrupulous and rabble-like merchants, and, most importantly, “a quiet and restful spot, away from the hustle and bustle of people’s lives” that was thronged with people from the thirteenth day of Nowruz (Sizdah-Bedar) onward. In one part of the story, the owner of the ‘hearse carriage’, who is a coffin maker, gravedigger, and Qur’an reciter, says, “I know where you live … It’s only a few steps …” away from the cemetery. The coachman’s referring to the cemetery and emphasizing its proximity to where the narrator lives are reminiscent of a group of cemeteries situated in the southeast of Qajar Tehran and northwest of ancient Ray, where the public cemeteries of Tehran were located there before 1925-1926. This cemetery referred to by the old coachman in the novel must be the famous “Chahardah Masum” or “Shah Abdol-Azim Cemetery”, which is located along with the “Sar-e-Qabre Aqa” neighborhood and “Shah Abdol-Azim Gate”. The buildings adjacent to the Chahardah Masum Cemetery, including the brick kilns with conical structures arranged in a row at regular intervals from each other, are redolent of the strange structures and places that are referred to in “The Blind Owl”. It is reasonably likely that the same brick kilns with their thick black smoke could have captured the mind of the narrator in The Blind Owl. Also, in the novel, there are some references to pottery that are consistent with the characteristics of the above-mentioned neighborhoods. The lands in Tehran, both in the east and the west, are rocky and barren; the only area suitable for pottery is located in the southeastern part of Tehran, an area which is extended from “Tupkhaneh Square” to the south, is rich in high-quality clay, and has been home to the brick and pottery kilns since a long time ago. In addition to the cemetery, a bazaar is located in the vicinity of the same neighborhood through which the narrator passes before leaving the gate leading to the ancient site. If this gate is the same as the “Doolab”, or “Shah Abdol-Azim”, gate and this cemetery are the same as the “Chahardah Masum”, or “Shah Abdol-Azim”, cemetery, the bazaar referred to in the novel must be the “Gate Bazaar”, which at times was called “Hazrati Bazaar” or “Shah Abdol-Azim Bazaar”. There used to be two charsu (crossroads) near this bazaar that housed the office of the city Darughachi. Maybe, that is why the narrator, both in his reveries and nightmares, imagines the city Darughachi and watchmen roaming around his house. Based on the identified spatial clues mentioned above and other spatial and temporal clues discussed in this article, it can be said that the narrator’s house is surrounded by the tradespeople, passersby, the butcher, the rag-and-bone dealer, the Qur’an reciter, and the coachman and is located opposite the bazaar, the cemetery, the ditch, and the gate. The spatial features of the narrator’s house correspond with those of the southeastern of Tehran during the Safavid to Qajar periods. Therefore, it can be assumed that the narrator’s house must have been near one of the gates adjoining the areas situated in the southeastern of Safavid or Qajar Tehran. The Turkmen neighborhood, “Mohammadiyeh Square”, and “Shah Abdol-Azim” bazaar and cemetery are near the same area identified above. These geographical features of the narrator’s room, which resembles a family grave, match those of the “Sar-e-Qabre Aqa” neighborhood, where Sadeq Hedayat’s grandmother is buried. 4. Conclusions Hedayat, whose works bear witness to his ability as a creative and imaginative writer, could not have been ignorant of the significance of the element of setting and place in his most acclaimed work, The Blind Owl. Hedayat, however, obviously did not intend to give a factual account of the historical geography of a region; rather, he aimed to create a structured, readable, and lasting novel, and, to this end, all the elements of the story had to be at the service of the narrative. Narrative ambiguity, as manifested in time and place and reinforced by the time shifts in the narrator’s recounting of his memories, is one of the key features of The Blind Owl. Nevertheless, as discussed earlier, the approximate location of the narrator in The Blind Owl can be identified by carefully examining the textual clues in the novel and the historical geography of an area in old Tehran. It is as if the narrator had positioned a camera in his room and rotated it during the course of the novel to capture the surrounding area. In fact, the spatial features of the narrator’s house, which is surrounded by tradespeople, the rag-and-bone dealer (“Seyed Esma’il Bazaar”), the butcher (the southern gate of the city leading to Nazi-Abad), the bazaar (“Shah Abdol-Azim Bazaar”), the gate and the ditch (the “Doolab” or “Shah Abdol-Azim” gate), and the cemeteries (“Sar-e-Qabre Aqa Mausoleum” and “Chahardah Masum Cemetery”), could only be matched with those of neighborhoods located in the southeast of Tehran, i.e. the areas within the vicinity of “Chale Meydan”, Ray, “Shah Abdol-Azim”, and the bazaar, areas which have witnessed different historical periods.}, keywords = {Modern fiction,Sadeq Hedayat,The Blind Owl,setting,time and place,narrator’s location}, title_fa = {جانمایی تقریبی منزل راوی بوف کور در محلات جنوب شرقی «تهران صفوی قاجاری»}, abstract_fa = {بوف کور هدایت رمانی پیچیده است که به دلیل بازگویی خاطرات ذهنی از سوی یک راوی پریشان‎حال در هاله‎ای از ابهام پوشیده شده است. ازاین‌‌رو بازشناسی عناصر گوناگون این متن، به درنگ و دقت در جزئیات رمان نیاز دارد. مکان، یکی از عناصر مهم داستانی است؛ در این مقاله با بررسی برخی از نشانه‎های مکانی بوف کور و انطباق آن با مناطقی از ری و تهران قدیم سعی شده است، مکان احتمالی منزل راوی داستان مشخص گردد. بر پایۀ این نشانه‏ها، بی‎گمان این مکان در محدودۀ شمال غربی ری باستان و جنوب شرقی تهران دورۀ «صفوی‑قاجار» قرار داشته است. خانۀ قهرمان در محاصرۀ کاسب‎کارها، قصاب، خنزرپنزری و گالسکه‎چی است و تنها نقطه‎ای از تهران که با این مشخصات هم‎خوانی دارد؛ محدودۀ چال‎میدان و قبرآقاست. این دو محل به محلۀ ترکمان‎ها، میدان محمدیه، بازار و گورستان شاه‎عبدالعظیم نزدیک است. این ویژگی‎ها همراه با اتاقی که به مقبرۀ خانوادگی شباهت دارد، یادآور محلۀ سر قبرآقاست که جدۀ صادق هدایت در آن دفن شده است. همچنین منزل و تکیۀ رضاقلی‎خان (جد صادق هدایت) نیز در همین محدوده قرار داشته است. اما شیوۀ روایتِ ذهنی قهرمان داستان، حرکت زمانی را در صدها سال بازپردازی کرده است.}, keywords_fa = {داستان معاصر,صداق هدایت,بوف کور,مکان در رمان بوف کور,جانمایی منزل راوی داستان}, url = {https://jls.um.ac.ir/article_39397.html}, eprint = {https://jls.um.ac.ir/article_39397_2e0f67f6d2f72915300a3a264bd19149.pdf} }