@article { author = {Koochekian, Tahere and Gorgi, Mostafa}, title = {Slowing down The Sharp Edge of Realism Using Symbolic Realism in the Savushun (novel)}, journal = {New Literary Studies}, volume = {51}, number = {3}, pages = {1-26}, year = {2018}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v0i0.75736}, abstract = {Introduction Savushun is a masterpiece of Simin Daneshvar (1969) in fictional literature of the forties of Iran. In this work Daneshvar extends the boundaries of realist literature with a social, critical, and socialist approach, emphasizing both the reader and the semantics of modernist literature. The author in the text puts meaning into a multifaceted network and challenges the reader to understand the meaning given that Savushun faces several levels of readers. This semantic function in the text leads us to one of the most prominent styles and industries in Savushun called symbolic realism which can also be described as a novelistic and realistic approach to the novel. Symbolic realism, as a way of expressing two or more simultaneous meanings in realistic works, was seriously introduced in the mid-nineteenth century in Western art, literature, and architecture. The present study seeks to analyze Savushun with a fresh look at the layers of its meaning, thereby highlighting Daneshvar's ability to apply artistic delicacies and transcend realistic boundaries. With this in mind, this research seeks to explain that Daneshvar has used symbolic realism in Savushun's novel, thus explaining the method of symbolic realism and its features in the novel of Savushun. In the meantime, it answers four questions: 1) In what parts of the story is symbolic realism used? 2) Has symbolic realism been used as a literary technique in Savushun? 3) Can symbolic realism be considered as a way of expressing realistic approach to Savushun? 4) Is there a border between symbolism and symbolic realism in Savushun? Review of Literature This research aims to go beyond mere realism by combining realism and symbolism in Savushun, attempting to explain the features and manifestations of symbolic realism in words, sentences, characters and monologues and highlights one of the most prominent rhetorical techniques of the novel. So far, Savushun has been the focus of researchers from many respects, but there has been no specialized research on the application of symbolic realism and its frequency in the text and its impact on reader perception as well as the realistic mode of work. Some of the research done so far include: "The story of Iranian cognition: A review of the works of Simin Daneshvar" by Ishaqian (2014), "Symbolic aspects in Savushun" by Ranjbar (2012), and "Symbolism in Simin Daneshvar's novels" by Ghobadi and Nouri (2012). Two criticisms can be made regarding the criticism of symbolic realism in prose works: "Symbolic realism in Susan Glaspell’s 'Trifles' by Keller (2005), and "Symbolic realism in Ibsen’s a Doll’s House" by Hussein and Iseni (2014.( Method This study aims to analyze Daneshwar's method in the framework of the school of realism to overcome dry realism with regard to symbolism, and a practical-analytic review of this work is then made. Results and Discussion In this study we examine symbolic realism as one of the most prominent literary techniques used in Savushun. This technique, along with other methods such as permitting, permitting, code, allegory, symbol, symbol, myth replication in the text and some other techniques, has contributed to the production of new meanings in Savushun. Conclusion One of the aesthetic and semantic features of the Savushun novel is the use of symbolic realism in storytelling techniques, which along with other multipurpose techniques in storytelling such as symbols, symbols, allegories, myth-making in texts, and authoritative role plays, creates a secondary meaning. Symbolic realism has been used as a literary trick in terms of vocabulary and combinations, descriptions, characters, and the subjectivist realism of the characters. Symbolic realism can also be regarded as the style of the work, a long way for the author to transcend traditional storytelling as well as elementary realism in Iran; therefore, Savushun co be one of the leading realist works with a dominant tendency of symbolic realism. The use of this method in the story has overshadowed the type of social and critical realism emerged throughout the story By way of symbolic realism, Daneshwar implies two realities; one is at the level of materialistic expression and natural narrative and the other one is in depth with an interpretation of reality. Although Savushun seems persuasive on the surface of the novel, the dynamic mind can burrow into other layers and reach new meanings through semantic nodding at the surface and passing through appearances. Thus, it connects two levels of readers, the general reader, who is involved with the level of the story, and the particular reader. By authoring in-text cues, repetition, creating semantic nodes in the text, signifying the special semantic system that provides the context for the secondary meaning, and flipping the reader's mental reserves, the particular reader receives new meaning appropriate to the text. In addition, the meaning of the symbolism and the use of symbolic realism in Savushun have subtle differences. Symbolic realism is a coincidence of two concurrent realities derived from the combination of realism and symbolism; therefore, all symbolical realism in Savushun is used symbolically, but not all symbols in the story have the characteristic of symbolic realism.  }, keywords = {رئالیسم,رئالیسم سمبولیک,سووشون,مکتب ادبی,فن ادبی,سبک}, title_fa = {کند شدن لبه تیز رئالیسم با استفاده از «رئالیسم سمبولیک» در رمان «سووشون»}, abstract_fa = {«سووشون»(1348) شاهکار سیمین دانشور در ادبیات داستانی دهه چهل ایران است. دانشور در این اثر، مرزهای ادبیات رئالیستیِ تعهدگرایانه با رویکرد اجتماعی، انتقادی و سوسیالیستی را با تأکید بر دو مقوله معنا و خواننده به سمت ادبیاتی نوگرایانه گسترش می‌دهد. نویسنده در متن، معنا را در یک شبکه چند وجهی قرار می‌دهد و در بازی دلالت‌ های معنایی، خواننده را در درک و دریافت معنا به چالش می‌کشد. با توجه به این امر سووشون با چند سطح از خوانندگان روبرو است: خوانندۀ عام که در سطرهای واقع‌گرایانه متن می‌ماند و خوانندۀ خاص که با توجه به نشانه‌های درون‌متنی به لایه‌های دیگری از معنا دست می‌یابد. این کارکرد معناگرایانه در متن، ما را به یکی از شاخصه‌ ها و صنعت برجسته سبکی و ادبی در «سووشون» راه می‌ نمایاند: «رئالیسم سمبولیک» که می‌توان این شاخصه را شیوه بیانی و رویکرد رئالیستی این رمان نیز به شمار آورد. رئالیسم سمبولیک به‌عنوان شیوه ‌ای در بیان دو یا چند معنای هم ‌زمان در آثار واقع‌ گرایانه، به‌صورت جدی اواسط قرن نوزدهم در هنر، ادبیات و معماری در غرب مطرح شد. این پژوهش به دنبال آن است رمان سووشون را در ارتباط با «رئالیسم سمبولیک» بررسی نماید. پژوهش‌ های انجام گرفته در این حوزه تاکنون بیشتر بر بحث «نماد» در این اثر تأکید داشته ‌اند؛ این پژوهش ضمن تمایز ظریف این دو شگرد، شیوه دانشور را در چارچوب مکتب رئالیسم، برای فراروی از رئالیسم خشک و یک ‌سونگر ابتدایی با توجه به نمادپردازی، تحلیل نموده و با روشی تحلیلی ـ مروری به نقد عملی این اثر می‌پردازد.}, keywords_fa = {رئالیسم؛ رئالیسم سمبولیک؛ سووشون؛ سیمین دانشور,مکتب ادبی؛ فنون ادبی}, url = {https://jls.um.ac.ir/article_35246.html}, eprint = {https://jls.um.ac.ir/article_35246_4798705208013f1d5a1945334680dfe4.pdf} } @article { author = {Alipoor, Sedigheh}, title = {Dialectic of subject and object on the sign relations of text in the novel "Ayenehaye Dar dar” Golshiri}, journal = {New Literary Studies}, volume = {51}, number = {3}, pages = {27-48}, year = {2018}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v0i0.72703}, abstract = {Introduction The dialectic of mind and object means the recognition of both metaphysics and reality, such that any knowledge is the result of the exchange of two streams of mind and experience. This philosophical perspective, which was of interest to Western and Oriental philosophers, has entered the area of theorizing in the field of literary criticism and has embraced the constructivist school. Gaston Bachlelard, a constructivist theorist, has developed a discussion of mind and object in literary criticism of texts. In “Dialectic of Mind and Object”, Bachelard acknowledges that mind and object can create a dialectic in which everything is formed by confrontation, and we go beyond those forms to analyze their position. Modern novels such as Ayenehaye Dardar (آینه‌های دردار) have a psycho-philosophical position because of their emphasis on subjectivism and the reflection of thought through the flow of the mind. Thus, the analysis of such novels, based on Bachelard’s dialectical method of the mind and the object, enters into the textual and hyper-textual layers of the literary work and extracts its esoteric meanings to distract readers from the apparent confusion of the modern text and relate them closely into the novel. Review of Literature According to Bachelard's fictional reading theory, the critical reader can achieve analysis and recognition of the text based on his/her own intuitive perception of the text through the mind. Regarding this theory several researches have been conducted, such as: works by Namvar Motlagh (2007) that analyzes and investigates Bachelard’s theory of fictional criticism. Tahvildari (2008) also worked on the analysis and criticism model from the point of views of Bachelard and other scholars. There are other studies investigating the practical criticism, including Hashemi and Kohanmoei (2013) that focus on the role of conflicting elements of the world in the psychoanalysis of literary works. The following articles have also studied the practical criticism: “The semiotics of narratice elements in Bijan & Manijeh” with Illustration approach by writer (2018) and “The two concepts of water and fire in “Hamnavei Shabaneye Orkester Choubha” by Sadat Hashemi and Kohanmoei (2013) and other similar works that focus on the role of conflicting elements of the world in the psychoanalysis of literary work. But, there is no specific work regarding Bachelard’s “dialectic of mind and object” theory that pays special attention to the psycho-philosophical meaning of the text at the border between reality and the mind. This study tries to provide a practical criticism of “Ayenehaye Dardar” by Houshang Golshiri based on this approach. Method This study, using descriptive analysis, attempts first to extract and analyze the textual codes and attributes through structural oppositions and then to analyze the psycho-philosophical meanings of the modern novel of Ayenehaye Dardar using Bacheard’s dialectic of mind and object. Results and Discussion The story is about a human that, under the circumstances, is separated from its past and suspended between its two human halves in the present and in the past. This suspense relates to a personal and social memory of the author's past that made him psychologically incoherent and to find coherence, he needs a transformation. Having a journey is the most effective way to do this: a mental journey to myths and legends; a stage in which human perfection is introduced and an objective journey to various countries in search of a lost one that will bring this perfection to fruition. Given its psycho-philosophical approach and its sophistication and wandering modernity, the novel has a favorable context for conceptualization and analysis through objectifying the subject. The novel is based on reciprocal relationship dualities Inductive mind/objective rupture, confusion and distress of mind/objective confusion, confusion of mind/objective confusion, impaired life of mind/objective image of broken gate mirror and half mirror image, exemplary and subjective love/true love, and subjective philosophy/objective life are among the contradictions dualities discussed in this article. To express his uneasy mind about modernity, Golshiri (2010) explores the duality of industry (modernity) and nature (tradition), while explaining old-new values; with this regard, he makes use of the concepts of myth and fable. In this context, he analyzes codes such as demythologizing as a result of social modernity repression, de-symbolizing the absolute love in modern times and shedding light on his own and his generation’s shattered mind. Golshiri also explores old/new values while exploring the old / new values while also exploring popular culture, especially the category of myth, in order to visualize his uneasy mind about modernity. And the myth takes refuge. In this context, he analyzes codes such as the myth of the repression of social modernity, the demolition of absolute love in modern times, and the explanation of him and his generation’s shattered mind. Conclusion The novel is made up of the author's mental imagery and thoughts about the devastating effects of events, phenomena, and objective matters of life in his time. The mirror is a symbol of the contemporary failed human being, a man involved in the events of industrialization, modernization, and at the same time bustle, war and destruction. The main mirror in this narrative is a mirror with a broken door. The fragments of this man's existence are hidden in it, and reveals throughout the narrative, bit by bit. This clarity is caused by the duality relations between the subjective and the objective elements. It can also be said that this story is a narrative allegory of two types of persons with dual opposites in face, belief and behavior. One is destructive characters that are in some way dependent on power, modernity, and the West, and the other are devastated characters, both of whom have finally fallen into despair and regrets. In the end, the general objection to the novel can be to the fact that the author, in spite of his attention to the delusional course of modern writing, sets his mind so free in some parts and He write his text freely and disorder so that confuses the audience as far as they lose track of the story.}, keywords = {subject and object,structuralism,Bachelard,Ayenehaye Dar dar}, title_fa = {دیالکتیک ذهن و عین نقدی تحلیلی بر رمان آینه های دردار گلشیری}, abstract_fa = {دیالکتیک ذهن و عین، یعنی به رسمیت شناختن توأمان متافیزیک و واقعیت؛ بدین­صورت که هر معرفتی ناشی از مبادلۀ دو جریان ذهن و تجربه است. این دیدگاه فلسفی که قابل توجه فیلسوفان غربی و شرقی بوده، به عرصۀ نظریه­پردازی در حوزۀ نقد ادبی وارد شده و مکتب ساختگرا را درگیر خود نموده است. گاستون باشلار از نظریه­پردازان ساختگرا، بحث ذهن و عین را به روش‌های نقد ادبی متون توسع داده است. بر اساس نظریۀ او می‌توان از طریق عناصر تقابلی متنوع متن، به تحلیل ذهن مؤلف رمان و تطبیق آن در عینیت نوشتار دست یافت. حاصل این روش نقد، حتی ممکن است از ذهنیت مؤلف فراتر رفته و محصولی تولید کند که مفهوم گسترده‌تری را به معنای متن بیفزاید. رمان آینه ‌های دردار، یکی از رمان ‌های مدرن با تمی اجتماعی و درامی با نگرش فلسفی است که در تنظیم ساختار آگاهانه‌ اش، تقابلی زیربنایی تعبیه شده است. روش بررسی مبتنی بر دیالکتیک ذهن و عین باشلار در راستای معنی بخشیدن به این تقابل‌ها که مبتنی بر تعلیقی روانکاوانه و در پاره ‌ای از موارد هستی شناسانه هستند، کارساز به نظر می‌رسد. مقالۀ حاضر می‌کوشد تا به کمک این نظریه به تحلیل متفاوتی از اثر هوشنگ گلشیری دست یابد.}, keywords_fa = {ذهن و عین,ساختارگرایی,باشلار,رمان مدرن,آینه های دردار}, url = {https://jls.um.ac.ir/article_35258.html}, eprint = {https://jls.um.ac.ir/article_35258_af7bc69c0c03acfeb4b887b1a9a561cb.pdf} } @article { author = {Sangi, NargesSadat and Mahdavi, Mohammad Javad and Bameshki, Samira}, title = {Investigating the Relationship between Pluralism and the Collapse of Temporal Order of Narratives and the Multiplicity of Narratives in Persian Metafiction}, journal = {New Literary Studies}, volume = {51}, number = {3}, pages = {49-69}, year = {2018}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v0i0.71580}, abstract = {Introduction Metafiction is the tendency of postmodernist fiction to refer to works that do not adhere to the structure and rules of the novel and speaks about these rules and techniques during the novel. There is such a postmodernist style of writing in Persian fiction as in western fiction. Despite of existing a vast variety of devices in postmodernist fiction, there are only a few dominant devices in Persian metafictions. The collapse of the temporal order of the narratives and the multiplicity of narratives are the most important of these dominant features. This study aimed at examining the relationship between the "overcoming" of these two features in Persian metafiction with pluralism in Iranian society. It is true that these features are scattered in Western works as well, but it is remarkable that they are predominant in Persian metafiction. Review of Literature To explain the relationship between pluralism and the two dominant features of Persian metafiction, we have used Bourdieu’s theory. This theory goes beyond the objectivist/subjectivist and structure/action dichotomies. These dichotomies have been relatively constant poles of social sciences: while structural analysis of social life looks at it as something purely objective and external, the sociology of action looks at the social life as an objective experience. According to Bourdieu, sociologists not only should pay attention to both sides of the problem, but also understand how these two dimensions are inextricably linked.  On the one hand, this relationship is not a direct, mechanical one that can be examined by structural analysis, but on the other hand it is far from the sociology of action. Hence, Bourdieu's eclectic theory can well analyze this relationship. Bourdieu argues that the best way to empirically examine the dynamic relationship between structure and action is the "relational" analysis of the attitudes and actions. This relational analysis is based on three central concepts: position, habitus, and position-taking. In our study, the society of the seventies and eighties facing pluralism in Iran is the position and two features of the multiplicity of narratives and the collapse of the temporal order of narratives in Persian metafiction are position-taking. Habitus is actually a socialization of activists in the field of religion and, depending on the social conditions and characteristics of the situation, 'relativism' can be regarded as a habitus. The presence of such a habitus in the activists of the seventies, as a result of the position of that period and the emergence of pluralism, led to an action in Persian metafiction that manifested itself in the multiplicity of narratives and the collapse of temporal order. Method This study uses grounded theory. The main purpose of grounded theory is to search for social processes and themes which have a fluid nature. Therefore, the aims and basic questions of such a research should also be open and flexible. We have used this method for our study, because it is based on analytical interpretations and grounded theory. It also has an interpretive-constructive approach. On the other hand, the evaluation of this approach is based on purposive sampling. Purposive sampling, unlike quantitative probabilistic sampling, is based on purposeful and criterion-based selection of study items or units. Therefore, we only extract those examples which are consistent with our claim - the relationship of metafiction with the discursive signifiers in the situation under consideration - and we describe aspects of the situation that are relevant to the multiplicity of narratives and the collapse of time order in Persian metafiction. Results and Discussion In the year 1370, with the publication of kian Magazine, new topics in theology began in Iran. By studying Kian Magazine as an example, one can better follow these issues. In this magazine, various articles discussed the different dimensions of pluralism and the multiplicity of identities, religions and cultures. It also specifically addressed the issues of pluralism and the evolution of religious epistemology. The magazine also published interviews with western theorists about pluralism. As a result, these issues gradually became more accessible to the public. Eventually, this situation led to the publication of the book Fatter than Ideology. In the following years, there were also lectures on tradition, modernity and postmodernity, and the contents of these lectures published in Kian Magazine. This continued until Shayegan published his book The New charm: An  Identity with forty pieces and moving thinking. In this book, he explores the broader dimensions of pluralism, multiculturalism, and postmodernism. The most important outcome of pluralism in Iran in seventies was relativism (habitus, according on Bourdieu), and the product of this relativism in Persian metafiction was the multiplicity of narratives and the collapse of temporal order (position-taking). Conclusion The most important product of pluralism is relativism. To Bourdieu, the situation of the issue of pluralism in society can be taken as a “position” and relativism as a kind of “habitus”. Despite the wide variety of features in Western metafiction, there are only a few dominant features in Persian metafiction, among which the collapse of temporal order and the multiplicity of narratives are the most important. These two features can be seen as the action arising from the situation which is associated with relativism. this conclusion can be deduced from reading the works of Persian metafiction.  }, keywords = {metafiction. plurality of narration. the collapse of time order.pluralism.Bourdieu}, title_fa = {بررسی ارتباط پلورالیسم با فروپاشی سامان زمان و تعدد روایت در فراداستان فارسی}, abstract_fa = {فروپاشی سامان زمانی و مکانی روایت و تعدد روایت، خصیصه ‌هایی هستند که در اکثر فراداستان ­های ایرانی به‌وضوح دیده می­شوند و می­توان گفت جزو ویژگی ­های غالب فراداستان فارسی هستند. در واقع فراداستان ویژگی ­های بسیار زیادی دارد، اما در فراداستان فارسی تنها چند ویژگی غالب است که فروپاشی سامان زمانی و مکانی روایت و تعدد روایت از آن ویژگی ­هایند. غلبه این دو ویژگی در فراداستان فارسی با توجه به پراکندگی ویژگی­ های فراداستان در آثار خارجی در ارتباط با مسئله پلورالیسم در جامعۀ ایران قابل بررسی است. به‌طورکلی می­توان گفت در ایران، در دهه هفتاد با مطرح شدن مبحث نواندیشی دینی و سپس چندگانگی فرهنگی و پلورالیسم، نوعی نگرش نسبی اندیشی رواج پیدا کرد. این مباحث با مقاله­های مجله کیان آغاز شد و به چاپ کتاب صراط ­های مستقیم و هویت چهل ‌تکه منجر شد. آنچه بیش از همه از چالش مطرح شدن مبحث پلورالیسم برآمد نگرش نسبی اندیشی بود که با وجود مطلق اندیشی­ هایی که پیش‌ازاین در گفتمان دینی مردم وجود داشت به یک مسئله حساسیت‌ برانگیز بدل شد و ازاین‌رو تأثیر این وضعیت در فراداستان فارسی به‌عنوان غلبه دو کنش فروپاشی سامان زمانی و مکانی روایت و تعدد روایت ظهور کرد که زاییده یک نگرش نسبی ‌گراست. با نظر به آرای بوردیو می­توان پیدایش مبحث پلورالیسم را موقعیت در نظر گرفت و فروپاشی سامان زمانی و مکانی روایت و تعدد روایت را کنش. طی بررسی موقعیت، ما به ویژگی ­ای از کنش رسیدیم که بوردیو آن را منش می­نامد و بر این باور است که منش­ها با موقعیت­ ها ارتباط دارند و این منش همان نگرش نسبی اندیشی است که منجر به خلق و غلبه­ چنین ویژگی ­هایی در فراداستان فارسی شده است.  }, keywords_fa = {فراداستان فارسی,پلورالیسم,سامان زمانی,تعدد روایت}, url = {https://jls.um.ac.ir/article_35274.html}, eprint = {https://jls.um.ac.ir/article_35274_76083cd0c0584a612905ad370e88f763.pdf} } @article { author = {Golbaf, Kazem and Ghavam, Abolghasem and Taghavi, Mohamad}, title = {Examining the Pathology of Published Persian Articles on Nasir Khusraw from 1921 to 2014}, journal = {New Literary Studies}, volume = {51}, number = {3}, pages = {71-96}, year = {2018}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v0i0.65930}, abstract = {1. Introduction Nasir Khusraw is one of the greatest poets, writers and thinkers of Persian literature whose work has been of many researchers' interest. Lots of papers have been produced about his works and his thoughts. There has been a significant rise in essay writing during the recent years in Iran due to various reasons, such as the development of university centers and the importance of research studies. Considering and analysis of the hug bunch of published articles would provide the content and structure strengths and weaknesses. Recognizing the pathology leads to the correction of the approaches writers used in essay writing. It is a positive step towards the qualitative improvement of eligible principled research. Many researches have been conducted on Naser Khusraw. Systematic and critical review of the researches would show shortcomings of the structure and content. Identifying and explaining these shortcomings will help the researchers of the field to avoid mistakes like unreasoned repeated works. Therefore, the research quality of the articles will be improved. 2. Review of Literature Essay writing is considered a very important task in academic and university centers due to its special features. Today, essays are used as the key tool for presenting the results of important studies or academic research. A new subject has recently been developed called essayology and critical descriptive criticism due to the importance of essay writing and its specific features. Essayology improves subjects like the diagnosis of damages and strengths, organizing, subject determination, defining the background and the subject, originality and avoiding parallel work. This will simplify the research process and results in time management and the saving of money. There has never been research done on the assessment of papers in the field of Nasir Khusraw; however, there are articles available about other poets, writers or other essayology subjects along with critical descriptive criticisms, such as Encyclopedia of Sa'di Studies by Kavoos Hasanli, Encyclopedia of Nizami Gəncəvi Studies by Zeynab Norouzi and a Ph.D. thesis called “A critical descriptive essayology on Ferdowsi up to 1991” by Zohreh Seyyed Yazdi. 3. Method This research aims to study 336 articles on Nasir Khusraw published during 1300-1393 in different Persian magazines and periodicals. The study applies critical descriptive criticism in order to study the papers structurally and contextually with the ultimate aim of contributing to Nasir Khusraw studies. In this article, structural damage such as inappropriate title as compared to the subject, incorrect academic structure, lack of attention to the original or previous sources, not regarding the principles of reference writing and the existence of writing bugs are studied along with content damage such as the quantitative growth of articles as compared to qualitative growth, paying attention to marginal issues which are out of the main subject, personal commentaries on the text of Nasir Khusraw, unilateral actions and decisions, and lack of subject variety. 4. Results and Discussion After studying the published papers on Nasir Khusraw from 1991 to 2014 structurally and contently, some defects were found. On the whole, the articles have a high frequency from the quantitative approach, whereas they face content problems and the damage like parallelism, unilateralism and lack of subject variety and focus on Nasir Khusraw’s poems from the qualitative approach. 5. Conclusion The results reveal that most of the research done before the 90s are not qualified with today’s academic approaches of university periodicals and publications. Lack of attention of most writers to previous studies of the cases has led to parallel works, repetitions, unilateralism on his poems and to other defects in other areas of Nasir Khusraw studies accordingly. It is ultimately recommended to writers who are interested in Nasir Khusraw studies that they pay more attention to research background and be careful to avoid parallel works. Subject variety must also be considered so that all fields be equally studied.  }, keywords = {NaserKhosrow,article,Pathology,Research,Structure,content}, title_fa = {آسیب‌شناسی در مقاله‌های فارسی ناصرخسرو پژوهی از سال 1300تا 1393}, abstract_fa = {رشد کمّی مقاله ‌نویسی در سال ‌های اخیر، باعث شده است از کیفیت علمی مقاله‌ ها کاسته شود. گاهی رعایت معیارهای مربوط به ساختار یک مقاله به ضعف محتوا انجامیده است و گاهی توجه به صرفِ محتوا و غافل ماندن از ساختار، باعث کاستی ‌هایی در چهارچوب علمی مقاله ‌ها شده است. در حوزه ناصرخسرو پژوهی نیز با بازخوانی و نقد مقاله ‌های نوشته شده، کاستی ‌هایی از نظر ساختاری و محتوایی مشاهده می‌شود که شناخت و بررسی آنها می‌تواند به محققان برای اتخاذ رویکرد اصلاحی کمک کند. در این مقاله آسیب‌ های مقاله ‌های سال‌های 1300 تا 1393 حوزۀ ناصرخسرو پژوهی بررسی شده و درنهایت نتایجی مانند مناسب نبودن عنوان و موضوع مقاله در بعضی موارد، ناقص بودن ساختار و روش علمی مقاله، مطابق نبودن رشد کمی و کیفی مقاله ‌ها، یک‌جانبه نگری و باقی ماندن ابهامات در خصوص جنبه ‌هایی از زندگی و افکار ناصرخسرو به دست آمده است.}, keywords_fa = {ناصر خسرو,مقاله,آسیب شناسی,ساختار,محتوا}, url = {https://jls.um.ac.ir/article_35288.html}, eprint = {https://jls.um.ac.ir/article_35288_e0575c98843e8e9a48d7814a00f41716.pdf} } @article { author = {JaliliTaghavian, Mostafa and Hadi, Ruhollah and Torki, MohammadReza and Noruzi, Ali}, title = {Ory of Independence of “Badi” in Islamic Rhetoric}, journal = {New Literary Studies}, volume = {51}, number = {3}, pages = {97-116}, year = {2018}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v0i0.74289}, abstract = {Introduction At the beginning of its genesis in the third century, rhetoric was expanded. It was called “Badi”, “Bayan” and in later centuries it was introduced as “Balaghat”. However, this process did not last long and the pure light of rhetoric becomes multiple like the shadows of knurl. According to the reports of rhetoric contemporary historians from the late sixth century and at the beginning of the seventh century, we see the branching of this knowledge until we access what we call “Badi’, Bayan, Maa’ni”. The main subject of this article is about the independence date of “Badi”. Many contemporary historians believe that this branch of knowledge with its current meaning was made by Sakkaki and after that it became popular as a technique developed by Badraldinebne Malek (Matlub, 2010). This belief is so famous among rhetoric researchers and students that many articles, books or entries written about “Badi” introduce the independence of this knowledge from the seventh century by Sakkaki or Badraldinebne Malek (see Matlub, 2010; Maraghi, 1990). What we will present here is a new narrative about the independence date of this knowledge. The novelty in this method is rooted in the difference of writers' attitude towards famous rhetoric historians about the nature of history, especially intellectual history. Textual studies show this fact that the independence of “Badi” with its current concept was not something suddenly, and it began slowly at least two centuries before Sakkaki. Our research shows that this continuum has at least five chains that Sakkaki and Badraldinebne Malek are only their fourth and fifth chains. In the following sections we introduce and describe the individuals in this Continuum.       Method In this article we assume that intellectual- historical phenomena were gradual and connected; therefore, the independence of “Badi’” was not an accident but a process. Thus, the beginning of this process was followed in the historical texts of rhetoric. Moreover, in research like this we cannot rely on the information of just one specific knowledge or mainstream; in fact, referring to simultaneous changes in other knowledge and mainstreams and finding a cause and effect relationship between different changes is one the most important responsibility of a historian who is supposed to narrate the history of a thought. So in this article after a precise analysis of rhetoric texts, we enter another territory called logic and attempt to highlight the changes occurred in this field related to metonymy and metaphor and consider them as a background for the changes in “Badi”. Results and Discussion There is a very considerable criterion for old rhetoricians and contemporary researchers to rely on for considering the independence of “Badi’”. This criterion is the absence of simile and metaphor and generally metonymy in “Badi” (for example see Sobki, 1332). They generally believe that Sakkaki was the cause of this separation. According to a rather unknown source, we will prove that the date of this separation is at least two hundred years before him. Mavadol Bayan by Ali ebne Khalaf Katib (1036) is one of the important resources that we may see the separation of metaphor from the subject of “Badi” for the first time. At first we consider the reasons of the author to separate these two, and then we present our own analysis about this subject. Rhetoric contemporary researchers explain that before Sakkaki the term of “Badi” meant “Baligh” and “Hasan”. This is almost correct. One of the meanings that Ali ebneKhalad Katib uses for this word is this. For instance, when he aims to show the distinction between simple prose and rhetorical prose he confesses thatthe way he chooses in writing his prose to prevent vain prose speech that people use in ordinary writings and conversations, and that way is decorating the text with the ornaments of rhetoric and “Badi” like metaphor and simile and rhyme and “Taghsim” and “Moghabele”, etc. (Katib, 1036). In the above phrase, rhetoric and “Badi” have been used with the same meaning. Katib (1036), like previous rhetoricians, reminded that metaphor is a part of “Badi”; however, he does an amazing job in introducing this technique. Mavadol Bayan like other books such as Alsaaatein and Alomda fe-Sanaate Sheer has a part called “Badi” in which he starts to introduce its chapters. By analyzing this part, we realize that he has omitted the metaphor from it (Katib, 1036).  Since IbneMotaz to Jorjani, metaphor was a part of “Badi”. According to this subject, Katib did not choose an opposite way to the previous rhetoricians by separating “Badi” from rhetoric and metaphor from “Badi”. In fact, it seems that Katib (1036) transfers metaphor and simile to the topic of metonymy in the chapter of rhetoric and not “Badi”. If we want to show the process of changes about metonymy and metaphor before the beginning of the sixth century, in the first step we should say that from the fourth century the topic of metonymy found its way to rhetoric books. In the second step, metaphor has been presented in two chapters called metonymy and “Badi” that makes a kind of dichotomy or at its best way a kind of repetition. Finally, in the third step the separation of metaphor and simile from “Badi” and its transfer to a new section called metonymy or reality and metonymy took place. This process was almost finished before the end of the fifth century. There is no doubt that the most progressive person in this period was Aliebne Khalaf Katib. After that, individuals such asMatrazi and then Sakkaki and Badroldinebne Malik helped this process. The importance of Avicenna in influencing the transfer of metaphor and in shaping “Badi” is in his two innovations in Esharat  and alTanbihat. (Aristotle's logics became popular among Muslims in nine part but Avicenna, in Esharat and Manteqol-Mashreqain, divides logic into two main parts based on “tasavvorat” and “tasdighat” and reduced Aristotle's chapters from nine to two (Faideei, 1865); he does this by being inspired from Farabi's classification of science to “tasavvor” and “tasdigh” which was expressed in Oyoon-alMasael and by considering the distinction between “tasavvor” and “tasdigh” methods. Avicenna mentions the subject of “Alfaz” in the “Tasavvorat” chapter. This subject includes another innovational part which is the division of all kinds of implications to “Motabeghe” and “Tazammon” and “ltezam”. Conclusion In this article we attempted to define the real contribution of Sakkaki or Ibne Malik in the division of “Badi” from “Bayan”, which is mentioned a lot in contemporary rhetoric research. In fact, we can comprehend that rhetoricians and logicians before these two almost figures provided backgrounds for this division. The garden of rhetoric only needed a farmer to pick the yield of this nurture. }, keywords = {The history of independent of figurs,logic,mtaphor,Sakaki,Kateb,Motarazi}, title_fa = {بازنگری در تاریخ استقلال فن بدیع در بلاغت اسلامی}, abstract_fa = {بسیاری از پژوهش­ گران معاصر بلاغت بر این باورند که علم «بدیع» را سکاکی از علم بیان جدا کرد و بدرالدین بن مالک آن را به عنوان «فن» نامید. این روایت نمی­تواند بازتاب درستی از حقیقت باشد؛ چرا که روند استقلال این علم دست­کم دو قرن پیش از سکاکی آغاز شده بود. علی بن خلف کاتب (ح 427 ق) با جدا کردن تشبیه و استعاره از بخش «بدیع»ِ کتابِ خود یکی از گام­ های اساسی را در این باب برداشته بود. در واقع علت این جدایی به این سبب بود که استعاره در کتاب­ های مشهور بلاغت به دو مبحثِ نامرتبط تعلق داشت؛ از یک سو آن را تحت جنس «مجاز» می­دانستند و از سویی دیگر آن را به چشم یک صنعت بدیعی می­نگریستند. در قرن ششم مطرزی خوارزمی (ف 610 ق) نخستین کسی بود که از این دوگانگی پرسش کرد و به صورتی قاطع استعاره و تشبیه و تمثیل را از قلمرو بدیع خارج نمود. در حوزه منطق نیز مبحث مجاز تحولاتی را از سرگذراند و با ابتکار ابن سینا به بخش «تصورات» و «مبحث الفاظ» راه یافت و در قرن ششم عملاً به مبحثی مستقل تبدیل شد؛ بنابراین سکاکی و ابن مالک در واقع میراث­دارانی بودند که عملاً فقط میوه جدایی علم بدیع از علم بیان را، چیدند. این مسئله نباید ما را به داوری نادرست در خصوص سهم کسانی که در این ماجرا نقشی اساسی داشتند وادارد. هدف از این تحقیق، اصلاح تاریخ بلاغت اسلامی است.  }, keywords_fa = {تاریخ استقلال علم بدیع,منطق,استعاره,کاتب,سکاکی,مطرزی}, url = {https://jls.um.ac.ir/article_35300.html}, eprint = {https://jls.um.ac.ir/article_35300_a0d302569be7b6ccff4bb336951a99ce.pdf} } @article { author = {Darrudi Javan, Morteza}, title = {Kordad and Amordad Amshaspand and their Signs in the Shahnameh}, journal = {New Literary Studies}, volume = {51}, number = {3}, pages = {117-143}, year = {2018}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v0i0.74440}, abstract = {Introduction The Amshaspandan are six or seven sacred concepts of Zoroastrian theology referred to only as the highest attributes of Ahuramazda in the earliest times. In later recollections they have become the first and foremost creatures of the One God. The two notions of "Khordad" and "Amordad" mean perfection and immortality respectively. Among the works of the Persian literature, Shahnameh is closest to the archeological and philosophical system of ancient Iran. In this article, using the content analysis method we intend to search and analyze the direct and indirect signs of the two Amshaspand called Khordad and Amordad in the Shahnameh. The research sought to see why Amshaspan’s thought despite its epistemic importance in Shahnameh, seems to be ineffective and invisible. In this study after searching for the meanings and general features of Amshaspandan and then the specific functions of Khordad and Amordad, we looked at these features in the Shahnameh. By exploring all the Shahnameh, only one obvious mention of the two Amshaspand was found. We also counted all the general features of Amshaspandan and their specific meanings. After calculating their frequency, we analyzed the content of the data. Review of Literature Ignoring the relatively large number of works that while describing Shahnameh, they also paid attention to its influence from ancient Iranian philosophy, we can also find very few studies focusing entirely on the effects of Zoroastrian Wisdom on the Shahnameh. In this regard, a useful and valuable thesis has been used extensively (e.g. Akbari Mafakhar, 2010; Moein, 2005; Qasempour, 2009; Sohrabi, 2008). But the fact is that perhaps because of the thinness of the Amshaspandan theme in the Shahnameh and the ignorance of these works to Amshaspandan's signs and features in the hidden layers of the text, none of these works focuses on this issue. For example, in the book Mazdisena and Persian literature, although the author has referred to one position to reflect the pre-Zoroastrian Aryan beliefs in the Shahnameh, (Ibid, vol. 1), in another position he has pointed to the reflection of Zoroastrian worldview in Persian literature . In another article he has also addressed the subject of Mazdisena and Ferdowsi. However, none of these positions have independently discussed the presence of Amshaspandan in the Shahnameh. In this respect, the subject matter of this article may perhaps be new and unprecedented. Method In this article, content analysis method is used. It is a method through which the researcher counts all the evidences and then transforms all the conceptual elements of the text from qualitative and conceptual to quantitative and statistical after collecting and extracting from the text. After counting these symptoms and obtaining all their ratios and quantities, the researcher analyzes and interprets the results. Using this method and referring to the Moscow edition of the Shahnameh, we have studied the presence of two Amshaspand Khordad and Amordad in this context in two areas: 1) explicit references to the name, and 2) the indirect indications to their meanings and functions. Results and Discussion According to the general and proprietary features of Amshaspandan, we have listed 13 signs for Khordad and 17 for Amordad Amshaspand. Of the signings of Khordad, the most frequencies are jointly attributed to "presence in Amshaspandan system", "emphasis and prominence" and "belonging to the cultural landscape of ancient Iran". The attributes of "accompanying the concept of God" and "superiority over other creatures" are followed by them in terms of frequency. Of the specific concepts of this Amshaspand, the concept of “perfection and transcendence” has the highest frequency, followed by the concepts of “health and prosperity”, along with the concept of “immortality”, and finally with “the symbol of water”. Also the most prominent features of Amordad are “the connection with the concept of God”, “the emphasis and prominence” and "belonging to the cultural landscape of ancient Iran". Following these general features, the concepts of" presence in Amshaspandan system", "immortality", "superiority over other things", referring to the supernatural, companionship of Khordad , and ultimately companionship of the plant have the highest frequency respectively. Conclusion The two Amshaspand Khordad and Amordad are mentioned only once in the Shahnameh. This indicates a weak and slight reflection of Zoroastrian beliefs on the outer layer of the text. There is a similarity and closeness in the way of using and coming the two Amshaspand and in their signs in the Shahnameh; in fact, only the meanings and symbols of Amordad are little more than Khordad in this book. These concepts are mainly associated with the concept of God, and it means that the spirituality in the Shahnameh is very powerful and bold. The only explicit mention of Amshaspand, and consequently the mention of these two Amshaspand in the Shahnameh are in the story of Kikhosro and from the language of Rustam. It is worth noting that Kaikhosrow's perfection as the perfect human being in the Shahnameh world is linked to the perfection and immortalityrelated to  Khordad and Amordad. Among the results of the research are religious and epistemological function of Amshaspand without philosophical and ontological views, eight existence of Khordad asthe month and day , and lack of mention of Amordad in in these meanings.  }, keywords = {Khordad,Perfection,Amordad,immortality,General,proprietary}, title_fa = {دو امشاسپند خرداد و امرداد و نشانه‌های آنان در شاهنامه}, abstract_fa = {در میان آثار ادب فارسی، شاهنامه بی‌شک نزدیک ‌ترین آنها به سامانۀ باور‌شناختی ایران باستان است. در این مقاله کوشیده‌ایم که با استفاده از روش تحلیل محتوا نشانه‌های استوار و گمان‌آمیز دو امشاسپند خرداد و امرداد را در شاهنامه تحلیل نماییم. هدف پژوهش پاسخ به این سؤال است که چرا اندیشۀ امشاسپندان با وجود اهمیت معرفتی آن در متن شاهنامه به حسب ظاهر چنین کم ‌اثر و بی‌فروغ است. در این پژوهش پس از ذکر معانی و ویژگی‌های عمومی امشاسپندان و نیز کارکرد‌های اختصاصی خرداد و امرداد به جست‌و ‌جوی نشانه ‌های آشکار و پنهان این دو امشاسپند در شاهنامه پرداختیم. علاوه بر یافتن تنها ذکر صریح این دو امشاسپند در شاهنامه، تمامی مواردی که ویژگی ‌های عمومی امشاسپندان و اختصاصات این دو را در بر دارند شمارش کردیم و پس از محاسبۀ میزان بسامد آنها به تحلیل محتوایی و مفهومی یافته ‌ها پرداختیم. در اثر این پژوهش، نتایجی همچون یافتن تنها یادکرد امشاسپندان در داستان کیخسرو و پیوند آن با کمال و جاودانگی وی، حضور کارکرد مذهبی و باور‌شناختی امشاسپندان و عدم تلقی فلسفی و هستی‌شناختی از آنان، وجود هشت یادکرد از امشاسپند خرداد به عنوان خرداد‌ماه و خرداد‌روز و عدم یادکرد امرداد در این معانی و دست‌یافت‌ های دیگر حاصل گردید.}, keywords_fa = {خرداد؛ کمال؛ امرداد؛ جاودانگی؛ ویژگی های عمومی,ویژگی های اختصاصی}, url = {https://jls.um.ac.ir/article_35311.html}, eprint = {https://jls.um.ac.ir/article_35311_4b38c5a417f22dc0a6a2428960c449f9.pdf} } @article { author = {Fatemi, Sayyed Hossein}, title = {Cash on paper Creating the Quran (Reflection on a Couplet of Sa'di Shirazi)}, journal = {New Literary Studies}, volume = {51}, number = {3}, pages = {145-147}, year = {2019}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v51i3.84783}, abstract = {نوشته حاضر، نقدی است بر مقاله «قرآن درست کردن» (تأملی بر بیتی از سعدی شیرازی) به قلم آقای دکتر مجتبی مجرد، که در مجلۀ جستارهای ادبی شمارۀ 201 تابستان 1397 به چاپ رسیده است. بیت مورد نظر در این مقاله این است: یتیمی که ناکرده قرآن درست                کتب­خانه چند ملت بشست  }, keywords = {Creating the Quran}, title_fa = {نقدی بر مقالۀ «قرآن درست کردن (تأملی بر بیتی از سعدی شیرازی)»}, abstract_fa = {نوشته حاضر، نقدی است بر مقاله «قرآن درست کردن» (تأملی بر بیتی از سعدی شیرازی) به قلم آقای دکتر مجتبی مجرد، که در مجلۀ جستارهای ادبی شمارۀ 201 تابستان 1397 به چاپ رسیده است. بیت مورد نظر در این مقاله این است: یتیمی که ناکرده قرآن درست                کتب­خانه چند ملت بشست}, keywords_fa = {نقد,مقاله,قرآن درست کردن,سعدی}, url = {https://jls.um.ac.ir/article_35322.html}, eprint = {https://jls.um.ac.ir/article_35322_56e72c89a2144f5cd972df09664442bc.pdf} }