@article { author = {Ranjbar, Ebrahim}, title = {Three Interpretations of the Novel The Island of Wandering}, journal = {New Literary Studies}, volume = {52}, number = {1}, pages = {1-17}, year = {2019}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v0i0.76300}, abstract = {Introduction Simin Daneshvar (1921-2011) is the first Persian female novelist. She gained fame by her novel Savoushoun, and her second novel The Island of Wandering in 1993, which was republished for the third time selling 33,000 copies – very rare in Iran’s publishing industry. Daneshvar was greatly interested in literature and got acquainted with literature schools of the world, Western fiction, the novelists and experts’ opinions about novel, and the Persian culture and literature. The aim of this article was to find documentary responses to the following questions: “what fiction writing opinions did Daneshvar credit in her last years and the experiences of novel writing art?” “How these opinions emerge in “The Island of Wandering” and have impacts on it?” Review of Literature In subject and theme, novel is gaining a great deal of variety these days and creates different expectations of its implications in people’s minds. As a result, it coordinates with various theories and schools of thought, literature, and art and is affected by them. Hence, we can study, analyze, and interpret a novel from different points of view. Normally, these viewpoints come out as the sequence of artwork affecting and being affected by literary theories. The novel The Island of Wandering can be analyzed and interpreted from distinctive viewpoints as well. In this article, the novel will be analyzed from three literary standpoints summarized as the following: A common literature school is realism, and a literary outcome from it is the necessity for commitment in the literary works. In this instance, novel is a reflection of a particular social circumstance, and the role of the novelist is like a mirror against a historical path. From this viewpoint, realism represents itself through the framework of a mirror taking inevitably the role of a historical responsibility, but with a distinction in the form. From another viewpoint, a novelist does not write simply to describe an event, but rather he wants to add something to the world through his work and to motivate a reflection of the thought. That is, a novel is not an image of a real world but a reality opposite to the existing realities. Therefore, it should not be considered matched with the realities of the novelist’s time. It is an environment that has been created and colored with its particular conventions, with no addition or reduction. From the third point of view, novel takes the position of mediation in the transaction with the globe – neither contrasting with it nor being indifferent to it – it is rather a device to make the world better and to discover the undiscovered things. From this perspective, novel contradicts with science and history. Science reduces the world to a state of only empirical studies, but novel tries to discover different aspects of the world through its particular methodology. What happens is not the nature of the world but the facilities created for man; it is what man desires. For this reason, the novelist portrays a world of objectives and higher values, and by recognizing essential living issues and understanding the capabilities and talents of man tries to invite the artful minds with a skillful language, and designates a paradigm for the ever renewing future. To interpret the novel The Island of Wandering, it is crucial to benefit from these viewpoints, at least, because the novel has been designed to reflect history in the past, to portray a renewed world (spreading love and beauty), to cleanse morality, and provide framework. Method The study used content analysis and comparison. In the first place, the content of The Island of Wandering was analyzed and then the methodology of using the elements and details of these contents was examined. The conclusion was that Daneshvar has utilized in her novel some newspaper articles and portrayed some historical, social, and cultural realities of Iran. At the same time, she has combined her own objectives and imaginations into the novel that you cannot find such a condition in real life. Moreover, she has sometimes added some details in the novel in which these details are represented far well than the historical samples. Comparing these three content categories with the literary theories and the viewpoints related to novel writing, it was concluded that her novel could be investigated from three points of view: 1) the novel, like a mirror, reflects the realities of history; 2) her novel itself is an ideal world against the real world; and 3) the novel is a mixture of both the ideal and real world of the writer. Results and Discussion The novel The Island of Wandering in some parts stands like a mirror against historical realities. In many various parts, we encounter with some historical realities of Iran and the globe throughout the novel. Daneshvar is standing in the 1980s in the novel reviewing the Persian community from 1943 to 1978 and creating a historical fiction – out of the newspaper articles and her own interpretations – with an ideal objective and prosperity of mankind. She points to some historical, cultural, and social aspects of Iran and the world. Throughout the novel, there are aspects that distinguish it from real conditions. Those aspects are: The plot in the novel is about the constant happenings in the life of a girl, named Hasti. Five historical characters are mentioned in a way in the novel that the borders between reality and fiction are mixed up. The novel contains some fictitious characters not resembling the real samples, historically. Some events are documented in the novel not found in Iran’s history. As we put these aspects and some other details together, a new world is created having elements to contribute to the comfort and development of mankind. Conclusion The Island of Wandering is a historical, artful, and philosophical work which reflects, like a mirror, parts of events from 1943 to 1978 and the reasons for the Pahlavi’s overthrown. Besides, making use of an artful fiction, it creates an attractive and Independent story. Moreover, discovering and developing some aspects of available being, the novel stands between the light and darkness of reality and fiction. Convincing the reader that the novel can provide facilities to world, it reminds man of his capabilities and talents to make a better life and receive help from novel.}, keywords = {Daneshvar,Wandering Island,Interaction,theories of noveling}, title_fa = {سه تفسیر از رمان «جزیرة سرگردانی»}, abstract_fa = {رمان جزیرة سرگردانی هنرمندانه ‌ترین رمان تعلیمی زبان فارسی است و دو لایه دارد: روایی و رمزی. در این مقاله، ناگزیر از هر دو لایه کمک گرفته‌ایم. کارکرد نویسنده در این اثر، هم آینه‌ داری در گذرگاه تاریخ، هم تبیین دیدگاه‌ های فلسفی و ذوقی و هم خلق جهانی نو با قوانین و امکانات خاص است. هدف این مقاله استخراج و تعبیر آرای علمی و تاریخی و هنری نویسنده در این رمان است. این بررسی حداقل دو نتیجه دارد: یکی تعیین ارزش و جایگاه علمی و هنری جزیرة سرگردانی و دیگری تبیین چگونگی تعامل واقعیات و هنر در یک اثر ادبی موفق. روش کار ناگزیر بدین صورت بوده ‌است که آرای نویسنده را از اقوال و احوال شخصیت ‌ها، از اقوال راوی و از کارکرد حوادث و صحنه‌ ها استخراج یا استنباط کرده ‌ایم. تبیین احوال و کارکرد حوادث مستلزم تاویل ‌های متنوع بوده‌ است. مستمسک تأویل ‌ها قراین متعدد مندرج در رمان است؛ اما جهت رعایت اختصار نتوانسته ‌ایم قراین را ذکر کنیم.}, keywords_fa = {دانشور,جزیرة سرگردانی,نظریة رمان نویسی}, url = {https://jls.um.ac.ir/article_35409.html}, eprint = {https://jls.um.ac.ir/article_35409_7fa6a30fc8ec84c735b67632ad2dd05a.pdf} } @article { author = {Alizadeh, Homeira and Pour Khaleghi Chatruodi, Mahdokht and Mazari, Negar}, title = {A Comparative Study of the Imagery of Postman's Script and the Woyzeck Play Based on the Imaginary Theory of Gilbert Durand}, journal = {New Literary Studies}, volume = {52}, number = {1}, pages = {19-45}, year = {2019}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v0i0.76318}, abstract = {Introduction In this paper, the authors studies images of adaptation work’s based on the theological theory of Gilbert durand and are expresses The differences and similarities of the imaginative images by the Origin effect in conveying the intended meaning. Using of this method helps the viewer with regard to the structure of the images of  the work, understand the factors that influence their formation. Depending on the structure of the images of the work and  recognizes and demonstrates the impact  of society on the others imagination of the time of the creation of these works. This research will answer these questions. What are the differences between the adaption work images and the original work images? how does the concerns of writers affect literary work? these fear, which are reflection  of the conditions of society in the author's imagination. How do they appear? Review of literature Critics and scholars studies the imagery of literary works with the method of critique of the durand. Ali Abbasi has numerous books and articles in this method. Including the book »The Structures of Imaginary Anthropology« (2011), which is a brief introduction of durands theory. His essay "Classify of Fiction by New Literary Criticism" is a summary of this book. Abbasi reviewe and categoriz  the images in two diurnal Regime and nocturnal Regime on " the study of Structural and Imaginary of Mohammad Reza Bayrami's Works" and "The Study of Structure, Thought and Imagination in the Works of Fereydoon Amouzadeh Khalili". Also, in his essay "Reality and Imagination in Celluch's Novel" (2008), he explores the concept of time through symbols in the novel. Negar Mazari in his article "Studying the Concept of Time in Proust Imagination, Relying on the Role of Historical Images in Cambrai " (2012) and "Investigating Fear in Three Drops of Blood of hedayat and Anti-Ethics of Gide based durands Criticism" (1394) It studies the images based on the theory of the durand. article of Mohammad Nabi Ahmadi's  "The Fear of Time and Overcoming it in Poetry of Resistance Poets (from a Psychological Perspective)" (1396), an article entitled "Analysis of the Imaginary Forms of Nasrallah Mardani" According to Gilbert Durand's Theory (1396) by Abbas Mohammadian and Sara Pourshaban's essay "The Analysis of the Imaginary Structure of the Thirsty Wall and the Masnavi Wall Based on New Literary Criticism" is also justified in the new literary criticism Because in all of them, writers studies the artistic imagery of the author in literary works. But the researchers in this paper use of this theory to compare the postman's fictional images with different culture with the original work and show the difference in the use of images. method The article studies with method of Description and analysis, the literary adaptation Dariush Mehrjui  in Postman's film from the German drama of Woyzeck, by Karl Georg Buchner. Based on Gilbert's durand theory of imaginative images that categorizing the images in two diurnal Regime and nocturnal Regime, the evolution of images expresses the adaptation effect to the original work and the role of society as an influential factor in these changes. Conclusion and discussion In Postman's adaptation, the symbol of progress and the inner courtyard (symbols of the imagination) appear more in the form of trees and forests, and in the Woyzeck drama in the form of trees, woods, and crosses. In the diurnal Regime, animal images have a negative value in both works. all express the inner fear of the fictional characters, but in Postman's film, animal images creat a calm and Middle space with combin of the positive symbols. The symbols of darkness in these works are seen as lightning, dark night and blood. Symbols of fall are in works in the form of vertigo, blinking and fall. Infront of these images are positive images of the diurnal Regime (spectator and divider). The spectacular symbol at the postman has more images (white flowers, wheat, sky, and light), but in Woyzeck summarizes in his eyes. The separation symbol in films is always accompanied with the animal symbol and the dark symbol that reducing the author's fears. Conclusion In study of the imaginative imagery of Postman and Woyzeck works, with gilbert durand critique result is that Mehrjui in the postman use of nature and natural symbols, He overcomes on the fear of time and change with the imagination of nocturnal Regime (trees, flowers and forests). Control the fear of negative symbols (animal, fall and dark) by contrasting them with positive (spectator and separator) symbols but Buchner does not use of nature in Woyzeck and display animal symbols in the form of animal sounds and verbs. In his work the symbols of diurnal Regime are major of the symbols of nocturnal Regime with negative evaluation and This creates a dark space in the work. Undoubtedly, the westernized society of mehrjoyi is better than the exploited society and the conflict in Woyzeck and This lessed the author's panic and reduced the intensity of the anger and fear of the original work and Finally the images are positive. Therefore, the conditions of society and the fears are the most important factors influencing in the creation of positive or negative images in two literary works.}, keywords = {Adaptation,Postman script,Woyzeck play,Gilbert Durand}, title_fa = {مطالعة تطبیقی تصاویر تخیّلی فیلم نامة پستچی و نمایش نامة ویتسک براساس نظریّة تخیّل شناسانة ژیلبر دوران}, abstract_fa = {امروزه مطالعات تطبیقی در حوزة اقتباسی از اهمّیّت زیادی برخوردارند و اقتباس از ادبیّات داستانی بستر مناسبی برای رشد هنر به ­ویژه هنر سینما ایجاد کرده و تعامل سینما و ادبیّات باعث پرمخاطب شدن اثر اقتباسی شده است. در این پژوهش با در نظر گرفتن تعامل ادبیّات و سینما به مطالعة اقتباس ادبی فیلم­نامة پستچی، نوشتة داریوش مهرجویی از نمایش­نامة آلمانی ویتسک، اثر کارل گئورک بوخنر، پرداخته و با روش توصیفی – تحلیلی براساس نظریّة ژیلبر دوران تصاویر تخیّلی آن­ ها را بررسی کرده­ ایم تا با دسته ­بندی تصاویر در دو منظومة روزانه و شبانة تخیّل، تحوّلات تصاویر اثر اقتباسی را نسبت به اثر مبدأ و نقش جامعه را به عنوان عامل تأثیرگذار بر این تغییرات بیان کنیم. با تفسیر تصاویر دو اثر به این نتیجه رسیده ­ایم که با وجود تلاش ­های مهرجویی در بومی­سازی اثر و هدف وی در آفرینش تصاویری مطابق با فرهنگ ایرانی، ساختار نظام تخیّلی تصاویر فیلم­نامه به نمایش­نامه نزدیک است و مهرجویی با ایجاد تحوّل در تصاویر، موفّق به خلق فضای جدید شده است. او توانسته است با تصاویر منظومة شبانه بر ترس­های خویش غلبه ­­کند و با تقابل نمادهای مثبت و منفی منظومة روزانه فضایی آرام و معتدل بیافریند، امّا تصاویری که بوخنر در نمایش­ نامة ویتسک آفریده، بار منفی­تری دارند و بیشتر به صورت نمادهای منظومة روزانة تخیّل تصویر می­شوند.}, keywords_fa = {اقتباس,فیلمنامه پستچی,نمایشنامه ویتسک,ژیلبر دوران}, url = {https://jls.um.ac.ir/article_35422.html}, eprint = {https://jls.um.ac.ir/article_35422_5eb680f0db07876f66abed4512825956.pdf} } @article { author = {Hosseini Sarvari, Najmeh and Modabberi, Mahmood and Jafari, Mohammad}, title = {Focalization and Knowledge Dissemination in the Story of “Khosrow and Shirin” in Shahnameh}, journal = {New Literary Studies}, volume = {52}, number = {1}, pages = {47-71}, year = {2019}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v0i0.77278}, abstract = {Introduction Focalization is a way of communicating or acquiring knowledge (information) in narratives. Studying ways of focalization in narrative means understanding and analyzing how the narrator distributes information. In different scenes of the story, the narrator, depending on the reaction he expects from the reader, gives the reader more information, equal to or less than the characters in the story. If the reader's knowledge is more than personalities, the result is suspense and if the reader's knowledge is equal to the characters, his reaction to the events and actions of the story’s characters is curiosity. And if the reader knows less about the story's characters than about the events, he is surprised. The purpose of this study is to investigate the ways of information distribution in the Shahnameh narrative of Khosrow and Shirin's story. It tries to explain methods and techniques of information distribution in the story and its impact on the reader. Review of Literature Gérard Genette was among the first narratology specialist that draw attention to the distinction between seeing and telling in the narrative and set the two factors of focalization and narrative against each other. By proposing this contrast, he attempted to avoid the common misconception of the two concepts of narrative mood and narrative voice where the former refers to focalization in narrative and the latter to narrative. Focalization is, in Genette's view, the view that things are inexplicably seen, understood, and evaluated and it is one way of expressing or acquiring knowledge through narration where two components are necessary: The Actor or Focalizator who, with his perception, directs the story, and Focalized (object), something or someone that the Focalizator sees. In other words, both the narrator and the characters give us information about the story world in different ways. Despite the narrator who speaks about his perception, emotion and ideology, the character does not say or give anything precisely, but actually feels it when he sees something or hears something about it. The narrator is the communicative voice we hear through him, the voice, the emotion, and the ideology of the character. Narration is the act of narrating and telling the story by the narrator and it is done when knowledge is unevenly distributed. There is no possibility for narration in a world where all viewers are complete and omniscient. Thus, examining the focalization practices in the narrative, means understanding and analyzing how the narrator distributes information. In Genette's opinion, narration can lack focus, depending on the narrator's presence in the narrative and the extent to which the narrator transfers information to the reader. Either it has an internal focus, that is, a person narrating a fixed or variable position or having an external focus. Method The methodology of this study is based on text description and analysis based on the structuralist narrative views of Genett and Rimmon Kenan. The method of analysis is based on dividing the story into three sequences and explaining the focalization techniques in each sequence. In each sequence, the most influential and contributing factors in distributing consciousness to the story are described as it is not possible to mention all the changes in the narrator's perspective or other focalizer of the story, nor does it lead to significant differences in research findings. Results and Discussion One of the most important aspects of artistic beauty of Shahnameh is Ferdowsi's art of storytelling and narration techniques. Narrationon techniques are all techniques that lead to the creation of different narratives of a story, the sequence in which events actually occur and is understandable from the text, and this requires narration, meaning the action or process of creating a manuscript. Narration is a way to alternate knowledge or awareness and is a set of possibilities to provide and monitor our access to a changing field of information. Therefore, attention to narrative techniques, can explain how information is distributed and presented and the effect of the text on the reader. Studying Ferdowsi's narrative techniques and the way information and focalization are provided in Khosrow and Shirin's story shows that the most important method of creating diversity in the narrative is changing the narrator-focalizer’s point of view and the dominant aspect of focalization in the story is objective focalization by the narrator-focalizer. Except from the opening scene, the wise narrator-focalizer's perspective is limited to one or a few characters or a closed scenes from a specific location, and except from the end of "About the greatness of Khosrow", it provides the reader with information, equal to the characters. In the story, the number of internal focalization (narrative from the perspective of characters) is much less than external focalization and in most cases, the internal focalizer places one person in the focalized position, thus revealing the focalizing emotions relative to the focalizing. In this way, the reader’s information is equal to the personality-focalizer and the reaction of the reader is curiosity. The dominant aspect of the story's coherence in the deep structure of the work is the ideological aspect of the story's focalization. As the narrator arranges all the events of the text from the beginning to the end in line with his ideology, he encompasses all the sounds in the text as a function of his voice. The main worldview of the narrative is the world’s unreliability, which is emphasized by the ill-favored image of prosperous people and the contradictions in the story. The author's voice, where clearly heard and distinct from the narrator's voice, is another emphasis on the ideological aspects of the text, which on one hand emphasizes the inescapability of death to the narrator's worldview and, on the other, expresses the author's ideology whosees himself immortal through speech. Conclusion In this paper, the Shahnameh narrative of "Khosrow and Shirin" has been studies in terms of focalization methods in order to understand how knowledge is distributed in. The results of this study show that the wise narrator-focalizer narrows the scope of his information through the change of perspective and objective focalization and equates the reader with the character in term of information seeking. Therefore, in the entirety of the work, suspense is the most important factor in motivating the reader towards the text, which is created by the reader's pre-conscious awareness of the main character’s destiny and because of the equal awareness of the reader and the story's characters, and in the part of the narrative of the story, stimulating curiosity is the most important reason for reading the text. The dominant aspect of the story's coherence in the deep structure of the work is the ideological aspect of the story's focalizations, which is perfectly consistent with the direct narration and clear voice of the narrator in cases where he speaks directly to the reader. The main worldview of the narrative, besides the world’s unreliability, is the ideology of the national epic of Iran; An ideology that considers art and wisdom indispensable to the king and considers killing the king a disgrace. The author's voice, while clearly heard and distinct from the narrator's voice, emphasizes the ultimate ideology of the text and the unconditional excellence of art and speech over royal glory.}, keywords = {Shahnameh,Story of Khosro and Shirin,Focalization,knowledge dissemination}, title_fa = {کانونی سازی و توزیع آگاهی در داستان خسرو و شیرین شاهنامه}, abstract_fa = {کانونی ­سازی، یکی از راه­ های بیان­ کردن یا به ­دست ­آوردن دانش (آگاهی) در روایت است. در این مقاله، جهت درک چگونگی توزیع آگاهی در روایت شاهنامه از داستان خسرو و شیرین، این داستان از نظر شیوه­ های کانونی ­سازی مورد توجه قرارگرفته ­است. نتایج این بررسی نشان می­دهد که وجه غالب روایت رخدادها در متن، کانونی ­سازی بیرونی است؛ یعنی دیدن و روایت­ کردن توأمان رویدادها توسط راوی-کانونی­ گر، به شکلی که اغلب، خواننده چیزی بیشتر از شخصیّت­ ها نمی­ داند. در کلیّت اثر، تعلیق، مهم­ترین عامل انگیزش خواننده نسبت به متن است که بر اثر پیش­ آگاهی فراتر خواننده (نسبت به اشخاص داستان) دربارۀ سرنوشت شخصیت اصلی ایجاد می­شود و در پاره­ روایت ­های داستان، به دلیل آگاهی برابر خواننده و اشخاص داستان، برانگیختن کنجکاوی مهم ­ترین دلیل برای خواندن متن است. در کانونی ­سازی­ های درونی نیز بیان عواطف و ذهنیت اشخاص داستان، موجب برانگیختن کنجکاوی خواننده می ­شود. مهم­ترین عامل انسجام متن در ژرف­ساخت اثر، وجه ایدئولوژیک کانونی ­سازی­ است.}, keywords_fa = {شاهنامه,داستان خسرو و شیرین,کانونی سازی,توزیع آگاهی}, url = {https://jls.um.ac.ir/article_35425.html}, eprint = {https://jls.um.ac.ir/article_35425_8b1f26b3d26544b98c6adaba5c1a9aaf.pdf} } @article { author = {Qavami, Hasan and Radmard, Abdollah and Saket, Salman}, title = {The Analysis of Bayaze Khoshbooee Based on the Codicology and Textual Criticism}, journal = {New Literary Studies}, volume = {52}, number = {1}, pages = {73-94}, year = {2019}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v0i0.26544}, abstract = {Introduction Today, critical analysis of texts is not anymore considered a technique for publishing and just reviving the old books, but it is actually a broad knowledge for understanding the nature of the texts, the critique of their sources and the textual evolution of their manuscripts, which is referred to as "textual criticism." This knowledge was originally used for ancient and holy books, and then from 18th century for classical literary works. New approaches to textual criticism are based on linguistic-stylistic researches. The linguistic and stylistic knowledge has the capacity of analyzing the text and providing remarkable results for the interpretation and criticism of the texts. It also presents new concepts of literary and non-literary texts. In traditional text studies, the emphasis was on philology, semantic and diversity of recording, but in modern text studies, text criticism shapes new approaches and provides different findings for analysis. In modern text studies, text is analyzed from two points of view: the inner view (linguistic and stylistic context) and the outer view (non-linguistic context, or situation).  Thus, textual criticism in the West, although beginning with scriptures for the analysis of the sources and textual variation of the content of these books, and their correction, in later centuries, deallt with literary, historical, and classical texts. This study investigates the text of Bayaze Khoshbooee through a textual criticism approach. This work has not been corrected and published. In this study, the features of the text was analyzed from phonetic-lexical, syntactic and rhetorical (or static) points of view. Review of Literature A unique version of Bayaze Khoshbooee is kept at the Indian Diwan in London with the number 828. The work was written in ‘Nastaliq hand writing’ by Mohammad Azam on Sha'ban 6, 1109 AH. It has 183 pages with 11 lines in each page. In spite of the insignificant introduction, the author’s name is not included. Of course, considering the Hindu names, terms, and rhythms ​​used in the book, the author may originate from the Indian subcontinent. He has probably been a physician or druggist. The work belongs to the early period of Shah Jahan Gurkāni era in India. It had been a matter of knowledge for the Gurkāni nobles and courtiers. In the case of the criticism of the sources of the text, it should be noted that the sources of the author were mostly of two types: fixed sources, including the books and writings available to the author, and the non-fixed sources, with terms such as "mentioned by someone", "written by someone", and "narrated by someone".. In other words, the sources used by the author of Bayaze Khoshbooee were two types: specific text sources such as the books and handwritten texts, and unspecific sources which consisted of quotes, actions, and practices of experts. The author has recorded the data of sources indirectly and in his own words. Since Bayaze Khoshbooee is limited to only one manuscript, the method of text correction is a deductive correction method. Deductive correction that is revision and correction of incorrect recordings based on guessing and analogy in the distinguishing the correct recordings. The book’s table of content indicates that Bayāz  consists of seventeen chapters. Method In this paper, the textual criticism of the text is explained in two levels: "inside of the text" and "outside of the text". In outside view of the text, three issues are surveyed: reviewing the text, criticizing of the sources of the work and the method of correction. Inside view of the text surveys the analysis of the text content and the linguistic-literary aspects of the text at three levels: lexical, syntactic and rhetoric. Linguistic and literary studies about Bayaze Khoshbooee also show that the text in its time was considered as a scientific-educational textbook that according to the writer's belonging to the ministerial environment of the Shahjahan era, in terms of the style of prose, it can be classified among the ministerial prose in the Gurkāni era. Regarding the lexis of the text, the frequency of mandating and medical lexicons are more than other terms. The use of some specialized terms about the professions and the words from Indian language also are among the lexical features of the work. The syntactic analysis of the text shows that regarding the deployment of sentence components, the text completely belongs to the norms of the formal Persian language of its time. At the rhetorical level, since the mentioned work is an educational text, not a narrative or an artistic, the existence of rhetorical elements in the text is few. Nevertheless, aesthetic implications particularly in the book introduction have been impressive. The book’s introductory part has an artificial and technical prose that has been conventional in the bureaucratic prose books. Through the chapters, the author used superior/excellent Morsal prose of the Indian Gurkāni era with the scientific and mandating literature. Results and Discussion In this essay, the attempt was to use an extracted of the text pattern in two levels of "within the text" and "out of the text" for textual criticism of a lesser-known text. According to this pattern, the text has been an anthology of essential knowledge with a dual approach, both educational and applied, for the nobles and courtiers of Gurkāni. Being single-version of the text is related to the genre of these works, which, because of the empirical and scientific aspects, were not usually written in any transcription identically, but with additions and annotation, they were converted to a new version. In terms of sources criticism, sources were written and verbal. Comparing a text with closely related texts and reasoning with a deductive approach is considered as the best text correction method. In terms of content, the text in its external form is a "scientific Bayāz": a kind of text that was essentially in the form of an empirical textbook, similar to a course pamphlet that turned into a book by developing a pupil into a scholar. But the bureaucratic aspect made it that Bayāz was only a subject sample pattern and orders, and setting out chapters does not have any similarity to a Bayāz, which is a large package of information. The book in its internal form has also been a big encyclopedia with educational content and a bureaucratic form. Conclusion In the linguistic-literary study of the text, it was concluded that despite the educational aspect, the author entered some aesthetic implications on the margin of educational implications. According to the predominant conventions, a technical and ornate prose was used in the book Introduction, whereas in the chapters, a superior Morsal (simple) prose have been used. The frequency of lexical terms (specifically, those related to medicine and the study of the human body) are higher than the other subjects.}, keywords = {Bayaz Khoshbooee,Anthological,Textual critique,stylistics,Analogical Correction,Stylistic knowledge}, title_fa = {بررسی متن بیاض خوشبویی بر مبنای رویکرد نقد متنی}, abstract_fa = {در متن‌ شناسی و تصحیح سنّتی از دانش لغت ‌شناسی و اجتهاد مصحّح در شناخت متن برای تحلیل کیفیّت ‌های متنی استفاده می‌شود. بیاض خوشبویی، متنی حکمی- طبّی و آموزشی است که نسخة یگانة آن در «دیوان هند لندن، به شمارة 828» نگاهداری می‌شود. در این جستار، برای نقد اثری کمتر شناخته شده، بر مبنای رویکرد نقد متنی و روش تحلیل کیفی، الگوی شناخت ‌نامة تحلیلی اثر ترسیم شده است. مطابق این الگو، متن از حیث شناسنامة متن ‌شناختی، نقد منابع، روش تصحیح مرتبط با هویت نسخه ‌شناختی، تحلیل محتوا و از حیث سبک زبانی- ادبی نثر مؤلّف در سطوح سه‌گانة واژگانی، نحوی و بلاغی بررسی شده است. نتایج این بررسی، نشان داد که متن جُنگی علمی با رویکرد دوگانة تعلیمی و کاربردی است. تک‌نسخه بودن آن به سنّت تکمله ‌نویسی متون علمی مرتبط بوده و در شکل بیرونی یک بیاض و در شکل درونی یک دانشنامة مبوّب است. جنبة دیوانی اثر به همراهی اغراض زیباشناختی و آموزشی، به کیفیّت غیریکنواخت نثر در دیباچه (فنی و مزیّن) نسبت به ابواب آن (نثر مرسل) انجامیده است.}, keywords_fa = {بیاض خوش بویی,جُنگ,نقد متنی,سبک‌شناسی,تصحیح قیاسی,شناخت‌نامة سبکی}, url = {https://jls.um.ac.ir/article_35435.html}, eprint = {https://jls.um.ac.ir/article_35435_3211ef24d9e767a6d61c964a4cf9b76e.pdf} } @article { author = {Rajabi Niaz Abadi, Elham and Farrokhfar, Farzaneh}, title = {Link and break in the text and images of Baysonqori Shahnama}, journal = {New Literary Studies}, volume = {52}, number = {1}, pages = {95-125}, year = {2019}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v52i2.80284}, abstract = {1. Introduction The reign of Shahrokh Timurid is an era of brilliance and stability of Iranian culture and art. The son of Shahrokh Teymouri, Baysonqor, established a royal library in Herat and brought together great artists and wrote incredible masterpieces there. One of the outstanding works of that time is the Baysonqori Shahnama. Baysonqori Shahnama is an ancient version of Ferdowsi's Shahnama in 833 AH. This exquisite book is a transcendental work having 690 pages with 22 Herat-style paintings. The pictures of Baysonqori Shahnama represent the official style of the period that incorporated and integrated the influences of Eastern art. This unique version of the Herat Timurid School provides an appropriate context for assessing the qualitative characteristics of Shahrokh's era due to the sensitivity of its creators in literary text editing and in drawing quality paintings. The comparative study of text and image is one of the most important issues addressed in this study. 2. Theoretical Framework Various studies have been carried out in relation to the Baysonqori Shahnama and its text, images, illumination and imitation (e.g., Romer's articles). Roemer considers this version of the Shahnama as the main source of later Shahnamas and presents it with more than 58,000 bits, the most detailed version of the Shahnama, which uses legendary scenes alongside realistic images. The second volume of the Encyclopedia of the World of Islam, which contains various articles on Iranian art history, describes in detail the Baysonqori Shahnama and its various illustrations and the various art elements included in it. These two sources, together with sources such as namnar, communicator and text in the construction of meaning and intertextual study of the Persepolis of Jamshid in Baysonqori Shahnama can be named as part of the sources that have contributed to the relevance of the text and images of this edition; however, in response to the research question, there are no complete sources. In this regard, this article particularly deals with the subject of linkage and rupture of text and image in the Baysonqori Shahnama and is innovative. The importance of this study comes from the fact that new and accurate information can be obtained about the artist's link to the Shahnama text. Baysonqori Shahnama is important in both aspects of text and iconography because its text was provided by a group of great Shahnamas and its pictures were portrayed by the names of the Herat School of Painting, making the hypothesis that the relation between text and image is likely to be close in this Shahnameh. The purpose of this study is to investigate the link between the text of Baysonqori Shahnama and its pictures. This study seeks to answer the following question: To what extent did the painter of Bisnegar's Shahnama depend on the literary text of the work in drawing his paintings? It seems that since the text of the Baysonqori Shahnama was provided by a group of prominent Shahnama scholars, it is probably more accurate in its painting and the artists have been loyal to the literary text of the Shahnama. 3. Research Methodology This study uses comparative-analytic method and library-documentary sources to express the topic. The case study contains seven masterpieces of the first Baysonqori Shahnama which are considered masterpieces of this edition and are capable of measuring text and image communication. These paintings, which make up one-third of the total images of this edition, are performed by prominent Herat School painters and showcase outstanding visual quality. These paintings include "Siavash Kills", "Rustam and Dave White", King Jamshid ", " Rustam and Khaqan of China" and "Rustam and Borzou". 4. Results and Discussion In this study, the selected paintings were examined in several important respects: diversity and multiplicity of characters, affective states, goggles, satan, scenery, landscaping, portraiture, iconography, color and quality of performance, which were compared in each section between the thematic and comparative analysis of paintings done. Thus, in each section, the verses associated with each picture were read and the passages were compared to those of each bit with the desired picture. Some points are important in analyzing the text and matching findings and selected images of the Baysonqori version of the Shahnama. Most characters, especially the main characters of the story, are drawn according to the text, but there are significant differences in the representation of the minor characters. In the face-painting, the type of goggles and satan has less connection between the text and the image, and the artist sometimes encapsulates items that do not appear in the text. In some paintings of scene depictions and landscapes, text is subordinate, while in other paintings there are differences in the choice of elements and layout of the scene. All paintings use a combination angle and they all share the same viewing angle that gives the scene more power. In addition, the viewing angle is four pictures from above and three pictures from below. Imaginary and natural landscapes are an integral part of Iranian painting in all paintings. The figures in all the paintings are Mongolian and conventional, and the representation of age is evident in most of them, except for Siavash and Rostam and Dave's biographies that are not specific. The icons are conventional and have nothing to do with the text. Animal proportions are also present in all, but human proportions are only observed in the image of Rostam and Dave. Emotional expression is also seen only in the two paintings of "Zal and Rudabeh" and "Rostam and Dave". In all the paintings, there is a connection between the story elements and the attention to the breathing space. The bottom line is that the composition is at the center of the scene in most scenes, emphasizing the main subject. 5. Conclusion Based on the research findings, it can be stated that the painters of the Baysonqori Shahnama have used their own style to depict the paintings and have attempted in many ways to use their masters or previous knowledge of the storytelling as well as the style. Therefore, the research question is answered as follows: The painters of Baysonqori Shahnama did not need to read the text of Baysonqori Shahnama for illustration and did not pay much attention to it. The relationship between the text and the verses of the Baysonqori with its paintings is very low, and the painter is highly dependent on the verses in it. Of course, it has no drawings and is quite independent in some cases. The hypothesis raised in this study that the painter was careful in drawing images to the verses and using less transcendent themes and characters is rejected due to the many extracurricular characters seen in the paintings. However, the assumption that the painter reads the same page at least once in drawing some pictures is somewhat true. Due to some stories, the lack of visual backgrounds such as "Rustam and Khaghani" or the subject of the painting which is not related to Shahnama such as "Rustam and Borzou", the artist has read the verses in question. This study is important because it examines an important part of the Shahnama's paintings, both its content and visual, and distinguishes it from other manuscripts in different eras.}, keywords = {Herat School of painting,Baysonqori Shahnama,Link in the text and image}, title_fa = {پیوند و گسست متن و نگاره در شاهنامه بایسنغری}, abstract_fa = {شاهنامه ­بایسنغری، اثر ممتاز و برجسته مکتب نگارگری هرات تیموری در عصر شاهرخ تیموری است که به سفارش بایسنغرمیرزا، فرزند هنردوست شاهرخ و با دعوت از هنرمندان بزرگ آن روزگار خلق گردید. این اثر از دو جنبه متن و نگاره حائز اهمیت است؛ چرا که متن آن توسط گروهی از شاهنامه‌ شناسان بزرگ فراهم آمده و نگاره ­های آن توسط نام‌ آوران مکتب نگارگری هرات به تصویر کشیده شده است و این فرضیه را در ذهن متبادر می‌سازد که احتمالاً ارتباط تنگاتنگی بین متن و تصویر در این شاهنامه وجود داشته باشد. همین نکته اساس این پژوهش را شکل می‌دهد. هدف از این پژوهش، بررسی پیوند و گسست بین متن شاهنامه ‌بایسنغری و نگاره­ های آن می­باشد. پرسش این است: نگارگران شاهنامه ‌بایسنغری تا چه اندازه به متن ادبی شاهنامه در ترسیم نگاره­های آن وابسته بوده‌‌اند؟ این پژوهش با بهره‌گیری از روش تحلیلی-تطبیقی و استفاده از منابع کتابخانه‌ای-اسنادی به بیان موضوع می‌پردازد. نتایج تحقیق مبیّن آن است که نگارگران شاهنامه بایسنغری، از آموخته ­های خود در تصویرگری بهره ‌برده و الگوهای از پیش ‌آموخته را به تصویر کشیده­اند؛ از این‌رو توجه چندانی به متن کتاب نداشته­ و خود را موظف به خوانش متن ندانسته ‌اند؛ بنابراین در این نسخه ارتباط چندانی بین متن و نگاره ­ها وجود ندارد.}, keywords_fa = {مکتب نگارگری هرات,شاهنامه بایسنغری,پیوند متن و نگاره}, url = {https://jls.um.ac.ir/article_35442.html}, eprint = {https://jls.um.ac.ir/article_35442_4e921625015865de040467245944c740.pdf} } @article { author = {Rezaei Dasht Arzhaneh, Mahmoud}, title = {Considerations on the Recording and Description of Some Couplets of Kushnameh}, journal = {New Literary Studies}, volume = {52}, number = {1}, pages = {127-149}, year = {2019}, publisher = {Ferdowsi University of Mashhad}, issn = {2783-252X}, eissn = {2783-252X}, doi = {10.22067/jls.v52i2.80691}, abstract = {Introduction Kushnāmeh as one of the most important epics after Shāhnāmeh includes 10,000 couplets.  Irānshān bn Abi al-Kheir composed it between 501 and 504 AH during the reign of Sultān Muhammad bn Maltakshāh, the Seljuq king. This story is about Kush-e Pil Dandān, Zahhāk's nephew, who was raised by Ābtin. He after many ups and downs and many changes inside and outside, went in virtuous ways. The only surviving manuscript dates back to around 800 AH (about 300 years after the composition of the work). It is evident that Jalāl Matini, the commentator of the book, has put much effort into collating this work. He argues that over 500 couplets of this work are not clear in terms of meaning. In this paper, it was tried to clarify the meaning of some couplets, while posing some suggestions about the recording of about 50 vague couplets. In this research, adopting an approach based on textual criticism and textual and intra-textual characteristics, it attempted to analyze the recording of some couplets of Kushnāmeh, while highlighting the shortcomings of the current version, a clearer documentation has been offered. Meanwhile, it was attempted to present a more meaningful denotation of some vague couplets.  Method The study tried to extract vague couplets based on textual criticism approach. Then, an elaborate view of Jalāl Matini version of Kushnāmeh and other scholars about the recording or meaning of each couplet is presented. Then, resorting to in-text and out-of-text sources, their views are analyzed and criticized. Then according to the text correction features, it was attempted to present a more accurate recording of each couplet and more precise meaning of some vague couplets. Results and Discussion Since only one version of Kushnāmeh has survived, the correction of the couplets is inevitably deductive. Despite his remarkable correction, Matini mentions that over 500 couplets of this work is not clear in terms of meaning or recording. In addition to offering new meaning of some couplets, this author has tried to offer suggestions about the recording of about 50 vague couplets of Koushnāmeh. Conclusion In this paper, in addition to offering new meanings for some couplets, it was tried to offer suggestions about the recording of about 50 vague couplets of Kushnāmeh. It was found that in some cases, there are ambiguities due to either the insufficient attention to the texture of the text or the incorrect recording of a word or phrase in a couplet.}, keywords = {Kushnāmeh,Irānshān bn Abi al-Kheir,Jalāl Matini,Recording and Description of the Couplets}, title_fa = {ملاحظاتی دربارۀ ضبط و شرح برخی از بیت های کوش نامه}, abstract_fa = {منظومۀ کوش ‌نامه سرودۀ حکیم ایرانشان ‌بن‌ ابی ­الخیر ، بین سال‌های 501تا 504 ه.ق در عهد سلطان محمد بن ملک‌شاه سلجوقی در بیش از ده ‌هزار بیت سروده شده است که یکی از استوارترین منظومه ­های حماسی بعد از شاهنامه است. این منظومه شرح حال کوش­ پیل­ دندان، برادرزادۀ ضحاک است که در دامن آبتین پرورش می­یابد، اما سپس راه و رسم اهریمنی در پیش می ­گیرد و بعد از فراز و نشیب ­های بسیار، هم از نظر صورت و هم سیرت دیگرگون می­شود و سویه ­ای اهورایی به خود می­گیرد. ازآنجا که تنها نسخۀ کوش­ نامه در سال 800ه.ق کتابت شده و حدود 300 سال با سرایش منظومه فاصله دارد، بدیهی است که مصحح محترم، جلال متینی رنج زیادی را در تصحیح این اثر متحمل شده است. چون متینی علی­رغم تصحیح شایسته ­اش، خود یادآور شده که بالغ بر 500 بیت این منظومه از نظر معنا یا نویسش، روشن نیست، نگارنده کوشیده است که علاوه بر تبیین معنای برخی از بیت ­ها، پیشنهاد هایی را در خصوص ضبط ارجح حدود 50 بیت مبهم این منظومه ارائه دهد.}, keywords_fa = {کوش نامه,ایران شان بن ‌ابی الخیر,جلال متینی,ضبط و شرح بیت}, url = {https://jls.um.ac.ir/article_35456.html}, eprint = {https://jls.um.ac.ir/article_35456_33c9ee1df34ce81f16c4e9e3a695bbb7.pdf} }