1 2008-0360 Tarbiat Modares University 225 Literary Genre of Karnameh ahmadidarani Ali b b Assistant Professor of Persian language and literature/ University of Isfahan 1 12 2011 4 15 8 30 19 07 2011 21 03 2012 We are aware of ten collections of verse under the title of Karnameh in the history of Persian literature.It is a collection of verse in the form of heroic couplet in which the poet reproaches the court members by using a parodied language. It is an independent literary genre used for less than two hundred and fifty years in Persian poetry. Some famous Persian poets have composed Karnameh. Because of its importance, mostly Sanâee Karnameh has been mentioned in books and articles on Persian poetry and other Karnamehs have been considered as a part of Shahrâshubs or an Ikhwani poem. There is no entry for Karnameh in dictionaries and encyclopedias. In this article, while introducing Karnameh in Persian, its form, theme, audience, structure and intertextual relations are investigated and it is shown that Karnameh is a special literary genre.
9873 Sufis’ Goftārnevesht as a Genre in Persian Mystical Prose Poormozaffari Dawood c c 1 1 12 2011 4 15 32 60 06 10 2011 21 03 2012 There are some mystical works which are the written form of Sufis’ teachings, lectures, and popular tales. In other words, these works are nothing but the transference of speech to the field of writing. Thus, some aspects of both forms, that is, speech and writing, can be found in them. Taxonomy of Sufis’ texts according to their formative contexts (speech and writing) shapes a continuum between these two contexts. What we call goftārnevesht (written-speech) in this article, is a coinage for the synthesis of these two contexts which itself consists of subgenres such as amālī, maqāmāt, majālis, maqālāt and sīyar. These subgenres are different from each other due to their location on the continuum. This article attempts to describe the differences between goftārnevesht and other written genres which are mostly represented in phonological, morphological, syntactic, and discursive features of the texts. 7110 Critical approach, the most common cause of prose genres evolution in the Qajar period jahangard faranak 1 12 2011 4 15 62 86 28 08 2011 21 03 2012 In most of prose genres, in qajar era, there is a critical thinking which has caused the genres evolution. This Critical thinking is global, and we can recognize it in the first works in the beginning ages of Qajar era, after that, this approach more forcefully, has continued until Mashrooteh and it has fade gradually. Some of the prose genres and their changes, in this era, have been evaluated before, and some of them have been studied in this essay. The results are gathered, and compared. Critical approach has caused the evolution on the prose genres. Some of them have been abandoned; some of them have been changed significantly, so their relation with the previous cases has been cut. Some of them have been brought into being, and formed by this thinking, as independent ones, and after this era resume with rare changes. This fact proves that critical approach is the mainstream of prose genres evolution in the Qajar period. 3231 Rhetorical Approach to Genre Emārati Moghadam Dāwood e e Ph.D. Student of Persian, Ferdowsi University of Mashhad 1 12 2011 4 15 88 111 06 04 2012 06 04 2012 This article studies the role of “Rhetorical Situation” in the formation of genres. Accordingly, the article discusses the concept of genre in rhetoric which includes a variety of fields ranging from the ancient oratory to the communication studies in 20th century. Unlike literary approaches which define genre mostly on the basis of textual features (form and content), rhetorical approach defines genre according to the extra-textual features such as situation and audience. Before 20th century, the concept of “situation” was very much static and limited to some specific and clear-cut situations and the speaker and audience only had to passively respond to these situations. In 20th century, the theories of Bakhtin and Carolin Miller turned this concept into a dynamic one. According to these theorists, a genre comes to existence in a communicative process and with the participation of speaker and audience. This article first addresses the theories of genre in ancient rhetoric, and then goes on to show that the definition of genre as social action makes genre a tool for production and reproduction of social values and ideological assumptions in different cultures. Finally, the article mentions some of the consequences of rhetorical approach for literary studies. 4958 The Problem of Speech Genres Bakhtin Mikhail f Ghāsemipour Ghodrat g f Bakhtin g Assistant Professor, Shahid Chamran University of Ahvaz 1 12 2011 4 15 114 136 01 12 2011 06 04 2012 “[…] Bakhtin begins by noting that human activity is inextricably related to the use of language, the nature and forms of this use being just as diverse as are the areas of human activity. Bakhtin’s point is that each sphere in which language is used develops its own relatively stable utterance types, which he terms them speech genres. Bakhtin distinguishes between primary and secondary speech genres; the latter includes novels, poetry, drama, scientific treatises, etc. In the process of their formation, they absorb and digest various primary genres. According to Bakhtin it is impossible to speak or write outside of such genres. We acquire them in the process of acquiring our native language, mastering them before we master the elements of grammar. The forms of language and the typical forms of utterances—speech genres— enter our experience and our consciousness together. The speaker’s evaluative attitude towards his subject determines his lexical, grammatical, and compositional choices. This expressiveness is not a property of the linguistic units themselves but is imparted to them by the person using them through the use of a particular speech genre. Bakhtin stresses that one of the essential characteristics of the utterance is its addressivity, or its quality of being directed to someone.” 8477 A Study of ‘Adjā’ibnāmeh as a Fantastic Writing with a look at ‘Adjā’ib-e hend Horri Abolfazl h h .. 1 12 2011 4 15 138 164 06 04 2012 06 04 2012 This paper examines the tradition of writing ‘adjā’ibnāmeh as the fantastic writing. The question is how we can/not regard ‘adjā’ib (marvels) as fantastic. First, we refer to the literature of both ‘adjā’ib and the fantastic. Then, the etymology as well as the religious and socio-historical origins of both words is examined. It is concluded that the fantastic has a root in fancy and mental hallucination while ‘adjā’ib has its roots in reality, originating from observer’s exact observation. Then, Todorovian structural approach to ‘adjā’ib is counterbalanced, showing that some tales of ‘Adjā’ib-e hend conform with the five kinds of the marvelous fantastic in Todorov's diagram. In sum, it can be claimed that ‘adjā’ib conforms only to certain aspects of fantastic writing. 7499 Tazriq, Char andar Char and Nonsense Verse (Study and comparison of literary nonsense movement In Persian and English literature) shafieioun saeid 1 12 2011 4 15 166 186 17 09 2011 21 03 2012 Parody is one of the literary sub-genres which mocks its main genre. On the basis of value and significance of the main genre and also the structure and nature of parody, it can be considered as an independent genre. Since meaning in literature is one of the main elements and it has a central role in both language and imagination, it is of considerable importance in literary works. Therefore, one of the most important kinds of parody which is called tazriq in Persian literature has been formed in this field. In fact, one of the goals of parody is to entertain the audience and make them laugh, and tazriq satisfies this goal very well. Though there are a few differences, this kind of parody can be found in western literature where it is called nonsense verse. This article tries to compare the main aspects of these two kinds of parody. 3070 Muhtasham-e Kāshāni’s Rasāyel: an Unknown Genre Sālehiniā Maryam j Mahdavi Mohammad Javād k j Assistant Professor of Persian, Ferdowsi University of Mashhad k Assistant Professor of Persian, Ferdowsi University of Mashha 1 12 2011 4 15 187 209 06 04 2012 06 04 2012 Muhtasham-e Kāshani (935-996/ 1528-1588) is called Khāqāni-e sāni because of his well-made and strong odes which resemble Anvari’s and Khāqāni’s, and also Hassān-e al-ajam because of his enthusiastic elegy on Imam Hussein. But the innovative dimension of his style, which is rarely recognized by the stylisticians and literary historians, is mostly manifested in his rasāyel (Jalālieh and Naql-e oshāq) not in his sonnets and odes. These two essays or rasāyel, which are unique because of their lyrical-narrative structure and their explanation of realistic and vāsookhti experiments, are not even referred to in the studies of Voqu' and Vāsookht schools. Muhtasham has combined a prose narration of realistic love with extemporaneous sonnets (and sometimes with other poetic forms) and has created a different literary genre. The present article tries to introduce this unknown genre and to explain the structural and stylistic features of this kind of lyrical narration in Muhtasham’s rasāyel. 10520 Allegory of Dream as genre farhoodi pour fatemeh l l ResearcherThe academy of Persian languge and literature 1 12 2011 4 15 212 230 06 07 2011 21 03 2012 The present study attempts to discuss some of the spiritual travelogue and classify them as a genre 4028 Literary history of Iran and the realm of Persian language: evolution and metamorphosis of genres, written by Seyyed Mehdi Zarqani Nikouei Alireza m m . 1 12 2011 4 15 232 248 06 04 2012 06 04 2012