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 This article basically deals with the fact that there exist masterpieces in the domain of children’s literature by looking beyond which one realizes that by posing the most fundamental ontological questions and by living and seeing the world as children do one can ascend as high as the firmament.
Moreover, one can link the apparently affirmative but actually interrogative sentences latent in these seemingly simple stories and their symbols with the Quranic tales and mystical lessons.
From such a perspective and with an analytical look, the article is assessed as an endeavor through which the author tries to link The Hansel and Gretel story (one  piece of the story collection of Gream Brothers) and the discovery of the symbolic depths of the story which though disguised in a childish mask are quite wonderful and informative, to the Quranic teachings and mysticism of Jalaeddin Roumi.
 

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The article is a study of the structure of "Zal and Roodabeh" (in Ferdowsi's Shahname). To do so, it presents a description of the story at first and then of its structure. It continues to seek for these features in the texts of "Zal and Roodabeh" by presenting some proves while analyzing these elements of structure and determining the appropriateness of them. The conclusion is that the text is narrated – dramatized in which the story elements are used for promoting the story. A design including cause relations of it from the beginning to the end and strengthen it. 

 

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Ali Mohammad Haqshenas Lari,PH.D.
Ferdoos Aqagolzadeh, PH.D.
Aliye Kourd Zafaranlo Kamboziya,PH.D.
Fatemeh Alavi
Abstract   
In the present study, the theory of Roqayeh Hassan on the emergence and development of verbal aesthetics in children is surveyed. According to this theory, a child unconsciously and involuntarily learns literature through hearing children’s lullabies and poetry. The child then identifies the phonetic, semantic and syntactical patterns in the poems and as a result a potentiality is formed in his mind; which builds up the basics of his verbal aesthetics in the following years. In this study, among the literary genres we merely focus on poetry. And among the literary patterns, we solely focus on phonetic patterns. It is noticeable that in this writing, investigation about the overlapping realms and at the same time the differences between ‘language’ and ‘literature’- as two of the scopes within the scopes of mind- exist at the background of all the discussions. In the next stage we will study what demands and theoretical consequences learning literature for teaching literature to children has due to the mentioned assumption. Based on the findings of this research, in children’s understanding and perception of literature, form prevails content and the cultivation of this assumption plays a significant role in developing their literary potential within the following years. Therefore, in writing children’s poetry it is better to pay sufficient attention to the aesthetic form and the manner in which the poetry is expressed rather than presenting complicated and educational content; especially in the early years of childhood. Among the aesthetic features of children’s poetry, pleasant and delicate phonetic patterns enjoy a vital significance. In the final part of this research we will investigate this question; to what extent the present theory and some of the other theories are useful in clarifying the major sources of literature? Are there other similar theories for the manner of elaboration and perception of literature? Does understanding the major source and the process of elaborating literature helps in understanding its entity?
 
 

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The concept of love is one of the most common themesof Persian poetry over all periods especially in the sonnets of theninth century A. H.This conceptin Abdol-Rahman Jami’s triple poetic works, that have been composed in accordance with his three stages of life (i. e. his youth, middleage and old age), has been stated in different forms and involves a special developmental process. For instance, inhis youth, he as a lover poet follows his predecessor poets, especiallySaʻdi to create his own love sonnet discourse.In his middleage love sonnets thatcoincided with the development of the ideas ofIbn-e-Arabi in the school of unity of existence, Jami created his love sonnet discourseas a poetic mystic.This concept, finally in his old age poems, in coincidence with the anarchy and collapse of the Timurid government, developed according to the principles ofVaSukhtschool (that means the School ofturning away from the beloved). This study tries to use Norman Fairclough's method in Critical Discourse Analysis, and Michael Halliday's ideas in Systematic Functional Grammar to investigate the development of love discourse in Jami’s sonnets.In this regard, among the various language metafunctions, the Ideational metafunction has been focused here because of its accordance with sonnet genre and lyrical literature as whole. The development of love discourse in Jami’s sonnets has been mainly realized through the development of material and mental processes as well as by referring to the main participants of the love discourse, the beloved and the lover respectively as YOU, andI.

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"Tarabi'srebellion"is one of the interesting parts of Jahan-goshaHistory. The analysis of narrative elements of this text can help understanding the spirit of the whole work. Joveyni, the writer, confesses inthe Introduction that by writing history he aimesto perpetuate Mongol's magnitudes. That means the readers encounter with a one-sided narration. In spite of this fact, according to the expectation of readers, the writer tries through some textual tricks to show he has an objective position in history narration. But this target would not be possible by two reasons: the first reason deals with the nature of narration that does not let the creator to take a neutral position. The second reason relates to the intentions that force Joveyni to write his work, i.e., he reduces the history to a panegyric. "Tarabi'srebellion" is one of the texts thatis structurally cracked through a deconstructive approach of reading, so that not only the writer fails to achieve his goal, but also the text stimulates a rebel against itself. Through a creative re-readingof this historical event, this article tries to present a new interpretation and portrait of Tarabi.a reading that can be extended to the whole text.

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The pureness and righteousness of Siyavash – the mythological protagonist in Firdausi's Book of Kings – that were trialed by his passing across fire, took root in the depth of Iranian people's believes and ideas. In the chivalric romance of Sir Gawain and the Green Knight, that has a high status in English and European literatures, Gawain too, as one of the purest knights of king Arthur, after being successful in passing a series of trials – that like Siyavash's trial had a supernatural nature – proves his personal virtues. Through an integration of the structuralist theories of Claude Levi Strauss and Northrop Frye, this research intends to provide a critical framework to study the form and content of these two stories in order to determine their similarities. Here "similarities" refers to the archetypes and mini-myths that have been stated in the narrative plot of the romance of the two stories in the dual contrast of nature versus culture. On the ground of this basic dual contrast the two protagonists pass their "intrinsic" and " "superficial" archetypal trials to prove their righteousness. Moreover, the two stories restate the two basic archetypes: Death and Rebirth, as well as the Terrible Mother.

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Nafsato-lmasdur, written by ShahabAldin Mohammad KharandaziZeidariNasavi (died in 647 A.H.), is one of the scare works that have been transformed to a creative and pictorial text especially because of its literary characteristics and fictional style. This article tries to demonstrate the dramatic capacities and pictorial elements of this text by examining some of the dramatic elements and indicators, and moreover, it points to the text'sfictional and narrative quality, dramatic characters, suspension and finally its diversities of challenges, to shows that this text exceeds from a mere historical reportand passes over descriptive approaches and finds considerable dramatic capacities.
Thetheooretical base of this research consists of a combination of theories of fictional literature and drama (cinema). The articlehas been processed on the basis ofdescriptive- analytic method and usinglibrary resources.

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This study aims to investigate cohesion, cohesive elements, and the plausible cohesive role of rhetorics in Persian esoteric prose literature. The cohesion of a given text depends on some factors within the text that use structural and semantic links to create text integrity. It seems that rhetorical devices, like simile and metaphor, along with linguistic factors, affect the cohesion of the esoteric prose texts.In the study of the sample esoteric prose texts that have been chosen randomly, the number of the existing cohesive devices, their distribution and the role of each structural cohesive device in maintaining links among the parts of the text were analyzed on the basis ofHalliday and Hasan’s approach. Then the role of rhetorical devices, like simile and metaphor, in creating semantic links, and consequently in giving cohesion to the texts,was studied.The results show that in esoteric prose texts, besides the structural cohesive elements, rhetorical devices,such as simile, metaphor, and especially allegory and compound metaphor that are manifested at the discursive level, i.e. beyond the level of sentence, also play a role in maintaining links among the parts of the texts and hence in the cohesion of the texts.

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In this paper, the poem “Smoke just has different names” by GaroosAbdolmalekian is analyzed on the basis of New Criticism. In order to achieve an accurate reading of the text, New Criticism studies the relationship between the textual components and the themeof works. The criterion of evaluation in this approach is a concept called “Organic Unity” which means the functioning of all components beside each other in order to form an unresolvable whole whose four elements are: content tension, paradox, irony and ambiguity.
In this approach, lexical and ultra-lexical meanings of words, symbols, images, figures of speech, punctuation marks and the poem's written formhave been studied. The result is a discovery of an organic unity between the poem's imagery components, and alsobetween the whole of the poem that has been formed upon the poem's content tension, that is, the contrast of mortality versus immortality. This content tension is reinforced by the themes “transitivity” and “identity metamorphosis” and leads to the domination of mortality over immortality. So the poem “Smoke just has different names” is a harmonious whole, madefrom components which have created a literary text through harmonious and contrastive relationships

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Folk tales are oral narrations that have been cited through the ages among the different generations by word of mouth and now we may find their written forms. It is not far from truth to claim that these stories consist of the most fundamental principles of human thought through times. In the late nineteenth and early twentieth centuries A. D., the genre of folktales has been focused by researchers; and especially with Prop’s method that have been modified and completed by others,a new window was opened in this field.Different theories have been formed about the features of stories and their classification,and these developments progressed to the point that a group of scholars considered one single source for folktales.Comparative literature thatputs its emphasison similar topics in the literature of two languages or nations, with a wide field provided the ground for research and comparison of similar works in different cultures.One of the topics of comparative studies is to investigate the folktales in different cultures. This comparison shows not only the similarities and differences, but also represents the extent of creativity of authors or narrators.
While pointing to the characteristics of folktales and the researches and criticisms that have been developed in this genre, this article introduces folktales shared by Korean and Iranian literature.Moreover, it analyzesthree Korean folktales that have similar versions in Kelile and Demne. Among these three pairs of tales, two pairs have nearly similar themes and actions, and the third pair represents such a strong similarity in both Persian and Korean cultures that persuades us to think that they have the same origin. The comparison and analysis of these tales show not only their similarities and differences but also indicates the structural changes of narration in Kelile'swritten text versus its oral folk version.

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In this project, the statement of bulk poetry has been studies based on structural, goal-oriented, and cognitive aspects.
In regard to structural aspect, this statement, via blending two literary and referential roles of language, has become further apart from the ultimate goal behind the presentation of the statement.
Role-wise, this statement has neglected one of the two main elements shaping the text; being its coherence, obstructing the conveyance of meaning to readers’ mindset.
Cognitive-wise, the said statement has violated the gestalt principles, which shape conceptual metaphors, obstructing the formation of logic, as the basis of criticism.
Ultimately, the article’s authors discussed and studied the considered text in the presence of literary and ordinary metaphors and/or absence of metaphors

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The goal of this article is to study the idea of universality of music; especially its status in mystical viewpoint.
An analytical-descriptive methodology has been adopted in this article and the related data have been gathered from libraries and existing documents.
The most important achievement of this study is that a number of musical works have attained a symbolic and spiritual format and have drawn the attention of people toward the supernatural world. Also, many musical instruments have been a symbol of spirituality. Mystical figures, in their musical works, have taken into consideration the manifestations of God Almighty

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Socialist, realist poetry is one of the important literary currents of Afghanistan in the recent decades, which has been highly promoted in the 1950s and 1960s in this country. The peak of this current transpired in late 1950s and early 1960s. the poets of this genre are modernist and usually write blank poems; although among them, poets who continue to compose classical poetry are also present. Overall, their poetry are reformist, and social in nature.
This current can be divided into two groups, prior and after the year 1978. The poems composed prior to the year 1978 maintain two main approaches of stating the appalling economic and social conditions and promoting the socialist ruling system. Meanwhile, the poems composed after the year 1978 until the fall of the communist regime, revolve round a number of topics; the most important of which include promotion of the political ruling system; and focus on the status of women.

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Characters play a pivotal role in the events displayed by an anecdote. Personas are in fact the main pillars of the story and developments revolve round characters’ behavior, remarks, and thoughts. In critical study of any anecdote, the main element of the story is assessed and analyzed which is the characters. Hence, the story is synonymous to the acts and thoughts of characters, which are developed and displayed within the framework of the story’s plot. In contemporary Iranian stories; multilateral characters have been created by Sadeq Hedayat in his literary works, namely Three Drops of Blood and The Blind Owl, while this approach has been copied by other authors. In the majority of works which have been under the influence of Hedayat’s book Blind Owl, multilateral personalities are evident.
This study has analyzed personalities in the books Blind Owl and Three Drops of Blood, penned by Sadeq Hedayat, in addition to Prince Ihtejab penned by Hushang Golshiri, and ‘Hereafter’ written by Bahram Sadeqi

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IN Farsi language, at times two frameworks are blended with each other and interactions refer to the level of fulfilling effects resulting from this combination. This combination of frameworks is based on three general role models: 1- Change of framework in poems, without changing the rhythm; 2- change of rhythm within the framework; and 3- Change of rhythm and framework of the poem. The topic of importance in this article is the analysis of these types of changes in different genres and the mutual impact of two genres on each other and this development’s fulfilling role on the fiber of the poetry. For this purpose, the works, with a combined framework, throughout the history of Farsi literature and the related examples have been presented. Meanwhile, important results have been attained from the terms of interaction among combined poems and incoherence of a number of these blended poems. The article concludes that the artistic skill of poet is in perception of the emotional capacity of each framework and bedding, prior to its combination with other genres, which directly impacts the level of acceptance of the new framework and its fulfilling effect

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This study revolves round the assumption that ayahs and story of Hazrat Solomon in Naml Surah have been a role model for the prominent Iranian poet, Hafez, in writing his 189th ode; such that the word bird in this ode in fact refers to Hoopoe, and Tazaru is a reference to Queen Sheeba.
The current analytical-descriptive article, on the basis of literary studies, compares the mentioned ode of Hafez with the story of Solomon in Holy Quran, especially in Naml Surah; concluding that Hafez in composing this ode has been influenced by the ayahs and story of Solomon; and his poems are in fact an interpretation of Quranic concepts. Through being influenced by Holy Quran and its exegesis, Hafez has made a bond between his poetry and divine revelations; adding a spiritual and divine aspect to this poems. Upon establishment of the bond between the odes and ayahs on Hazrat Solomon, a new set of meanings and concepts have been perceived from this ode.
Obviously, based on this approach, one can better understand the in-depth Quranic thoughts of Hafez.

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This article analyzes the function of the verb in the elements of anecdote and narrations.
Efforts have been made to show the importance of verb in narration’s grammar, and its relations with anecdotal elements. Study of the fundamental concepts of narrations, especially the new classifications of narration verbs is one of the goals of this project.
In this study, some of the structural elements of the story; such as the plot, tone, and characters have been assessed with due regard to verbs. By assessment of view of experts in this domain; efforts have been made to present new genres of anecdotes to the related addressees.
The tenses of the verb and their dual roles in grammar and narration have been taken into consideration. Efforts have been made to present examples of anecdotes; and to show how the authors have dealt with particular tenses of the verb; while elaborating on the benefits and restrictions of each of them in relation to the story’s persona, and the rhetoric within the narration.

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Emam Mohammad Ghazali is one of the main thinkers of the World of Islam and two of his books, including “Kimiaye Sa’adat” are the most important books on Islamic ethics and mysticism. The mentioned book covers mystical and ethical thoughts. The ethics considered by Ghazali is based upon religious ethics, which has its roots in Holy Quran. The topic of spirit is one of the most important ethical and mystical topics which Ghazali has studied in his mentioned book. In this study, we elaborate on the issue of spirit in the viewpoint of Ghazali, and we intend to study the roots of his viewpoints. Ghazali was evidently influenced by a number of thinkers and mystical figures such as Avicenna, Abu-Taleb Macci, and Qoshiri. This analytical-descriptive article researches on the views of Ghazali about the spirit in relation to his aforementioned book. Obviously, the study of all of the ideological foundations of an author is not possible. However, research in this regard can relatively reveal the foundation of his ideas and thoughts

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This article initially studies viewpoints of the past generations and contemporaries about the study of poetry; while later studying the poems of Amaq, based on the theories of psychologists on the impact of subconscious mind on writing poems and receiving poetical inspirations.
The past generations believed that poets are inspired to write poems via invisible creatures.
Contemporary psychology and literary criticism considers poet’s subconscious mind as the source of inspiration. The factors behind poetical inspiration; whether internal or external, are more active in sleep. The needs which have been driven toward the subconscious mind, display themselves within the framework of dreams, revealing the secrets embedded in the subconscious mind.
Amaq, like many poets, claims that many of his poems are rooted in his dreams. His subconscious mind, which is considered as the source of inspiration behind his poetry maintains a diverse range of manifestations.
The topic, form and the main pattern of odes, which are cited from the source of inspiration; highly resemble each other.

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In Zoroastrianism, the world that is experiencing a phase of eternal perfection will reach to the ultimate perfection with the help Soshiyanet. And, immortality from the seam of Zoroaster or from the creed of Iranian mythological heroes of the resurrection will help in eternal doom. There are direct link between the return of many of the immortals and their reaching to the stage of immortality in mountains that are the nearest natural places in the Persian mythology to numinous, are directly related. A number of these immortals are manifested in Ferdowsi’s Shahnameh although tampered with in cases of being mythical. Additionally, a number of immortal forts located on high mountains and according to.
Mazdysna, there is no way for death and destruction were put into consideration.
Taking into account these two dictums, the current paper tries to discuss immortality legends and their relations with mountains as well as study changing forms of these legends in Ferdousi’s Shahnameh which is the most invaluable texts after Islam that has reflected a number of pre-Islamic Iranian legends.