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There is a tradition in contemporary literary theory and philosophy of literarture according to which there is a rift between literary/aesthetic value and cognitive value. The anti-cognitivist maintains that even if a literary work has some cognitive value, this has nothing to do with the work’s overall aesthetic value. Furthermore, if a work’s perspective on some issue is seriously flawed, this, by no means contaminates its aesthetic purenss. This paper aims to demonstrate the opposite. It thus makes use of a ceratin thought-experiment and the concept of possible worlds to show that the cognitivist’s position is justified and proceeds to illustrate that even polyphony as an aesthectic value cannot be properly understood without recourse to its cognitive status. It then goes on to meet a serious challenge: the so-called “institutional argument” which is deemed to be among the best arguments in the anti-cognitivist’s dialectical arsenal. The argument is shown to have several defects in the context of the contemporary debates in theory and philosophy of literature. The main conclusion of the paper is thus as follows: The cognitive value of a literary work is part and parcel of its aesthetic value

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This paper attempts to apply a critical perspective to study 30 academic papers about the similarities between tales with the minimalistic stories in the western literature. For this purpose, the mentioned academic papers are analyzed through a descriptive-analytic method in two main themes, including the ethics and principles of scientific research and the accuracy and reliability of the findings and results. The results of this study show that the mentioned papers possess several errors in term of adhering to the ethics and principles od scientific research. These errors include self-plagiarism, repetitive structures, repetitive and resembling titles, negligence over conducting research background, deficiency in the structure and framework of the whole article, and the absence of integrity, which means copying and quoting other resources without any citation to the original reference, using false and inaccurate quotes and changing or manipulating the sayings of other references. Moreover, including non-fiction texts, dilating unnecessary and irrelevant themes and topics, bringing up inaccurate analysis and evidence, neglecting over the reliability of claims, and finally, the absence of any new, clear and correct findings are the issues showing that all the analyzed papers lack the authenticity and reliability necessary for the scientific research. Considering the main purpose of all these papers which is to prove that tales and minimalistic stories are the same literary genres, producing several academic papers on the same topic has no academic necessity. 

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Abstract
One Hundred of Persian Love Poems by Hasan Zolfaghari is one of the most comprehensive books in the field of Persian love stories, which has now reached its third edition. The purpose of this article is to critically review this book. For this purpose, while briefly introducing the book, in three sections of structural critique, content critique and critique of sources, the book has been examined. Upon analysis it became apparent that incomplete compliance of the title with the content of the book, problems with book chapters, lack of a single procedure in selecting titles for entries, inclusion of some imitations and stories from which there is not enough information, non-adherence to the structure provided for each entry, structural problems, having love stories under lyrical and dramatic genre, problems with the morphology of love stories, , incomplete reporting of some stories, incorrect data (content problems), the absence of complete list of sources and inconsistency with references are seemingly the main problems. These being encountered in the next edition, will seemingly increase the credibility of the book.

Introduction
One Hundred of Persian Love Poems  by Hasan Zolfaghari is one of the most comprehensive books published in the field of Persian love stories in the last decade. The first edition of this book entered the market in 2013 by Charkh Publishing, and the third edition has recently (fall 2020) been made available to those interested in Persian love stories. Despite the fact that seven years have passed since the first edition of one hundred Persian love poems, no critique has been written on it so far. Therefore, under the pretext of publishing the third edition of the book, the researcher decided to critique this reference book in the field of Persian love stories.
Structural critique
1. Book title & Chapters: The title of the book does not correspond to all the stories. The book's chapters have drawbacks, too.
2. Entry Titles: Since in most cases, the name of the verse is the same as the name of the main protagonists of the story (lover and beloved), the author has based his work on choosing the titles of the entries on the names of the main protagonists of that story. But in cases where the name of the poem is different from the name of the lover and the beloved, it is done differently. Sometimes the name of the verse is not mentioned at all. Sometimes, when it is necessary to mention the name of the lover and the beloved, it is enough just to name the verse.
3. Need to revise some entries: Explaining the way in which the entries were arranged, the author wrote: "We put all the verses of the same name, whether independent or imitation, under one entry", but in some cases, this method was done differently and each of these imitations came under a separate entry! Some of the entries are devoted to verses for which only the name and brief bibliographic information are available and no information is available on the content of the story.
4. Lack of adherence to the projected structure for each entry: Practically, the method mentioned in the introduction of the book in organizing the contents of each entry has not been fully implemented and the predicted structure for all entries has not been realized. This is because the content of each entry relies more on information derived from available sources about that story than the projected structure for the entry, while adhering to the projected structure for each entry requires independent research on each Stories are based on these criteria and reliance on research alone does not achieve this structure.
Content critique
1. Put love verses under lyrical and dramatic genre: Placing love verses under the type of lyrical poetry is one of the mistakes that the traditional theory of Persian literary genres has made and encouraged to this day, and it is difficult to get rid of this false classification, such as abandoning many false traditions. It is interesting to note that the proponents of the traditional theory of Persian literary genres consider these works to be essentially equivalent to European dramatic poetry, but since we did not have theatrical poetry in the strict sense of the word in Persian, we had to include them in lyrical form. Two subtypes of narrative lyric poetry (dramatic) and non-narrative are believed!
2. Morphological flaws of love stories: Chapter 7 of the book is devoted to the "morphology of love stories", in which the following problems are seen: reduction of morphology to the identification of functions, lack of naming and marking for functions, confusion of the opening scene with the function, lack Adapting some functions to the function definition, merging / separating / interfering with some functions, and ignoring beloved functions.
3. Statements need to be revised: In the first part, there are statements that, if reconsidered, may change.
4. Incomplete or wrong report of some stories: In the report of some stories, there are problems such as: not reporting parts of the story, moving some parts of the story and attributing the actions of some characters in the story to other characters, etc.
5. Incorrect Data: Some misinformation about verses and their poets needs to be corrected or updated.
Critique of sources
One of the strengths of one hundred Persian love poems is the use of many resources available in this field. As the author himself mentions in the introduction of the book, the list of sources of this book, which contains about eight hundred sources, is considered as a bibliography in the field of love verses. However, there are drawbacks and shortcomings in this area, and correcting them will add to its richness.
1. Unseen resources: In some subjects, before the book was first published, there were sources that were not seen, and perhaps if they were seen, the author's opinion would change in some cases.
2. Some source list confusion and inconsistencies with citations: Details of some of the references referenced in the text are not listed in the references. The specifications of some sources are also incorrect or incomplete. The specifications of some sources are also included.
Conclusion
One Hundred Persian Love verses is one of the great and valuable books in the field of Persian love stories, which, of course, has its drawbacks and shortcomings. Some of these drawbacks and shortcomings that have been addressed in this article in the three sections of structural critique, content critique and resource critique are: inconsistency of the title with the content of the book, problems in book segmentation, lack of a single method in selecting entry titles, entering some stories about which there is not enough information, lack of adherence to the structure provided for each entry, writing errors and poor writing in some positions (structural defects), placing love verses under lyrical and dramatic type, problems in the morphology of love stories, some statements need to be revised, incomplete or incorrect reports of some stories, some incorrect data (content errors), not seeing some sources and some confusion in the list of sources and its inconsistency with references.
 

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 Ali Sadeghi Hassanabadi and Abdullah Radmard in the paper "Investigating the Typology of Safi Interpretation" (1398) have analysed Safi’s interpretation with a genre approach from three perspectives: metatextual, textual, and intertextual. The most important poetic interpretations of the Qur'an, including the most complete one, the Safi interpretation, have emerged in the Qajar era. Therefore, the analysis of the political and social situation of the commentators, especially Safi Ali Shah, seems necessary. This issue is effective on the studies about the process of formation and expansion of poetic interpretive texts. These have been done in the paper "Investigating the Typology of Safi Interpretation ". From the author's point of view, this paper contains some misunderstandings. The present paper seeks to explain these misunderstandings.

Extended Abstract

Introduction
In the paper “Investigating the Typology of Safi’s Interpretation” (2019); Safi’s Interpretation by Mirza Hassan Ibn Mohammad Baqir Isfahani, nicknamed Safi Ali Shah (1316-1251 AH) has been analyzed from three perspectives: metatextual, textual, and intertextual. The most significant poetic interpretation of the Qur'an, including the most complete one, the Safi’s interpretation, have emerged in the Qajar era. Therefore, studying the political and social aspects of the commentators’ lives, especially Safi Ali Shah, seems necessary. These have been already carried out in the paper "Investigating the Typology of Safi’s Interpretation", which contains some misunderstandings.
Question
The purpose of this study is to clarify the misunderstandings of the mentioned paper. It confuses the audience as there are too many referrals in the paper to demonstrate scholar ' views about the relation of Nematollahi dynasty and political power. In just four pages (pp. 144-148), the opinions of 14 authors in 12 texts, have been examined not just once but 24 times. The authors of the mentioned paper have, in fact, summarized the views of other scholars on the relation of Safi Ali Shah with the ruling political power. They have made two claims, neither of which has a solid foundation.
Discussion
 Rejection of the first claim; “Safi Ali Shah was trying to enter the body of the ruling power and was forced to praise Nasser al-Din Shah". One of the historical sources that the authors have repeatedly referred to is the book Tarikh-e Selseleha-e Neˈmat-Allahiye dar Iran [The History of Nemat-Allahi dynasty in Iran]. However, they were not attentive to some parts of this book. Interestingly, there are facts in the book that indicate the instable position of Safi Ali Shah in the Nasseri court. Although he had followers in the court, he also had serious opponents whose efforts caused Naser al-Din Shah to send a message to Safi twice and demanded his departure from Tehran. The authors believe that the praise of Nasser al-Din Shah, which is in the introduction of some of Safi Ali Shah's works, such as Divān Safi Ali Shah and Erfān-Al hagh, was done by force (Sadeghi Hassanabadi and Radmard: 148-147). This claim is not true because: 1. The praise of sultans in the introduction of writings, especially in the Safavid and Qajar eras, was a common practice. The praise of Safi Ali Shah in comparison to others, including jurists and moralists, have no special prominence. 2. Based on the available sources, it seems that the most important reason for praising Nasser al-Din Shah was more for escaping from the possible problems that might be created in the society for him than entering the body of ruling power. On the other hand, he usually praises Nasser al-Din Shah for his merits, i.e., his praise is justified.
Rejection of the second claim: “Safi Ali Shah opposed constitutionalism and sought to consolidate the traditionalist discourse”.  Regarding Safi Ali Shah's opposition to the constitutionalism, it should be said that the constitutional event occurred in 1324 AH, while Safi Ali Shah died 8 years before this event in 1316 AH. Now, on what basis should it be accepted that Safi was against constitutionalism? Are there any documents proving his opposition to the constitution? The paper does not specify who was meant by the constitutionalists in the Nasiri era and how Safi opposed them. After studying the works of Safi Ali Shah no significant point about Safi's opposition to the modernity of the Nasiri era was obtained. On the contrary, there are statements that confirm Safi's supports and acceptance of the manifestations of modernism. There are also some evidence confirming that Safi Ali Shah did not oppose modernism and even tried to eliminate the social gap in the Nasiri era.
In the mentioned paper, there is a clear contradiction about Safi Ali Shah's viewpoint on the discourse of traditionalism and modernism. The authors consider Safi’s interpretation as a text to strengthen the traditionalist discourse and ignore the modernist discourse (Sadeghi Hassanabadi and Radmard, 2019: 148). These statements are in contradiction with their third hypothesis: "Safi’s interpretation propagated the discourse of mysticism (Nematollahi) and ignored the discourse of traditionalism” (Ibid: 141). Considering this hypothesis, the authors actually believe in three discourses: the discourse of traditionalism, modernism and mysticism, but the statements of the authors in the paper indicate that mystical discourse and traditionalism are the same. It is in contrary with the mentioned hypothesis.
Conclusion: It seems that the misunderstanding of the authors about the political positioning of Safi Ali Shah during the Nasiri era is due to two reasons: 1. The authors mainly used secondary sources. They would have achieved more accurate and precise results if they had read and reviewed the original text of Safi's interpretation and other works of him instead of using some excerpts from other scholars' papers and quoting them phrase by phrase. 2. Because the scope of the research is not limited, the metatextual feature of Safi’s interpretation is superficially addressed. The title of the mentioned paper is "Investigating the Typology of Safi’s Interpretation”. Typology is essentially a structural study that examines the structure of a text or a group of texts. A typologist must either examine the characteristics of a group of texts in order to achieve the conventions of a literary genre, or examine the conventions of a literary genre in a text belonging to that genre. The authors of this paper, without referring to the literary type of conventions of "mystical interpretation", have only studied the characteristics of a text (Safi’s interpretation).

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Literary proper names can perform various functions. In fantasy literature, which usually has its own dedicated secondary world, these functions are even more prevalent. Analyzing the translation of these names provides new insights for translators of the genre and literary translators in general. In that light, the present study was designed to analyze the translation of proper names in five fantasy novels. To conduct the research, first the proper names in fantasy novels were identified and their functions were determined based on Gibka’s model (2018). Then by analyzing the translation of the proper names from English to Persian, the translation strategies were identified and examined. After the analysis of data, it became evident that contrary to popular belief, non-translation is not always the best strategy for translating literary names. Based on the results, the strategy of translation never caused the loss of semantic function in the translated texts, while in some cases the non-translation strategy caused the loss. Moreover, non-translation never caused the loss of localization function. Therefore, choosing the translation strategy for proper names with secondary functions in mind will help translators transfer these functions to the target text more effectively.
Extended abstract
Introduction
Translation of proper names in fantasy literature can be a contentious topic among translators and theorists alike, since literary proper names can perform different functions within the narrative. The present research was conducted in order to determine the different functions of proper names in fantasy literature and the strategies employed for translating those names and to see if and how the translation strategy affects the proper name function in the target text.
Methodology
The present study was an empirical, descriptive and analytical research, conducted in order to analyze proper names and their translation in the fantasy genre. The corpus of this study was a parallel, bilingual one. It consisted of the novels, “Prince of Fools”, “The Liar's Key”, “Shadow and Bone”, “Everless”, and “Bone Season” and their Persian translations. These novels were translated to Persian within the last ten years (2014 – 2017) and could indicate recent trends in the translation of proper names in the fantasy genre in Iran.
The novels were wholly read with a purposive sampling method, and all of the proper names were extracted. Proper names were then classified using the eight relations and the twenty-two permanent secondary functions defined by Gibka (2018) which were applied to both the source text’s proper names and their translations in the target text. The data was analyzed at the lexical level. Each name along with the titles or other modifiers, were considered as one unit. Then, Van Coillie’s (2006) ten strategies for translating proper names were used as to analyze the translation of proper names.
Results and Discussion
In total 426 proper names were found and analyzed, out of which 214 had secondary functions. Among the proper names with secondary functions, the semantic function was the highest, followed by the localizing and sociological functions. Some of the proper names had two or three overlapping functions. Semantic and localizing were the two functions that overlapped the most (13 proper names), followed by localizing and sociological (11 proper names).
After the analysis, it became evident that most proper names’ functions stayed the same in the translation. All in all, no proper name changed its function in the process of translation and among proper names with no secondary functions, none gained new ones. However, there were cases in which the secondary function was lost or delayed in the process of translation.
Loss of function happened only for 11 semantic proper names and one localizing proper name, while no allusive and sociological proper name lost its function. The only translation strategy that caused the loss of function in semantic proper names was non-translation. Regarding the localizing proper name, phonetic adaptation was the strategy that caused the loss of function. Furthermore, delay of function happened for proper names with the semantic function and one proper name with the humorous function, and it only occurred when the proper name was transferred using the “non-translation plus additional explanation” strategy, where the additional strategy was in the form of a footnote or an endnote.
Conclusion
One of the important findings of this study was that while examining the translation strategies, some translation strategies were detected which had not been included in Van Coillie’s model (2006), namely combinations of different strategies, and in two cases, additional explanations added to a strategy other than non-translation (i.e. “replacement by a counterpart in the target language”, and “translation”). Furthermore, it did not relate the strategies to the secondary functions of literary proper names. However, the delay of function was the only issue that was not included in Gibka’s model (2018), which might be because this delay is probably specific to proper names in translated texts. Keeping this in mind, Gibka’s (2018) model can be effective for analyzing the translation of proper names in fantasy literature. 
The results of this research can be useful for translation research and theory. This study showed that the “translation” strategy never caused the loss of the “semantic” function, while the “non-translation” strategy did cause this loss. So the “translation” strategy can potentially be an effective strategy for semantic proper names, while translator should be careful when using the “non-translation” strategy with semantic proper names, as the loss of function is likely to occur.
This can help translators who are working in the fantasy genre to gain a deeper understanding of the relationship between the secondary functions of proper names and the translation strategies. The results of this research can also benefit translation students in classes such as “literary translation”, since it indicates the significance of proper names and the attention that their translation requires, specifically in the fantasy genre.
 

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Knowledge of literary genres is one of the oldest and most influential intertextual approaches that has been used to classify texts since the past and has been subject to change. But the background of the theory of genres in Iran is less than a century, and its justified application in a comprehensive way in many fields and literary trends is still facing ambiguities and challenges. For example, in classifying ancient narratives, the question arises: on what basis and with what considerations can the dominant literary genres in these texts be proved? The lack of serious research and criticism in response to this question has led researchers over the decades to classify ancient Persian stories by resorting to self-invented, unscientific literary terms without methodological explanation, while the common terms not only fail to give a comprehensive indication of the content and linguistic characteristics of such narratives, but even keep them in a genre indecision or lead them to several similar genres. Since one of the functions of motif study is to determine the literary genre of the texts, the present study has attempted to draw on the Aristotelian theory of genres to utilize this potential talent and prove for the first time through the method of inductive reasoning and relying on the statistical community based on the study various motifs of three stories of Abu Tahir Tarsusi that their literary genres belong to the epic.
Extended Abstract
1. Introduction
Prose stories, as one of the oldest currents of Persian literature, are voluminous and generally sequential texts (with supplementary appendices) and report on the actions of kings, generals, and warriors who are often in the shadow of history or in a few cases are basically imaginary and are considered to be created by the minds of storytellers.
1-1. Significance of the Study
Despite their ancient background, the Persian prose epics have not yet found a certain place in the history of Persian literature from the point of view of literary genres, and in research they are generally presented under vague terms such as story, legend, romance, folktale, fantasy, or romance. The above terms, in the absence of comprehensive information on the content and linguistic characteristics, are unable to determine the parent literary genre or subgenre for the above narratives, and often focus unilaterally on the type of narrative or some elements of the story, and sometimes overlap with other non-homogeneous texts. And they leave the literary genre of the text in limbo. Most importantly, researchers have not yet found a methodological and theoretical approach or a logical explanation to justify the use of these terms for the texts in question.
1-2. Problem
The main problem is how to get beyond the stage of asserting the genre and unrelated literary terms and reach the stage of hypothesizing the definition of literary genre and proving it through in-text investigations. So far, the researchers who have written in the field of criticism of fictional narratives have referred to the literary genre of fictional narratives only with short phrases and self-made titles, but the present research attempts to rely on the frequency of the statistical approach and the representation of the statistical community, the hypothesis of a coherent flow of narratives. Prove a story in the literary genre of the epic.
1-3. The Purpose and Method
The main purpose of the study is on the function of the thematic approach in determining the literary genre of the narrative, using a statistical method. Therefore, based on the theory of Aristotelian genres and using the thematic approach, the themes mentioned in the three narratives of Dārāb-Nāmeh, Qirān Habaši, Musayyab-Nāmeh were first analyzed in an inductive manner and divided into four sections: Epic and Ayyāri, Lyrical, Amazing and Dignity. Based on the obtained frequency results, the premise of determining their literary type is then proved.
1-4. Literature Review
Although studies have been done in the last decade on the subject of literary genre in the form of authorship and translation, the field of research focusing on Persian literature has been completely neglected due to the importance of motif in determining the literary genre of the text, and there is no research to support this.
1-5. Theoretical Basis
1-5-1. Motif
Motif is one of the terms defined by Russian formalists to understand the cause-effect relationships of the components of a narrative. "Motif" refers to structural and semantic elements such as actions, events, concepts, and objects that have become exemplary elements through repetition. Although it is not considered a fixed part of the narrative, it is a temporary feature that gains importance in a particular narrative situation and usually due to its repetition. Besides the central role of subtexts in knowing the cause-effect relationships of the components of the narrative, the most important function of subtexts is to help in the classification and typology of narratives, which has not received much attention so far.
1-5-2. Literary Genres
If we are to have a scientific view of literature, we should be able to classify literary works as far as possible, and to place similar kinds of literary works in special classes relatively rather than absolutely. After all, the most important characteristic of science is that it can classify; this task is accomplished in literary studies by the approach of "literary genres." Motif is considered one of the main characteristics of literary genres, and its role in this field has not received much attention so far. A literary genre is characterized by a set of features and formal structures that occur in an orderly, cohesive, and simultaneous manner, and motif is one of the most important features mentioned.

1-6. The Case
Since Abu Taher Tarsusi is considered the most prominent narrator in the field of ancient Persian prose narratives and a considerable number of authentic fictional texts are also attributed to him, motif analysis was given preference in determining the literary text type on the basis of the three selected narratives by Tarsusi, which are briefly presented below.
1-6-1. Abu Taher Tarsusi
Abu Taher Tarsusi was born at the beginning of the second half of the fifth century of the Hijri (450 AH) and the last period of his life coincided with the end of the first decade of the second half of the sixth century of the Hijri (560 AH). His works include Dārāb-Nāmeh, Qirān Habaši, Musayyab-Nāmeh, Abu Muslim-Nāmeh, Qahramān-Nāmeh, Farāmarz-Nāmeh, Houšang-Nāmeh, Ayyār-Nāmeh, Tavārikh-Nāmeh.
2. Discussion
2-1. Epic and Ayyāri Motifs
According to the results, 1534 instances of common epic and Ayyāri motifs were observed in all three narratives, and among them, Abu Taher Tarsusi provided the highest number of epic and Ayyāri motifs in Qirān Habaši with 549 instances. This is followed by Musayyab-Nāmeh with 538 cases and Dārāb-Nāmeh with 447 cases in second and third place.
2-2. Lyrical motifs
Based on the results, 270 instances of common lyrical motifs were observed in all three narratives, of which Abu Taher Tarsusi in Qirān Habaši provided the most space for lyrical motifs in Qirān Habaši with 125 instances. This is followed by Dārāb-Nāmeh with 117 instances and Musayyab-Nāmeh with 28 instances in second and third place.
2-3. Amazing motifs
Based on the results, 433 instances of surprising common motifs were observed in the three narratives, of which Abu Taher Tarsusi provided the most space for the occurrence of surprising motifs in Dārāb-Nāmeh with 303 instances. This is followed by Qirān Habaši with 77 cases and the Musayyab-Nāmeh with 53 cases in second and third place.
2-4. Dignity motifs
Based on the results, 275 common motifs of dignity were observed in the three narratives, of which Abu Taher Tarsusi in Dārāb-Nāmeh provided the most space for the expression of dignity motifs with 190 instances. This is followed by Qirān Habaši with 63 instances and Musayyab-Nāmeh with 22 instances in second and third place, respectively.
3. Conclusion
After examining the three narratives of Dārāb-Nāmeh, Qirān Habaši and Musayyab-Nāmeh using the motif analysis approach and evaluating the set of their motifs in four parts, according to the report, a total of 2512 common motifs have been identified from these narratives. With 1534 cases, amazing motifs with 433 cases, dignity motifs with 275 cases, and lyrical motifs with 270 cases have the highest frequency in the narratives. Based on this content approach, the three mentioned narratives show their obvious belonging to the epic genre among the long traditional narratives of Iran due to the predominance of epic motifs in them.
 

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In addition to his position as a teacher, musician and composer in the field of music, Arshad Tahmasabi has also gained a familiar and prominent name in the field of Iranian music research writings. He has recently written a book about his life, which is considered to be the most important source of knowledge for knowing the innermost currents, considering his delicate and sensitive artistic spirit, character and research method, as well as his high moral outlook and bold frank expression, as well as his valuable writing experience and his familiarity with fiction literature in particular. And he is considered the most important music personality of this half century. In addition to this, this book is a great example of the Amighi autobiographical literary genre in terms of writing creativity.