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Huge burden of research in comparative literature in Iran relates to influence studies between Persian literature and other literatures based on the French school, though many of them are not scientific and purposeful due to the theoretical and methodological problems of French school and the methods of Iranians comparatists. This paper has three-part structure: in the first part, we discuss the theory and methodology of influence studies according to the French school. Next, it includes the criticism on the methodology of French school. In the third level, we investigate and analyze some of the theoretical and methodological problems in influence studies in Iran, and we conclude that the lack of appropriate background, imported theory and its mismatch with the literary and scientific needs of the community, incomplete understanding of the theory and the methodology of French school, and unfamiliarity with new approaches in this field are some of the main reasons of problems in influence studies in Iran.  

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Holy Quran has been translated into Persian several times and on the other hand, a lot of criticism and review have been done concerning the Persian translations of the Quran. Meanwhile, the Tenth-Century Translation of Quran has not been studied so far, in spite of its attractions and strengths. So in this regard, the authors of this paper seek to introduce and explain this unknown translation based on the descriptive - analytic method to assess the success of the translation in conveying the divine message to Persian language. The results show that this translation is not often faithful to the grammatical structures of the Holy Quran. The most important strengths of the Tenth-Century Translation are as follows: exact Persian equivalents, precise meanings of Quranic words, considering the deep structures of Holy Verses in translation, paying attention to the morphological and literal and rhetorical characteristics of the Holy Quran.

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The Quran consists of endless wonders and beauty. Linguistic and literary aspects are the context for major of attractions and points of venerable in Quran. Part of this beauty presented in the verses that are largely similar together both from thematically and in terms of verbal and only in a few letters or words are different. Quranic scholars have mentioned this as similar words to avoid further confusion with the spiritual allegorical verses that is in the field of Quranic sciences. An attentive discussion about these verses is their translation to Persian. This is because their similar appearance is deceptive and without paying attention to the slight incompatibility in the words of these verses, similar understanding and therefore similar translations is presented. This leads to the faulty translation. This article, provided with descriptive approach and critical analysis, and considered cases of verbal singular allegorical verses, in particular different cases in terms of nouns, verbs or verb type, and in addition to analyzing the reasons for their similarities and differences, the provided translations of these verses, by the translators of the Qur'an:(Ayati, khorramshahi, Sha'rani, fuladvand, Qomshhay, Makarem Shirazi) has been investigated. Reviewing these translations proved that the implications of these verses, not translated correctly and firmly, in most cases. So the author has offered more accurate translations of these verses.

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Alizade.,N. ,PH.D.
Aydenloo.,S.
Abstract
 
The commonalities and continuation of some mythological archetypes and concepts in an individual, racial and human being collective unconsciousness is the principal criterion for the use of mythological criticism in recalling and analyzing various manifestations of myth and rituals in literary genres. According to mythological criticism, some important points are revealed in Attar’s Tazkart-al awliya. For instance if we take structuralism approach to the story of Ebrahim Adham and his son and compare the elements of this story with famous narratives on “father-son” battle, we can conclude that this story is designed based on the narrative of “Rostam and Sohrab”.
 
 

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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.

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 GholamHosseinZadeh.Gh,PH.D.

                                                                  

Abstract:
 
The character, as a major element of storytelling, has many varieties. One of them is the historical character. The Masnavi contains many historical characters, but since historical stories are different from “historical accounts”, and historical accounts are not the same as “historical events”, the historical characters included in the Masnavi are different from their story versions. One of them is the chief of the Khorasan mystics, Ibrahim Adham, whose abandoning of power (emirate) is well known.
   Although there is not much historical information available on the life of Ibrahim Adham, one may find tales about him in some stories from the Central Asia; however, these are mixed with fiction. There are also various accounts of him abandoning the emirate which come under three major titles, namely “the camel, the caravanserai, and the hunt.” They feature different events but share the same beginning, end and storyline. Molavi has chosen the camel story and put it in his Masnavi. There are also others who have related the same story and who are temporally and intellectually close to Molavi, among them Attar, Shams, and Sultan Valad. Although the quartet(3+1)’s narrations are considered similar and put in the same group, they are characterized by different storytelling and dialectic techniques. Upon analysis, it turns out that the narrative technique of Shams excels those of the rest, better conforming to storytelling principles.
 
 

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Gholam-Hossein-Zadeh.Gh., ,PH.D.

Taheri,Gh., PH.D.

Rajabi.Z., PH.D.

 
Abstract:
 
Molavi is one of the greatest mystical storytellers in Persian literature who has adopted storytelling to convey didactic and mystical notions. Molavi’s Masnavi remains a well-known work throughout the world thanks to his intelligence in understanding the concerns and dimensions of human soul as well as to his grasp of the social traits of the readership, plus his superb skills in applying the delicate techniques of storytelling. It is quite surprising that he had such a mastery of storytelling techniques some seven centuries ago, while critics have only recently discovered its subtleties and techniques. Among these techniques is the skillful use of the time element in narratives. Over the past decades, a French researcher has elaborated on temporality in narratives, presenting his views under three topics – order, continuity, and frequency. His theory is well known.
   In this paper we will try to show, based on the French scholar’s theory, how Molavi has utilized the time element in the tale “The Tribal Arab Dervish and His Wife”. We will also attempt to understand how and to what extent he has made choices in temporal and actual terms, moving from chronological time to textual time. These choices and the particular type of temporality Molavi has applied in the said story are analyzed to see if they have a direct and meaningful relationship with the theme of the tale.
 

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H. Hasanpour Alashti.PH.D
I. Amankhani
 
Abstract
Amongst different philosophical thoughts, existentialism has had a special influence on the 20^th century literary criticism and it has paved the way for the formation and development of literary theories. Sartre wrote the twentieth century’s most influential manifesto on  literature of faith and commitment entitled “What Is Literature?”, while Heidegger led hermeneutics into a new path. In Heidegger's Hermeneutics, unlike the traditional hermeneutics, the text loses its final meaning. What is so striking is that; these two existentialists, however, had some different and at times opposite viewpoints. This difference can be traced in Sartre’s Descartesian attitude and Heidegger’s anti- Descartesian philosophy.
In this article after pointing to the backgrounds that have led to the two different perspectives within an identical philosophical thought, we survey the statue of the two major philosophers and theoricians of this school-Heidegger and Sartre- in the contemporary literary flow. The Final issue discussed is; how they influenced the Iranian poets, writers and theorists such as; Shamloo, Al-e-Ahmad, Sharia'tti, Khanlari and Dariush Ashuri.
 
 

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Since the literary language disrupts mimetic and common framework, the relationship between imagination and reality should be featured. The richness of imaginative representations is also in the light of the literary representation. The literary representation of a place creates another place in the mind and some non-visible virtual spaces are activated. Figures of speech show the literary characteristics of architecture, as well as dialectical relationship between real and imaginary architectural space. So the vocabulary of emotion and the experience of the "I" of several French authors which are selected from the eighteenth century onwards, faced with Iran's architectural spaces will be studied; because, through the different perceptions of subjects, these spaces expand in the literary world. Also, the entrance of time into the world of discourse, cause confusion with the place and the production of meaning.The specification of the relationship between the architecture and the subject, involves examining the space-time architecture in the works of the selected authors. Thus, the need to strive to preserve aesthetic beauty is highlighted, and the plan for the reconstruction of some architectural spaces is to be obtained beyond this reading. This study is aimed at building a symbolic network of Iranian architectural space. Explore of beyond the symbolic architectural spaces reveals the authors' personal myth, and it brings a new identity to the world of work and the architectural spaces in which it flows. Such a study requires a reliance on geocriticism and documentary method, with descriptive-analytic processing.

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Abstract:
Social circles, particularly tea-houses of Esfahan in Saffavi age have had an important impact on Esfahan school poets' relations and activities. In biographies (Tazkare) and sometimes European logbooks we notice the presence of Safavi sociable king, first Shāhabbās, and other social groups in Tea-houses. Planning of Gazal, criticism and correction in poetry of poets who were frequently tradesmen and in poetry creation they were required to have more practices in tea-houses, stimulated their rhythmical poetic gift. Also; Tea-houses have had a great effect on the prevalence of stating reality and the link of calligraphy of the period. sometimes consuming narcotics in these places has aggravated their imagination power to such an extent that it can be accounted as one of the reasons in the poets' visionary in this period which was less studies. So that it can be found at the lexical and thematic level of several poets such as Şā,ib having a particular style. High frequence of Tea-house terms and different kinds of narcotic names in the period poetry is an evidence of this reality. In this article Descriptive analytical method we discuss some practices developing rhythemic nature of novice poets.

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The River’s End is a fictional work with a dream-like structure. In this article we analyze this story and its meaning-making structure through a Freudian approach. This reading includes two layers: (1) the overt or surface structure of the story; (2) the covert or deep structure of the story. In the overt layer, it is demonstrated that the story has a conceptual structure and its events are narrated in a disorganized plot in which the causality and time sequence are distorted. In the covert layer, we have distinguished between metaphoric and hidden plot. In the metaphorical plot, the symbols of the narrative of The River’s End have been identified and two symbols of Zāyandeh-Rood and Gāvkhuni as two prevalent feminine symbols which are related to the return to the womb are analyzed. Many of the characters then based on their relationship to these two symbols are psychoanalyzed. In the hidden plot the relationship between the narrator with the pleasure principle and death principle are analyzed to unravel the unending suspension of the narrator in the procedures of fate, repetition, and movement toward death is defined.

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A.Khaefi, Ph.D.
J.Feizi Ganjin
Abstract
As narratology has been known as a field of scientific study since a few decades ago, the narratologists have made an attempt to define specific narrative patterns. As a result they can analyze and interpret all the narrative structures through these patterns in both the old stories and the new modern novels. Many attempts took place in this field, but Vladimir Propp was ahead of others in his own time, and so his theory provided and caused a huge evolution in the science and field of narratology despite all its shortcomings and deficiencies. Propp focuses on the description of stories on the basis of their constructive elements and their mutual relations in his book entitled as “The Morphology of Fairy Tales”. After analyzing about 100 Russian stories, he obtained 31 conclusions. He believes that even the folk tales and the romances can be analyzed and interpreted within the framework of this pattern.
The Tales of Sam’ak A’ayar are long Persian folkloric stories composed in the pre-Islamic era and finally developed in the sixth century.
This paper intends to reveal Propp’s pattern, considering the Tale of Sa’mak A’ayar and then it compares the outcomes with Propp’s analysis and interpretation. In other words the present paper intends to study the Tale of Sa’mak A’ayar through a morphological approach. Although Propp’s theory is about the fairytales, still it enjoys a high potential for the Iranian stories; including the story of Sa’mak A’ayar. Many of the functions and the pragmatic studies made on the Tale of Sa’mak A’ayar are quite similar to Propp’s theory on morphology.
 

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The response from the different branches of humanities to the environmental crisis has led to the formation of a new interdisciplinary topic, Ecolinguistics with its branches such as Environmental Ethics and Ecocriticism in literature. The term Ecocriticism was first coined in 1978 by William Rueckert. It was a reaction to the environmental crisis. Ecocriticism reflects on the relationship between human and physical environment in literary works. It also talks about the relationship between religion, ethic, language, and gender with the environment. This article deals with the necessity of ecocriticism in the humanities and introduces some of the research methods and topics in this field.

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This research is the analysis of the contact zone and the tensions in western women’s travelogues. Travel writing as a genre has always been marginalized within the domain of literary researches, but travelogues by women have been doubly marginalized due to gender. In patriarchal societies, the literature produced by women has never been received as seriously as that by men. Western women, who were colonizers by race and colonized by gender, cannot use the omniscient point of view revealed in men’s travelogues, nor can they assume the objective pose that man travel writers usually boast of. Women, who had an unsure position between the discourses of colonialism and that of femininity, reveal such tensions in their writing that are mostly absent from men’s travelogues. These tensions and the role they play in the self-fashioning of British women can be traced in the images that they offer of the orient in the 19th century.

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Abstract: Poetical theory is a methodical discussion about works the nature and instrument of which are language. Mohammad Taqi Bahar (Malekoshoara) and Ebrahim Abdolqader Mazani explained their poetical theory in a period when there was an intensive struggle between tradition and modernity in all sections and fields. Both of them, as the effective members of an outstanding literary movement (Daneshkade association in Iran and Jama'ate Divan in Egypt), played a role in explaining their poetical theory and the movement they belonged to. The present study can pave the way for literary analysts to compare the conditions of literary movement in different lands. It also provides an exact and scientific analysis of the philosophy of their success in one land and their failure in another land (or at least ups an downs of their movement in literary limits of different nations). So it compares poetical theory of Mohammad Taqi Bahar (Malekoshoara) and Ebrahim Abdolqader Mazani. After extracting and classifying the ideas of Bahar and Mazani about definition of poetry methodically, and about the position and function of poet and address in creating a poem and its content, poetical theory of these two are compared and explained. It is clarified that both of them have paid attention to poetry function rather than to its structural aspects. From the intellectual aspect, Bahar is more introvert but Mazani is extrovert. It should be mentioned that the function of European literary works and also taking effect from European literary schools is evident in Mazani poetic theory. In general, it can be said that Bahar is more traditionalist and Mazani more modernist.

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نوشتار پیش¬رو به معرفی و نقد مقالۀ «جنسیت، قدرت و کاربرد زبان از دیدگاه تاریخگرایی نوین در گلنگری گلن راس اثر دیوید مَمِت» نوشتۀ فاضل اسدی امجد و یاسر ذوالفقاری (فصلنامۀ نقد ادبی، سال دوم، شمارۀ هفتم، پاییز 1388) می پردازد و تلاش می کند از این طریق به برخی از چالش های پژوهش های نقد ادبی به طور کلی و رویکرد تاریخ¬گرایی نو به طور خاص اشاره کند. گرچه این رویکرد چندان نو نیست و زمان قابل توجهی از پیدایش آن می¬گذرد اما در ایران رویکرد تازه-ای به شمار می¬رود و برای بسیاری از پژوهشگران پدیده ناآشنایی است. یکی از دلایل این ناآشنایی عدم وجود منابع فارسی –اعم از تالیف و ترجمه- در این حوزه است که همت اساتید و خبرگان فن را می¬طلبد. این ناآشنایی به همراه برخی پژوهش¬های غیراصولی به برخی کج¬فهمی¬ها در مورد این رویکرد دامن می¬زند. در این نوشتار، مقالۀ مذکور از چهار دیدگاه نقد شده است: نظری، کاربردی، ارتباط عنوان مقاله با موضوع مورد پژوهش و معادل¬گزینی واژگان.

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Nahj al-Balagha with the Persian translation of fifth and sixth centuries is the oldest translation of this valuable book in our hands. Contrary to its linguistic and literary significance, this translation has received little attention from linguists and translators. For this reason, the present study seeks to examine and criticize the Persian translation of the famous sermon "Shqshaqiyah" based on Peter Newmark's criticism model (1988) as one of the first studies in this field. The findings of this study, written based on descriptive-analytic method, show that the translator has used the cultural equivalent selection approach in translating words and the metaphorical image reconstruction strategy in translating metaphor. Although he has chosen the literal method, it has not been an unconditional function of the source text in terms of grammatical structures, and there are cases of changes in its translation; These changes are sometimes due to ideological issues and sometimes to linguistic reasons.

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دیر زمانی نیست که استقبال فزاینده¬ای را از ادبیات تطبیقی در ایران شاهد هستیم. این استقبال گرچه ممکن است از برخی جهات اتّفاقی فرخنده به شمار آید اما نیک که بنگریم چندان خوشایند نیست. متاسفانه در کشور ما روی¬آوردن به ادبیات تطبیقی بدون درک صحیح مبانی و چارچوب¬های نظری آن این رشته را با بحرانی جدی رو¬به¬رو کرده¬است. بدفهمی¬هایی که واژه «تطبیقی» ایجاد کرده باعث شده است که گاه این رشته صرفاً به عنوان یکی از «دانش¬های تطبیقی» از جمله فلسفه تطبیقی، زبان¬شناسی تطبیقی و... شناخته شود. از سوی دیگر به دلیل ناآشنایی با مکاتب گوناگون این رشته و در نظرگرفتن آن صرفا به عنوان مقایسه دو ادبیات ملی، «پژوهش¬هایی زیر چتر نام ادبیات تطبیقی انجام گرفته که هیچ¬گونه قرابت و سنخیتی با ماهیت آن ندارد» (انوشیروانی 1389:36). نوشتار پیش¬رو به بررسی مقاله «بررسی تطبیقی شعر و اندیشه تی. اس. الیوت و احمد شاملو بر اساس مولفه های مدرنیته» به قلم حسن اکبری بیرق و نرگس سنایی که در شماره 4 (پیاپی 12) نشریه پژوهش¬های زبان و ادبیات تطبیقی چاپ شده است، می¬پردازد.

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Qodratollah Taheri,PH.D
 
 
Abstract 
 
The Persian tradition of literary criticism believes that through Sanayi Qaznavi, the Persian poetry penetrates through the strict and narrow borders of nobility and pleasure-seeking materialism of the courts; stepping towards the modern domain of wisdom and intermingling with the public. It also seems that Sanayi Qaznavi’s role is considerable in the elaboration of the poetry’s principle regarding experimentalism; that is in addition to creating a serious change both in the content and approaches of the Persian poetry. Such issues are usually neglected in our literary criticism. While Sanayi revolutionized both the content and motif of sonnets, he also directed it towards achieving experience. In this relation he created sonnets that possessed his own mystical and inspirational insights which as a matter of fact blocked the path of imitation and repetition in the Persian sonnet. In this way Sanayi became a successful pioneer for the next great poets who appeared after him, such as; Attar, Sa’adi, and Hafez. The author intends to survey the principle of experimentalism in Sanayi’s sonnets in order to show his originality in poetry and sonnet in the domain of verses’ structural cohesion and unity of meaning; the mentioned cohesion is created through maintenance of inspirational experiment and its recreation in the poetic language.