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Showing 34 results for Persian Literature
Volume 7, Issue 28 (9-2010)
Abstract
M.Khurasani, PH.D.
Abstract
The main aim of this research is to analyze and the exact understanding of scientific work that has been identified as dahnameh (Ten Letters) in the history of Persian literature. From the beginning, we have encountered with two fundamental questions: First, what is dahnameh? Second, what is the source of its origin? To identify and explain dahnameh or to access to the fact that whether or not it has possibility of classification like a literature, we preferred axial method of critical structuralism. And, etymological study of this type was followed with the study of axial history of Persian composition i.e. a kind of comparative study simultaneously and in given time.
Dahnameh, according the proposed research, is an independent and justifiable composition that structurally has been blended in two forms of mathnavi (couplet poems) and ghazal (ode). Hero or in other words lover writes amorous letters to his beloved and gets reply from other side. These letters are delivered by a courier. Hence, it begins the narrative of love entanglement of hero and with backbiting of middle actions it leads to the end (lover’s attainment).
From the real dimension and desire of the actual study, it can be said that Oshshaq Nameh of Iraqi is the beginning of a kind of constant Dahnameh composition but their origin must be seen in the compositions of Vais, Ramin, Vergheh and Golshah. Other than Iraqi, Hamam, Ohadi, Ibn Nasuh, Obaid Zakani, Rukn Sayen Semnani, Shah Shuja’a, Ibn Emad and Hariri are other composers of Dahnameh.
Volume 7, Issue 29 (3-2011)
Abstract
Mahboobeh Khorasani,PH.D.
Katayun Mazdapour,PH.D.
Tayyebeh Zunubi
Abstract
This article, with the structural analysis of deceits and tricks of women in the stories of A Thousand and One Nights, tries to study their specialties and then responds to the problems propounded in this field such as structure of the stories, manner and results of actions and desires of those deceits. Basis of the current work has been the book ‘Morphology of Fairytales’ and application of its pattern in the books such as a ‘Prelude on Morphology of A thousand and One Nights’.
As it was felt initially that tricks of deceitful women of A thousand and One Nights are merely a reaction i.e. fraudulences take place in response to inequalities, exercising of authorities etc… But, the current research has distinguished that the reactionary movements take place from fraudulent whose number is 64 which is against the 69 proposed reactions. The remarkable point is that in most of the cases i.e. 54 times reactionary movements are justifiable and successful.
Volume 7, Issue 29 (3-2011)
Abstract
Maryam Khalili Jehantigh,PH.D.
Abstract
Jalal Uddin Mohammad Maulavi, for presenting his exalted spiritual teachings, applied allegorical/proverbial narrations so that he could make deep messages and difficult Masnavi easier and identical for his audiences. For that matter, he most often looks for stories that have precedence in peoples’ minds but from the source of the story, he constructs his own narrative containing his messages. He was also intelligently impressive in narration and often employed the narrative elements, suitable with narrative capacities, in competition with modern story writing. In this research, with comparative methods, the narrative elements of two anecdotes of Masnavi and Elahinameh of Attar “requesting to Christ by his companion to make skeleton alive” have been studied with the aim to highlight strength and weakness of each of these anecdotes and to analyze the manners of utilizing elements such as plan and plot, characters, discourse, angle, stage-management, place and time, casting difficulties, resolving difficulties and narrative themes in the forms of comparison.
Volume 7, Issue 29 (3-2011)
Abstract
Alireza Shadaram, PH.D.
Farhad Doroodgryan, PH.D.
Abstract
Two anecdotes “Tristan and Iseult” and “Vis and Ramin”, despite some varying points, have much similarities. The fiction “Tristan and Iseult” that was written about a century after “Vis and Ramin” is considered the masterpiece of erotic literature in the western world. Since these two works are the primary and foremost love stories of the East and the West, this paper attempts to explain commonality and differences in literature and culture taking into account analytical-comparative methods. For this purpose, after reviewing the origin of the story of “Tristan and Iseult” and counting its similarities with “Vis and Ramin”, the paper studies and analyzes the two works with respect to their structure and contents.
Volume 8, Issue 3 (9-2020)
Abstract
George Gordon Lord Byron,a British poet of 19th century, was heavily influenced by Oriental and Persian literature in his works. The poet’s life coincided with beginning of the “Victorian age”, and “romanticism” style emergence and the beginning of the European literature’s impressionability presentation from Iranian literature and Persian language; hence he is known as an outstanding person and European renaissance’s symbol and among the Persian literature’s impressed ones.
In This research attempt to clarify the “Manfred” Play’s contribution among Lord Byron’s works in Persian literature’s impressionability through library and documentary tools and relying on an analytical and comparative method. The result is that the above work is influenced strikingly by the works of Persian literature and language, Oriental myths and culture in “symbols”, “concepts”, “fantasies” and even “lexical” terms, which are collected due to Byron’s studies in his subconscious. Also research data show that the two categories of “Zoroastrianism” and “mysticism”, in effectiveness of Persian literature, had the largest share which are presented under two total categories: character-making level and
space-making level.
Volume 8, Issue 3 (9-2020)
Abstract
Since the beginning of the eighteenth century, the awareness of the masses increased in different societies and has sparked screams of protest over the ruling regimes. After the protest movements occurred in Iran and in the Arab countries, the authors of the course used the story as a good form to express the pain of the people and describe their tragic and sorrow lives. Since the late of eighteenth century to today fiction witnessed many developments and exposed to various ideas and theories. Moreover, while defining the current and the schools in Persian and Arabic has been mentioned to the most influential literary currents and schools and its famous writers in Arab countries and Iran. Studies shows that similarities are more than the differences in contemporary Persian and Arabic literary literature, and literally most of the school's realism was the school of fiction writing in two communities. In terms of the trends that have emerged, the flow of political novels, climatology, feminization, and the two main tendencies of historical and social novels. The distinguishing differences in this comparison are the literature of immigration, which is discarded in Persian fiction, as well as the committed literature is much more limited in Iran than Arabic countries.
Volume 8, Issue 3 (9-2020)
Abstract
Gypsies are a wandering and landless people who are commonly known around the world to represent not just nomadism but also festive dancing and singing. From what can be gathered from literary and historical sources, the Romani people first came to the land of Iran during the time of the Sasanids, and their first visit to France came about the fourteenth century. In mid-eighteenth century and during the early decades of the nineteenth century, bohemian characters were considered to be influential in French literature. In those early texts, French and Iranian writers and poets referred only to tales about the bohemian origin, past, and their arrival to these lands. But in time poets and writers began to attend to and reflect on other aspects of this community’slifeworld. Thisstudy, afterabriefsurveyofhowbohemian people emerged as a distinct community in France and Iran, will explore the representation of bohemian people in French and Iranian literatures. From among their many attributes, this study pays particular attention to salient features of their way of life, such as minstrelsy, music and song composition, and their landlessness. Finally, an attempt will be made, following an analysis of Romani people from the socio-cultural perspective, to provide an answer to the question of how French and Iranian cultures and literatures have represented and developed the image of the gypsy.
Volume 8, Issue 33 (12-2011)
Abstract
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.
Volume 9, Issue 42 (12-2021)
Abstract
Introduction
Research Background
Reconstruction and translation of Manichaean manuscripts is a significant part of the scholars’ efforts in Manichaean studies. In most of these texts, which include different languages and subjects, signs of parables and stories can be found. Some are specifically dedicated to parables and stories, which are also the primary sources of the present study. The first one is the work of Sundermann, Mittlepersische und parthische Kosmogonische und Parabeltexte der Manichäer. The Persian translation of its second part has been done by Abedi Jourabchi. The Sogdian Tale, published by Henning at BSOAS11, is the second primary source of these stories, most of which Zarshenas has translated into Persian. These scholars have usually also looked at the literature of Manichaean-related cultures and reported similar examples. We aimed to introduce and review more similar examples in this study.
Research method
This research has been done in a descriptive-analytical and library method. The first step was to study Manichaean works in Middle Iranian languages and select their fictional pieces. Then, to find similar examples in folkloric literature, we examined the works related to the collection and classification of folklore stories. We were looking for stories similar to Manichaean parables in terms of narrative structure, actions, and main characters. After finding these examples and surveying their different narratives in Iranian folklore literature, we analyzed the similarities and differences between these stories and Manichaean examples.
Manichaean stories and similar Iranian examples
Similar examples were found in general narratives, or sub-narratives for five of the thirty examined Manichaean stories and parables. The first story is "The Elusive Beloved and the Wise Old Woman", which in the general narration corresponds to the type 450 called "Little brother and little sister" (Marzolph, 1984, pp. 104-105) with the difference that the beloved is female. The masculinity of the beloved is reflected in type 432 of Marzolph's classification (Ibid., p. 102). It also represents the old woman's deception method in the Iranian type 1545A. (Endjavi Shirazi 1975, pp. 115-117; Faqiri 2003, pp. 81-85; Elwell- Sutton 1994, Marzolph et al., p. 303)
The second story is "The Deaf and Dumb Boy". Its second sub-narrative is about a stepmother plotting to kill the boy with poisoned food, well reflected in type 314 of Marzolph's classification. The complicated story of "The Cæsar and the Thieves" is the third story in which the main narrative is about the Cæsar being deceived by thieves by impersonating himself as the angel of death. This narrative has been represented in one of the sub-narratives of type 950 (Marzolph, 1984, pp.185).
In the ATU Index and the Marzolph classification, there is a story type similar to "The Monkey and the Fox" parable with various narratives, identified by the number 35B. The tale of Namaki with the number 311A in Marzolph classification and other versions in type 311B of the ATU index is similar to the story of "The Wolf in the Jug". The monk, the wolf, and the jug are other essential elements of this parable, all of which can be found together in the Iranian type 20D.
Conclusion
Most Iranian examples are main narratives that play a significant role in folklore literature. Those examples which are not in this category are frequent types found in numerous stories and legends and have been narrated in different ways. Also, some of the world types have been added to the latest version of the ATU Index, and their various narrations are mostly related to the cultural field of the Middle East. In addition, many of these world types do not have the same parts of the Manichaean parable that we have been looking for. This is while the importance of the Iranian examples is precisely due to the existence of these low-frequency themes, which are sometimes represented only in the Iranian narratives. It is noteworthy that stories with European and Western narratives usually have an Indian narration as well.
In these stories, we can recognize the similarity of the themes, and interestingly, these themes were also common in the Manichaean parables in question. These concepts and themes are the prohibitions of greed, captivity, and the use of the action of inductive deception. Manichaean parables seem to be reflected at the intersection of the two general concepts of greed and deception in folklore stories. The common point between the parables and similar examples is that the devil's deception, which either stems from greed or leads to it, will lead to captivity.
References
Elwell- Sutton, L. P. (1994). Die erzahlungen der Masdi Galin Hanom (edited by U. Marzolph, and translated into Farsi by Ā. Amirhosseiny nithāmer, A. Vakīlīyan). Nashr e Markaz.
Endjavi Shirazi, S. A. (1975). Iranian stories (vol. 3) (in Farsi). AmirKabir
Faqiri, A. (2003). Stories of the Fars people (in Farsi). Navid e Shiraz.
Marzolph, U. (1984). Typologie des persischen Volksmärchens. Unknown.
Jahāndāri, T. K. (1992). 2nd Ed. Soroush.
Uther، H. (2004). The types of international folktales. Helsinki.
Research Background
Reconstruction and translation of Manichaean manuscripts is a significant part of the scholars’ efforts in Manichaean studies. In most of these texts, which include different languages and subjects, signs of parables and stories can be found. Some are specifically dedicated to parables and stories, which are also the primary sources of the present study. The first one is the work of Sundermann, Mittlepersische und parthische Kosmogonische und Parabeltexte der Manichäer. The Persian translation of its second part has been done by Abedi Jourabchi. The Sogdian Tale, published by Henning at BSOAS11, is the second primary source of these stories, most of which Zarshenas has translated into Persian. These scholars have usually also looked at the literature of Manichaean-related cultures and reported similar examples. We aimed to introduce and review more similar examples in this study.
Research method
This research has been done in a descriptive-analytical and library method. The first step was to study Manichaean works in Middle Iranian languages and select their fictional pieces. Then, to find similar examples in folkloric literature, we examined the works related to the collection and classification of folklore stories. We were looking for stories similar to Manichaean parables in terms of narrative structure, actions, and main characters. After finding these examples and surveying their different narratives in Iranian folklore literature, we analyzed the similarities and differences between these stories and Manichaean examples.
Manichaean stories and similar Iranian examples
Similar examples were found in general narratives, or sub-narratives for five of the thirty examined Manichaean stories and parables. The first story is "The Elusive Beloved and the Wise Old Woman", which in the general narration corresponds to the type 450 called "Little brother and little sister" (Marzolph, 1984, pp. 104-105) with the difference that the beloved is female. The masculinity of the beloved is reflected in type 432 of Marzolph's classification (Ibid., p. 102). It also represents the old woman's deception method in the Iranian type 1545A. (Endjavi Shirazi 1975, pp. 115-117; Faqiri 2003, pp. 81-85; Elwell- Sutton 1994, Marzolph et al., p. 303)
The second story is "The Deaf and Dumb Boy". Its second sub-narrative is about a stepmother plotting to kill the boy with poisoned food, well reflected in type 314 of Marzolph's classification. The complicated story of "The Cæsar and the Thieves" is the third story in which the main narrative is about the Cæsar being deceived by thieves by impersonating himself as the angel of death. This narrative has been represented in one of the sub-narratives of type 950 (Marzolph, 1984, pp.185).
In the ATU Index and the Marzolph classification, there is a story type similar to "The Monkey and the Fox" parable with various narratives, identified by the number 35B. The tale of Namaki with the number 311A in Marzolph classification and other versions in type 311B of the ATU index is similar to the story of "The Wolf in the Jug". The monk, the wolf, and the jug are other essential elements of this parable, all of which can be found together in the Iranian type 20D.
Conclusion
Most Iranian examples are main narratives that play a significant role in folklore literature. Those examples which are not in this category are frequent types found in numerous stories and legends and have been narrated in different ways. Also, some of the world types have been added to the latest version of the ATU Index, and their various narrations are mostly related to the cultural field of the Middle East. In addition, many of these world types do not have the same parts of the Manichaean parable that we have been looking for. This is while the importance of the Iranian examples is precisely due to the existence of these low-frequency themes, which are sometimes represented only in the Iranian narratives. It is noteworthy that stories with European and Western narratives usually have an Indian narration as well.
In these stories, we can recognize the similarity of the themes, and interestingly, these themes were also common in the Manichaean parables in question. These concepts and themes are the prohibitions of greed, captivity, and the use of the action of inductive deception. Manichaean parables seem to be reflected at the intersection of the two general concepts of greed and deception in folklore stories. The common point between the parables and similar examples is that the devil's deception, which either stems from greed or leads to it, will lead to captivity.
References
Elwell- Sutton, L. P. (1994). Die erzahlungen der Masdi Galin Hanom (edited by U. Marzolph, and translated into Farsi by Ā. Amirhosseiny nithāmer, A. Vakīlīyan). Nashr e Markaz.
Endjavi Shirazi, S. A. (1975). Iranian stories (vol. 3) (in Farsi). AmirKabir
Faqiri, A. (2003). Stories of the Fars people (in Farsi). Navid e Shiraz.
Marzolph, U. (1984). Typologie des persischen Volksmärchens. Unknown.
Jahāndāri, T. K. (1992). 2nd Ed. Soroush.
Uther، H. (2004). The types of international folktales. Helsinki.
Volume 10, Issue 6 (3-2019)
Abstract
One of the objectives of structuralist criticism - based on linguistics - is to analyze the formation of texts from literature. In this descriptive and analytical study, The authors took advantage of a semasiological approach to the study of the text in order to enrich The analysis of textual structures. By the semasiological approach It means the study of meanings which consists in starting from words, from forms to go towards the determination of meaning.
The purpose of this research is to present a structural analysis of a corpus of contemporary Persian literature. The problematic of this research consists of knowing how meaning takes its configuration by means of the text structures of the story "Some credible stories about love" by Mostafa Mastour. Mastour was born in 1964 in Ahvaz. He wrote his first stories before his thirtieth birthday. He has a particular penchant for physics and geometry in his writings. The corpus in the present research is the first story in a Short story collection composed of seven short stories entitled "Some credible stories", published in 2003.
The methodological novelty of this study comes from the fact that in the analysis a semasiological approach was taken into account with regard to confrontation of the famous dichotomy: meaning/form.
The main hypothesis of this research consists of believing that the structural system of text analysis follows a logic and a movement that goes from microstructures to macrostructures, from particles of forms to the semantic whole.
The result of this article demonstrated how meaning takes shape in text, from a semasiological point of view, where the analysis of structures and forms (lexicon, phonetics, grammar and narration) of the corpus gives us access to the main theme and the overall meaning of the story, namely love.
Volume 13, Issue 53 (12-2016)
Abstract
Besides beautiful description of affective emotions and love, Vis and Rāmin love story by Fakhruddin As'ad Gurgani includes religious beliefs of pre and post Islamic era. Through the challenge of ardent love of two main protagonists of the story, we encounter some crucial points on importance and necessity of oath and abstinence from its denial. This issue led the writer to analyze this theory of ancient Iran and even the main pillar of Islamic judgments (the oath of the parties and witnesses that their speeches were correct), besides how and why it was used in this poem as a fundamental element, as well as the importance of paying attention and engagement to it. Probably, the key element in the genesis of this love story is the oath of Shahru , the mother of Vis vis –à-vis Monikan priest
Volume 16, Issue 63 (6-2019)
Abstract
There is a twofold relationship between the literature and language learning. On one hand, one of the ultimate goals of language teaching is enabling learners to comprehend a literary text independently. On the other hand, literature is a means of teaching languages and improving linguistic skills. This aspect of language teaching has attracted a scant attention in Iran, which motivated the current study to address this issue. In this regard, 13 literary approaches to language teaching were collected from reliable sources and then theoretical aspect of each approach was elaborated and analyzed using relevant examples from Novin Persian Teaching book series (one of the main sources of teaching Persian language to non-Persian speakers in reliable language centers). The obtained results of the current study were indicative of the influential role of literature in teaching Persian language, which can open new horizon in this regard.
Volume 16, Issue 66 (3-2020)
Abstract
In Persian literature, as well as many phenomena, all sorts of clothes, have been conceptualized and referred to. The turban is one of the clearest examples of the fact that the poets have paid attention to it in many ways Accordingly, this study seeks to reveal sides of turban that caught the attention of men of letters, then show the themes and reasons for multiple references to this head-cover and the reasons for the multiplicity of themes related to it in literary works. This will not only reveal the underlying aspects of the culture of clothing, but also can show the manner and disposition of turban-users. In this paper, therefore, in the library method and with respect to poetical works and some historical texts, first the signs of turbans and concepts made from them are extracted, then each of them is divided into defined titles and analyzed in descriptive - analytical method. According to the findings, the turban have been conceptualized and referred to form aspect of “the way of wearing it and the posture of it on the head” and in terms of "quantitative and qualitative dimensions". But since in Persian literature, speaking of the turban, mainly observes the status of different turban-users, and how to deal with them, the main theme of attention to the different sides of turban and referring to it and making concepts form it, lies under this matter. In fact, widespread criticism of turban-users, especially rejecting the peace seeker turban-users and authorities, has resulted in the emergence of a major part of attention to this head-cover and its extensive plan in Persian literature.
Abolfazl Horri,
Volume 17, Issue 67 (10-2024)
Volume 17, Issue 67 (10-2024)
Abstract
This qualitative article employs an analytical-explanatory approach and is based on library resources to examine the relationship between World Literature, Global Literature, and Cosmopolitan Literature through the lens of Comparative Literature. The study aims to clarify the distinctions and connections between these three concepts to better understand the position of Iranian literature within Global Literature. Several questions are raised: “Are World Literature and Global Literature synonymous, or are they distinct?” “How do they relate to Cosmopolitan Literature?” “What connections do they share with Comparative Literature?” Some scholars consider World Literature and Global Literature interchangeable. Others view World Literature as comprising outstanding works from local literature that have achieved recognition either through translation or in their original language at transnational and international levels. The findings reveal that World Literature is retrospective, focusing on canonical historical works, while Global Literature is contemporary and a product of modern globalization processes. Additionally, the concept of Cosmopolitan Literature, which emphasizes a sense of global belonging and cultural interactions, closely aligns with these two. Comparative Literature serves as a framework for analyzing these relationships and strengthening the connection between Persian literature and global currents.
Extended Abstract
1. Introduction
The expansion of globalization processes and the resulting economic and cultural transformations have given rise to several concepts in the fields of literature and culture. Among these is the notion of World Literature, which has been the subject of considerable debate since its inception. It has also sparked fundamental questions, particularly in the context of globalization studies: “Are World Literature and Global Literature synonymous, or are they distinct?” “How do they relate to Cosmopolitan Literature?” “What is the relationship between these latter forms and local or regional literature?” Despite numerous studies on these concepts, significant gaps remain in understanding the relationships among them and their connections to Comparative Literature. Using an analytical-explanatory approach, this article seeks to address these gaps and provide a basis for answering three central questions:
Extended Abstract
1. Introduction
The expansion of globalization processes and the resulting economic and cultural transformations have given rise to several concepts in the fields of literature and culture. Among these is the notion of World Literature, which has been the subject of considerable debate since its inception. It has also sparked fundamental questions, particularly in the context of globalization studies: “Are World Literature and Global Literature synonymous, or are they distinct?” “How do they relate to Cosmopolitan Literature?” “What is the relationship between these latter forms and local or regional literature?” Despite numerous studies on these concepts, significant gaps remain in understanding the relationships among them and their connections to Comparative Literature. Using an analytical-explanatory approach, this article seeks to address these gaps and provide a basis for answering three central questions:
- Are World Literature and Global Literature synonymous, or do they differ?
- What is the relationship between these concepts and Cosmopolitan Literature?
- What role does Comparative Literature play in analyzing and explaining these concepts?
Clarifying these relationships may help shed light on the position of Persian literature within Global Literature and contribute to the development of comparative studies in Iran.
The study of the relationship between World Literature, Global Literature, and Cosmopolitan Literature has given rise to diverse perspectives within Comparative Literature. Goethe introduced the concept of World Literature, emphasizing cross-cultural interactions and the elevation of exemplary national works as a starting point for understanding these concepts. Building on this foundation, Marx and Engels offered a critical perspective, viewing World Literature as a product of bourgeois society, emerging from the processes of economic globalization. This view highlights the material and economic dimensions of literature’s circulation and reception on a global scale.
More modern studies suggest that Cosmopolitan Literature, by fostering a sense of global belonging and cross-cultural interactions, serves as a bridge between national and Global Literature. It connects localized literary traditions to broader global frameworks, emphasizing shared human values and cultural exchange. Despite this background, significant gaps remain in analyzing the connections among these concepts through the lens of Comparative Literature. This article seeks to address these gaps, offering insights into their interrelations and providing a framework for further understanding.
2. Literature Review
Regarding the relationship between the concept of World Literature and other related notions, particularly Global Literature and Cosmopolitan Literature, several Persian-language studies, in addition to the theoretical sources analyzed in this article, have explored these relationships. Horri (2021) examined the Eastern origins of World Literature from Goethe’s perspective, arguing that "from Goethe’s point of view, World Literature is neither a collection of national literature nor a compendium of global masterpieces; rather, it is a dynamic process of interaction among nations aimed at dismantling the walls of national prejudices that hinder peaceful coexistence” (p. 229). In another study, Horri (2023) explored the interdependence of national and Global Literature, demonstrating that "the richness of World Literature may depend on the richness of national literature, and vice versa; without national literature, there would be little presence of World Literature” (pp. 34-35). Building on these insights, this article seeks to analyze the relationship between World Literature, Global Literature, and Cosmopolitan Literature, offering a comparative and theoretical perspective to clarify their intersections and distinctions
3. Discussion and Analysis
One of the key challenges in translating the term Globalization into Persian arises from the lexical similarities between terms like "world" (as in World Literature) and "global" (as in Global Literature), and their equivalents in Persian, which do not have precise distinctions. Furthermore, translators have not consistently rendered these English terms into Persian, leading to discrepancies in interpretation and application. The discourse on World Literature and its relationship with other forms, such as Global Literature and Cosmopolitan Literature, can be divided into two broad chronological and historiographical categories: 1) Early and Foundational Perspectives and 2) Contemporary and Critical Perspectives. Two influential early views on World Literature stem from Goethe and Marx and Engels. Goethe envisioned World Literature as a means of cultural exchange, fostering dialogue and understanding among nations. Marx and Engels, however, emphasized the commodification of literature within the framework of global capitalism. For them, literature became a bourgeois product circulating within the global economy and subject to the dynamics of production, consumption, and exchange. While Goethe’s focus was more cultural, Marx and Engels placed a greater emphasis on the universal aspects of literature as a product of bourgeois society, linking it closely to the concept of globalization. This commodification of literature, as described by Marx and Engels, underscores its connection to the broader socio-economic processes of globalization.
Since the early 2000s, discussions about World Literature and its relationship with other literary forms, such as Global Literature and Cosmopolitan Literature, have adopted a more theoretical and critical orientation. Bugomil (2001) argued that Global Literature is primarily aimed at a general, global audience, while World Literature is more likely to be critically received by a specialized readership (p. 5). In other words, Global Literature enjoys widespread acceptance, while World Literature invites selective and critical engagement. Damrosch (2000) contended that the broad acceptance of World Literature does not inherently conflict with its alignment with critical readerships. While Global Literature often appeals to contemporary sensibilities, World Literature tends to engage with the past, fostering interpretative and intertextual connections across texts. Bugomil succinctly encapsulates this distinction: Global Literature is present-oriented, while World Literature is past-oriented. Ian Baucom (2001) provides a more nuanced categorization of Global Literature, distinguishing between its function as a project and as a method. As a project, Global Literature involves reconfiguring literary studies to focus on what is termed Global Literature. As a method, it involves extending global approaches to specific methods for studying what is broadly defined as literature (p. 162). This distinction highlights the dual role of Global Literature as both a framework for rethinking literary studies and a methodology for expanding the scope of literary analysis.
In summary, Global Literature is future-oriented, with an emphasis on contemporary relevance and universality, while World Literature remains past-oriented, seeking to preserve and reinterpret literary traditions across cultures. The commodification and globalization of literature have shaped these distinctions, allowing for the simultaneous coexistence of broad accessibility and critical engagement. This analytical framework sets the stage for exploring the interrelations among these concepts, their implications for understanding literature, and their role in shaping both national and global literary discourses.
The relationship between Global Literature and World Literature remains a subject of significant debate. While Bugomil (2001) argues that Global Literature cannot be equated with World Literature due to differences in scope and audience, Hillis-Miller (2011) takes a more integrative stance. He suggests that Global Literature can replace World Literature and proposes the term “New World Literature” instead of the traditional concept of World Literature. Eric Hayot (2013) examines the relationship between World Literature and globalization from two perspectives: method and subject matter. Hayot argues that World Literature cannot be easily equated with globalization, as the latter adopts a scientific-social and positivist approach, primarily concerned with economic and political transformations. This framework, he notes, is largely disconnected from the aesthetic and interpretative dimensions of literature (p. 223). Hayot highlights that literary studies are often shaped by an aesthetic perspective, emphasizing close reading techniques and poetic devices. These studies view literature as a medium for imaginative escape and playful resistance against the commodification and transactional nature of global markets (Hayot, 2013).
The connection between World Literature and cosmopolitanism emerges when World Literature—or more specifically, Global Literature—is seen as a product of globalization, which is inherently shaped by external, economic, and global forces. In a globalized world, McLuhan’s metaphor of the “global village” (1994, p. 8) suggests that its inhabitants become global citizens, fostering a sense of cosmopolitanism. From this perspective, literature functions as a means of expressing and reinforcing this sense of global belonging and cultural interconnectedness. Domínguez (2013) delves deeper into the link between World Literature and cosmopolitanism, defining cosmopolitanism as the starting point of a movement toward a “hybrid perspective.” He posits that literature is initially localized (e.g., “European literature”) but gradually transforms into “Global Literature” when it reaches a broader, universal audience (p. 337). Beecroft discusses the connection between cosmopolitanism and what he terms “literature-world” or “literary ecology.” This approach emphasizes the interplay between localized literary traditions and global literary networks, offering a framework to understand how regional and Global Literature coexist and influence one another.
These perspectives collectively illustrate the intricate relationships among World Literature, Global Literature, and cosmopolitanism. While globalization serves as a material and economic backdrop for the emergence of Global Literature, cosmopolitanism emphasizes the ideological and cultural dimensions of global literary exchange. The works of Hayot, Domínguez, and Beecroft highlight the evolving roles of literature as both a product of its local environment and a participant in global literary discourse.
4. Findings, Conclusions, and Future Studies
This study sought to define and analyze key terms, particularly the four concepts of World Literature, Global Literature, Cosmopolitan Literature, and Comparative Literature, and to examine their distinguishing characteristics. The findings demonstrate that World Literature, along with national, non-national, and local literature, is incorporated into the ongoing and dynamic process of globalization through translation. This globalization process is a tangible and practical phenomenon, emerging from the era of new technologies and heavily influenced by global economic structures. In this framework, globalization transforms the world into a small village—a global village—where its inhabitants, representing citizens from all five continents, perceive this village as their homeland, fostering a sense of belonging. This global sense of attachment is described as cosmopolitanism, reflecting the worldview of global citizens in a tightly interconnected world. In summary, many theorists regard World Literature as the outcome of cultural interactions and mutual understanding, with Comparative Literature serving as a tool for better comprehending these interactions. Simultaneously, perspectives on Global Literature are primarily influenced by economic and globalization-driven dynamics, emphasizing broader accessibility and appeal. In contrast, Cosmopolitan Literature emerges as a result of global interactions and the acceptance of multiculturalism, aligning closely with the ideals of global citizenship.
Expanding upon these findings, this study highlights their relevance to Persian literature, emphasizing its significant potential in the global literary arena. By analyzing the concepts of World Literature, Global Literature, and Cosmopolitan Literature, the study demonstrates that Persian literature—enriched by its cultural depth and historical interactions—possesses immense capacity to engage a global audience.
The study of the relationship between World Literature, Global Literature, and Cosmopolitan Literature has given rise to diverse perspectives within Comparative Literature. Goethe introduced the concept of World Literature, emphasizing cross-cultural interactions and the elevation of exemplary national works as a starting point for understanding these concepts. Building on this foundation, Marx and Engels offered a critical perspective, viewing World Literature as a product of bourgeois society, emerging from the processes of economic globalization. This view highlights the material and economic dimensions of literature’s circulation and reception on a global scale.
More modern studies suggest that Cosmopolitan Literature, by fostering a sense of global belonging and cross-cultural interactions, serves as a bridge between national and Global Literature. It connects localized literary traditions to broader global frameworks, emphasizing shared human values and cultural exchange. Despite this background, significant gaps remain in analyzing the connections among these concepts through the lens of Comparative Literature. This article seeks to address these gaps, offering insights into their interrelations and providing a framework for further understanding.
2. Literature Review
Regarding the relationship between the concept of World Literature and other related notions, particularly Global Literature and Cosmopolitan Literature, several Persian-language studies, in addition to the theoretical sources analyzed in this article, have explored these relationships. Horri (2021) examined the Eastern origins of World Literature from Goethe’s perspective, arguing that "from Goethe’s point of view, World Literature is neither a collection of national literature nor a compendium of global masterpieces; rather, it is a dynamic process of interaction among nations aimed at dismantling the walls of national prejudices that hinder peaceful coexistence” (p. 229). In another study, Horri (2023) explored the interdependence of national and Global Literature, demonstrating that "the richness of World Literature may depend on the richness of national literature, and vice versa; without national literature, there would be little presence of World Literature” (pp. 34-35). Building on these insights, this article seeks to analyze the relationship between World Literature, Global Literature, and Cosmopolitan Literature, offering a comparative and theoretical perspective to clarify their intersections and distinctions
3. Discussion and Analysis
One of the key challenges in translating the term Globalization into Persian arises from the lexical similarities between terms like "world" (as in World Literature) and "global" (as in Global Literature), and their equivalents in Persian, which do not have precise distinctions. Furthermore, translators have not consistently rendered these English terms into Persian, leading to discrepancies in interpretation and application. The discourse on World Literature and its relationship with other forms, such as Global Literature and Cosmopolitan Literature, can be divided into two broad chronological and historiographical categories: 1) Early and Foundational Perspectives and 2) Contemporary and Critical Perspectives. Two influential early views on World Literature stem from Goethe and Marx and Engels. Goethe envisioned World Literature as a means of cultural exchange, fostering dialogue and understanding among nations. Marx and Engels, however, emphasized the commodification of literature within the framework of global capitalism. For them, literature became a bourgeois product circulating within the global economy and subject to the dynamics of production, consumption, and exchange. While Goethe’s focus was more cultural, Marx and Engels placed a greater emphasis on the universal aspects of literature as a product of bourgeois society, linking it closely to the concept of globalization. This commodification of literature, as described by Marx and Engels, underscores its connection to the broader socio-economic processes of globalization.
Since the early 2000s, discussions about World Literature and its relationship with other literary forms, such as Global Literature and Cosmopolitan Literature, have adopted a more theoretical and critical orientation. Bugomil (2001) argued that Global Literature is primarily aimed at a general, global audience, while World Literature is more likely to be critically received by a specialized readership (p. 5). In other words, Global Literature enjoys widespread acceptance, while World Literature invites selective and critical engagement. Damrosch (2000) contended that the broad acceptance of World Literature does not inherently conflict with its alignment with critical readerships. While Global Literature often appeals to contemporary sensibilities, World Literature tends to engage with the past, fostering interpretative and intertextual connections across texts. Bugomil succinctly encapsulates this distinction: Global Literature is present-oriented, while World Literature is past-oriented. Ian Baucom (2001) provides a more nuanced categorization of Global Literature, distinguishing between its function as a project and as a method. As a project, Global Literature involves reconfiguring literary studies to focus on what is termed Global Literature. As a method, it involves extending global approaches to specific methods for studying what is broadly defined as literature (p. 162). This distinction highlights the dual role of Global Literature as both a framework for rethinking literary studies and a methodology for expanding the scope of literary analysis.
In summary, Global Literature is future-oriented, with an emphasis on contemporary relevance and universality, while World Literature remains past-oriented, seeking to preserve and reinterpret literary traditions across cultures. The commodification and globalization of literature have shaped these distinctions, allowing for the simultaneous coexistence of broad accessibility and critical engagement. This analytical framework sets the stage for exploring the interrelations among these concepts, their implications for understanding literature, and their role in shaping both national and global literary discourses.
The relationship between Global Literature and World Literature remains a subject of significant debate. While Bugomil (2001) argues that Global Literature cannot be equated with World Literature due to differences in scope and audience, Hillis-Miller (2011) takes a more integrative stance. He suggests that Global Literature can replace World Literature and proposes the term “New World Literature” instead of the traditional concept of World Literature. Eric Hayot (2013) examines the relationship between World Literature and globalization from two perspectives: method and subject matter. Hayot argues that World Literature cannot be easily equated with globalization, as the latter adopts a scientific-social and positivist approach, primarily concerned with economic and political transformations. This framework, he notes, is largely disconnected from the aesthetic and interpretative dimensions of literature (p. 223). Hayot highlights that literary studies are often shaped by an aesthetic perspective, emphasizing close reading techniques and poetic devices. These studies view literature as a medium for imaginative escape and playful resistance against the commodification and transactional nature of global markets (Hayot, 2013).
The connection between World Literature and cosmopolitanism emerges when World Literature—or more specifically, Global Literature—is seen as a product of globalization, which is inherently shaped by external, economic, and global forces. In a globalized world, McLuhan’s metaphor of the “global village” (1994, p. 8) suggests that its inhabitants become global citizens, fostering a sense of cosmopolitanism. From this perspective, literature functions as a means of expressing and reinforcing this sense of global belonging and cultural interconnectedness. Domínguez (2013) delves deeper into the link between World Literature and cosmopolitanism, defining cosmopolitanism as the starting point of a movement toward a “hybrid perspective.” He posits that literature is initially localized (e.g., “European literature”) but gradually transforms into “Global Literature” when it reaches a broader, universal audience (p. 337). Beecroft discusses the connection between cosmopolitanism and what he terms “literature-world” or “literary ecology.” This approach emphasizes the interplay between localized literary traditions and global literary networks, offering a framework to understand how regional and Global Literature coexist and influence one another.
These perspectives collectively illustrate the intricate relationships among World Literature, Global Literature, and cosmopolitanism. While globalization serves as a material and economic backdrop for the emergence of Global Literature, cosmopolitanism emphasizes the ideological and cultural dimensions of global literary exchange. The works of Hayot, Domínguez, and Beecroft highlight the evolving roles of literature as both a product of its local environment and a participant in global literary discourse.
4. Findings, Conclusions, and Future Studies
This study sought to define and analyze key terms, particularly the four concepts of World Literature, Global Literature, Cosmopolitan Literature, and Comparative Literature, and to examine their distinguishing characteristics. The findings demonstrate that World Literature, along with national, non-national, and local literature, is incorporated into the ongoing and dynamic process of globalization through translation. This globalization process is a tangible and practical phenomenon, emerging from the era of new technologies and heavily influenced by global economic structures. In this framework, globalization transforms the world into a small village—a global village—where its inhabitants, representing citizens from all five continents, perceive this village as their homeland, fostering a sense of belonging. This global sense of attachment is described as cosmopolitanism, reflecting the worldview of global citizens in a tightly interconnected world. In summary, many theorists regard World Literature as the outcome of cultural interactions and mutual understanding, with Comparative Literature serving as a tool for better comprehending these interactions. Simultaneously, perspectives on Global Literature are primarily influenced by economic and globalization-driven dynamics, emphasizing broader accessibility and appeal. In contrast, Cosmopolitan Literature emerges as a result of global interactions and the acceptance of multiculturalism, aligning closely with the ideals of global citizenship.
Expanding upon these findings, this study highlights their relevance to Persian literature, emphasizing its significant potential in the global literary arena. By analyzing the concepts of World Literature, Global Literature, and Cosmopolitan Literature, the study demonstrates that Persian literature—enriched by its cultural depth and historical interactions—possesses immense capacity to engage a global audience.
Saeid Radfar,
Volume 17, Issue 67 (10-2024)
Volume 17, Issue 67 (10-2024)
Abstract
This study delves into the motivations and intentions of Persian biographical writers through a comprehensive analysis. The primary objective is to examine the underlying reasons driving these authors to compile such works, considering the broader context of Iran's literary and political evolution. By comparing different historical periods, the study seeks to identify patterns in the emergence and decline of various motivations in response to prevailing socio-cultural conditions. Beyond motivations, the research also explores the implicit goals that Tadhkerah writers aimed to achieve through their compilations. Ultimately, by elucidating the motivations of Tadhkerah authors through the lens of their authorial persona, this study contributes significantly to the historiography of Persian literature. This approach not only enhances our understanding of these works but also positions this research as more comprehensive and rigorous than previous studies.
Extended Abstract
In essence, all literary works can be seen as a history of literature. They serve as mirrors, reflecting the social, political, and cultural transformations of their time. For instance, when we read a ghazel by an ancient poet, beyond the literary pleasure, we are unintentionally reading a piece of the literary history of his/her era, establishing a connection with it. Undoubtedly, many readers find themselves pondering the why and how of his/her ghazals, engaging in a form of exploration of Persian literary history. Those readers who consider it their duty to find answers to these questions are generally literary critics and historians.
Literary historians and critics, in their quest to answer these questions, often seek to uncover his/her motivations and intentions in composing his/her ghazals. To achieve this, they employ various tools and methods. However, as contemporary readers of an ancient ghazel, how do they access and understand the poet's intentions and purposes? This question has so far sparked lengthy, and sometimes endless, debates.
It should be clarified that the aim of this article is neither to defend intentionalism nor to attack anti-intentionalism. These two positions have primarily debated the intentions of authors of literary works. This article intends to explore and investigate is the intentions and motivations of Persian Tadhkerah writers in their historiographical writings about literature. In other words, I am interested in the motivations and intentions of those who have written about literary works and poets. Of course, it should not be forgotten that every author has their own intentions and motivations for writing, and therefore it is possible to research these intentions.
I intend to investigate this issue through the following questions: What were the motivations of Tadhkerah writers for compiling these biographical dictionaries, and what can be inferred about their intentions? What developments can be attributed to the flourishing of particular motivations in a specific period? How will elucidating the intentions and purposes of Tadhkerah writers facilitate the path of Persian literary history?
A noteworthy aspect of this study is my intention to explore texts and literary history by differentiating between the concepts of intention and motivation. I owe this conceptual distinction to Quentin Skinner. Motivations are prior to the act of writing, while intentions are linked to the text's interiority and can be discerned throughout the composition and completion of the Tadhkerah.
I have categorized the motivations of Tadhkerah writers into seven groups and provided examples for each. Ultimately, I have concluded that the overarching goals and intentions of Persian Tadhkerah writers was to seek power, exert dominance, and construct identity.
Extended Abstract
In essence, all literary works can be seen as a history of literature. They serve as mirrors, reflecting the social, political, and cultural transformations of their time. For instance, when we read a ghazel by an ancient poet, beyond the literary pleasure, we are unintentionally reading a piece of the literary history of his/her era, establishing a connection with it. Undoubtedly, many readers find themselves pondering the why and how of his/her ghazals, engaging in a form of exploration of Persian literary history. Those readers who consider it their duty to find answers to these questions are generally literary critics and historians.
Literary historians and critics, in their quest to answer these questions, often seek to uncover his/her motivations and intentions in composing his/her ghazals. To achieve this, they employ various tools and methods. However, as contemporary readers of an ancient ghazel, how do they access and understand the poet's intentions and purposes? This question has so far sparked lengthy, and sometimes endless, debates.
It should be clarified that the aim of this article is neither to defend intentionalism nor to attack anti-intentionalism. These two positions have primarily debated the intentions of authors of literary works. This article intends to explore and investigate is the intentions and motivations of Persian Tadhkerah writers in their historiographical writings about literature. In other words, I am interested in the motivations and intentions of those who have written about literary works and poets. Of course, it should not be forgotten that every author has their own intentions and motivations for writing, and therefore it is possible to research these intentions.
I intend to investigate this issue through the following questions: What were the motivations of Tadhkerah writers for compiling these biographical dictionaries, and what can be inferred about their intentions? What developments can be attributed to the flourishing of particular motivations in a specific period? How will elucidating the intentions and purposes of Tadhkerah writers facilitate the path of Persian literary history?
A noteworthy aspect of this study is my intention to explore texts and literary history by differentiating between the concepts of intention and motivation. I owe this conceptual distinction to Quentin Skinner. Motivations are prior to the act of writing, while intentions are linked to the text's interiority and can be discerned throughout the composition and completion of the Tadhkerah.
I have categorized the motivations of Tadhkerah writers into seven groups and provided examples for each. Ultimately, I have concluded that the overarching goals and intentions of Persian Tadhkerah writers was to seek power, exert dominance, and construct identity.
Volume 17, Issue 69 (1-2021)
Abstract
The purpose of this article is to reach a definition of humor as a kind of literature based on contemporary literary theories, especially reader-centered theories In order to recognize the humor of a literary text based on it. "Humor is a literary text whose action is to create a contrast between the reader's perceptual concepts of the text and the reader's mental patterns." Based on this, examples of satires in various texts (Quran, Shahnameh, Khayyam quatrains, poems by Shamloo and Shafi'i Kadkani) have been analyzed and shown some examples that have been introduced as humor in various books or articles are not examples of humor as a kind of literary expression.
Volume 19, Issue 78 (12-2022)
Abstract
The present study analyses the status of researchers in the field of Persian Literature with a scientometric approach based on the articles of Persian journals in the field of Persian Literature and tries to determine the importance and influence of each of the authors and research institutions in the field of Iranian academic Persian Literature, provided the possibility of evaluating the previous scientific policies of the country in this field. In this research, first, the trend of the rise and fall of the number of articles and co-authorship patterns over time has been investigated and researchers with the largest number of articles have been identified. In the following, after the formation of the co-authorship network, the relationships and importance of authors in this field have been investigated. Observations indicate that the number of articles has grown greatly since the 2000. According to the present research, despite the increase in the number of three-person articles, the collaboration of two authors in writing articles is still considered the most common pattern of co-authorship. According to the results of this study, the scientific centre of Tarbiat Modares University and Institute for Humanities and Cultural Studies and the scientific centre of the University of Isfahan are the most influential research centres in terms of publishing scientific articles in the field of Persian literature in Iran.
Volume 19, Issue 78 (12-2022)
Abstract
Teaching literature to international students can be challenging. The teaching of literature has remained traditional. Studies reveal that most of the language lecturers and teachers teach literature based on their personal experience. This study attempts to provide answer to this question “what is the most efficient model for the instruction of Persian literature to non-Iranian Persian language learners?” In this investigation, after reviewing the relevant literature, the researcher developed and piloted a questionnaire. The questionnaire was randomly distributed among 52 Persian language teachers and experts to probe their perceptions concerning the most productive model for teaching Persian literature. The data analysis showed that the participants considered the integrated approach, personal growth, cultural, and linguistic models as the first, second, third, and forth models, respectively, appropriate in the teaching of both Persian poetry and prose despite with statistically significant difference. The results further indicated that the teachers did not show significant difference concerning the application of models in teaching Persian poetry and prose. The findings of this investigation might be used to upgrade the quality of teaching Persian literature to non-Iranian Persian language learners. The results could be promising in the design and development of useful educational materials in the teaching of Persian literature.
Volume 20, Issue 80 (4-2023)
Abstract
The main question of this paper is to explain the role of the literary institution in the context of power relations and in particular the arrival of Iranian society into the era of Pahlavi rule. In the meantime, based on Ernest Cassirer's comments, the late literary works of the Qajar period until the first Pahlavi era was evaluated. Contrary to the prevailing approaches to text as abstract, neutral, inactive, and merely reflective of a subject or matter, Cassirer believes that texts as a system of signs are, above all, a set of practices that have the capacity to be the position of agency. On this basis, he believes that the mental construction of the new world is still influenced by myths that are produced and reproduced in various ways and with specific purposes. The results obtained and described by these works show that literature in this period, by creating a particular kind of myths and then expanding and diffusing the mythical insights into heroism and nationalist discourse, provided the basis for the emergence of the First Pahlavi rule.
Volume 30, Issue 4 (6-2024)
Abstract
In recent years, the publication of literary works in digital space and virtual networks - which we named as virtual literature - is increasing and expanding. This type of literature takes on a new color every day with the invention of new communication, information and multimedia technologies and therefore has special features. Due to the change in the context and method in virtual space, literary works are presented in terms of features, elements and literary genres, different from written and traditional literature. This article seeks to use the argumentative method after describing the facts in the virtual literature paradigm to provide the necessary reasons for measuring this hypothesis based on scientific theories: "Virtual literature as a new theory in the digital age." It has characteristics, elements and genres that distinguish it from written and traditional literature." The results of this research indicate that in virtual literature, virtual poetry or hyper poetry and in prose, hypertext fiction are used more than other types of literature and have a prominent place in multimedia literary productions.