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Chivalry and agility that is also translated as "generosity" have been very important phenomenon in the social history of Iran and surrounding countries and is a spiritual way of life that seems to have its roots in pre-Islamic Iran. They are divided into different categories that are called as ‘caliber’ and ‘brat’ in Persian and Arabic literature, respectively. Caliber was a group that had made ethics and campaign-specific career choice and self-indulgence and brat also defined as impoverished with no money, on the other hand people who had no interest in wealth and joined that house because of poverty and social imbalance. This study relying on comparative literature of American schools that merely doesn’t see the criteria existence of affect and affected attempt to make a comparative study of these two emerging fields within the common social and ethical implications. It seems that the main reason behind the formation of each of two groups was lack of community-based justice and social harmony. The most common social and moral characteristics of the two groups are: clemency; patience in the face of adversity, courage, generosity, support for the poor; combat skills including shooting, fighting, theft and robbery. This article also refers to common moral and social characteristics and examines the reasons behind the rise of the two groups.    

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As the Masnavi is a preaching-mystical work by Molavi, he made his efforts to express his advices and recommendations in forms of stories, tales and fictions and also his ethical and mystical thoughts are expressed there. Hence, all these are of various and miscellaneous types. The best sample of entering Masnavi Tales into the third book is shown in the story titled “the people of Saba and looting their godsends”. This story commences with the couplet 282 but, left later on and then referred to in the couplet 364. The story is left again here and then referred to in the couplet 3600, following some long couplets to be finished.
Mentioning the various points in tales has resulted in different usages of the characters in Masnavi. This is because of the foundations of any story are made by its characters who are themselves the factors or causes of the events.
Personification by Molavi in Masnavi for the characters is of three following methods:
A) Direct method in which he explicitly expresses his ideas upon the persons.
B) Indirect method in which he not only expresses the characters’ behaviors and briefs the readers on the role played by the characters but also the readers understand their real essence.
C) Mixed method which is an integration of the two previous ones.
The tools for personification by Molana, the characters’ features in Masnavi and classification of the persons’ names in the Masnavi stories are scattered through the study.
 

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The most current meaning of Irony in Persian literature is to reproach, fault-finding, guy and criticize.
Irony is one of the expressions which has been common in the life of the ancient Iranian people with lampoon, syllable, and satire, humour and … and upon which some parts of the literature works have been concentrated.
The nature of irony in Persian literature lies in most cases on the contradiction between term and meaning in discourse. Hence, it can be classified almost as figurative sense. In most cases the irony written works have been associated with lampoon, humour, witticism and epigram.
So it can be mentioned that irony is a kind of profound thought and providence and refers to a type of revolution and internal transmutation change. The word “epigram” has also been associated with a type of irony and wit in the history of our literature. The only difference is that jest, enjoyment and entertainment are regarded as the dominant essence of epigram but, while the speaking trend is apparently jests and quizzical and non-serious in irony, finally it is resulted in conception, discipline and policy. So, irony can be termed as the preaching literature in Persian literature.
 

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Since his creation, the human has been concerned with the protection of his life and properties by any means possible such as exploring the surrounding environment, fighting against the threats facing him, and using a variety of tools and instruments. Among these tools was scorching. Scorching has been ever used for two main purposes by the human: marking and treatment. However, one cannot claim with certainty which application was the dominant one. In this study, the author has first dealt with the marking aspect and then with the treatment function. In its former function, scorching was practiced on the body organs of the slaves, enemies, and animals in order to distinguish and take ownership of them, and with criminals as a sign of guilt. In the latter function, it was used, according to some reports, as the last treatment possible for curing different diseases in both humans and animals. The most important therapeutic application of scorching was on wounds to stop bleeding and prevent infection. In the present research, both functions have been examined and classified with reference to the Persian literature, history, and folk culture.

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Parody is one of the literary sub-genres which mocks its main genre. On the basis of value and significance of the main genre and also the structure and nature of parody, it can be considered as an independent genre. Since meaning in literature is one of the main elements and it has a central role in both language and imagination, it is of considerable importance in literary works. Therefore, one of the most important kinds of parody which is called tazriq in Persian literature has been formed in this field. In fact, one of the goals of parody is to entertain the audience and make them laugh, and tazriq satisfies this goal very well. Though there are a few differences, this kind of parody can be found in western literature where it is called nonsense verse. This article tries to compare the main aspects of these two kinds of parody.

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Abstract
Trial by ordeal, was kind of a divine sacred oath that in the ancient Iran used during a difficult and obscure trials for the proceedings. This kind of oath was done by fire or water. So that, in the presence of priests, if proven not guilty, the charged person with special traditions was forced to go into fire or water, or that one of his limbs with thorny fiery object was touched to prove his innocence. During the inauguration, If fire or water did not harm the defendant. His innocence was proved. The way to do this ordeal and the related terminologies indicates very common that is widely used in Balochistan. In the Balochi story "shahdad and Mahnaz ", Mahnaz is one of the two main hero of the story, she was charged with an illegitimate relationship, as Siavash in Shahnameh gives the oath of fire. After the ceremony and the oath Procedures, she proudly comes out of the fire. This unknown Iranian story is scalable with the story of Siavash in Shahnameh. In this article in addition to a comparison of the two stories are that made, vocabularies and common phrases in the trial by ordeal in the Balochi language are mentioned with correct meaning

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Qolam Reza Rahmdel. PH.D
Soheila Farhangi
 
Abstract
During the last decades, interdisciplinary researches has been of serious notice in several world research centers and universities; as an approach in which the researchers create interaction among different fields of study and interlink them together in order to find a proper and suitable pattern for solving a variety of issues.
This paper intends to familiarize the interdisciplinary research approach, in addition to introducing some of these researches which are related to literary researches. This essay offers an accurate and precise definition on interdisciplinary researches and its various kinds in literary studies, while the grounds and reasons for a keen interest in these researches and the basic principles of interdisciplinary researches are surveyed. Then samples of works which have analyzed the Persian literary texts through this approach are introduced and surveyed. Studies reveal that during the last decade, Persian literary texts are analyzed through the interdisciplinary approach to a very high extent and as a matter of fact, this considerable increase and development has led to both the rereading and serious consideration of Persian literary works through a fresh attitude.
 
 

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Abstract: In comparative analysis, some influences and impressions are revealed that their comparison can be of great help to researchers in optimum perception of this author's literature. In this work, we use comparative analysis to show how Djalal Al-e-Ahmad’s style of writing is fundamentally similar to and affected by that of Louis Ferdinand Celine’s, in its neuroticism, brevity and the high frequency of sentence fractions which creates an almost identical colloquial tone in both authors. “Emotion” and “brevity” are the two keywords of these twin styles. The social analysis of literature studies common social factors affecting authors who lived in time frames where similar historical and cultural events took place. This method also mentions the effects of such factors on different aspects of the authors’ style. So we study the effect of similar social and environmental factors on the style of the two authors: Louis Ferdinand Celine and Djalal Al-e Ahmad, using sociological analysis. Keywords: Jalal Al-e-Ahmad, Louis Ferdinand Céline, Persian literature, French literature, sociological analysis

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Ali Safaee, Ph.D.
Ali Ahmadi
Abstract
This paper intends to elaborate the basic thought frameworks of dark poetry in the west and declare its links with schools such as the Baroque, gothic novel, grotesque, absurd e.g. .Then the sub-structural elements of dark poetry in contemporary Persian poetry- which in majority of cases include some philosophical ideas and also interweaves the social and political historical situation- are surveyed in brief. Following this, the variety of this type of poetry as manifested in both Forogh Farokzad and Nosrat Rahmani's poetry are shown by making a comparison. Through the descriptive-comparative analysis method I realized that these poets are similar due to bearing concepts such as 1)grief,  2) failure 3)disappointment 4)darkness 5)loneliness 6) doctrinal abnormal words 7)mention of physical pleasure.
There are however some differences between them, as followed: 1) difference in motive for bitterness 2) different understanding on love 3) different methods for expression of humor 4)difference in creating images  and finally 5)difference in fight against the norms.
 

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Farzad Ghaemi, Ph.D.
 
Abstract
"Mythological criticism" bears an anthropological base which interprets and paraphrases a literary work or some of its themes through to the in-depth structure of its archetype. In this study the story of Keikhosrow in Shahnameh is surveyed within the qualitative research method based on mythological criticism (with tendency and emphasize on archetype). The researcher has tried to interpret the alteration sequence of his myth regarding this approach.
According to this approach, Keikhosrow, king and the glorious Kiani priest, is a lofty and ideal symptom of the "hero" archetype. The building blocks of  his myths are: the symbolic being of water as an element and the myth of baptism, the power of granting blessing and remand of rain and greenery to nature, being in possession of the prediction cup, passing through the honorary trials to God's salvation, battle with Afrasiab, which is a repetition of the eternal sample of the battle between good and evil and its symbolic disappearance implying his eternal return and is one of the symbols of the archetype of "death and rebirth". The in-depth structure related to the archetype of this story seems to be; Keikhsrow is the "perfect human" of the Iranian epic at the end of " a great cosmic day"- which started from the "first human" ( Kiomarss); turning the mythological history of Iran to a repetitive  and systematic truth about the cosmological circle of creation.
 
 

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Alireza Nabilou, Ph.D.
   
Abstract
Mowlavi is a theoretician poet in Persian literature whose works- especially Koliat-e-Shams and Massnavi- are enriched with critical views. In this paper Mowlavi's linguistic and literary views are discussed. This research was carried out by relying on contemporary literary criticism theories, particularly Roman Jakobson's Theory of Communication. The analysis of the major elements of communication, meaning the language's features and characteristics, message (poetry), sender (poet) and receiver (addressee) in Mowlavi's poetry construct the basis axis of this paper while each of these elements is divided into smaller components. In order to identify the position of Mowlavi's theories in the contemporary era, his standpoints have been compared with some other schools and literary criticism theories in brief. Among them the most prominent ones include; new criticism, formalisms, structuralisms, and supporters of reader-response theories. The capable reader versus the novice reader, active and inactive, concrete union, cohesion of poetry's form and content, relation between mind and language, link between signified and signifier, language codes etc are among the common discussions of the mentioned schools with Mowlavi's ideas.
 

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 Haadi Yavari, Ph.D.
 
Abstract
The transition eras are quite significant in the precise depiction of the process of literature history and defining causes and reasons for change in literary genres and also the literary taste. In the Iranian history of literary fiction, transition from the long traditional story (romance) to novel is among the most prominent transitional periods. This paper reviews the early works similar to novel created in the Persian literature, then surveys reasons leading to the creation of the works written during the transition era, showing how the series of factors related to the court of Naser-edin Shah Qajar, although made this change slow, was ultimately influential in forming the direction of this change in the path of literary fiction towards the novel era. As a matter of fact it can be said that the Naseri court was the transitional path from the traditional story towards the novel era.
 

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Genology or genre theory is one of the oldest, most controversial and most problematic branches of literary theory. Approximately two thousand four hundred years in the life of this theory, many controversies surrounding the concept of genre has been and in these controversies, different problems and issues have been raised. Among the many topics of the theory, this article will talk about the issues that need attention in generic studies of Persian literature; such as the definition of the genre, genre and literary works, types of genres (the main forms), generic conventions and expectations, measure of regard to conventions, genre and intertextuality, genre and time, genre and cultures, genre and literary history, the vicious circle in the selection of genres, and definition and naming of genres. The article also criticizes the traditional approach to genre theory in Persian literature and notes the necessity of retrospective component approach to literary genres.

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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.
 
 

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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.
 
 

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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.
 
 

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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.
 
 

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George Gordon Lord Byron,a British poet of 19^th 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.

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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.