---

Literary Genre

---

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.

---

 

 
Seyed Mehdi Zarqani, Ph.D.
 
Abstract
The categorization of literary genres is quite necessary and essential for a high variety of literary discussions and debates. For instance writing the history of literature in terms of the modern approaches and attitudes is not possible without defining the major genres first. This issue is also true in other domains of literature such as literary criticism and content analysis. The subject matter of this article is formed precisely within this point of concern; designing a model for the categorization of Persian literary genres in the classic era. All the literary works are generally divided into two scopes; poetry and prose. The domain of “Persian Poetry” can be categorized within three main genres; epical, lyrical and instructional-inspirational. Our definitions of these three mentioned literary genres do not necessarily correspond with the definitions of the Greek scholar The three genres of interest are redefined in the present article, while examples of their subdivisions in the Persian literature are defined. The Persian “branch of prose writings” includes literary works, non-literary works and pseudo-literary works. As a literary researcher, I am obviously concerned with the literary and pseudo-literary writings. Once each category is defined in this article, the literary writings are observed within two genres; “narrative-based” and “non-narrative” literary writings. The definition of each type, with examples; in addition to suggesting their subdivisions in the Classic era, all have made another part of this article. Since the contemporary prose and poetry possesses a particular poetical base, categorization of the variety of literary genres demands another opportunity, and our suggested design can merely be applied in the classic literary genres.
 
 

---

 
Yeki Bud Yeki Nabud, a story collection written by Mohammad Ali Jamalzadeh (1892-1997), marks the beginning of modern short story in Iran. Along with the stories in this collection, also known as the very first attempts to write Persian short story, the foreword to this book is of prime importance in Persian literary studies and literary theory. One of the basic and yet significant concepts of this foreword is “literary democracy.” The analysis of the micro-concepts and metaphors developed in this foreword helps us analyze this particular macro-concept and hence better understand the foundation for the notion of “literary democracy.” It is also important to note to what extend this macro-concept have played a role in modern Persian literature.

---

Such a Reflection of The Moon in The Water; A Critique of The "Plan for Classifying Literary genres in The Classical Period"Such a Reflection of The Moon in The Water; A Critique of The "Plan for Classifying Literary genres in The Classical Period"Such a Reflection of The Moon in The Water; A Critique of The "Plan for Classifying Literary genres in The Classical Period"

---

On the occasion of kings and commanders' victory over their opponents and congratulating the victory and success, the poets composed "victory verses". These poems which were in the form of ode can be found in divans and sometimes prose texts from the early times to the present. Although the phrase "verse of victory" has been used in various texts and some poets have mentioned it and there are several clues for distinguishing it from other types of poem, no study has been published about it and there is no trace of this kind of poems and its features and examples in dictionaries, lexicons and encyclopedias. In this paper, numerous examples of these poems, composed by the most famous Persian poets, have been collected and organized chronologically in order to answer the following questions: What are the characteristics of this kind of poem? In which form and structure has it been manifested? What is the content of it? What are its relationships with other kinds of poem like book of victory, encomium and book of war? And finally how different poets did affect and were affected by each other in these poems?

---

  The results of this study show that, fictional scenario has simple language. Unlike shot by shot scenarios which are based on camera movement, these types of scenarios demonstrate narrative elements. This literary genre has tenfold difference with novel, documentaries and animations. This genre benefits from four distinct systems: 1. the system of action (character’s action / action of plot –space / time and action of displacement / the link between two spaces) 2. The system of non-verbal behaviors of characters.3. Phonetic system 4. The system of music. To investigate and analyze these systems, among three compiled children scenarios of 1360^s, fictional scenario entitled “small wishes “has been selected.

---

The study of the evolution of literary schools and comparing the principles and characteristics of different schools is one of the important fields of research in the  comparative literature.Meanwhile, the contrast between classicalism and romanticism in the theory of literary genre and their different approaches to this category, is very significant. The authors believe that there are both intellectual and social principles in these two schools that theory of the literary genre of the schools, in spite of the plurality or apparent differences, is based on these principles and a large part of the contrast between these two schools is also the result of the opposition of these principles.This research is based on an analytical-descriptive approach and want to explain the principles and foundations in the context of intellectual and social conditions, its impact on the theory of literary types and, ultimately, the comparison of these schools. The results of this research show that the theory of essentialism and different perceptions of the theory of mimesis including belief of fixed and unchanging laws of literary genre, the purity of literary genre, as well as the belief in the existence of hierarchy among literary genre and the superiority of types of narratives such as tragedy and epic ,is the basis for the formation of the general principles of the theory of classical literary types of classicalism. In contrast , the components such as historicism, attention to the genius of the poet in the creation of literary work and the tendency toward individuality has led to the formation of a new theory of genres in the romanticism which it is based on the rejection of rules  governing literary genre, the combination of existing literary genre, and the consideration of other literary forms, especially the lyric literature , novel, and the creation of new genre.

---

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

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

---

The main question of this article is accurate definition of Hekayat, based on the specific function of the elements as dominant. Because how to use story elements, result in different story genres. specific function of the story elements, being didactical and coherente. distinguishes Hekayat genre from the other story genres. This article redefinition of Hekayat by using a comparative analysis method and examining the differences between these two literary genre. According to the reviews of this article Hekayat genre distinguishes from the other story genres by this elementes: Specific function of the story elements, Special features of the truthtfulness, being didactical and less coherente. Finally, thess discussions, are an introduction to discussions as contexts of the  appearance of traditional story genres in Iranian culture. More over can explain reasons for decline in contemporary era.

---

Similar to classic literature, there are several different literary genres in folk literature. Some of these genres belong only to folk literature, this is while others belong to both folk and classical literatures. It is an essential task to identify each one of these genres. Salavāt-khāni is one of the folk poetries which intend to recall the sanctity of the saints on different occasions by inviting the audience to salute the saints at certain moments. Poems of this type are usually classified according to the occasions they are being used. For instance, they are known as worksong, chavoshi, or sahari-khani, this is while each one of these examples belongs to a different genre. Consequently, the goal of this paper is to investigate the characteristics of Salavāt-khāni. To this end, generic studies are used to study the internal and external features, such as structure, content, mode, function, and the specific interaction between the orator and the audience. There are only a few cases of Salavāt-khāni which are recorded in manuscripts. However, these limited cases are enough to prove Salavāt-khāni as an autonomous literary genre according to its unique structure.

---

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.