مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-10302272202511Aristotelian Tragedy Components in Ferdowsi's Shahnamehمؤلفه‌های تراژدی ارسطویی در شاهنامه فردوسی124fa شيرين قادريدانشجوي دكتری زبان و ادبیات فارسی دانشگاه رازی، کرمانشاه، ایرانمیرجلال الدینکزازیاستاد گروه زبان و ادبیات فارسی، دانشگاه علاوه طباطبایی، تهران، ایرانخلیلبیگ‌زادهدانشیار گروه زبان و ادبیات فارسی دانشگاه رازی، کرمانشاه، ایران0000-0003-0637-47002024221Tragedy, a type of dramatic literature, is a significant part of Aristotle's thoughts on the philosophy of art, as presented in his Poetics. As the first person to elaborate on the components of tragedy, Aristotle identifies multiple elements that enhance the understanding of tragedy and elevate it above epic literature by creating a balanced emotional effect on the audience. Ferdowsi's Shahnameh includes stories that exhibit Aristotelian tragedy traits, reflecting ancient Greek tragedies and suggesting an influence of Persian literature from Greek literature. This research aims to analyze the Aristotelian tragedy components in Shahnameh, demonstrating the alignment or influence of Persian literature with ancient Greek literature through a descriptive-analytical approach.   Keywords: Ferdowsi's Shahnameh, Tragedy, Aristotelian Poetics, Hamartia, Catharsis.   Introduction and Research Objectives Tragedy, a type of dramatic literature, is a significant part of Aristotle's thoughts on the philosophy of art, as presented in his Poetics. As the first person to elaborate on the components of tragedy, Aristotle identifies multiple elements that enhance the understanding of tragedy and elevate it above epic literature by creating a balanced emotional effect on the audience. Ferdowsi's Shahnameh includes stories that exhibit Aristotelian tragedy traits, reflecting ancient Greek tragedies and suggesting an influence of Persian literature from Greek literature. This research aims to analyze the Aristotelian tragedy components in Shahnameh, demonstrating the alignment or influence of Persian literature with ancient Greek literature through a descriptive-analytical approach. Many elements found in Shahnameh align with Aristotle's views in Poetics, affirming this alignment despite some differences stemming from literary genre and cultural, climatic, and religious variations. Analyzing tragic elements in Shahnameh is significant and numerous studies have examined these elements: -Beigzadeh et al. in the article "Analysis of Tragedies in Ferdowsi's Shahnameh Based on Aristotelian Plot" show the alignment of Shahnameh's plot with Aristotle's. - In the article "Tragic Elements in the Stories of Siavash and Froud Shahnameh", Nehzat Akhlaq Azad et al. argue that these two stories are not perfect examples of Greek tragedy. -In the article "Analysis of the structure of the stories of Sohrab, Siavash, and Froud based on the theory of Strauss", Peykani et al. considered the cause of tragedy in these three stories to be confrontations. -Mehraki et al. in the article "Destiny-oriented structure of the tragic stories of the Shahnameh," found that the heroes of the Shahnameh stories are subject to fate. -Seyed Sadeghi et al. in the article "Reflection of Aristotle's view in the Shahnameh" believe that the coherent and precise structure of the tragedies of the Shahnameh is close to the definition intended by Aristotle. The present study examines Aristotelian tragedy components in four stories from Shahnameh (Rostam and Sohrab, Siavash, Forud, and Esfandiar), which possess tragic features according to the authors. The elements that will be examined in these stories are some main and some secondary, which play a significant role in their quality and tragic development. No such research has been done so far.   Research Methodology The study analyzes a collection of major and minor elements that shape tragedy according to Aristotle's views in Poetics (character, plot, hamartia, tragic flaw, fate, and catharsis) in the stories (Rostam and Sohrab, Siavash, Farud, and Esfandiar). According to Aristotle, a tragic hero possesses qualities such as nobility, free will, emotional ties to others, and a flaw (hamartia) that leads to downfall. The plot (Legend of the theme) consists of three elements: recognition, reversal, and tragic events, which is evident in Shahnameh. Recognition, as defined by Aristotle, is the transition from ignorance to knowledge, with significant reliance on signs. In the stories of the Shahnameh, various types of recognition can be seen; For example: in the story of Rostam and Sohrab, the external signs of recognition are bead and banner, in the story of Siavash, the external signs of recognition are "perfume and smell, fire and banner", in the story of Froud, "banner and mole" and Ferdowsi with innovation in this field has benefited from Iranian ethnic, mythological, national and cultural beliefs and mixed them with the Greek samples; For example, he used the fire test (var) which is a God test to prove innocence in the belief of Iranian mythology and the "mole" which was the symbol of the royal family of Qobad as outward signs of recognition. The types of transformation that "change the situation to its opposite" (Aristotle, 1990: 66) and occur when "it turns out that someone's actions and behavior have consequences that are exactly the opposite of what he was looking for or expected it" (ibid: 67). According to Aristotle, its best form is the "simultaneity of transformation and recognition". Tragic events leading to the hero's suffering or death are present in Shahnameh, demonstrating its plot's alignment with Aristotle's. A tragic flaw is a mistake the hero makes unknowingly, leading to misfortune, evident in both the heroes and their companions in Shahnameh. Fate is crucial in shaping tragedy, playing a pivotal role in the hero's downfall. Ferdowsi integrates this concept in various forms and at appropriate times, sometimes in the middle of tragedy and response to it, and sometimes with the help of astrologers' predictions, etc.  According to Aristotle, tragedy must evoke pity and fear to achieve catharsis, purifying the emotions to cultivate (catharsis) (Aristotle, 1990: 67), and considers catharsis to be the most important effect of tragedy on the audience. Influence through catharsis is such that the audience feels fear and compassion through identification with the hero, and at the end of the tragedy because he/she is not caught by such a punishment, he/she reaches inner peace, which is the catharsis intended by Aristotle. (Pishgo, 2018: 15). Ferdowsi has handled this task well in the stories in question and has added to the charm and impact of the stories in various ways such as describing impressive scenes, advice and warnings, and effective dialogues.   Findings The findings indicate: <ol> <li>The heroes are noble, superior, and determined, with kinship and friendship ties, and a flaw (hamartia) causing their downfall.</li> <li>The stories feature a solid plot incorporating Aristotelian elements: recognition, reversal, and catastrophe. Among the types of recognition, recognition with the help of external signs has a higher frequency, simultaneous transformation with recognition, which is the highest level of transformation and happens against the hero's goal and the reader's expectation, is especially prominent in Rostam and Sohrab, and the end of the story leads to disaster and the death of the hero.</li> <li>Catharsis (Refinement of the soul), the ultimate goal of tragedy, is present, differing in method through impactful descriptions, effective dialogues, and advice. Dialogue is frequent in Esfandiar's story, advice in Sohrab and Farud, and descriptions in Siavash.</li> <li>The role of fate is expressed with various methods such as prophecy at the beginning of the story, with the help of astrologers and dreams.</li> </ol> The results show that the stories (Rostam and Sohrab, Siavash, Farud, and Esfandiar) exhibit Aristotelian tragedy features, despite some differences due to genre (narrative vs. dramatic) and cultural differences. Ferdowsi appears to follow Greek tragedy and Aristotle's views, skillfully combining them with Persian cultural elements, enhancing the stories' appeal.   Conclusion The results obtained from the present research show that Iran and ancient Greece, as two great civilizations, had many commonalities and connections from the past until now, and were influenced by each other in various literary, cultural, and other fields. Studying the great civilizations and finding their commonalities and differences in different fields can lead to the knowledge of the nations as much as possible from each other, as well as comparing the great works of Persian literature with the outstanding works of the world and matching them with opinions. Great scientists like Aristotle can be very helpful in introducing the literature and culture of our country to the world. Such research shows the ability of the greats of Persian literature and the rich culture of Iranian civilization. It will open the hidden corners of the high research capacities of these works to everyone. In the current research, we found that Ferdowsi, with innovation and initiative, combined the mythological, national, and Iranian cultural beliefs with the Greek example of tragedy and took advantage of it.   References Aristotle (2007) Poetic, translated by Helen Olyaeinia, Isfahan: Farda. Ferdowsi, Abulqasem (1990) Shahnameh, by the efforts of Jalal Khaleghi Mutlaq, under the supervision of Ehsan Yarshater, Vol. 2, 3 and 6, California: Iran Heritage Foundation. Hamidian, Saeed (2004) An introduction to Ferdowsi's thought and art, Tehran: Nahid. Kazzazi, Mir Jalaluddin (2013) Nameh-e Bastan, Volumes 1 to 10, Tehran: Samt. Leach, Clifford (2011) Tragedy, translated by Dr. Masoud Jafari, Tehran: Markaz publication. Mehraki, Iraj, et al. (2011) "The fate-oriented structure of the tragic stories of the Shahnameh", Persian Language and Literature Research Quarterly, Volume 9, Number 20, pp. 68-36. Nehzat Akhlaq Azad, Mahsa Sadat, et al. (2019) "Tragic elements in the stories of Siavash and Froud Shahnameh" Comparative Literature Research Quarterly, Volume 7, Number 4, pp. 30-52. Rahimi, Mustafa (1990) Tragedy of Power in Shahnameh, Tehran: Nilofer.تراژدی به عنوان شاخه&zwnj;ای از ژانر ادب نمایشی، یکی از مهم&zwnj;ترین اجزای اندیشۀ ارسطو در فلسفۀ هنر و در کتاب «فن شعر» اوست. از نظر ارسطو تراژدی دارای مؤلفه&zwnj;های متعددی است که به فهم هرچه بهتر پدیدۀ ادبی- هنری کمک می&zwnj;کند و دارای ویژگی&zwnj;هایی است که با ایجاد تعادل و توازن روحی در بیننده، آن را در جایگاهی برتر از حماسه قرار می&zwnj;دهد. شاهنامه فردوسی دارای داستان&zwnj;هایی است که ویژگی&zwnj;های تراژدی ارسطویی را در آن می&zwnj;توان دید و می&zwnj;توان گفت همسویی&zwnj;هایی با تراژدی&zwnj;های یونان باستان دارد که به ریشه و خاستگاه اسطوره&zwnj;ای مشترک برآمده از فرهنگ باستانی مشترک ملت&zwnj;ها بازمی&zwnj;گردد. این پژوهش با هدف تبیین مؤلفه&zwnj;های تراژدی ارسطویی در شاهنامه و با روش توصیفی- تحلیلی انجام شده و نشان داده است که بسیاری از این اجزا در شاهنامه وجود دارد. این نتیجه همسو با نظرهای ارسطو در بوطیقاست و نوعی اشتراک با ادب یونانی را تأیید می&zwnj;نماید؛ هرچند برخی تفاوت&zwnj;های جزئی دیده می&zwnj;شود که ریشه در اختلافات اساسی همچون تفاوت در نوع ادبی و تفاوت&zwnj;های اقلیمی، مذهبی و... دارد.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-10302272202511Comparative Study of the Kinship Between the Narratives of "Eskandar" and "Kush Pil-Dandan"مطالعۀ تطبیقی خویشاوندی روایات «اسکندر مقدونی» و «کوش پیل‌دندان»2556faمژدهحاج احمدی پور رفسنجانیدانشجوی دکتری گروه زبان و ادبیات فارسی، دانشکده ادبیات، دانشگاه فردوسی، مشهد، ایران فرزادقایمیاستادیار گروه زبان و ادبیات فارسی، دانشکده ادبیات، دانشگاه فردوسی، مشهد، ایران مجید هوشنگیاستادیار گروه زبان و ادبیات فارسی، دانشکده ادبیات، دانشگاه الزهرا، تهران، ایران 00000002994286852024524Comparative literature is a contemporary science or research field that focuses on the comparison, examination, and analysis of literary works and, in its broader sense, the artistic works of different nations and cultures. It explores the similarities and differences among these works, as well as the literary and cultural influences and exchanges between nations. This discipline aims to see and recognize the "self" in the mirror of the "other." This issue has prompted literary critics to study literary works in relation to each other in order to achieve an evolutionary and comparative understanding of the signs within the texts. On the other hand, the "Koush-nama" narrates the tale of "Koush Pil-dandan," a dark and demonic hero in Iranian epics. A comparative analysis of this tale reveals the frequency of similarities between the narrative of Koush and that of Alexander the Great in non-Iranian mythological-historical accounts. This encourages critics to explore the layers and indicators of kinship between these two narratives and their main foundational themes. Therefore, this research has sought to discover the system of signification between the two texts using a descriptive-analytical method and comparative study. The findings of this research indicate that these two stories, due to their alignment and overlap in areas such as characterization, action, emotional states, and intertwining narratives, are undoubtedly part of a system of mutual influence. This influence from the narrative of Alexander to Koush is particularly significant, suggesting that in various aspects, the character of Koush can be seen as a transformed reflection of the non-Iranian figure of Alexander. Furthermore, this narrative can be interpreted as a selective metamorphosis derived from a collection of data found in popular literature and the written accounts of Alexander   Keywords: Comparative literature, Adaptation, Kush, Eskandar, and Kush-Nama.   In the contemporary era, comparative analysis or critique of literary works serves as one of the most important and influential methods of literary criticism. This approach seeks to examine the common and differing relationships among the literary works of different nations. Scholars within the field of literature regard comparative analysis as a crucial tool for comparing and analyzing works to achieve a deeper understanding of world literature. Comparative literature is not limited to examining the stylistic and thematic aspects of literary works; it also addresses the cultural, social, historical, and political influences that shape these works. This interdisciplinary approach demonstrates the interconnectedness of various cultures and suggests that no nation’s identity is entirely pure. Instead, every culture is a hybrid of various cultural influences. By analyzing works from different nations, scholars can discern the extent of this blending and gain insight into the shared aspects of human experience as depicted in literature. In general, to understand the literature of a nation more effectively, it is essential to study its works within the framework of comparative literature. Comparative literary studies transcend national, linguistic, and ethnic boundaries, fostering a cultural dialogue between nations. By doing so, this method not only improves our understanding of literature but also contributes to the fields of sociology, politics, and philosophy. Through this broader, more global approach, comparative literature allows for the examination of how literature reflects and influences the society and culture from which it originates. Comparative literature has two primary schools of thought, commonly known as the French and American approaches. These schools, which emerged from different intellectual traditions, provide distinct methods for analyzing literary works across cultures. The French method, which is the focus of this study, emphasizes historical relationships and the mutual influence of literary works on each other. The French school, which became prominent in the nineteenth century, takes a historical approach, looking at the shared literary influences between nations and examining how these influences shape the literary works of different cultures. The goal of the French comparative method is to identify connections, parallels, and mutual influences between literary traditions. This method prioritizes historical relationships, emphasizing the reciprocal exchange of cultural and literary influences between nations. Unlike other methods, the French comparative approach is less concerned with the aesthetics of literary works and more focused on identifying the historical, social, and cultural interactions that shape the evolution of literature. Researchers within this tradition primarily look for historical evidence and sources that highlight literary connections between different cultures and show how these exchanges influence the development of national literature. As such, comparative literature under the French school is seen as a means to explore the connections between the literary traditions of different nations, understanding that no single literary tradition exists in isolation from others.   Research Methodology This study is conducted using an analytical-descriptive approach, grounded in the French comparative school of literary criticism. The study examines a variety of historical, religious, and literary sources, including both primary and secondary texts, to explore the similarities and reciprocal influences between the narratives of Kūsh-Pīl-Dandan from Persian epic literature and Eskandar the Great, particularly as depicted in Persian literature. These sources include epic poems, religious texts, historical accounts, and other forms of literature that provide insight into the cultural and historical significance of these figures. By comparing the stories and myths surrounding Kūsh-Pīl-Dandan and Eskandar the Great, this study aims to identify cultural and historical connections between the two figures. It is important to note that while Kūsh-Pīl-Dandan is primarily known through the "Kūsh-Nāmeh," a Persian epic poem written by Irānshāh bin Abi al-Khayr in the sixth century AH, Eskandar the Great’s legend entered Persian literature from a variety of Greek and Roman sources. Through careful comparative analysis, this study seeks to understand how the legends of these two figures may have influenced one another, especially considering the dominance of Eskandar’s legend in Persian literature during the time the Kūsh-Nāmeh was composed.   Introduction The present study explores the interrelations between the legendary figures of Kūsh-Pīl-Dandan and Eskandar the Great, focusing on how their respective stories overlap and may have influenced one another. Kūsh-Pīl-Dandan is a character from Persian epic literature, known primarily as an anti-hero and the nephew (or grandson, depending on the source) of Zahhak, a tyrant king from Persian mythology. His story is primarily recounted in the "Kūsh-Nāmeh," a long narrative poem by the Persian poet Irānshāh bin Abi al-Khayr. This epic tells the life story of Kūsh-Pīl-Dandan from birth to death, portraying him as a dark and loathsome figure who embodies evil yet undergoes a transformation throughout the narrative. In contrast, Eskandar the Great is one of history’s most famous conquerors, whose story has been widely told in Persian literature, influenced by Greek and Roman sources. Eskandar’s character is often portrayed with heroic and divine qualities, but his actions and motivations are also depicted with complexity, as his story contains elements of both greatness and cruelty. The comparative analysis of these two figures is particularly interesting because both characters share notable similarities in their life narratives, from their birth stories to their behaviors and deeds. The primary aim of this study is to explore the extent to which the narratives of Kūsh-Pīl-Dandan and Eskandar the Great overlap. The study examines several aspects of their lives, such as their origins, early childhood experiences, physical attributes, heroic acts, and moral dilemmas. One of the central questions of this research is to determine whether the narrative of Kūsh-Pīl-Dandan was influenced by the widespread legend of Eskandar during the same period, particularly given the popularity of Eskandar’s story in Persian literary circles.   Discussion The comparative study reveals numerous shared characteristics between Kūsh-Pīl-Dandan and Eskandar the Great, suggesting that the two legends may have mutually influenced one another. Both figures are born under unusual and mysterious circumstances, with their mothers being accused of extramarital relationships, and both characters are raised by foster families rather than by their biological parents. This parallel in their early lives sets the stage for the similar themes that run throughout their stories. Another key similarity is the divine or semi-divine attributes ascribed to both characters. Both Kūsh-Pīl-Dandan and Eskandar are portrayed as possessing extraordinary qualities that elevate them above ordinary human beings. In Persian literature, Kūsh-Pīl-Dandan is associated with the concept of "Farrah," a divine force or glory that is bestowed upon exceptional individuals. Similarly, Eskandar is often depicted as a figure chosen by the gods, possessing extraordinary strength, wisdom, and leadership abilities. The physical descriptions of both figures are strikingly similar, with both characters being depicted with notable physical traits that distinguish them from others. For example, both Kūsh-Pīl-Dandan and Eskandar are described as having large ears and distinctive moles on their bodies. These shared physical characteristics, along with their mythological and heroic qualities, suggest that the legends of the two figures may have influenced each other over time. In addition to their physical and divine similarities, both characters are associated with significant conquests. Both Kūsh-Pīl-Dandan and Eskandar are involved in battles with "Black peoples" in their respective narratives, and both figures claim divinity, leading to the construction of statues in their honor. This element of self-deification is an important aspect of their stories, reflecting their belief in their superiority and the desire to be worshipped as gods. Furthermore, both figures exhibit a dual nature, oscillating between heroic and villainous traits. Kūsh-Pīl-Dandan is portrayed as an anti-hero, committing numerous acts of violence and cruelty throughout his life, but also displaying moments of remorse and transformation. Similarly, Eskandar is depicted as both a great conqueror and a destructive force, and his legacy is marked by both admiration and resentment.   Conclusion Considering the prominence of Eskandar's legend in Persian literature, particularly during the period when the Kūsh-Nāmeh was composed, it seems likely that the narrative of Kūsh-Pīl-Dandan was influenced by the widespread popularity of Eskandar’s mythos. The fact that Eskandar’s story was well known in Persian literary circles during the time Kūsh-Nāmeh was written suggests that the legend of Eskandar may have provided the template for the creation of Kūsh-Pīl-Dandan’s character and story. In conclusion, this study confirms that the Kūsh-Pīl-Dandan narrative is deeply intertwined with the legend of Eskandar the Great, reflecting the reciprocal influence of these two figures in Persian literature. The Kūsh-Nāmeh can be viewed as a Persian adaptation of the Eskandar myth, incorporating various elements of Eskandar’s legendary life into the story of Kūsh-Pīl-Dandan. The mutual influence of these two characters demonstrates the interconnectedness of world literature and highlights the importance of comparative literature as a means of exploring the shared cultural and historical roots of literary traditions across nations.   References Arian, Lucius Flavius (2009) The Campaign of Eskandar, translated by Mohsen Khadem, Tehran, University Publication Center. ------------------------- (2014) Eskandar's Campaign in Iran, translated by Homayoun San'ati Zadeh, under the supervision of Zhaleh Amuzgar, Tehran, Mahmoud Afshar Foundation. 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Torsusi, Abu Tahir Muhammad (1965) Darab Nameh, edited by Zabiullah Safa, Tehran, Book Translation and Publication Institute. ------------------------------------------ (2010) Darab Nameh, edited by Zabiullah Safa, Tehran, Scientific, and Cultural. Abdollahi, Monijeh (2002) Encyclopedia of Animals in Persian Literature, Vol. 2, Tehran, Pazhoohandeh. Afifi, Rahim (2012) Arda Viraf Nameh, Tehran, Tos. Ghanimi Helal, Muhammad (1987) Comparative Literature, 13th ed., Beirut: Dar al-Awda. Ferdowsi, Abolqasem (2015) Shahnameh, edited by Khalighi Malq, four-volume set, Tehran, Sokhan. Lamb, Harold, and Herodotus (2007) Step by Step with Eskandar in Iran, translated by Zabiullah Mansouri, Tehran, Golriz. ---------------------------------- (2015) Eskandar the Macedonian, translated by Sadegh Rezazadeh Shafaq, Tehran, Par. Mohseni Nia, Nasser (2010) "Comparative Literature: Position and Necessities," Scientific Journal of the Iranian Association of Arabic Language and Literature (Quarterly), Vol. 6, No. 14, pp. 81-102. Mashkoor, Mohammad Javad (1946) A Discourse on Dinkard: Including Parts of Dinkard, History of Avesta, and Pahlavi Literature, No Publisher. Manouchehr Khan Hakim (1948) Eskandar Nameh, Tehran, Ali Akbar Scientific Bookstore and Printing House. Minu-ye Khord (1975) translated by Ahmad Tafazzoli, edited by Zhaleh Amuzgar, Tehran: Tos. Nizami Ganjavi (2006) Sharafnameh, edited by Hassan Vahid Dasgardi, Tehran, Afkar. ------------------- (2008) Iqbalnameh, edited by Hassan Vahid Dasgardi, Tehran, Afkar. Karl, Grimberg (1990) The Great History of the World, translated by Ismail Dolatshahi, Vol. 2, Tehran, Yazdan. Kamali, Fatemeh (2021) "The Image of Eskandar the Macedonian in the National Histories of Iran with Emphasis on the Issue of Eskandar's Descent," Monthly Journal of Human Afaq Alavi, Year 5, No. 50, June, pp. 1-17. Kristensen, Arthur (1938) Iran in the Sasanian Era, translated by Rashid Yasemi, Tehran: Amir Kabir. Karimi Zanjani Asal, Mohammad and Maliheh Karbasian (2020) Encyclopedia of Islam, entry on Talismans, Greek Heritage - Eskandar. Islamic Encyclopedia website. Karimi Zanjani Asal, Mohammad (2019) Encyclopedia of Islam, entry on Balthus. Islamic Encyclopedia website. Kafafi, Mohammad Abd al-Salam (2010) Comparative Literature: A Study on the Theory of Literature and Narrative Poetry, translated by Seyyed Hossein Seyedi, Mashhad: Beh Nashr (affiliated with Astan Quds Razavi). Kouroji Kouyaji, Jahangir (1992) Studies in Shahnameh, translated by Jalil Doostkhah, Isfahan: Zand Rud. Kivani, Majd al-Din (1998) Encyclopedia of Islam, Vol. 8, entry on Eskandar. Islamic Encyclopedia website. Ghazarani, Saqi (2020) Koush Pil-Dandan: The Creation of an Antihero, Tehran: Nashr Markaz. Gorji, Mostafa; Hossein Mohammadi Mobarez (2014) "Comparative Study of the Mythical Historical Characters Keykhosrow and Dhul-Qarnayn," Literary Studies Journal, Vol. 8, No. 27, April, pp. 69-88. Nazari-Monazam, Hadi (2010) "Comparative Literature: Definition and Research Background," Comparative Literature Journal, Shahid Bahonar University of Kerman, New Series, Year 1, No. 2, Spring, pp. 221-237. Yost, Francois (2008) "Philosophy and a New Theory in Literature," Comparative Literature Journal, Jiroft, No. 8, pp. 37-56. Alter, Stephen (2004) Elephants: A Portrait of the Indian Elephant, Orlando: Harcourt. Diodorus of Sicily (1968) The Library of History, translated by C. H. Oldfather, Vol. 1-2, Cambridge (Mass) & London: The Loeb Classical Library. Quintus Curtius Rufus (1976) History of Eskandar the Great of Macedon, translated by J. C. Rolfe, Cambridge (Mass) & London: The Loeb Classical Library. Strabo (1966) The Geography of Strabo, translated by H. L. Jones, Cambridge (Mass) & London: The Loeb Classical Library.    ادبیات تطبیقی، رویکردی پژوهشی در دوره معاصر است که به مقایسه، بررسی و تحلیل آثار ادبی و در مفهوم توسعیافتۀ آن، آثار هنریِ ملل و فرهنگ&zwnj;های مختلف پرداخته و تشابهات و تفاوتهای این آثار، همچنین تأثیرات و تبادلات ادبی و فرهنگی ملل را میکاود. این علم یا رشته بر آن است که «خودی» را در آینۀ «دیگری» ببیند و بشناسد. این مسئله، ناقدان ادبی را بر آن داشت تا با بررسی آثار ادبی در ارتباط با یکدیگر، به فهم تکاملی و تطبیقی از نشانههای متن دست یابند. از سوی دیگر «کوشنامه»، روایت «کوش پیلدندان»، قهرمانی شوم و اهریمنی در حماسههای ایرانی است که در بررسی تطبیقی آن، بسامد تشابهات و همسانیهای روایت کوش با اسکندر مقدونی در روایات اساطیری- تاریخی با تباری غیر ایرانی، ذهن ناقدان را بر آن وامیدارد که به بررسی لایه&zwnj;ها و شاخصهای خویشاوندی این دو روایت و سرفصلهای اصلی و مبنایی آن بپردازد. از اینرو این پژوهش تلاش کرده است تا با روش توصیفی- تحلیلی و بررسی تطبیقی آنها، به کشف نظام دلالتهای دو متن بپردازد. از نتایج این پژوهش برمی&zwnj;آید که این دو داستان به سبب همسویی و همپوشانی در ساحتهایی چون شخصیتپردازی، کنشگری، تبیین حالات و ورود به روایتهای یکدیگر، بیشک در یک نظام تأثیر و تأثری واقع شدهاند و این تأثیرپذیری از روایت اسکندر به کوش، بیشتر موضوعیت دارد و می&zwnj;توان در بخشهای متعددی، شخصیت کوش به عنوان قهرمانی ایرانی را بازتابی استحاله شده از شخصیت اسکندر غیر ایرانی دانست و روایت آن را دگردیسی گزینشی از مجموعه&zwnj;ای از دادههای منتشر در ادب عامه و روایات مکتوب اسکندر تلقی کرد.

http://literature.ihss.ac.ir/fa/Article/Download/46796

مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-10302272202511A comparative look at Attar's works and his existentialist thoughts (based on Attar's Masnavi)کندوکاو در آثار عطار در ساحت وجودشناختی 5788faفاطمهطاهریدانشجوي دکتری، گروه زبان و ادبيات فارسي، واحد ورامين- پيشوا، دانشگاه آزاد اسلامي، ايران مرجانعلی اکبرزاده زهتاباستادیار گروه زبان و ادبيات فارسي، واحد ورامين- پيشوا، دانشگاه آزاد اسلامي، ايران علیرضاقوجه‌زادهاستاديار گروه زبان و ادبيات فارسي، واحد ورامين- پيشوا، دانشگاه آزاد اسلامي، ايران2024226The main issue of the upcoming interdisciplinary research, which is provided in a descriptive-analytical and library form, is that by examining Attar's Masnavis (Mantegh al-Tair, Elahinameh, Mosibatnameh, and Asrarnameh) as well as his way of life to existentialist views. Attar in four areas; The freedom, death thoughts, solitude, and meaning-making achieved prove that the roots of the philosophy of existentialism, like many pure human thoughts, have long existed among the thinkers of the East and later spread from the East to the West. This school, which today casts a shadow on many sciences such as psychoanalysis, can be seen in Iranian-Islamic mysticism. The most important question is; How existentialism has affected Attar's Masnavis and his way of life? Hypothesis; Masnavis and Attar's way of life contains most of the existentialist attitudes of the God-believing and mystical type. Some of the most important cases of research; Existentialist concepts of freedom, death thoughts, loneliness, and meaning creation with a mystical approach are abundantly found in Attar's works. For example, the concept of freedom and choosing God's path can be seen in Mantegh al-Tair by the thirty birds looking for Simorgh. In Attar's works, the thought of death and its acceptance are based on the concept of connection with God. Loneliness has no place in Attar's thought because the world is the manifestation of God and the beloved has a dwelling in the lover's heart, and the meaning that Attar creates is the closeness to God and his connection.   Keywords: existentialism, Mantegh al-Tair, Elahinameh, Mosibatnameh and Asrarnameh.   Introduction The school of "Existentialism" is a philosophical perspective that believes in the primacy of existence over essence. That is the primacy of existence, regardless of the essence attributed to human existence. Any definition we give to a human being, beyond any explanation that science, philosophy, religion, or politics imposes on his existence, is the essence that we have considered for him, but "human existence precedes its essence" (Sartre, 1402: 72). This philosophy addresses profound existential issues such as death, loneliness, abandonment, meaninglessness, absurdity, and the relationship with oneself. Meaning-making or creating meaning for life is one of the solutions of this school of thought in the face of absurdity. According to the principles of existentialism, the inner world of man can only be perceived through illumination and inner light, and mere reason leads nowhere. This philosophy investigates individual life and the inner world of the person. Self-knowledge and awareness of the inner world, accompanied by discovery, intuition, and a kind of Western esoteric philosophy, connect existentialism with Iranian-Islamic mysticism. As the contemporary American philosopher "William C. Chittick"<a href="#_ftn1" name="_ftnref1">[1]</a> Says, "The Masnavi of Rumi is a rich source of existentialist insights" (Chittick, 1995: 46-48). The primary objective of the present descriptive-analytical research is to investigate the extent to which the life and deeply contemplative thoughts of Attar, as reflected in his Masnavis - Mantegh al-Tair, Elahinameh, The Book of Mosibatnameh, and Asrarnameh - align with the fundamental principles of Existentialism. By conducting such research, we can establish a practical connection between the treasures of Persian literature and contemporary theories, while also gaining a deeper understanding of elusive philosophical schools like Existentialism. The most important question is: How are the principles of Existentialism manifested in Attar's Masnavis and his lifestyle? Hypothesis: Attar's Masnavis and lifestyle embody most existentialist perspectives, particularly those of a theistic and mystical nature.   Research Background No independent research has been conducted specifically on the subject matter, although some very limited references have been made in certain studies, such as the article "A Comparative Study of the Concept of Death and Its Manifestations in Islamic Sufism and the School of Existentialism (Focusing on Attar's Book of Mosibatnameh and Sartre's Nausea)" by Farshad Valizadeh, Ali Dehghan, and Hamidreza Farzi (2019), and the article "The Knight of Faith in the View of Attar of Nishapur and Søren Kierkegaard" by Ghodratolah Taheri (2010).   Fundamental Principles of Existentialism Based on the thoughts of existentialist philosophers such as “Søren Kierkegaard<a href="#_ftn2" name="_ftnref2">[2]</a>”, “Friedrich Nietzsche<a href="#_ftn3" name="_ftnref3">[3]</a>”, “Martin Heidegger<a href="#_ftn4" name="_ftnref4">[4]</a>”, “Jean-Paul Sartre<a href="#_ftn5" name="_ftnref5">[5]</a>”, “Karl Jaspers<a href="#_ftn6" name="_ftnref6">[6]</a>”, and “Martin Buber<a href="#_ftn7" name="_ftnref7">[7]</a>”, although they have apparent contradictions in their philosophical views, some of the most fundamental and shared principles of this school are as follows: Freedom: Humans are completely free and are highly responsible for their choices. This responsible freedom of action itself is painful. Death: The courage to face death while remaining committed to life is one of the most important existentialist conflicts in human life. Loneliness: No matter how close we humans are to each other, there is always an insurmountable gap between us. Each of us enters existence alone and must leave this planet alone. Meaning-Making: The existentialists' solution to the endless suffering of existence is that each person, according to their abilities and circumstances, is free to create meaning for their own life. From a theistic perspective, existentialists can be divided into three groups: theistic, such as Søren Kierkegaard; atheistic, such as Jean-Paul Sartre; and agnostic or ambivalent, such as Friedrich Nietzsche. The key figures of this philosophical school were able to build bridges between literature and philosophy. Sartre, for instance, alongside classic philosophical works like "Being and Nothingness" and "Critique of Dialectical Reason," also influenced the literary discourse of the post-World War II era with novels and plays like "Nausea" and "The Flies." 1 This characteristic, coupled with the existentialists' emphasis on the literary and political commitment of artists and intellectuals and their critique of positivism, led to their presence and influence among Iranian intellectuals, particularly during the years 1941-1978. Therefore, although existentialism is less known and rarely discussed in Iran compared to other philosophical schools such as nationalism and Marxism, it should not be assumed that its impact on various literary, political, and social discourses in Iran is less than those schools (Amankhan, 2013: 12).   Attar of Nishapur's Existentialist Life Attar, with existentialist “freedom,” chose a life of service to people rather than the seclusion of a monastery. Not only did he confront the “awareness of death” as a child during the Mongol invasion, but he lived with it until the end of his life, ultimately being killed by the Mongols in 618 AH. Attar’s “meaning-making” in life took shape in his Sufi beliefs. The meaning he sketched for his life, like other Sufi poets, was the path to God, but he traveled this path without the benefit of a master-disciple relationship and never accepted the submission to any master. However, the belief in deep human “loneliness” is another existentialist principle whose traces must be sought in his works.   The Reflection of Attar's Existentialist Views in His Works The primacy of existence is most evident in Attar's Mantegh al-Tair. Here, the weary and suffering thirty birds, after a long journey, see themselves in the radiance of the Simorgh and, upon looking within themselves, see the Simorgh. Thus, there is no duality; they have always been the Simorgh. In other words, the essence lies in their existence, and what they have been seeking is not outside of their being. This is the same existentialist view that gives primacy to existence. Attar has extensively addressed existentialist freedom and choice in his Masnavis. For instance, in the fifth chapter of Mosibatnameh, he discusses Majnun's choice to choose a mad love for Layla (Attar, Vol. 3, 1397: 74). The concept of voluntary death, which is prevalent in Attar's works (see ibid, Vol. 2, 1397: 297, and Vol. 3: 179), is also entirely consistent with existentialist freedom. Attar has also paid great attention to existentialist awareness of death. For example, in a story from Elahinameh, he concludes that a person is in the embrace of death even while living. Someone had cut down a green tree and left it on the ground for a long time. A wise person arrived and said that the tree seemed unaware of what had happened to it. After a week, it would realize (ibid, Vol. 2: 77). Regarding existentialist loneliness in Attar's works, not only is there an emphasis on loneliness but, due to the abundance of trust in God, a negation of loneliness is also observed. For example, in a story from the twentieth discourse of Asrarnameh, there is a story of a woman whose husband has gone on a journey. After being alone, helpless, and hungry, she is asked, and she says that she is not alone because she is in the presence of God (ibid, Vol. 4: 98). Generally, in Attar's belief, loneliness lacks the painful existentialist meaning. In Attar's view, in line with existentialism, one can escape from the suffering and anxiety of meaninglessness by creating meaning in life. This is highly recommended by him. For example, in a story from Elahinameh, he says that someone who does not create a meaning and purpose for their life has wasted their life and is, as it were, drinking their blood (ibid, Vol. 2: 205). The meaning he recommends creating is Sufism and nearness to God.   Conclusion Attar's dedicated pursuit of the hereditary profession of pharmacy (attar), which in his time was equivalent to being a wise man or physician, not only granted him financial independence and freed him from the need for flattery or courtly connections but also enabled him to actively participate in the lives of his people. This made him a beneficial member of society, allowing him to pursue the path of Sufism with existentialist freedom and choice, rather than isolating himself from the marketplace and society. Unlike other existentialists who often sought solitude, Attar remained engaged in the heart of society, continuously striving for spiritual elevation. The meaning he found and lived by in his life is the same meaning and foundation of Iranian-Islamic Sufism: nearness to God. More than any other work of Attar, the foundation of Mantegh al-Tair is based on the existentialist concept of "freedom". This is because each of the birds, with complete freedom (within their abilities and possibilities), is free to choose the path to reach the Simorgh or not to choose and not to go. Existentialist "awareness of death" is evident in all four of Attar's works with numerous examples. In his Sufi belief, death is not only a stage of life from which there is no escape but should be embraced with open arms as it leads to the liberation of the soul from the physical body and consequently to union with the Beloved. Although "loneliness" in humans, even in the theistic branch of existentialism, causes suffering and a sense of emptiness, in Attar's existentialism, loneliness does not exist in that sense. Because the universe and all beings are manifestations of God, and He is not only present everywhere but, according to the unity of existence, the whole universe is Himself. Therefore, with such a view, the suffering of loneliness does not exist, and this is exemplified in various similes in Attar's Masnavis. Sufi meaning-making is also a fundamental belief of Attar's existentialism in his four Masnavis. Thus, the principles of theistic existentialist philosophy, especially its Sufi kind, are so abundant and institutionalized in Attar's life and Masnavis that he can be called a pioneering existentialist.   References Amankhani, E. (2013) Existentialism and Contemporary Iranian Literature. Tehran: Elm. Attar of Nishapur, F. (2018) The Complete Works of Attar in 5 volumes, edited by Mohammad Reza Shafiei Kadkani, 10th ed., Tehran: Sokhan. Chittick, William C. (1995) "The Existentialist Themes in Rumi's Mathnawi", Journal of the American Oriental Society, Vol 115, No 4, pp. 34-49. Sartre, J.-P. (2022) Being and Nothingness, translated by Mahasti Bahraini, 6th ed., Tehran: Nilufar. Taheri, G. (2010) “The Knight of Faith in the View of Attar of Nishapur and Søren Kierkegaard”, Literary Research Quarterly, Vol. 7, No. 27, Spring, pp. 37-58. Valizadeh, F., Dehghan, A., & Farzi, H. (2019) “A Comparative Study of the Concept of Death and Its Manifestations in Islamic Sufism and the Philosophy of Existence (Focusing on Attar’s The Book of Afflictions and Sartre’s novel Nausea)”, Persian Language and Literature Quarterly, Islamic Azad University, Sanandj Branch, Vol. 11, No. 40, Autumn, pp. 86-126.     <a href="#_ftnref1" name="_ftn1">[1]</a>. (1943-… ) <a href="#_ftnref2" name="_ftn2">[2]</a>. (1813-1855) <a href="#_ftnref3" name="_ftn3">[3]</a>. (1844- 1900) <a href="#_ftnref4" name="_ftn4">[4]</a>. (1889-1976) <a href="#_ftnref5" name="_ftn5">[5]</a>. (1905-1980) <a href="#_ftnref6" name="_ftn6">[6]</a>. (1883-1969) <a href="#_ftnref7" name="_ftn7">[7]</a>. (1878- 1965)مسئلۀ اصلي پژوهش بينارشته&zwnj;اي پيش روي كه به شيوۀ توصيفی- تحليلي و به صورت كتاب&zwnj;خانه&zwnj;اي فراهم آمده، آن است كه با بررسي مثنوي&zwnj;هاي مسلم عطار (منطق&zwnj;الطير، الهي&zwnj;نامه، مصيبت&zwnj;نامه و اسرارنامه كه در انتساب آنها بدو شبهه&zwnj;اي وجود ندارد) و نيز شيوۀ زيست او، به ديدگاه&zwnj;هاي اگزيستانسياليستي عطار در چهار حوزۀ آزادي، مرگ&zwnj;انديشي، تنهايي و معناآفريني دست يازيده، اثبات نمايد كه ريشه&zwnj;هاي فلسفۀ اگزيستانسياليسم مانند بسياري از انديشه&zwnj;هاي ناب بشري از ديرباز در ميان متفكران مشرقزمين وجود داشته و بعدها از شرق به غرب راه یافته است. اصول اين مكتب فلسفي و اشراقي كه امروزه بر بسياري از علوم مانند روان&zwnj;كاوي و مردم&zwnj;شناسي سايه افكنده، در شالوده&zwnj;هاي عرفان ايراني- اسلامي قابل مشاهده بوده، در افكار و آثار عطار بيشتر جلوه&zwnj;گر شده است. مهم&zwnj;ترين پرسش آن است كه: اصول اگزيستانسياليسم، چگونه در مثنوي&zwnj;هاي عطار و نيز در شيوۀ زندگي او متبلور شده است؟ فرضيه پژوهش این است که: مثنوي&zwnj;ها و شيوۀ زندگاني عطار، اغلبِ نگرش&zwnj;هاي اگزيستانسياليستي، البته از نوع خداباورانه و عرفاني آن را در خود جاي داده است. برخي از مهم&zwnj;ترين مصادیق از مفاهيم اگزيستانسياليستي از قبیل آزادي، مرگ&zwnj;انديشي، تنهايي و معناآفريني (با رويكردي عرفاني) در آثار عطار به&zwnj;وفور يافت مي&zwnj;شود. براي مثال، مفهوم آزادي و انتخاب مسير الي الله در منطق&zwnj;الطير نزد سي مرغي كه در طلب سيمرغ&zwnj;اند، به&zwnj;روشني قابل مشاهده است. در آثار عطار، مرگ&zwnj;انديشي و پذيرش آن در مفهوم وصال حق است. تنهايي در انديشۀ عطار جايي ندارد، زیرا دنيا جلوه&zwnj;گاه اوست و معشوق در دل عاشق، سكني دارد و معنايي كه عطار اگزيستانسياليست مي&zwnj;آفريند، قرب الي الله و وصال اوست.

http://literature.ihss.ac.ir/fa/Article/Download/45941

مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-10302272202511Translating Taboo: An Examination of Norms in Five 19th-Century English Translations of Gulistanترجمه‌گری تابو: بررسی هنجارها در پنج ترجمۀ انگلیسی گلستان در سدۀ نوزدهم89109faابوالفضلحریدانشیار گروه زبان و ادبیات انگلیسی، دانشگاه اراک، ایران 20231011This article seeks, through a qualitative-explanatory approach and using available library tools based on the proposed translation norms by Toury, to demonstrate how the target language and culture readers receive, understand, and accept writers and works of the source language and culture. Two main questions are addressed: 1. How do translators perceive and understand the linguistic and especially cultural elements of source texts? 2. What happens if a single text in the source culture is decided to be translated into a single language in the target culture by more than two translators? It seems that readers of the target culture interpret and accept the contents of translated texts in a communication pattern and discourse significantly different from the pattern and discourse of the source culture. This article attempts to examine the understanding and acceptance of Sa’adi by five Western translators through the prism of how taboos are translated in a selection of stories from Gulistan in nineteenth-century England. The results show that Gladwin, Ross, and Eastwick prefer to relocate, soften, or remove taboos, while Platts prefers to translate taboos exactly or into Latin. Rehatesck, unlike other translators, tries neither to remove nor to soften or relocate taboos, nor to translate into Latin but rather translates all taboos like the original text and, through the strategy of fidelity and loyalty to the original text, presents Gulistan as it is to English-speaking readers, believing that previous translations of Gulistan are overly refined and sanitized.   Keywords: Translational norms, Translating taboo, Communicative model, Shifts, Ideal reader.   Introduction This article discusses how readers of different languages and cultures receive and understand authors and works of the source language and culture. It raises several questions: What happens when more than one translator decides to translate a single text from the source culture into a single language in the target culture? Can we assume that translators want to recreate the same interpretation of the author's work? For instance, is there a clear and definitive interpretation of Saadi's often taboo-laden stories and poems available, such that we might expect various translators to recreate that precise interpretation in English? Furthermore, do we even possess a thoroughly vetted and authoritative version of Gulistan or Bustan that would allow for a uniform translation in the target culture? Moreover, and perhaps more crucially, are we dealing with identical readers across different historical periods, such that we could reasonably expect translators to render these works in the same way for each generation of readers? This article attempts to examine the understanding and acceptance of Saadi's works from the perspective of Western translators/readers through the translation taboos in a selection of stories from the Gulistan, published in five English translations in 19th century England.   Background of the Study There are resources available for the critique and analysis of translations of Saadi's works, including the Gulistan, into French, English, and German. Some sources provide the Persian Gulistan and one or two English translations in a bilingual format and make references to the quality of the translations in the introduction. These introductions are either a preliminary note (Gladwin and Rehatsek, 2005) or a Persian translation of introductions written by others. Additionally, some academic articles have examined the translation of certain cultural aspects of the Gulistan, among other issues, in English and French translations (Yousefi, 2017; Nekisaie et al., 2021; Zolfaghari et al., 2020). The discussion of the translator's position and translated works from the perspective of translation theory has also been addressed in various sources. For example, see Horri (2019; 2021). However, taboo translation in the context of translation norms has not been examined in detail in the five English translations of the Gulistan.   Methodology Toury proposes three types of norms for translation strategy: initial norms, operational norms, and preliminary norms. Initial norms refer to the translator's choices; translators decide whether to remain faithful to the norms in the source text and provide an adequate translation or to conform to the norms of the target language culture and provide an acceptable translation. Operational norms assist the translator in making decisions during translation and are either matrixial or textual frameworks.   Discussion Taboo in Translation The first translation of selected tales from Gulistan into English was made by Stephen Sullivan in 1774, though this version is currently unavailable to the author. The first complete translation was provided by Edward Gladwin in 1806, during the peak of the Neoclassical era and the dawn of Romanticism in England. Thus, the reasons that may be proposed for translating Gulistan into French and German in the seventeenth century, the age of Enlightenment and reason, differ from those relevant to the period of transition from Classicism to Romanticism in England. However, the fact remains that Gulistan was considered a textbook in India, and it is evident that with the arrival of the English in the subcontinent, following the establishment of the East India Company, the importance of learning Persian—the official language of the Mughal rulers in India—greatly increased. It appears that Gladwin demonstrated great fidelity to the Gulistan text, striving to emulate Saadi’s style, which is characterized by ornate, rhythmic prose, to produce a faithful translation. Nevertheless, Archer contends that Gladwin leaned more toward prose in his translation (Archer, 2004: 14). From this perspective, it seems that English readers, both actual and implied, do not experience the translated Gulistan in the same way that Persian readers do, nor do they derive the same enjoyment. This discrepancy in understanding and appreciation between the Persian and English readership is not solely attributable to the rendering of Gulistan’s form and structure. Naturally, two languages—even if they share a common Indo-European root, as Persian and English do—are inherently distinguishable in terms of form and structure. Ross, like Gladwin, faced not only challenges in translating Gulistan at the microstructural level—such as those previously mentioned—but also in dealing with the translation of taboo subjects. He points out that taboo topics were prevalent among writers like Swift and Sterne, noting that it wasn’t just Saadi who addressed these matters; other poets and moralists have also referenced taboos in their works. Ross acknowledges that Saadi, in Gulistan, has largely shielded his text from crude vulgarity (Ross, 1890: 26). Ross further mentions that when he showed a copy of his translation to Gladwin, the latter admitted that he, too, had made alterations when translating taboo content, such as switching male characters to female ones, as we have previously illustrated. Thus, like Gladwin, Ross also endeavored to present a more refined and sanitized version of the taboos in his translation, catering to the sensibilities of English readers, particularly the young trainees of the East India Company. Therefore, Ross, by employing operational norms—especially at the textual level—attempted to avoid translating many of the taboo terms found in Gulistan. Eastwick, after discussing the stylistic and literary features of Gulistan and citing the Eastern proverb "Every word of Saadi carries seventy-two meanings" (ibid.: 17), suggests that it is still possible to produce seventy more translations of Saadi’s works. Eastwick admits how far his translation diverged from the original text, yet he became intent on recreating the prose and verse of the original in English (ibid.). Ultimately, he notes that he rendered Arabic phrases in italics and placed his own explanatory and interpretive comments within brackets (ibid.: 18). Unlike what Gladwin, Ross, and Eastwick do—making certain modifications, omissions, and substitutions of taboo content to satisfy their English readership through operational norms—John Platts strives to translate all taboos exactly as they appear in the Persian Gulistan. For example, he restores all references to male characters that Gladwin, Ross, and Eastwick had changed to female characters. Rehatsek, for his part, argues that previous translations of Gulistan had been overly sanitized and refined. In his translation, while maintaining compatibility with the freer English language, he made an effort to render all the taboo expressions and passages into English. A broad comparison of selected passages from Gulistan with Rehatsek’s translation and those of earlier translators reveals that he neither omitted, softened, nor altered any of the taboos, nor did he translate them into Latin. Instead, he faithfully translated all the taboos as they appear in the original text (for example, refer to the stories mentioned here in Rehatsek’s translation). On the whole, based on the norms proposed basically by Toury, it appears that English translators of the Gulistan, from Gladwin, the first translator, to Rehatsek, the latest translator in the nineteenth century, have adopted different strategies, which we will discuss based on Toury's proposed translation norms. If Gladwin, Ross, and Eastwick prefer to shift soften, or omit taboos, and John Platts prefers to translate taboos verbatim or into Latin, Rehatsck finds the opportunity to translate the Gulistan and Baharestan into English under the light of freedoms created in society and readers' broad views, which according to Archer, should be faithful to the original text and not overlook any point and should be clear and simple and most importantly, in English from beginning to end.   Conclusion This article aimed to demonstrate how English translators of the Gulistan in the nineteenth century brought taboos into the realm of English-speaking readership through translation norms. Rehatsek's translation of the Gulistan and Bustan coincides with the substitution of English for Persian in India, and it is clear that the practice of publishing English translations without Persian, which was common during the time of Ross, Eastwick, and Platts, has become prevalent. It seems that readers in the target culture understand and accept the content of translated texts in a completely different communicative pattern and discourse from that of the source culture.   References Archer, J. W. (2004) Introduction. In Golestan and Bustan of Saadi: Bilingual edition. Translated by Edward Rehatsek and J.M. Wynne (pp. 13-55), Edited by Houshang Rahnama. Tehran: Hermes. Bodaghi, Zabihollah (1989) Golestan Farsi: Farsi-English. Tehran: Fajr-e-Islam. Baker, Mona (2000) ‘Towards a Methodology for Investigating the Style of a Literary Translator’, Target (2): 241-266. Brancaforte, Elio. “Persian Words of Wisdom Travel to the West: Seventeenth-Century European Translations of Saʿdi’s Gulistan.” Daphnis 45 (2017): 450–72. Even-Zohar, Itamar. 1978. Papers in Historical Poetics. Tel Aviv: Tel Aviv University. Gladwin, F., & Rehatsek, E. (2005) English translation of Golestan. Edited by Mahmood Hakimi. Tehran: Ghalem. Nakisaei, Niloofar, Nemati, Azadeh, Mirza Suzani, Samad (2021) A Comparative Study of Transposition in English Translations of Gulistan of Saadi: A Case Study of Thackston’s and Rehatsek’s Translation. Journal of Language and Translation. 11(1),77-89. Rehatsek, E. (2004) Golestan. Edited by Houshang Rahnama. Tehran: Hermes. Shuttleworth, M., & Cowie, M. (2011) Dictionary of Translation Studies. Translated by Farzaneh Farhazad, Gholamreza Tajvidi, and Mozdek Bolouri. Tehran: Yalda Qalam. Toury, Gideon. ‘Translated Literature: System, Norms, Performance: Toward a TT-oriented Approach to Literary Translation,’ Poetics Today, 1981 Wickens, J.M. (2004) Bustan. Edited by Houshang Rahnama. Tehran: Hermes. Yousefi, Sarah (2017) Translation of Cultural Specific Items: A Case Study of Gulistan of Saadi. Journal of Applied Linguistics and Language Research, 4 (5), 62-75. Zarrinkoub, Abdolhoseyn (2000) Hadeeth-e-Khosh-e-Saadi. Tehran: Sokhan. Zolfaghari, Hasan., & Behrouz, Seyyedeh.Ziba (2021) Recognizing cultural and literary patterns prevalent in translations of Saadi's Golestan: A comparative analysis of three translations by Rass, Rehatsek, and Doformery. Fanon-e-Adabi, 12(1), 167-184. Doi: 10.22108/liar.2020.123687.1880.   این مقاله می&zwnj;کوشد تا به شیوۀ کیفی- تبیینی و با ابزار کتابخانه در دسترس و بر اساس هنجارهای ترجمه&zwnj;ای پیشنهادی «توری» نشان دهد که جامعة خوانندگان زبان و فرهنگ مقصد، چگونه نویسندگان و آثار زبان و فرهنگ مبدأ را دریافت و درک می&zwnj;کنند و می&zwnj;پذیرند. دو پرسش اصلی نیز عبارتند از: 1- مترجمان، عناصر زبانی و به&zwnj;ویژه فرهنگی متون مبدأ را با چه کیفیتی و به چه میزان درک و دریافت میکنند و چگونه و به کمک چه ابزار زبانی و فرهنگی در فرهنگ مقصد، بازآفرینی می&zwnj;نمایند؟ ۲- چه رخ می&zwnj;دهد که متنی واحد در فرهنگ مبدأ را بیش از دو و گاه چند مترجم تصمیم می&zwnj;گیرند به زبانی واحد در فرهنگ مقصد ترجمه کنند؟ به نظر می&zwnj;رسد خوانندگان فرهنگ مقصد، محتویات متون ترجمه&zwnj;شده را در الگوی ارتباطی و در بستر و گفتمانی کاملاً دگرگونه&zwnj;تر از الگوی ارتباطی و گفتمانی فرهنگ مبدأ، درک و دریافت و تعبیر می&zwnj;کنند و می&zwnj;پذیرند. این مقاله می&zwnj;کوشد تا درک و دریافت و پذیرش سعدی از نگاه پنج مترجم غربی را از رهگذر چگونگی برگردان تابوها در گزیده&zwnj;ای از حکایات گلستان در سدة نوزدهم انگلستان بررسی کند. نتایج نشان می&zwnj;دهد که «گلدوین»، «راس» و «ایتسویک» ترجیح می&zwnj;دهند که مسائل تابو را جابهجا و تلطیف یا حذف کنند و پلاتس ترجیح می&zwnj;دهد که تابوها را عیناً برگرداند یا به لاتین ترجمه کند. «ریهاتسک» برخلاف دیگر مترجمان می&zwnj;کوشد تا تابوها را نه حذف، نه تلطیف و نه جابه&zwnj;جا کند و نه به لاتین برگرداند، بلکه همۀ تابوها را بسان متن اصلی ترجمه کند و از رهگذر راهبرد بسندگی و وفاداری به متن اصلی، گلستان را آنچنان &zwnj;که هست، در دسترس خوانندگان انگلیسی&zwnj;زبان قرار دهد؛ چه معتقد است که برگردان&zwnj;های پیشین گلستان، بیش از اندازه مهذب و پاک&zwnj;سازیشده هستند.

http://literature.ihss.ac.ir/fa/Article/Download/44364

مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-10302272202511A Study and Analysis of Metamorphosis in the Stories and Legends of the Sistan Cultural Regionبررسی و تحلیل اقسام دگرگون‌شدگی در داستان‌ها و افسانه‌های حوزۀ فرهنگی سیستان111143faمحمد فاطمی منشدانش‌آموخته دکتری زبان و ادبیات فارسی، دانشگاه بیرجند، ایران 2023722Indigenous and local tales and legends are among the most enigmatic phenomena in anthropology, brimming with mythological motifs and ancient archetypes. Rooted in each ethnicity's culture, customs, traditions, and environment, these narratives encapsulate one of the most pivotal and significant elements of mythology: metamorphosis, or transformation. This motif manifests in diverse forms across the stories and legends of various cultures and people. Notably, it is a fundamental mythological theme in the stories and legends of the Sistan region, finding reflection in numerous narratives from this area. This study, employing a descriptive-analytical approach, aims to analyze the various types of metamorphosis in the stories and legends of the Sistan cultural region. It further seeks to quantify and qualitatively assess the extent to which these transformations are depicted in these narratives. The findings reveal that Sistani stories and legends predominantly feature two types of metamorphosis: human metamorphosis and the metamorphosis of supernatural beings such as demons or evil spirits. Among these, human metamorphosis exhibits a higher frequency and is more prominently represented in Sistani narratives.   Keywords: Metamorphosis, mythological motifs, Sistan, stories, legends.   Introduction Mythologies and mythological tales are phenomena that manifest in diverse forms across various human cultures, encompassing a wide array of subjects. A defining characteristic of these narratives is their supernatural and extraordinary nature, often featuring characters, beings, and events that transcend the ordinary. In essence, mythological stories and narratives are composites of concepts and actions presented in extraordinary ways, aiming to reflect the beliefs and ancient paradigms of humankind. Through these narratives, they serve as a mirror to human desires and aspirations, often unattainable ones, which are sometimes manifested in the form of mythological themes related to metamorphosis or transformation. Metamorphosis, a fundamental concept in mythology, is equivalent to the English terms "Metamorphoses" and "Transformation." It denotes a change in the outward appearance and the very essence or identity of a phenomenon, brought about by supernatural forces. Such transformations are considered extraordinary in any era and beyond the capabilities of ordinary humans. In such instances, an entity transforms, acquiring a new form that might be physically apparent or involve profound internal changes, granting it powers it previously lacked (Rastgar Fasaei, <a href="tel:1383">1383</a>: <a href="tel:4443">44-43</a>). Myths employ symbolic and metaphorical language to convey their messages, illuminating the position and role of ancient humans in the cosmos and natural phenomena. Embedded within them is evidence of human contemplation: seeking solutions to their weaknesses and limitations, while simultaneously yearning for perfection and the realization of their hopes and dreams (Soltani and others, <a href="tel:1397">1397</a>: 82). Moreover, these myths serve as codes and symbols, signifying rebirth and fluid vitality, reflecting the imaginations, fantasies, literary pursuits, and thought processes of those who created them (Ghobadi, <a href="tel:1392">1392</a>: 74). Consequently, the phenomenon of metamorphosis is a theme that emerges from various mythological, psychological, and epistemological motivations in the mythological stories and legends of different regions. It is a pervasive theme in such works. Among these, the stories and legends of the Sistan cultural region exhibit extensive manifestations of metamorphosis or transformation. Metamorphosis is a frequent and multifaceted theme in these narratives, encompassing both human and supernatural beings. As a significant component of the mythological foundation of Sistani indigenous stories and legends, this theme is widely represented. Given its prominence in these narratives, this study employs mythological analysis and a descriptive-analytical approach to investigate the various forms of metamorphosis in Sistani stories and legends. The aim is to analyze the frequency and manner in which these transformations appear in these narratives. Based on the foregoing, the primary research questions are: <ol> <li>What types of metamorphosis are present in Sistani stories and legends?</li> <li>What are the most significant and prevalent types of metamorphosis in the stories and legends of the Sistan cultural region?</li> </ol>   Methodology This paper employs a descriptive-analytical approach to investigate the phenomenon of metamorphosis in the stories and legends of the Sistan cultural region. By examining 144 narratives associated with the Sistan cultural sphere, we collected data on motifs related to metamorphosis. Subsequently, using statistical software such as SPSS and Excel, we conducted quantitative analysis to categorize these motifs based on their frequency and distribution. Furthermore, through content analysis and by consulting various sources in the field of mythology, we have provided a detailed analysis of each type of metamorphosis found in Sistani stories and legends.   Findings Types of Metamorphosis in Sistani Stories and Legends The findings of this study, based on statistical analysis, reveal two primary categories of metamorphosis in Sistani stories and legends: human metamorphosis and the metamorphosis of supernatural beings.   Human Metamorphosis A total of 136 motifs related to human metamorphosis and transformation were identified in the analyzed narratives. This category can be further divided into two subcategories: <ol> <li>Transformation with preserved human essence: In this type, humans acquire extraordinary abilities while retaining their human nature. Examples include transformations involving beauty, ugliness, age, visibility, or fertility. This subcategory accounts for 109 instances.</li> <li>Transformation involving a change in essence: In this case, humans transform, changing their form into various animal, inanimate, plant, or natural phenomena. This subcategory comprises 27 instances.</li> </ol> Metamorphosis of Supernatural Beings. The second category of metamorphosis involves supernatural beings. As depicted in various mythologies, a characteristic feature of supernatural beings is their ability to transform into various forms. This ability empowers them to achieve multiple objectives, such as deceiving humans, aiding others, or concealing their identity. In Sistani narratives, 34 motifs related to the metamorphosis of supernatural beings were identified, primarily involving creatures like Bozlangi (a type of evil spirit), demons, and dragons. Among these, Bozlangi exhibited the highest frequency of transformations with ten instances, followed by demons with seven cases. Other supernatural beings, such as the devil and dragons, had fewer occurrences. The metamorphosis of supernatural beings in this study can be categorized into six groups: transformation into animals, inanimate objects, plants, humans, natural elements, and other supernatural beings. Based on frequency, the most common transformations were into humans (14 instances) and animals (9 instances).   Conclusion The findings of this research indicate that metamorphosis is a prominent and recurring motif in the stories and legends of the Sistan region, appearing a total of 170 times in the analyzed corpus. A significant portion of these instances, 136, involve human metamorphosis, while 34 pertain to the transformations of supernatural beings. Our analysis reveals two primary types of human metamorphosis in Sistani narratives. The first type involves individuals acquiring extraordinary abilities while retaining their human essence, such as gaining beauty, youth, invisibility, or fertility. The second type entails a fundamental shift in form, where humans transform into animals, inanimate objects, plants, or natural phenomena. While the former type is more prevalent, accounting for 109 instances, the latter also holds significance with 27 occurrences. Supernatural beings in Sistani folklore exhibit a diverse range of transformations, including changes into animals, inanimate objects, humans, and natural elements. Beings such as Bozlangi and demons are frequently depicted as undergoing metamorphosis. These transformations often serve purposes such as deception, assistance, or concealment. The prevalence and variety of metamorphosis in Sistani folklore reflect a deeper culture and worldview. Through these narratives, the people of Sistan seem to express a desire to transcend the limitations of human existence, to conquer mortality, disease, and ignorance about the future. These stories also reveal a longing to explore new worlds and reach beyond the celestial realm. This longing is often intertwined with a belief in supernatural forces and a desire to escape the harsh realities of life. By reimagining the world and altering the nature of its elements, these narratives reflect a desire to harness nature for human benefit. In essence, the Sistani people, like many other cultures, have used the motif of metamorphosis in their folklore to grapple with profound existential questions and to express their hopes, fears, and aspirations. Through these narratives, they have created a rich and imaginative world that offers both solace and inspiration.                                                         Resources Aidenlu, Sajjad (2006) Classification and analysis of epic-mythical and ritual themes and themes in Pahlavi poems after the Shahnameh, PhD dissertation, Persian language, and literature, supervisor Rahman Mushtaq Mehr, Tarbiat Moalem University Azerbaijan, Faculty of Literature and Human Sciences. 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Uther, Hans-jorg (2004) The Types of International Folktales, Helsinki, Table of Contents.  داستانها و افسانههای بومی و محلّی از جمله رازناکترین پدیدههای مردمشناختی و سرشار از بنمایههای اساطیری و کهنالگوهای باستانی&zwnj;اند. این داستانها و افسانهها که نشأتگرفته از فرهنگ و آداب و رسوم و سنن و زیستبوم هر قومیّتی است، در بطن خویش حاوی یکی از محوریترین و مهمترین عناصر اسطورهای، یعنی دگرگون&zwnj;شدگی یا همان استحاله است؛ بنمایهای که در داستانها و افسانه&zwnj;های ملل و اقوام مختلف، با اشکال و صور گوناگون بروز و ظهور دارد و در این بین یکی از اصلیترین مایههای اساطیری داستانها و افسانههای سرزمین سیستان نیز محسوب میشود که در بسیاری از داستانها و افسانههای این سرزمین بازتاب و نمود یافته است. بر همین اساس در این جستار تلاش شده است تا با استفاده از روش توصیفی- تحلیلی، به تحلیل انواع دگرگون&zwnj;شدگی در افسانهها و داستانهای حوزۀ فرهنگی سیستان پرداخته شود و میزان و چگونگی بازنمود آنها در این داستانها و افسانهها تحلیل شود. نتایج این تحقیق نشان میدهد که در افسانهها و داستانهای سیستانی، دو نوع دگرگون&zwnj;شدگی عمده دیده میشود که شامل دگرگون&zwnj;شدگی انسانی و دگرگون&zwnj;شدگی مربوط به موجودات فراطبیعی همانند دیو یا بزلنگی است که از میان این دو نوع دگرگون&zwnj;شدگی، بیشترین بسامد مربوط به دگرگون&zwnj;شدگی انسانی است که توانسته بالاترین بازنمود را در افسانهها و داستانهای سیستانی داشته باشد.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-10302272202511Analysis of the components of peace education in Sohrab Sepehri's collection of poemsتحلیل مؤلفه‌های آموزش صلح در مجموعه اشعار «سهراب سپهری»145186faمحمدپاک نهاداستادیار گروه زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایرانعلینجفیاستادیار گروه زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایران 0009-0009-6874-8414فاطمهمؤذنکارشناسی‌ارشد زبان و ادبیات فارسی آموزش و پرورش، ایران 2024225Peace is one of the principles and values of life, and it is only under the shadow of this divine gift that security, tranquility, growth, and excellence can be achieved in societies. In other words, the survival of humanity depends on creating and maintaining peace. Therefore, it is essential that education step into this field to create and maintain peace in the world and clarify the solutions to achieve peace. Education, by utilizing the ideas of artists such as Sohrab Sepehri, opens a window to the minds and consciences of humans and, through this, teaches societies the culture of peace. Sohrab Sepehri is a poet and painter who thinks of a peaceful world, away from conflict, destruction, and corruption, where there is no blame or injustice. His world is transparent and untainted. Like pacifists, he pursues his mission of creating peace and friendship. This research aims to analyze the themes of Sohrab Sepehri's poems to achieve the components he introduces for creating a culture of peace. This research was conducted using a qualitative method of analyzing the themes and findings in both inductive and deductive ways. The statistical population is the collection of Sohrab Sepehri's poems. The data collection method was carried out using library documents and the data was analyzed using five steps of thematic analysis including getting acquainted with the data, creating initial codes and coding, searching and recognizing the themes, drawing the theme network, and analyzing the theme network. The results of the study showed that Sohrab Sepehri’s poems have eight main components with the titles of belief in God, self-improvement, good thinking, good speech, good behavior, living with nature, respectful behavior with nature, aversion to the machine age and 27 sub-components that fall under the three main domains of peace with oneself, peace with others and peace with nature.   Keywords: Peace education, Sohrab Sepehri’s poems, content analysis, peace with oneself, peace with others, and peace with nature.    Introduction "Peace" is a praiseworthy and challenging word that the existence of war, bloodshed, and endless violence prompted thinkers in every era to teach peace as a turning point in ending these problems. Along with all the organizations that were looking for the spread of peace with multiple goals and solutions, many writers and artists have also made recommendations in peace education by creating their works. Among contemporary writers, no one wanted peace as much as Sohrab. The purpose of this research is to extract the components of peace education through searching in the collection of Sohrab Sepehri's poems using the method of thematic analysis to introduce the recommendations of this artist in achieving peace with oneself, others and nature to the field of education of different sections of the society.   Research background By searching the sources, no research was found that dealt with the field of peace and peace education in Sepehri's poems and thoughts. The only research found is the article by Bahrevar and Mohammadieh (2018) entitled "Investigation of the culture of peace and the empathetic function of language in Sohrab Sepehri's poems", which have extracted the foundations of peace in Sohrab Sepehri's thoughts by referring to his poems and include the framework- Intellectual independence and independence (inner obedience), acceptance of the principle of diversity, simplicity, and avoidance of luxuries, importance to native culture and cultural and historical heritage, cultural view of science and saving it from intemperance and immorality have been considered by Sohrab. Other introduced articles have paved the way for this research. Fallah Nodehi (2008) introduced the seven components of UNESCO in an article entitled "Investigation of the Components of UNESCO's Peace Education in the Documents of the Republic". These components include human rights and democracy, cooperation and solidarity, preservation of cultures, self and others, cosmopolitanism, environmental protection, and spirituality. In a book titled "Education of Peace", Zakavati Karagozlou (2013) considers institutionalizing peace to be necessary to establish peace and tranquility and avoid war and violence among societies. For this reason, he proposes various and basic solutions for teaching peace among people, especially students. Cholaki (2016) in his thesis entitled "Investigation of the Element of Emotion in Sohrab Sepehri's Poetry" has examined the emotional components in Sohrab Sepehri's poetry by relying on the descriptive-analytical method and library method. Kobra Feridouni (2016) in an article entitled "Phenomenological Analysis of the Identity of the Poet-narrator in Sepehri's Poetry concerning the concepts of Peace and Altruism", has examined the identity of the poet-narrator in Sepehri's poetry based on the concepts of peace and altruism. Nakhaei and Shabanzadeh (2018) in an article titled "Study of the Mystical View of Nature in Sohrab Sepehri's Poem" analyzed Sohrab Sepehri's mystical view of nature with an analytical method.   Methodology The present study is a type of interdisciplinary work that has studied the poems of Sohrab Sepehri with the method of thematic analysis. The statistical population of this research, the collection of Sohrab's poems, includes "eight books" and all the poems outside the eight books collected using library documents. The analysis of this research has been done by combining both deductive and inductive methods and using five steps. In the first step of data analysis, each notebook was studied until the poems of that notebook were fully understood its structure was achieved, and the data was read repeatedly. In the second step, after the poems of each notebook were fully studied, coding was started, and the initial codes were created. Coding was done manually without the use of software, and each poem was noted down with the exact number and specifications. In the third step, after performing the initial coding and collecting the codes, a list of codes was available, whose content should be known through analysis. At this stage, some codes were removed due to not having a specific theme, and the theme of the remaining codes was noted in front of each phrase. In the fourth step, after extracting the meaning of each code, the network of themes was drawn. Primary codes were included in the table along with their themes. Delineation of themes continued until the stage where the remaining themes could no longer be grouped. In fact, in this phase of the research, axial coding and selective coding were done.   Discussion Based on the findings, which were 116 primary codes, 8 main themes of peace and 27 sub-themes of peace were identified and extracted, which were classified into three dimensions: peace with oneself, peace with others, and peace with nature. Self-peace dimension, including the main components of belief in God with three sub-components and self-improvement with nine sub-components. The dimension of peace with others includes good thinking with four sub-components, good speech with two sub-components, and good behavior with three sub-components. The dimension of peace with nature includes living with nature with two sub-components, respecting nature with two sub-components, and aversion to technology with two sub-components. Therefore, as a result of the analysis of the components of peace education in the collection of Sohrab's poems and according to the description and analysis that was done, the network of main and secondary themes of the components of peace is presented as follows: Table 1- The final structure of peace education components in the axis of peace education with oneself <table width="460"> <tbody> <tr> <td width="145"> axis (dimensions of peace education components) </td> <td width="138"> Main themes (main components of peace education) </td> <td width="177"> Sub-themes (subcomponents of peace education) </td> </tr> <tr> <td rowspan="12" width="145">   Teaching peace with yourself </td> <td rowspan="3" width="138"> Belief in God </td> <td width="177"> Reflection on the system of creation </td> </tr> <tr> <td width="177"> Belief in God's nearness </td> </tr> <tr> <td width="177"> Belief in the purposeful nature of creation </td> </tr> <tr> <td rowspan="9" width="138"> self-improvement </td> <td width="177"> Humility </td> </tr> <tr> <td width="177"> Nihilism </td> </tr> <tr> <td width="177"> Biological simplicity </td> </tr> <tr> <td width="177"> Worship and prayer </td> </tr> <tr> <td width="177"> Not afraid of death </td> </tr> <tr> <td width="177"> spoiling tail </td> </tr> <tr> <td width="177"> Non-affiliation </td> </tr> <tr> <td width="177"> Patience and coping with difficulties </td> </tr> <tr> <td width="177"> Positive thinking, hope, and trust </td> </tr> </tbody> </table> Table 2- The final structure of peace education components in the axis of peace education with others <table width="461"> <tbody> <tr> <td width="143"> axis (dimensions of peace education components) </td> <td width="143"> Main themes (main components of peace education) </td> <td width="175"> Sub-themes (subcomponents of peace education) </td> </tr> <tr> <td rowspan="9" width="143"> Teaching peace with others </td> <td rowspan="4" width="143"> good thinking </td> <td width="175"> Nationalism and patriotism </td> </tr> <tr> <td width="175"> Avoiding judgments and prejudices </td> </tr> <tr> <td width="175"> Accepting the principle  of diversity </td> </tr> <tr> <td width="175"> Breaking taboos and anti-habits </td> </tr> <tr> <td rowspan="2" width="143"> Kindness </td> <td width="175"> Avoiding harsh words and choosing good words </td> </tr> <tr> <td width="175"> The benefits of silence </td> </tr> <tr> <td rowspan="3" width="143"> good behavior </td> <td width="175"> praise and praise </td> </tr> <tr> <td width="175"> Foresight and love </td> </tr> <tr> <td width="175"> Peaceful coexistence </td> </tr> </tbody> </table> Table 3- The final structure of peace education components                                in the axis of peace education with nature                               <table width="453"> <tbody> <tr> <td width="141"> axis (dimensions of peace education components) </td> <td width="141"> Main themes (main components of peace education) </td> <td width="172"> Sub-themes (subcomponents of peace education) </td> </tr> <tr> <td rowspan="6" width="141"> Teaching peace with nature </td> <td rowspan="2" width="141"> Living with nature </td> <td width="172"> Feeling one with nature </td> </tr> <tr> <td width="172"> naturopathy </td> </tr> <tr> <td rowspan="2" width="141"> Respectful behavior with nature </td> <td width="172"> praise of nature </td> </tr> <tr> <td width="172"> Environmental protection </td> </tr> <tr> <td rowspan="2" width="141"> Aversion to the machine age </td> <td width="172"> Aversion to war and military weapons </td> </tr> <tr> <td width="172"> Get rid of urban life and industrial pollution. </td> </tr> </tbody> </table>   Conclusion As we know, the topic of this research was the analysis of the components of peace education in Sohrab Sepehri's collection of poems. The aim of this research was nothing but to analyze the themes of Sohrab Sepehri's poems to achieve the components that he introduces to create a culture of peace. This research was conducted with the qualitative method of theme analysis. The findings were analyzed in both inductive and comparative ways. The statistical population was the poetry collection of Sohrab Sepehri and the data was collected using library documents. Finally, the data was analyzed using five steps of thematic analysis. The results of the research show that Sohrab Sepehari's poems have 8 main components with the titles: belief in God, self-improvement, good thinking, good speech, good behavior, living with nature, respectful behavior with nature, dislike of the machine age and 27 sub-components, which are under three domains. Peace with oneself, peace with others, and peace with nature are the main ones. We know that the development and having a peaceful society and world depends on the existence of peace. Peace is also a concept that is present in all aspects of human life. In our opinion, peace can only be summed up in war between countries or people of a country; While such an idea is obsolete and peace is related to all our relationships with the creatures of the world of creation, including humans, creatures, and above that, the relationship with the creator of the world. Therefore, with such a thought, three dimensions of peace with oneself, peace with others, and peace with nature can be considered for peace. The source of peace with oneself is self-improvement and God-knowledge. Peace with God is very great and precious because the whole earth seeks peace with Him. A peaceful relationship with God depends on self-improvement, growth, and exaltation of the soul, and moral virtues, such as humility, simplicity, etc. That is, peace with God is rooted in peace with oneself. Man cannot have peace with God until he has a peaceful relationship with himself. Peace with others also includes peace with all people, society, and the surrounding world. This peace can be with family members or with a stranger or with society and country. Peace with nature also includes being kind to nature's creatures and respecting them. Finally, to achieve a peaceful society, we need all three dimensions of peace. All three dimensions of peace are connected in the form of a continuous chain, without the existence of even one link of this chain, the spread and expansion of peace is not possible. What is debatable is that Sohrab is a pacifist mystic with a pure naturalist background. His poems are full of concepts of peace, which include the three dimensions of peace. Among all his poems, the poem "And a Message on the Way" is his expression of peace in the world of war and conflict, and it is a poem that spreads friendship and peace. As mentioned in the theoretical foundations, people need peace education outside of formal education. Poetry, stories, music, paintings, films, etc., have a much more productive effect on peace education. Therefore, the role of the artist can be as difficult as the role of the teacher and the like, like a role carved on an indestructible stone: "In a dark night/ when no sound mingled with any sound/ and no one could see anyone from a close distance, / a person climbed the rocks of the mountain/ and with his bloody fingernails/ scratched a picture on a stone and after that no one saw him again. / .../." (Sephehri, 1390: "Role"). Sohrab calls his audience to peace with his indirect and honest expression. He does not sing to sing, but his deep purpose and his message are to spread and teach peace and friendship. Reference                                                    Holy Quran (2006) translated by Mehdi Elahi Qomshaei, Tehran, Quran Publishing Foundation. Abedi, Kamiyār (2009) From Aftab's interview, Sixth edition, Tehran, Third. Ahmad, Nizar & Mujahid, Danish & Rani, Tabinda (2022) Building Peace through Poetry in the Fragile Context of Erstwhile FATA, Journal of Business and Social Review in Emerging Economies, Vol 8, N 1, pp 217- 228. Aminaei, Akram and Dastouri, Mozhgān (2016) Culture of Peace in UNESCO, Tehran, Charter of Peace. Aminbidokhti, Ali Akbar and Keshavarz, Yusof (2018) "Teaching children about peace and global citizenship and its role in preventing violence", Scientific Quarterly of Crime Prevention Studies, Year 14, Number 53, Winter, pp 148-129. Bahrevar, Majid and Mohammadieh, Azādeh (2018) "Investigating the culture of peace and the sympathetic function of language in the poems of Sohrab Sepehri", The fifth national conference on the language of literature and peace discourse, Qazvin. Department of Academics of the World Islamic Peace Forum, (2010) Forty speeches for a just peace, First Edition, Tehran, World Islamic Peace Forum. 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Simiari, Mohammad Taghi; Heydari Nouri, Reza and Farkhzad, Malik Mohammad (2021) "Analysis of the components of peace in Rumi's intellectual style based on the Masnavi", Journal of Persian Poetry and Prose Stylology (Bahar Adeb), Volume 14, Number 11, pp. 17-35. Tamizhal, Ali (2019) "Peace and friendship from the perspective of Rumi", the bi-quarterly specialized scientific journal of Persian language and literature, Shafai Del, third year, number 6, autumn and winter, pp. 123-134. Tāefi, Shirzad and Kamalkhani, Leila (2014) "Syllabic linguistic and rhetorical components in Sohrāb Sepehri's "Green volume", Journal of Linguistic and rhetorical studies, Fourth year, number 8, Autumn and Winter, pp 117-140. Tighbakhsh, Samirā and Saadatmand, Zohre (2016) "Peace Education Curriculum in Primary School". Qualitative Research Quarterly in Curriculum. Year 2, number 7, summer. pp. 66-89. UNICEF ANNUAL REPORT (2011) THE STATE OF THE WORLD’S CHILDREN 2011, unite for children. Vebel, Charles and Johan Galtung (1965) Textbook of peace and conflict, peace in all disciplines, translated by Sara Ghasemi and Mozhgān Dastori, Tehran, Peace Charter.  صلح، یکی از اصول و ارزش&zwnj;های زندگی است و تنها در سایۀ این موهبت می&zwnj;توان به امنیت، آرامش، رشد و تعالی دست &zwnj;یافت. بنابراین ضروری است که آموزش برای ایجاد و حفظ صلح در جهان به این عرصه گام نهد و راهکارهای دستیابی به صلح را روشن سازد. سهراب سپهری، شاعر و نقاشی است که به جهانی آرام، به &zwnj;دور از ستیز، درگیری، تباهی و فساد می&zwnj;اندیشد که در آن سرزنش و بیداد وجود ندارد. جهان او، شفاف و بی&zwnj;آلایش است. او چون صلح&zwnj;گراها به رسالت خود که پدید آوردن صلح و دوستی است می&zwnj;پردازد. هدف این پژوهش، تحلیل مضامین اشعار سهراب سپهری برای دستیابی به مؤلفه&zwnj;هایی است که او برای ایجاد فرهنگ صلح معرفی می&zwnj;کند. این پژوهش با روش کیفیِ تحلیل مضامین و تحلیل یافته&zwnj;ها به هر دو شیوۀ استقرایی و قیاسی انجام&zwnj; شده است. جامعۀ آماری، مجموعه اشعار سهراب سپهری است. شیوۀ گردآوری داده&zwnj;ها با استفاده از اسناد کتابخانه&zwnj;ای انجام &zwnj;یافته و داده&zwnj;ها با به&zwnj;کارگیری پنج گام تحلیل مضامین شامل: آشنا شدن با داده&zwnj;ها، ایجاد کدهای اولیه و کدگذاری، جست&zwnj;وجو و شناخت مضامین، ترسیم شبکۀ مضامین و تحلیل شبکۀ مضامین تجزیه &zwnj;و تحلیل شده است. نتایج پژوهش نشان داد که اشعار سهراب سپهری دارای هشت مؤلفۀ اصلی با عناوین خداباوری، خودسازی، نیک&zwnj;اندیشی، نیکسخنی، نیک&zwnj;رفتاری، زیستن با طبیعت، رفتار احترام&zwnj;آمیز با طبیعت، بیزاری از عصر ماشینی و 27 مؤلفۀ فرعی است که ذیل سه قلمرو اصلی صلح با خود، صلح با دیگران و صلح با طبیعت قرار می&zwnj;گیرد.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-10302272202511Sociological analysis of the novel Cloudy Years based on Erich Kähler's theoryتحليل جامعه‌شناختي رمان «سال‌های ابري» بر پایة نظريۀ «اريش كوهلر»187209faاکبرشاملواستادیار گروه زبان و ادبیات فارسی، دانشگاه پيام‌نور، ایران 0009-0005-9256-2362یحییعطائیاستادیار گروه زبان و ادبیات فارسی، دانشگاه پيام‌نور، ایران 0000-0002-3173-4790فاطمهزمانیاندانش آموخته کارشناسی ارشد ادبیات فارسی، دانشگاه پیام‌نور، ایران00000002317347920231031The purpose of this research is a sociological analysis of the novel "Cloudy Years" based on the theory of "Erich Kähler". This novel is about the author's life and community experiences. Using the descriptive-analytical method, we have analyzed the novel to explain the lower social classes, including the social and political situation of the society of that period, which is comparable to the Pahlavi government. This work shows the bad economic situation, the beginning of industrialization, and the growth of the bourgeoisie and changes without context. Darvishian believes that the source of social unrest is the growth of capitalism, and the economic system is the cause of poverty and corruption. The content of the novel is poverty, unemployment, poor health status, death, family disputes, hard work of children and women, class conflict, belief in superstitions, and determinism. According to Kähler 's theory, the creation of any literary genre takes from the realities of the writer's time and follows four basic variables: The historical situation, the writer's belonging to a class, the writer's personality and cultural upbringing, and the writer's special literary genre. Therefore, in the sociological analysis of this novel based on these variables, we first explained the meaning of each variable and finally extracted and analyzed some of the most important indicators of the novel.   Keywords: Sociological analysis, Novel, Cloudy Years, Ali Ashraf Darvishian, Erish Kähler. Introduction In this article, the novel “Cloudy Years” by Ali-Ashraf Darvishian is analyzed from a sociological perspective using Erich Kohler’s theory. This study focuses on the content of the work and the author’s viewpoint rather than merely its literary structure. The novel “Cloudy Years,” one of the prominent works in contemporary Persian literature, provides a critical depiction of the social, economic, political, and cultural situation in Iran during the second Pahlavi era. To achieve a clearer understanding of this novel and the author’s perspective, it is analyzed concerning the four main factors of Kohler’s theory, which include historical conditions, the author’s class consciousness, cultural upbringing, and the chosen literary type. The novel, structured as a four-volume narrative, reflects the personal experiences of the author, critiquing poverty, injustice, and oppression in society. This novel employs a simple and fluent language that blends local dialect and formal Persian, focusing on issues such as poverty, unemployment, poor health conditions, and child and women labor. In the section on historical conditions, the author describes the social, economic, and political conditions of that era, emphasizing the impact of these factors on characters and events. One of the most significant aspects of the novel is its impactful descriptions of poverty and unemployment in society. Poverty serves as a central theme for many characters and events in the story, and the author utilizes specific phrases and words to illustrate the depth of poverty. Unemployment is portrayed as a pervasive problem affecting workers and families, and its negative impact on their livelihoods is depicted. Additionally, the inadequate health conditions of society and the prevalence of various diseases among the population are other subjects of the author’s concern. Women and children also work under harsh and exhausting conditions, often facing numerous challenges to meet their basic needs and those of their families. Ultimately, this novel presents a realistic and critical image of society during that period, exploring various dimensions of social and economic problems in depth. This article analyzes the social, cultural, and political conditions of that era as derived from the author’s observations. The main axes include economic problems, class conflict, superstitions, and popular beliefs, and the impact of these factors on people’s lives, particularly workers and the underprivileged. Social Conditions Poverty and Deprivation One of the most important themes depicted in the novel is economic poverty and the inability of people to meet their basic life needs. The characters in the story often live in harsh and unfavorable conditions, and the author illustrates these realities, conveying the ugliness and bitterness of poverty. This poverty has destructive effects on people’s lives, including the inability to access adequate treatment, leading to numerous deaths in the narrative. For example, the death of Sediqe, Narges-Khanom’s daughter, due to a lack of healthcare facilities, is one such instance. Excessive Imports of Foreign Goods The author refers to the excessive import of foreign goods, which has led to the closure of local businesses and increased pressure on the working class and the underprivileged. In this context, businesses like Baba-Safdar’s Glassmaking also feel the impact, resulting in their closure. Class Conflict The novel addresses the conflict between social classes, particularly the underprivileged and the wealthy, illustrating this through descriptions of the unjust behaviors of capitalists and their exploitation of workers. The wealth of capitalists is often acquired through unethical and unjust means; for example, Haji Motazed has become wealthy through the exploitation of animals. Strict School Regulations and Low Educational Coverage Rate The novel refers to the strict regulations that exist in schools and the low educational coverage rate among students. These regulations have led to an increase in dropout rates and a rise in illiteracy in society. Cultural Conditions Popular Beliefs and Superstitions Superstitions play a significant role in the story, and the author elaborately depicts the popular beliefs among people who believe in mythical creatures like “Al” and “Jinn.” People justify many events in their lives through superstitions. For instance, a Jew exploits the superstitions of Sharif’s father and deceives him into leaving his house. Mixing Religion with Superstitions One of the important issues raised by the author is the mixing of religion with superstitions. Due to ignorance and a lack of deep understanding of religion, people turn to superstitious beliefs and trust those who write charms. Examples of this theme can be seen in the behaviors of Bibi and her beliefs regarding religious sanctities. Determinism and Belief in Fate Determinism and the belief in fate is another topic addressed in the novel. Many characters attribute all their problems to destiny and fate instead of striving to change their circumstances. This mindset serves as a justification for their poverty and deprivation, as illustrated in the story of Nazka’s marriage to Cheshmeh, which stems from determinism. Kindness, Generosity, and Empathy Despite poverty and difficulties, the author highlights certain human and ethical values such as kindness and generosity among the characters. These individuals, even amidst economic hardships, strive to assist others, as demonstrated by Bibi’s act of giving soup to the poor.   Political Conditions Political Struggles The novel is set against the backdrop of Mohammad Reza Shah’s rule and is profoundly influenced by the political conditions of that era. The narrative addresses the political struggles of various groups opposing the Pahlavi government, discussing political oppression, the suppression of dissenters, and the effects of this situation on people’s lives. Sharif, the main character of the story, becomes acquainted with political circles and eventually joins the Tudeh Party. Throughout his struggles, he associates with various individuals like Daei Salim, Akbar Agha, and Agha Morteza, ultimately facing imprisonment multiple times due to his political activities. Sharif’s Activities Sharif engages in teaching at a school and encounters local lords such as Jahangir Khan and Ekram Khan, who govern people with oppression and tyranny. Due to his resistance against oppression, he faces threats and harassment multiple times. Ultimately, Sharif endures severe torture in the prisons of the Pahlavi regime but continues to fight. He even contemplates suicide but, recalling the sufferings of the people dismisses this thought and continues his struggle. After eleven years in prison, he was finally released during the surge of popular movements in 1979.   The Author’s Class Affiliation and Class Consciousness The author, Ali-Ashraf Darvishian, hails from the working class and has written “Cloudy Years” with a focus on the issues and problems faced by the working class. By accurately portraying the daily lives of workers and the underprivileged, he illustrates their worldviews and struggles. Drawing from his personal experiences, Darvishian reflects on the struggles of the working class and intellectuals within this novel, highlighting their roles in social and political transformations. Class Consciousness The author clearly illustrates how class consciousness develops among the characters in the story, particularly Sharif, and how this awareness leads to political and social struggles. Sharif, who originates from the working class, gradually transforms into an intellectual and, alongside other socialist fighters, confronts oppression and tyranny.   The Character and Cultural Development of the Author Darvishian was born into a poor working-class family and has been familiar with the poverty and struggles of the lower classes since childhood. These experiences led him to gravitate toward writing and political and social activism. His acquaintance with individuals like Jalal Al-e Ahmad and Samad Behrangi significantly influenced his thoughts and activities. By focusing on leftist and socialist themes in his stories, Darvishian addresses the issues and problems of the lower classes and plays an important role in reflecting their struggles in Iranian literature.   Conclusion The novel “Cloudy Years” provides a profound reflection of the social, cultural, and political conditions during the Pahlavi era. The author, by focusing on the lives of workers and the lower classes, analyzes social and class conflicts, depicting their impacts on people’s lives. This study first examined the criteria of Erich Kohler and the associated indicators. The simple, friendly, and conversational tone in Darvishian’s works does not adhere to conventional narrative techniques. His primary goal is to reflect the suffering and hopes of oppressed people, prioritizing social and political issues in society, such as poverty, illiteracy, ignorance, and superstitions. This novel portrays the struggle between tradition and modernity within the historical, social, and political context of Kermanshah in the 1930s and 1940s. Darvishian has protested against censorship, believing that an author must stand freely against injustice and corruption as the awakened conscience of society. He dreams of a society free from social issues. Due to its rich content, this novel is capable of analysis through various human science approaches such as psychology, anthropology, and political science, and can be studied interdisciplinary.   References Aliakbari, Nasreen and Kouchian, Tahereh (2017) Cloudy years in a new perspective (autobiography-novel). Journal of Mashhad University of Literature and Human Sciences, No. 159, pp. 193-218. Darvishian, Ali Ashraf (2008) Cloudy Years. Tehran: Cheshme. Farzad, Abdul Hossein and Pejmanfar, Saba (2008) Sociological criticism of the novel Cloudy Years by Ali Ashraf Darvishian. Persian Language and Literature Quarterly, No. 4, pp. 137-170. Farzad, Abdul Hossein (2018) About literary criticism. Tehran: Ghatreh. Ghafari Jahid, Maryam (2017) Passing over cloudy years. Fiction Magazine, No. 109, pp. 96-104. ---------------------------- (2017) A look at the novel Cloudy Years by Ali Ashraf Darvishian. Monthly book of literature, year 1, number 11, page 48. Ghorbani, Khavar and Kochkian, Tahereh (2008) Social reflection and socialist realism in the cloudy years of Ali Ashraf Darvishian. Tabriz Faculty of Literature and Human Sciences Journal of Persian Language and Literature, No. 220, pp. 85-105. Goldman, Lucien, and others (2017) An introduction to the sociology of literature: a collection of essays. Translator and compiler: Mohammad Jaafar Povindeh. Tehran: Naqsh Jahan. Gould, Julius and L. Kolb, William (2017) A dictionary of Social science. Tehran: Maziar. Iranzadeh, Nematullah and Sepehvand, Tahereh (2008) "Analysis of the style of the novel Cloudy Years by Ali Ashraf Darvishian" Journal of Culture and Literature, Volume 4, Number 6, pp. 51-77. Jafari, Mohammad Taghi (2008) The follower culture is the leading culture. Tehran: Allameh Jafari Works Editing and Publishing Institute. Khalili Jahantigh, Maryam and Usmani, Makiyeh (2011) "Sociological criticism of the novel Cloudy Years by Ali Ashraf Darvishian" Fiction Literature Quarterly, Year 1, Issue 1, pp. 113-132. Khashi, Samira (2018) Popular culture in the novel Cloudy Years written by Ali Ashraf Darvishian. Master's thesis in Persian language and literature, University of Sistan and Baluchistan. Kouchian, Tahereh (2008) Examination of the aesthetic elements (literary composition) of the two novels of Cloudy Years and Shohar Ahokhanam. Peyk-e Noor specialized journal of Persian language and literature, 1st year, 1st issue, pp. 123-160. Mollahosseini, Mohammad (2011) Biography: Ali Ashraf Darvishian (1320-1396), Hamshahri online: 1st of March. Osmani, Mecca (2011) Investigation of political-social sociology of the novel "Cloudy Years". Master's thesis in Persian language and literature, University of Sistan and Baluchistan. Outhwit, William and Bottommore, Thomas (2019) Dictionary of social sciences in the 20th century. Translated by Hasan Chavoshian. Tehran: Ney. Shamisa, Cyrus (2017) Literary criticism. Tehran: Ferdaws. Shukripour, Mukhtar (2016) "An unpublished interview with Ali Ashraf Darvishian: I clothed reality with fiction" Iran Daily: 13th of November. Shokohi Shuli, Mezhgan (2021) A comparative study of social realism "In Search of Bread" by Maxim Gorky and "Cloudy Years" by Al-Ashraf Darvishian Master's Thesis of Persian Language and Literature, supervisor: Seyyed Mohotsham Mohammadi. Salman Farsi University of Kazeroon. Surghali, Mansoura (2012) Characterization in the novel Cloudy Years by Ali Ashraf Darvishian. Master's thesis in Persian language and literature, Payam Noor University, Shiraz. Yakuti, Mansour (Golbakhi) (1980) A review of the works of Dervishes. Tehran: Kar.    پژوهش حاضر با هدف تحلیل جامعه&zwnj;شناختی رمان «سال&zwnj;های ابری» نوشتة علی&zwnj;اشرف درویشیان بر پایة نظریۀ «اریش کوهلر» انجام گرفته است. این رمان، تجربهها و شواهد عینی زندگی و جامعة نویسنده است. در این مقاله با روش توصیفی- تحلیلی، رمان را در جهت ترسیم چهرۀ طبقات اجتماعیِ فرودست از جمله وضعیت اجتماعی و سیاسی جامعۀ آن دوره که مقارن با حکومت پهلوی است، تحلیل کردهایم. این اثر نمودار وضع نابسامان اقتصاد، تغییر ابزار تولید و آغاز صنعتی &zwnj;شدنِ جامعه و رشد بورژوازي و تحولات بدون پیش&zwnj;ساختار است. درویشیان، منشأ نابسامانی&zwnj;هاي اجتماعی را رشد سرمایه&zwnj;داري و نظامِ اقتصاديِ می&zwnj;داند که از عوامل اصلی فقر و فساد در جامعه هستند. محتوای رمان، فقر و پیامدهای آن مانند بیکاری، وضعیت نامناسب بهداشتی، افزایش مرگومیر، اختلافات خانوادگی، کار سخت کودکان و زنان، تضاد طبقاتی، نرخ پایین پوشش تحصیلی، باورهای خرافی و آمیختن مذهب با خرافات، جبرگرایی و اعتقاد به سرنوشت و... است. بنا بر نظریۀ کوهلر، آفرینش هر يك از انواع ادبي برخاسته از واقعيت&zwnj;های دوران زندگي نويسنده و تابع چهار متغیر و عامل اساسي است: اوضاع و احوال تاريخي، تعلق نويسنده به يك طبقه، شخصيت و پرورش فرهنگي نويسنده و نوع ادبي برگزيدة نويسنده. بنابراین بر مبنای این متغیرها و با استفاده از مدل تحلیلی نخست، منظور از هر متغیر و عامل تشریح و سپس عناوین فرعیِ احتمالی و شاخص&zwnj;های آن مطرح و در نهایت برخی از مهم&zwnj;ترین مصادیق آن شاخص&zwnj;ها از رمان استخراج و تحلیل شده است.

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