مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-10302378202623A Study of the Lineage and Position of “Khatib Qazvini” in the History of the Development of Rhetorical Sciencesبررسی و تحلیل نسب و جایگاه «خطیب قزوینی» در تاریخ تطوّر علوم بلاغی125faناهیدطهرانی ثابتاستادیار گروه آموزش زبان و ادب فارسی، دانشگاه فرهنگیان، تهران، ایران 00090009671041902025723in the History of the Development of Rhetorical Sciences   Nahid Tehrani Sabet<a href="#_ftn1" name="_ftnref1">*</a>   Iranians have played an important role in the development of sciences within Islamic civilization, especially in the formation of the rhetorical sciences. Their mastery in this field was so remarkable that Shawqi Ḍayf spoke explicitly about it. This may be one of the reasons why some of them were attributed to Arab lineage. Al-Khatīb al-Qazvīnī, a prominent scholar of rhetoric in the 7th and 8th centuries AH, is one such figure. Ahmad Maṭlūb believes that he laid the foundations of Arabic rhetoric, and—according to most Arabic sources—associates him with “Abū Dulaf al-ʿIjlī,” emphasizing his Arab origin. The purpose of this article is to examine the accuracy and validity of these claims and the context in which they emerged, based on Arabic and Persian sources and through a documentary research method.   Keywords: Khatib Qazvini, history of rhetoric, nationality, Iranians, Islamic civilization.   Introduction Rhetoric has attracted attention since the time of Plato and Aristotle, and after the advent of Islam, Muslims paid even greater attention to it because it helped explain the miraculous nature of the Holy Qur’an. In this context, the role of Iranians in developing the rhetorical sciences is remarkable, both in the creation of literary works in poetry and prose, and in the field of literary scholarship. The four stages in the evolution of rhetorical sciences in the Arabic language—emergence, growth, flourishing, and stagnation—are well known. Beginning in the second period, the early Abbasid era (132–232 AH), rhetorical considerations expanded significantly. The role of Iranians during this period is notable because the second century witnessed major developments following a political revolution: the Umayyad government in Syria collapsed, and the descendants of Abbas, the uncle of the Prophet (PBUH), came to power. From that point onward, the foundations of the Abbasid state rested largely on the support of Iranians and the Shuʿubiyyah movement in general. Iranians penetrated all aspects of governance, and the capital was moved from Damascus to Baghdad, on the border with Iran and near the city of Mada’in, the former capital of the Sasanian Empire. After that, innovation and the adoption of the best elements found in non-Arab civilizations became a common practice. Shawqi Ḍayf considers the most important reason for the expansion of rhetorical discussions in the early Abbasid era to be the evolution of poetry and prose, along with the growth of intellectual and urban life. According to him, this transformation was the result of the widespread presence of mawālī and Iranians who had mastered the Arabic language and entered the field of literature with great skill. Their presence enabled Arabic poetry to break free from the dryness and limited themes of Bedouin life and to incorporate precise meanings, philosophical reflections, reasoning, analogies, and allegorical expressions. As a result, themes related to Iranian culture and life entered the poetry of the second and third centuries AH. Among the influential Iranian poets of that time, Bashshār ibn Burd (the pioneer of modern poetry), Abū Nuwās, and Abū al-ʿAtāhiyah played prominent roles. Ibn al-Muʿtazz wrote al-Badīʿ in response to these Abbasid poets in order to show that they were not superior to the ancient poets in rhetorical innovations (badī). This was because the Shuʿūbiyyah held the view that rhetorical ornaments (badīʿ) were introduced into Arabic poetry by Iranian poets. In prose, Ibn al-Muqaffaʿ—who was Iranian—established the new Abbasid prose style (known as the muwallad style). Other major scholars such as Abū ʿUbaydah Maʿmar ibn al-Muthannā, Ibn Qutaybah al-Dīnawarī, Abū Hilāl al-ʿAskarī, Abū al-Ḥasan ʿAlī ibn ʿAbd al-ʿAzīz al-Jurjānī, as well as ʿAbd al-Qāhir al-Jurjānī, Qāḍī Abū al-Ḥasan ʿAbd al-Jabbār al-Muʿtazilī (al-Hamadanī al-Asadābādī), Jar Allāh al-Zamakhsharī, Fakhr al-Dīn al-Rāzī, al-Sakkākī, and Saʿd al-Dīn al-Taftāzānī—who were all followers of ʿAbd al-Qāhir—were likewise of Iranian origin.   Discussion Khatīb al-Qazwīnī was a judge and scholar of the 7th and 8th centuries AH. Some biographers have referred to him as Dhu al-Funūn and ʿAllāmah. Before the age of twenty, he was appointed as a judge in Anatolia under the Rum (Byzantine) Empire. He later traveled to Syria, and after mastering the principles of maʿānī, bayān, and the techniques of Arabic rhetoric, he became the preacher (khaṭīb) of the Jāmiʿ Mosque of Damascus. He was then promoted to the position of judge in the Levant. After some time, he was appointed judge of that region by King al-Nāṣir Ayyūbī of Egypt, and eventually he assumed the judiciary of the entire Levant. Ibn Kathīr (701–774 AH) writes in al-Bidāyah wa al-Nihāyah about Khatīb al-Qazwīnī and his brother that “they entered Damascus from their homeland during the Tatar era,” but he does not mention any connection to Abū Dulaf al-ʿIjlī. According to The Dictionary of Notable Figures of Qazvin, the family of Khatīb al-Qazwīnī originally resided in Tabriz, having migrated there from Qazvin due to the insecurity caused by the Ismaili uprisings and later the Mongol invasion. Arabic sources report that Khatīb al-Qazwīnī was born in Mosul in 666 AH, while his brother was born in Tabriz. There is no disagreement that his family was from Qazvin, for all sources consistently maintain the title “al-Qazwīnī.” Shawqi Ḍayf writes that the title “al-Qazwīnī” is due to the fact that some of his ancestors lived in Qazvin. However, like Ahmad Maṭlūb, he considers Khatīb al-Qazwīnī to be of genuine Arab origin, tracing his lineage back to Abū Dulaf al-ʿIjlī, the general of al-Maʾmūn. Safadī (696–764 AH), who was his contemporary, also writes: “He is attributed to Abū Dulaf al-ʿIjlī.” For Iranians, despite the presence of figures such as Abū Muslim, the Barmakids, the Sahl family, and others, the idea that the Abbasid movement was purely an Arab movement is unacceptable. Likewise, even with the involvement of religious Mazdakite missionaries such as Khaddāsh, the Abbasid movement cannot be regarded as a purely Islamic one.However, contemporary Arabist scholarship offers a different interpretation of the Abbasid movement, the most detailed of which appears in Dr. Faruq ʿUmar’s book Studies on Abbasid History. He argues that the early Orientalists became acquainted with the history of the East and Islam only by coincidence, and that their incomplete familiarity with the language and sources—combined with certain preconceived assumptions—prevented them from reaching an accurate understanding. For example, the Orientalist Flotten, influenced by the nationalist spirit that dominated Europe at the time, especially Germany, offered a racial interpretation of the Abbasid revolution and considered it an Iranian rebellion against Arab rule.Newly discovered manuscripts, however—such as Akhbār al-ʿAbbās wa Waladih, whose author was a loyalist of the Abbasids and whose narratives apparently rely on secret documents—demonstrate how Hamza al-Isfahani and al-Dīnawarī exaggerated the role of Abū Muslim.According to Faruq ʿUmar, the Abbasid movement was actually an uprising led by Arabs living in Khurasan—specifically, the mujāhidīn of the Turkestan frontier and local governors—against the Umayyad government. It was not an ethnic Iranian movement; rather, it was supported by both Arabs and Iranians who held an understanding of Islam different from that of the Umayyads. He further argues that if some of the insurgents appear to have Iranian origins, it is because they were Arabs who had settled in Iran and were known by the names of Iranian cities—leading historians to mistakenly classify them as non-Arabs. In contrast, Zakāwati Qārqazlū believes that behind all major spiritual and cultural movements—such as Shiʿism (Zaidi, Ismaili, Imami), Sufism, philosophy, mysticism, literature, and science—there were predominantly Iranians. A high proportion of great Islamic philosophers, mystics, and scientists were Iranian. Likewise, prominent narrators, principal Shiʿite authors, and a number of the most influential writers and poets in Arabic, from ʿAbdul-Ḥamīd Kāṭib, Badiʿ al-Zamān, and Ibn al-Muqaffaʿ to Bashār, Abū Nuwās, and Abū al-ʿAtāhiya, were also Iranian. The Fatimid administration in Egypt, along with its civilization and culture, was significantly influenced by Iranians. Even the Muʿtazilite movement gained power and legitimacy through al-Maʾmūn, who was born to an Iranian mother and his Iranian advisors. All of this demonstrates the influence of an inclusive popular movement. It was the Shuʿūbīs who recorded and organized Arabic syntax, grammar, vocabulary, meanings, expressions, prosody, rhyme, historical narratives, and dates; in other words, they collected and systematized these elements. By the seventh and eighth centuries AH, literary and rhetorical sciences had reached the stage of textbook compilation, summarizing, explaining, and expanding upon the works of predecessors. Khatīb al-Qazwīnī’s main reference in rhetorical sciences was Sakkākī’s Miftāḥ al-ʿUlūm, which quickly became an authoritative textbook. Khatīb al-Qazwīnī gained fame for his precise and clear summary of the third part of Sakkākī’s Miftāḥ al-ʿUlūm. In this work, he removed much of Sakkākī’s personal beliefs, disputed some of his views, replaced certain definitions with others, and enriched the text by incorporating insights from ʿAbd al-Qāhir Jūrjānī’s Dalāʾil al-ʿIjāz and Asrār al-Balāgha, as well as Zamakhsharī’s Kashshāf. Ideologically, Khatīb al-Qazwīnī was somewhat aligned with ʿAbd al-Qāhir Jūrjānī and occasionally diverged from Sakkākī’s positions. Shortly after him, successors arrived to explain his Talkhīṣ al-Miftāḥ, the most important commentator of which was Saʿd al-Dīn Maʿṣūd ibn ʿUmar Taftāzānī. Summarizing key texts (talkhīṣ al-miftāḥ) became a significant scholarly task, with numerous works published in this field. Subsequently, scholars had no alternative but to organize these summaries systematically   Conclusion In fact, many individuals traditionally attributed to Arab tribes were related only by lineage, not by blood. Meanwhile, people also adopted Arab genealogies to gain social and cultural advantages. Figures such as Hammad the narrator, Khalaf al-Aḥmar, and Saʿīf ibn ʿUmar, who composed pre-Islamic qasīdas with greater skill than the Arabs themselves and established narrators and chains of transmission, were certainly able to claim a credible Arab lineage. This discussion is relevant to Khatīb al-Qazwīnī as well. Among the Arabic sources discussing individual biographies, often one source is considered standard, with all others referring to it indirectly. Therefore, the multiplicity of sources does not guarantee the reliability of the information, since most rely on one or two original sources. In early sources contemporary to Khatīb al-Qazwīnī, it is usually mentioned with doubt that he was a descendant of Abū Dalf ʿIjlī, and no certainty is expressed. After all these years and given the nature of the sources, it seems impossible to definitively determine whether Khatīb al-Qazwīnī was a genuine Arab or Iranian, particularly as he spent most of his life in Arab lands. The widespread acceptance of "key extraction" (ikhtiyār al-miftāḥ) is another factor that may have influenced this ambiguity. Ahmad Maṭlūb regards Khatīb al-Qazwīnī as a principal figure in Arabic rhetoric, whereas Shawqī Ḍayf considers him to have lived during a period of dogmatism and stagnation in rhetoric, when innovation had ceased, and only teaching, explanation, and interpretation remained valid.The theory of meaning and rhetoric originates with ʿAbd al-Qāhir Jūrjānī, as well as with Zamakhsharī, and later with Sakkākī, who recognized the importance of these concepts from a logical perspective and systematically extracted and classified them through textual analysis.   References Ibn Hajar al-‘Asqalani, Ahmad ibn ‘Ali. (1993) Al-Durar al-Kamina fi A‘yan al-Mi’a al-Thamina. Beirut: Dar al-Jil. Al-Ayyubi, Yasin. (1425 AH) Al-Khatib al-Qazwini Jalal al-Din Muhammad ibn ‘Abd al-Rahman: His Life and His Book Talkhis al-Miftah. Al-Turath al-‘Arabi Journal, no. 96, pp. 167–189. Hamidi, Mohammad Reza. (1399 SH/ 2020) Mafakhir-e Qazvin (Notable Figures of Qazvin), Vol. 2. Qazvin: Taha Publishing. Khazaeli, Alireza. (1385 SH/ 2006) Introducing the Lost City of Karaj-e Abudolf Based on a Geographical Work by Mohammad Hasan Khan E'temad al-Saltaneh. Faculty of Literature and Humanities, University of Isfahan, Vol. 2, Nos. 40–45, pp. 71–87. Al-Khatib al-Qazwini, Muhammad ibn ‘Abd al-Rahman. (2010) Al-Idah fi ‘Ulum al-Balagha: al-Ma‘ani, al-Bayan wa-l-Badi‘. Beirut: Dar al-Kutub al- ‘Ilmiyya. Zekavati-Qaragozlu, Alireza. (1380 SH/ 2001) Al-Jahiz. Tehran: Tarh-e No Publishing. Safa, Zabihollah. (1369 SH/ 1990) A History of Persian Literature in Iran, Vol. 3, Part 1. Tehran: Ferdows Publishing. Al-Safadi, Khalil ibn Aybak. (2000) Al-Wafi bi-l-Wafayat. Beirut: Dar Ihya’ al-Turath al-‘Arabi. Daif, Shawqi. (1383 SH/ 2004) The History and Development of the Sciences of Rhetoric. Tehran: SAMT Publications. ‘Umar, Faruq. (1977) Studies in Abbasid History. Beirut: Dar al- ‘Ilm. Fakhruri, Hanna. (1388 SH/ 2009) History of Arabic Literature. Translated by ‘Abd-al-Mohammad Ayati. Tehran: Toos Publishing. Ghorbani-Zarrin, Baqer. (1401 SH/ 2022) Al-Khatib al-Qazwini. In Encyclopaedia of the Islamic World, Vol. 15 (Khaneh–Khil‘at), Tehran, pp. 739–743. Matlub, Ahmad. (1967) Al-Qazwini wa Shuruh al-Talkhis. Baghdad: Maktabat al-Nahda.   <a href="#_ftnref1" name="_ftn1">*</a> Assistant Professor, Department of Persian Language and Literature, Farhangian University, Tehran, Iran. tehranisabet@yahoo.com 0009-0009-6710-4190نقش ایرانیان در پیشبرد تمدن اسلامی بر کسی پوشیده نیست. در تکوین علوم بلاغی نیز ایرانیان، نقش اساسی داشته&zwnj;اند؛ هرچند در پردة اسامی و گاه انساب عربی، ملیّت آنان فراموش شده است. «خطیب قزوینی» از جمله کسانی است که با دو اثر مهم خود یعنی «تلخیص&zwnj;المفتاح» و «الایضاح» مورد توجه بسیار قرار گرفته است و علی&zwnj;رغم داشتن نسبتی عجمی، او را یک عرب اصیل دانسته&zwnj;اند. احمد مطلوب معتقد است که وی پایه&zwnj;های بلاغت عربی را بنا نهاده و مطابق با اغلب منابع عربی، وی را منسوب به «ابودلف عجلی» می&zwnj;داند و بر اصالت عربی او تأکید می&zwnj;کند. نحوۀ استدلال وی، این سؤال را به ذهن می&zwnj;رساند که چقدر این موضوع معتبر است. بر این اساس هدف این مقاله، بررسی صحت و سقم این مطلب و زمینه&zwnj;های پیدایش آن است که با مراجعه به منابع عربی و فارسی و با روش اسنادی صورت گرفته است. نتایج این بررسی نشان می&zwnj;دهد که هرچند اثبات نسب اشخاص بعد از قرن&zwnj;ها و ذکر آن در منابع، کار ممکنی نیست، حضور شگفت&zwnj;انگیز ایرانیان در تدوین علوم مختلف عربی به&zwnj;ویژه علوم بلاغی و تسلط بی&zwnj;نظیرشان بر زبان عربی در دورة عباسی و وجود جریان&zwnj;های شعوبی و ضد شعوبی و نیز اندیشه&zwnj;های عرب&zwnj;گرایانة معاصر، این فکر را تقویت می&zwnj;کند که شاید انتساب خطیب قزوینی به دلیل آنکه بیشتر عمر خود را در دمشق و شام گذرانده و مولد او را اغلب منابع شهر موصل دانسته&zwnj;اند و نیز تسلط او بر زبان عربی و دیگر محاسنش، از مقولة انتساباتی باشد که قابل&zwnj;اثبات نیست.

http://literature.ihss.ac.ir/fa/Article/Download/51361

مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-10302378202623With Special Re A Typological Study of Symbolic Debate ference to Ferdowsi’s Shahnameh and Nezami’s Khamsaواکاوی گونه‌شناختی مناظرة نمادین با تأکید بر شاهنامه فردوسی و خمسة نظامی گنجوی2753faسعیدکریمی قره‌بابادانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و زبان خارجی، دانشگاه پیام نور، تهران، ایران حسنحیدرزاده سردروداستادیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و زبان خارجی، دانشگاه پیام نور، تهران، ایران0000-0001-9977-79682025320With Special Re A Typological Study  of Symbolic Debate ference to Ferdowsi’s Shahnameh and Nezami’s Khamsa   <a href="https://liar.ui.ac.ir/?_action=article&au=211472&_au=Saeed++Karimi+Gare+Baba&lang=en">Saeed Karimi qare Baba</a><a href="#_ftn1" name="_ftnref1">*</a> Hasan Heidarzadeh Sardarud<a href="#_ftn2" name="_ftnref2">**</a> Debate is a type of literature in which a conversation is established between two parties, each trying to demonstrate their virtues and superiority. At the end of the debate, one party is persuaded and defeated, while the other claims victory. However, debate has its flaws, and symbolic debate is one of them. This article, conducted through a descriptive method and content analysis, aims to answer the question: What is symbolic debate? And how does it differ from conventional debates? And also what is its nature, structure, and function in two significant works of Persian literature, namely Ferdowsi's Shahnameh and Nizami's Khamsa? In this research, it becomes evident that in symbolic debate, the two parties use symbolic objects in addition to words, driven by various motivations. The primary evidence for this type of debate can be found in Shahnameh (Alexander's conversation with the Indian philosopher Kid) and Khamsa Nizami (the story of the Red Dome). In this form of debate, one party designs a series of symbols for the other to decipher, engaging in a back-and-forth exchange that may occur up to four times. Nizami also employs symbolic debate in Iskandarnameh. These debates are present in legends, historical narratives, and contemporary stories, blending elements of epic, symbolic, and enigmatic genres for rhetorical purposes such as visualization, emphasis, intelligence testing, and conversation softening.  Keywords: Symbolic Debate, Khamsa, Nizami Ganjavi, Shahnameh, literary genre. Introduction Debate is one of the most ancient and influential literary modes employed to represent intellectual, ethical, and ideological confrontation in Persian literature. Beyond its argumentative function, debate operates as a powerful narrative and rhetorical device that enlivens the text, deepens meaning, and actively engages the reader in the process of judgment and interpretation. From didactic and moral debates to epic, lyrical, and allegorical forms, this mode has played a crucial role in shaping the dialogic structure of classical Persian literature. However, literary debate in Persian texts does not adhere to a single fixed or homogeneous form. Over time, it has undergone significant transformations and has frequently merged with other literary genres, giving rise to hybrid and less-studied forms. One such form is symbolic debate, a mode of dialogue in which verbal argumentation is replaced or supplemented by symbolic acts, objects, or signs that convey meaning indirectly. In symbolic debate, meaning is not articulated openly but encoded in symbols that require interpretation and intellectual discernment by the opposing party. Although symbolic debate shows affinities with riddles and enigmas, it surpasses them in both scope and function. Its primary aim is not mere intellectual entertainment but the examination of wisdom, moral worth, political legitimacy, or spiritual insight. By employing symbolic mediation, this form allows authors to soften confrontation and transform conflict into a refined and multilayered exchange. For this reason, major Persian poets such as Ferdowsi and Nezami Ganjavi have consciously employed symbolic debate to enrich epic and narrative discourse. Despite its notable presence in classical texts, symbolic debate has rarely been examined as an independent literary genre. Previous studies have either mentioned it briefly or subsumed it under broader categories such as riddles, allegory, or question-and-answer structures. As a result, its typological characteristics, narrative mechanisms, and rhetorical functions have remained insufficiently explored. The present study aims to fill this scholarly gap by offering a systematic typological analysis of symbolic debate in Persian literature, with a particular focus on Shahnameh and Khamsa.   Discussion Nature and Characteristics of Symbolic Debate Symbolic debate is a dialogic form in which conventional verbal discourse is replaced or augmented by symbolic actions or objects. Ordinary items such as bowls, jewels, garments, or ritual gestures acquire communicative significance and function as vehicles of meaning within the narrative context. Symbols in symbolic debate are not decorative but operative; they structure the exchange and determine its outcome. A defining feature of symbolic debate is the active role of interpretation. The addressee must decode the symbolic message correctly, and success or failure in interpretation carries narrative, ethical, or political consequences. This interpretive demand distinguishes symbolic debate from riddles, where incorrect answers typically have limited implications. In symbolic debate, understanding becomes a test of intellect, wisdom, and legitimacy.   Symbolic Debate in Shahnameh While direct verbal debates dominate Shahnameh, Ferdowsi also presents sophisticated examples of symbolic debate. The most prominent instance is the multilayered exchange between Alexander and the Indian philosopher Kid. Here, the philosopher presents symbolic puzzles that test not only Alexander’s intelligence but also his moral insight and spiritual readiness. Alexander’s responses demonstrate his transformation from a conquering hero into a reflective and wise ruler. Another significant example is the symbolic episode involving Khosrow Parviz, who resolves objections to his marriage with Shirin not through argument but through symbolic staging. Although the exchange is one-sided, it retains the core structure of symbolic debate and highlights Ferdowsi’s mastery in employing symbolic discourse to resolve narrative tension.   Symbolic Debate in Nezami’s Khamsa Nezami Ganjavi elevates symbolic debate to a level of exceptional sophistication. In the Eskandarnama, the symbolic exchange between Darius and Alexander—conducted through the sending of objects such as a ball and a polo mallet—constitutes a subtle contest of political authority and intellectual supremacy. At times, Nezami allows the same character to act simultaneously as the designer and interpreter of symbols, a technique he justifies through the notion of auspicious insight. Another notable example is the episode of Alexander and Nushaba, where bowls filled with jewels replace food, delivering a powerful critique of human greed and ambition without direct moralizing. The most intricate example of symbolic debate appears in the tale of the Red Pavilion in Haft Peykar, where a multi-stage symbolic exchange functions as a comprehensive trial of the hero’s wisdom, ethical integrity, and emotional maturity. The sequential use of symbols gradually unveils deeper layers of meaning, intertwining love, intellect, and ascetic restraint.   Findings and Conclusion The findings of this study demonstrate that symbolic debate constitutes a distinct and identifiable literary genre in Persian literature and can not be adequately explained as a mere subtype of riddles or enigmas. It is a hybrid form that integrates elements of epic narrative, symbolic representation, and enigma-based reasoning, serving multiple rhetorical and narrative functions. Symbolic debate may occur in either unilateral or bilateral forms, and in some cases, the roles of symbol designer and interpreter converge in a single character. The complexity and semantic richness of symbolic debate increase proportionally with the number of symbolic stages involved. Moreover, this genre exhibits deep roots in Iranian symbolic culture and appears not only in classical epic and romance but also in folklore, historical narratives, and even modern Persian fiction. Ultimately, the study argues that symbolic debate opens new avenues for genre studies in Persian literature and invites a more nuanced understanding of dialogic practices in classical texts. By favoring symbolic mediation over direct confrontation, this genre reflects a distinctly Iranian mode of intellectual exchange—one grounded in subtlety, interpretation, and wisdom—and offers a multilayered and enduring literary expression.     References Ahmadnejad, Kamel. (1990) An Analysis of Nizami Ganjavi’s Works. Tehran: Elmi. Asadi Tusi, Abunasr Ali ibn Ahmad. (1975) Garshaspnameh. Edited by Habib Yaghmaei (2nd ed.), Tehran: Tahouri. Bahrangi, Samad, & Dehghani, Behrouz. (2010) Azerbaijani Folktales. Tehran: Negah. Bastani Parizi, Mohammad Ebrahim. (2004) Ya‘qub‑e Leyth. Tehran: Elm. Bayani, Shirin. (1991) Religion and State in Iran during the Mongol Period (2nd ed.), Tehran: University Publication Center. Dad, Sima. (2006) Dictionary of Literary Terms (3rd ed.), Tehran: Morvarid. Elwell-Sutton, Laurence Paul. (1997) The Tales of Mashdi Golin Khanom: 110 Iranian Folk Stories (2nd ed.), Tehran: Markaz. Esmaeilzadeh Mobarakeh, Marziyeh, & Mohammadi Fesharaki, Mohsen. (2021) “A Comparison of the Effect of Dialogue on Narrative Action in Nizami’s Khosrow and Shirin and Layli and Majnun.” Journal of Lyric Literature, University of Sistan and Baluchestan, 19 (37), pp 37–58. Etesami, Parvin. (2002) Collected Poems. Edited by Hassan Ahmadi Givi (6th ed.), Tehran: Ghatreh. Fakhr al-Din As‘ad Gorgani. (n.d.) Vis and Ramin. Edited by Mojtaba Minovi. Tehran: Fakhr Razi Bookstore. Fallah, Gholam-Ali. (2008) “The Status of Debate as a Literary Technique in Ferdowsi’s Shahnameh.” Journal of Mystical Literature Studies, 2 (1), pp 151–164. Ferdowsi, Abolqasem. (1992) Shahnameh (Vol. 3), Edited by Jalal Khaleghi‑Motlagh. New York: Iran Heritage Foundation. Ferdowsi, Abolqasem. (1996) Shahnameh (Vol. 5), Edited by Jalal Khaleghi‑Motlagh. California: Mazda Publishers in cooperation with the Iran Heritage Foundation. Ferdowsi, Abolqasem. (2005) Shahnameh (Vol. 6), Edited by Jalal Khaleghi‑Motlagh & Mahmoud Omidsalar. New York: Iran Heritage Foundation. Ferdowsi, Abolqasem. (2007a) Shahnameh (Vol. 7), Edited by Jalal Khaleghi‑Motlagh & Abolfazl Khatibi. Tehran: Encyclopaedia Islamica Foundation. Ferdowsi, Abolqasem. (2007b) Shahnameh (Vol. 8), Edited by Jalal Khaleghi‑Motlagh. Tehran: Encyclopaedia Islamica Foundation. Forster, E. M. (1973) Aspects of the Novel. Translated by Ebrahim Younesi. Tehran: Amir Kabir. Forouzandeh, Masoud. (2013) “Narrative Chains, Elements, and Propositions in the Story of the Lady of the Fortress from Haft Peykar.” Journal of Lyric Literature, University of Sistan and Baluchestan, 11 (20), pp 197–216. Gary, Jane, & Al‑Shami, Hasan. (2023) Archetypes and Motifs in Folklore and Literature. Translated by Artemis & Afshin Rezaei‑Pour. Tehran: Agah. Golboo, Farideh. (2000) Haft Peykar: A Narrative Adaptation of Nizami Ganjavi’s Masnavi. Tehran: Roshangaran & Women’s Studies. Hasanzadeh, Farhad. (2019) Scorpions of the Bambak Ship (2nd ed.), Tehran: Ofogh. Ibn Abi al‑Barakat, Abd al‑Kafi. (1964) Eskandarnameh (Persian Version of Pseudo‑Callisthenes), Edited by Iraj Afshar. Tehran: Translation and Publication Bureau. Kashefi Sabzevari, Kamal al‑Din Hossein Va‘ez. (1990) Bada‘i‘ al‑Afkar fi Sana‘i‘ al‑Ash‘ar. Edited and paraphrased by Mir Jalal al‑Din Kazazi. Tehran: Markaz. Keyvani, Majd al‑Din. (2017) “Debate.” In Encyclopedia of Persian Language and Literature (Vol. 6), edited by Esmail Sa‘adat. Tehran: Academy of Persian Language and Literature. Khaleghi‑Motlagh, Jalal. (2002) Ancient Discourses: Thirty Essays on Ferdowsi and the Shahnameh. Edited by Ali Dehbashi. Tehran: Afkar. Molavi (Rumi), Jalal al-Din Mohammad. (1996) Masnavi‑ye Ma‘navi (Vol. 6), Tehran: Tous. Nezami, Elyas ibn Yusuf. (2022) The Khamsa of Nezami (Based on the Moscow–Baku Edition, 5th ed.), Tehran: Hermes. Nezam al‑Molk, Hasan ibn Ali. (2004) Siyasatnameh (Book of Government), Edited by Hubert Darke (7th ed.), Tehran: Elmi & Farhangi. Norouzi, Zeynab. (2009) “A Structural Analysis of the Debate between Khosrow and Farhad in Nizami’s Khosrow and Shirin.” Journal of Lyric Literature, University of Sistan and Baluchestan, 7 (12), pp 159–178. Rahmani, Rouhollah. (2023) Debate in Persian Literature. Tehran: Giva. Riazi, Heshmatollah. (2006) Stories and Messages of Nizami Ganjavi. Edited by Habibollah Pakgohar. Tehran: Haghighat. Rashid al‑Din Fazlollah Hamedani. (1940) Tarikh‑e Mobarak‑e Ghazani (The Story of Ghazan Khan), Edited by Karl Jahn. Hereford: Stephen Austin & Sons. Sarami, Ghodrat‑Ali. (1994) From the Color of the Flower to the Pain of the Thorn: A Morphology of Shahnameh Narratives (2nd ed.), Tehran: Elmi‑Farhangi. Sattari, Jalal. (1989) The Enchantment of Scheherazade: A Study of One Thousand Tales. Tehran: Tous. Sajjadi, Seyyed Ja‘far. (2000) Encyclopedic Dictionary of Islamic Knowledge (Vol. 3, 4th ed.), Tehran: Koumesh. Shamisa, Sirus. (1995) Literary Genres (3rd ed.), Tehran: Ferdows. Sarfi, Mohammad Reza, et al. (2008) “Literary Genres in Iran’s National Epics.” Gohar‑e Gooya, 2 (8), pp 1–30. Tafazzoli, Ahmad. (1999) History of Persian Literature before Islam. Edited by Zhaleh Amoozgar (3rd ed.), Tehran: Sokhan. The Thousand and One Nights. (2004) Translated by Abdollatif Tasouji Tabrizi (2 vols.), Tehran: Hermes. Zarrinkoub, Abdolhossein. (2010) The Sage of Ganja in Search of Utopia (8th ed.), Tehran: Sokhan.   <a href="#_ftnref1" name="_ftn1">*</a> Corresponding Author: Associate Professor, Department of Persian Language and Literature, Payam-e Noor University, Tehran, Iran. <a href="mailto:karimisaeed58@pnu.ac.ir">karimisaeed58@pnu.ac.ir</a> 0000-0002-6559-0262 <a href="#_ftnref2" name="_ftn2">**</a> Assistant Professor of Persian Language and Literature, Payam Noor University, Tehran, Iran. hasanheidarzadeh@pnu.ac.ir 0000-0001-9977-7968مناظره، یکی از انواع و شیوه&zwnj;های بیان ادبی است که در آن مکالمه&zwnj;ای میان دو طرف برقرار می&zwnj;شود و هر یک از طرفین در روندِ هم&zwnj;سخنی سعی می&zwnj;&zwnj;کنند تا فضیلت&zwnj;ها و برتری&zwnj;های خود را به رخ دیگری بکشند. در آخِر مناظره، یکی از دو طرف، مجاب و مغلوب می&zwnj;شود و پیروزی طرف دیگر اعلام می&zwnj;گردد. مناظره، اشکال و شقوقی دارد که مناظرة نمادین، یکی از آنهاست. این مقاله که به روش توصیفی و تحلیل محتوا انجام گرفته، به دنبال پاسخ&zwnj; دادن به این پرسش&zwnj;هاست که مناظرة نمادین چیست؟ چه تفاوت&zwnj;هایی با مناظره&zwnj;های متعارَف دارد؟ و همچنین ماهیت، ساختار و کارکرد آن در دو اثر شاخص ادبیات فارسی یعنی شاهنامه فردوسی و خمسه نظامی چگونه است؟ بر اساس این پژوهش مشخص می&zwnj;شود که در مناظرة نمادین، دو سوی گفت&zwnj;وگو با انگیزه&zwnj;های گوناگون به جایِ یا در کنارِ کلام، از اشیای نمادین بهره می&zwnj;گیرند. شاخص&zwnj;ترینِ شواهد برای این نوع مناظره را در شاهنامه (گفت&zwnj;وگوی اسکندر با فیلسوف کید هندی) و خمسه نظامی (قصة گنبد سرخ) می&zwnj;توان سراغ گرفت. در این مناظره، یکی از دو سوی مکالمه، سلسله نمادهایی را طراحی می&zwnj;کند تا جانب دیگر، آن سمبول&zwnj;ها را رمزگشایی کند. این گفت&zwnj;وگو ممکن است یک تا چهار بار صورت گیرد. نظامی دو بار دیگر هم در اسکندرنامه از مناظرة نمادین استفاده کرده است. این نوع مناظره&zwnj;ها به افسانه&zwnj;ها، روایات تاریخی و داستانی معاصر نیز راه یافته است. مناظرة نمادین، تلفیقی از انواعِ حماسه، سمبولیک و معمّاست و با اغراض بلاغی&zwnj;ای نظیر تصویری کردن و تأکید بر محتوایِ پیام، آزمون&zwnj;گری (سنجش بهرة هوش دو طرف) و ملایم&zwnj;سازی و تلطیف گفت&zwnj;وگو ساخته می&zwnj;شود.

http://literature.ihss.ac.ir/fa/Article/Download/49795

مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-10302378202623A Study of the Lineage and Position of “Khatib Qazvini” in the History of the Development of Rhetorical Sciencesمقایسۀ داستان عاشقانۀ «سیاوش و سودابه» و «شاهزاده و کنیزک»5577fa فاطمهکرامتیدانشجوی دکتری زبان و ادبیات فارسی، گرایش ادبیات حماسی، دانشکده ادبيات و علوم انساني، دانشگاه حکیم سبزواری، ایران احمدخواجه ایماستادیار گروه آموزشی زبان و ادبیات فارسی، دانشکده ادبيات و علوم انساني، دانشگاه حکیم سبزواری، ایران202499A Comparison of the Romantic Story Of “Siavash and Sudabeh” and “The Prince and the Maidservant”   Fatemeh Keramati<a href="#_ftn1" name="_ftnref1">*</a> Ahmad Khajehim<a href="#_ftn2" name="_ftnref2">**</a>   Forbidden love leads to tragedy. Two notable examples of this pattern are the story of Siavash and Sudabeh in Ferdowsi’s Shahnameh and the tale of the Prince and the Handmaiden in the Sindbad-nameh, which share common features in the essence of the story. This study has been conducted with the aim of comparatively examining the narrative structure, character elements, and ethical and social themes in these two narratives. The research method in this study is comparative analysis based on library sources and studies in comparative literature. The findings show that both narratives reflect a shared pattern of “forbidden love and the oppressed male hero,” a pattern rooted in mythological and moral archetypes of ancient societies and recreated in the Iranian narrative with local characteristics and an ethics-oriented worldview. These two stories, despite numerous similarities such as: the prophecy about the future of the main character at birth, the hero’s upbringing away from his family, his return to the palace after a period of training, his entry into the women’s quarters, the stepmother’s infatuation with the stepson, the hero’s chastity and his loyalty to his father, the false accusation made against him, the punishment of the hero despite his innocence, the proof of his innocence, the forgiveness of the guilty party and saving them from death, also have fundamental differences in the essence of the story and in the ultimate fate that befalls the hero at the end. These differences appear especially in the type of ending, the hero’s final social status, and the implicit message of the narrative, and they reflect different cultural and value-based perspectives underlying each narrative.   Keywords: Shahnameh, Sindbad-nameh, forbidden love, Siavash, prince.   Introduction Lyric literature is a manifestation of profound human emotions and a reflection of love in literature. Persian literature, too, has long been rich with love stories—works that sometimes celebrate love as a sublime mystical or human experience, and at other times depict illicit loves, giving it a tragic and cautionary dimension. The story of a stepmother’s love for her stepson presents a different perspective on love: an unwelcome and forbidden affection that neither warms the beloved nor brings pride to the lover. It is a love that begins in secrecy and concealment, but once revealed, it becomes a narrative of scandal and the onset of conflict. In most of these narratives, the stepmother calls the stepson to her romantic and carnal desires, but the stepson, loyal to his father and committed to moral principles, refuses her advances. Consequently, the stepmother, in order to preserve her honor and power, seeks revenge and schemes against him, while the stepson endures false accusations and undeserved punishments, seeking God’s help to prove his innocence. Even after his innocence is established, he becomes entangled in an unwanted fate, and the outcome of his story is shaped by the collective unconscious and cultural ethos, sometimes ending happily and sometimes tragically, and inauspiciously Discussion and Analysis The narrative of Siavash and Sudabeh in the Shahnameh and the story of The Prince and the Maiden in the Sindbadnameh are two prominent examples of the depiction of forbidden love in Persian literature. Both narratives portray the doomed love of a woman for her stepson, centered around the element of “accusation” and its tragic consequences, and they share notable similarities in terms of structure, main themes, and characteristics of the central characters, which include:   Prophecy after Birth Both the stories of Siavash and the Prince include a prophecy following the hero’s birth; however, the nature of the prophecy differs. For one hero, it predicts a bright and favorable future, while for the other, it foresees a bitter and troubled destiny.   Beauty of the Hero Having a beautiful and charming appearance is a common feature of both Siavash and the Prince. Throughout both stories, especially from birth to adulthood, their extraordinary beauty is repeatedly emphasized, which is one of the factors that attracts the stepmothers to these heroes.   Being Raised Away from the Father After Siavash’s birth, when astrologers predict an ominous fate for him, King Kavus entrusts him to Rostam to teach him the skills of courtly and martial life. Similarly, in the Sindbadnameh, the king, following the advice of philosophers, summons Sindbad and entrusts his son to him for education and upbringing.   Returning to the Father In the Shahnameh, after receiving the necessary training in combat and courtly manners from Rostam, Siavash longs to see his father and asks Rostam to take him to meet him. In the Sindbadnameh, after Sindbad has taught the Prince all that was necessary, he brings him to his father to demonstrate his worthiness.   Entering the Women’s Quarters In the story of Siavash, Sudabeh approaches the king and, under the pretext of choosing a bride for Siavash, requests that he be sent to the harem. Reluctantly, and under the king’s insistence, Siavash prepares to enter the women’s quarters. Similarly, in the Sindbadnameh, after the Prince returns to the palace, he must follow Sindbad’s advice and remain silent for seven days to ward off an ominous fate. Despite the king and ministers’ efforts, he maintains his silence, and they decide to send him to the harem in the hope that he might speak with the women.   Stepmother’s Love for the Hero The stepmother’s love for her stepson in both stories creates profound challenges within familial relationships. The presence of the female characters in each narrative is crucial, and they enter the story at similar points in relation to the male heroes.   Chastity and Rejecting Treacherous Love In the women’s quarters, Sudabeh prepares a private setting to seduce Siavash, but he remains chaste and does not betray his father and benefactor. Likewise, when the Prince enters the Maiden’s chamber, and she confesses her love, asking him to help poison the king and elevate her to the throne, he refuses and does not commit treachery against his father.   Accusation Against the Hero Both Sudabeh and the Maiden attempt throughout the story to escape the control of their men. They easily yield to their personal desires, and when thwarted, they accuse their stepsons of sexual assault.   Punishment Despite Innocence After being rejected, Sudabeh constantly incites the king against Siavash, leading King Kavus to send him to the fire—despite knowing he is innocent—so that if he is guilty, he will be punished, and if innocent, he will prove his innocence. Similarly, in the story of the Prince, after the Maiden accuses him before the king, although the ministers repeatedly assert his innocence, the king imprisons him and even contemplates executing him.   Proving Innocence After Sudabeh’s accusation, Siavash proves his innocence by undergoing the trial of fire . When he passes through the fire unharmed, his innocence and chastity are confirmed for all. Likewise, after the ominous week predicted by Sindbad ends, the Prince breaks his silence and recounts all that occurred with the Maiden to his father, thereby proving his innocence. The Maiden also confesses her wrongdoing, confirming the Prince’s innocence. Hero’s Forgiveness and Saving the Guilty Woman from Death After Siavash proves his innocence through the trial by fire, the king intends to punish Sudabeh, but Siavash intervenes and prevents her death. Similarly, after the Prince proves his innocence, when the ministers plot to punish the Maiden, he intervenes and saves her from death.   Conclusion The theme of a stepmother’s love for her stepson is a recurring motif in the literature of Iran and the world. Although these two stories differ in narrative details and endings, they exhibit notable similarities in terms of structure, main themes, and the characteristics of the central characters, which include: -The prophecy of each main character’s future after birth -The upbringing of both heroes away from their families -Returning to the palace after receiving education and training -Entering the women’s quarters -The stepmother’s love for the stepson (the hero) -The hero’s chastity and loyalty to his father -Accusation against the hero -Punishment despite innocence -Proof of the hero’s innocence -Forgiving the guilty party and saving them from death Despite these similarities, the endings of the two stories are completely different. In the Sindbadnameh, the Prince ascends the throne peacefully after his father’s death. In contrast, the story of Siavash has a tragic ending. To escape Sudabeh’s schemes, Siavash makes peace with Afrasiyab and goes to Turan. Ultimately, through Garsivaz’s conspiracy, Afrasiyab kills Siavash despite his innocence. Rostam then avenges him by splitting Sudabeh in two and killing her, and with the help of Kay Khosrow, Siavash’s son, Afrasiyab is defeated. This difference in the conclusions reflects the diverse mythological and cultural backgrounds of the two works, highlighting the variety of perspectives on justice, destiny, and loyalty in classical Iranian literature.   References Jamshidi, Zahra; Mohammadian, Abbas (2020) “New Findings on the Story of Siavash in the Course of the Kurdish Narrative of Almas Khan Kanduleh-i,” Pazhuhesh-nameh-ye Adab-e Hamasi, Year 16, No. 2, Serial No. 30, pp. 107–130.  Dabir-Siyaqi, Seyyed Mohammad (1999) The Story of Siavash (Stories of the Renowned Ancient Shahnameh of Ferdowsi), Tehran, Peyvand-e Mo‘aser. Rouzbeh, Mohammad Reza; Fariba Iyazi (2013) “A Comparative Study of the Patterns of Forbidden Love (Sudabeh and Siavash, Zuleikha and Joseph, Phaedra and Hippolytus),” Research Quarterly of Kavosh-nameh, Year 14, No. 26, pp. 175–200. Zandi-Zadeh, Hooman (2011) A Study of the Play Hippolytus and the Story of Siavash with a Comparative Mythological Approach, M.A. Thesis, Persian Literature, Dramatic Literature Orientation, Supervisor: Bahman Namvar Motlagh, Islamic Azad University, Central Unit, Faculty of Art.  Shamisa, Sirus (2015) Literary Genres, 5th ed., Tehran, Mitra.  Sadegh-Zadeh, Mahmoud; Karam-Panah, Mostafa (2020) “A Comparative Study of Joseph and Zuleikha from the Holy Qur’an and Siavash and Sudabeh from the Shahnameh,” Quarterly of Shahriar Studies, Year 7, No. 24, pp. 577–587.  Zahiri Samarqandi, Mohammad ibn Ali (2002) Sindbadnameh, edited by Mohammad-Baqer Kamal al-Dini, Tehran, Miras-e Maktub.  Ameli, Baha’ al-Din Mohammad ibn Hossein ibn Abdol-Samad (Sheikh Baha’i) (2000) Kashkul, edited by Azizollah Kasib, 6th ed., Tehran, Goli.  Faramarzi Fard, Saeedeh, et al. (2020) “Semiotics of the Concept of Love in the Poem Vis and Ramin Based on Daniel Chandler’s Code Theory,” Scientific Quarterly of Interpretation and Analysis of Persian Language and Literature Texts (Dehkhoda), Vol. 12, No. 44, pp. 265–286.  Ferdowsi, Abolqasem (2007) Shahnameh, edited by Jalal Khaleghi-Motlagh, 8 vols., Vol. 2, Tehran, Center for the Great Islamic Encyclopedia.  Qods, Mojtaba; Atefeh Tahouri (2011) “A Comparison of Kalila wa Dimna and Sindbadnameh,” Quarterly of Literary Thoughts, Year 2 of the New Series, No. 8, pp. 175–198. Kamal al-Dini, Mohammad-Baqer (2003) Sindbad-e Hakim (A Rewriting of Zahiri Samarqandi’s Sindbadnameh), 2nd ed., Tehran, Ahl-e Qalam Cultural Institute. Majidi, Maryam (2020) “A Comparative Study of the Story of Siavash and the Ramayana with Attention to Common Motifs,” Biannual Journal of Heroic Literature, Lorestan University, Year 4, No. 6, pp. 303–330. Mohammadpour-Kachlam, Ghorban (2011) A Comparative Study of Dramatic Aspects in the Two Stories of Siavash and Sudabeh and Joseph and Zuleikha, M.A. Thesis, Supervisor: Shirin Bozorgmehr, University of Art, Tehran, Faculty of Cinema and Theatre.  Mashhadi, Mohammad Amir; Abdollah Vaseq Abbasi (2014) “An Analytical Approach to the Narrative Elements of Sindbadnameh,” Textual Studies of Persian Literature (Scientific–Research), Year 6, New Series, No. 1, pp. 61–76.  Malekouti, Seyyed Ali (2007) “A Text-Oriented Study of Zahiri Samarqandi’s Sindbadnameh,” Ayeneh-ye Pazhuhesh, Vol. 20, No. 115, pp. 18–27.  Minovi, Mojtaba (1990) The Story of Siavash from Ferdowsi’s Shahnameh, Tehran, Institute for Cultural Studies and Research. Nahvi, Ali-Akbar; Ali Amini (2013) “Siavash and Sudabeh (A Comparative Study of Similar Cases in the Myths and Literature of Nations),” Research Journal of Bostan-e Adab, Shiraz University, No. 1, pp. 139–163.  Honar, Ali Mohammad (2008) Notes on Sindbadnameh, Tehran, Dr. Mahmoud Afshar Endowment Foundation.  Yahaqqi, Mohammad Javad (2019) Dictionary of Myths and Narrative Motifs in Persian Literature, 6th ed., Tehran, Farhang-e Mo‘aser.       <a href="#_ftnref1" name="_ftn1">*</a> Corresponding Author: Ph.D. Student in Persian Language and Literature, Epic Literature major, Faculty of Literature and Humanities, Hakim Sabzevari University, Iran. <a href="mailto:fatemeh.keramati73@gmail.com">fatemeh.keramati73@gmail.com</a> 9989-8967-0006-0009 <a href="#_ftnref2" name="_ftn2">**</a> Assistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Hakim Sabzevari University, Iran. Khajehim1@yahoo.com 0000-0002-1354-834xعشق ممنوعه به تراژدی می&zwnj;انجامد. دو نمونه شاخص از این الگو، داستان «سیاوش و سودابه» در شاهنامه فردوسی و روایت «شاهزاده و کنیزک» در سندبادنامه است که دارای وجوه مشترکی در اصل داستان هستند. این جستار با هدف بررسی تطبیقی ساختار روایی، عناصر شخصیتی و درون&zwnj;مایه&zwnj;های اخلاقی و اجتماعی در این دو روایت شکل گرفته است. روش تحقیق در این پژوهش، تحلیل تطبیقی با تکیه بر منابع کتابخانه&zwnj;ای و مطالعات ادبیات تطبیقی است. نتایج پژوهش نشان می&zwnj;دهد که هر دو روایت، بازتاب&zwnj;دهندة یک الگوی مشترک از «عشق ممنوعه و مظلومیت قهرمان مرد» هستند؛ الگویی که ریشه در کهن&zwnj;الگوهای اسطوره&zwnj;ای و اخلاقی جوامع کهن دارد و در روایت ایرانی با ویژگی&zwnj;های بومی و جهان&zwnj;بینی اخلاق&zwnj;محور بازآفرینی شده است. این دو داستان، با وجود مشابهت&zwnj;های فراوانی همچون: پیش&zwnj;بینی آیندۀ شخصیت اصلی پس از تولد، پرورش قهرمان دور از خانواده، بازگشت او به قصر پس از دوره&zwnj;ای تعلیم، ورود به شبستان، دلباختگی نامادری به پسرخوانده، پاکدامنی قهرمان و وفاداری&zwnj;اش به پدر، تهمت ناروای واردشده به او، کیفر دیدن قهرمان با وجود بی&zwnj;گناهی، اثبات بی&zwnj;گناهی، بخشش گناهکار و نجات او از مرگ، در اصل داستان و سرانجامی که در پایان برای قهرمان رخ می&zwnj;دهد، تفاوت&zwnj;هایی بنیادین نیز با یکدیگر دارند. این تفاوت&zwnj;ها به&zwnj;ویژه در نوع پایان&zwnj;بندی، جایگاه اجتماعی نهایی قهرمان و پیام ضمنی روایت نمود می&zwnj;یابد و بازتابی از نگرش&zwnj;های متفاوت فرهنگی و ارزشی در پس&zwnj;زمینه هر روایت به شمار می&zwnj;رود.

http://literature.ihss.ac.ir/fa/Article/Download/47944

مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-10302378202623An Investigation and Analysis of Semantic-Syntactic Alignment in Persian Translations of Tuesdays with Morrieبررسی و تحلیل میزان انطباق معنایی- نحوی در ترجمه‏‌های فارسی رمان «سه‌شنبه‌ها با موری»79113faفاطمه زهرافوائدیدانش آموخته کارشناسی ارشد گروه زبان شناسی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید بهشتی، تهران، ایران 0009-0002-2211-8168فاطمهبهرامیدانشیار گروه زبان شناسی دانشکده ادبیات و علوم انسانی دانشگاه شهید بهشتی، تهران، ایران 00000002094497072025719An Investigation and Analysis of Semantic-Syntactic Alignment in Persian Translations of Tuesdays with Morrie   Fatemeh Zahra Favaedi<a href="#_ftn1" name="_ftnref1">*</a> Fatemeh Bahrami<a href="#_ftn2" name="_ftnref2">**</a>   The present paper evaluates the syntactic and semantic conformity of two successful and best-selling Persian translations of the English novel "Tuesdays with Morrie" by Mitch Albom, based on the Garcés model (1994). The two mentioned translations were examined according to the semantic-lexical and syntactic-morphological components of the Garces model. Then they were evaluated from the perspective of two criteria of acceptability and adequacy. The findings indicated that Ghahremani's translation, in most cases, successfully conveyed the sentence structures into Persian, demonstrating reliable performance at the syntactic-morphological level. In contrast, Salim and Salim's translation has been enhanced in conveying the meaning and has performed well at the semantic-lexical level. Moreover, syntactic-semantic conformity does not necessarily mean successful conveyance of meaning, and these two are not always aligned. Finally, it is up to the translator to decide which attribute is preferred in the translation.   Keywords: literary translation, the novel “Tuesdays with Morrie”, translation evaluation, Garces Model, syntactic-semantic correspondence.   Introduction and Theoretical Framework The present study draws on Carmen Valero Garcés’s (1994) evaluation model to examine the degree of semantic–syntactic correspondence in two Persian translations of Mitch Albom’s novel Tuesdays with Morrie and to explore how this correspondence affects the transfer of meaning from the source language (English) to the target language (Persian). Among the available translations, the versions by Mandana Ghahremanlou (Tehran, Qatreh, 35th ed., 2021) and Maryam Salim and Monireh Salim (Tehran, Soneboleh, 29th ed., 2003) were selected as the corpus of the study due to their continued reprints and popularity among readers. The English text published by the Crown served as the source text for comparison. Because of its emotional–philosophical theme and its portrayal of lived experiences related to love, family, illness, and death, Tuesdays with Morrie is a work in which the quality of rendering semantic and structural subtleties in translation directly shapes the reader’s reception. This makes a systematic examination of its translations particularly necessary. The theoretical framework of the study is Garcés’s evaluation model, which distinguishes four levels—semantic–lexical, syntactic–morphological, discoursal–functional, and stylistic–pragmatic—and defines, for each level, a set of components and strategies for assessing translations. In line with the research aim, the analysis is limited to the first two levels, namely the semantic–lexical and syntactic–morphological, while the discoursal–functional and stylistic–pragmatic levels are left for future studies. Within this model, the components at each level are classified into three categories—“increase,” “maintenance,” and “reduction” of information from the source text to the target text—and each is assigned a positive, negative, or neutral value. On this basis, two key indices of translation quality are obtained: “adequacy” (correctness and accuracy in transferring content and structure) and “acceptability” (fluency, clarity, and impact on the reader). The review of previous research shows that Garcés’s model has been used in recent years to evaluate translations of various text types in Persian, including novels, religious and classical works, and texts such as Nahj al-Balāgha and Tārikh-e Beyhaqi. These studies generally highlight the model’s potential to reduce subjectivity in translation criticism and to combine quantitative and qualitative analysis. However, relatively few studies have focused on multiple Persian translations of a single contemporary English novel from the perspective of semantic–syntactic correspondence. The present research is situated within this gap and seeks to provide a clearer picture of the relationship between translation strategies and the quality of translated literary texts by applying Garcés’s model. Accordingly, the article is structured around three main questions: (1) in what aspects of the syntactic–morphological level can instances of non-correspondence between the two translations and the source text be identified; (2) in what areas of the semantic–lexical level can semantic discrepancies between the English text and the two Persian translations be observed; and (3) how the overall pattern of correspondences and non-correspondences affects the transfer of meaning from the source language to the target language and relates to the indices of adequacy and acceptability. The research method is descriptive-analytic and based on contrastive analysis. First, the English text of the novel and both Persian translations were read in full. Through a multi-step procedure, instances in which a difference or change at the semantic–lexical or syntactic–morphological level was observed were extracted. These instances were then classified according to the components defined for the two levels in Garcés’s model.   Discussion and Results At the semantic–lexical level, the components included “definition and explanation,” “cultural substitution,” “adaptation,” “syntactic expansion,” “syntactic reduction,” “use of a generic term instead of a specific one and vice versa,” and “ambiguity.” At the syntactic–morphological level, the components considered were “literal translation,” “syntactic change,” “change of point of view,” “compensation,” “semantic or explicative expansion,” “implication,” “reduction,” “omission,” and “change of sentence type.” Each instance was then assigned to one of the three strategies- “increase,” “maintenance,” or “reduction”-and its positive, negative, or neutral value in relation to translation quality was determined. Finally, the frequency of each component and each type of strategy in the two translations was calculated, allowing for statistical comparison and qualitative interpretation. The findings at the semantic–lexical level indicate that Ghahremanlou’s translation is more active than that of Salim and Salim in terms of both the number of instances and the variety of strategies. At this level, 111 cases were identified in Ghahremanlou’s translation and 79 in Salim and Salim’s. In both translations, “syntactic expansion” occurs frequently, but it is more common in Ghahremanlou’s version. In her translation, “definition and explanation” and “cultural substitution” are used more extensively to clarify implicit meanings, cultural references, and semantic relations between clauses, and in a few cases, “adaptation” is also employed. In contrast, Salim and Salim show a stronger tendency towards “syntactic reduction” and simplification. As a result, the target text is more concise in many instances, but some semantic and imagistic details of the source text are occasionally reduced or omitted. The analysis of the “use of a generic term instead of a specific one and vice versa” shows that this strategy is employed in both translations, though it appears slightly more frequently in Salim and Salim’s version. This can influence the precision of imagery and the representation of the author’s distinctive style. With respect to “ambiguity,” the two translations display similar frequencies, suggesting that part of the ambiguity stems from the structure of the source text itself, although in some cases a wider use of explicative strategies might have resolved it. Overall, at the semantic–lexical level, Ghahremanlou’s translation, through additive strategies and the use of cultural equivalents, shows greater effort to bring the world of the novel closer to Persian readers’ frame of reference, whereas Salim and Salim’s translation primarily focuses on preserving the main narrative line and maintaining brevity. At the syntactic–morphological level, the results indicate that neither translator relies predominantly on literal translation; English structures are generally recast in more natural Persian patterns. However, the type and extent of syntactic change differ between the two versions. According to the table of syntactic non-correspondence components, 330 cases were recorded in Salim and Salim’s translation and 217 in Ghahremanlou’s. In Salim and Salim’s version, “omission,” “reduction,” and “change of sentence type” occur more frequently. Complex sentences in the source text are often converted into simple sentences, some informational elements are omitted, and sentence types are altered. This approach contributes to the fluency of the target text and speed of reading, but in some instances, it has resulted in the emphatic structures and the distinctive style of the source author’s prose being rendered into Persian with less precision. In Ghahremanlou’s translation, by contrast, components such as “syntactic expansion,” “semantic or explicative expansion,” and “change in the order of constituents” are more prominent. In many cases, instead of omitting or reducing sentence elements, explanatory clauses are added, or constituents are rearranged so that logical, temporal, and emotional relations are made clearer to the Persian reader. From the perspective of Garcés’s model, such expansions are considered positive strategies: although they may increase syntactic non-correspondence on the surface, they contribute to the adequacy and acceptability of the translation. Conversely, the high frequency of reductive strategies in Salim and Salim’s translation, while producing a shorter and more fluent text, sometimes leads to the loss of structural subtleties and secondary information contained in the source text. The analysis of the threefold categorization of “increase, maintenance, and reduction,” along with the positive/negative/neutral evaluation of the components, shows that in Ghahremanlou’s translation, additive and explicative strategies predominate at both the semantic–lexical and syntactic–morphological levels, and reductive strategies are less frequent. In Salim and Salim’s translation, by contrast, reductive and omission strategies occupy a more prominent place. Consequently, Ghahremanlou’s translation displays a higher number of positive features and a lower number of negative ones. This suggests that, in terms of both adequacy and acceptability, her translation occupies a more favorable position, even though Salim and Salim’s version succeeds, at the semantic–lexical level, in rendering the core meaning of many sentences into Persian in a concise and accessible way. At the syntactic–morphological level, however, Ghahremanlou’s translation, particularly through syntactic and semantic expansion, reproduces the structure of the source text more precisely and coherently. In the discussion and conclusion, the data indicate that semantic–syntactic correspondence alone does not guarantee more effective meaning transfer, and that many strategies which seem to create non-correspondence on the surface are, in practice, necessary to bridge structural and cultural gaps between the two languages. Strategies such as “syntactic expansion,” “change of point of view,” and “semantic expansion,” while producing formal differences between source and target texts, can help ensure accurate message transfer by clarifying semantic relations and resolving ambiguities. Conversely, extensive use of reductive and omission strategies, although it shortens the text and improves fluency, may reduce semantic and structural richness and blur some of the subtle layers of the source text. Finally, while the potential of Garcés’s model to provide a coherent framework for translation assessment is underlined, some limitations are also acknowledged. For example, the component “definition” is treated as a neutral strategy in the model, whereas in translation between culturally distant languages it can play an explicitly positive role in resolving ambiguity and conveying meaning more accurately. In addition, the status of some components—such as the “use of a generic term instead of a specific one”—is not clearly defined within the tripartite categorization of increase, maintenance, and reduction. The limitations of the present study are also noted, including its focus on two specific translations of a single literary novel and its analysis of only two of the four levels in Garcés’s model. It is suggested that future research should extend the analysis to the discoursal–functional and stylistic–pragmatic levels, both in the same corpus and in other literary and non-literary texts, in order to arrive at a more comprehensive picture of translation strategies, semantic–syntactic correspondence, and reader reception.   References Album, M. (1997) Tuesdays with Morrie, London, England, Sphere. Garcés, C. V. (1994) A methodological proposal for the assessment of translated literary works: A case study, The Scarlet Letter by N. Hawthorne into Spanish. Babel, 40(2), 77- 102. <a href="https://doi.org/10.1075/babel.40.2.03val">https://doi.org/10.1075/babel.40.2.03val</a>.  <a href="https://doi.org/10.1075/babel.40.2.03val">https://doi.org/10.1075/babel.40.2.03val</a> Delisle, J. (1980) L'Analyse du discours comme méthode de traduction. Ottawa, Éditions de l'Université d'Ottawa. Mounin, G. (1963) Les problèmes théoriques de la traduction. Paris, Gallimard. Translation into Spanish by Julio Lago Alonso, 1971, 1977. Los problemas teóricos de la traducción. Newmark, P. (1988) A textbook of Translation. New York, Prentice-Hall. Nida, E. (1976) “A Framework for the Analysis and Evaluation of Theories of Translation” in Translation: Applications and Research. Brislin, R.W. (edt) New York, Gardner Press, 47-91. Santoyo, J.C. (1985) El delito de traducir. León, Universidad de León, Servicio de Publicaciones. Vázquez-Ayora, G. (1977) Introducción a la traductología. Washington, D.C.: Georgetown University Press. Vinay, J.P. & Darbelnet, J. (1958/1977) Stylistique comparée du français et de l'anglais. Paris, Didier.                 <a href="#_ftnref1" name="_ftn1">*</a> M.A in Linguistics, Department of Linguistics, Faculty of Letters and Human Sciences, Shahid Beheshti University, Tehran, Iran. <a href="mailto:f.favaedi@mail.sbu.ac.ir">f.favaedi@mail.sbu.ac.ir</a> 0009-0002-2211-8168 <a href="#_ftnref2" name="_ftn2">**</a> Corresponding Author: Associate Professor in Linguistics, Department of Linguistics, Faculty of Letters and Human Sciences, Shahid Beheshti University, Tehran, Iran. <a href="mailto:f_bahrami@sbu.ac.ir">f_bahrami@sbu.ac.ir</a> 0000-0002-0944-9707  پژوهش حاضر با هدف بررسی میزان انطباق معنایی- نحوی در دو ترجمه فارسی از رمان «سه&zwnj;شنبه&zwnj;ها با موری» با تمرکز بر دو سطح نخست الگوی گارسس (1994)، یعنی سطح معنایی- واژگانی و نحوی&zwnj;- واژه&zwnj;ساختی انجام شده است. برای این منظور، دو ترجمه ماندانا قهرمانلو و مریم سلیم و منیره سلیم به دلیل استقبال گسترده و فراوانی نوبت&zwnj;های چاپ، با توجه به مؤلفه&zwnj;های هر سطح واکاوی و موارد افزایش، کاهش و حفظ اطلاعات از زبان مبدأ به زبان مقصد استخراج و مقایسه شده&zwnj;اند. سپس راهبردهای مثبت، منفی و خنثی به &zwnj;منظور سنجش میزان مقبولیت و کفایت ترجمه&zwnj;ها ارزیابی شده است. یافته&zwnj;ها نشان می&zwnj;دهد که ترجمه قهرمانلو در سطح نحوی- ساختواژی، از راهبردهای مثبت بیشتری بهره گرفته و ساختار متن اصلی را وفادارانه&zwnj;تر منتقل کرده است؛ در حالی که ترجمه سلیم و سلیم در سطح معنایی&zwnj;- واژگانی، عملکرد بهتری داشته و توانسته مفهوم را برای مخاطب فارسی&zwnj;زبان، شفاف&zwnj;تر بازنمایی کند. علاوه &zwnj;بر این نتایج نشان می&zwnj;دهد انطباق معنایی&zwnj;- نحوی الزاماً به معنای انتقال مؤثرتر مفهوم نیست و این دو جنبه لزوماً هم&zwnj;جهت عمل نمی&zwnj;کنند. در نهایت انتخاب مترجم میان برجسته&zwnj;سازی ساختار یا معنا در ترجمه ادبی، نقشی تعیین&zwnj;کننده دارد.

http://literature.ihss.ac.ir/fa/Article/Download/50889

مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-10302378202623A Comparative Study of the Experience of the journey to the Qanat in the fiction of "The Curse of the Earth" by Ale-Ahmad and the "Kareez" by Shariatiبررسی تطبیقی تجربه ی سفر به قنات در داستان «نفرین زمین» آل احمد و قطعه ادبی «کاریز» شریعتی115138faسید رضا شاکریاستادیار گروه علوم سیاسی، پژوهشگاه علوم انساني و مطالعات اجتماعي جهاد دانشگاهي، تهران، ایرانhttps://orcid.org/0000-0001-7464-95722025516A Comparative Study of the Experience of the journey to the Qanat in the fiction of "The Curse of the Earth" by Ale-Ahmad and the "Kareez" by Shariati   Seyed Reza Shakeri<a href="#_ftn1" name="_ftnref1">*</a>   A literary work can become an environment for the formation of experiences that, in turn, narrate the presence of the human agent with mental and practical dimensions and activism in the context of social and historical developments. Jalal Ale-Ahmad and Ali Shariati, two Iranian intellectuals from 1951 to 1971, in addition to developing a kind of critical thinking about the modernization process and development policies of that period, tested methods for individual, social, and political activism that can be beneficial for today. In this article, the experience of these two intellectuals from the category of Iranian qanat in literary texts, namely, The Curse of the Earth and Kariz, has been studied with a combined approach of comparative philosophy and comparative literature with the aim of comparative understanding of these two experiences. The result of this study shows that in Ale-Ahmad's experience, the qanat is a social phenomenon, and in Shariati's experience, it is an existential and individual phenomenon with valuable aspects of social cognition and action.   Keywords: Qanat, Kariz, Ale-Ahmad, Shariati, Authoritative development.   Extended abstract problem Kariz or Qanat is a long-familiar structure in rural life in Iran, and has played a serious role in agriculture, water supply, and drinking in Iranian history. For Shariati, Kariz is a symbol of a journey within oneself and discovering the secrets of human existence and creation, which ultimately leads to fertility and prosperity, and for Ale-Ahmad, it is narrated as part of the natural life of the village, which is ultimately destroyed by social conflicts.   Theoretical Framework In this article, with a comparative and combined approach drawn from philosophies and comparative literature, this common experience with two different meanings and aspects is analyzed and explained. The comparative approach in philosophy and literature has been popular since ancient times, and these two have grown and developed as specialized disciplines in the field of philosophy and in the history of modern scientific institutions. Comparative philosophy and literature never grow in a vacuum, but this research is formed in the interdisciplinarity connected with the truth of the literary text and the realities of existence. Between those two aspects, it is always and continuously. With this assumption, we are dealing with at least two or three cultural and intellectual traditions in one or two times in comparison.   Qanat as the center of the lived experience  For Shariati, Kariz is a symbol of a journey within oneself and discovering the secrets of human existence and creation, which ultimately is fertility and prosperity, and for Ale-Ahmad, it is narrated as a part of natural rural life that is ultimately destroyed by social contradictions. In this article, with a comparative and combined approach derived from philosophy and comparative literature, this common experience with two different meanings and aspects is analyzed and explained. This article aims to describe the format of a literary text with a phenomenon in rural life and the different experiences of the two.   Main Discussion  Both authors are aware of the cultural and social aspects of Kariz in Iran and refer to it in their various works. From examining the thoughts and aspects of the experience of both authors of Kariz, it is clear that their goal is a social matter, that is, awakening and awareness, which is achieved through two different methods and paths. For example, Shariati sees Kariz's experience as dredging and revitalizing the water path for growth and prosperity. The same revival that took place in the throne of religious enlightenment, and he follows in the works and thoughts of Seyyed Jamal and Iqbal Lahori, etc. For Ale-Ahmad, the Qanat is a social matter because it is intertwined with people's lives. Water has long been a cause of conflict and conflict in Iran for this reason. For Ale-Ahmad, the Qanat is something rooted in tradition and a powerful element of rural life in the face of machines and developers, eventually becoming its own opposite and bringing about social destruction and ruin.    Results In Ale-Ahmad's view, and with emphasis on the book The Curse of the Earth, the qanat is closely observed in a social situation, combined with the spirit, economy, and life of the villagers, and in the form of participation and observation. In addition, Kariz is considered by Ale-Ahmad as an existential and individual matter on the margins of the social matter. Shariati can treat modernization in the Islamic world and Iran, and for joint participation and his own views, namely the works of Islamic revivalism, look at Kariz as a cultural, intellectual, and human resource that occurs over time and as a result of various factors, and its revival and revival requires measures and actions that first deal with principles and personalities.   Reference Ale-Ahmad, Jalal (2007) Reports, Selection and Editing by Mostafa Zamaninia, Tehran, Ferdows, 2nd. Edition. Ale-Ahmad, Jalal (2012) precipitant Assessment, Tehran, Ferdows, 7th. Edition. Ale-Ahmad, Jalal (2008) Orazan, Tehran, Ferdows: 6th. Edition.Ale-Ahmad, Jalal (2010) The Curse of the Earth, Tehran, Ferdows, 6th.Edition. Ale-Ahmad, Jalal (2010) School headmaster, Tehran, Amir Kabir, Fourth Edition. Danaei, Mohammad Hossein (2013) Two Brothers, edited by Mohammad Reza Kaini, Tehran, Etelat. Davari Ardakani, Reza (2004) Comparative Philosophy, Tehran, Saqi. Shariati, Ali (2013) Man and Islam, Tehran, Sahami enteshar Publishing Company.  Shariati, Ali (1991) Conversations of Loneliness, Part Two, Collection of Works No. 33, Tehran, Agah, 2nd. Edition. Shariati, Ali (1992) Dialogues of Loneliness, Part One, Collection of Works No. 33, Tehran, Agah, 2nd. Edition.  Shariati, Ali (1997) Descent into the Desert, vol. 13, Tehran, Chapakhsh, 25th. Edition. Shariati, Razavi, Pouran (1999) A Sketch of a Life, Tehran, Chapakhsh. 6th. Edition Stephen, Angle (2010) “The Minimal Definition and Methodology of Comparative Philosophy: A Report from a Conference Comparative Philosophy, Volume 1, No. 1: 106-110. Kalmanson, Lea (2017) the ritual methods of Comparative Philosophy, Philosophy East & West Volume 67, Number 2 April 2017 399–418. Reding, Jean-Paul (2004) Comparative Essays in Early Greek and Chinese Rational Thinking, Ashgate Publishing Company Dabashi, Hamid (2021) The last Muslim intellectual; the life and legacy of Jalal-Ale Ahmad, Edinburgh University Press Ltd. Saussy, Haun-editor- (2006) Comparative Literature in an age of globalization, The Johns Hopkins University Press. Liat, J. Kwee Swan (1951) Methods of Comparative Philosophy, Philosophy East and West, Vol. 1, No.1, pp. 10-15. Weber, Ralph (2013) How to Compare? On the Methodological State of Comparative Philosophy, Philosophy Compass 8/7 (2013): 593–603, 10.1111/phc3.12042. https:// stanford.edu/   <a href="#_ftnref1" name="_ftn1">*</a> Assistant Professor, Department of Political Science, Institute of Humanities and Social Studies, in ACECR, Tehran, Iran. sr.shakeri@gmail.com https://orcid.org/0000-0001-7464-9572اثر ادبی می&zwnj;تواند محیط شکل&zwnj;گیری تجربه&zwnj;هایی شود که حضور فاعل انسانی را با ابعاد ذهنی و عملی و کنشگری بر بستر تحولات اجتماعی و تاریخی روایت می&zwnj;کند. «جلال آل&zwnj;احمد» و «علی شریعتی»، دو روشنفکر ایرانی در سال&zwnj;های 1330-1350 با آثار خویش، افزون بر گسترش نوعی تفکر انتقادی نسبت به فرایند مدرنیزاسیون و سیاست&zwnj;های توسعه در آن دوره، شیوه&zwnj;هایی را برای کنشگری فردی، اجتماعی و سیاسی آزمودند که می&zwnj;تواند برای امروز سودمند باشد. در این مقاله، تجربة این دو روشنفکر از مقولۀ قنات ایرانی در متن ادبی یعنی «نفرین زمین» و «کاریز» با رویکرد ترکیبی در فلسفه و ادبیات با هدف شناخت مقایسه&zwnj;ای این دو تجربه، پژوهیده شده است. نتیجه این بررسی نشان می&zwnj;دهد که قنات در تجربه آل&zwnj;احمد به&zwnj;مثابه پدیده&zwnj;ای اجتماعی و در تجربه شریعتی به &zwnj;عنوان پدیدۀ وجودی و فردی، واجد جنبه&zwnj;هایی ارزشمند از شناخت و عمل اجتماعی مترتب بر آن است.

http://literature.ihss.ac.ir/fa/Article/Download/50119

مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-10302378202623Analysis of a beautiful novel with an anime approachتحلیل و نقد کهن‌الگویی رمان «زیبا» با رویکرد آنیمایی139166faمریمبایدانشجوی دکتری زبان و ادبیات فارسی، دانشکده ادبیات فارسی و زبان‌های خارجی، دانشگاه مازندران، ایران شهراماحمدیدانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات فارسی و زبان‌های خارجی، دانشگاه مازندران، ایران بتولمهدویدانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات فارسی و زبان‌های خارجی، دانشگاه مازندران، ایران قدسیه رضوانیاناستاد گروه زبان و ادبیات فارسی، دانشکده ادبیات فارسی و زبان‌های خارجی، دانشگاه مازندران، ایران 202526Archetypal Analysis and Critique of the Novel Ziba: An Anima-Based Approach   Maryam Bay<a href="#_ftn1" name="_ftnref1"> </a>*  Shahram Ahmadi <a href="#_ftn2" name="_ftnref2">**</a>  Batool Mahdavi *** <a href="#_ftn3" name="_ftnref3">Ghudsiyeh Rezvanian</a>****                                                                                      One of the approaches of contemporary literary criticism is archetypal criticism, which entered the field of literary criticism based on Jung’s views. He considers the Anima to be the most important archetype and an embodiment of the feminine soul in the psychological life of men, which manifests itself in two aspects, positive and negative. Since narrative works are a suitable platform for objectifying many psychological actions, they are the best opportunity to examine the anima and how it acts. In the following article, this archetype in the novel “Ziba” by Mohammad Hejazi has been analyzed using a descriptive-analytical method. The findings of this study, which is the first archetypal approach to this work, showed that the anima is manifested in both positive and negative poles, first in the narrator's mother and then in Zainab, Ziba, Leyli, Shahjan, and other women around him. This archetype is revealed in its negative aspect at every moment. Ziba, as the central female character, occupies all the attention of Hossein's Anima. Lack of attention to the positive Anima causes the narrator's psychological imbalance and leads him to the abyss of family and social destruction. In the end, Mirza Hossein reconciles with his Anima and tries to achieve a correct understanding of himself. The Anima in this novel, with its different roles, confirms the recurring characteristic of archetypes and reminds us that archetypes play their role in human life without limitations.   Keywords: Jung, archetype, Anima, Ziba novel, Hejazi.   Introduction Carl Gustav Jung was one of those who conducted extensive studies on the existence of psychic bonds between human beings and their behavioral actions. Jung believed that every artistic and verbal creation has a magical mark of the collective unconscious. By presenting amazing facts about the human psyche that divided it into three parts: the conscious, the unconscious, and the collective unconscious, he opened a new path in the field of psychological studies for researchers and enthusiasts. Such an approach led the modern psychoanalytic science to introduce the collective unconscious as an important part of the realities of the human mind, and subsequently writers such as Joyce, Proust, and Woolf paid attention to it. The results of this approach gradually drew the attention of critics in the world of literature to the field of methodological analysis literary works using psychological tools. From then on, the relationship between psychoanalysis and literature seemed to be the collision of two equal forces and the same power, and the collision of two linguistic systems and two sciences. Today, analysts in this field have realized that these archetypal ideas are hidden images that are closely related to human experience, and that "since we should not separate the undeniable content of literature, which is human, it is only based on methods of human study and analysis that we can measure the genius and art of the artist" (Leonoff et al., 1364: 26). Despite these links and similar reflections, today we see that a psychoanalytic view of literature allows writers to become acquainted with worlds that were previously unknown to them, and on the other hand, to increase the scope of their knowledge about human examples and nature. In this way, the writer or analyst will be able to describe the motivations, emotions, and functions of the characters in the literary work.   Problem Statement Jung considers the origin of many human actions to be in the hidden and mysterious force of a part of the psyche, which he refers to as the collective unconscious. According to such a view, "the pattern of human behavior is one of the ancient relics and remnants that have not yet been destroyed" (Jung, 1374: 151), and is located in this part of the unconscious. With this interpretation, the latent forces in the psyche can be considered as the source of the creation of a literary work. Research based on such an approach showed common characteristics that were also evident in the characters of the novels. Today, we see that the mythical-archetypal view of literature "allows writers to provide the ground for describing the motives, emotions and actions of the characters of the literary work with the help of awareness of unknown worlds and the analysis of human examples and the nature of each one" (Ghutb, 1390:381) In order to gain this awareness, Jung introduces artistic creation as the most powerful factor. In the present study, the archetype of Anima in the novel "Ziba" will be investigated and analyzed. The approach obtained from this analysis is to achieve the effects of the Anima archetype in this novel and to express the challenges that Anima is able to face the protagonist in her roles. Extracting the manifestations of Anima in this work will provide practical concepts in anthropological fields that will lead to a better psychological reflection and understanding of this important archetype. It is necessary to pay attention to the basic point that anima is an inseparable part of the psyche of men, which needs to pay attention to the grounds for its occurrence and emergence. This has led to a greater understanding of this dimension of the psyche and allows men to acquire the appropriate tools to deal with Anima. It also creates an opportunity for them to recognize the various situations and forms in which the Anima is manifested and to have a principled and constructive accompaniment with the materiality of their psyche by anticipating appropriate and timely reactions. This accompaniment is of particular importance in the process of individuality and self-knowledge of men.   Data Analysis In the novel “Ziba” by Mohammad Hejazi, anima was examined in both positive and negative aspects. This study was conducted on the positive side of Anima with an emphasis on the mother's manifestations, choosing the right spouse, helping the rational and guiding mind, connection with nature, Anima in religious words, and Anima with the representation of animals. Also, on the negative side of Anima, manifestations such as the ominous lady, dark and dim mood and temper, doubt, wandering, and helplessness, suicidal tendencies, and the monster of death, not enjoying things, as well as pretending to be in the form of a snake, were analyzed and examined.   Conclusion Anima is constantly projected in a feminine form with different characteristics. Mirza Hossein also becomes more and more flipped in the clutches of his anima. In line with his negative anima, he tries every way possible in order to provide a position and money for the satisfaction of a wicked woman named Ziba. His thoughts are constantly changing throughout the story, and he is unable to reconcile with his positive Anima. Such a situation also provides a shadow for activity. The shadow, with its inducing force, pushes back the deterrent and materialistic support of Sheikh Hossein's psyche and unconsciously pushes the narrator in the direction of lust. This makes him not have a very static characteristic. Due to his undeveloped self-consciousness, Sheikh Hossein passively surrenders to the shadow every time, and also his attempt to resist the dominance of negative anima, which has made the narrator's psyche suffer and incapacitated with a striking and crushing presence, remains unsuccessful. The presence of the word snake and the induction of a sense of helplessness in the story indicate the inner tension of the person to confront the dominance of negative anima. According to Jung, at this time, the man's rational mind is unable to recognize the hidden actions of the unconscious. Although the psychological wavering and choices of the narrator make the anima unable to play an effective role in the positive dimension, positive Anima also reflects itself with a high frequency and with a variety of means, including women like Maryam, Shahjan, Gitti, and Leyli emerge and manifest their devotion in order to complete the narrator's psyche. At the end of this journey of self-discovery, the protagonist recognizes his Anima distractions, comes to an understanding with it, and allows her to prove her presence. At this stage, stepping on the path of transcendence of individuality begins. The narrator tries to recognize the unbalanced and destructive components of anima and free himself from them without suppressing them. This liberation brings confrontation with the self and the attainment of individuality in men.   References Etoni, Behrooz (2011) "A Deep Mythological Critique Based on the Ancient Example of the Female Soul", Journal of Mystical and Mythological Literature, Vol. 7, No. 25, Winter 1390, pp. 11-56. Afshari, Asghar, Amir Azizi, and Atefeh Boronlou (2023) "Analysis of the Social Discourse of the Novel: Representation of the Social in “Ziba” Novel by Mohammad Hejazi", Scientific Journal of Literary Discourse Analysis, Vol. 1, No. 2, Autumn 1402, pp. 23-44. Doi: 10.22034/LDA.2023.63053.  Azhari, Mahboobeh and Soheila Salahi Moghaddam (2012) "A Study of the Archetypes Used in the Novel Symphony of the Dead", Quarterly Journal of Persian Literature, Vol. 8, No. 20, Autumn and Winter 1391, pp. 57-74. Bielsker, Richard (2008) "Jung's Thought", translated by Hossein Payandeh, second edition, Tehran, Ashian. Payandeh, Hossein (2023) "Theory and Literary Criticism", Vol. 1, Tehran, Morvarid Edition. Prochaska, James, and John C. Norcross (2016) "Theories of Psychotherapy", 12th Edition, Translated by Yahya Seyed Mohammadi, Tehran, Ravan. Johnson, Robert Alex (2010) "Knowing the Dark Side of the Soul", Translated by Shohreh Dalaki, Shiraz, Navid Shiraz. <a href="https://elmnet.ir/author/ناهید-چگینی-علی-ابادی">Chegini Aliabadi</a>, Nahid (2004) "Structuralism and the Study of Love in Three Ziba Novels, Yakila and Her Loneliness, Souchon", Tehran, Alzahra University, Master's Thesis, Supervisor: Maryam Hosseini, Alzahra University, Faculty of Foreign Language, Literature and History. Hejazi, Mohammad (1961) "Ziba", Tehran, Offset Edition. Raminnia, Maryam and <a href="https://literature.ihss.ac.ir/Author/15073">Mona Alimadadi and</a> <a href="https://literature.ihss.ac.ir/Author/15074">Maryam Bay</a>(1398) "Female Roles in Pirzad and Wolff's Novels Based on Jung's Archetypical Roles", Persian Language and Literature Research Quarterly, No. 54, Autumn 1398, pp. 75-106. Schultz, Duane P. & <a href="https://ravabook.ir/search?q=سیدنی%20الن%20شولتز">Sidney Allen Schultz</a> (2010) "Theories of Personality", Translated by Yahya Seyed Mohammadi, 17th Edition, Tehran, Edit. Shahriari, Kayhan (2019) "Analysis of Greek Mythological Symbols in the Female Characters of Five Persian Novels with Jung's Archetypical Approach", Salman Farsi University of Kazeroun, Ph.D. Thesis in Persian Language and Literature, Supervisor: Seyed Mohtasham Mohammadi, Salman Farsi University of Kazeroun, Faculty of Literature and Humanities. Sarmi, Mohammad Reza and Jafar Eshghi (2008) "Positive Manifestations of Anima in Persian Literature", Journal of Literary Criticism, Autumn 1387, Vol. 1, No. 3, pp. 59-89. Zeif, Shoghi (1997) "Literary Research", translated by Abdollah Sharifi Khojasteh, Tehran, Scientific and Cultural. Aali Mohammadi, Lohrasb, and <a href="https://sid.ir/fa/journal/AdvanceWriter.aspx?str=%20شهولی%20کوه%20شوری%20شاهپور">Shahpour Shaholi Kouhshuri</a> and Omi<a href="https://sid.ir/fa/journal/AdvanceWriter.aspx?str=%20مالملی%20امیدوار">dvar</a> Malmi (2023) "An Archetypical Analysis of the Novel Yakila and Her Loneliness by Taghi Modarresi Relying on the Mythological Manifestations of the Holy Book", Journal of Stylistics of Persian Poetry and Prose, July 2023, Vol. 16, Serial Number 86, pp. 85-101 Doi: 10.22034/bahareadab 2023.16.6918 Fromm, Erich (2011) "Man for Himself", Translated by Akbar Tabrizi, Fifth Edition, Tehran, Behjat. Fordham, Freuda (2011) "An Introduction to Jung's Psychology", Translated by Masoud Mirbaha, Tehran, Jami. Feist, Jess and Feist, Gregory J. (2009) "Theories of Personality", translated by Yahya Seyed Mohammadi, Fourth Edition, Tehran, Ravan. Ghotb, Seyed (2011) "Principles and Methods of Literary Criticism", Translated by Mohammad Baher, Second Edition, Tehran, House of Books. Kazemi, Ruhollah and Reza Sattari (2022) "Analysis of Anima and its Impact on the Uniqueness and Success of Amir Houshang Ebtehaj in Ghazal", Scientific Journal of Women in Culture and Art, Vol. 14, No. 1, Spring 1401, pp. 143-167.  Doi: 10.22059/JWICA.2022.334022.1717 Gorin, Wilfred, and Earl Lieber, John Willingham, and Lee Morgan (1998) "A Guide to Approaches to Literary Criticism", translated by Zahra Mihankhah, Third Edition, Tehran, Ettelaat. Leonid Leonov, Vasily Aksyonov, Ilya Arnburg, Bernard Pango, and Alan Rob Grier, etc. (1985) "The Duty of Literature (24 Articles from 20 Authors)", Translated by Abolhassan Najafi, Second Edition, Tehran, Zaman. Mostafavi Montazeri, Seyedeh Mina, and Touraj Aghdaei (2021) "An Analysis of the Novel The Fairy House by Touraj Zahedi Based on Jung's Individuality Process Model", Quarterly Journal of Interpretation and Analysis of Persian Language and Literature Texts (Dehkhoda), Vol. 13, No. 48, Summer 1400, pp. 255-283. Doi:10.30495/dk.2021.1868897.1393 Mir Abedini, Hassan (2001) "One Hundred Years of Iranian Fiction Writing", Vol. 1 and 2, Second Edition, Tehran, Cheshmeh. Jung, Carl Gustav (1995) "On the Nature of the Psyche and Its Energy", translated by Parviz Omidvar, Tehran, Behjat. ---------------- (2011) "Psychology and Religion", translated by Fouad Rouhani, 7th edition, Tehran, Scientific and Cultural. ---------------- (2017) "Man and His Symbols", translated by Dr. Mahmoud Soltaniyeh, 11th edition, Tehran, Jami. ---------------- (2018) "The Collective Unconscious and the Archetype", Translated by Farnaz Ganji and Dr. Mohammad Bagher Esmaeilpour, Second Edition, Tehran, Jami. Jung, C.G. (2009) The red book, New York, W. W. Norton & Company. Lindenfeld, David (2009) Jungian archetypes and the discourse of history, Rethinking History, Vol. 13, No. 2, June 2009, pp 217-234  Doi.org/10.1080/13642520902833833. Michele, Marsonet & Rata, Georgeta (2013) Esse in anima: C.G. Jung's Phenomenological Ontology, Cambridge Scholars, Newcastle, 2013, pp 79-87.  Doi Org 10 1080 19409052 2012 671182, 2013. Schultz, Duane (2005) Theories of Personality, USA, Thomson Wadsworth             <a href="#_ftnref1" name="_ftn1"> *</a>Corresponding Author: Ph.D. Student of Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, University of Mazandaran,Iran. maryam.bay.9@gmail.com https://orcid.org/0009-0003-9355-6242 <a href="#_ftnref2" name="_ftn2">**</a> Associate Professor, Department of Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, University of Mazandaran, Iran. sh.ahmadi@umz.ac.or https://orcid.org/0000-0002-9708-361X <a href="#_ftnref3" name="_ftn3">***</a>Associate Professor, Department of Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, University of Mazandaran, Iran. b.mahdavi@umz.ac.ir <a href="https://orcid.org/0000-0001-8421-3043">https://orcid.org/0000-0001-8421-3043</a> ****Professor, Department of Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, University of Mazandaran, Iran. ghrezvan@umz.ac.ir https://orcid.org/0000-0001-5502-2774یکی از رویکردهای نقد ادبی معاصر، نقد کهن&zwnj;الگویی است که بر مبنای دیدگاه&zwnj;های یونگ، به حوزۀ نقد ادبی وارد شد. او آنیما را مهمترین کهن&zwnj;الگو و تجسمی از روح زنانه در زیست روانی مرد می&zwnj;داند که در دو نمایۀ مثبت و منفی نمود دارد. از آنجا که آثار روایی، بستر مناسبی برای عینیت یافتن بسیاری از کنش&zwnj;های روانی است، بهترین بستر برای بررسی آنیما و چگونگی کنش آن است. در جستار پیشِ &zwnj;رو، با روش توصیفی- تحلیلی به واکاوی این کهن&zwnj;الگو در رمان «زیبا» اثر محمد حجازی پرداخته شده است. یافته&zwnj;های این پژوهش که نخستین رویکرد کهن&zwnj;الگویی به این اثر است، نشان از این واقعیت داشت که آنیما در هر دو قطب مثبت و منفی، ابتدا در وجود مادرِ راوی و پس از آن در زینب، زیبا، لیلی، شاه&zwnj;جان و دیگر زنان اطراف او تجلی یافته است. این کهن&zwnj;الگو در نمود منفی هر لحظه هویدا می&zwnj;گردد. زیبا به عنوان شخصیت زنِ مرکزی، تمام توجه آنیمای حسین را به خود اختصاص می&zwnj;دهد. کم&zwnj;توجهی به آنیمای مثبت، موجب عدم تعادل روانی راوی شده، او را به ورطۀ نابودی خانوادگی و اجتماعی سوق می&zwnj;دهد. در پایان، میرزا حسین با آنیمای خود آشتی کرده، تلاش می&zwnj;کند تا به شناختی درست از خود دست یابد. آنیما در این رمان، با نقش&zwnj;آفرینی&zwnj;های متفاوت مؤید شاخصۀ تکرار&zwnj;شوندگی کهن&zwnj;الگوها بوده، یادآور این امر است که کهن&zwnj;الگوها، بدون محدودیت، نقش خود را در زندگی بشر ایفا می&zwnj;نمایند.

http://literature.ihss.ac.ir/fa/Article/Download/49422

مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-10302378202623Examining the Engaged Approach in Shamlu’s Poetry (A Postcolonial Studies Perspective)تحلیلی بر رویکرد متعهدانه در شعر شاملو (از منظر مطالعات پسااستعماری)167201faزیبا پالیزباندانشجوی دکتری گروه زبان و ادبیات فارسی، واحد کرج، دانشگاه آزاد اسلامی، کرج، ایران 0009000020670384زهرا دری دانشیار گروه زبان و ادبیات فارسی، واحد کرج، دانشگاه آزاد اسلامی، کرج، ایران ماهنظری ایران .عضوهیات علمی دانشگاه آزاد اسلامی واحد کرج آذر دانشگرادبیات و زبان های خارجی دانشگاه آزاد واحدکرج2025819Examining the Engaged Approach in Shamlu’s Poetry (A Postcolonial Studies Perspective)   Ziba Palizban<a href="#_ftn1" name="_ftnref1">*</a>  Zahra Dorri<a href="#_ftn2" name="_ftnref2">**</a>  Mah Nazari<a href="#_ftn3" name="_ftnref3">***</a>  Azar Daneshgar<a href="#_ftn4" name="_ftnref4">****</a>   There has always been a firm relationship between politics and literature, and the poets and writers haven't overlooked paying attention to socio-political events of their contemporary era. The aftermath of this approach is the emergence of committed social poems that are aware of their responsibility towards the citizens of the societies. Ahmad Shamlou can be considered an exemplary poet who had a committed approach towards his society while composing poetry, and this reality has made his poems good cases for scientific studies. This article tries to answer the main question that what Shamlou's committed approach stems from? As a hypothesis, the writers posit that Shamlou's committed approach stems from his specific definition of his identity as a dedicated organic intellectual who would always consider himself responsible towards the developments of his surrounding world and criticizing the status quo in the form of negative dialectics; the same thing that can be seen in the works of postcolonial writers. This article is written in the framework of postcolonial literary theory and utilizes Quentin Skinner's method of Intentional Hermeneutics.   Keywords: poem, commitment, intellectual, negative dialectics, Immanent critique, postcolonialism.   Introduction Ahmad Shamlu is undoubtedly a celebrated name in socially committed poetry. The present research is based on this fundamental question: “What Underlies the committed outlook manifested in Shamlu's poems?” In addressing and presenting a hypothesis, Scholars believe that the socially committed poems of Shamlu stem from a specific sort of definition of his identity as an organic and conscientious individual that he perceives from the surrounding world, and obliges himself to do what his Neo-Marxist ideological counterparts call it as negative dialectics or immanent critique. In the post-colonial literature framework and using the Intentional hermeneutic approach of Skinner, this study is pursuing to analyze Shamlu's socially committed poems within the context of Iranian developments and in his own era. For that purpose, the 1921-1979 historical span had been chosen, and as a matter of course, there will be no reference to progressions of his poems after the Islamic Revolution period. The study’s ultimate finding indicates that the poet’s political activities influence the socially committed poems of Shamlu in the primary decades of this time period, and also, owing to an open atmosphere and freedom of speech in the society following the fall of Reza Shah, it is more like political proclamations and speeches serving his affinity for the “Tudeh” party and Marxist principles. So the more we approach the latter stages of this time period, the committed approach of his, as a result of the climate of repression following the 1953 coup, despair and disillusionment of Shamlu and also his Farewell with party activism, and also with his allegiance shifts away from a specific political faction and with centering “human” and “human values”, with the approach of transnationalism and Third-Worldism, the more elevated, vaster and deeper it becomes, and also in terms of poetic structure and style, it acquires a symbolic allegorical and lyrical quality.   Theoretical Framework: Postcolonial Literary Theory Postcolonial theory, which gradually began with the writings of figures like Frantz Fanon in the 1970s, then reached its peak in the 1990s and even the 2000s, is not a pure and exclusive approach within a single academic discipline. Instead, its prominent figures belong to diverse fields of knowledge, from literary criticism and literature to historiography, cultural studies, anthropology, psychology, and political science. What connects the diverse postcolonial tendencies, like a chain, is their transcendence beyond the mere examination of the political, military, and economic issues of colonialism, and their attention to the cultural dimensions of the colonizer-colonized relationship. This shift in focus aims to understand the deeper and more hidden impacts of colonialism on the colonized culture and society, and even on the colonizing societies themselves. Ahmad Shamlu, although no one has yet placed his name alongside Frantz Fanon, Edward Saeed, or Spivak as a postcolonial writer, shares similar concerns and a sense of responsibility. Shamlu's specific definition of the intellectual, which strangely reminds us of Edward Saeed's statements, his commitment to critiquing the existing state of society under the rule of tyranny and oppression, his sense of duty towards the fate of the downtrodden in Iran and the world, his effort to echo their unheard voices, and his instrumental approach to poetry as a means of struggle, all make Shamlu a quintessential postcolonial poet. Consequently, postcolonial literary theory becomes an ideal theoretical framework for analyzing and examining his socially undertaking poetry, a task that the authors of this article have undertaken.   Results and findings A poem—especially one with a social motif—is not composed in a void; rather, it is the aggregated effect of the poet’s perception of societal transformations. This means that social changes and events are what provoke a committed poet to respond, becoming the central themes of his or her poetry. Therefore, according to Skinner’s Intentional interpretation method, understanding Shamlu's intentions requires situating his works within the social context of his time, rather than merely focusing on the semantic meanings of words and phrases. To this end, and in line with the main argument of this article—that Shamlu’s self-conception as an "organic intellectual" led him toward writing socially committed poetry, as well as critiquing and negating the existing conditions—this study examines the evolution of his poetry under the influence of domestic and international events during the historical period 1921–1978 (1300–1357 SH). The fundamental claim of this research is that the committed approach evident in Ahmad Shamlu’s socially engaged poetry stems precisely from his self-definition as a popular, organic intellectual deeply concerned with global developments, adopting a transnational perspective and a critical stance toward prevailing conditions. The authors’ analyses of Shamlu’s poetic evolution between 1921 and 1978, framed within postcolonial literary theory (given Shamlu’s intellectual affinities with postcolonial writers) and employing Skinner’s contextualist interpretive method, clearly substantiate the central thesis. it demonstrates that a sense of intellectual responsibility kept Shamlu consistently devoted to producing socially engaged, principled, and faithful poetry throughout this historical period. However, the researchers’ findings indicate that despite the continuity of Shamlu’s intellectual commitment, there was a noticeable shift in the style and form of his poetry, influenced by changing socio-political conditions. Specifically, from the early 1940s to the late 1950s (early 1320s to late 1330s SH), Shamlu’s poems—due to his political activism as a supporter of the “Tudeh” Party and his allegiance to Marxist leftist ideals, as well as benefiting from the relatively open political climate and freedom of speech following Reza Shah’s abdication in 1941—largely took the form of political manifestos and declarations, expressed in a direct, explicit tone serving partisan interests. Yet, from the late 1950s until 1978 (end of 1330s to 1357 SH), three factors led to a transformation, the renewed closure of Iran’s political space after the 1953 coup (28 Mordad coup), which triggered severe repression of opponents of the Pahlavi regime; Shamlu’s growing disillusionment and frustration with the state of his era; and his withdrawal from active political and party engagement. As a result, the element of commitment in Shamlu’s poetry moved into deeper, more introspective layers. Freed from partisan allegiance, his commitment became oriented toward broader humanistic concepts and universal human values. Stylistically, his poetry acquired symbolic, metaphorical, cryptic, lyrical, and even colloquial, fragmented qualities (shattered-writing). Moreover, throughout this entire period, Shamlu’s intellectual commitment, informed by a transnational and Third-Worldist outlook, was expressed not only toward the people of Iran but also toward the oppressed, victims, and marginalized populations across the globe, thereby sustaining his postcolonial identity.   References Alem, A. and Mirzazadeh, F (2010) “Intellectualism and Commitment: Reviewing E. Said's Works and Thoughts”. Law & Political Science, 40(1), 159-175. Dorri, N. and Piruznia, A. (2019) “Study of Common Themes in Shamlu, Ãluard, and Hughes Poems from the Perspective of Sociology of Literature”. Comparative Literature Research, 7(2), 108-129. doi: 20.1001.1.23452366.1398.7.2.6.6. Erfanian, L. Novrooz, M. Fakhr, B., and Abbasi, F (2021) “Analysis of the Discourse of Protest Poetry in the Poetry of Ahmad Shamloo and Siavash Kasraei (Based on the Analysis of the Discourse of Laclau and Mouffe)”. Jostarnameh Journal of Comparative Literature Studies, 16(5), 1-35. Jabri, S (2013)” New Epic in Shamloo's Poetry”. New Literary Studies, 45(1), 121-142. doi: 10.22067/jls.v45i1.13459. Linklater, Andrew (2007) “Critical Theory”, in Martin Griffiths (ed.), International Relations Theory for the Twenty-First Century: An Introduction, London and New York, Routledge. Malekpaeen, M., Behnamfar, M., Samkhaniani, A. and Rahimi, S. M (2016) “The Intertextual and Intratextual Analyses of Shamloo’s Committed Poems of the Twenties and Thirties”. Literary Text Research, 20(69), 67-97. doi: 10.22054/ltr.2016.6842 Nabi Abdali Yousefi, R. Seyed Sadeghi, S. M., and Parhizkari, M (2023) “Three Main Currents of Iranian Political Intellectuals in Four Periods of Ahmad Shamlou's Intellectual Life”. Literary Research, 20(79), 201-225. doi: 2634.20.79.201 Saeed, Edward (1996)—Representations of the Intellectual, New York: Vintage Books. Sharifian, M. Deiri, M. R. and Sehati Gorgani, A. (2015) “The Comparative Study of Social Aspects of Bertolt Brecht and Ahmad Shamlou”. Research in Contemporary World Literature, 20(1), 111-128. doi: 10.22059/jor.2015.54220. Simon, Roger (2015) Gramsci’s Political Thought: An Introduction, London, Lawrence & Wishart. Skinner, Quentin (2002) Visions of Politics: Regarding Method, Cambridge: Cambridge University Press. Spivak, Gayatri Chakravorty (1988) “Can the Subaltern Speak?” in Cary Nelson and Lawrence Grossberg (eds.), Marxism and the Interpretation of Culture, London: Macmillan. Sylvester, Christine (2014) “Post-colonialism”, in John Baylis, Steve Smith and Patricia Owens (Eds), The Globalization of World Politics: An Introduction to International Relations, Oxford University Press.   <a href="#_ftnref1" name="_ftn1">*</a> PH.D Student, Department of Persian Language and Literature, Karaj Branch, Islamic Azad University, Karaj, Iran. <a href="mailto:ziba.palizban1980@gmail.com">ziba.palizban1980@gmail.com</a> <a href="https://orcid.org/0009-0000-2067-0384">https://orcid.org/0009-0000-2067-0384</a> <a href="#_ftnref2" name="_ftn2">**</a> Corresponding Author: Associate Professor, Department of Persian Language and Literature, Karaj Branch, Islamic Azad University, Karaj, Iran. <a href="mailto:Zahra_dorri@yahoo.com">Zahra_dorri@yahoo.com</a> <a href="https://orcid.org/0000-0002-8669-7974">https://orcid.org/0000-0002-8669-7974</a> <a href="#_ftnref3" name="_ftn3">***</a> Assistant Professor, Department of Persian Language and Literature, Karaj Branch, Islamic Azad University, Karaj, Iran. <a href="mailto:nazari113@yahoo.com">nazari113@yahoo.com</a> <a href="https://orcid.org/0000-0002-7302-3364">https://orcid.org/0000-0002-7302-3364</a> <a href="#_ftnref4" name="_ftn4">****</a> Assistant Professor, Department of Persian Language and Literature, Karaj Branch, Islamic Azad University, Karaj, Iran. <a href="mailto:a.daneshgar2015@gmail.com">a.daneshgar2015@gmail.com</a> https://orcid.org/<a href="https://orcid.org/0000-0001-9048-4325">0000-0001-9048-4325</a>میان دو عرصۀ ادبیات و سیاست همواره پیوندی وثیق برقرار بوده و شاعران و نویسندگان برای آفرینش آثار ادبی، در عین پرداختن به تغزل&zwnj;ها و تخیل&zwnj;های شاعرانه از توجه به رخدادهای سیاسی و اجتماعی زمانه خویش نیز غافل نمانده&zwnj;اند. حاصل این نگاه، ظهور «شعر متعهد اجتماعی» است که بر رسالت آگاهی&zwnj;بخشی خود در برابر مردمان جامعه وقوف دارد. شعر شاملو را می&zwnj;توان از مصادیق آشکار این رویکرد متعهدانه دانست و همین واقعیت، سروده&zwnj;های شاملو را با درونمایه&zwnj;های اجتماعی موضوع مناسبی برای پژوهش&zwnj;های متعدد ساخته است. پژوهش حاضر، این پرسش بنیادین را مدنظر دارد که رویکرد متعهدانه در شعر شاملو، برآمده از چیست؟ در مقام پاسخگویی، نویسندگان معتقدند شعر متعهد شاملو، حاصل تعریف خاصی است که او از هویت خویشتن در مقام یک روشنفکر ارگانیک و وظیفه&zwnj;مند نسبت به تحولات جهان پیرامونش و نقد وضع موجود به صورت دیالکتیک منفی دارد؛ موضوعی که آشکارا در آثار نویسندگان پسااستعمارگرا نیز قابل مشاهده است. این پژوهش برای نیل به اهداف خود از چارچوب نظریۀ ادبی پسااستعماری بهره جسته و روش تأویل قصدگرایانه کوئینتین اسکینر را به کار بسته است.

http://literature.ihss.ac.ir/fa/Article/Download/51236