مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103022742025413Analyzing the action of Pahlevan's Dragon and Genius in "Haft-Khan" Based on the opinion of "Georges Domzil"تحلیل کنش اژدهااوژنی پهلوان در «هفت‌خان» بر پایه دیدگاه «ژرژ دومزیل»127fa رضاموصلیدانشجوی دکتری زبان و ادبیات فارسی، دانشگاه بیرجند، ایران ابراهیم محمدیدانشیار گروه زبان و ادبیات فارسی، دانشگاه بیرجند، ایران اکبر شایان سرشتدانشیار گروه زبان و ادبیات فارسی، دانشگاه بیرجند، ایران 202478Analyzing the action of Pahlevan's Dragon and Genius in "Haft-Khan" Based on the opinion of "Georges Domzil" Reza Movasseli<a href="#_ftn1" name="_ftnref1">*</a>  Ebrahim Mohammadi<a href="#_ftn2" name="_ftnref2">**</a> Akbar Shayanseresht<a href="#_ftn3" name="_ftnref3">***</a>   Dragon slaying is one of the special acts of a warrior to prove his valor, and in Iranian epic poems, many warriors go to battle with the dragon and kill him. This action can be analyzed based on different points of view. This research analyzes the aforementioned action based on Dumzil's point of view in the writing "Gods of Action" and shows that Rostam and Esfandiar's dragon killing has outstanding features, especially in their Haft Khans. The first feature of both stories is the metamorphosis of the dragon myth. In Haft Khane Rostam, the dragon is no longer the well-known snake-like creature, but a demon who acts like a dragon; It means that the existence and life of the Shah of Iran and the soldiers are imprisoned in the darkness of death and the warrior must leave it. In Haft Khan, Esfandiar is forced to go through seven difficult trials to free "woman", which is the symbol and symbol of fertility and pure existence, so that he can free them from the clutches of the dragon. And he brought fertility and blessings with him. Finally, it can be said that the warrior destroys the dragon by passing through Haft Khan, and this action of his becomes the creator of fertility and manna of existence and living.   Keywords: Ferdowsi's Shahnameh, Haft Khan, Rostam, the dragon, and Georges Dumzil's three acts.   The ending of both known Haft Khans of Shahnameh is amazing. Both Haft Khans are filled with water and greenery and the freshness of spring. In other words, in both of them, life itself is born from the hearts of the hero with all his evil, darkness, and destruction. At the end of Haft Khane Rostam, we read:   The land was full of greenery and water and moisture Bring me to the garden (Ferdoosi, 1996, Vol. 2: 64)   Also, at the end of Esfandiar's Haft Khan:   when arrive near that cold place Leave all your wishes Pleasant weather and lush landscape It seemed that spring had come in midwinter (Ibid., Vol. 5: 286(   Why has the epic given such an end to these two Haft Khans? Where is its origin? In response, it can be assumed that in Iranian mythology, the demon of cold and deadly, which brings death and nothingness, is considered to be a demon that brings destruction with itself. In Iranian mythology, cold has been the demon of death and nothingness, which is interpreted as Malkus or Mergos. "One of the demons in ancient Iranian mythology is Malkus or Markus. He is the demon who created the cold and harsh winter at the end of the Ushidar millennium" (Heinz, 1385: 161). In such cases, someone with special functions must come and fight with the demon of death and nothingness. Who can handle such a task better than an epic warrior? The position of the warrior in the epic is very high and he has "extraordinary arts and does things that cannot be done by ordinary people" (Khalaghi Mutlaq, 2007: 45). These epic heroes "have superhuman powers that begin their heroic journey after winning the father's approval" (Mohammadi， Afshar, 1401: 266). One of the ways to develop and transform a mythical warrior into a superhero is to confront a warrior with a mythical creature called a dragon. The dragon has kidnapped the fertility factor and the hero must do a great job to reach and get rid of it. This article tries to analyze Haft Khan based on the theory of "triple actions of the gods" by Georges Dumzil. According to Dumzil's point of view, all Indo-European peoples benefit from a specific social structure or action. He believes that "all these myths follow a common pattern that goes back to the beliefs of the ancient Aryan people" (Qasimi Firouzabadi, 2023: 313). According to Domzil's research, Aryan ethnic groups have three actions or functions from a class perspective. He considered three groups of myths. - Although the gods of the first group had different names, they were all celestial and cosmic reflections of ruling humans such as priests, princes, kings, ministers, and so on. - Although the gods of the second group had different names, they were all reflections of war and fighting in the atmosphere of the earth, which reflected the forces of war and valor. - The gods of the third group were all reflections of government, wealth, health, fertility, abundance, and material blessings on earth. The gods of this action were mostly ordinary people. Based on this, Dumzil named the first group Shahriari gods, the second group Salahshuri gods, and the third group Pishevari gods. In the table below, it is possible to express better and more fully the actions of the three gods with their important features.   <table style="float: left;"> <tbody> <tr> <td width="76"> action </td> <td width="406"> Indicator </td> </tr> <tr> <td width="76"> Shahriari </td> <td width="406"> Creation, organization of worldly affairs, religiosity, intelligence, dedication and truth, judicial affairs, support and guidance, ordering affairs </td> </tr> <tr> <td width="76"> combative </td> <td width="406"> Physical strength, courage, heroism, warrior </td> </tr> <tr> <td width="76"> fertility </td> <td width="406"> Abundance, abundance, luck, youth and wealth, health, beauty, attachment to the earth, lust, peace, crowd of people </td> </tr> </tbody> </table>   Quoted from (Namvar Mutlaq and Avazpour, 2016: 61-100). According to this theory, there are two types of heroes. First, the hero who represents one of the actions; Another hero represents two or three acts (ibid: 86). In this theory, the hero of the second act is always useful, puts himself in danger, and is not afraid of his life (Domzil, 2004: 47). It is necessary to point out this important point that this article seeks to clarify another function of the warrior in epic literature and use Dumzil's theory to clarify that Haft Khan's epic warrior is like other warriors based on Dumzil's theory, although in action placed in the second group, it can have a positive effect on the action of the other group. The result of the present research seeks to show that the epic heroes, passing through Haft Khan, become the cause of greenness and freshness of nature and finally fertility, which is in the third group based on Dumzil's theory, and this importance cannot be achieved except with the cooperation of the three gods. The main goal of the current research is this issue.   Haft Khane Rostam The most important feature of Rostam's personality is his popularity and durability. "Rostam is the representative of the people... the representative of a nation that only thinks about the freedom of its people" (Mohammadi, 2005: 109). That is why he takes the dangerous path of Haft Khan. On the way, great dangers threaten him, but knows that he has to fight with the demon of death and nothingness. Victory over this deadly and terrible conflict is a blessing and an abundance for the land of Iran. Rostam, is thinking about one thing; The liberation of the Shah and the Iranian army from the hands of the dragon. From the heart of this victory, the element of life comes out. To pass Haft Khan, in addition to his physical strength, which is the main essence of a wrestler, he takes help from his other dimension, "wisdom" (Ibid.: 112). Rostam uses Zal's guidance to reach Haft Khan, and he is the one who sends Rostam through a dangerous path. Although Zal is one of the warriors of the Shahnameh and according to Dumzil's theory, he is placed in the second group - that is, the gods of war - based on his various actions, he can be considered as one of the advisors related to Action is the first group. As Namvar Mutlaq writes, "Guidance and advice are considered one of the characteristics of the first action" (Namvar Mutlaq and Avaz-Pour, 2016: 108-109). But an important issue that should be pointed out is that "distinction between actions does not prevent any god from cooperating with other gods and possibly acting in the domain of other gods. For instance, Indra, who is the god of physical strength, war, and conflict, is also the god who bestows wealth and blessings.Therefore, what we consider in the field of conflict in actions is from the category of conflict in concepts and meanings, and not conflict in conflict and action. (Stari, 2000: 22-23). Since Iranians are captured by the dragon, only Rostam can untie the knot. "Therefore, every battle of Tahamtan is to protect Iran-City from the attack of a force of dragons" (Shahroui and Rahimi, 2022: 24). Zal asks Rostam - who represents the second group - to express himself armed with a tiger. Make it hard for you to tell the tiger to Stop dreaming and thinking (Ferdoosi, 1996, Vol. 2: 18) As mentioned, Rostam is sent by Zal - the god of wisdom. A warrior must do a great job to release and create fertility. Rostam asks Zal for directions. Zal shows Rostam two ways, But he wants Rostam to choose a short way.   One path is that which Kāvus took, The other, mountains and heights spanning two sevens. Choose the shorter path, witness the wonders, For the Creator of the world shall be your ally. (Ferdowsi, 1996, Vol. 2: 19) Since Pahlavani and Razm-Avari are placed in the second group based on Dumezil's theory (Dumezil, 1977: 55; quoted by: Namvar Mutlaq and Awadpour, 2015: 68), Rostam also classified Dumezil in the second act. is placed himself refers to this issue. I am neither Arzhang nor the White Demon, Neither Sanja, nor Kulād Ghandi, nor Bid. (Ibid.: 19)   You choose short and see the surprise May he be your friend, world creator (Ibid.: 19)   Since Pahlavani and Razm-Avari are placed in the second group based on Dumezil's theory (Dumezil, 1977: 55; quoted by: Namour Mutlaq and Awadpour, 2015: 68), Rostam also classified Dumezil in the second act. is placed himself refers to this issue.   Not Arjang Manem, not the White Devil No Sanjeh, no Kolad Ghandi, no Willow (Ibid.: 19) He sees himself in the service of the first group: "I will sacrifice my body and soul to the lieutenant general" (ibid: 119); He agrees to this way and to help the Iranians and create fertility, he starts Haft-Khan and by killing the dragon, he brings fertility with himself.   Haft Khane Esfandiar Among the heroes of Shahnameh, Esfandiar is one of the characters who can be placed in various actions. According to Domzil, Esfandiar should be placed in the first act due to being a prince. But he is also close to the gods of other actions, i.e. fertility and war. Esfandiar is a character who comes out of his main class - the first class - and approaches the god of the third act, and according to Dumzil, he has committed the first crime.   No one should see my feet in a rug unless I make a hundred laces in the desert I shall dig wells, ten thousand in number, And in every dry land, I shall set up a water source!  (Ferdoosi, 1996, Vol. 2: 18)   Esfandiar commits a great crime and claims the royal throne. Of course, he has a very average character and even though his father has tied him up and treated him badly, he still bows to his father - first act. His father wants him to do a great job. He must save the sisters, who are a sign of fertility, from the clutches of the dragon. This problem is better shown when we know that Arjasab is described as a dragon in Shahnameh. I have accepted this from the exalted Creator, That if you go to Tūrān unharmed, And face the dragon with your bravery, Freeing your sisters from the hands of the Tūranians, I shall grant you the royal crown, Along with endless treasures and the majestic throne. (Ferdoosi, 1996, Vol. 5: 200)   In this research, the text will be analyzed with two main goals. First of all, since Haft Khan of both fighters have many commonalities, both Haft Khans will work together in order to prevent repetition and to better see the distinction of both Haft Khans. Second, in a grouping and confrontation in Haft Khans, we will face two axes: death and life. On the axis of death, you can consider the presence of a dragon, lion, thirst, demon, cold, darkness, etc., and on the axis of life, warrior, water, brunette, woman, etc. In a sense, "the confrontation between the warrior and the dragon can be an interpretation of the confrontation of thousands of conflicting and dual realities of life and destiny in the human mind. The opposition of light and darkness, youth and old age, violence, freedom and slavery, and finally, the most glorious warrior and the most terrifying dragon of all dragons, that is death and life" (Sarkarati, 2006: 137). This is exactly what the writers will be trying to show in this confrontation: the opposition of death and life/life.   References Dumézil, Georges. (2004) “The Fate of the Warrior”, Translated by Shirin Mokhtari & Mehdi Bagheri. Tehran, Gheseh. Ferdowsi, Abolqasem. (1996) “Shāhnāmeh”, Edited by Khaleghi Motlaq. Vols. 2, 5, & 8. California: Mazda Publishers in collaboration with the Foundation for Iranian Studies. Ghasemi Firouzabadi, Saman. (2023) “The Structure of Iran’s National Epic Based on Georges Dumézil’s Theory.” Journal of Epic Literature Research, Vol. 19, Issue 1 (No. 35), Spring & Summer, pp. 313-335. Khaleghi Motlaq, Jalal. (2007) “Hamaseh: A Comparative Phenomenology of Heroic Poetry”, Tehran: Center for the Great Islamic Encyclopedia. Mohammadi, Ebrahim. (2005) “Zāl and Zurvan: The Intermediary Figures.” Journal of Language and Literature, Faculty of Persian Literature and Foreign Languages, Issue 23, pp. 108-122. Mohammadi Afshar, Houshang. (2022) “Analysis of Dragon Metamorphosis in Garshasp’s Adventures Based on Archetypal Criticism.” Journal of Epic Literature Research, Vol. 18, Issue 1 (No. 33), Spring & Summer, pp. 259-286. Russell Hines, John. (2006) “Iranian Mythology”. Translated by Mohammad Hossein Bajalan. 2nd Edition. Tehran, Asatir. Setari, Jalal. (2000) “The World of Mythology”, Vol. 4. Tehran: Markaz. Sarkārāti, Bahman. (2006) “The Hunted Shadows”. Tehran, Tahouri. Shahrouei, Saeed & Rahimi, Seyed Mahdi. (2022) “An Examination of Esfandiyār’s Dragon-Like Nature with a Comparative Approach.” Interdisciplinary Studies of Literature, Art, and Humanities, Vol. 2, Issue 1 (No. 3), Spring & Summer, pp. 23-46.       <a href="#_ftnref1" name="_ftn1">*</a>  Ph.D Student of Persian language and literature, Birjand University. <a href="mailto:rezamovasseli@birjand.ac.ir">rezamovasseli@birjand.ac.ir</a> <a href="#_ftnref2" name="_ftn2">**</a> Corresponding Author:Associate Professor Department of Persian Language and Literature, Birjand University. emohammadi@birjand.ac.ir <a href="#_ftnref3" name="_ftn3">**</a>* Associate Professor Department of Persian Language and Literature, Birjand University. <a href="mailto:ashamiyan@birjand.ac.ir">ashamiyan@birjand.ac.ir</a>  اژدهاکشی از کنشهای ویژه پهلوان برای اثبات پهلوانی است و در منظومههای حماسی ایرانی، پهلوانان زیادی به ستیز با اژدها میروند و او را میکشند. این کنش را میتوان بر پایه دیدگاههای گوناگون بررسی کرد. این پژوهش، کنش یادشده را بر پایه دیدگاه دومزیل در نوشتار «خدایان سه کنش» تحلیل میکند و نشان میدهد که اژدهاکشی رستم و اسفندیار به&zwnj;ویژه در هفتخانهای آنان، ویژگیهای برجستهای دارد. نخستین ویژگی هر دو داستان، دگردیسی اسطورۀ اژدهاست. در هفتخان رستم، دیگر اژدها، موجود مار مانند شناختهشده نیست، بلکه دیوی است که کنش اژدهاگونه دارد؛ یعنی هستی و زندگی شاه ایران و سپاهیان را در تاریکی مرگ به بند میکشد و پهلوان باید آن را رها کند. اسفندیار نیز در هفتخان ناگزیر است برای رهانیدن «زن» یعنی نماد و سرنمون باروری و هستی ناب، هفت گدار سخت را پشت سر بگذارد تا بتواند آنان را از چنگال اژدها برهاند و با خود باروری و برکت به همراه آورد. در نهایت میتوان گفت که پهلوان با گذر از هفتخان، اژدها را نابود میکند و این کنش او، پدیدآورنده باروری و مانایی هستی و زیستن می&zwnj;شود.

http://literature.ihss.ac.ir/ar/Article/Download/47300

مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103022742025413We-Narrator in Complementary Point of View: Factors for Distinguish between Collective and Non-Collective Narrativesما-روایتگر در زاویه‌دیدهای ترکیبی: شاخصه‌هایی برای تمایز روایت‌های جمعی و غیر جمعی2960fa نسترن شهبازیدانش‌آموخته دکتری گروه زبان و ادبیات دانشگاه خوارزمی، ایران0009000989267126محمدپارسانسباستاد گروه زبان و ادبیات دانشگاه خوارزمی، ایران202437The function of the We-Narrative with the element of perspective in storytelling can take various forms. One of these functions occurs when the story employs two or more points of view for narration, and one of them is presented by the We-narrator. In this case, authenticating one of these points of view is not straightforward. In fact, the intermittent position mentioned requires a pattern to differentiate collective narration as the narrative action of the We-narrator from non-collective narration, which is the product of another story's point of view. The present research aims to address this situation using an inferential method and by utilizing selected narratives from the corpus of Persian fictional literature. The result of such a study, which examines narratives through story and discursive elements, introduces four factors as indicators of the problem under consideration. These indicators, which pertain to the formal and content aspects of the narratives, demonstrate that the story requires extensive representation of the We-narrator to be perceived as collective. The collective narrator presenters must prioritize the other elements of storytelling, align with the central thematic issue, and reflect coherence in their agency.   Keywords: Collective narration, We-narrator, Story elements, Complementary Point of View, Contemporary Persian Fiction.     Introduction A shift in narrative perspective allows the author to break free from conventional constraints, enabling the incorporation of sub-narratives into the story without compromising its narrative logic. The We-Narrative is one such functional sub-narrative, often utilized by writers as part of the Complementary Point of View within novels or longer narratives that primarily employ either first-person singular or third-person omniscient perspectives. From this standpoint, altering the narrative point of view can also transform the story’s perspective, thereby deeply influencing the narrative form. This may explain the increasing use of hybrid perspectives in contemporary storytelling. However, studies on collective narration have yet to establish clear distinctions in cases where stories do not exclusively rely on the We-Narrative but instead combine it with other perspectives. The present study addresses this apparent ambiguity in distinguishing between collective and non-collective narratives, particularly in instances where a single story employs both a We-Narrator and other perspectives concurrently. In other words, this comparative study aims to establish criteria for identifying We-Narratives within hybrid perspectives. One of the most significant challenges in studying We-Narratives arises when the story employs a first-person plural narrator and another narrator. Addressing this issue requires developing a model with a solid conceptual foundation that can encompass a range of literary works. Given the unique characteristics of collective narration—many of which manifest in the collective identity of the narrator—this model must provide evaluative criteria that consider both content-based aspects (the collective identity of the narrator) and formal aspects (its representation as a We-Narrator).   Literature Review Research on We-Narratives in Persian literature began with the seminal study by Jahedjāh and Rezāei “(2013) A Theoretical and Practical Study on "First Person Plural Narrative" (in Five Short Stories of Hooshang Golshiri)”. In this study, the authors draw on the perspectives of three narrative theorists—Uri Margolin, Brian Richardson, and Amit Marcus—to introduce and categorize different types of first-person plural narration, using examples from Golshiri’s short stories. Subsequent studies by Shahbazi and colleagues have provided ongoing and focused analyses of contemporary Persian literary works, aiming to elucidate various aspects of We-Narrators and We-Narratives. These studies include: - We Narrator of 'Khane Roshanan" by Golshiri: A Causative Analysis (2020) - We Narrator Linguistic Potentials: First-person Plural Practicality in Narration (2022) - ‘Sharhi bar Qasideye Jamaliye’ or a Describing the Narration of a Collective Story (2023) - In the way of "Us" with them; Structural semiotic of "Malakh" by Houshang Golshiri (2024) However, these studies have established criteria for distinguishing collective narratives from non-collective ones. Still, no research has specifically examined collective narration within hybrid perspectives to differentiate We-Narratives based on narrative elements.   Methodology This study examines three selected stories that employ a combination of first-person singular and first-person plural perspectives while differing in their frequency of usage of these perspectives. These stories have been purposefully selected to showcase the diverse ways in which We-Narration is employed. Narratives that combine first-person plural and third-person perspectives have been excluded because, from a discourse perspective, first-person singular/plural combinations demonstrate greater structural complexity and less obvious distinctions between narrators. However, to enhance the discussion, at least one example of a story written in this manner will be briefly reviewed. For a more precise analysis, this study draws on Jaap Lintvelt’s (2019) theoretical framework on narrative structures.   Discussion In the short story “Bi-Matarsak” by Ali Ghobishavi, the author combines a We-Narrative—which occasionally shifts focus to a single member of the group—with a third-person limited perspective. The clear narrative markers in the text emphasize shifts in perspective.  “Sharhi bar Qasideh Jamaliyeh” centers around the arrival of a caravan of camels in a northern city. The We-Narrator of this story—composed of an initial “I” that transitions into a distinct collective “We”—attempts to recount how the town resolved its disorder. Structurally, this narrative combines first-person singular and first-person plural perspectives. In “Julie and Julia”, the narration consists of two distinct first-person singular voices and a shared We-Narrator. Throughout most of the story, events and actions are described collectively, yet the “I” narrator is never entirely absent. In “Goharbaran”, the first-person narrator alternates between past and present, forming a We-Narrative with different groups (first with his spouse and later with his uncle’s family) while remaining an isolated “I” in his thoughts. A structural analysis of these stories reveals several noteworthy characteristics, suggesting the potential for a formal model to categorize them.   Conclusion Four key characteristics of technical We-Narratives have been identified, which can serve as a framework for categorizing stories that employ hybrid perspectives: <ol> <li>The extent of the We-Narrative relative to other perspectives</li> <li>The collective agency of the We-Narrator</li> <li>The referential authority of the collective in presenting a shared consciousness</li> <li>The construction of a collective discourse</li> </ol>   References Ahmadi, Afsaneh. (2018) “Julie and Julia”. In Killing in a Domestic Style. Tehran: Nimaj. Alizadeh, Farahnaz. (2021) A Survey of Modern Narrative Perspectives. Tehran: Pelat. Bal, Mieke (1997) Narratology: Introduction to the Theory of Narrative, 2d ed. Toronto: Toronto Univ. Press.   Barthes, Roland (1975) “An Introduction to the Structural Analysis of Narrative” in Narrative and Narratives. vol. 6. No. 2. pp. 237-272. Bekhta, Natalya (2017(“We-Narratives: The Distinctiveness of Collective Narration” in Narrative. Vol. 25. No. 2. pp. 164-181. Bishop, Leonard. (2019) Lessons on Storytelling. Translated by Mohsen Soleimani, 7th edition. Tehran: Soore Mehr. Currie, Gregory. (2016) Narratives and Narrators. Translated by Mohammad Shahba, 2nd edition. Tehran: Minou-ye Kherad. Fowler, Roger. (2024) Linguistics and the Novel. Translated by Mohammad Ghaffari, 3rd edition. Tehran: Ketab-e Bahar. Ghobishavi, Ali. (2013) “Bi Matarsak”. Tehran: Negah. Habibi, Hamed. (2016) “Goharbaran”. In The Fish’s Blink. Tehran: Cheshmeh. Golshiri, Hooshang. (2003) “Sharhi bar Qasideh Jamaliyeh”. In The Dark Half of the Moon, 2nd edition. Tehran: Niloufar. Jahedjah, Abbas & Rezaei, Leila. (2013) A Theoretical and Practical Study on "First Person Plural Narrative" (in Five Short Stories of Hooshang Golshiri)” (in Five Short Stories by Hooshang Golshiri). New Literary Studies, no. 182, pp. 47-74. Lintvelt, Jaap. (2019) Dimensions of Narration: Theme, Ideology, Identity. Translated by Nosrat Hejazi. Tehran: Elmi va Farhangi. Meir, Frederick W. (2020) Narrative and Collective Action. Translated by Elham Shoushtarizadeh. Tehran: Atrāf. Mirsadeghi, Jamal. (2020) The Identity of Fiction and Storytelling. Tehran: Logus. Rimmon-Kenan, Shlomith. (2008) Narrative Fiction: A Contemporary Poetics. Translated by Abolfazl Hari. Tehran: Niloufar. Safi, Hossein. (2015) Epistemology in Fiction. Tehran: Siahroud. Shahbazi, Nastaran., Bagheri, Bahador, and Bayat, Hossein. (2020) We Narrator of 'Khane Roshanan" by Golshiri: A Causative Analysis. Literary Criticism, no. 51, pp. 31-62. Shahbazi, Nastaran and Bayat, Hossein. (2022) We Narrator Linguistic Potentials: First-person Plural Practicality in Narration. Literary Theory and Criticism, no. 14, pp. 147-171. Shahbazi, Nastaran and Bayat, Hossein (2023) ‘Sharhi bar Qasideye Jamaliye’ or a Describing the Narration of a Collective Story. New Literary Studies, no. 220, pp. 47-65. Shahbazi, Nastaran., Bagheri, Bahador. and Neghabi, Effat. (2024) In the way of "Us" with them; Structural semiotic of "Malakh" by Houshang Golshiri. Research in Narrative Literature, no. 49, pp. 201-220.  ما-روایت با کارکرد عنصر زاویه&zwnj;دید در داستان می&zwnj;تواند به اشکال گوناگونی بروز یابد. یکی از این کارکردها در صورتی حاصل می&zwnj;شود که داستان از دو یا چند زاویه&zwnj;دید برای روایتگری بهره ببرد و یکی از این زاویه&zwnj;دیدها، با ما-راوی ارائه گردد. در این صورت اصالت&zwnj;بخشی به یکی از این زاویه&zwnj;دیدها، چندان ساده نخواهد بود. در واقع موقعیّت بینابین یادشده به الگویی نیاز دارد تا بتوان با تمسّک به آن، روایت جمعی را به&zwnj;مثابه کنش روایی ما-راوی از روایت غیرجمعی که محصول دیگر زاویه&zwnj;دیدهای داستانی است&zwnj;، متمایز کند. پژوهش پیش&zwnj;ِ&zwnj; رو درصدد است تا با روشی استنتاجی و با بهره&zwnj;گیری از روایت&zwnj;های گزینش&zwnj;شده&zwnj;ای از پیکرة ادبیات داستانی فارسی، به این وضعیّت بپردازد. نتیجة چنین مطالعه&zwnj;ای که با استفاده از عناصر داستانی و گفتمانی، روایت&zwnj;ها را مورد خوانش قرار می&zwnj;دهد، چهار عامل را به &zwnj;عنوان شاخصه در مسئلة مدّنظر معرفی می&zwnj;کند. این شاخصه&zwnj;ها که ناظر بر جنبه&zwnj;های صوری و محتوایی روایت&zwnj;ها هستند، نشان می&zwnj;دهند که داستان برای جمعی تلقّی شدن، نیازمند نمایش گستردة ما-روایت است. گروه ارائه&zwnj;دهندة ما-روایت باید نسبت به سایر عناصر روایتگرانة داستان، ارجح باشند، دربارة موضوع کانونی، تفکری هم&zwnj;راستا داشته باشند و در کنشگری خود، یکپارچگی را بازتاب دهند.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103022742025413Investigating the social-historical contexts of the thought and works of Mrs. Nosrat Aminبررسی زمینه‌های تاریخی- اجتماعی اندیشه و آثار «بانو نصرت امین»6193faسید حمیدرضارئوفدانشجوی دکتری تصوف و عرفان اسلامی، دانشگاه سمنان، ایرانقدرت اللهخیاطیاناستاد گروه ادیان و عرفان دانشگاه سمنان، ایران عظیمحمزئیاندانشیار گروه ادیان و عرفان، دانشگاه سمنان، ایران 2024610Examining the historical and social contexts of the works means deepening more about the contexts and times in which the author's thoughts reach the intersection of the three axes of history, situation and individuality to adopt approaches and prefer and emerge his thoughts. In addition to a better and more accurate understanding, this causes the problem of the possible conflict of the author's words in his various works to be resolved. In this research, with a descriptive-analytical method, by examining the context and era of the life of Mrs. Amin Esfahani from the perspective of historical research, a trajectory of Mrs. In addition to clarifying the connection between Amin's actions and works with the social situation of his time, this issue also clarifies the errors in his biographies regarding the relationship of some of his actions and works with social events. Adapting the life course of Mrs. Amin to the social events of her era leads to the accurate historical drawing of her actions and works. In addition to the stages of his intellectual life in stages: from receiving ijtihad permits to social concern in the face of the widespread social poverty crisis, and after that to the need for intellectual growth in the face of social changes, then emphasizing the education of women In the form of establishing schools and finally writing a book on the interpretation of the Qur'an with the aim of educating the general public.بررسی زمینههای تاریخی و اجتماعی آثار به معنای تعمیق بیشتر دربارة زمینهها و زمانه&zwnj;ای است که افکار نویسنده در تلاقی سه محور تاریخ، موقعیت و فردیت به اتخاذ رویکردها و ترجیح و برآمدن اندیشههای خود نائل میشود. منظری که در مطالعة تاریخ ادبیات باید به آن توجه شود. در این پژوهش با روش توصیفی- تحلیلی با بررسی زمینه و زمانة حیات «بانو امین اصفهانی»، خط سیری از حیات بانو امین و وقایع و رویدادهای مربوط به دوران او ترسیم شده است که در آن با اشاره به زمانه و اوضاع فرهنگی و اجتماعی، زمینهها و دلایل اقدامات مختلف و نگارش تألیفات متعدد او بیان میشود. نتیجه آنکه این مقاله خط سیر تاریخی را از حیات بانو امین ترسیم میکند که در آن با معرفی سیر و ترتیب تاریخی آثار او، کیفیت ادبی و نسبت محتوای آثارش را با تحولات اجتماعی روزگار او بیان میکند. خصیصة ادبی غالب در آثار امین، روانی و صراحت بیان در توضیح افکار و اندیشههاست. امین حتی در بیان رویکردهای عرفانی در تفسیر نیز در عین کاربرد صناعات ادبی مختلف، بیانی روان و ساده را به خدمت گرفته است. این رویکرد وی به دلیل دغدغهاش دربارة ترویج اندیشههای خود در ارتباط با فضای فرهنگی و اجتماعی است. امری که به درک بهتر ما از سیر تحولات فکری و رویکردهای بانو امین کمک میکند.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103022742025413Criticism of folk wisdom based on the Travelogue of Ebrahim Bey and the biography of Haji Babai Esfahaniنقد حکمت عامیانه با تکیه بر «سیاحتنامه ابراهیم‌بیگ» و «سرگذشت حاجی بابای اصفهانی»95118faمحمدرضا موحدیدانشيار گروه زبان و ادبيات فارسي دانشگاه قم، ایران حامدترکمنیدانشجوی کارشناسی ارشد ادبیات فارسی دانشگاه قم، ایران2024612Although in our ancient terminology, wisdom is divided into two parts, practical and theoretical, and its main purpose is to promote the appropriate moral way and method by relying on intellectual sciences for social and individual life, besides these two, folk wisdom which often shows itself in proverbs, has mysteriously strengthened its position among the strata of different societies. This wisdom, which is accepted by the general public, has a major difference from practical and theoretical wisdom in one aspect, that is, the intellectual dimension. Since the construction and cultivation of folk wisdom is formed in the hearts of the common people of the society, it often does not have a strong intellectual basis. due to its extensive use over time, it has gained the ability to generalize and include. The cases of application of these pearls of wisdom in a comparative study in the two books "Travel of Ibrahim Bey" and "The Story of Haji Babai Isfahani" which are among the first Persian novels, can give us an image of the Iranian's morals so that we can learn more about our strengths and weaknesses.   Keyword: Folk wisdom, theoretical wisdom, practical wisdom, Haji Babai Esfahani, Ebrahim Bey's travelogue.   Introduction Proverbs and folk wisdom are an inseparable part of all world languages, and Persian is one of the richest living languages in terms of proverbs and wisdom. "As a result of the sharp, insightful, intelligent, and discerning thought of Iranians, Persian is one of the richest languages in the world in terms of proverbs and wisdom. Over centuries, these proverbs have been embedded in Persian poetry and prose, and no famous Persian poet is exempt from using these proverbs in their works." Folk wisdom reflects mental beliefs often found in proverbs and sayings, though not all proverbs can be classified as folk wisdom. These proverbs are typically derived from past events, personal experiences, and lessons transmitted across generations, sometimes becoming the collective thoughts of a community. "The general public, wherever they may be, are mostly preoccupied with survival and do not invent anything. However, in every society, even in primitive environments, some individuals think and create ideas, which later transform into proverbs." These sayings, polished over time and often concise, have been passed down through generations and are still widely used today to sweeten speech, substantiate arguments, or express ideas. Over centuries, these sayings have gained universal application, even when their meanings are only loosely related. When folk wisdom, which lacks a solid philosophical foundation, replaces practical or theoretical wisdom in society, it can lead to harmful consequences. "The outcomes of these superficial ideas are evident. They suggest that one should not challenge established powers, resist force, or step beyond traditional norms; any effort outside these boundaries is deemed futile." The widespread use of such wisdom can be destructive not only at the individual level but also socially. Those who frequently use these sayings often respond to negative situations with, "This is fate."   Background of the Research The origin of folk wisdom lies in the customs and morals of a land’s people. Numerous works have been written on this subject, some of the earliest being Kolsoom Naneh by Khansari and Nirangestan by Sadegh Hedayat, which analyze superstitions in Iranian customs. In the modern era, one of the most significant works in this field is The Morality of Iranians by Jamalzadeh, which examines Iranian behavior. Recently, critical perspectives on these behaviors have emerged as a social and literary genre, as seen in works like The Emergence of the Genre of Iranian Morality, which covers topics such as “Definitions and Theoretical Discussions” and “The Formation of the Genre.”   Problem Statement Given the abundance of proverbs and folk wisdom in the Persian language, this research analyzes these sayings, particularly in two significant Persian works: The Travels of Ibrahim Beg and The Adventures of Haji Baba of Isfahan. These books, written in the travelogue genre, depict the social lives of ordinary Iranians across various regions.   Research Methodology This article is based on library research and adopts a descriptive-analytical approach.   Main Factors for the Use of Folk Wisdom: Given the widespread appeal of folk wisdom and proverbs, individuals often use them according to the context of their speech, pursuing specific goals. Below are some key factors for their usage, examined in the context of the two books: <ol> <li>Self-Interest: An example can be seen in the famous proverb, "A wise lie is better than a harmful truth," which appears in The Adventures of Haji Baba of Isfahan. Though lying is one of the major moral vices, this proverb emphasizes that in certain situations, a wise lie can prevent discord.</li> <li>Consolation: Folk wisdom is often used to soothe suppressed desires and alleviate pain. For instance, the saying, "Describing another's troubles eases one's distress," highlights how individuals find solace, even at the cost of moral principles.</li> <li>Fear and Risk-Aversion:</li> </ol> Fear and anxiety, inherent in human nature, often prevent individuals from taking certain actions. For example, "Abandoning work in hopes of illusory profit is not wise" illustrates this caution. <ol start="4"> <li>Laziness: People often use folk wisdom to justify laziness. Examples include: <ul> <li>"All hardships become easier with habit."</li> <li>"Wherever you go, the sky is the same color."</li> </ul> </li> <li>Reasoning and Generalization:</li> </ol> Proverbs often involve reasoning based on limited observations and applying them broadly. For instance: <ul> <li>"A sample reveals the whole."</li> <li>"A good year is evident from its spring."</li> </ul> <ol start="6"> <li>National and Religious Biases:</li> </ol> Blind prejudice can manifest in destructive ways, as seen in the following examples from the Qajar era: <ul> <li>"No good comes from the service of a Sunni for a Shiah."</li> <li>"Westerners are the dirtiest people on Earth."</li> </ul> <ol start="7"> <li>Simplicity and Superstition:</li> </ol> Many folk proverbs are rooted in superstitious beliefs. Examples from the Qajar period include: <ul> <li>"When leaving home, step out backward to ensure you return safely."</li> </ul>   Conclusion Proverbs, in terms of both linguistic structure and content, often fall under the category of folk wisdom. These sayings, stemming from the masses, naturally have a significant impact, as they embed moral and ethical guidance. Unlike theoretical or practical wisdom, which is based on years of rational analysis, folk wisdom often originates from individual experiences. Over time, through widespread usage, such wisdom becomes popular among the general public. However, the societal application of folk wisdom, with its lack of a rational foundation, can lead to negative consequences.   References Ariyanpour, Yahya (2008) From Nima to Our Time, Tehran, Zavar, 5th Edition. Edwards, Paul (2008) Philosophy of Ethics, translated by Mashallah Rahmati, Tehran, Tebyan, 1st Edition. Palmer, Michael (2010) Ethical Issues, translated by Alireza Al Booye, Tehran, Samt, 2nd Edition. Tufiq, Ibrahim et al. (2021) The Emergence of the Genre of Ethnology in Iran, translated by Mehdi Kolahi, Tehran, Research Institute of Culture, Art, and Communication, 3rd Edition. Toulai, Mohammad (2024) Iran in the Mirror of Orientalists' Fantasies, Tehran, Doostan, 1st Edition. Jahuda, Gustav (1992) Psychology of Superstitions, translated by Mohammad Taghi Baraheni, Tehran, Alborz, 3rd Edition. Jamalzadeh, Mohammad Ali (1966) Our Ethnology, Tehran, Journal of Iranian Issues, Issue 4. ————— (2003) Dictionary of Colloquial Terms, Tehran, Sokhan, 2nd Edition. Javadi Yeganeh, Mohammad Reza (2017) Most Iranian of Non-Iranians, Tehran, Research Institute of Culture, Art, and Communication, 1st Edition. Javadi Yeganeh, Mohammad Reza and Saeedeh Zadehknad (2021) Haji Baba of English, Haji Baba of Iranians: How Mirza Habib Created a New Haji Baba, Tehran, University of Tehran Press, 1st Edition. Hossamzadeh, M (2009) Stress, Obsession, Fear, Tehran, Hossam, 1st Edition. Hosseini, Malek (2015) Wittgenstein and Wisdom, Tehran, Hermes, 3rd Edition. de Beauvoir, Simone (1975) Critique of Folk Wisdom, translated by Mostafa Rahimi, Agah, 2nd Edition. Zolfaghari, Hassan (2005) Stories of Proverbs, Tehran, Mazyar, 1st Edition. Rashed, Mohammad Reza (1980) Colloquial Proverbs in Relation to Social Life, Tarbiat Moallem University, 15th Discourse. Sartre, Jean-Paul (2005) Existentialism and Humanism, translated by Mostafa Rahimi, Tehran, Niloufar, 11th Edition. Subhani, Jaafar (2008) Jabir and Choice, Qom, Imam Sadiq Institute, 2nd Edition. Schopenhauer, Arthur (2016) On the Wisdom of Life, translated by Mohammad Mobashiri, Tehran, Niloufar, 6th Edition. Schulz, Dwan (2013) Personality Theories, translated by Yusuf Karimi, Farhad Jomhari, Siamak Naqshbandi, Behzad Goudarzi, Hadi Bahiraei, Mohammadreza Nikhoo, Tehran, Arsbaran, 11th Edition. Sadr al-Din Shirazi, Mohammad ibn Ibrahim (2005) Transcendent Wisdom in the Four Intellectual Journeys, Vol. 1, translated by Mohammad Khajavi, Tehran, Mola Press, 2nd Edition. Tusi, Khawaja Nasir al-Din (1985) Nasirian Ethics, edited by Mojtaba Minoui and Alireza Heydari, Tehran, Kharazmi, 3rd Edition. Faraastekhavah, Maqsoud (2015) We Iranians, Tehran, Ney Publishing, 5th Edition. Freud, Sigmund (2008) Translated by: Seyed Habib Gohari-Rad and Mohammad Javadi, Tehran, Radmehr, 1st Edition. Flynn, Thomas (2012) Existentialism, translated by Hossein Kiaei, Tehran, Hikmat, 1st Edition. Qorbani, Zin-al-Abidin (1982) Jabir and Choice, Tehran, Shafaq, 1st Edition. Key Frankena, William (2004) Philosophy of Ethics, translated by Hadi Sadeghi, Tehran, Taha Book, 2nd Edition. Kierkegaard, Søren (2020) Fear and Trembling, translated by Abdol Karim Rashidian, Tehran, Ney, 21st Edition. Golberg, Richard (1992) Anxiety, translated by Nasrollah Pourafkari, Tehran, Azadeh, 1st Edition. Anderson, Susan Lee (2020) Philosophy of Kierkegaard, translated by Khashayar Diehimi, Tehran, Novo Publishing, 2nd Edition. Maraghei, Zin-al-Abidin (2009) The Travelogue of Ibrahim Bek, Tehran, Mahvar, 2nd Edition. Morye, James (2011) The Life Story of Haji Baba of Isfahan, translated by Mirza Habib Isfahani, Tehran, Negah, 2nd Edition. Nietzsche, Friedrich (2014) Genealogy of Morals, translated by Dariush Ashouri, Tehran, Agah, 12th Edition. Hedayat, Sadegh (1999) Folk Culture of Iran, Tehran, Cheshmeh, 1st Edition. -------------------- (1933) Nirangestan, Tehran, Javidan, 1st Edition.    حکمت هرچند در اصطلاح قدمای ما، به دو بخش عملی و نظری تقسیم شده و هدف اصلی آن، ترویج راه و روش مناسب اخلاقی با تکیه بر علوم عقلی برای زندگی اجتماعی و فردی دانسته شده است، در کنار این دو، حکمت عامیانه که اغلب خود را در ضرب&zwnj;المثلها نمایان میکند به&zwnj;نحوی مرموز جایگاه خود را در میان اقشار جوامع گوناگون، مستحکم کرده است. با بررسی و تطبیق حکمت نظری و عملی با حکمت عامیانه می&zwnj;توان گفت با توجّه به کاربرد فراوان عوام از حکمت&zwnj;های عامیانه، این کارکرد، بخش مهمی از فرهنگ جامعه را به &zwnj;وجود آورده است. این حکمت که مورد قبول و پذیرش عامۀ مردم است، از بُعد فکری، تفاوت عمدهای با حکمت عملی و نظری دارد. از آنجایی که ساخت و پرورش حکمت&zwnj;های عامیانه در دل عوامِ جامعه شکل میگیرد، اغلب دارای پشتوانه و اساس فکری قدرتمندی نیست و به علت کاربرد فراوان در طول زمان، قابلیت تعمیم و شمول یافته است. نبود پشتوانۀ فکری مناسب با بررسی دلایل کاربرد این حکمت&zwnj;ها و تأثیر آن بر فرهنگ یک جامعه، اساس این پژوهش را تشکیل می&zwnj;دهد. برآورد این پژوهش نشان می&zwnj;دهد که این حکمتها در مطالعه&zwnj;ای تطبیقی در دو کتاب «سیاحتنامه ابراهیمبیگ» و «سرگذشت حاجی بابای اصفهانی» که از جمله نخستین رمان&zwnj;گونههای فارسی است، می&zwnj;تواند تصویری از اخلاقیات ما ایرانیان را فراروی ما قرار دهد، تا با ضعف و قوّت هویت فرهنگی خویش بیشتر آشنا شویم.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103022742025413Characterization Methods in the Novel "The Prophet Without Miracles" by Mohammad Ali Rukniشیوه‌های شخصیت‌پردازی در رمان «پیامبر بی‌معجزه» محمّدعلی رکنی119146faخدیجهصفری کندسریاستادیار گروه زبان و ادبیات فارسی دانشگاه پیام نور، تهران، ایران مهدی محمدی استادیار گروه زبان و ادبیات فارسی دانشگاه پیام نور، تهران، ایران2022112Character and characterization are two main and influential elements in stories and novels. Without this important element, a story cannot be formed. In fact, character and characterization constitute the main body of any story; in such a way that the writer achieves the creation of lasting characters through creativity, skill, coherent design, and instilling the desired actions and behavior in the characters. The novel "The Prophet Without Miracles" by Mohammad Ali Rukni is a novel in which the main character, after going through a path and journey, both objective and personal, and ultimately reaching a new perception, returns to the people; a behavior that is not possible in the corners of rooms and requires cutting off all the boasting. The present study, using an analytical-descriptive approach, seeks to examine the characterization in this novel. "The Prophet Without Miracles" tells the story of a missionary journey of a cleric, who happens to be accompanied by his wife, to a remote area. The couple in the story get caught by evildoers halfway through the journey, and this catch is the beginning of a thrilling adventure. The results show that this novel is one of the novels of character; because its story revolves around the main character. Also, most of its main characters have dynamic personalities, and at the end of the story, each of them undergoes some kind of internal change and transformation.   Keywords: Characterization, Narrative, Novel, Prophet without miracles, Muhammad Ali Rukni.   Introduction The story includes any type of writing in which the story of life is told in the form of a series of events (Brahini, 1982: 40). In his book “Aspects of the Novel”, E. M. Forster, an English novelist, defines a story as a narration and events that are organized based on a chronological sequence, and he also considers plot as a narration of the same temporal events, which this time are also influenced by the principle of causality (Forster, 1990: 112). Every story is composed of elements such as subject, theme, character, point of view, scene, tone, space, language, action (incident), plot, time, place, style, and technique. Among the elements of a story, two elements of “action” and “character” play a fundamental role, so much so that it has been said that character is nothing but the definition of the event and the event is nothing but the definition of character, and in fact, all the factors of the story receive their existential cause from the factor of character (Abdollahian, 2002: 415). Character is the equivalent of the English word character, meaning to engrave or scratch deeply. In ancient Greece, this word was used for prose designs that were a collection of different types. This type of writing was founded by Theophrastus (372-287), a student of Aristotle. Of course, before him, Aristotle had analyzed characters in tragedy in his first study and analysis of fictional characters in “The Art of Poetry” (Aristotle, 1998: 47). Personality is a set of individual instincts, tendencies, traits, and habits, or in other words, a set of material, spiritual, and moral qualities that manifest in an individual’s actions, behavior, and speech and distinguish him from other people (Yonesi, 1990: 531). Personality is also one of the elements that objectifies the social life of the story. It is not without reason that “André Gide” says with full emphasis: “Never express an opinion except through personality” (Braheni, 1982: 439).   Research method and questions The research method of this article is a descriptive-analytical method based on library studies. After a brief discussion about the life and works of Mohammad Ali Rukni, the types of characters and methods of characterization in this novel will be analyzed. The questions of this research are as follows: - How is the application of methods, types, and components of characterization in explaining the change of characters in "The Prophet Without Miracles"? - What role do the secondary characters play in the objective and personal journey and behavior of the main character?   Discussion The present study aims to examine the element of character in the novel "The Prophet Without a Miracle" by Mohammad Ali Rukni. This novel is the second novel by the well-known Qomi writer, who previously won the Shahid Ghanipour Book of the Year Award with the novel "The Stone That Didn't Fall." "The Prophet Without a Miracle" was also nominated for the 14th "Jalal Al-Ahmad" Literary Award in the "Long Story and Novel" section. The novel that Rukni created falls into the category of character novels. A character novel is a novel in which the introduction of the characteristics is more important than the events, situations, and other elements of the story. In this novel, the characters have an independent existence and are not created based on the plot of the story. This means that the situation is typical; That is, they are created for this purpose to give the reader more information about the character or, introduce new characters to him (Mirsadeghi, 2015: 527). Therefore, “The Prophet Without Miracles” cannot be called a situation novel and should be included in the category of character novels. The necessity of conducting this research is that by analyzing the characterization of this novel, it is possible to point out a corner of characterization in the works of writers of the nineties in order to pave the way for researchers interested in the new decades.   Conclusion The novel "The Prophet Without Miracles" by Mohammad Ali Rokani is one of the path-breaking stories in which the main character gains a new understanding of the story through the journey and revelation that occurs to him. This novel is presented in the form of a contemporary novel. All the events, characters, dialogues, concerns, and even the character's inner self are contemporary; a student from the generation of the Sadat who wears the Prophet's clothes and is a person who lives in our time. In this novel, by choosing a Sayyed who is from the generation of the Prophet and wearing the Prophet's clothes on his body, Rukni seeks to play with meaning from the very beginning by choosing this character, and this novel should be placed in the category of meaningful and influential novels that will keep the audience's mind engaged with it for a long time after reading it. For example, in this novel, during the Camal’s proposal to disembark to determine the location of the Sultanabad Mosque, indirect references to the Prophet are seen. What the audience understands from the Prophet (PBUH) is an effort on his part; the attentive audience, based on the information and familiarity he has with the history, characteristics, and teachings of the Prophet, discovers the message of the story by adapting it, this modern story revives his previous acquaintances. According to the studies, it was determined that this novel is a character novel and we do not see a place in the story without Sayyed Hamid. Throughout the story, the voice of Sayyed Hamid’s mind reaches the audience. At the end, we also watch the transformation of the main characters. In this story, geographical and spatial details are not important and the location of Six Hundred and Twenty is unknown. Cold, snow and the desert are also the background for the transformation of the main character. There are about twenty characters in this novel, three of whom are women, two are young children, and the rest are men. Among the characters, several are introduced to the audience through the mind of Sayyed Hamid.   References Abdollahian, Hamid (2002) “Story and Characterization in Fiction”, Journal of the Faculty of Literature and Humanities, University of Tehran, Number 163, Summer and Autumn, pp. 409-425. Aristotle (1998) The Art of Poetry, Translated by Fath-Ollah Mojtabaei, Tehran, Andishe. Baraheni, Reza (1982) Story Writing, Second Edition, Tehran, No. Baronian, Hassan (2008) Characterization in the Short Stories of the Holy Defense, Tehran, Foundation for the Preservation of Works and Publication of the Thoughts of the Holy Defense. Card, Orson Scott (2007) Characterization and Point of View in Fiction, Translated by Parisa Khosravi Samani, First Edition, Ahvaz, Ressh. <ol> <li>Clarke, Arthur and Others (1999) The Maze of Story, Translated by Nasrin Mohajerani, Tehran, Cheshme.</li> </ol> Daghiqian, Shirindokht (1992) The Origin of Character in Fiction, First Edition,  Tehran, Author. Farhangi, Soheila., & Aghaei Navastelli, Tahereh (2013) “Characterization in the Novel Burning Plains”, Specialized Quarterly of Fiction Studies, Year 2, Number 1, pp. 82-96. Forster, Edward Morgan (1990) Aspects of the Novel, Translated by Ebrahim Younesi, 6th Edition, Tehran, Negah. Gorji, Mustafa., & Hamedi, Yousef-Reza (2010) “A Study and Analysis of the               Novel by Buten with Emphasis on the Element of Characterization”, Pek-e- Noor Specialized Quarterly of Persian Language and Literature, Year 1,                                                                   First       Edition, Summer, pp. 161-183. Hafez Shirazi, Shams Al-Din Muhammad (1997) Divan of Khajeh Hafez Shirazi,                        Edited by Seyyed Abolghasem Anjouy Shirazi, Ninth Edition, Tehran,                            Javidan. Khajehpour, Farideh., & Allami, Zolfaghar (2013) “Character and Characterization in the Novel Palms and People”, Literary Techniques, Year 5, Number 2, pp. 109-122. Kress, Nancy (No date) Dynamic Characterization, Translated by Hassan Hashemi         Minabad, Tehran, Soure Mehr. Kundera, Milan (2013) The Art of the Novel, Translated by Parviz Homayounpour, Twelfth Edition, Tehran, Ghatreh. Masoudi-far, Jalil (2014) “Character and Characterization in the Novel of a Quiet                       Lover”, Specialized Quarterly of Fiction Studies, Year 2, Number Three, pp. 109-128. Mastoor, Mustafa (2000) Fundamentals of the Short Story, First Edition, Tehran,                        Markaz. Mirsadeghi, Jamal (2015 A) Fiction Literature, Seventh Edition, Tehran, Sokhan. ---------------------- (2015 B) Elements of Fiction, Ninth Edition, Tehran, Sokhan. Okhovat, Ahmad (1992) The Grammar of Story, first edition, Isfahan, Farda. Rukni, Mohammad Ali (2021) The Prophet Without Miracles, Second Edition,                Tehran, Sad. Prain, Lawrence (1990) Another Reflection on the Story, Translated by Mohsen Soleimani, Tehran, Surah Mehr. Shamisa, Sirous (2007) Literary Types, Fourth Edition, Tehran, Mitra. Soleimani, Mohsen (2012) Another Reflection on Story, Tehran, Surah Mehr. Younesi, Ebrahim (1990) The Art of Storytelling, Fifth Edition, Tehran, Negah.  از عناصر اصلی و تأثیرگذار در داستان و رمان، شخصیت و شخصیت&zwnj;پردازی است. بدون وجود این مهّم، داستانی شکل نمی&zwnj;گیرد. در واقع شخصیت و شخصیت&zwnj;پردازی، پیکرۀ اصلی هر داستانی را تشکیل می&zwnj;دهد؛ بدین&zwnj; صورت که نویسندۀ داستان با خلاّقیت، مهارت، طرح منسجم و دمیدن اعمال و رفتار مورد نظر در شخصیتها، به خلق و آفرینش شخصیتهای ماندگار دست مییابد. رمان «پیامبر بی&zwnj;معجزه» اثر محمّدعلی رکنی، رمانی است که شخصیت اصلی در آن، پس از طی طریق و سیری آفاقی و انفسی و در نهایت رسیدن به دریافتی نو، به میان مردم بازمی&zwnj;گردد؛ سلوکی که در کنج حجره&zwnj;ها میسّر نمی&zwnj;شود و لازمۀ آن، بریدن از همۀ منیّات است. پژوهش حاضر به شیوۀ تحلیلی- توصیفی در پی آن است که شخصیت&zwnj;پردازی در این رمان را بررسی کند. «پیامبر بی&zwnj;معجزه»، داستان سفرِ تبلیغی یک روحانی به اتّفاق همسرش را به منطقه&zwnj;ای دورافتاده روایت می&zwnj;کند که زن و شوهر داستان در میانۀ راه، گرفتار اشرار می&zwnj;شوند و این گرفتاری، خود شروع ماجرایی پرافت&zwnj;وخیز است. نتایج نشان میدهد که این رمان، یکی از رمانهای شخصیت است؛ زیرا داستان آن، حول محور شخصیت اصلی می&zwnj;چرخد. همچنین اغلب شخصیت&zwnj;های اصلی آن نیز شخصیتی پویا دارند که در پایان ماجرا، هر کدام به نوعی دچار تغییر و تحوّلی درونی می&zwnj;گردند.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103022742025413Comparative Analysis of the Story Elements of the Iranian Story "A City Like Heaven" and the Chinese Story "A Celebration of Blessings"تحلیل تطبیقی عناصر داستانی داستان ایرانیِ «شهری چون بهشت» و داستان چینیِ «جشن نعمت»147170faخدیجه حاجیاناستادیار گروه زبان و ادبیات فارسی دانشگاه تربیت مدرس، ایران سعیدبزرگ بیگدلیاستاد گروه زبان و ادبیات فارسی دانشگاه تربیت مدرس، ایرانژو ( نام فارسی ایرج)وانگدانش آموخته کارشناسی ارشد زبان و ادبیات فارسی، دانشگاه تربیت مدرس، ایران 2024821 literary works reflect the realities and traditions governing human societies Because common custom affects the author's style and the audience learns the realities and social interactions of certain periods by reading them. Iranian society witnessed rapid changes in the middle of the 20th century writers created many different works; Meanwhile, Daneshvar's realist works had a deep impact on Iran's literary atmosphere. In the early 20th century, Shun, a contemporary Chinese writer, created wonderful works with rich and enlightening interpretations in the fields of novels, short stories, essays, literary criticism, and translation. Even though "Daneshvar" and "Lo Shun" grew up in two different cultures, in two different countries, the comparison of their two realistic works shows many similarities in criticizing the realities of the society of their time. In this article, two urban short stories such as Behesht by Daneshvar and Nemat by Shun have been investigated and their inevitable similarities and differences have been investigated in terms of some story elements.; For example, the main characters of both stories are from the vulnerable and suffering stratum of society, whose life events form the main chain of the story, by expressing the events of their lives and their situation, the problems, anomalies, and realities that govern the society. It is criticized. The orientation towards social issues the attention to the lives of the people of the society and the lower classes and identification with the main characters are among the similarities between the two works.   Keywords: Simin Daneshvar; Lu Xun; "A City Like Paradise"; " Zhu Fu".   Introduction The realistic and influential works of Simin Daneshvar, a famous and stylish Persian novelist (1300-1390 AH), have represented Iranian history and culture from different angles, and have left a tremendous impact on the literary atmosphere of Iranian society. "Lu Xun" (1881-1936 AD) is also the founder and one of the prominent influencers on contemporary Chinese literature, who has outstanding works in the fields of novels, short stories, and ... Although Simin Daneshvar and Lu Xun lived in two different countries, with two different cultures, customs, and traditions; a comparison of these two realistic works shows similar and close perspectives of the two in many cases; "Mehrangiz" and "Xiang Lin" are the main characters of cities such as Heaven and Bliss. Both represent the hardworking, oppressed, and deprived people of the lower classes of society, and the authors narrate and criticize the issues and problems of the society of their time by artistically depicting their lives with the help of literary techniques. By examining and comparing the fictional elements of the two works, including characterization, point of view, theme, and other elements, their similarities and differences are explained. The description of the lives of Mehrangiz and Xiang Lin, who are "symbols" of the hardworking and homeless people, reflects the problems and pains of the Iranian and Chinese societies of that time.   Research Problem and Objective  The main question is; To what extent are A City Like Heaven and A Celebration of Blessings comparable in terms of their fictional elements, and what are their similarities and differences? The aim of the research, in addition to showing the inevitable similarities and differences between the two works, is to introduce contemporary Chinese literature to Persian-speaking audiences, as no comparative research has been conducted so far in the field of comparing contemporary Iranian and Chinese fictional literature.   Theoretical Framework The theoretical framework based on comparative literature is the American and Chinese schools. The suggestion of American comparative literature scholars is comparative/parallel research to find similarities, but in the nascent Chinese school, the emphasis is more on expressing differences and considers the search for common ground and ignoring differences as a weakness of the two French and American schools. According to the Chinese school, one must move beyond the “search for common ground” and express differences, changes, and mutations to reexamine and define the context of literary diversity in comparative literature.   Story Elements and Analysis  In the story elements, the first thing that is discussed is the expression of characterization and types of story characters. In a city like heaven, Mehrangiz and the Blessings, Xiang Lin are the main characters/"main hero" of the story, and the events are centered on their behavior, actions, thoughts, and feelings. In both stories, a similar perspective is used, the third-person narrator and the authors have shown the audience what happened without interfering with their emotions and feelings; the cruel realities of society and the individual's vulnerability in an unequal social environment are well touched. The dominant theme, or theme of the two stories is the expression of the sad and suffering life of women from the lower classes of society. Mehrangiz's living environment represents the Iranian society of that time, and the village of Lu, where Xiang Lin lives, is the embodiment of the backward society and traditional culture of that time in China; Therefore, the theme of both works is the same, in expressing discrimination, poverty, and superstition, and criticizing the inequalities and oppression prevalent during that period. The similarities between the main characters are as follows: the representation of discrimination and inequality in human rights, the sad state of "women" in a patriarchal society who are unable to change their unbalanced fate and must be subordinate and obedient; in terms of social status, the main characters are from the lower class of society who suffer from the oppression prevalent in society and the economic oppression of the wealthy classes; both characters are hardworking and simple; despite all the hardships, they are always kind; they are passive characters; because they do not have the power to make decisions for their lives and the power to change their social class; the end of both lives is painful and they die with difficulty; the titles of both works are humorous; The audience, upon seeing the title A City Like Heaven, imagines that they are facing a happy subject; while Mehrangiz dies not in heaven but in a burning hell, and Xianglin dies not in bliss but in hunger and cold. The inevitable differences between the two works also include: the difference in narrative approach; A City Like Heaven is narrated from the middle of the story, and the Celebration of Bliss from the end, that is, with the description of Xianglin's death, the reason for his death gradually becoming clear throughout the narrative; The manifestation of some religious beliefs in a city like Paradise (Mehrangis' mother being taken to Mecca by Ali's father, Mehrangiz's feet facing the Qiblah when she died, etc.) and descriptions of popular beliefs in the celebration of blessings (holding the celebration at the same time as the Chinese New Year in order to gain luck and success in the new year; considering Xianglin a bad omen because of her two marriages and the deaths of her husbands and son Emao, ...) which are different from each other; these inevitable differences have several reasons; including the cultural differences between the two societies of Iran and China, which are rooted in their collective unconscious; the difference in the authors' perspectives due to the difference in their habitat and beliefs; Daneshvar is a Muslim, and for this reason some of the religious beliefs of the Islamic-Iranian society have appeared in a city like Paradise; But Lu Xun does not have prominent religious beliefs, and his work mostly describes Chinese folk beliefs, which he considers "cultural garbage" and should be discarded; Daneshvar focuses on the plight of a black woman as a representative of slaves who were forcibly brought to all over the world, including Iran, but Xiang Lin is the only representative of the working and oppressed people of China at that time; therefore, Daneshvar's work is "transnational" and global; but Lu Xun was a revolutionary figure and his only goal was to use literature to awaken the people in order to fight the feudal government of that time in China; the different situations of the two societies; Iranian and Chinese society at that time were in a period of severe social changes, A City Like Heaven was written after the coup of 1953 AD; that is, when the Pahlavi government changed from a constitutional monarchy to an authoritarian government relying on foreigners, and terrible class differences prevailed in society; The society was in the circle of feudal ideas and national capital was being exploited;. The Feast of Blessing was also written in 1920-1924 AD, which was the period of the expansion of the Chinese New Culture Movement. Lu Xun accompanied the 1911 revolution with great enthusiasm, but he realized that even after the revolution, the roots and foundations of feudal society were not completely destroyed; especially farmers, still suffered from hunger and cold in their lives; their rights were ignored, and their lives were very difficult.   Conclusion From the comparison of urban stories like Paradise, and Blessing, a Chinese work, relying on the American school of comparative literature that mainly relies on the similarities of the works and the distinctive feature of the Chinese school of comparative literature that is based on expressing the differences of the works along with expressing their similarities; it was as follows: Although the life periods, social and cultural backgrounds of the two authors are different, the similarities of the two works include: the creation of two characters with the same gender and social status and similar fate; "Mehrangiz" and "Xiang Lin" are representatives of the lower/inferior and oppressed classes of the Iranian and Chinese society of that period, and in both works, the abnormal situation of the two societies of Iran and China is well described and as a result, the abnormalities are criticized. Another important difference is in the description of some beliefs and convictions of the people of the two societies; some religious-Iranian beliefs and some ethnic beliefs of Chinese culture, which are cultural beliefs specific to that society; Using Jung's theory of the unconscious, by examining culture, the author's perspective, and other social realities, the reasons for the existence of similarities and differences can be considered related to the collective unconscious of humans, the spirit of the times in a particular period, as well as the similarities of the realities of Iranian and Chinese society at that time. In addition, the similarities of the two stories are consistent with the theory of comparative literature of the American school, which considers literature beyond the boundaries of art, nation, and disciplines; because the two works have similar concepts, and themes; the inevitable differences between the two stories are not accidental; rather, they can be due to the differences in the backgrounds of cultural genes, various and different cultural phenomena existing in the two countries; therefore, the results of the research are also consistent with the foundations of the Chinese comparative school; such differences and specific characteristics   References Persian Sources  Payandeh, Hossein (1994) “Characterization in Short Stories”, Literature, Fiction, No. 37, pp. 36-39. Khatami, Ahmad (2007) Selected Articles from the Persian Literature Month Book, Tehran, Khaneh Ketab.  Daneshwar, Simin (2002) A City Like Paradise, 7th Edition, Tehran, Kharazmi.  Roozbeh, Mohammad Reza (2016) Contemporary Iranian Literature (Prose), Tehran, Rouzegar. Sadati, Seyed Shahabuddin and Bahareh Saghazadeh (2008) “Criticism and Study of Simin Daneshwar’s City Like Paradise from a Formalist Perspective”, Literature Month Book, Year 1, No. 1, pp. 67-71.  Salahi Moghadam, Soheila (1999) A Comparison Between Rumi and William Blake from a Mystical and Linguistic Perspective, PhD Thesis in Persian Language and Literature, Supervised by Dr. Abbas Ali Rezaei, Tarbiat Modares University.  Ghoimi, Mahvash and Shahrzad Lajvardi (2015) "Analysis of the Short Story "City Like Heaven" by Simin Daneshvar", Quarterly Journal of Literary Criticism Studies, Volume 10, Issue 41, pp. 9-26.  Yost, Francois (2018) Introduction to Literary Studies, translated by Alireza Anoushirvani and others, Tehran, Samt.  Camus, Mehdi (1998) "The Function of Minor Characters in the World of Fiction", Fiction Literature, Issue 48, pp. 56-62. Morgan Forster, Edward (1973) Aspects of the Novel, translated by Ebrahim Younesi, Tehran, Negah.  Remak, Henry (1961) "Comparative literature: Its Definition and Function", Comparative Literature: Method and Perspective. Eds. Newton P. Stallknetch and Hors Frenz. Carbondale, Southern  Wellek (1985) "Name and Essence of Comparative Literature", translated by Huang Yuanshen.   Chinese sources "Comparative Translation Studies of Comparative Literature", Shanghai Translation Press, p. 144 Ji Xianlin (1957) The History of Sino-Indian Cultural Relations. Cao Shunqing (2012) Introduction to Comparative Literature Boshan (1982) "Analysis of Nemat Lushun celebration", Social Sciences, No. 4. Changming (2013) "A Brief Discussion on Tragedy and Feudal Culture of Characters in Lushun Novels" Academic. Daneshvar Simin, Suvshon (2012) Translated by Mo Hongyan, Chongqing Press: China. Liu, Xu (2013) “Xianglin Sao's Psychosocial Phenomena in China.  Lu Xun (2004) Blessings, Beijing Youth Publishing House Lu, Xun (2004) Blessings, Beijing Youth Publishing House, Beijing. Hu Caizhong, (2009) "Xianglin Sao's spirit of resistance in "Blessing", "Literary Education [19] Hu Caizhong, (2009) "Xianglin Sao's spirit of resistance in "Blessing", "Literary Education".   برخی آثار ادبی، بازتابندۀ واقعیت&rlm;ها و سنن حاکم بر جوامع بشری است؛ زیرا عرف رایج بر سبک نویسنده تأثیر می&zwnj;گذارد و مخاطب با خواندن آنها، واقعیت&rlm;ها و تعاملات اجتماعی ادوار خاص را درمی&rlm;یابد. جامعۀ ایران در میانۀ قرن بیستم میلادی/ اوایل چهاردهم خورشیدی، شاهد تغییراتی سریع بود. نویسندگان، آثاری فراوان و متفاوت خلق کردند. در این میان آثار واقع&rlm;گرای «سیمین دانشور»، تأثیری عمیق بر فضای ادبی ایران گذاشت. «لو شون»، نویسندۀ معاصر چین نیز در زمینه&rlm;&rlm;های رمان، داستان کوتاه، مقاله، نقد ادبی و ترجمه، در اوایل قرن بیستم، آثاری شگرف با تعبیراتی غنی و روشنگرانه پدید آورده است. هرچند دانشور و لو شون پرورش&zwnj;&rlm;یافتۀ دو فرهنگ متفاوت&rlm; در دو کشور مختلفند، مقایسة دو اثر واقع&rlm;گرایانة آنها بیانگر مشابهت&zwnj;های بسیار در نقد واقعیت&zwnj;های جامعۀ روزگار خودشان است. در این مقاله به روش تطبیقی، دو داستان کوتاه «شهری چون بهشت» از دانشور و «جشن نعمت» از لو شون بررسی شد و شباهتها&rlm; و تفاوت&rlm;های ناگزیر&zwnj;شان از نظر برخی عناصر داستانی از جمله شخصیت&rlm;پردازی، زاویهدید و... بررسی و مقایسه شده است. برای نمونه، شخصیت&rlm;های اصلی هر دو داستان از قشر آسیب&zwnj;&rlm;پذیر و رنجکش جامعه&rlm;اند که رخدادهای زندگی&rlm;شان، زنجیرۀ اصلی داستان را شکل می&zwnj;دهد و با بیان وقایع زندگی و موقعیتشان، مشکلات و نابه&zwnj;هنجاری&zwnj;ها آشکار شده، واقعیت&rlm;های حاکم بر جامعه نقد می&rlm;شود. گرایش به مسائل اجتماعی و توجه به زندگی مردم جامعه و طبقات فرودست و همذات&rlm;پنداری با شخصیت&rlm;های اصلی، از شباهت&rlm;های دو اثر و نمود باورهای دینی دانشور و دینناباوری لوشون از تفاوت&rlm;های بارز منعکس در دو اثر است.

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