مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103022752025730A Comparative Study of the Artistic Characteristics of the Dualities of Shapur/ Farhad and Barbod/ Nakisa Based on the Poems of Khosrow and Shirin of Nezamiمطالعه‌ ویژگی‌های هنرمند در دوگانه‌های شاپور/ فرهاد و باربد/ نکیسا بر اساس منظومه «خسرو و شیرین»119fa جواد آقاجانی کشتلیاستادیار گروه پژوهش هنر دانشگاه علم و هنر، یزد، ایران 000000022365220طمحموداشعاریاستادیار گروه صنایع دستی، دانشگاه علم و فرهنگ، تهران، ایران 000000019335147220241028A Comparative Study of the Artistic Characteristics of the Dualities of Shapur/ Farhad and Barbod/ Nakisa Based on the Poems of Khosrow and Shirin of Nezami   Javad Aghajani Keshtali<a href="#_ftn1" name="_ftnref1">*</a> Mahmoud Ashari <a href="#_ftn2" name="_ftnref2">**</a>   Thinkers in the field of art and philosophy of art in the sphere of Eastern and Western thought have referred to the position of the artist in texts and attached special importance to it. Plato, Aristotle, to some extent Christian theologians, Renaissance thinkers, German Romantics, Heidegger, Mulla Sadra Shirazi, and a number of other wise poets have dealt with this issue. In the opinions of these philosophers, sages, commentators, and poets, the artist has been introduced as the center of art production. This subject is also seen to some extent in the poetic and poetic texts of Persian literature. In the poem of Khosrow and Shirin, Nezami mentions four artists of Khosrow's court (Shapur/Farhad and Barbod/Nakisa) and considers their position effective and special. The purpose of this study is to compare the position of the four mentioned artists in the poem of Khosrow and Shirin. The research method is descriptive-analytical. The method of data collection was the library information collection method. The target population of the research is the verses related to the mentioned poem. The verses were analyzed using a qualitative content analysis method. The results showed that Shapur and Farhad came to the aid of Khosrow and Shirin many times, artfully and with mastery in the field of visual arts. Both were students of the same master. Shapur was a painter, and Farhad was a sculptor. Both were realistic. But Barbod and Nakisa knew music. One in playing the lute, and the other in playing the harp were the outstanding musicians of their time. Both of them impressed the moods and manners of the audience many times with their innovative and creative melodies.   Keywords: poem of Khosrow and Shirin. Artist, Shapur, Farhad, Barbod, Nakisa.   Introduction The purpose of this research is to examine and analyze the place of these four artists within Khosrow and Shirin and their artistic attributes.  It seems that attributes such as precision and skill in design and representation in visual arts, and the ability to evoke emotions in their audience, are among the artistic qualities of the artists mentioned in Khosrow and Shirin. This article also seeks to answer the following question What are the artistic qualities of Shapur/Ferhad and Barbad/Nakisa in Nizami's Khosrow and Shirin?   Theoretical Framework Ebrahimi Dinani (2015) defines artistic creation as bridging the Gap between subject and idea, emphasizing the union of the mental world and the physical world. FahimiFar (2007) views artistic creation, from a Platonic perspective, as originating from imagination, emotions, and passionate motivations. T.S. Eliot views the author as the creator of the work, emphasizing the author's crucial role in its genesis. Eliot urges the author to assimilate their emotions, so that the thematic elements of their work are best structured (Fazilat, 2017: 25). Humans possess the capacity for creation, exemplified most profoundly in art, which embodies creativity and innovation. (Avani, 1996: 328) This perspective is shared by philosophers like Mulla Sadra and Ibn Arabi. Artists held a significant place in the life of poets like Nizami Ganjavi. Nizami Ganjavi, a narrative poet who himself was an artist and valued art and artists, portrays four exceptional court artists in his epic poem Khosrow and Shirin. He describes each of them individually, ultimately categorizing them into two groups—visual and auditory artists. Comparison of Shapur and Ferhad's Artistic Qualities in Khosrow and Shirin   <table style="float: left;" width="437"> <thead> <tr> <td width="115"> FEATURE </td> <td width="151"> SHAPUR </td> <td width="171"> FERHAD </td> </tr> </thead> <tbody> <tr> <td width="115"> Training </td> <td width="151"> Trained by a master in China </td> <td width="171"> Trained by the same Chinese master as Shapur </td> </tr> <tr> <td width="115"> Patronage /Role </td> <td width="151"> Advisor to Khosrow, from crown prince to king </td> <td width="171"> Lover of Shirin (Armenian princess) </td> </tr> <tr> <td width="115"> Artistic Discipline </td> <td width="151"> Painter (visual artist) </td> <td width="171"> Sculptor/Stone-carver (visual artist) </td> </tr> <tr> <td width="115"> Experience </td> <td width="151"> Well-traveled and worldly </td> <td width="171"> Wise and modest </td> </tr> <tr> <td width="115"> Artistic Comparison </td> <td width="151"> Compared to Mani the painter </td> <td width="171"> Compared to Mani the painter </td> </tr> <tr> <td width="115"> Style </td> <td width="151"> Realistic in depiction </td> <td width="171"> Realistic in representation </td> </tr> <tr> <td width="115"> Methodology </td> <td width="151"> Measured and meticulous, employing geometrical principles in drawing. </td> <td width="171"> Measured and meticulous, employing geometrical principles in design. </td> </tr> <tr> <td width="115"> Artistic Principles </td> <td width="151"> Adherence to aesthetic principles based on mathematics and geometry (objective standards). </td> <td width="171"> Adherence to aesthetic principles based on mathematics and geometry (objective standards). </td> </tr> <tr> <td width="115"> Productiveness </td> <td width="151"> Quick in creating/producing </td> <td width="171"> Very skilled & swift in creation </td> </tr> <tr> <td width="115"> Craftsmanship </td> <td width="151"> Highly skilled in production. </td> <td width="171"> Highly skilled in production. </td> </tr> </tbody> </table>   Similarities: Both Shapur and Ferhad share the following attributes: training under the same Chinese master; comparison to Mani the painter; realistic artistic style; adherence to aesthetic principles based on geometrical and mathematical reasoning; and exceptional speed and skill in artistic production. Differences: The primary differences lie in their specific artistic disciplines (Shapur is a painter, Ferhad a sculptor/stone carver); their roles in Khosrow's court (Shapur as advisor, Ferhad as a lover); their characteristics (Shapur worldly, Ferhad wise); and, ultimately, their different thematic connections to the plot (Shapur associated with the king's council, Ferhad with the love that drives the central drama). Both are recognized masters of their time. Both are used by the King as court artists, illustrating the value of artistic talent in his court.   Comparison of Barbad and Nakisa's Artistic Qualities <table style="float: left;" width="438"> <thead> <tr> <td width="113"> FEATURE </td> <td width="142"> BARBAD </td> <td width="183"> NAKISA </td> </tr> </thead> <tbody> <tr> <td width="113"> Instruments </td> <td width="142"> Cithara (a type of lute) </td> <td width="183"> Zither (a stringed instrument) </td> </tr> <tr> <td width="113"> Musical Expertise </td> <td width="142"> Renowned knowledge of numerous melodies & rhythms </td> <td width="183"> Renowned knowledge of rhythm, measure, and musical harmony </td> </tr> <tr> <td width="113"> Skill/Mastery </td> <td width="142"> Exceptional skill and mastery of musical performance </td> <td width="183"> Exceptional skill and mastery of musical performance and singing </td> </tr> <tr> <td width="113"> Emotional Impact </td> <td width="142"> Induced joy and sorrow (emotions) in audiences </td> <td width="183"> Induced sorrow in audiences, causing the stars and planets to dance; profoundly moving to the point of making birds sad. </td> </tr> <tr> <td width="113"> Therapeutic/Healing Power </td> <td width="142"> Music evokes healing, soothing distressed hearts. </td> <td width="183"> Music is described as deeply sorrowful, affecting even the birds. </td> </tr> <tr> <td width="113"> Comparisons </td> <td width="142"> Compared to King David and Jesus in singing and instrument playing </td> <td width="183">   </td> </tr> <tr> <td width="113"> Courtly Role </td> <td width="142"> Courtier musician for Khosrow </td> <td width="183"> Courtier musician for Khosrow </td> </tr> </tbody> </table>   Similarities: Both Barbad and Nakisa are highly skilled musicians celebrated for their mastery of their instruments and their profound emotional impact on listeners. Both serve as musicians at the court of Khosrow, highlighting the esteem and status held by musicians of their caliber. Differences: While both are virtuosos, they are described with distinct emotional palettes. Barbad's music evokes a broader range of emotions (joy and sorrow), while Nakisa's is explicitly associated with melancholy. Their instrumental specializations (cithara vs. zither) are also noted. Aesthetic Approach: The descriptions reflect a consideration of objective aesthetic principles, as evident in the use of terms implying meticulous attention to musical form and harmonies. Words like "measured," "rhythmic," "balanced," and possibly references to mathematical or geometric proportions (though not explicitly stated in the table) are implicit in these descriptions.   Conclusion Pair One: Shapur and Ferhad The similarities between these artists in the poem include shared training under a Chinese master, comparison to Mani the painter, the creation of realistic works mirroring nature, adherence to objective aesthetic principles, and mastery of their craft. Differences lie in their specific disciplines (Shapur, the painter; Ferhad, the sculptor/stone carver); Shapur's perceived elegance versus Ferhad's strength; Shapur's worldly experience versus Ferhad's wisdom and modesty; and finally, the poet's portrayal of Shapur as seemingly more obedient than Ferhad. Pair Two: Barbad and Nakisa Similarities between Barbad and Nakisa involve shared expertise in musical performance, comprehensive knowledge of musical modes, and exceptional skill. Both artists evoke a wide range of emotions in their audiences. Differences include their specific instruments (Barbad plays the cithara, Nakisa the zither); Nakisa's dual role as a singer as well as a musician; and a greater emphasis on Nakisa's understanding of rhythm and harmony, while Barbad is described as knowledgeable in numerous melodies. The poetic comparison of Barbad's music to the divine voices of David and Jesus is notable, a comparison not made for Nakisa. In both pairs, Nizami Ganjavi emphasizes the exceptional talent and diverse characteristics of these musicians and artists, highlighting their importance within the courtly culture. The distinctions made in each case reflect not just technical differences but also nuanced personalities and stylistic approaches. Similarities: Both Barbad and Nakisa are highly skilled musicians celebrated for their mastery of their instruments and their profound emotional impact on listeners. Both serve as musicians at the court of Khosrow, highlighting the esteem and status held by musicians of their caliber. Differences: While both are virtuosos, they are described with distinct emotional palettes. Barbad's music evokes a broader range of emotions (joy and sorrow), while Nakisa's is explicitly associated with melancholy. Their instrumental specializations (cithara vs. zither) are also noted. Aesthetic Approach: The descriptions reflect a consideration of objective aesthetic principles, as evident in the use of terms implying meticulous attention to musical form and harmonies. Words like "measured," "rhythmic," "balanced," and possibly references to mathematical or geometric proportions (though not explicitly stated in the table) are implicit in these descriptions.   References Ebrahimi Dinani (2015) From Tangible To Sensible: Tehran, Iranian Institute And Philosophy. Avani Gholamreza (1996) Spiritual Wisdom And Art, Tehran, Garous. Wladyslaw Tatarkiewics (2013) History Of Aesthetics, Translated By Seyyed Javad Fendereski, Vol 1, Tehran: Elm Fazilat, Mahmoud (2017) Principles And Classification Of Literary Criticism, Second Edition, Tehran. Zavvar Fahimifar, Ali Asghar (2007) The Differences In The Aesthetic Views Of Plato And Aristotle Regarding Art, Aesthetic Journal, Spring, Vol 16, P 173-198 Kamalizade, Tahere (2013) The Foundations Of Philosophical Aesthetics And Beauty From The Perspective Of Sheikh Shahab Al–Din Suhrawardi. Second Edition, Tehran, Matn. Nizami Ganjavi, Elyas – Ibn- Yousef (2011) The General Overall Of Nizami Panj Ganj, Wahid Dastjerdi's Edition, Edited By Wahid Babayi, Second Edition, Tehran, Negah. Bessler,Charles .E (2003) Literary Criticism.An Introduction To Theory And Practice. 3 Edition. Houghton College. Lamarque, Peter (2008) Aesthetics And Literature: A Problematic Relation. Philosophical Studies: An International Journal For Philosophy In The Analytic Tradition, Vol 161, No 3. ISSN: 00318116. Ritter, Don (2008) The Ethics Of Aesthetics.Tran Soliscip Linary Digital Art.Vol 5. No 2.   <a href="#_ftnref1" name="_ftn1">*</a> Corresponding author: Assistant Professor, Art Research Department, University of Science and Culture, Yazd, Iran.  j.aghajani@sau.ac.ir <a href="#_ftnref2" name="_ftn2">**</a> Assistant Professor, Handicrafts Department, University of Science and Culture, Tehran, Iran. mahmoud.ashari@gmail.com   نظامی در منظومه «خسرو و شیرین» از چهار هنرمند دربار خسرو (شاپور/ فرهاد و باربد/ نکیسا) نام برده و جایگاه آ&zwnj;&zwnj;نها را مؤثر و ویژه می&zwnj;داند. هدف از انجام این پژوهش، تحلیل جایگاه این چهار هنرمند در منظومه خسرو و شیرین است. ضرورت انجام پژوهش در شناسایی مؤلفه&zwnj;های مربوط به هنرمندان دورۀ شاعر و نگاه آن دوره به هنرمندان بوده است. ویژگیهای هنرمندانه شاپور/ فرهاد و باربد/ نکیسا در منظومه خسرو و شیرین نظامی کدامند؟ به نظر می&zwnj;رسد مؤلفه&zwnj;هایی مانند دقت و مهارت در طراحی و ترسیم هنرهای دیداری و برانگیختن احساسات مخاطبان از جمله ویژگی&zwnj;های هنری هنرمندان نامبرده شده در منظومه خسرو و شیرین است. روش انجام تحقیق، توصیفی- تحلیلی و روش گردآوری اطلاعات، کتابخانه&zwnj;ای بوده است. جامعه هدف پژوهش، ابیات مربوط به منظومه یادشده است. ابیات به روش تحلیل محتوای کیفی تحلیل شدند. نتایج به&zwnj;دست&zwnj;آمده نشان داد که شاپور و فرهاد در حوزه تجسمی و با مهارت و استادی، بارها به کمک خسرو و شیرین آمدند. هر دو، شاگرد یک استاد بودند. شاپور، نقاش و فرهاد، پیکرتراش بودند. هر دو واقع&zwnj;گرا بودند. اما باربد و نکیسا موسیقی&zwnj; می&zwnj;دانستند. یکی در نواختن چنگ و دیگری در بربط، سرآمد نوازندگان دوره خود بودند. هر دو با الحان ابداعی و خلاقانه بارها حالات و روحیات مخاطبان را تحت تأثیر قرار دادند.

http://literature.ihss.ac.ir/ar/Article/Download/48407

مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103022752025730Investigating Good Omens Astrology in the Poetry of Anvari, Nezami, and Masud Sa'd Salmanبررسی و تحلیل بازنمود طالع‌های سعد نجوم احکامی در اشعار انوری، نظامی و مسعود سعد سلمان2145fa رحمان زارعدانش آموخته دکتری زبان و ادبیات فارسی دانشگاه شیراز، ایران 0000000272130141محمدحسینکرمیاستاد گروه زبان و ادبیات فارسی دانشگاه شیراز، ایران0000-0002-7105-1644202477Investigating Good Omens Astrology in the Poetry of Anvari, Nezami, and Masud Sa'd Salman   Rahman Zare<a href="#_ftn1" name="_ftnref1">*</a> Mohammad Hossein Karami<a href="#_ftn2" name="_ftnref2">**</a>   Past generations’ wide attention to the sky and constellations caused people to believe in the impact of constellations on their lives. The issue encompassed all life affairs such as destiny, victories and failures, fortunes and misfortunes, inundation, and drought. It also caused new concepts to rise, such as the good and bad omens, horoscopes, and astronomical power. This common belief aroused interest in Iranian poets, specifically after the second half of the fifth century of the Hijra (11th century AD). Therefore, it would be impossible to interpret the verses of those poets without having enough astronomical knowledge. In the present study, good omens in the poetry of Anvari, Nezami, and Masud Sa'd Salman have been investigated, who were also astronomers. As a result, forty-seven good omens were extracted from the poems of these poets, and their goodness was explained based on reliable and ancient astronomical works. Considering bad omens was also necessary to discuss good omens. However, due to the lack of space, we will study those bad omens in another research.   Keywords: Astronomy, Astronomical Images, Horoscope, Astronomy in Persian Poems, Good and Bad Omens.   Introduction One of the most widely used astronomical words in Persian poetry is the word Tāle. Today, Tāle is used to mean luck and fortune. Still, Tāle in astronomical works has the following meaning: “The rising star, the zodiac sign, the degree of the zodiac, and the part of the zodiac region that is on the eastern horizon at a given time. If that time was the time of a person’s birth, it is called the Tāle of the person born or the Tāle of that person. And if it is at the beginning of the solar year, it is called the Tāle of that year, and its degree is the Tāle. And if it is at the beginning of the solar year, it is called the horoscope of that year, and its degree is the degree of the horoscope. Horoscope is the most famous word in Islamic astronomy” (Musafī, 1357: 486-487). Also, Abu Rayhan al-Biruni says about the horoscope: “The horoscope came to the eastern horizon at the time from the zodiac region. The constellation is called the horoscope, and the degree is called the degree of the horoscope.” (Biruni, 1362: 205). In the astrological rules, it is recommended to refer to the horoscope and choose the appropriate time to do anything. It is on this basis that Persian poets have devoted a lot of attention to the horoscope, good fortune, and astronomical misfortunes, and the frequency of expressions such as horoscope, fortune-teller.   Research method The method of this research is description and content analysis. First, by studying the poems of Masoud Saad, Anvari, and Nezami, verses related to the topic were collected and then categorized, examined, analyzed, and explained.   Discussion The auspiciousness of a star or horoscope is sometimes due to the belief that certain stars are auspicious, sometimes due to the rising or presence of a star in a specific position in the zodiac, and sometimes it arises from the conjunction and synchronism of two or more stars. Shahmardan Ibn Abi al-Khair says about Saad and Nahs in astronomy: “Astrologers agree that Saturn is a major Nahs, Jupiter is a major Saad, Mars is a minor Nahs, Venus is a minor Saad, and the Sun is a Saad from friendship and a Nahs from enmity, and the Moon is a Saad by its very nature, but due to its Nahs and the connection of the stars, and Mercury is Saad, Saad and Nahs are bad and receptive to natures, and because only the mind tends to happiness” (Shahmardan Ibn Abi al-Khair Razi, 1382: 61). Continuing his remarks, he pointed out an important point and said: "What we have said is an absolute statement and it is not permissible to rely on this; for Saturn, which is a great misfortune, because the position of the Buddha is favorable to it and there is a certain luck in it, brings misfortune and happiness that is better than it. And Jupiter, which is a great happiness, because the Buddha is in a bad and unfavorable position, brings misfortune and failure." "Because this incompatibility prevents him from his nature and the nature of happiness. And although this is true, they do not call Saturn happy and Jupiter unlucky, but they say that Saturn is happy in nature and Jupiter is unlucky in nature" (ibid.). In light of these words, in understanding the horoscopes of Saad and Nahs in astrology, the position of the star is very important, and it is the nature of the star and its position that is effective in determining the horoscope. In the following, we will examine the horoscopes of Saad in the poems of Nizami, Masoud Saad, and Anvari, considering the nature of the stars, their position in the zodiac region, and the relationship between the stars.   Gemini Horoscope Predecessors believed that "anyone born under the Gemini horoscope is endowed with wealth, intelligence, and fortune, and it was the custom of ancient kings to choose the fortune of their children from Gemini; in such a way that a nut harvest was prepared, and each of them picked a nut and broke it. If he had a brain, he would have been lucky and made the crown prince. [This verse] means that from the Gemini horoscope, you will be born fortunately and then break the nut, an allusion to the fact that you should associate with the wealthy until you become wealthy" (Nizami, Makhzan-ul-Asrar, 1383: 131). Therefore, having a Gemini horoscope was blessed and auspicious.   Mars's negativity Mars is the minor negativity, and "the negativity node is one of the two intersection points of the carrier and declination planes of the moon, and it is called Jawzahr-e Dem in Persian" (Musfi, 1978: 304). Nizami says: A coal that is worthless and ugly, when it burns an enemy, becomes precious and fragrant for friends, like a precious and fragrant incense. To prove his claim, he brings the analogy of the second stanza and says: inauspicious Mars becomes auspicious and blessed when it is placed in a place that is itself ugly, unattractive, and inauspicious. Result In this study, by examining the poems of Nizami, Anvari, and Masoud Saad Salman, we identified 47 Saad horoscopes of Islamic astrology, and by referring to ancient and authoritative works of Islamic astrology, we explained the reason why they were called Saad. As a result of this study, it became possible to correctly read and accurately interpret many verses of Persian poetry that are related to Islamic astrology. As a result of examining the horoscopes of Saad, the astronomical rulings in the poems of Masoud, Nizami, and Anvari, we observed that every star gains strength in its own house, in the house of happiness, and the house of honor, and if it is the star of Saad, its prosperity is increased. Also, the fact that the star of Saad is at its peak increases its prosperity. Regarding the horoscope of Cancer, which Masoud Saad had used in two ways and at first glance it seemed that he considered it an inauspicious horoscope, unlike others, we also explained by citing various examples from poems by other poets and historical texts that this horoscope is Saad and Masoud used Cancer, which also means crab, in a way that refers to the zodiac sign of Cancer with the word "tale" and the crab with the word "kuzhroo". In fact, he attributed kuzhroo not to the zodiac sign of Cancer but to the crab. Regarding the horoscope of "Moon in Capricorn", we said that according to ancient works of Haqqami astronomy, the Moon being in Capricorn is considered inauspicious for the common people, but for kings, it is considered auspicious and is a sign of victory and conquest.   References The Holly Quran Abu Rayhan Biruni, Muhammad ibn Ahmad (1362/1983) Al-tafhym li awa'il sana'at al-tanjim [Book of instructions in the elements of the art of astrology]. edited by Jalal Homaee. Tehran: Bahman. Abu Rayhan Biruni, Muhammad ibn Ahmad (1380/2001) Istiab al-wujuh al-mumkinah fi sinat al-asturlab [Procedures Necessary for Building an Astrolabe]. Commentary by Mohammad Akbar Javadi Hosseini. Mashhad: Islamic Research Foundation of Astan Quds Razavi. Anklesaria, B. T. (1908). The Bûndahishn. Bombay: 1908. Anousheh, Hasan (1376/1997) Farhangnameh adab Farsi ]Persian literature dictionary[. Vol 1. 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Khaghani, Afzaludin Ibrahim ibn Ali (2537). Divan Khaghani. Commentary by Ali Abdulrasuli. Tehran: Marvi. Mahyar, Abbas (1382/2003) Az Sora ta Soraya: Sharh-e moshkelat-e divan-e khaghani ]from Sora to Soraya: A description of the problems of the divan of Khaghani[. Tehran: Jam-e Gol. Mahyar, Abbas (1393/2014) Nojoum-e ghadim va baztab-e an dar adab-e Parsi ]Traditional astronomy and its reflection on Persian literature[. Tehran: Etelaat. Majlesi, Mohammad Bagher (1404 AH/1983) Bihar al-Anwar ]Seas of lights[. Beirut: Al-Wafa Institute. Masudi (1365/1986) Al-tanbih va al-ashraf ]warning and supervision[ (Abolghasem Payandeh, Trans.). 2nd print. Tehran: Elmi va Farhangi. Masud Sa'd Salman (1400/2021) Divan-e ashaar ]Divan poetry[. Introduction and commentary by Mohammad Mahyar. Tehran: Pazhoheshgah-e Olom va Motaleat-e Farhangi. Meibodi, Abolfazl (1331-1339/1952_1960) Kashf al-Asrar, unveiling of secrets. Commentary by Ali Asghar Hekmat. Tehran: University of Tehran. Mohammadi La'al Abadi, Masoud (1392/2013) Az hamal ta hoot Khaghani ]From Aries to Pisces in Khaghani poetry[. Tehran: Sokr. Mosaffa, Abolfazl (1381/2002) Farhang estelahat-e nojoumi hamrah ba vazheh haye keyhani dar sher-e Farsi ]Dictionary of astronomical terms accompanied by cosmic words in Persian poetry[. Tehran: Pazhoheshgah-e Olom va Motaleat-e Farhangi. Nezami, Ilyas ibn Yusuf (1383/2003) Kolliat-e Nezami ]Collected works[. 1st print. Commentary by Vahid Dastgerdi. Tehran: Talayeh. Nikkhah, Mazaher (1388/2009). Sovar-e falaki dar sher-e Nezami ]Constellations in Nezami poetry[. Journal of Literary Criticism and Stylistics Research, 3(24), 255-268. Plato (1366/1987) Dore-ye asar-e aflatun ]Plato complete works[ (Mohammad Hasan Lotfi, Trans.). Vol.3. 3rd ed. Tehran: Kharazmi. Razavi, Rasoul. & Reza, Darini (1396/2017) Vakonesh-e motekalleman dar barabar-e chalesh haye barkhasteh az heya't-e batlamiyusi ]The Reaction of Theologians to The Raised Challenges from Ptolemaic System[. Journal of Kalam Islami, 26(103), 129_145. Reza, Enayatollah (1374/1995) Dayerat al-maaref bozorg-e eslami ]Encyclopedia Islamica[. 2nd print. under the supervision of Kazem Mosavi Bojnordy. Tehran: Dayerat al-Maaref Bozorg-e Eslami. Sabzevari, Mola Hadi (n.d.). Hadi al- Muzillin [A guide for the perplexed]. Tehran: Anjomane Asar va Mafakhere Farhangi. Sarfi, Mohammad Reza. & Afazel, Razieh (1389/2010) Baztab-e bavar haye nojoumi dar Khamseh Khwaju Kermani ]The reflection of astronomical beliefs in Khwaju Kermani's Khamseh[. Journal for Classical Persian Literature, 1(2), 53-76. Sayyid Hasan Ghaznawi, Ashraf al-Din Abu Muhammad (1362/1983) Divan Ashaar ]Divan poetry[. 2nd print. Introduction and commentary by Mohammad Taghi Modarres Razavi. Tehran: Entesharat Asatir. Shahmardan ibn Ali al-Khair Razi (1382/2003) Rowzat al-Munnajjimin. Commentary by Jalil Akhavan Zanjani. Tehran: Miras Maktoob. Shamsuddin Mohammad, Hafiz (1386/2007) Divan_e ashaar [Divan poetry]. Tehran: Nashre Didar. Suyuti, Jalal al-Din (1414 AH/1993) Al-Durr Al-Manthur ]The scattered pearls: intertextual exegesis[. Beirut: Dar Al-Fekr. Tafazoli, Ahmad (1354/1975) Minooye Kherad ]Spirit of wisdom[. Tehran: Bonyade Farhange Iran. Zargari, Fatemeh (1400/2021) The effects of astrology on Galenion medicine in medieval Iranian history. Journal for the History of Science, 19(1), 1-25.   <a href="#_ftnref1" name="_ftn1">* </a>Corresponding Author: Ph.D in Persian Language and Literature, Shiraz University, Iran. rahman.zare7@gmail.com <a href="#_ftnref2" name="_ftn2">**</a> Professor, Department of Persian Language and Literature, Shiraz University, Iran. Mohamadhkarami@gmail.comتوجه گستردۀ پیشینیان به افلاک و حوادث فلکی موجب باور به تأثیر افلاک در زندگی انسان&zwnj;ها شد و این امر تا جایی پیش رفت که تمام شئونات زندگی، مانند سرنوشت انسان&zwnj;ها، پیروزی&zwnj;ها و شکست&zwnj;ها، خوشبختی و بدبختی، ترسالی و خشکسالی و... را در برگرفت و موجب پدید آمدن مباحث گسترده&zwnj;ای چون سعد و نحس نجوم، طالع&zwnj;بینی&lrm;ها و اختیارات نجومی شد. این باور عمومی به&zwnj;ویژه پس از نیمه&zwnj;های سدۀ پنجم هجری بسیار مورد توجه شاعران ایرانی قرار گرفت؛ به &zwnj;گونه&zwnj;ای که تفسیر بسیاری از ابیات شاعران بزرگ این دوران، بدون آگاهی کافی از دانش نجوم، باورها و احکام نجومی ناممکن است. در این پژوهش طالع&zwnj;های سعد در اشعار انوری، نظامی و مسعود سعد سلمان که هر سه از حکیمان آگاه به نجوم بوده&zwnj;اند، بررسی شده است. در نتیجۀ این پژوهش، 47 طالع سعد از اشعار این شاعران استخراج شده و با مراجعه به آثار معتبر و کهن نجومی، علت سعد خوانده شدن آنها توضیح داده شده است.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103022752025730Typological Analysis of Iranian Painting in the 13th Century (Based on Saadi's Poems)تحلیل گونه‌شناختی نقاشی ایرانی در سده هفتم هجری (با استناد به اشعار سعدی)4767fa علی اصغر میرزایی مهراستادیار گروه نقاشی، دانشگاه علم و فرهنگ، دانشکده هنر، تهران، ایران 2024530Typological Analysis of Iranian Painting in the 13th Century (Based on Saadi's Poems)   Ali Asqar Mirzaeimehr<a href="#_ftn1" name="_ftnref1">*</a>   When Saadi's poems are analyzed concerning keywords associated with the visual arts, it becomes clear that he had an exceptional sensitivity to this field and reflected it in his poetry. This has led to the revelation of some previously unknown aspects of the history of Iranian painting. Can Saadi's poems be used to classify and identify the types of paintings from that era? The research findings show that Saadi's references to the art of painting are sometimes so novel that they necessitate the correction of some historical perspectives, including the exciting information he provides about the flourishing of portraiture for imitation in his poems. This article is written in a descriptive-analytical manner, and its content is obtained using library resources.   Keywords: Saadi, Image, Mural, Illustrated Manuscript, Persian Painting.   Introduction Saadi was born in Shiraz in 1209. He received his early education in his hometown and then went to Baghdad to continue his studies. He also traveled to Hijaz, Levant, and Lebanon. He returned to Shiraz in 1257 and lived honorably at the court of the Salghurids. He died in 1291. This article explores the types of painting and various visual arts in the 13th Century beyond Saadi's poems. The significance of the findings of this research becomes clear when we remember that in the seventh Century, the flourishing era of Iranian painting had not yet begun, and historical sources on the subject were almost silent. The reference version in this article is from "The Complete Text of the Divan of Sheikh Ajal Saadi Shirazi," edited by Mozaher Mosaffa. The testimonial verses and page number are also extracted from this version. Research Background Much research has been done in the field of literature, especially on Saadi's poems. On the other hand, many articles and books have been published about Iranian painting and Persian Miniature in the last Century. However, since interdisciplinary research is a relatively new phenomenon, not much salient effort has been made in the direction of the mutual relations between these two arts. Therefore, it can be said that this article is the first attempt in this direction.   Saadi and Painting A careful study of Saadi's poems reveals that he frequently uses keywords related to the world of painting. Saadi's references to the visual arts and painting can be divided into two main groups:  A: Mural Painting  B: Iranian Painting and Book Design.   A: Murals Saadi saw many mansions in his travels, so naturally, the murals on the walls of these mansions did not escape his keen eye. That is why he repeatedly refers to murals, including: Once I became acquainted with the image of your face Everything I behold now appears to me like the image on a wall (367) If a man is just his eyes, his mouth, his throat, and his nose, What difference lies between a painted wall and true humanity (783) Paintings on the walls of the baths: If one's speech is a drum filled with idle chatter And silence resembles a baseless image in a bathhouse (302) No form is a meaningless adornment, O Saadi's devotion As the artist paints on the bathhouse door (789) In Saadi's time, baths were among the buildings where figurative paintings were painted on the walls. Painting on the Iwans: The house is in ruins from its foundation While the master is preoccupied with the decoration of the porch (103)  One must be of fair elaboration to craft images With vermilion and tarnish adorning the doorways (113) Whether executed on the Shah's porch or the facade of the bathhouse, these paintings were expected to be made with "tempera" or egg colors, which Iranians have long been familiar with.   B: Painting and Book Layout: Since canvases and oil paints were not yet known in Iran during Saadi's time, the two main types of painting were the walls of buildings and the pages of books. Saadi is a man of knowledge, and he was in the company of great intellectuals and artists and had access to libraries, so it is evident that he was familiar with the art of book design and perhaps had a hand in it. Concepts and words related to painting and book design are abundant in Saadi's poems, including: portrait, portraitist, portraiture; Tell the Chinese silk painter: behold the face of my beloved Either depict such a face, or forsake the art of portraiture (584) Never has an artist crafted such a portrait Nor has such a beloved been seen in any country (590) Because the art of photography and the printing industry had not yet emerged, the high frequency of words such as "portrait" and "portraitist" in Saadi's poem refers to the flourishing of paintings of real people's faces and features. Eye and eyebrow imitation; I bring the sketch of your eyes and eyebrows to the portrait artist And say to him, Draw the image of the archer's bow in this manner (588) This thought-provoking verse sheds light on some of the dark corners of the history of painting in the Saadi era and back. In simple terms, the poet is addressing his lover here, saying; I am taking the imitation of your eyes and eyebrows to the painter with the request to paint his client's face like your beautiful face. In other words, to use your face as a model. One of the wonders of this verse is Saadi's use of the word "imitation", specifically "imitation of eyes and eyebrows." The word "Imitation" means "to transcribe, that which they rewrote from" (Dehkhoda, 1937, vol. 14: 22458), and "Imitation of eyes and eyebrows" means a design taken or drawn from someone's face. Based on such verses, it can be said that this method existed in the art of Iranian painting. However, historical sources believe that portraiture with the aim of simulation is a souvenir of the West and is related to the post-Safavid era. Another case where the word "imitation" is used again and sheds light on issues regarding the social history of art in Saadi's era; If your portrait were displayed in the market The artist would close his workshop (400) Saadi says: 'If an imitation of your face is brought to the market, the painter should close down his shop, for his works will not prosper when compared to your face.' First, like the previous verse, "imitation" of someone's face is used with the same meaning and usage as before. The second interesting point is "art shop", which shows that in Saadi's time, there was such a commercial and artistic center or unit that could respond to the visual and artistic demands of the people. The Shiraz orator has used the combination "imitation of a face" with the same meaning elsewhere. I present this portrait of your face to the painter So he may repent from the art of portraiture (586) Regarding portraiture with a different theme, another amazing verse in Saadi's Divan sheds light on unknown aspects of the art history of those days. Are you the cypress in the garden, or the moon, or a fairy Or an angel, or the artist's sketchbook (589) The verse is an explicit description of the manifestations of the lover. The additional combination of "a portraiture notebook" is interesting and strange, again indicating the existence of books or notebooks that painters or artists used as models or patterns. Continuing and confirming the same concept, he composes elsewhere; When the painter beholds her face He abandons his craft, letting go of his art (476) Here, too, reference is made to the images that were placed in the painter's hands as models and standards. In line with the face in the opening stanza, what was placed in the painter's hands must have been images of portraits that would pale in comparison to the beauty of the lover's face. Pictorial Fabrics: A group of these poems refers to images woven onto textiles; The student of the tapestry weaver aptly remarked As the phoenix ascends, and the elephant and giraffe embark I cannot produce a portrait For its design was not confined by the teacher's hand (271)   In these verses, Saadi, in addition to mentioning the weaving of pictorial fabrics with the motifs of Simurgh, elephants, and giraffes, makes an interesting reference to the use of patterns in handlooms of that day, which were placed above the loom for the use of the weaver's apprentice. Saadi also mentions silk fabrics decorated with images of beauties; I saw the soil of Shiraz as a patterned silk And all the beautiful faces depicted upon that silk (453)   Conclusion The instability of materials has destroyed the visual heritage of distant eras. Given the scarcity of visual heritage, finding sources that increase our awareness of the history of art and painting will be a treasure. Saadi refers to types of paintings in his era that are not mentioned in any historical source. This article, along with the enlightenment in one of the hidden perspectives of Persian literature, showed that some shortcomings of art history, mainly painting in the 13th Century, can be compensated for with new readings. Such as; _ The flourishing of mural painting on the facade of baths, Ivans, and walls of houses. _ The flourishing and popularity of drawing and painting people's faces aimed at simulating and naturalism. _ Visual imitations exist on the subject of portraits and people's faces. _ The possibility of the artist-painter's activity in personal and private workshops. _ The existence of places in the public market area of cities to provide visual services to clients. _ The flourishing production and weaving of fabrics decorated with human and animal imagery. Based on these findings, the 13th Century in Iran can be considered a dynamic and diverse society in the art of painting. The existing sources of art history are silent in this regard.     References Publishing Company (in Persian) Ashrafi, M.M. (1988) Persian-Tajik Poetry in xiv - xvii Centuries Miniatures (1st ed), translated by Pakbaz, R., Tehran: Negah (in Persian) Ayyuqi (2022) VarqawaGolshāh, (1st ed), Correction by: Imani, B, and Marashi, S.M., Tehran: Mahmoud Afshar, (in Persian) Dehkhoda, A. (1998) Dehkhoda Dictionary, (2nd ed), (Vol. 13,14). Tehran: Institute of Printing and Publishing, University of Tehran, (in Persian) EqbalAshtiani, A. (2007) History of Iran (2nd ed), Tehran: Negah (in Persian) Ghelichk Akasheh, S., (2001) Islamic Painting, (1st ed), translated by: Tahami, S, Gh, Tehran: SurehMehr hani. H., (2013) An Introduction to Iranian Calligraphy (1st ed), Tehran: Farhang-e Moaser Publication, (in Persian) Ferdowsi, A. (1990) Shahnameh (1st ed), (Vol 4). Correction by: Joule Mole, Tehran: The Pocket Books Organization (in Persian) Gray, B. (1990) Iranian Painting (1st ed), translated by Sharveh, A., Tehran: Asr- e Jadid (in Persian) Hattstein, M. Delius, P (2000) Islam Art and Architecture, France, KonemannVerlagsgesellschaftmbh. Ishaghpour, Y., (2000) La Miniature Persane - Les couleurs de la Lumière: le Miroir et le Jardin. (1st ed), translated by Arjmand, J, Tehran: Farzan-e Ruz (in Persian) Kaynejad, M.A., &BelaliOskoui, A. (2011) Recreating Rab'eRashidi Based on Historical Texts (1st ed), Tehran: Matan Institute (in Persian) Klimkeit, H., (2005) Manichaean Art (1st ed), translated by: Esmailpour, A, Tehran: Osture (in Persian) Pakbaz, R., (2016) Encyclopedia of Art, (1st ed), (Vol. 1,2). Tehran: Farhang-e Moaser Publication, (in Persian) Pakbaz, R. (2024) Visual Art in Iran, (1st ed), Tehran: Fenjan, (in Persian) SaadiShirazi. (1961) The Complete Text of the Diwan of Sheikh Ajl Saadi Shirazi, Correction by: Mosaffa, Mozaher, Tehran: Ma'refat (in Persian) Safa, Z. (1993) History of Literature in Iran, (10th ed), (Vol 3). Tehran: Ferdows Publication, (in Persian) Tajvidi, A. (1973) Iranian Painting from the Earliest Times to the Safavid Era, (1st ed), Tehran: General Directorate of Publications, Ministry of Culture and Arts, (in Persian) Yelena, A., &Polyakova (2002) Iranian Painting and Literature, (1st ed), translated by Faizi, Z., Tehran: Rowzane (in Persian)           <a href="#_ftnref1" name="_ftn1">*</a> Assistant Professor, University of Science and Culture, Tehran, Iran. Ali.a.Mirzaeimehr@gmail.comهرگاه اشعار سعدی با توجه به مفاهیم و کلیدواژگان مربوط به هنرهای تجسمی و تصویری تحلیل شود، معلوم خواهد شد که وی حساسیت و توجه ویژه&zwnj;ای به هنرهای تصویری و نقاشی&zwnj;های موجود در دنیای پیرامون خویش اعم از نقاشی&zwnj;های دیواری یا تصویرگری کتاب داشته است. حال که هنرهای تصویری به دلیل ناپایداری مواد و مصالح با کمبود منابع تاریخی مواجه هستند، این پرسش مطرح می&zwnj;شود که آیا گونه&zwnj;شناسی و صورت&zwnj;بندی انواع نقاشی که در سروده&zwnj;های سعدی به آنها اشاره شده، می&zwnj;تواند دریچه جدیدی برای شناخت تاریخ نقاشی در سده هفتم هجری بگشاید و بخشی از کاستی&zwnj;های منابع تاریخی را جبران کند. هدف این نوشتار در وهله نخست، شناسایی و صورت&zwnj;بندی مضامین و واژگان مربوط به هنرهای تصویری در اشعار سعدی و سپس تحلیل تاریخی و اجتماعی آنهاست. یافته&zwnj;های این پژوهش گویای این مطلب است که آنچه سعدی از رواج گونه&zwnj;های مختلف نقاشی در روزگار خود ذکر کرده، گاه چنان بدیع و جذاب هستند که اصلاح برخی دیدگاه&zwnj;های تاریخی پیشین را ضرورت می&zwnj;بخشند. از آن جمله است اطلاعات ناب و شورانگیزی که او درباره رونق چهره&zwnj;پردازی با هدف شبیه&zwnj;سازی در اشعار خود آورده است. این مقاله به روش توصیفی- تحلیلی نگارش یافته و اطلاعات مندرج در آن با استفاده از منابع کتابخانه&zwnj;ای حاصل آمده است.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103022752025730The transformation of form and meaning in the literary genre of Khamriyeh and Saqinamehدگرگونی صورت و معنا در گونه ادبی خمریه و ساقی‌نامه6991faسمیهخورشیدیدانشجوی دکتری زبان و ادبيات فارسي، دانشگاه قم، قم، ایران احمد رضایی جمکرانیاستاد گروه زبان و ادبیات فارسی، دانشگاه قم، قم، ایران 202477The transformation of form and meaning in the literary genre of Khamriyeh and Saqinameh    Somayyeh Khorshidi <a href="#_ftn1" name="_ftnref1">*</a> Ahmad Rezaei Jamkarani <a href="#_ftn2" name="_ftnref2">**</a>    Saqinameh is a form of poetry that originated within the genre of lyrical poetry. This type of literature has evolved with changes in form and content, introducing new themes such as mystical, political, critical, and protest issues in different periods. It appears that Saqinameh was merely a transformation in the form and content of Khamriyeh. From these formal and content transformations, various linguistic, rhetorical, and intellectual devices of Saqinameh have also evolved in the context of historical developments, and their dominant element has changed form and content. In this study, the author first explored the origin and development of Saqinameh as a literary genre, comparing the linguistic, rhetorical, and intellectual elements of Khamriyeh and Saqinameh. The evolution of Saqinameh was investigated using an inductive-analytical method from its inception to the present day. The research results indicate that the literary genre of Khamriah evolved, eventually leading to the development of Saqinameh. Early Saqinameh were influenced by Khamriyeh and incorporated linguistic elements related to seizing opportunities and the words of the wind. Over time, these works became intertwined with social, cultural, and religious developments, and they came to convey various meanings, including allegorical, mystical, and political interpretations.   Keywords: Khamriyeh, Saqinameh, Transformation, Literary genre.   Introduction The *Sāqī-nāmeh* (Cupbearer’s Ode) is an evolved form of the *khamriyāt* (wine poetry), which originally emerged in Arabic literature and later found its way into Persian poetry. Over time, the early wine poems transformed into *sāqī-nāmeh*, undergoing significant changes not only in form but also in meaning. These shifts in meaning, across different historical periods, reflect how the personal concerns of poets expanded to encompass broader reflection. As a result, the vivid, sensual imagery of early wine poetry gradually gave way to more philosophical, mystical, social, and political undertones under the influence of deeper intellectual currents. Despite these numerous transformations, wine and its associated elements have remained the central focus of this literary form, regardless of its underlying themes.   Literature Review In this study, the approach is to examine both form and meaning in *Khamriyeh * and *sāqī-nāmeh* poetry through the evolution of their core element—namely, the term *bādeh* (wine) and its related expressions. Analyzing the linguistic and rhetorical devices in both genres helps uncover the surface structure, while delving into the semantic layers of these terms reveals the impact of political and social developments on the poets’ perspectives, especially in the *sāqī-nāmeh*.    Discussion Structurally, *sāqī-nāmeh* poetry, by blending themes of wine poetry with philosophical and mystical discourse, offered a creative platform for poets. Initially appearing as part of larger poems (*non-independent sāqī-nāmeh*), it later emerged as a distinct genre (*independent sāqī-nāmeh*). This genre progressed alongside *khamriyāt*, often using the *masnavī* form and the *motaqāreb* meter, which had traditionally been used for storytelling. However, due to growing ideological pressures and the stifling of free thought in later periods, the original aesthetic and hedonistic essence of *sāqī-nāmeh* was gradually altered. As social and political transformations intensified, this poetic form began to intertwine the poet’s inner lyrical world with external conflicts and realities, resulting in diverse variations such as allegorical, mystical, and socially critical *sāqī-nāmeh*s. The evolution of *Khamriyeh* into *sāqī-nāmeh* in Persian poetry reflects a shift in poets' worldview and literary aims. With the emergence of intellectual and cultural crises in later eras, a new outward form named *sāqī-nāmeh* was created, which significantly differed in structure, meaning, and discourse.   Conclusion The *sāqī-nāmeh* genre, which began as an offshoot of wine poetry, eventually gained independence and can be categorized into three main types: early *sāqī-nāmeh*s, mystical *sāqī-nāmeh*s, and socially engaged *sāqī-nāmeh*s. Through changes in structure and content, it diverged from *Khamriat* and aligned more with rationalist and idealist thinking. A linguistic and rhetorical analysis of both genres reveals how *sāqī-nāmeh* gradually developed a unique identity in terms of poetic form and meter, while the vocabulary related to wine took on symbolic, mystical, or allegorical meanings. At first, descriptions were concrete and sensory-based, but over time, they acquired religious, mystical, and symbolic dimensions. This evolution shaped the nature of metaphors and similes in both genres and reflected unique ideological shifts. In particular, *sāqī-nāmeh* poetry mirrors diverse social attitudes, including critique, protest, rejection of dogmatic asceticism, and condemnation of hypocritical piety.   References Ahmadi, Babak (1999) Structure and Interpretation of the Text, vol1. Tehran: Publication of the Nashre Markaz. Biman, William (2014) The Language of Status and Power in Iran, translated by Reza Moghadamkia, Tehran: Ney Publications, Fourth Edition. Payandeh, Hossein (2018) Literary Theory and Criticism: An Interdisciplinary Textbook, Vol. 1, Tehran: Samt. TradeGill, Peter (2016) Social linguistics: An Introduction to Language and Society, Translated by Mohammad Tabatabaei, Tehran: Aghah. Khayyam, Omar ibn Ibrahim (1387) Robaiyat, corrected by Mohammad Ali Foroughi and Qasim Ghani, edited by Bahauddin Khorramshahi, fifth edition, Tehran: Nahid. Daam, Mahmoud (2002 Spring) (Literary genres) (Bulletin of the Journal of Humanities), No. 33. Rezaei Ahmad (2014) Analysis and study of the structure of the Saqīnameh Bahar, Journal of Lyrical Literature, Year 12, No22, pp. 129-148. Rudaki, Abu Abdollah Jafar ebn Mohammad (2019) corrected by Saeed Nafisi, Tehran: Guya Publications. Shafiei Kadkani, Mohammad Reza (1977) Persian Literary and Poetry genres, Khrad and Kooshesh Magazine, Volume 4, 119 p. Safa, Zabihullah (1985) History of Literature in Iran, Volume 5, Tehran Ferdos. Safa, Zabihullah (1978) Treasure of Words, Volume 1, From Rudaki to Anvari, 6th Edition, Tehran: Tehran University. Fotohi, Mahmoud (2003) Theory of Literary History, Tehran: Nazh Publications. Fakhroz Zamani, Abdolnabi (1988) Tazkereh Meykhaneh, edited by Ahmad Golchin Maani, fifth edition, Tehran: Eqbal. Farrokhi Sistani Ali ebn Joloogh (2001) Divan, edited by Seyyed Mohammad Dabir Siaghi, Tehran: Zovar Kasaei Marvzi (2017) Corrections Department of Mohammad Baqer Najafzadeh, Tehran: Zovar. Keykhai Farzaneh, Ahmadreza (1996) A study of mystical terms in the ghazals of Saadi and Hafez, Tehran, first edition, Tarbiat Moallem University Press. Lahiji, Mohammad (1955) The Keys of Miracles in the Explanation of Gulshan-e-Raz, Tehran: Mahmoudi Bookstore. Modaberi, Mahmoud (1931) Poets Without a Divan, Tehran: Fanos. Mosharraf, Maryam (2012) (Background study of Khmrieh literature and its manifestations in Arabic and Old Persian poetry) Kohan Nameh e Adab Parsi, Year 3, No 2, pp. 101-120. Manouchehri Damghani, Abul-Najm Ahmad ibn Qous (1984), Divan of poems, edited by Dr. Mohammad Dabirsiyaghi, 5th edition, Tehran: Zovar Motaman, Zein al-Abedin (1934) Persian Poetry and Literature, second edition, Tehran: Zarrin. Nezami Abu Muhammad Elias ben Yusuf (2009) Sharafname, edited by Vahid Dastgerdi with the help of Dr. Saeed Hamidian, 5th edition, Tehran Qatre. Yaqoub Emile Badi, Michel Asi (1987) The Favorite Dictionary of Language and Literature, First Edition, Beirut, Dar ol-elm.     <a href="#_ftnref1" name="_ftn1">*</a> Corresponding Author: Ph.D Student in Persian Language and Literature, University of Qom, Qom, Iran. khorshidi13@gmail.com <a href="#_ftnref2" name="_ftn2">**</a> Professor, Department of Persian Language and Literature, University of Qom, Qom, Iran. A52_2006@yahoo.comساقی&zwnj;نامه، یکی از انواع شعری است که در دامان شعر غنایی زاده شد. این گونۀ ادبی با دگرگونی و تنوع در ساختار شکلی و محتوایی، در ادوار مختلف بسط یافته، درونمایه&zwnj;های تازه&zwnj;ای از قبیل موضوعات عرفانی، مسائل سیاسی، انتقادی و اعتراضی مورد توجه شاعران قرار گرفت. مطالعۀ ساقی&zwnj;نامه&zwnj;ها نشان می&zwnj;دهد که این گونه ادبی باید حاصل دگرگونی در صورت و محتوای خمریه باشد. پس از آن، دستگاه&zwnj;های مختلف زبانی، بلاغی و فکری ساقی&zwnj;نامه نیز در بستر تحولات تاریخی تغییر کرده و عنصر غالب آن در فرم و محتوى دیگرگون شده است. از این&zwnj;رو در پژوهش حاضر، ابتدا به بررسی ریشه و زایش ساقی&zwnj;نامه از دل خمریه به &zwnj;عنوان یک گونه ادبی پرداخته&zwnj;ایم. پس از آن با مقایسه نشانه&zwnj;های پرکاربرد خمریه و ساقی&zwnj;نامه در دستگاه&zwnj;های زبانی و بلاغی و فکری، تحول گونه ساقی&zwnj;نامه، با روش توصیفی- تحلیلی از طریق استقرار از ابتدا تاکنون بررسی شده است. حاصل پژوهش نشان می&zwnj;دهد که ساقی&zwnj;نامه&zwnj;های اولیه با تأسی از خمریه و نشانه&zwnj;های زبانیِ اغتنام فرصت و الفاظ باده&zwnj;گساری آغاز شده، با تحولات اجتماعی و فرهنگی و دینی به&zwnj;تدریج لایه&zwnj;های معنایی متفاوتی (تمثیلی، عرفانی، رمزی، سیاسی) یافته و در نتیجه ساختار نوع ادبی خمریه در روند تاریخی خود به ساقی&zwnj;نامه منتهی شده است.

http://literature.ihss.ac.ir/ar/Article/Download/47293

مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103022752025730Existential Analysis of Narratives in The Black Dome and The White Dome Based on a Semiotic-Semantic Approachتحلیل اگزیستانسیالیستی روایت‌ها در گنبدهایِ غالیه و سپید براساس رویکرد نشانه- معناشناسی93119faعبدالباقیرضایی تالارپشتیاستادیار گروه زبان و ادبیات انگلیسی، دانشگاه گلستان، گرگان، ایران 0000-0002-6380-4845فاطمهدادبوددانش آموخته دکتری زبان‌شناسی، واحد ساری، دانشگاه آزاد اسلامی، ساری، ایران بهزاد پورقریبدانشیار گروه زبان و ادبیات انگلیسی، دانشگاه مازندران، بابلسر، ایران 000000026162731220241116Existential Analysis of Narratives in The Black Dome and The White Dome Based on a Semiotic-Semantic Approach   Abdolbaghi Rezaei Talar Poshti<a href="#_ftn1" name="_ftnref1">*</a> Fatemeh Dadbood<a href="#_ftn2" name="_ftnref2">**</a> Behzad Pourgharib<a href="#_ftn3" name="_ftnref3">***</a>   Ganjavi's Seven-Dome poem system is considered one of the cultural, literary, and historical masterpieces of poem system, which has unique features. Furthermore, this anthropological and ontological system deals with the originality of human existence and tries to distinguish the good from the bad. This research aimed to study the trajectory of the narratives and the semantic mutation by examining the first and last narratives narrated in the Black and the White Domes based on the semantic-semiotic approach. The analysis of narratives has been conducted by applying the components of the existential narrative discursive system. The results have indicated that the tales of the Iranian and Indian princesses have had roughly a similar trajectory. The main characters of these narratives had the characteristics of asceticism, piety, emancipation, and grandeur. Suddenly, they encounter some mishaps and dilemmas in the path of existence and life that lead them to inner darkness and aberration. They have struggled with negation of the primary Dasein and the compliance of the defect along with the lack of existential meanings. By passing through this turmoil and inner abnormality, they could traverse the darkness and obtain the lightness and transcendence, which have been the ultimate goals of existence. At the end of the narration, the characters have been involved in severe semantic mutations from the self-created, disordered situation and led to redemption and moral revival.   KeyWords: Semiotic-Semantic, Narration, Seven Domes, Nezami, Existentialism.   Introduction Life for a human being gets meaning not so much through cause-and-effect relations but through narratives and stories. Narratology, as an interdisciplinary area, investigates the frameworks of such narratives and reveals that the human mind is eternally constructing and reconstructing stories to understand the world and organize its experiences. On the other side, existentialism emphasizes freedom, individual responsibility, loneliness, absurdity, and death as a philosophical movement and has built the case for how human beings must create their own meanings in a senseless world. The sole method of this study lies in the combination of narratology and existentialism for the analysis of two narratives from Nizami Ganjavi's Haft Peykar (The Seven Beauties). Its primary focus is to analyze how death is faced by the characters' existential crisis-as they experience the devolution from inner darkness to enlightenment, or salvation. The main question reads: How does Nizami, through the usage of symbolic narratives, give insight into such deep philosophical concepts as the quest for meaning, freedom, and moral responsibility? Not only is it beautiful in aesthetic terms, but it also has an ontological dimension, for which it has been regarded as one of the masterpieces of Persian literature. The present paper, with a special focus on the Black and White Domes, employs semiotic-semantic research to investigate the often-hidden layers of meaning in the two narratives. It argues that interpreting these domes as the beginning and end points of the narrative journey can reveal an inner pattern of human change from suffering and absurdity toward enlightenment and transcendence. This study hence opens a new avenue in text history by including an interpretation of Nizami that is philosophically charged. It'll probably draw ancient texts into posing questions that modern human beings care about concerning the meaning of life, freedom, and death. In this view, the research might serve as a bridge between literature, philosophy, and psychology while revealing classical Persian texts' interpretative potentials.   Research Methodology and Theoretical Framework The investigation uses a semiotic-semantic approach and draws on Greimasian discursive theory to study the narratives of Nizami's Haft Gonbad. The methodology employs an analytical-descriptive design, in which the semiotic-semantic framework is used to elicit the hidden meanings behind the narratives. Thus, the signs are perceived as being in dynamic interaction with their cultural and cognitive contexts rather than isolated from them. Greimas's framework highlights discursive processes and the production of meaning through conflicting actions and internal tensions. There are four stages in Greimas's system: virtual presence, potential presence, actual presence, and the final decision of the actors. It analyzes the very shift of the subject from semantic crisis towards existential transcendence. In this framework, the subject disavows Dasein ("being-in-the-world") and leaps into a new state, creating alternative meanings. Other existentialist concepts, such as freedom, absurdity, and death, developed by Sartre, Kierkegaard, and Nietzsche, are employed to interpret the narratives and express the characters' passage from suffering to enlightenment. A combination of semiotics-semantics and existentialism is what this study attempts, thus proffering a different reading of Haft Peykar that highlights the extent to which Nizami's narratives are representative of humankind's meaning-making process vis-à-vis existential crises. The main concern is how characters move from the darkness of the self to brilliance using Greimasian discursive mechanisms.   Discussion Nizami Ganjavi, the prominent poet of the 6th century AH, narrates symbolic stories rich in profound mystical, moral, and philosophical meanings in his poem Haft Peykar (Bahram Name or Seven Domes). This work, the fourth poem in Nizami's Khamsa (Quintet), was composed around 17 years after Khosrow and Shirin and 9 years after Leyli and Majnun, at the age of 60. At the beginning of the narrative, Nizami blends spiritual and worldly aspects of life, praising the Creator and expressing devotion to the Prophet of Islam, while discussing transcendence from worldly limitations toward spiritual elevation. A notable feature of this work is the central role of women in the stories, who not only achieve personal perfection but also guide other characters, including Bahram, toward transformation and enlightenment. In this epic, the Seven Domes, each associated with a color and a feminine narrative, impart life lessons, liberation from evil, and the attainment of goodness to Bahram. The two narratives of the Black Dome (Ghaliyah Dome) and the White Dome, as the beginning and the conclusion of this narrative journey, symbolize the transition from darkness to light, ignorance to knowledge, and the base self (nafsammara) to the assured self (nafsmutma'inna). In the Black Dome, the tale of the King of the Black-Robed depicts a spiritual journey of a ruler who renounces worldly pleasures in pursuit of truth and attains mystical silence. This narrative can be analyzed through semiotics and Greimasian discourse analysis; the king distances himself from his initial Dasein (former existence) by navigating numerous semantic crises and eventually reaches secondary Dasein (new existence) after overcoming hardships. This transformation signifies the passage from surface meanings to inner truths, where silence represents ultimate realization and detachment from worldly attachments. Conversely, the narrative of the White Dome (associated with Venus and Friday) tells the story of a devout young man who initially fails the test of temptation but attains salvation through repentance and returning to the path of righteousness. This story can also be analyzed within Greimasian theory: the young man faces a semantic deficiency, loses his initial Dasein during his struggle with lust, but through remorse and inner change, achieves a new Dasein, where divine and human values triumph over primal instincts. Nizami employs colors in these narratives as symbols of human inner states—black representing darkness and ignorance, and white symbolizing purity and enlightenment. Bahram, too, transitions from multiplicity to unity on this journey, achieving inner peace after passing through seven stages. Therefore, Nizami’s narrative artistry in Haft Peykar is a blend of storytelling and practical wisdom. By employing narrative elements, colors, and symbols, he maps the spiritual evolution of humanity. The Black and White Domes, marking the beginning and the end of this journey, illustrate the transition from the darkness of the soul to the light of knowledge. This masterpiece not only reflects Nizami’s profound insights into ontology and human psychology but also serves as a guide to attaining a transcendent life and inner salvation.   Conclusion Nizami Ganjavi, through the narratives of Haft Gonbad, seeks to portray the growth and transformation of Bahram Shah as a symbol of human transcendence. He illustrates the process of transformation and the journey through the seven valleys of love, using storytelling as a tool for narrative therapy. In this process, Nizami imbues existence with new meaning and elevates the world through narrative creation. Nizami’s stories prominently feature the use of symbols, particularly colors, as philosophical and spiritual tools to express profound ontological concepts. White symbolizes purity, salvation, unity, and transcendence, while black signifies self-purification, renunciation of worldly desires, and the majestic attributes of divinity in mysticism. By beginning his stories with black and concluding them with white, Nizami depicts the journey of humanity from multiplicity to unity. This color symbolism not only enriches the literary work but also reflects the philosophy of unity and spiritual evolution within Islamic mysticism. The interplay and progression between black and white illustrate themes such as solitude, anxiety, refinement, and transcendence in the inner transformation of humans. From the perspective of Greimasian discourse theory, human existence in the world is dynamic rather than static. Feeling a sense of meaninglessness, individuals reject their initial Dasein and, through fresh experiences, create new meanings that lead to the recreation of existence itself. Nizami Ganjavi, through his mystical and moral narratives, simplifies the path to uncovering the hidden truths of the world. He utilizes contrasts, metaphors, and semantic techniques in storytelling to convey philosophical and ontological concepts to his audience. Considering the outstanding qualities of Nizami's works, he stands not only as an exceptional poet but also as a thinker well-versed in existentialist principles and narrative-based psychotherapy. Nizami’s works act as a bridge between Persian literature and philosophy, serving as valuable resources for understanding human and philosophical themes. He remains one of the greatest poets in the history of Persian literature.   References Ahmadi, Babak (1991) Journey into existential ontology [Soloukdarhastishenasi-ye eksistansial]. 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Indiana University Press. Tarasti, Eero (2009) Fondements de la sémiotiqueexistentielle [Foundations of existential semiotics]. L'Harmattan. Tarasti, Eero (2012) Existential semiotics and cultural psychology. In Jaan Valsiner (Ed.), The Oxford handbook of culture and psychology (pp. 316-343). Oxford University Press. Vaezi, Reza, et al (2024) An analysis of Nizami Ganjavi's theological-literary views. Literary Textual Studies, 28(99), 9-40. Vasaghati Jalal, Mohsen, Faraji Far, Shima, & Nasiri, Zahra (2020). A study of Iranian perfectionism in Nizami's Haft Peykar with emphasis on the archetype of the Great Mother. Quarterly Journal of Mysticism in Persian Literature, 91-119. Yalom, Irvin D (2015) Existential psychotherapy (Sepideh Habib, Trans.). Tehran: Danjeh Publishing. 22nd Edition.       <a href="#_ftnref1" name="_ftn1">*</a> Assistant professor of English language and Literature Department of English Literature, Faculty of Humanities, Golestan University, Gorgan, Iran. <a href="mailto:a_rezaei_t@yahoo.com">a_rezaei_t@yahoo.com</a>                                       <a href="#_ftnref2" name="_ftn2">**</a> Ph.D in Linguistics, Faculty of Humanities, Islamic Azad University, Sari Branch, Sari, Iran. <a href="mailto:fatima.dadbood@yahoo.com">fatima.dadbood@yahoo.com</a> <a href="#_ftnref3" name="_ftn3">***</a> Corresponding Author: Associate Professor, Department of English Language and Literature, University of Mazandaran, Babolsar, Iran. b.pourgharib@umz.ac.irمنظومۀ هفت گنبد نظامی گنجوی یکی از شاهکارهای نظام ادبی، فرهنگی و تاریخی به&zwnj;حساب می&zwnj;آید که در نوع خود بی&zwnj;بدیل و بی&zwnj;نظیر انگاشته&zwnj; می&zwnj;شود. همچنین این منظومۀ انسان&zwnj;شناسانه و هستی&zwnj;گرایانه با اصالت وجود بشری سروکار دارد و تلاش می&zwnj;کند تا سره را از ناسره تمیز دهد. این پژوهش قصد داشت با بررسی اولین روایت در گنبد غالیه و آخرین روایت در گنبد سپید براساس دیدگاه نشانه-معناشناسی به مطالعه مسیر حرکت روایت&zwnj;ها و جهش&zwnj;های معنایی حاصل از آن بپردازد. تحلیل روایت&zwnj;ها با بهره&zwnj;گیری از مولفه&zwnj;های نظام گفتمان روایی بُوشی صورت پذیرفته است. نتایج حاصله نشان می&zwnj;دهد که سیر روایت&zwnj;پردازی شاهدخت ایرانی و هندی تقریباً یکسان بود. شخصیت&zwnj;های اصلی این دو روایت دارای صفات زهد، پارسایی، وارستگی و محتشم&zwnj;منشی بوده است. به ناگاه در مسیر  هستی و زندگی با اتفاقاتی مواجه می&zwnj;شوند که آن&zwnj;ها را به ظلمات و تاریکی درون سوق می&zwnj;دهد. با سلب دازاین اولیه و ایجاب دازاین معیوب به&zwnj;همراه نقصان معنایِ وجودی با مصائبی بسیاری دست و پنجه نرم می&zwnj;کنند. با عبور از این آشفتگی و ناهنجاریِ درونی، از تاریکی عبور کرده و به نور و استعلایِ درون که هدف غائی اصالت وجود است، دست می&zwnj;یابند. در انتهای روایت، شخصیت&zwnj;ها با جهش معناییِ شدیدی از موقعیت نابسامان خودپیش آورده  به شرایط رهایی&zwnj;بخش از ظلمات و تجدید حیات اخلاقی می&zwnj;رسند.

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مرکز منطقه ای اطلاع رسانی علوم و فناوریپژوهش زبان و ادبیات فارسی1735-103022752025730Critique and Analysis of Postmodern Elements in the Novel Band-e Mahkouminنقد و تحلیل مؤلفه‌های پست‌مدرنیستی در رمان «بند محکومین» 121150fa ساسانفضلیدانشجوی دکتری زبان و ادبیات فارسی دانشگاه تربیت مدرس، ایران ناصرنیکوبختاستاد گروه زبان و ادبیات فارسی دانشگاه تربیت مدرس، ایران ابراهیمخدایاردانشیار گروه زبان و ادبیات فارسی، دانشگاه تربیت مدرس، ایران زینبصابرپوراستادیار گروه زبان و ادبیات فارسی، دانشگاه تربیت مدرس، ایران 2024327Critique and Analysis of Postmodern Elements in the Novel Band-e Mahkoumin   Sasan Fazli<a href="#_ftn1" name="_ftnref1">*</a> Naser Nikobakht<a href="#_ftn2" name="_ftnref2">**</a> Ebrahim Khodayar<a href="#_ftn3" name="_ftnref3">***</a> Zeinab Saberpour<a href="#_ftn4" name="_ftnref4">****</a>   Postmodern literature is a global movement that has also influenced Persian literature. Postmodernism is rooted in the ideas of post-structuralists, and any understanding and analysis of this concept stems from a thorough examination of post-structuralist theories. Poetry and fiction, depending on their capacity and content, are receptive to postmodern features. Band-e Mahkoumin, a novel by Keyhan Khanjani, is one of the works that can be interpreted through a postmodern lens. This novel was chosen due to its prominent elements such as polyphony, hyperreality, and stream of consciousness, which make it a significant example of Persian postmodern literature. Since Band-e Mahkoumin is a relatively recent novel, analyzing it through a postmodern perspective can help assess the status of this theory in recent years and distinguish its characteristics from earlier pioneering novels. The objective of this study is to critique and analyze the novel using a descriptive-analytical method. After identifying the key and shared postmodern elements as defined by theorists, the study examines their application in this novel. The research findings indicate that the prominent elements in the novel include ontological perspective, irony, narrative interweaving, hyperreality, exaggerated imagery, disruption of social order, polyphonic and multi-narrative structure, playfulness, unconventional repetition, dual or multi-dimensional themes, and stream of consciousness.   Keywords: Postmodernism, Contemporary Novel, Keyhan Khanjani, Postmodern Literature, Band-e Mahkoumin.   Extended Abstract Postmodernism is characterized by prominent features and elements that have led to its recognition and the establishment of its intellectual movement within artistic, philosophical, and literary works. A postmodernist reading of contemporary Persian novels and the application of postmodern components to such works, while aiding in the understanding of the textual world, can also provide a chronological approach to the emergence, peak, and decline of this theory in recent decades. This study seeks to identify the ontological content of the novel Band-e Mahkoumin (The Convicts' Ward), alongside other techniques specific to this literary style, to facilitate the reader’s comprehension of its postmodern world. To date, no research has been conducted on analyzing and identifying the postmodern components of Band-e Mahkoumin. However, numerous books, academic articles, and dissertations have explored postmodernism in fiction. The most well-known definition of postmodernism, which aligns with poststructuralist views, belongs to Jean-François Lyotard: "Metanarratives are the foundation of social stability and order." Postmodernism fundamentally involves skepticism and disbelief toward metanarratives. From this perspective, postmodernism is a multifaceted movement that expresses its dissatisfaction with knowledge and beliefs that claim universality. The most common characteristics of postmodern fiction include: <ul style="text-align: left;"> <li>A nonlinear beginning, fragmented and seemingly unrelated timelines, and an open-ended conclusion.</li> <li>Discontinuity and lack of coherence.</li> <li>Repetition and minimalism.</li> <li>Breaking conventional storytelling rules.</li> <li>Genre diversity.</li> <li>A polyphonic narrative structure.</li> <li>Disorder in event narration and the dissolution of the concept of time.</li> <li>Rejection of logical boundaries.</li> <li>Absence of heroism and intrinsic lyricism.</li> <li>A focus on urban life and the post-industrial world.</li> <li>Disrupting and suspending the storyline.</li> <li>Emphasizing narrative and individuality.</li> <li>Relativism and existential instability.</li> <li>Fragmentation, dispersion, and fluidity.</li> <li>Ambiguity and uncertainty.</li> <li>The use of metaphor and irony.</li> <li>Rejection of essentialism and fundamentalism.</li> </ul>   Postmodern Components in Band-e Mahkoumin <ol style="text-align: left;"> <li> Ontological Content</li> </ol> In Band-e Mahkoumin, extensive analysis and reflection on existence, identity, and the lives of both major and minor characters shape the novel’s textual foundation, presenting perspectives on life, the world, and everyday existence. This exploration does not delve into highly complex philosophical debates but rather examines the thoughts and beliefs that ordinary people hold about life, themselves, and their surroundings.   <ol style="text-align: left;" start="2"> <li> Irony</li> </ol> Irony, an artistic and rhetorical device that highlights contradictions between appearance and reality, expectation and actuality, is a key element in the novel. The narrative voice in Band-e Mahkoumin carries a subtle, humorous tone. Postmodern works often avoid definitive conclusions, making resolved endings a subject of mockery. Satirical expressions and ironic remarks further emphasize this tone, ridiculing conventional wisdom and traditional beliefs.   <ol style="text-align: left;" start="3"> <li> Polyphony and Multiple Narratives</li> </ol> This technique, common in postmodern and experimental novels, avoids reliance on a single, straightforward narrative, instead creating a layered and complex reading experience. Key aspects of this technique include: <ul style="text-align: left;"> <li>Multiplicity of narratives and perspectives on history.</li> <li>Flashbacks and temporal disjunctions.</li> <li>The role of polyphony in adding semantic complexity.</li> <li>The integration of subplots and minor events with the main narrative.</li> <li>The effect on the reader’s interpretation.</li> </ul>   <ol style="text-align: left;" start="4"> <li> Narrative Interweaving</li> </ol> Narrative interweaving, a postmodern technique in which multiple concepts, genres, or storylines merge to create a multi-layered and intricate structure, is evident in Band-e Mahkoumin. A prime example is the tale of "Shah Damagh", where the author interconnects past events with the novel’s central storyline, merging seemingly unrelated elements into a cohesive narrative.   <ol style="text-align: left;" start="5"> <li> Hyperreality</li> </ol> Hyperreality, a key postmodern characteristic, intentionally blurs the boundaries between reality and fiction. In Band-e Mahkoumin, this is evident in the scene where "a girl is thrown into the Convicts' Ward." The novel critiques social and psychological realities by questioning the nature of truth. Implicitly, the story suggests that absolute truth does not exist, highlighting humanity’s inability to fully grasp complex and multi-dimensional realities.     <ol style="text-align: left;" start="6"> <li> Exaggerated Descriptive Imagery</li> </ol> Some parts of the novel blend imagination and atmospheric construction to the extent that the narrative takes on a hallucinatory or dreamlike quality. The protagonist perceives inanimate objects as living entities and vividly describes them. Initially, the narration is highly realistic, but gradually, it moves away from concrete reality. The novel's extensive use of imagery, especially in character descriptions, employs hyperbolic comparisons and elaborate metaphors.   <ol style="text-align: left;" start="7"> <li> Playfulness</li> </ol> Postmodern novels frequently utilize linguistic playfulness to disrupt traditional narrative structures. In Band-e Mahkoumin, this linguistic play is particularly evident in the speech patterns of the character "Uncle Wazir", who struggles to pronounce the letter "Q" in the word Agha (Sir). This deliberate linguistic distortion not only adds a comedic effect but also symbolizes a break from social and linguistic norms, reflecting the character’s inability to conform to formal speech structures.   <ol style="text-align: left;" start="8"> <li> Disrupting Social Order and Norms</li> </ol> A defining feature of postmodern fiction is the presence of characters who consciously deviate from social norms. These characters often serve as symbols of rebellion against societal structures. In Band-e Mahkoumin, the protagonists challenge legal and institutional frameworks, embodying societal disorder. Phrases like "Is murder even a crime? This is the end of the road", and "A prison sentence of under five years is a waste of time" illustrate the chaos and moral ambiguity pervading both the prison system and the broader social order.   <ol style="text-align: left;" start="9"> <li> Unconventional Repetition</li> </ol> Postmodern repetition differs from traditional literary repetition techniques like alliteration. Instead, it involves the excessive and unconventional repetition of words or sounds in ways that make them appear unnatural or disjointed. An example in Band-e Mahkoumin is the repeated mention of the prisoner’s name "Siasiasia," which demonstrates an unconventional pattern of consonant and vowel repetition.   <ol style="text-align: left;" start="10"> <li> Duality or Multiplicity of Themes</li> </ol> The novel presents multiple, sometimes contradictory themes, shifting between different emotions, tones, and subject matters. This duality manifests in both the narrative’s subject matter and the characters' dialogues, which mix formal narration with colloquial, marketplace, and regional dialects, creating a polyphonic effect.   <ol style="text-align: left;" start="11"> <li> Stream of Consciousness</li> </ol> This technique, shared between modernist and postmodernist literature, is a prominent feature of Band-e Mahkoumin. The novel begins in the present, but after the climax, fifteen past narratives are introduced, with each character’s history interwoven into the ongoing events. The lack of linear time and the frequent transition between past and present exemplify the fluidity of consciousness. The novel also employs informal and unstructured language, reflecting the characters' raw and instinctive thought processes.   Conclusion This study examines the postmodern elements in Band-e Mahkoumin by Keyhan Khanjani and analyzes its place in contemporary Persian fiction. The findings reveal that by employing various postmodern techniques, the novel serves as both a prominent example of this literary movement and a key text for understanding modern Persian literary evolution. By blending modern and postmodern elements, Band-e Mahkoumin holds a distinct position in contemporary Persian literature. This novel continues the progression of Persian postmodern fiction, which began in the 1990s with authors such as Bahram Sadeghi and Houshang Golshiri. However, Band-e Mahkoumin takes this tradition further, utilizing more complex and layered techniques, contributing to the maturation of Persian postmodern literature. By integrating global postmodern influences with Persian literary traditions, this novel demonstrates that contemporary Persian fiction has moved beyond mere imitation, achieving innovation and originality. Through its experimental approach to narrative and form, Band-e Mahkoumin not only offers readers a novel literary experience but also enriches Persian contemporary literature.   References Payandeh, H. (2004) Modernism and Postmodernism in the Novel. Tehran: Roznegar. Tadayoni, M. (2009) Postmodernism in Iranian Fiction: A Review of the Most Important Postmodern Theories and Their Reflection in Contemporary Iranian Stories. Tehran: Elm. Khanjani, K. (2017) Band-e Mahkumin. Tehran: Cheshmeh. Connor, S. (2015) Postmodernism (M. Tarasoli Trans.). Tehran: Cheshmeh. Karimi, F. (2017) The Analysis of the Subject in Postmodern Iranian Fiction. Tehran: Rozaneh. Cahoone, L. (2005) From Modernism to Postmodernism (A. Rashidian, Trans.). Tehran: Ney. Lyotard, J.-F. (2005) The Postmodern Explained to Children (A. Hosseinzadeh, Trans.). Tehran: Sales. Muecke, D. C. (2019) Irony (H. Afshar, Trans.). Tehran: Markaz. Mirsadeghi, J., & Mirsadeghi, M. (1998) Glossary of the Art of Fiction Writing. Tehran: Mahnaz. Nojoumian, A. (2006) An Introduction to Postmodernism in Literature. Tehran: Rasesh. Nozari, H.-A. (2011) The Configuration of Modernity and Postmodernity: Historical Formation and Social Development. Tehran: Sherkat-e Entesharat-e Naghshe Jahan Mehr. Ward, G. (2004) Postmodernism (A. Karami & G. Fakhr Ranjbari, Trans.). Tehran: Mahi.         <a href="#_ftnref1" name="_ftn1">*</a> Corresponding Author: Ph.D Student in Persian Language and Literature, Tarbiat Modares University, Iran. ssnfazli92@gmail.com <a href="#_ftnref2" name="_ftn2">** </a>Professor, Department of Persian Language and Literature, Tarbiat Modares University, Iran. nikoubakht@yahoo.com <a href="#_ftnref3" name="_ftn3">***</a> Associate Professor, Department of Persian Language and Literature, Tarbiat Modares University, Iran. hesam_kh1@modares.ac.ir <a href="#_ftnref4" name="_ftn4">****</a> Assistant Professor, Department of Persian Language and Literature, Tarbiat Modares University, Iran. zainab.saberpour@gmail.comادبیات پست&zwnj;مدرن، جریانی جهانی است که در ادبیات فارسی نیز بازتاب یافته است. پستمدرنیسم بر آرای پساساختارگرایان استوار است و هرگونه شناخت و تحلیل این واژه از تدقیق در آرای پساساختارگرایان حاصل می&zwnj;شود. نوع شعر و داستان با توجه به ظرفیت و محتوای خود، پذیرای نشانه&zwnj;های پست&zwnj;مدرن هستند. رمان «بند محکومین» اثر کیهان خانجانی از جمله رمان&zwnj;هایی است که می&zwnj;توان خوانشی پست&zwnj;مدرنیستی از آن عرضه کرد. انتخاب این رمان به دلیل نمود بارز عناصری مانند چندصدایی، فراواقعیت و جریان سیال ذهن است که آن را به نمونه&zwnj;ای شاخص از ادبیات پست&zwnj;مدرن فارسی تبدیل می&zwnj;کند. با توجه به اینکه رمان «بند محکومین» از رمان&zwnj;های متأخر است، می&zwnj;توان ضمن تحلیل جنبه&zwnj;های پست&zwnj;مدرنیستی متن، به جایگاه این نظریه در سال&zwnj;های اخیر و افتراق آن با رمان&zwnj;های پیشگام رسید. هدف این پژوهش آن است که با روش توصیفی-تحلیلی، پس از شناخت مؤلفه&zwnj;های برجسته و مشترک پست&zwnj;مدرن در نگاه نظریه&zwnj;پردازان آن، این رمان را نقد و تحلیل کند. یافته&rlm;های پژوهش نشان می&rlm;دهد که عناصر و مؤلفه&zwnj;های برجسته در رمان یادشده عبارتند از: نگرش هستی&zwnj;شناسانه، آیرونی، درهم&zwnj;آمیزی، فراواقعیت، کش &zwnj;دادن اغراق&rlm;آمیز تصویرپردازی، برهم&zwnj; زدن نظم و روال&zwnj;های جامعه، نظام چندصدایی و چندروایتی، بازی، تکرار&zwnj;های نامتعارف، دو وجهی یا چند وجهی بودن و جریان سیال ذهن.

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