Yazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X266620251122Typological analysis of the treatise Shakva al-Gharib based on Philippe Lejeune's theoryTypological analysis of the treatise Shakva al-Gharib based on Philippe Lejeune's theory938385310.29252/kavosh.2025.22277.3640FABagherSadriniaProfessor, Department of Persian Language and Literature, University of TabrizAssadollahVahedProfessor, Department of Persian Language and Literature, University of Tabriz0000-0002-4698-272XMahdiNourmohammadzadehPhD student in Persian language and literature, University of Tabriz0000-0003-3368-9660Journal Article20241026Although autobiography is an independent literary genre born in the Western literature, in the mystical texts of the Persian literature, there are signs, paradigms and examples of the literary genre of autobiography, most of which have not been studied and assessed independently. The treatise "Shakv al-Gharib" by Ain al-Quzat Hamdani (492-525 AH) is often analyzed as complaint in typological studies. In this research, the text of Shakv al-Gharib has been analyzed and compared with the literary genre of autobiography based on Philippe Lejeune's theory and from the structure and content perspectives. The obtained textual data show that some parts of the text of Shakv al-Gharib contain autobiographical patterns. Also, based on the four indicators provided by Philippe Lejeune, they are in considerable agreement with the autobiographical literary genre. The identified text samples, like the autobiographical texts, are the narrator of parts of the author's personality, life, era, and inner state. The results of the research confirm the assumption that early examples and paradigm of autobiography exist in the mystical prose literature of Iran and their evolution.<br /> Although autobiography is an independent literary genre born in the Western literature, in the mystical texts of the Persian literature, there are signs, paradigms and examples of the literary genre of autobiography, most of which have not been studied and assessed independently. The treatise "Shakv al-Gharib" by Ain al-Quzat Hamdani (492-525 AH) is often analyzed as complaint in typological studies. In this research, the text of Shakv al-Gharib has been analyzed and compared with the literary genre of autobiography based on Philippe Lejeune's theory and from the structure and content perspectives. The obtained textual data show that some parts of the text of Shakv al-Gharib contain autobiographical patterns. Also, based on the four indicators provided by Philippe Lejeune, they are in considerable agreement with the autobiographical literary genre. The identified text samples, like the autobiographical texts, are the narrator of parts of the author's personality, life, era, and inner state. The results of the research confirm the assumption that early examples and paradigm of autobiography exist in the mystical prose literature of Iran and their evolution.<br /> https://kavoshnameh.yazd.ac.ir/article_3853_2d632ad1d606560db004f3af98bd5690.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X266620251122Analysis of Social Shahrashoob in Contemporary Poetry.Analysis of Social Shahrashoob in Contemporary Poetry.3966397510.29252/kavosh.2025.22220.3656FASajjadFarrokhnezhadPh.D. in Persian language and literature at Lorestan University.Iran.0009-0006-9041-6166MohammadrezaRoozbehAssociate Professor, Lorestan University. Iran.AliNooriAssociate Professor of Persian Language and Literature, Lorestan University, Khorram Abad, Iran.0000-0001-9514-1268Journal Article20241210Shahrashoob is a literary subgenre. Rather than being characterized by a specific figure of speech or categorized as a specific form, this literary subgenre is associated with a poet’s thoughts and subtle fantasies outside the boundaries of mores, law, religion, and culture. Three types of Shahrashoob have already been mentioned as urban, guild-related, and political. This study aims to introduce social Shahrashoob as one of its different types and present a novel classification. Furthermore, various types of Shahrashoob are presented as religious, political, and social categories in this study, whereas the social category is divided into urban, guild-related, and unconventional subcategories. In this desk research, a content analysis method is employed to analyze social Shahrashoob in Persian literature. The findings indicate that there have been downward trends in the use of urban and guild-related subcategories of Shahrashoob contemporarily; however, there has been an upward trend in the use of unconventional Shahrashoob. This is the first study to discuss the unconventional subcategory of social Shahrashoob.Shahrashoob is a literary subgenre. Rather than being characterized by a specific figure of speech or categorized as a specific form, this literary subgenre is associated with a poet’s thoughts and subtle fantasies outside the boundaries of mores, law, religion, and culture. Three types of Shahrashoob have already been mentioned as urban, guild-related, and political. This study aims to introduce social Shahrashoob as one of its different types and present a novel classification. Furthermore, various types of Shahrashoob are presented as religious, political, and social categories in this study, whereas the social category is divided into urban, guild-related, and unconventional subcategories. In this desk research, a content analysis method is employed to analyze social Shahrashoob in Persian literature. The findings indicate that there have been downward trends in the use of urban and guild-related subcategories of Shahrashoob contemporarily; however, there has been an upward trend in the use of unconventional Shahrashoob. This is the first study to discuss the unconventional subcategory of social Shahrashoob.https://kavoshnameh.yazd.ac.ir/article_3975_b2cfda403833753061c36a0df93dee2f.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X266620251122Retrospection as a component of the nostalgia of Paradise Lost in narratives of critical socialismRetrospection as a component of the nostalgia of Paradise Lost in narratives of critical socialism6783403110.29252/kavosh.2025.23006.3693FAZohrehNiksiyarGraduated with a PhD in Persian Language and Literature, University of Mazandaran0000-0002-0348-3680MaryamDorparAssistant Professor, Department of Persian Language and Literature, Bojnurd University0000-0002-2356-4947Journal Article20250415The present study aims to introduce retrospection as one of the components of nostalgia in Paradise Lost by analyzing the discourse that dominated the political and literary atmosphere from 1941 to 1953. For this purpose, nine narratives, including eight short narratives by Sadegh Hedayat, Sadegh Choobak, and Ebrahim Golestan, were selected due to their socialist and critical nature from the collections "Sag-e Velgard", "Kheymeh Shab Bazi" and "Azar, the Last Month of Autumn", as well as "Bahar-e Omr", a critical narrative by Mohammad Masoud. These texts were studied and examined. The research findings indicate that the “paradise lost” in critical socialist narratives is in clear contrast to party narratives. While party narratives present a futuristic image of a classless society by emphasizing collective ideals, revolutionary spirits, and hope for the future. Critical narratives describe an individual that is experienced and nostalgic of paradise that is filled with despair, dissatisfaction, and passivity. In these narratives, the expression of dissatisfaction with the existing conditions and government policies is manifested in four ways: temporal and subjective retrospection, spatial retrospection and reconstruction, archaism or antiquarianism, and criticism of authoritarian and superficial modernity. While using these components to paint a static, hopeless, fatalistic image of the characters, dominated by invisible networks of power, the authors criticize the authoritarian modernization of the first Pahlavi period and instill in the audience the implicit ideology of returning to oneself in the form of a mechanism or returning to the past.The present study aims to introduce retrospection as one of the components of nostalgia in Paradise Lost by analyzing the discourse that dominated the political and literary atmosphere from 1941 to 1953. For this purpose, nine narratives, including eight short narratives by Sadegh Hedayat, Sadegh Choobak, and Ebrahim Golestan, were selected due to their socialist and critical nature from the collections "Sag-e Velgard", "Kheymeh Shab Bazi" and "Azar, the Last Month of Autumn", as well as "Bahar-e Omr", a critical narrative by Mohammad Masoud. These texts were studied and examined. The research findings indicate that the “paradise lost” in critical socialist narratives is in clear contrast to party narratives. While party narratives present a futuristic image of a classless society by emphasizing collective ideals, revolutionary spirits, and hope for the future. Critical narratives describe an individual that is experienced and nostalgic of paradise that is filled with despair, dissatisfaction, and passivity. In these narratives, the expression of dissatisfaction with the existing conditions and government policies is manifested in four ways: temporal and subjective retrospection, spatial retrospection and reconstruction, archaism or antiquarianism, and criticism of authoritarian and superficial modernity. While using these components to paint a static, hopeless, fatalistic image of the characters, dominated by invisible networks of power, the authors criticize the authoritarian modernization of the first Pahlavi period and instill in the audience the implicit ideology of returning to oneself in the form of a mechanism or returning to the past.https://kavoshnameh.yazd.ac.ir/article_4031_e8981e8decdc6b6f82e6ea6c989ab201.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X266620251122Aja'ib al-Makhluqat wa Ghara'ib al-Mawjudat: A stylistic analysis based on constituent extrapositionAja'ib al-Makhluqat wa Ghara'ib al-Mawjudat: A stylistic analysis based on constituent extraposition85111398410.29252/kavosh.2025.22685.3666FAElhamMizbanDepartment of Linguistics, Faculty of Letters and Humanities, Ferdowsi University of Mashhad
Mashhad, Iran0000-0002-1097-5536AliAlizadehDepartment of Linguistics, Faculty of Letters and Humanities, Ferdowsi University of Mashhad
Mashhad, Iran0000-0002-5941-457XShahlaSharifiDepartment of Linguistics, Faculty of Letters and Humanities, Ferdowsi University of Mashhad
Mashhad, Iran0000-0001-8662-6335Journal Article20250120Wonders books make up a lesser-known category of the Persian literature that explore and describe unknown phenomena and creatures. This study examines the full text of the book <em>Aja’ib al-Makhluqat wa Ghara’ib al-Mawjudat</em> by Tousi, dating back to the 12<sup>th</sup> century, focusing on relative clauses and prepositional phrases based on the syntactic process of constituent extraposition. The findings reveal that the majority of optional extraposition occurs with the relative clauses describing a noun phrase, whereas the rate of prepositional phrase extraposition in this work is 36%. Additionally, the proportion between the extraposed and retained relative clauses in the text is nearly balanced, with 88 instances of extraposition and 79 instances of retention in their canonical positions. The rate of extraposition of relative clauses from various sentence positions indicates that, while the main positions, such as those of subjects and objects, account for the majority (58%), other positions like complement and adverbial also significantly contribute (42%) to this process. The analysis of the extraposed structures in terms of grammatical weight and length shows an intermediate approach in this text, positioning it between the characteristics of Morsal prose and elaborate prose, with a clause length of 6.84 and a grammatical weight of 3.58. Thus, from a stylistic perspective concerning extraposition indicators, the style is assessed as moderate and balanced. Moreover, the examined examples in the book demonstrate phonological diversity and the alternating and simultaneous use of the relative markers “ke” and “ki”.<br /> Wonders books make up a lesser-known category of the Persian literature that explore and describe unknown phenomena and creatures. This study examines the full text of the book <em>Aja’ib al-Makhluqat wa Ghara’ib al-Mawjudat</em> by Tousi, dating back to the 12<sup>th</sup> century, focusing on relative clauses and prepositional phrases based on the syntactic process of constituent extraposition. The findings reveal that the majority of optional extraposition occurs with the relative clauses describing a noun phrase, whereas the rate of prepositional phrase extraposition in this work is 36%. Additionally, the proportion between the extraposed and retained relative clauses in the text is nearly balanced, with 88 instances of extraposition and 79 instances of retention in their canonical positions. The rate of extraposition of relative clauses from various sentence positions indicates that, while the main positions, such as those of subjects and objects, account for the majority (58%), other positions like complement and adverbial also significantly contribute (42%) to this process. The analysis of the extraposed structures in terms of grammatical weight and length shows an intermediate approach in this text, positioning it between the characteristics of Morsal prose and elaborate prose, with a clause length of 6.84 and a grammatical weight of 3.58. Thus, from a stylistic perspective concerning extraposition indicators, the style is assessed as moderate and balanced. Moreover, the examined examples in the book demonstrate phonological diversity and the alternating and simultaneous use of the relative markers “ke” and “ki”.<br /> https://kavoshnameh.yazd.ac.ir/article_3984_0eaf12cc3710ff987a1f7197541b471a.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X266620251122Scrutiny of the mistakes in Khaleghi Mutlaq's edition of some verses of the ShahnamehScrutiny of the mistakes in Khaleghi Mutlaq's edition of some verses of the Shahnameh113144401810.29252/kavosh.2025.22940.3684FAHoseinAlinaghiPersian literature. Humanity Faculty. Imam Khomeini University0000-0002-2922-461XJournal Article20250319The Shahnameh by Ferdowsi, as the greatest national epic of Iranians, stands at the highest peak of the Persian literature. Over the long time after the composition of this great work, many manuscripts of it have been written. In the last century, various editions of this valuable work were made with different approaches, each of which has advantages and disadvantages. Undoubtedly, the best scientific edition of the Shahnameh so far is the one by Jalal Khaleghi Motlagh, which is the result of his tireless efforts over years. However, both in the first and second editions, there are problems such as wrong understandings, incorrect comparative corrections, and giving too much credit to one manuscript. This calls for the revision of the book. Therefore, in this study, the mistakes in Khaleghi Motlaq's edition are divided into several categories, and examples are given for each. This research demonstrates that, although Khaleghi has been meticulous, he has somehow ignored manuscript-related, linguistic, semantic, historical, and intertextual characteristics, so some mistakes are found in his corrections. As the research results show, correcting the Shahnameh can never be considered complete, and, with scientific and manuscript-related methods, better recordings can be achieved for some verses.The Shahnameh by Ferdowsi, as the greatest national epic of Iranians, stands at the highest peak of the Persian literature. Over the long time after the composition of this great work, many manuscripts of it have been written. In the last century, various editions of this valuable work were made with different approaches, each of which has advantages and disadvantages. Undoubtedly, the best scientific edition of the Shahnameh so far is the one by Jalal Khaleghi Motlagh, which is the result of his tireless efforts over years. However, both in the first and second editions, there are problems such as wrong understandings, incorrect comparative corrections, and giving too much credit to one manuscript. This calls for the revision of the book. Therefore, in this study, the mistakes in Khaleghi Motlaq's edition are divided into several categories, and examples are given for each. This research demonstrates that, although Khaleghi has been meticulous, he has somehow ignored manuscript-related, linguistic, semantic, historical, and intertextual characteristics, so some mistakes are found in his corrections. As the research results show, correcting the Shahnameh can never be considered complete, and, with scientific and manuscript-related methods, better recordings can be achieved for some verses.https://kavoshnameh.yazd.ac.ir/article_4018_a2b468b2db495ca3d199bcd1affc2209.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X266620251122The Reflection of Sassanid Political and Social Rituals in Ferdowsi’s ShahnamehThe Reflection of Sassanid Political and Social Rituals in Ferdowsi’s Shahnameh145179385210.29252/kavosh.2025.21829.3592FAOmidVahdanifarAssociate Professor of Persian Language and LiteratureUniversity of Bojnord0000-0002-6981-6548FaezeAynebeigiMaster's student in Persian language and literature, Faculty of Humanities, University of Bojnord. Bojnord, IranJournal Article20240702One of the largest and most powerful Iranian empires was the long-standing Sassanid dynasty whose rule started with the ascension of Ardashir to the throne five and a half centuries after the Achaemenian Empire. The Sassanid Empire added a brilliant chapter to the history of Iran and created a rich political and social culture, the results of which became everlasting in the Iranian history. The most important factor in the stability of this empire was the officialization of Zoroastrianism and connecting this religion to politics which greatly influenced other political and social factors. One of the most reliable sources on the Sassanid political and social culture is Ferdowsi’s <em>Shahnameh</em>. Using an analytical-descriptive method, this study seeks to delineate the most significant political and social rituals which were common in the Sassanid period. The data are extracted from reliable history books, and then their conformity with Ferdowsi’s accounts in <em>Shahnameh</em> is evaluated. The results of the research show that, in terms of political culture, rituals such as the connection between religion and politics in the management of the country, the rites of coronation and ascension to the throne, and the etiquettes of appearing in the king’s court as well as, in terms of social culture, customs related to the birth, marriage, burial and mourning were the most significant rituals in the Sassanid period, which are reflected in the <em>Shahnameh</em> too.<br /> One of the largest and most powerful Iranian empires was the long-standing Sassanid dynasty whose rule started with the ascension of Ardashir to the throne five and a half centuries after the Achaemenian Empire. The Sassanid Empire added a brilliant chapter to the history of Iran and created a rich political and social culture, the results of which became everlasting in the Iranian history. The most important factor in the stability of this empire was the officialization of Zoroastrianism and connecting this religion to politics which greatly influenced other political and social factors. One of the most reliable sources on the Sassanid political and social culture is Ferdowsi’s <em>Shahnameh</em>. Using an analytical-descriptive method, this study seeks to delineate the most significant political and social rituals which were common in the Sassanid period. The data are extracted from reliable history books, and then their conformity with Ferdowsi’s accounts in <em>Shahnameh</em> is evaluated. The results of the research show that, in terms of political culture, rituals such as the connection between religion and politics in the management of the country, the rites of coronation and ascension to the throne, and the etiquettes of appearing in the king’s court as well as, in terms of social culture, customs related to the birth, marriage, burial and mourning were the most significant rituals in the Sassanid period, which are reflected in the <em>Shahnameh</em> too.<br /> https://kavoshnameh.yazd.ac.ir/article_3852_f4dc2000be60938d6a941a0e7e69bd52.pdf