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S.E.Qafele Bashi PH.D
S.Z. Behrooz
 
Abstract
The morphological analysis of about 200 mystical narratives from the valuable Persian books – Kashf-ol-Mahjoob and Tazkerat-ol-Ouliya – revealed that within the particular field of mystical narratives, generosity possesses a prominent position in the climax of the story; while it is also more faithful to the meaning compared to other genres. At the same time though these unique roles face more limitation, they enjoy more variety as well. The only factor for similarity is due to the position of their functions; like the position of codes in an allocated space considering the turning point of the tale. Therefore Propp’s theory fits in the semiotic domain. Through this research three actions were realized; though the number of functions reached eleven. Some of these are similar to those functions in folktales, while some of the others are new as in the mystical tales.
 
 

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Manzar Soltani, PH.D
Abstract:
 
Sanayi has interpreted some of the verses in the Holy Quran regarding how they relate to his own works. In these interpretations, just like the other mystics, he seeks to express his own individual impressions and views rather than interpreting the verses. The point is, in some cases his interpretations differ with others, enjoying subtle, delicate and innovative insights and images which offer a uniquely mystical and literary value to his work.
This essay primarily categorizes Sanayi’s interpretive attitudes on the basis of their form and kind, and following it his approaches are criticized and analyzed. This is done in a manner that first of all Sanayi’s views about verses on unity and its related topics are expressed, and then his interpretations on the verses about the prophets, and especially Prophet Mohammad, are analyzed. Following these parts, the interpretations given on matters such as human creation, blessing, decent safe-keeping, repentance, fate and destiny are surveyed. In all these cases, Sanayi’s views are compared with the views of other mystics and analyzed too.
 

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Mostafa Kamaljoo, Ph.D.
Alireza Porshabanan
   
Abstract
The poetry of the Constitutional era bears new concepts and forms which has become popular with critical, political and social attitudes to a high extent and therefore found plenty of readers. Still it has several similarities with the classical poetry in its superstructure and form; one of these aspects is the application of Arabic in the poetry of this era. Dehkhoda is a poet of the Constitutional era whose usage of Arabic as a major feature has made his poetry similar to the poetry of the past in form and structure. One of the important reasons for such similarity is the high frequency of Arabic words, phrases, hemistich and verses. This article tries to categorize Dehkhoda's poetry in topic in his book of poetry (Divan) regarding the Arabic words, phrases and verses used in order to survey how Dehkhoda has applied Arabic. Further on this analysis will clarify the extent to which the usage of Arabic is in line with the new thoughts and contents in the poetry of the Constitutional era, in addition to revealing the influence of the past poetry and thought.
 

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Javad Dehghanian,PH.D.
 
Abstract
   
This paper tries to review the most important story of Kalileh and Demneh i.e. lion and cow in order to achieve a new reading from the anecdote based on symbols of inner text. With this perspective, in the process of review and analysis, audience encounters to this basic question as: whether this text can be trusted and that can be read and accepted based on the desire of the author?” The trend that was prevalent in literary researches so far has emphasized exactly in the author’s reading. Author believes that there is abundance of symbols/signs in this story that make the audience unfaithful towards the text.
This story has four main characters whose share in the advancement of the story is not the same. Most fictional dialogue and interaction occur between lion and Kalileh and Demneh.  Shenzbeh plays the role les than others and is almost a passive character. It seems that a different interpretation of text can be achieved through a careful insight on the dialogues between the characters and their actions.
In this new reading, new and diverse images emerge from the characters and utmost from the narrative. This could be a model from cardiac function and various instances in traditional system as well as help review other texts.
 

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The present paper seeks to correct some historical errors in Jami' al-Tawarikh (history of Persia and Islam), edited by Mohammad Roshan using a content analysis technique and a comparative approach. In correcting those errors, we referred to Tarikh-i Mu'jam, which is one of the sources of Rashid al-Din Fazlullah in the comprehensive compilation of histories, and researchers to this day have neglected this matter. The expressions taken from Jami' al-Tawarikh were confronted verbatim with the terms in Tarikh-i Mu'jam, as an auxiliary version to correct these errors. According to the meaning and significance of the expressions, the correct forms of Jami' al-Tawarikh were shown under Pishdadi and Kiani figures. Besides comparing the terms, in some cases, the ellipse of some phrases in the printed Jami' al-Tawarikh, distorted and illegible in the copy used by the editor, was completed. The result is that Jami' al-Tawarikh is not a precise correction of the final form of this book, and with the application of these corrections, later editions of this book will be more revised.

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Ganjinh raz manuscript is the work of Owais Ibn Ghiasuddin Mohammad Rostamdari, one of the writers of the tenth century AH in the Safavid period. His name is not in the notes. His only work in the list of manuscripts is Ganjinh raz. In this version, Rostamdari describes verses from Khamsa Nezami and three poems from the Divan of Nasser Khosrow, the interpretation of verse 35 from Surah Noor and verse 172 from Surah Al-Ahzab. In this article, the necessity of writing Ganjinh raz in the Safavid era, introducing the manuscripts, analyzing and comparing one bit of Makhzan al-Asrar and two bits of Khosrow and Shirin Nezami in Ganjinh raz with the available explanations are provided. The results of this article are that the appearance of some verses in this version differs from the existing recordings. The idea of ​​a romantic relationship between Tazhrv and Sahrv does not seem correct. Because in the verses that are in the form of Masnavi, according to the necessity and lack of rhyme, Tazhrv and Sarhv have been rhymed
together. Or it is the name of a person. In addition, in some verses, it is mentioned that it is weak, crooked, and the beauty of Tazhrv feathers. In the two verses of Khosrow and Shirin, Japheth nahadan is a compound verb and means to exchange and exchange, and Gorbehbid is not in any of the ancient texts of Persian poetry and has no roots in Persian.