University of Isfahan Textual Criticism of Persian Literature 2476-3268 1 4 2009 12 22 A new exploration on the antique origins of Gilgamesh epic A new exploration on the antique origins of Gilgamesh epic 1 18 19291 FA M.J Yousefian Kenari Ph.D student of art research, Faculty of Arts,T.M.U. M Tavousi Professor Of art research, Faculty of Arts, T. M.U. Journal Article 2016 06 14 There are many evidences, which indicate Gilgamesh could never be explored genealogically without considering the interactions of Mesopotamia civilization with the historical and cultural backgrounds of Persian residents of the eastern territories. The archeological, lingual and mythological suppositions signify the probability of some branches from another master-origin more historically longer than Mesopotamian culture and civilization. The documents indicating the existence of greater habitats in the eastern territories of Mesopotamia, pre-Elamite inscriptions were recently discovered near Tapp-e-Yahya, as well as the structural evidences of chlorite vessels remained in Konar-sandal all indicate that there might be a live myth like Gilgamesh - as an animal domesticator in the neighborhood of the Halil Rroud. It could be claimed that the supposed Mesopotamian origin of Gilgamesh epic is, in fact, intertwined with the mythological roots of Arata civilization. The oldest origin of a myth called âAnimal domesticatorâ and âOne who is in search of excellence and eternityâ could be approximately dated back a thousand year, at least, in the recent findings of Jiroft. This study attempts to present a new turning point into a fundamental approach to Jiroft civilization as an ancient and antique inevitable society originating Gilgamesh epic. There are many evidences, which indicate Gilgamesh could never be explored genealogically without considering the interactions of Mesopotamia civilization with the historical and cultural backgrounds of Persian residents of the eastern territories. The archeological, lingual and mythological suppositions signify the probability of some branches from another master-origin more historically longer than Mesopotamian culture and civilization. The documents indicating the existence of greater habitats in the eastern territories of Mesopotamia, pre-Elamite inscriptions were recently discovered near Tapp-e-Yahya, as well as the structural evidences of chlorite vessels remained in Konar-sandal all indicate that there might be a live myth like Gilgamesh - as an animal domesticator in the neighborhood of the Halil Rroud. It could be claimed that the supposed Mesopotamian origin of Gilgamesh epic is, in fact, intertwined with the mythological roots of Arata civilization. The oldest origin of a myth called âAnimal domesticatorâ and âOne who is in search of excellence and eternityâ could be approximately dated back a thousand year, at least, in the recent findings of Jiroft. This study attempts to present a new turning point into a fundamental approach to Jiroft civilization as an ancient and antique inevitable society originating Gilgamesh epic.

https://rpll.ui.ac.ir/article_19291_f7dfec6e512d4e60fcc8d4c732df3261.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 1 4 2009 12 22 Tombs in Charandab- Tabriz Tombs in Charandab- Tabriz 19 42 19292 FA H Mir Jafari Professor of History – university of Isfahan M Bazzaz-e Dastfroush Expert of Cultural Heritage, Handcraft Tourism Organization of Eastern Azerbaijan Journal Article 2016 06 14 Charandab is one of the oldest lanes in Tabriz, where the most important cemeteries of Tabriz located. For the time being, only “the ruined cemetery” including the box shaped gravestones has remained. The area in which the cemetery is now situated was clearly known until 1934, but after that constructing a new street destroyed the cemetery; however, one could approximately determine its surroundings on the basis of the evidences available. The aim of this paper is studying the historical background and reports represented about the cemetery in different eras; moreover, the researchers attempted inferring the biography of the literary men buried in the cemetery. The most important historical resources on Charandab and the buried men are Rozat Aljinan and Jinat Aljinan. These books, though, are mainly about the graves of the great men in Tabriz, they could provide the reader with valuable information on the historical neighborhood of Tabriz. Based on what remains along with maps at hand, it is possible to determine the area that the cemetery covers. This paper, also, consists of reviewing the researches on the matter of Charandab and the buried literary men there. Charandab is one of the oldest lanes in Tabriz, where the most important cemeteries of Tabriz located. For the time being, only “the ruined cemetery” including the box shaped gravestones has remained. The area in which the cemetery is now situated was clearly known until 1934, but after that constructing a new street destroyed the cemetery; however, one could approximately determine its surroundings on the basis of the evidences available. The aim of this paper is studying the historical background and reports represented about the cemetery in different eras; moreover, the researchers attempted inferring the biography of the literary men buried in the cemetery. The most important historical resources on Charandab and the buried men are Rozat Aljinan and Jinat Aljinan. These books, though, are mainly about the graves of the great men in Tabriz, they could provide the reader with valuable information on the historical neighborhood of Tabriz. Based on what remains along with maps at hand, it is possible to determine the area that the cemetery covers. This paper, also, consists of reviewing the researches on the matter of Charandab and the buried literary men there.

University of Isfahan Textual Criticism of Persian Literature 2476-3268 1 4 2009 12 22 An analysis of the symbol of CAVE in Haft Peikar An analysis of the symbol of CAVE in Haft Peikar 43 58 19293 FA M.J Yahaghi Professor of Persian language and literature, Ferdowsi Mashhad university S Bameshki Ph.D student of Persian language and literature, Ferdowsi Mashhad university Journal Article 2016 06 14 Nezami is one of the most significant symbolist figures in Persian literature. Among his works Haft Paykar, a complex symbol and allegory of spiritual and moral growth, is regarded as his masterpiece. This article has addressed Haft Paykar’s symbolism appearing in a pervasive image; that is, the image of the cave. The research’s question is how the symbol of the cave is related to the main theme of the work. Other imageries such as hunt, dragon, treasure and so on, which are related to cave, are analyzed. It can be concluded that Nezami has created a special work with organic unity. Nezami is one of the most significant symbolist figures in Persian literature. Among his works Haft Paykar, a complex symbol and allegory of spiritual and moral growth, is regarded as his masterpiece. This article has addressed Haft Paykar’s symbolism appearing in a pervasive image; that is, the image of the cave. The research’s question is how the symbol of the cave is related to the main theme of the work. Other imageries such as hunt, dragon, treasure and so on, which are related to cave, are analyzed. It can be concluded that Nezami has created a special work with organic unity.

https://rpll.ui.ac.ir/article_19293_c9021e55a7f76658008f748b30d78111.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 1 4 2009 12 22 which Ferdowsi and Shâhnâme do people most prefer? which Ferdowsi and Shâhnâme do people most prefer? 59 78 19294 FA S Aydenloo Assistant professor, Payâme Noor University of Urmiyye Journal Article 2016 06 14 Vulgar Stories, beliefs and information about Ferdowsi and Shahname, in contrast with those compiled and put into written form, are of a different folkloric nature. Some of these narratives have been recently compiled in the first volume of Ferdowsi Name. Their general content deals with the details and indefinites of Ferdowsi's biography and some religious, ethical, mental and artistic particularities of Ferdowsi as well as some points about Shahname. Considering what people think of Shahname and Ferdowsi, these particularities and points could be listed as follows: 1) Patriotism 2) Ferdowsi as the creator of Rostam 3) Ferdowsi’s attribution to Shiite and his relation with Imam Ali 4) Pains and hardship of Shahname’s versification 5) Ferdowsi and Mahmoud 6) Magnanimity of Ferdowsi 7) The time of the composition of Shahname 8) Number of Shahname’s couplets 9) Reality of Shahname’s stories and event 10) The stories’ objectivity for Ferdowsi 11) Shahname’s Being devoid of Arabic words 12) Verses attributed to Shahname 13) Quick fame of Shahname in Ferdowsi’s period 14) The good end of Shahname 15) Ferdowsi’s being in Paradise. Vulgar Stories, beliefs and information about Ferdowsi and Shahname, in contrast with those compiled and put into written form, are of a different folkloric nature. Some of these narratives have been recently compiled in the first volume of Ferdowsi Name. Their general content deals with the details and indefinites of Ferdowsi's biography and some religious, ethical, mental and artistic particularities of Ferdowsi as well as some points about Shahname. Considering what people think of Shahname and Ferdowsi, these particularities and points could be listed as follows: 1) Patriotism 2) Ferdowsi as the creator of Rostam 3) Ferdowsi’s attribution to Shiite and his relation with Imam Ali 4) Pains and hardship of Shahname’s versification 5) Ferdowsi and Mahmoud 6) Magnanimity of Ferdowsi 7) The time of the composition of Shahname 8) Number of Shahname’s couplets 9) Reality of Shahname’s stories and event 10) The stories’ objectivity for Ferdowsi 11) Shahname’s Being devoid of Arabic words 12) Verses attributed to Shahname 13) Quick fame of Shahname in Ferdowsi’s period 14) The good end of Shahname 15) Ferdowsi’s being in Paradise.

https://rpll.ui.ac.ir/article_19294_4eb1ab9983d436e319b2b9c169f26812.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 1 4 2009 12 22 Narrator in the Novel of "Atash– Bedoon- e- Dood" Narrator in the Novel of "Atash– Bedoon- e- Dood" 79 94 19295 FA Gh Rezvanian Assistant professor of Persian language and literature, Mazandaran university H Noori M.A student of Persian language and literature, Mazandaran university Journal Article 2016 06 14 In this essay, among all elements existing in any novel, the narrator, his characteristics and his point of view are analyzed in the novel called "Atash– Bedoon- e- Dood" written by "Nader Ibrahimi". Accordingly, first, a definition of narrative is presented, and then narrator, which is one of the most important elements in all novels and the structure of most novel most is defined. Among all kinds of point of views, the internal monologues, which is one of the ways to enter the mind of novel characteristics is analyzed. After all, the characteristic of the protagonist narrator in the novel "Atash - Bedoon- Dood" will be presented. As the result, it is pointed out how the protagonist narrator- in this novel- narrates the stream of the story by exploiting different monologues and other techniques. In addition, the characteristics of the narrator as a "character" will be finally delineated and be shown that it is both a combination of classic and modern narratives, a technique mostly available in post-modern writings. In this essay, among all elements existing in any novel, the narrator, his characteristics and his point of view are analyzed in the novel called "Atash– Bedoon- e- Dood" written by "Nader Ibrahimi". Accordingly, first, a definition of narrative is presented, and then narrator, which is one of the most important elements in all novels and the structure of most novel most is defined. Among all kinds of point of views, the internal monologues, which is one of the ways to enter the mind of novel characteristics is analyzed. After all, the characteristic of the protagonist narrator in the novel "Atash - Bedoon- Dood" will be presented. As the result, it is pointed out how the protagonist narrator- in this novel- narrates the stream of the story by exploiting different monologues and other techniques. In addition, the characteristics of the narrator as a "character" will be finally delineated and be shown that it is both a combination of classic and modern narratives, a technique mostly available in post-modern writings.

https://rpll.ui.ac.ir/article_19295_309c37d3a10ac27aec9de8e6b66d8c04.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 1 4 2009 12 22 Dew in Persian Lyric Dew in Persian Lyric 95 114 19296 FA M Mirzania Assistant professor of Persian language and literature , Shahrekord university M Mirzania M.A post graduate of Persian language and literature, Payam e Noor university Isfahan Journal Article 2016 06 14 Dew or water droplet, which sits down on the plants and flowers at night, is considered as one of the main lingual constituents of most given Persian sonnets. This concept has found its real place during the millennium of styles and thoughts development. When being used in figurative and metaphorical meanings, it could not only be of both literal and ordinary uses, but it provides the means of symbolic images, ethical and mystical thoughts and theme creation, as well. As a result, this tiny object has been able to shoulder a lot of high meanings, themes and thoughts in Persian poetical works. In addition, in meticulous poets' works such as Hafez, Saeb and the followers of Esfahani style, it manifests intricate and exact thoughts by mystical and lyrical style in its mirror of clear drops. Dew or water droplet, which sits down on the plants and flowers at night, is considered as one of the main lingual constituents of most given Persian sonnets. This concept has found its real place during the millennium of styles and thoughts development. When being used in figurative and metaphorical meanings, it could not only be of both literal and ordinary uses, but it provides the means of symbolic images, ethical and mystical thoughts and theme creation, as well. As a result, this tiny object has been able to shoulder a lot of high meanings, themes and thoughts in Persian poetical works. In addition, in meticulous poets' works such as Hafez, Saeb and the followers of Esfahani style, it manifests intricate and exact thoughts by mystical and lyrical style in its mirror of clear drops.

https://rpll.ui.ac.ir/article_19296_42fd84ede45deb1933a9d9f517e0b024.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 1 4 2009 12 22 An analysis and criticism of the viewpoints of Jamalzade regarding the women An analysis and criticism of the viewpoints of Jamalzade regarding the women 115 130 19297 FA M.R Nasr Assistant professor of Persian language and literature, university of Isfahan T Mirzaee Instructor of Persian language and literature, Payam e Noor university Nehbandan bra Journal Article 2016 06 14 Mohammad-Ali Jamalzade is the first Persian storywriter who came up with a European-like way of short story writing in Iran. His first book, that is, “Yekki bood yekki nabood”, is often considered as a beginning to Iranian Realism. Topics being dealt with in this book are mostly related to the social and political issues prevalent among the Iranian women. However, jamalzade’s being away from Iran, led to his nearly complete failure to understand the spirit of the modern time in Iran. Actually, his understanding of the women is mostly based on his old view of women in Iran. In fact, his view was merely a reflection of his configuration of though about women, not of the modern era but of the Qajar dynasty. Thus, in this paper, his standpoints will be closely analyzed and meditated upon. Mohammad-Ali Jamalzade is the first Persian storywriter who came up with a European-like way of short story writing in Iran. His first book, that is, “Yekki bood yekki nabood”, is often considered as a beginning to Iranian Realism. Topics being dealt with in this book are mostly related to the social and political issues prevalent among the Iranian women. However, jamalzade’s being away from Iran, led to his nearly complete failure to understand the spirit of the modern time in Iran. Actually, his understanding of the women is mostly based on his old view of women in Iran. In fact, his view was merely a reflection of his configuration of though about women, not of the modern era but of the Qajar dynasty. Thus, in this paper, his standpoints will be closely analyzed and meditated upon.

https://rpll.ui.ac.ir/article_19297_ba8372be416af7fdda6ff5e3d1dcee24.pdf