دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2026 01 10 A Comparative Study of the Magical Functions of the Apple in Selected Iranian and European Folktales Based on Vladimir Propp’s Theory بررسی تطبیقی کارکرد‌های جادویی سیب در گزیده‌ای از قصه‌های فولکلور ایرانی و اروپایی بر پایۀ نظریۀ ولادیمیر پراپ 1 20 5241 10.22103/jcl.2025.25455.3856 FA ساجده اسدی کارشناسی ارشد ادبیات تطبیقی، گروه زبان و ادبیات فارسی، دانشگاه اراک، اراک، ایران حمید ورمزیاری استادیار، گروه زبان و ادبیات انگلیسی، دانشگاه اراک، اراک، ایران حسن حیدری استاد گروه زبان و ادبیات فارسی، دانشکده ادبیات و زبان‌ها، دانشگاه اراک، اراک، ایران Journal Article 2025 06 24 Abstract Introduction Myths and folktales have always reflected the profound connection between humans and nature. Among natural elements, plants and fruits occupy a special place, since they are not only symbolic motifs but also endowed with magical and mythical functions. The apple, as one of the most recurrent magical fruits in Iranian and European folklore, plays diverse roles such as fertility, transformation, healing, and deception. This study adopts a comparative approach to examine the morphological and thematic functions of the apple in Iranian and European tales, aiming to reveal both similarities and differences of this shared cultural motif. The significance of this research lies in the fact that no independent comparative study has yet focused specifically on the apple in folklore narratives, and thus this investigation contributes to the enrichment of cross-cultural studies. Methodology The research employed a structural-comparative method based on Vladimir Propp’s morphological model. Stories in which the apple played a central role were selected. Using the Aarne-Thompson classification and Marzolph’s typology, apple-related tale types were identified. Subsequently, Propp’s functions—including acquisition of a magical object, alleviation of misfortune, prohibition, and transformation—were coded within the selected tales. The corpus consisted of 137 Iranian tales from The Encyclopedia of Iranian Folktales and 54 European tales from the Brothers Grimm, Italo Calvino’s folktales, and Irish folklore collections. Data analysis focused on identifying common and distinctive functions of the apple across the two cultural domains. Discussion Findings revealed that in Iranian tales, the apple most frequently functions as a fertility agent. In 52 stories, childless couples conceive after receiving a magical apple from a dervish or sorcerer. The dervish often acts as the helper figure, giving the apple to the king or queen. In contrast, European tales emphasize the deceptive and deadly function of the apple, as exemplified by Snow White, where the poisoned apple induces a long sleep. In terms of transformation, both cultural traditions contain narratives in which a girl or the main character emerges from within an apple, or a human is transformed into an apple or other objects. Similarities are also observed in the healing function: in Iranian tales, the apple or the leaves of the apple tree possess restorative powers, while in European tales the apple is introduced as a magical fruit for curing illnesses. Another important difference lies in the symbolic role of the apple. In Iranian stories, the laughing apple, the crying apple, and the talking apple appear as living, personified symbols, whereas in European folklore such symbolic features are far less common. Overall, Propp’s functional analysis showed that Type 303 (fertility apple) is most frequent in Iranian tales, while European tales highlight poisoned apples and golden apples. This indicates that in Iranian culture, the apple is primarily associated with fertility and birth, whereas in European culture it is linked to deception, trials, and danger. Furthermore, the comparative analysis revealed that in Iranian tales, the role of the dervish or sorcerer in giving the apple to the king or queen is more prominent, while in European tales the apple is often directly picked from the tree or handed over by a female witch. This difference reflects the social structures and cultural beliefs of the two traditions. In Iran, the presence of the dervish as a mediator between humans and nature is significant, while in Europe the female witch often plays the role of tester or deceiver. Conclusion This study demonstrates that the apple, as a shared folkloric motif in Iranian and European traditions, embodies diverse functions, some of which are universal (fertility, transformation) and others culture-specific (personified apples in Iran, poisoned apples in Europe). These differences mirror the socio-cultural contexts, religious beliefs, and symbolic systems of each tradition. From a theoretical perspective, applying Propp’s morphology and the Aarne-Thompson typology enabled a more precise analysis of narrative structures and symbolic roles. From a practical perspective, the findings can inspire comparative literature studies, folklore research, and even cultural or media productions that seek to highlight shared human motifs. Ultimately, the comparative study of the apple illustrates how a natural symbol can acquire distinct meanings across cultures while simultaneously reflecting universal human concerns. این نوشتار به بررسی تطبیقی کارکردهای جادویی سیب در قصه‌های فولکلور ایرانی و اروپایی بر پایۀ نظریۀ ریخت‌شناسی ولادیمیر پراپ می‌پردازد. پژوهش بر اساس تحلیل ساختاری پراپ و کدگذاری خویشکاری‌ها، با بهره‌گیری از شاخص‌های آرنه–تامسون و مارزلف، انجام شده است. داده‌ها از منابعی چون فرهنگ افسانه‌های مردم ایران و قصه‌های برادران گریم گردآوری شدند. تحلیل روایت‌ها نشان می‌دهد سیب در هر دو فرهنگ دارای کارکردهایی مشابه، از جمله آبستن‌کنندگی، جوان‌کنندگی، و دگردیسی است، اما تفاوت‌های معناداری نیز دیده می‌شود. در قصه‌های ایرانی، سیب اغلب نماد حیات و باروری است (برای نمونه با نقش درویش به عنوان بخشنده)، در حالی‌که در قصه‌های اروپایی بر جنبه‌های درمانی یا فریبندگی آن تأکید شده است. یافته‌ها نشان می‌دهد سیب در قصه‌های ایرانی عمدتاً با تیپ‌های 303 و 550* (باروری) و در قصه‌های اروپایی با تیپ‌های 301 و 408 (نجات قهرمان) همخوانی دارد. این اشتراکات و تفاوت‌ها ریشه در اسطوره‌های مشترک و مؤلفه‌های فرهنگی خاص هر منطقه دارند. نتایج پژوهش بیانگر آن است که سیب به‌عنوان بن‌مایه‌ای فرافرهنگی، هم در اسطوره‌ها و هم در قصه‌های فولکلور نقشی کلیدی ایفا می‌کند. با وجود شباهت در ساختار روایی، کارکرد آن تحت تأثیر جهان‌بینی هر فرهنگ شکل می‌گیرد. این مطالعه می‌تواند به درک بهتر اشتراکات ادبیات شفاهی و بازتولید این نماد در رسانه‌های معاصر یاری رساند.

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دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2026 01 10 A Comparative Study of the Persian Translation of Majma' al-Khawas with its Turkish Text (Based on Catford's Equivalence Theory بررسی تطبیقی ترجمۀ فارسی مجمع‌الخواص با متن ترکی آن (بر مبنای نظریۀ معادل‌یابی کتفورد) 21 38 5331 10.22103/jcl.2026.26126.3884 FA هادی بیدکی استادیار، بخش زبان و ادبیات فارسی، دانشگاه مازندران، بابلسر، ایران Journal Article 2025 10 15 . Introduction Poets' Tazkiras are considered one of the most important sources in the history of literature that their history in the Persian language dating back to the 6th century AH. However, currently, the oldest extant Tazkira is Muhammad Awfi's Lubab-al-Albab, which was written in the first quarter of the 7th century AH, and started that this tradition of Tazkirah-writing continues to the present day after the passage of eight centuries. Most of the Tazkiras of Persian poets are written in Persian, but a few are also written in Turkish. therefore, it is necessary to carefully and scientifically-critically correct and publish the text of these Turkish Tazkiras based on authentic manuscripts, because if it to be otherwise, numerous defects and errors would find their way into their content and to the effect of them, in the sources of literary history that if this happens, it is the duty of researchers to criticize and even re-correct these erroneous Tazkiras based on valid evidence and reasons. Majma' al-Khawas is one of the contemporary Tazkiras that Sadeghi Afshar, the bookkeeper (d. 1018 or 1022 AH) composed in the early 11th century AH, influenced by Majalis-al-Nafayis of Amir Ali-Shir Navai, in the Turkish language of Chaghatai, and in it she discusses the lives and Persian poems of and sometimes Turkish poets. According to the Khayyampur printed, this Tazkira contains the biographies of 333 poets from the second half of the 10th AH century and the first half of the 11th AH century, with its main content, apart from an introduction and conclusion, is arranged in eight Majma' by adapting the octet Majalis of Majalis-al-Nafayis Navai. Methodology The method of this research is library and theoretical, so that the selective translation of Hosseini, Mir-Jafari, and Dehghan Nayyeri with the Khayyampur printed and the new correction and translation from Majma' al-Khawas is compared comparison has been made within the framework of Catford's equivalence theory. Discussion John Catford (d. 2009), a British linguist, was one of the theorists who developed the topic of types of translation and formal changes in translation. According to Catford, in lexical equivalence, the priority is that the translator, by following the rule of equivalence, can find an equivalent in the target language for each word in the source text, but if she fails to find an equivalent, she will inevitably substitute another word from the target language for the word in the source language, in accordance with the rule of modification or substitution, rather than resorting to similar words that have little connection with the original word, as translators of selective translation of Majma 'al-Khawas do, because if each translator were to translate a text without paying attention to the meaning derived from the root words of the source text, several free translations of the same text would be made, all of which might contain the content of the source text, but none of them would be considered a literal translation of the source text. In grammatical equivalence, the translator must be able to use the same equivalent or entered words in the grammatical network that are the same in both languages, but when the translator is unable to find an equivalent, he inevitably applies formal changes at the grammatical level: 1- In changing the grammatical structure, the translator changes the order of the parts of the source language sentence in the target language, but not like the changes in selective translation that disrupt the meaning and concept. 2- In changing grammatical categories, the translator changes one of the components of the source language sentence in the target language in such a way that the grammatical group and its role may be different in the two languages, but not like selective translation changes where the tense and mood of the verbs or their imperative and transitive are not taken into account. 3- In unit change, one or more linguistic units are removed or added from the target text, but not like selective translation changes where the removal of the lexical unit has disrupted the grammar of the target text and has incomplete meaning and concept. The translator's work is more sensitive in translating ancient texts, because if the source text has been badly corrected and contains corrector errors, and the translator does not notice those errors, its defect will naturally permeate the translation, as sometimes the absence of some recordings in the Khayyampur printed has also made its way into the selective translation, and sometimes the unreliable recordings in the Khayyampur printed have also infiltrated the selective translation. Of course, sometimes the recordings of Khayampour's original manuscript are correct, but Khayampour and, following him, Hosseini, Mir-Jafari, and Dehghan Nayyeri committed misreadings in their readings. Even some of the correct recordings of Khayampour's printed work were incorrectly changed in the selective translation, and the translators did not pay attention to the linguistic and syntactic context of the sentences. At the end of their article, they have arranged a table in three rows: the Turkish text, the faithful translation, and the translator's translation. They have compared their translation with some sentences in Khayyampour's translation and called their translation faithful relative to his translation, but their translation is not faithful in many of the evidence mentioned in the table due to incorrect equivalence and, like Khayyampour's translation, is free and does not adhere to the Majma' al-Khawas text. Conclusion Formal changes are necessary and efficient for languages that do not have sufficient equivalents for the source text, and the translator is forced to use this criterion, but in Persian there are sufficient equivalents for translating Turkish texts, and the translator is not forced to apply the rule of formal changes, Rather, the principle of finding equivalents is much more appropriate and accurate for a text like Majma' al-Khawas. According to Catford's theory, Hosseini, Mir-Jafari, and Dehghan Nayyeri have used the rule of formal lexical and grammatical changes in their selective translation instead of relying on finding equivalents. They have chosen alternative equivalents for many Turkish words that have equivalents in Persian, most of which do not correspond to the root of the Turkish words and have different meanings and connotations. Hosseini, Mir-Jafari, and Dehghan Nayyeri also used grammatical changes in their translation and changed the structure, classes, and grammatical units of the target language, so that 1- In structural change, the components of the sentences of the source text have changed in the target text, disrupting meaning and concept. 2- In changing the categories, they did not pay attention to the group and role of the words in the target text, causing the tense and mood of the verbs, as well as their imperative and transitiveness, to change. 3- In a single change, either the source text has been reduced in the translation or added to the target text. Sometimes, lexical and grammatical changes have been applied simultaneously in some sentences, which connection and fit between the source and target text being minimized, and a different and incorrect translation has been presented. Another part of the changes made by Hosseini, Mir-Jafari, and Dehghan Nayyeri is related to the defects and errors in Khayyampur's printed work, which have also found their way into their Persian translation. هدف: مجمع‌الخواص یکی از تذکره‌های عصری دهۀ اول قرن 11ق است که صادقی افشار آن را در معرفی و سرگذشت شاعران نیمۀ دوم قرن 10ق و نیمۀ اول سدۀ 11ق به زبان ترکی جغتایی تألیف و محتوای اصلی آن را در هشت مجمع تنظیم کرده است. عبدالرسول خیامپور مجمع‌الخواص را در سال 1327ش همراه با ترجمۀ فارسی آن منتشر کرده و اخیراً هم سجاد حسینی بخش‌های ترجمه‌نشدۀ آن را به فارسی برگردانده است که در این مقاله ترجمۀ گزینشی او بر اساس نظریۀ معادل‌یابی کتفورد بررسی تطبیقی شده است. روش پژوهش: شیوۀ این تحقیق کتابخانه‌ای و نظری است و ترجمۀ فارسی حسینی از مجمع‌الخواص با متن ترکی جغتایی آن مقایسۀ تطبیقی شده است. یافته‌ها: مترجم مجمع‌الخواص به‌جای پایبندی به قاعدۀ معادل‌یابی که ارتباط و تناسب بیشتری بین دو متن مبدأ و مقصد برقرار می‌کند، به قاعدۀ جایگزینی یا تغییرات صوری لغوی و دستوری در ترجمه پرداخته، اما معادل-های جایگزین او نیز عمدتاً با متن مبدأ تطابق چندانی ندارند، چنانکه بیشتر اشکالات او به خیامپور در ترجمۀ خودش هم نفوذ یافته است. نتیجه‌گیری: بخش اعظمی از ترجمۀ حسینی متکی بر تغییرات لغوی است و معادل‌های او یا برگرفته از ریشۀ کلمات ترکی نیست یا معنا و مفهوم درستی ندارد. حسینی با اتکای بر تغییرات دستوری نیز گاه برخی از کلمات، جملات و ابیات متن مبدأ را ترجمه نکرده و گاهی نیز واژگانی را به متن ترجمۀ خود افزوده است. ترجمۀ او از اشعار ترکی هم تفاوت بسیاری با مفهوم اصلی متن ترکی دارد. از طرفی برخی از نقص‌ها و خطاهای چاپ

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دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2026 01 10 Analysis of the fantasy genre in two Korean and Iranian stories, Border Market and Nightmare of the black garden تحلیل تطبیقی ژانر فانتزی در دو داستان کره‌ای و ایرانی بازارچۀ مرزی و کابوس باغ سیاه 39 56 5347 10.22103/jcl.2026.26128.3891 FA مریم حسینی استاد، بخش زبان و ادبیات فارسی، دانشگاه الزهرا تهران، ایران. زهرا مرادی دانشجوی ;کارشناسی ارشد زبان و ادبیات فارسی، دانشگاه الزهرا، تهران، ایران Journal Article 2025 10 23 Abstract Introduction This article examines the fantasy genre and its elements, principles, functions, and semiotics in two Korean and Iranian stories: The Border Market by Kim Seung-Jung and The Nightmare of the Black Garden by Arman Arian. The comparative analysis is conducted with reference to Elements of the Story by Jamal Mirsadeghi and Fantasy in Children’s Literature by Mohammad Hadi Mohammadi, and it seeks to answer the following questions: what extent are superstitious, religious, and mythological elements and beliefs used in the fantasy genre in these two stories? What are the similarities and differences in the characteristics of the fantasy genre in the two stories? Methodology This research is based on the elements, principles, actions, and semiotics presented in the two books The Elements of the Story by Jamal Mirsadeghi and Fantasy in Children’s Literature by Mohammad Hadi Mohammadi. Initially, the similarities and differences of story elements, including plot, theme, characterization, point of view, scene construction, and setting, in the two stories are analyzed. Then, a brief comparison of the principles and semiotics in the two stories is provided. Finally, the extent of the use of elements and the presence of superstitious, religious, and mythological beliefs in the two stories are examined. Discussion The main findings of this article are as follows: Both stories are written in the fantasy genre, utilizing the native elements of Iran and South Korea. In this study, the elements, principles, and semiotics of the two stories have been compared in terms of their similarities and differences. Furthermore, we have examined the extent to which superstitious, religious, and mythological elements are used in both stories. In terms of plot, it can be said that the narrative in The Nightmare of the Black Garden is more continuous and interconnected, whereas in The Border Market, the plot is fragmented and resembles dreamlike events, with strange incidents occurring to the characters one after another without clear reasons. In terms of theme, both stories explore various psychological, philosophical, social, mystical, and mythological dimensions. Perhaps the most prominent feature of both is their focus on the theme of identity. From the perspective of characterization, The Nightmare of the Black Garden has a single main character and revolves around the battle between good and evil. In contrast, the fate of the main character in The Border Market cannot be separated from his two friends, and this story does not contain an antagonist. Regarding the use of superstitious, religious, and mythological elements, features such as the garden, jinn, monster, book, and savior in The Nightmare of the Black Garden, and elements like the moon, river, and four-directional statue in The Border Market, link the stories to the native beliefs of the two countries. 4.Conclusion In comparing the two stories, The Nightmare of the Black Garden and The Border Market, it can be concluded that despite their differences, both address the important theme of "identity and awareness" and, by utilizing native elements, explore and interpret this theme from different perspectives. In The Nightmare of the Black Garden, the boy ultimately moves from ignorance to self-awareness and liberation. In fact, the author portrays his personal desire for humanity’s release from the bonds of ignorance and loss of identity through an evolutionary path toward self-awareness. However, in The Border Market, the author takes a different approach. This story centers memory as the core of human identity. The characters initially possess memories and identity, but upon entering a flashy market, they sell their memories in pursuit of peace or pleasure, essentially fragmenting their identities. Gradually, these characters become empty and eventually reach oblivion and meaninglessness. Therefore, it can be said that Ms. Kim adopts a more realistic path in confronting the issue of identity in today’s world. Moreover, both stories depict the main characters’ encounters with the shadows of their unconscious. In The Nightmare of the Black Garden, the boy sees the shadow of his unconscious fears in the form of his nightmare monster, and by destroying it, he attains liberation and awareness. In The Border Market, the male character meets the shadow of his unfulfilled desires or dark past in the form of prostitute women, but instead of destroying them, he becomes engulfed by these desires. Although he manages to escape the market, he dies a few days later. Additionally, both stories incorporate social critique within their narratives. The Border Market, by portraying a flashy market, criticizes the capitalist system in which people lose their identity even for a moment of pleasure and become empty puppets or move toward destruction. The Nightmare of the Black Garden, by depicting a garden whose inhabitants have no connection to the outside world, speaks of an oppressive society that keeps its people in ignorance and attempts to impose its desired identity on its youth. Ultimately, both stories conclude with thought-provoking endings that invite the audience to reflect on themselves and the world around them. References [in Persian] Arian. A. (2016). The Nightmare of the Black Garden ]. Parian Baraheni. R. (2014). Storytelling . Negah. Chalak. S, Mousavi. F. (2019). Fantasy Elements in Folk Tales with Emphasis on Iranian Stories. Master's Thesis. Islamic Azad University. . Forster, E. M. (2013). Aspects of the Novel . (Trans. Ebrahim Younesi). . Negah. Irani. N. (1985). Story Definitions, Tools, and Elements (1th ed). Institute for the Intellectual Development of Children and Young Adults. Irani. N. (2014). The Art of the Novel . .Nashrenow. Kalili Jahantigh.M, Khani Soumar.E.(2015). A structuralist analysis of the short story “Keshakesh” from the short story collection “Neither a human nor a voice” by Jamal Mirsadeghi. International Conference on the Promotion of Persian Language and Literature of Iran. SID. https://sid.ir/paper/847087/fa Kim.S . (2015). Border Market. Munhak Dongne Mohammadi. M . (1999). Fantasy in Children's Literature. Nashreroozegar. Mirsadeghi. J (2015). Elements of the story ( 9 th ed). . Sokhan. Mastour. M. (2012). Principles of the Short Story (5th ed.). Nashremarkaz. Nadelman. L. (2000). Fantasy: Escape from Reality or Enhancement of reality (Trans Hossein Ebrahimi [Alvand]). Journal of Childrens and Adolescents Literature Studies, (23_26). 137. Propp. V. (1990). Morphology of the Folktale (2 th ed). (Trans. Media Kashighar). Nashrerooz. Reid. I (1997). The Short Story (Trans Farzaneh Taheri). Nashremarkaz. Todorov. T. (2003). On the Fantastic. Aesthetic Journal, (9). Todorov. T. (2023). Literary Theory: Texts from Russian Formalists (4th ed). (Trans. Atefeh Tahaei). Akhtaran. Wellek. R. Warren. A. (1994). Theory of Literature (Trans. Zia Movahed & Parviz Mohajer). Scientific and Cultural Publishing Company. Zeynivand. T. (2013). Comparative Literature and the Concept of culture. Comparative Literature Studies. 12(3), 1_16. Zipes. J. (2008). The Genealogy of Fantasy An Essay on Enduring Fairy Tales.(Trans.Masoud Malekyari). Children and Adolescents Book Monthly, (132). 30-34. امروزه ژانر فانتزی در جهان، یک گونۀ ادبی پر مخاطب، نه تنها در میان نسل کودک و نوجوان که حتی در میان بزرگسالان است. این گونۀ ادبی به خاطر داشتن تعاریف و انواع فراوان هنوز به طور کامل شناخته‌نشده اما می‌توان گفت وجه مشترک تمامی این انواع فانتزی، ویژگی تخیلی و غیرواقعی بودن آن و گریز از جهان با در هم شکستن قوانین طبیعت است. برای انجام پژوهش حاضر ده‌ها داستان مختلف از زبان کره‌ای و فارسی مورد بررسی قرار گرفت اما به دلیل عدم وجود شباهت‌های اساسی میان آن‌ها در نهایت دو داستان بازارچۀ مرزی نوشتۀ "کیم سئونگ جونگ"و کابوس باغ سیاه نوشتۀ"آرمان آرین"که از لحاظ درونمایۀ داستانی شباهت‌هایی با یکدیگر داشتند انتخاب شدند. دو داستان مذکور با در بر داشتن عناصر بومی دو کشور ایران و کره به مضمون هویت از دریچه‌های متفاوتی پرداخته‌اند که به خوبی بیانگر نگرش جامعۀ آنان نسبت به این مسئلۀ مهم است. همچنین هر دو داستان دارای درونمایه‌ای از نقد نسبت به اجتماع برآمده از آن نیز هستند. در نوشتار حاضر در ابتدا به بررسی چیستی ژانر فانتزی پرداخته و درادامه شباهت‌ها و تفاوت‌های عناصرداستانی ، اصول، کنش، نشانه‌شناسی و دیگر ویژگی‌های ژانر فانتزی در این دو داستان را مورد واکاوی قرار داده و سپس به بررسی میزان به کارگیری عناصر بومی چون خرافه، اسطوره و دین در درونمایه در این دو داستان می‌پردازیم. لازم به ذکر است که این مقایسات با استناد به کتاب عناصر داستان نوشتۀ جمال میر صادقی و فانتزی در ادبیات کودکان نوشتۀ محمد هادی محمدی انجام گرفته‌است.

https://jcl.uk.ac.ir/article_5347_6aafbade1cff0e13643971934b7443c6.pdf

دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2026 01 10 Georgian translations of Iranian tales and their influence on the formation of Georgian classical literature ترجمه های گرجی قصه های ایرانی و تاثیرشان در شکل گیری ادبیات کلاسیک گرجستان 57 74 5240 10.22103/jcl.2025.26204.3894 FA سید محسن حسینی مؤخر دانشیار، بخش زبان و ادبیات فارسی، دانشگاه بین‌المللی امام خمینی(ره)قزوین، ایران Journal Article 2025 10 29 Abstract Introduction Some of those works translated from Persian literature into Georgian during the 15th to 18th centuries belonged to the field of narrative literature. The cultural similarities between the two nations led Georgians to welcome these stories alongside Iranian epic and didactic texts. The main question of the present research revolves around the following: What is the history and background of Iranian tales in Georgia? During what historical periods were they translated into Georgian? What are the most important translated works? Also, how did Georgian translators and narrators' approach and interact with these tales? And finally, what role did these works play in the formation of Georgian classical literature? Methodology This research, conducted descriptively and analytically using library resources, aims to examine Georgian translations of Iranian tales and their influence on the formation of Georgian classical literature Discussion Among the translations of Persian texts, there were also some Iranian tales. According to Georgian manuscripts, some Persian tales that were very popular in Iran were translated into Georgian by direct order of kings such as Vakhtang VI. These include Weiss Ramayani, Bakhtiarnameh (Selected Persian Tales), Bahram Gelandamiani (by Bahram and Gelandamiani, the Neyshaburi scribes), Khosrow Shiriniani (the famous tale of Shirin and Khosrow by Amir Khosrow of Dehlavi), Yusuf Zulikhaniani (the Georgian tale of Yusuf and Zuleikha), and Bijaniani (the Georgian tale of Bijan and Manije). During the 17th and 18th centuries, other works such as Miriani, Char Dervishiani, Karamiani, Silaniani, Pirmaliani, Varshakiani appeared, all of which were translated from Persian into Georgian. Some of these texts, during their presence in Georgian culture, were so intertwined in the fabric of Georgian culture and literature that they have become an inseparable and original part of Georgian literature. These narratives sometimes distanced themselves from their Persian originals due to the interference and appropriation of Georgian translators and scribes and took on the characteristics and characteristics of Georgian culture. However, the general trajectory of the works and the presence of Iranian names and cultural symbols in them is such that in most cases, traces and signs of the original Persian sources can still be found in them. What emerges from examining these translations and their adaptation into works of classical Georgian literature is the unparalleled role of these tales in the formation of classical Georgian literature because many of the classic works of this literature were created solely under the direct influence of these tales. Works such as the romantic and epic stories of "Amirandarjaniani" attributed to Musa Khonli (12th century), Tamariani by Grigol Chakhrukhadze (12th century), Abdolmasiani by Ivane Shavteli, and finally the masterpiece of Georgian poetry "The Leopard-clad" by Shota Rustaveli have emerged as a result of this cultural continuity. One of the clear signs of this influence, apart from the themes, motifs, loanwords, descriptions, and imagery, is the presence of the names of the heroes of Persian lyrical and epic poetry in Georgian works. Almost all the pages of the aforementioned works contain one or more names taken from works such as Shahnameh, Vis, Ramin, Vameq, Azra, Shadbehr and Ayn-e Hayat. Names such as: Merab, Rostam, Ketevan, Giv, Zal, Tur Ioseb, Zelikha, shatbiar, Analat,, Viso Ramin, Vameq. A closer examination of these stories reveals that the intellectual and cultural tastes of Georgians were very close to those of Iranians. The presence of elements such as feasting, joy, and revelry, love, as well as chivalry and adventure in these stories were among the most important reasons why Georgians were drawn to these stories. Also, by scholarly research of these narratives, it can be acknowledged that the prevailing traditions in the transmission and narration of Persian folk literature were also followed in Georgia. Georgian narrators and narrators, according to the wishes of their audiences or their own tastes, have resorted to interfering with Persian narratives and Georgianizing them. Another valuable and interesting feature that can be said about these narratives and stories is their specificity in the cultural sphere of Iran. In a way, in the lands under the influence of Iranian culture, there are few similar ones to them. In fact, in this vast cultural geography, Georgia is one of the few countries that has been influenced by Iranian narrative literature and even folk literature more than by official, traditional, and classical Iranian literature. Meanwhile, examining works that were created in imitation of original Persian works is valuable in various ways, such as the works of Timuraz I, who composed some of the enduring poems of Georgian literature under the influence of the poems of Nizami and Amir Khosrow Dehlavi, and other Persian lyrical poems. Conclusion From the discussions presentes, it can be concluded that a major part of Georgian narrative literature was translations of Persian narrative works and Iranian tales, which were mainly translated into Georgian in the 16th and 17th centuries (the period of Georgian presence in the political structure of Iran). Some of these works were published during the 20th century, and some are still preserved in manuscript form. Due to their many cultural affinities and commonalities with Iranians, Georgians became fond of Iranian tales and found them suitable their intellectual and cultural tastes. Therefore, after translating them, they began to adopt and rework them, first publishing Georgian versions of those tales (such as the Georgian versions of the Shahnameh), then under the influence of those same tales, they began to create similar tales and narratives, and became the founders of Georgian classical literature. However, these stories remained influenced by Iranian tales in form, content, structure, and narrative style, as well as in descriptions, poetic images, and even naming. بخشی از آثاری که طی قرن‌های 15 تا 18 میلادی از ادب فارسی به زبان گرجی ترجمه شده، متعلق به حوزه ادبیات روایی بوده است. مشابهت‌های فرهنگی دو ملت موجب شده بود که گرجی‌ها در کنار متون حماسی و تعلیمی ایرانی، از این داستان‌ها نیز استقبال کنند.مساله اصلی این پژوهش که به شیوه توصیفی تحلیلی به سامان رسیده است بررسی ترجمه های گرجی قصه های ایرانی و تاثیر شان در شکل گیری ادبیات کلاسیک گرجستان است. گرجیان طی قرون و هم‌زمان با ترجمه، نسبت به تغییر و تبدیل این داستان‌ها اقدام کرده، به آنها رنگ و بوی گرجی داده‌اند. بااین‌همه، علی‌رغم همه دگرگونی‌ها، باز هم رنگ و بوی ایرانی اثر همچنان آشکار است. قصه هایی چون بختیار نامه، برام گلندامیانی (بهرام و گلندام)، میریانی (مهر و مشتری)، یوسب زلیخانیانی (یوسف و زلیخا)، قرمانیانی (قهرمان‌نامه)، سیلانیانی (سهلان‌نامه)، چاردرویشیانی (چهار درویش) و برخی از داستان‌های حماسی همچون روستمیانی از زمره این قصه ها هستند. این متون ترجمه شده بعدها خود موجب پیدایش آثار روایی برجسته در ادبیات گرجی شدند. منظومه های پلنگینه پوش (شاهکار ادبیات حماسی گرجی)امیر اندار جانیانی و ورد بلبلیانی از این زمره اند که با وجود استقلال ظاهری، در ساختارروایت و پیرنگ قصه، شیوه روایت پردازی، توصیفات و تصویر پردازی های شعری ، زبانزدها و برخی تعابیر و اصطلاحات و حتی نام گذاری ها نیز تحت تاثیر قصه های ایرانی بوده اند .

https://jcl.uk.ac.ir/article_5240_ec66a1716578552fcf195c356d9df085.pdf

دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2026 01 10 Death in the Endings of Layla and Majnun Nizami and The Hunchback of Notre Dame Victor Hugo, Relying on Romanticism مرگ در پایان‌بندی لیلی و مجنون نظامی و گوژپشت نتردام ویکتور هوگو با تکیه بر رمانتیسم 75 96 5242 10.22103/jcl.2025.26286.3901 FA کمال رسولیان دانشجوی دکتری، بخش زبان و ادبیات فارسی، دانشگاه ارومیه، ارومیه، ایران سلیمان زادعباس دانشجوی دکتری، بخش زبان و ادبیات فارسی، دانشگاه ارومیه، ارومیه، ایران رحیم کوشش‌شبستری دانشیار، بخش زبان و ادبیات فارسی، دانشگاه ارومیه، ارومیه، ایران Journal Article 2025 11 12 Abstract Introduction One of the fundamental concerns depicted in many prominent literary works is “death.” “Death is the inevitability of material life and the inevitable end of every birth.” (Vejdani, 2011: 176). Jean Vallée, in his book The Thought of Existence, acknowledges that “death both condemns existence to destruction and gives it infinite value” (Motamedi, 2007: 15). This concept, depending on the cultural, philosophical, and literary context of each period, has taken on different interpretations and has manifested itself in different genres and styles in various ways. In the meantime, the Romantic style, which reached its peak in Europe in the 18th and 19th centuries, has provided a suitable context for addressing the theme of “death,” by emphasizing feelings, intense emotions, and inevitable and sometimes tragic fate. "Romanticism is considered the introduction to the new era of thought and literature, to the extent that it can be said that the roots of the modern world and the new era, socially and artistically, lie in the romantic language" (Jafari-Jazi, 1999: 357-355). One of the prominent examples of Eastern literature in which death plays a fundamental role in the fate of the heroes is the "Layla and Majnoun" series by Nizami Ganjavi. This work narrates the story of the unrequited love of Majnoun and Layla, which ultimately leads to the death of both. In contrast, in Western literature, the novel "The Hunchback of Notre Dame" by Victor Hugo, one of the most prominent French romantic works, is another example of the analysis of death in a tragic atmosphere. The main characters of this novel are also involved in an unrequited love that ultimately leads to their death. Considering the importance of the concept of death in both works and the influence of the Romantic style on its analysis, this research aims to conduct a comparative study and analysis of the position of "death" in the endings of these two works. Methodology This studyemploys a qualitative approach and content analysis method, examines a comparative study of the concept of "death" in final sections of two famous literary works, "Layla and Majnoun" and "The Hunchback of Notre Dame". Comparative literature, essentially a French science (Van Tieghem, 1951, p. 6), emerged in the early nineteenth century alongside other comparative disciplines.. The main research tool is the study of the original texts of the two works and supplementary sources related to the school of Romanticism and Comparative Literature. The analysis is conducted in a descriptive-interpretive manner, and Romantic elements such as intense emotions, imagination, individualism, naturalism, tragic death, nostalgia, and social criticism are explored in the final sections of the works. This research is designed within the framework of the school of comparative literature, and in particular, the "French school of comparative literature". The theoretical foundations of this school are based on several basic principles such as impact and perception, mediation, transcending value judgment, emphasizing structural-semantic overlaps and differences, and multilevel methodology. Discussion In the romantic poem "Layla and Majnoun", death is the manifestation of the highest form of union; a union that is not possible in the material world and can only be realized beyond death. Layla's life ends in pain and longing for love and a forced and fruitless marriage, and death becomes a kind of liberation from social and moral bonds for her. The garden of Layla's existence takes on the color of autumn, and illness breaks her body and leads her to death. Majnoun, who gradually distances himself from the outside world after successive failures, finally dies at Layla's grave; as if death is the only way for him to reconnect with his beloved. In this work, death is placed at the service of absolute and transcendent love; a love that finds meaning beyond time and space and becomes a kind of mysticism and spirituality. This is a view that is completely in harmony and in harmony with the spirit of Romanticism. Given that Romanticism emphasizes the concept of death as a tragic and romantic ending and a kind of unity between man and nature, Nizami has magnificently depicted Layla's death through the art of eloquence and atmosphere, by describing the autumnal and fall-stricken nature as a metaphor for the end of her life. This method is in line with the Romantic view that shows death in connection with the sad beauty of nature. The glass container of water becomes cold and the color and surface of the garden turn yellow. The tree's bark appears after the leaves fall and the leaf, turning yellow, seeks gold, but instead of finding gold, it falls to the ground and gets the soil. Whether intentionally or unintentionally, Nizami paints a discouraging and depressing picture of autumn. Behind the images is a lingering story of death. He knows very well that death, for ordinary and undeveloped people, is the end of life. The most painful word in the dictionary of life! He is aware that he must portray Layla's face on a larger scale than death. Nizami depicts the final moments of Layla's life and her death with the help of beautiful similes. She is modest in the house of life! Could she, with the customs of Arab tribes and the fanaticism and zeal of the heads of the tribe and family, display nudity and immorality? She was raised in a desert environment, and there was no mention of colorful and diverse clothes. The clothes are also simple, like life. Layla, who wore a gold-woven turban, this time covers her hair with another turban at the end of her life story. Nizami has beautifully reflected Layla's delicate and beautiful body and figure, like a flower, which has become weak, thin and fragile in the last breaths of her life. Since in Romanticism, tragic death is often associated with beauty and fragility, this image of Layla also likens her to a withered flower in autumn, which has a poetic and beautiful appearance even in death. “Victor Hugo is the most prominent figure in the Romantic literature of the third period. His beautiful prose and extraordinary ability to use the literary capabilities of the French language, the epic and humane spirit of his works, and the attractive characterization that exists in some of his writings, make him the most successful figure of the Third Romantic period.” (Ahmari, 1995: 62) In The Hunchback of Notre Dame, Hugo depicts death as the final curtain of a magnificent but unsuccessful love affair; a love that is born and dies in the heart of history and society and its harsh criticism. Esmeralda, the free and innocent dancer, falls under the knife of the crooked law and religious and social prejudice; His execution is a cry against the darkness of the times, against the cruelty that has given itself the name of justice. Quasimodo, the same ugly but tender-hearted hunchback, when he loses his beloved, steals her lifeless body and, calm and dignified, dies in her arms. For him, death is no longer a separation; it is the only way to reunite, a reunion that can only be achieved in the shadow of annihilation and nothingness. At the moment of death, the characters in the story achieve the desires that life had denied them. A pure and sincere love and a soul free from any kind of attachment! In both works, death is not the end of the story; it is its climax. “Death” is the development of a romantic experience; a manifestation of the concept of “romantic death” in which the characters reach freedom, meaning, and true love by crossing the boundaries of the body and society. Attention to lyrical poems, love songs, knights and legends of underground prisons, sinful priests, orgies and mysterious palaces, suddenly includes the works of Romanticism. Hugo's The Hunchback of Notre Dame is one of these examples; so that it can be said that whatever Classicism feared about the Middle Ages, Romanticism, on the contrary, was fascinated by it. (See: Servat, 2003: 51) Conclusion In "Layla and Majnoun, Death depicts the union of Layla and Majnoun in a world beyond materiality in a poetic and mystical language, and in a deep connection with nature, he manifests the spirit of Eastern Romanticism. In contrast, "The Hunchback of Notre Dame" depicts the deaths of Esmeralda and Quasimodo in the context of social injustices and protest against the corrupt structures of society with a realistic and critical narrative, and highlights Western Romanticism with its emphasis on individualism and rebellion against the existing order. The findings of this study show that although the cultural and literary contexts of these two works are different, both are in line with the principles of Romanticism in using death as a tool to deepen feelings, praise unrequited love, and show the contrast between romantic ideals and the bitter realities of life. In "Layla and Majnoun, death is associated with poetic aesthetics and spirituality, while in "The Hunchback of Notre Dame, death is tied to social bitterness and criticism of power structures. These differences highlight the diversity and flexibility of Romanticism in different cultures, but their commonality in the immortality of love through death establishes a deep and human connection between these works. The story of Layla and Majnoun is one of the most influential works of Persian mystical literature, depicting symbols such as divine love, destruction, rebuke, and the contrast of well-being or spirituality, and has a profound impact on later poets and mystics. This work should be considered a melancholy, not a tragedy! because it is based on the hero's determination and submission to fate, not on the chosen predicaments and painful human responsibilities. Moreover, the existence of the promise of a reunion in the afterlife is incompatible with the nature of tragedy. Despite his initial reluctance to write it due to its simplicity and repetition, Nizami has added vivid descriptions to make it more attractive and prevent boredom. The characters in the story are simple, absolute, and static; without internal complexities or environmental changes, which is consistent with the monotony of Bediyya. The structure of the story is also non-episodic and closest to the novel among Nizami's works. The results show that death, regardless of geographical, temporal, or linguistic context, has appeared in both cultures as a symbol of liberation, love, and protest against limitations. تراژدی و مرگ متعالی از مؤلفه‌های رمانتیسم است که در قالب راهی برای رسیدن به وصال، رهایی یا جاودانگی معنوی، به‌شکلی تراژیک اما باشکوه، در پایان‌بندی‌های عاشقانه و دراماتیک آثار رمانتیک، به‌تصویر کشیده می‌شود. مقالة حاضر به بررسی تطبیقی مفهوم «مرگ» در دو اثر برجستة ادبی، یعنی «لیلی و مجنون» و «گوژپشت نتردام»، با تمرکز بر اصول رمانتیسم می‌پردازد. «مرگ» در این دو اثر به‌مثابة نمادی از عشق متعالی، فداکاری و اعتراض در برابر ناملایمات زندگی، بازنمایی شده است. در «لیلی و مجنون»، مرگ لیلی در بستر بیماری و سپس مرگ مجنون بر مزار معشوق، اوج رمانتیسم عاشقانه را به نمایش می‌گذارد؛ که در آن عشق زمینی، در نهایت به‌شکل وصالی ابدی و متعالی تحقق می‌یابد. جایی که عشق این‌جهانی با مرگ دو دلداده، به پیوندی سرمدی بدل می‌شود. از سوی دیگر، در «گوژپشت نتردام»، مرگ اسمرالدا به دست نظام فاسد و پیوند اسکلتی کازیمودو با او در سرداب، در بستر رمانتیسم، تراژدی رمانتیک را با نقدی تند بر جامعه و سرنوشت ناعادلانه پیوند می‌زند. این‌مطالعه، با تحلیل تطبیقی این دو اثر، نشان می‌دهد که چگونه رمانتیسم از مرگ در قالب ابزاری برای تعمیق احساسات، ستایش عشقی بی‌سرانجام، نمایش تقابل میان آرمان‌های عاشقانه و نقد واقعیت‌های تلخ اجتماعی بهره می‌جوید. یافته‌ها، حاکی از آن است که هرچند هر دو اثر ریشه در فرهنگ‌ها و زمینه‌های تاریخی و اجتماعی متفاوت دارند، اما در به‌کارگیری مرگ به‌عنوان عنصری تراژیک، همسویی چشمگیری با اصول رمانتیسم دارند و پایان‌بندی آنها، پیوند دلدادگان را در مرگ به نمادی از جاودانگی عشق تبدیل می‌کند.

https://jcl.uk.ac.ir/article_5242_51fc3df3ee6f779e94b7c8dae12d5ebb.pdf

دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2025 12 22 Reflection of the Seven Valleys of Attar's Journey in Hafez's First Ghazal بازتاب هفت وادی سلوک عطار در غزل نخست حافظ 97 114 5119 10.22103/jcl.2025.25578.3859 FA رضا روحانی دانشیار، بخش زبان و ادبیات فارسی،دانشکده ادبیات و زبانهای خارجی، دانشگاه کاشان، کاشان، ایران Journal Article 2025 08 17 1.Introduction This research investigates the reflection of Attar Neyshaburi's "Seven Valleys of the Mystic Journey" in the first ghazal of Hafez's Divan. Hafez's mysticism has always been a contentious topic in the field of mystical literature. On the other hand, Attar, particularly in Mantiq al-Tayr, methodically and systematically outlined the stages of the mystic journey. The main question of this study is how these seven valleys are reflected in Hafez's first ghazal, which is considered his mystical manifesto. The first ghazal of Hafez's Divan, starting with "Alā yā ayyuhā al-sāqī ader ka'san wa nāwel-hā," has long attracted the attention of commentators and researchers. Due to its unique position at the beginning of the Divan and its profound mystical content, this ghazal can be key to understanding Hafez's mystical thoughts. Therefore, examining its connection to Attar's intellectual system can shed new light on Hafez's mystical philosophy. 2.Methodology This research was conducted with a qualitative approach and an analytical-comparative method. Data were gathered through library research and examination of primary texts, including Hafez's Divan and Attar's works, especially Mantiq al-Tayr. Authoritative commentaries on Hafez's Divan and relevant research works were also utilized. The methodology involved first identifying and analyzing the seven mystical valleys in Attar's Mantiq al-Tayr. Then, the first ghazal of Hafez's Divan was meticulously examined to trace signs of each valley within its verses. Finally, the similarities and differences in the two poets' approaches to the stages of the mystic journey were analyzed and explained. 1.Discussion and Analysis The seven mystical valleys from Attar Neyshaburi's perspective are: Request (Talab), Love (Ishq), Knowledge (Ma'rifat), Detachment (Istighnā), Monism (Tawhid), Bewilderment (Hayrat), and Poverty & Annihilation (Faqr o Fanā). Examining Hafez's first ghazal reveals that these seven valleys are beautifully and artistically reflected in its seven verses. The first verse explicitly refers to the "Valley of Request" and implicitly alludes to the seven valleys of the journey. The request to the Sāqi (cupbearer) to offer the wine cup symbolizes the seeker's request and quest to receive grace from the Beloved. The phrase "Love seemed easy at first, but difficulties arose" simultaneously points to the "Valley of Love" and the "Valley of Bewilderment," as it speaks both of love and its trials, and the bewilderment arising from the path's hardships. In subsequent verses, Hafez more or less directly and indirectly refers to both this desire and request, and the difficulties in reaching the ultimate goal of the journey. Verse 3 again speaks of the journey and travelling from station to station (Request), where the seeker knows and realizes that this journey and request, if based on true love for the Divine Beloved and the station of Truth, is eternal and limitless (Knowledge). This need from the seeker to the unique and self-sufficient Beloved (Detachment and Monism) leads the seeker, ultimately and after passing through infinite and wondrous stations (Bewilderment), to reach the absolute Divine Beloved (Poverty and Annihilation). Like the previous verses, Verse 4 discusses the difficulty of reaching the Beloved and the astonishing, sometimes norm-breaking and unfamiliar-seeming instructions of the path, showing various allusions to the seven valleys. Verse 5, describing the "dark night, fear of waves, and such a terrifying whirlpool," clearly refers to the "Valley of Bewilderment," where the seeker is immersed in a sea of perplexity and confusion. Verse 6, stating "All my efforts, born of self-will, ended in disgrace," relates to the "Valley of Poverty and Annihilation." Here, the seeker is annihilated from selfhood and egoism, confessing to his inherent poverty. Verse 7 can more clearly indicate or even explicitly refer to the classification of Attar's seven valleys: the expression or allusion to wanting (Request), seeking the presence of the Beloved or union with Him (Love and Annihilation), the necessity of not being absent from Him and meeting the Beloved (Monism), introducing the path to presence (Knowledge), maintaining presence near the Beloved with absence from all else, and the wonder in expressing and reconciling this contradiction (Bewilderment). The seeker, as a loving mystic, finds that he must be poor and needy of that Self-Sufficient One, whose presence is only achieved through absence from oneself and abandoning all besides Him. By realizing this poverty and annihilation of actions and attributes, the loving seeker finally attains meeting the Beloved, realizing His presence and union, and becomes annihilated and bewildered in His beauty and perfection (Request, Love, Knowledge, Detachment, Monism, Bewilderment, and Poverty & Annihilation). It is worth mentioning that this mapping is not linear and separate; rather, each verse can simultaneously point to several valleys. This is part of Hafez's artistic subtlety, expressing profound mystical concepts through multifaceted and deep poetry. 3.Conclusion This comparative research with an analytical method has demonstrated that the first ghazal of the Divan, which holds significant importance, beautifully reflects and succinctly explains the terminology related to Attar's seven valleys. The author has briefly shown how extensive and diverse Hafez's influences from Attar's ideas and expressions are, even within a single ghazal, and that these two poets likely shared intellectual affinity in terms of the mystic journey. To the extent that, directly and indirectly, traces of all seven valleys of the path can be seen in almost all verses. Hafez, in his own way and through symbolic imagery and expressions, has explained both the seven valleys and their challenges within the first seven verses of his Divan, thereby beautifully, subtly, and concisely unveiling the intricacies and concerns of his own mystical journey. This research shows that reading Hafez's first ghazal in the light of Attar's seven mystical valleys can illuminate the hidden aspects of this ghazal and better reveal the depth of Hafez's mystical thought. Furthermore, this study testifies to the profound connection within Persian mystical literature and the creative influence poets have had on one another. عرفان حافظ و بررسی مفاهیم و معانی عرفانی در شعر او از مهمترین موضوعات قابل تحقیق در دیوان اوست، که البته در این باره شارحان گذشته و معاصر اختلافاتی نیز داشته‌اند، اما در آثار عطار و به ویژه در منطق‌الطیر او، به طور ویژه و با دو رویکرد صریح و تعلیمی، و کنایی و نمادین به سیر و سلوک عرفانی و وادی‌ها یا مراحل سلوک پرداخته شده است. در این پژوهش که به شیوه کیفی و کتابخانه‌ای و با روشی تحلیلی و مقایسه‌ای انجام یافته، غزل نخست دیوان حافظ (با مطلع: الا یا ایها الساقی ادر کأساً و ناولها…) که به نوعی مرامنامه ی سلوکی او به شمار می‌آید، مورد توجه واقع شده و تأثیر هفت وادی سلوک عرفانی عطار در آن، به اختصار واکاوی و تفسیر و تبیین شده است. از نتایج تحقیق حاضر آن است که حافظ شیرین‌سخن با زبانی نمادین و بیانی غنایی و غیر‌مستقیم و ایهامی، هفت وادی عرفانی (طلب، عشق، معرفت، استغنا، توحید، حیرت، و فقر و فنا) را به زیبایی و ظرافتی هنری در هفت بیت این غزل مشهور خود درج کرده و از دغدغه‌ها و دشواری‌های سلوکی عرفانی خود رونمایی کرده، و به طور ضمنی نیز این مبانی را به مشتاقان سلوک عرفانی و عموم مخاطبان خود معرفی کرده و آموزش داده است.

https://jcl.uk.ac.ir/article_5119_3f8e0f3bc52e27f9f359f5659ae67d6e.pdf

دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2026 01 10 In Search of a Verse’s Journey: From Shiraz to Cairo در جستجوی سفر یک بیت: از شیراز تا قاهره 115 130 5401 10.22103/jcl.2026.26200.3893 FA تورج زینی وند استاد گروه زبان و ادبیات عربی، دانشگاه رازی، کرمانشاه، ایران Journal Article 2025 10 28 Abstract Introduction The migration of a form, theme, or literary genre from its origin (source literature) to another nation's literature (target literature) is an inevitable and age-old phenomenon. In this journey or migration, the way such a form, theme, or genre is received differs across regions. At times, it is accepted without alteration or with only minimal modifications—for instance, the influence of Quranic and narrative themes on Persian culture and literature. In other cases, the transferred theme, form, or genre undergoes such profound transformation that it appears to have long existed inherently within the target literature itself, eventually becoming an integral part of that culture’s structural and identity framework. The tales of Alf Laylah wa Laylah (The Thousand and One Nights) are a prominent example of such migration. Although there are diverse opinions regarding their original source—whether Iranian, Indian, or Greek—their adaptation and literary rejuvenation within the Arabic cultural and literary context have been so complete that the Arabic culture is regarded as the fourth pillar of their formation. In this study, we aim to investigate the presence and migration of the opening verse (from Ghazal No. 134) by Hafez of Shiraz, the eminent 14th-century Persian mystic poet, within the story collection Hekayat Harretna (Tales of Our Quarter) by Naguib Mahfouz, the distinguished Egyptian novelist and Nobel Prize laureate. The influence of classical Persian poetry, particularly the mystical and romantic ghazals of Hafez, on modern Arabic literature is a nuanced area of study. Hafez’s work, characterized by its ambiguity between carnal and spiritual love, provides rich material for authors navigating complex social and philosophical landscapes. Methodology In this descriptive-analytical research, after first presenting the hypotheses, the subject is analyzed, reasoned, and interpreted using reliable critical sources. Discussion “As is evident, the beginning and end of this collection are framed by the same opening line of the ghazal (“A nightingale with a bleeding heart…”). It appears necessary to assert that this collection constitutes a form of biography preserved within the format of short narratives. The individual is characterized as being full of questions, doubts, and ambiguities regarding religion and the nature of existence, much like Khayyam and certain other Sufis and mystics. However, it should not be overlooked that Mahfouz, in this questioning and doubting approach (given his academic background in philosophy), may also have been influenced by Descartes’ philosophy and his skeptical tenets. In any case, Mahfouz in this collection must be viewed as an inquisitive and active individual who, contrary to the superficial and outward perceptions of some people concerning religion and life, is diligently and earnestly seeking to comprehend the secrets and enigmas of existence—in other words, searching for “the meaning of the meaning of life.” In summary, this work is superficially simple and brief, yet profoundly deep and contemplative, representing a segment of the author’s philosophical-ideological foundation and serving as the material and inception point for the writing of the religion-centered novel, Children of Gebelawi [or Children of Our Alley].” Conclusion The poetry and thought of Hafez possess the capacity for modernization, enabling them to serve as the foundation for contemporary narrative fiction, as the language and subject matter of Hafez’s poetry transcend the time and place of its originator, seemingly unconfined by spatial and temporal boundaries. The means and method through which Mahfouz became acquainted with Hafez’s poetry was via the translation by Ibrahim Amin Al-Shawarbi. In reality, translation, much like a travelogue, can be considered one of the most significant factors in literary and cultural transmission, influence, and interaction. Although the aforementioned opening line (‘A nightingale with a bleeding heart…’) as well as the socio-cultural and political contexts of Hafez’s mystical poetry possess their own deep language, intricate layers, and complex structures, Mahfouz, with his particular artistry, has successfully employed those same components at a more accessible level, yet within the same symbolic and metaphorical approach. The central character, or the child in this collection, is Mahfouz himself, or interpreted more broadly, a human being appearing under the guise of a child. This is a personality replete with questions, doubts, and bewilderment concerning the truth of religion and its related discourses, as well as concerning life and the enigma of existence and creation. مطلع (بلبلی خون دلی خورد و… ) از غزل ۱۳۴ خواجه شیراز، تمثیل و نمادی از این حقیقت است که زندگی آدمی در مسیر دست‌یابی به معشوق، همراه با درد، رنج، جدایی و فراق است؛ چراکه به ناگه دشواری‌ها و تلخی‌های روزگار، آرامش و شادی را از او گرفته و معنی آن را به پریشانی، رنجوری و تلخی مبدل می‌سازد. این مطلع زیبا، از دیرباز با استقبال برخی از شاعران ادب فارسی نیز همراه بوده است،اما در روزگار معاصر و فراتر از مرزهای ایران، مورد اقتباس نویسنده مشهور مصری و برنده‌ جایزه‌ نوبل ادبیات؛ یعنی نجیب محفوظ قرار گرفته‌است. محفوظ در مجموعه «حکایات حارتنا» این بیت را چهار مرتبه در سه داستانک شماره (1) و (4) و(78)به‌کار برده است.یافته‌های پژوهش، بیانگر این است؛ اگرچه کاربرد نمادین و تمثیلی این مطلع در سه داستانک مذکور به ژرفای غزل حافظ نمی‌رسد، اما درعین‌حال، بیانگر آشنایی او با ادب پارسی و نیز فرهنگ ادبی گسترده و توانایی فنی ایشان در کاربرد نمادین آن مطلع براساس سبک خود و گریز به پرسش‌ها و اندیشه‌های نویسنده در باب دین و معمای هستی است. در این پژوهش، ضمن بررسی راه‌های چگونگی آشنایی محفوظ با غزلیات این سخن-سرای نامدار ایرانی به تحلیل اهداف و شیوه نویسنده در کاربرد این مطلع شعری می‌پردازیم

https://jcl.uk.ac.ir/article_5401_7257fdb205f4ddc07e2d54e097588acd.pdf

دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2026 01 10 Comparative analysis of the teachings of Hafez and Carlos Castaneda to solve the suffer of the meaninglessness پاسخ‌های حافظ و کارلوس کاستاندا به مسأله معناباختگیِ زندگی 131 151 5134 10.22103/jcl.2025.25594.3861 FA مرتضی شکری دانش‌آموخته دکتری، بخش زبان و ادبیات فارسی، دانشگاه لرستان، لرستان، ایران. Journal Article 2025 07 19 Abstract Introduction The course of philosophical thinking in the West has changed from an existential encounter with man and existence to a purely scientific and technological encounter. According to Nietzsche and Heidegger, the end of this intellectual-philosophical course has led to nihilism. Nihilism means the unfoundedness of existence and the emptying of the space of existence from the presence of the sublime, and as a result, the life of modern man becomes meaningless and unsupported. Nietzsche said in the early 19th century that God is dead. This sentence of Nietzsche was the beginning of the spread of absurdity throughout the West, which gradually spread to the whole world in the 20th century. Against the pervasive and formidable current of emptiness, a current called modern spirituality was formed, which aimed to restore meaning to life. In this article, we compare the teachings of Hafez from Iranian-Islamic mysticism with the teachings of Carlos Castaneda, who is one of the leaders of new spiritualism, so that we can find a solution to give meaning to the life of modern man from their thoughts. Methodology In this research, we have first referred to reliable library sources such as books and articles, and then we have scanned the related materials. Finally, we have written the collected slips with a descriptive-analytical method. Discussion Contemporary man is existentially homeless and without a support. Modernity has destroyed human shelters and left man wandering in the wilderness of existence. Contemporary man must find a support for himself. Eastern sages and wise men and Western philosophers have always been trying to provide an existential support for man. Iran is one of the main centers of Eastern wisdom and civilization, in whose lap many wise men have grown. Iranian poets have also been wise and thoughtful, and have expressed their thoughts and teachings in the language of poetry. Classical Persian literary texts are full of wisdom and solutions for contemporary man. Contemporary man is a man for whom modernity has transformed all his intellectual and mental foundations. Modernity was a fundamental movement that changed man's attitude and outlook towards himself, existence, and the relationship between the two. This movement created a new man with different existential concerns. One of these inner concerns is the question of the meaning of life. The meaning of life was not an issue for traditional man, but for modern man it is the most important issue. Although the meaning of life is not directly mentioned in classical Persian texts, by rereading these texts from the perspective of the concerns of a modern person, we can extract teachings that answer the question of the meaning of life and provide a solution for a authentic life. To better understand these texts, we can compare them with other texts to find out the similarities and differences between the approaches of Iranian wise poets and other thinkers of the world. Hafez is one of the Iranian wise men who was very sensitive to the existence of man in this world. He had existential concerns and tried hard to find an answer to solve his concer In this article, we have analyzed the teachings of Hafez and Carlos Castaneda in order to find an answer to the difficult question of the meaning of life, so that we can offer modern man a solution for a authentic life by combining the wisdom of the East and the West. 4.Conclusion Hafez considers several fundamental beliefs necessary to have a peaceful, happy, and meaningful life: belief in the impermanence and unfairness of existence, which leads to acceptance of life and existence as it is, conscious acceptance of the existence of suffering in life, hope, and contemplation of death. He also considers benefiting from love, "rendy"(The main concept of Hafez's poetry), and good times in the field of behavior to complete the art of living and the evolution of human existence. Castaneda also considers the mind trapped in the fence of repetitive patterns to be the main cause of meaninglessness. Castaneda's solution for liberating a person from the mind is based on accepting life, death of consciousness, inner silence, and achieving a new outlook on life. In fact, the focal center of Castaneda's thought is understanding the reality of life beyond the illusion that we are trapped in. By presenting his theoretical wisdom, Hafez tries to destroy the conventional, repetitive, and superficial understanding of existence. Freedom from the chains that bind the mind is possible by taking advantage of his profound worldview and applying his practical wisdom in life. Rend, who has reached mature wisdom through spiritual perspiration, experiences the vision of Castaneda. Castaneda considers it a suitable solution to embrace peace, accept life and get rid of the result; Hafez has considered this approach and emphasized that the flower of life cannot be without thorns, one should stop complaining and complain about the part and start accepting. Both of them believe that contemplation and awareness of death indicate the green opportunity of life. Having an eye in the eye of death leads to authentic living; And authentic living means meaningful living. Today's human being has wandered in the barrenness of meaninglessness, to get rid of boredom and repetition and create meaning, it is inevitable to reach into the lap of deep wisdom - both Eastern and Western, traditional and modern - to be able to you should discover and understand his existential talents and achieve transcendence by living based on those wisdoms. The apparent difference in these wisdoms is related to the difference in their language and expression, while their deep structure shows a way to liberation. یکی از مهم‌ترین دغدغه‌های انسان معاصر، سرگردانی در برهوت بی‌معنایی است. نیهیلیسم فراگیر، شور و گرمای زندگی را به ملال و سردی تبدیل کرده است. مسأله کانونی این پژوهش که با روش توصیفی – تحلیلی تقریر شده است، تحلیل مقایسه‌ای راهکارهای حافظ(792-727 ه.ق) و کاستاندا(1998-1925) برای برون‌رفت از بحران بی‌معنایی است. نتایج تحقیق نشان می‌دهد که حافظ با علم و باور به ناپایداری و نامنصفانه بودن هستی، وجود رنج در زندگی، امیدواری و مرگ آگاهی در حوزۀ نظر، کاربست عشق، رندی و گذران خوش در حیطۀ عمل را به عنوان درمان پیشنهاد می‌دهد. کاستاندا اسارت ذهن در قالب‌های تکراری را عامل اصلی بی‌معنایی دانسته و برای مقابله با این بحران، سکوت درونی، مرگ آگاهی و پذیرش هستی را ارائه کرده است. تأکید هر دو بر دوری از حاقِ واقعیتِ هستی و زیستن متوهمانه به عنوان اصلی‌ترین علت بی‌معنایی است. سکوت درونی و رسیدن به نگاهی نو در آموزه‌های کاستاندا با ویژگی‌های رندِ عاشق حافظ همسان است. پذیرش هستی در اندیشۀ کاستاندا با فهمِ گُلِ زندگی از نظر حافظ که لاجرم خار دارد و پذیرش بدون نالۀ قسمتِ سرنوشت، یکسان است. هر دو بر مرگ آگاهی و مواجهۀ مستقیم با مرگ برای دریدن پردۀ پندار تأکید داشته‌اند.

https://jcl.uk.ac.ir/article_5134_96266b734686f11df9ecb6f892eb18a5.pdf

دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2026 01 10 A Comparative Analysis of Poetic Themes in the Poetry of Farrokhi Sistani and Du Fu (Focusing on War, Politics, and Individual Destiny) تحلیل تطبیقی بنمایه‏های شعری فرخی سیستانی و دو فو با تأکید بر بنمایه‏های جنگ، سیاست و سرنوشت فردی 153 172 5248 10.22103/jcl.2026.25510.3857 FA شین یی تینگ دانشجوی دکتری، گروه زبان و ادبیات فارسی، دانشگاه تربیت مدرس، تهران، ایران نجمه دری استاد، گروه زبان و ادبیات فارسی، دانشگاه تربیت مدرس، تهران، ایران غلامحسین غلامحسین زاده استاد، گروه زبان و ادبیات فارسی، دانشگاه تربیت مدرس، تهران، ایران فرهاد جوانبخت استادیار، گروه زبان و ادبیات چینی و شرق دور، دانشگاه شهید بهشتی، تهران،ایران Journal Article 2025 07 06 Abstract Introduction The literary traditions of classical China and Iran each experienced a “golden age” in which poetry became both a mirror and a maker of civilization. In China, this took place during the Tang dynasty (618–907 CE), when the art of poetry achieved unprecedented refinement, and in Iran during the Ghaznavid era (867–1187 CE / 344–583 AH), when Persian court poetry flourished as a prestigious cultural institution. Both periods witnessed the close patronage of poets by royal courts, yet they produced radically different kinds of verse. The present study investigates this paradox through a comparative analysis of Du Fu (712–770 CE), the great realist poet of Tang China, and Farrokhi Sistani (ca. 1000–1038 CE), one of the most eminent panegyrists of the Ghaznavid court. Although both poets wrote within aristocratic frameworks, their works reflect divergent functions of poetry: for Du Fu, it was a medium of ethical reflection and social protest, while for Farrokhi it was a vehicle of praise, power, and imperial legitimacy. The contrast between these two literary models illustrates how the same artistic form serves opposing ideological ends depending on cultural expectations, political structure, and individual experience. The central problem guiding this study is to determine how themes of war, politics, and individual destiny were shaped by the different socio-cultural environments of Tang China and Ghaznavid Iran. While Du Fu transformed his personal suffering and historical witness into a moral voice for the nation, Farrokhi employed poetry to glorify the sovereign and perpetuate dynastic authority. Examining these two poets comparatively reveals not only aesthetic distinctions but also two contrasting conceptions of what poetry ought to accomplish in society. The significance of this comparison lies in its ability to highlight how poetry mediates between the individual and the state. Chinese literary culture, grounded in Confucian moral philosophy, expected poets to serve as the conscience of the polity, whereas Persian court culture regarded poets as custodians of royal imagery and instruments of dynastic representation. By juxtaposing these functions, the article exposes the differing ethical and institutional meanings of poetic creation. Furthermore, since direct comparative studies between Iranian and Chinese classical literature remain rare, this research contributes to expanding the field of cross-cultural and comparative literary studies between Iran and China. Methodology The study adopts a comparative textual analysis grounded in the American School of Comparative Literature, which emphasizes the parallel examination of literary phenomena across distinct cultural systems without presupposing direct influence. This methodological choice allows attention to both structural similarities and contextual divergences between two autonomous literary traditions. The research proceeds in three analytical dimensions: - Textual Dimension – A close reading of selected poems by Du Fu and Farrokhi focusing on the explicit thematic fields of war, politics, and individual destiny. The poems were chosen based on their representativeness within each poet’s corpus and their critical reception in modern scholarship. - Contextual Dimension – Each poem is interpreted within its historical and socio-political background: the Lushan Rebellion and bureaucratic crises of Tang China versus the militarized monarchic order of the Ghaznavid court. - Cultural-Functional Dimension – The study integrates concepts from literary sociology and cultural semiotics to explain how cultural institutions—such as the Chinese examination system (keju) or the Persian patronage system—conditioned the poet’s relation to power and determined the moral expectations of poetry. Sources include authoritative Persian and Chinese primary texts, historical works, and secondary research in comparative poetics. Analytical procedures involve thematic classification, stylistic analysis, and intertextual comparison, emphasizing semantic contrasts and narrative stance rather than mere lexical parallelism. The methodology recognizes that meaning in poetry is co-produced by text, context, and reception. Therefore, the article also draws upon the reception-aesthetics framework: Du Fu’s poems are traditionally received as “moral history,” while Farrokhi’s are interpreted as ceremonial speech. These culturally specific horizons of expectation guide the comparative reading. Discussion 3.1 War: Between Tragedy and Triumph War functions as a revealing lens through which the poets’ ethical positions emerge. Du Fu, living through the An Lushan Rebellion (755–763 CE), witnessed famine, displacement, and administrative collapse. His poems, such as “The Song of the War Carts” and “Spring View,” depict the human cost of conflict: mothers weeping at the city gate, conscripts vanishing into dust, blossoms weeping over a ruined capital. War for Du Fu is not a heroic spectacle but a moral catastrophe, exposing the failure of governance and the suffering of the innocent. His tone oscillates between compassion and outrage, merging private grief with collective tragedy. The poet’s language is spare, imagistic, and empathetic, embodying the Confucian principle of concern for the people. By contrast, Farrokhi Sistani, as an official laureate of Sultan Mahmud of Ghazna, portrays war as the highest expression of divine justice and royal might. In his panegyrics, the battlefield is a stage of glory, not anguish: swords glitter like celestial light, and enemies fall as proof of cosmic order. Verses such as “To Rome and China reaches the thunder of your name” epitomize his rhetoric of imperial universality. The language of victory replaces lamentation; war becomes a ritual of legitimacy that confirms the ruler’s right to reign. The poet’s task is to transform political conquest into aesthetic immortality. Hence, while Du Fu writes “from the margins of power” to humanize its victims, Farrokhi writes “within power” to celebrate its grandeur. This contrast reveals two cultural functions of poetry—ethical witness versus ceremonial affirmation—each coherent within its own tradition. 3.2 Politics: Critique and Celebration Both poets engage with politics, but from opposite epistemological stances. Du Fu’s political poems articulate a moral realism that confronts corruption, injustice, and the decay of public virtue. Without direct invective, he uses allegory and historical analogy to indict rulers and officials. In “The Beautiful Ladies’ Song”, the court’s indulgence mirrors political degeneracy; in “Two Reminiscences of the Past”, the ruins of Luoyang symbolize imperial decline. His subtle ironies turn aesthetic form into political discourse. Du Fu’s commitment to truth places him in tension with authority yet secures his later reputation as the “Poet-Sage” of China. Farrokhi’s political stance, by contrast, is that of courtly affirmation. Poetry for him is an instrument of governance: to praise the ruler is to uphold cosmic order. His odes idealize the sultan as both warrior and divine vicegerent— “The world’s sovereign, the eye of glory and pride”. Through elevated diction, balanced syntax, and rhythmic repetition, he converts political hierarchy into poetic harmony. This language excludes dissent; its perfection mirrors the perfection of the king. The poet’s authority derives from proximity to power, not from independence of conscience. Consequently, whereas Du Fu transforms poetry into a tool of moral protest, Farrokhi uses it as a medium of ceremonial statecraft. The divergence arises from differing institutional relationships: the Confucian scholar-official system, which endowed writers with moral agency, versus the Persian patronage economy, which bound poets to royal favor. 3.3 Individual Destiny: The “I” of Suffering and the “I” of Service The theme of individual destiny encapsulates each poet’s existential position. For Du Fu, personal fate intertwines with the fate of the nation. His poems record poverty, illness, exile, and unfulfilled ambition—conditions that become metaphors for the moral disintegration of the age. In “Three Verses at Qiang Village, the reunion with his family after the war is tinged with disbelief and gratitude: survival itself seems accidental. His late works written in Chengdu, such as “The Thatched Cottage Broken by Autumn Wind,” articulate a universal longing for shelter and compassion— “Oh, that I could build ten thousand mansions to house the poor of the world!” Here, the private “I” dissolves into the collective “we”; selfhood becomes empathy. Farrokhi’s “I”, however, is a performative self embedded in ceremonial language. The first-person voice appears mainly in relation to the patron: “I am your humble servant; I live by your grace.” The poet’s identity is defined through loyalty, not introspection. His occasional love lyrics reveal fleeting emotion— “Without you, my life is bitter”—but even these remain polished and decorous, governed by courtly restraint. The inner self is subordinated to social function. Whereas Du Fu’s lyricism exposes vulnerability and doubt, Farrokhi’s asserts stability and confidence. The contrast between the confessional voice and the official voice demonstrates how poetic subjectivity is culturally produced. 3.4 Explaining the Differences: Cultural, Institutional, and Personal Factors Three interacting factors explain the observed divergence: - Cultural Tradition: In China, the moralization of poetry since the “Book of Songs” established verse as a vehicle of ethical sentiment and social responsibility. The Tang poet was expected to be a moral historian. Du Fu embodies this lineage by turning private emotion into collective conscience. In Iran, however, the classical Persian qasīda evolved within the courtly-feudal order, where poetry served diplomacy, ritual, and royal propaganda. As scholars such as Nader Vazinpour (1995) and Ahmadi Darani (2017) note, the Persian panegyrist functioned as both chronicler and myth-maker of power. Farrokhi’s diction of splendor reflects this institutional aesthetic. - Relation to Power: Du Fu remained largely excluded from office. His failure in the state examinations and dismissal after limited service left him morally free but materially destitute. His distance from authority allowed him to critique it from an ethical standpoint. Farrokhi, conversely, was integrated into the Ghaznavid apparatus. He traveled with royal campaigns, received lavish rewards, and wrote by commission. His dependency transformed poetic creation into political performance. - Personal Experience: Du Fu’s biography of exile, hunger, and illness imbued his verse with existential depth; his empathy was born of lived suffering. Farrokhi’s comfortable and prosperous life at court encouraged a poetics of celebration rather than lamentation. Each poet wrote what he knew: Du Fu chronicled ruin, Farrokhi constructed magnificence. From a sociological perspective (Bourdieu’s field theory), Du Fu’s symbolic capital derived from moral autonomy, while Farrokhi’s from institutional proximity. Their differing “positions in the literary field” generated distinct aesthetics: realism versus idealism, protest versus praise. Conclusion This comparative inquiry demonstrates that Du Fu and Farrokhi Sistani, though both products of their civilizations’ literary zeniths, represent two antithetical paradigms of the poet’s social role. Through a systematic comparison of their treatment of war, politics, and individual destiny, the study arrives at several interrelated conclusions: - Different Conceptions of Poetry’s Function: Du Fu’s poetry fulfills the Confucian mission of moral instruction and historical testimony. His verse operates as an ethical conscience addressing the state’s failures. Farrokhi’s poetry, conversely, functions within the Persian tradition of courtly panegyric, where art legitimizes power and reinforces hierarchical order. - Contrasting Relationships to Power: The Chinese poet, marginal to authority, converts exclusion into critical vision; the Persian poet, integrated within authority, converts proximity into glorification. These positions determine their stylistic registers—Du Fu’s realism and simplicity versus Farrokhi’s ornamentation and hyperbole. - Cultural Mediation of the Self: In Tang China, the poetic “I” is a moral self seeking harmony between Heaven, the ruler, and the people. In Ghaznavid Iran, the “I” is ceremonial, defined by service to the ruler. The divergent subjectivities reflect opposing epistemologies of individuality in the two cultures. - Interplay of Structure and Experience: Structural factors (institutions, traditions) and personal experiences (war, exile, comfort, patronage) interact dynamically. Neither poet can be understood apart from the system that produced him; yet both transcend it by crystallizing universal human concerns—justice, suffering, aspiration. Ultimately, this study argues that poetry is not merely a linguistic art but a form of cultural action. In Du Fu, poetic language becomes a moral protest against historical tragedy; in Farrokhi, it becomes the language of celebration that sustains imperial ideology. The comparison, therefore, exposes how the same medium—poetry—can embody two distinct civilizational logics: one ethical and humanistic, the other ceremonial and hierarchical. For comparative literature, these findings reaffirm that cross-cultural understanding requires attention not only to textual parallels but also to institutional, ideological, and experiential frameworks. Even within their respective “golden ages,” poets were not universal types but culturally situated actors whose voices reflect the moral architecture of their societies. The study thus provides a new interpretive model for analyzing the interaction between poetic function and cultural structure. It invites further interdisciplinary exploration into how Eastern literatures—Persian, Arabic, Chinese—negotiated the relationship between art, ethics, and authority. By revealing the dialogic space between Du Fu’s compassion and Farrokhi’s praise, it demonstrates that comparative literature can illuminate the diverse ways in which human beings, through poetry, seek to reconcile the self, the state, and the sacred order. دوران سلسلۀ تانگ (۶۱۸- ۹۰۷م) در چین و دورۀ غزنویان (۸۶۷- ۱۱۸۷م) (۳۴۴- ۵۸۳ هـ. ق) در ایران به‌عنوان دوران طلایی ادبیات دو کشور شناخته می‌شود و هر دو سلسله حامیان جدی شعر و ادب به شمار می‏آمدند. در این پژوهش، اشعار دو فو (۷۱۲–۷۷۰م) و فرخی سیستانی (حدود ۱۰۰۰–۱۰۳۸م) به‌عنوان نمایندگان ادبیات دوکشور مورد مطالعه قرار گرفته‌است. بن‏مایه‏های منتخب شعری هر دو شاعر با بهره‌گیری از روش تحلیل متنی و با رویکرد ادبیات تطبیقی، بررسی و تحلیل شده و عوامل فرهنگی، سیاسی و اجتماعی مؤثر بر عملکرد شعری آنان تبیین شده‌است. نتایج نشان می‌دهد که اشعار دو فو اغلب شامل انتقاد اجتماعی، رنج‌های ناشی از جنگ، درد و رنج مردم و ناکامی‌های شخصی در دستگاه حکومتی است و روحیۀ مسئولیت‌پذیری کنفوسیوسی «نگران کشور و مردم بودن» را منعکس می‌سازد؛ در حالی که اشعار فرخی سیستانی عمدتاً مدیحه‌های درباری، ستایش دلاوری‌های پادشاه و شکوه امپراتوری را شامل می‌شود که بیانگر وابستگی شاعر به دستگاه قدرت سلطنتی است. این تفاوت نه‌تنها ناشی از ساختار سیاسی دو کشور است، بلکه به‌طور مستقیم با جایگاه شاعر و سنت‌های ادبی مرتبط است. پژوهش حاضر درک عمیق‌تری از چگونگی تأثیرپذیری بن‏مایه‏های شعری جنگ، سیاست و سرنوشت فرد از بستر فرهنگی و سیاسی ارائه می‌دهد و چشم‌اندازهای جدیدی برای مطالعات تطبیقی و بینافرهنگی ادبی فراهم می‌سازد.

https://jcl.uk.ac.ir/article_5248_94559c57e782c78453cea7bf345ac291.pdf

دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2025 12 22 A Reading of Everyday Life in the Poetry of Forough Farrokhzad Based on Henri Lefebvre’s Spatial Triad خوانش امر روزمره در سروده‌های فروغ فرخزاد بر مبنای سه‌گانۀ فضایی هانری لوفور 173 188 5247 10.22103/jcl.2026.26240.3896 FA حسین طاهری دکترای زبان و ادبیات فارسی، بخش زبان و ادبیات فارسی، دانشگاه شیراز، شیراز، ایران Journal Article 2025 11 04 Abstract Introduction This study investigates how everyday life is conceptualized, transformed, and ultimately recreated in the poetry of Forough Farrokhzad, using Henri Lefebvre’s spatial triad as its analytical foundation. While Farrokhzad’s work has been widely examined from biographical, feminist, psychoanalytic, and stylistic perspectives, few studies have explored the structural and phenomenological dimensions of everydayness within her poetic universe. Drawing on Lefebvre’s categories of perceived space, conceived space, and lived space, the article argues that Farrokhzad’s poetic trajectory mirrors a progressive deepening of spatial consciousness: from the passive reproduction of daily norms to the creative reappropriation of space as an embodied, existential, and ideological act. Methodology The research employs a qualitative, interpretive framework that combines critical discourse analysis, cultural semiotics, and close reading. Three phases of Farrokhzad’s poetic development—Asir, Divar, Esyan; Tavalodi Digar; and Iman Biavarim be Aghaz-e Fasl-e Sard—are examined in relation to Lefebvre’s triadic model. Textual evidence is analyzed across three levels: The spatial logic of the poem (how space is structured linguistically and symbolically), The positioning of the body (as a rhythmic, affective, and socio-political node), and The function of everyday life (as repetition, critique, or creative praxis). This methodological approach allows the study to trace the evolution of Farrokhzad’s spatial imagination not merely as thematic variation but as a shift in the underlying logic of representation. Discussion Findings indicate that Farrokhzad’s early poetry corresponds to perceived space, where daily life is experienced as a constraining environment dominated by external norms, gendered expectations, and socio-familial surveillance. The body appears objectified, fragmented, and largely reactive. In Tavalodi Digar, the poems transition toward conceived space: Farrokhzad becomes increasingly aware of the ideological frameworks shaping experience. Space is no longer a backdrop, but a site of contestation, and the body emerges as an epistemic instrument capable of re-narrating everyday life. Finally, Iman Biavarim… exemplifies lived space, where the boundaries between inner life, philosophical reflection, and material environment dissolve. Here, everyday life becomes a dynamic field of meaning-making in which the poet actively reconfigures temporal, spatial, and affective relations. Farrokhzad’s language transforms into a phenomenology of feminine existence—one that exposes the tensions between repetition and creativity, domination and resistance, loss and becoming. Conclusion The study demonstrates that Farrokhzad’s poetic corpus functions as a microcosm of Lefebvre’s theory of space, charting a movement from passive immersion in everyday structures to an active reconstruction of lived reality. By integrating the body, space, and language, Farrokhzad converts the mundane into a site of philosophical and aesthetic innovation. Her work not only challenges the ideological contours of daily life but also reimagines its creative potential—offering a uniquely embodied, gender-conscious phenomenology of the everyday. The findings highlight the significance of Farrokhzad’s poetry as both a literary and spatial intervention, extending Lefebvre’s insights to the domain of modern Persian poetics. این پژوهش با هدف تحلیل امر روزمره در شعر فروغ فرخزاد از منظر نظریۀ تولید فضای هانری لوفور سامان یافته‌است.پرسش اصلی تحقیق آن است که چگونه شعر فروغ از بازنمایی منفعل امر روزمره، به خلقی آگاهانه و زیسته از فضا و زندگی روزمره گذر می‌کند.از آنجایی که نظریۀ لوفور در سه سطح«فضای ادراک‌شده»،«فضای تصور‌شده»و«فضای زیسته»سامان دارد،مقالۀ حاضر کوشیده‌است تا با تکیه بر تحلیل محتوای کیفی و خوانش تطبیقی،سه مرحلۀ اصلی تطور شعری فروغ را با این سه ساحت فکری تطبیق دهد.روش پژوهش برمبنای تحلیل گفتمان انتقادی و نشانه‌ـ‌معناشناسی فرهنگی است که امر روزمره را نه‌صرفاً در سطح موضوع یا مضمون،بلکه به‌مثابۀ ساختار زبانی و فضایی درون متن بررسی می‌کند.در مرحلۀ نخست،سه دفتر ابتدایی فروغ (اسیر، دیوار، عصیان)به‌مثابۀ نمود«فضای ادراک‌شده»تحلیل شده‌اند،جایی که بدن و فضا در وضعیت ابژکتیو و انفعالی قرار دارند و نظم مسلط روزمرگی بازتولیدمی‌شود.در مرحلۀ دوم،دفتر تولدی دیگر نمایندۀ«فضای تصورشده»است؛فضایی که در آن شاعر به آگاهی از ساختارهای سلطه دست می‌یابد و بدن و زبان را به ابزار بازآفرینی فضا تبدیل می‌کند.در مرحلۀ سوم،با تحلیل دفتر شعر ایمان بیاوریم به آغاز فصل سرد،امر روزمره به سطح«فضای زیسته» ارتقاءمی‌یابد،جایی که تجربۀ شاعرانه با زیست فلسفی درهم می‌تند و فضا به بطن آگاهی شاعر بدل می‌شود.نتایج تحقیق نشان می‌دهد که شعر فروغ،هم‌چون طرحی میکروسکوپیک از نظریۀ لوفور،فرایند تاریخی آگاهی از فضا را درون زبان و بدن شاعر بازتاب می‌دهد.در این مسیر،فروغ با عبور از روزمرگی به‌مثابۀ تکرار،به‌سوی روزمرگی به‌مثابۀ آفرینش حرکت می‌کندو از خلال همین فرایند،شعر او به پدیدارشناسی زیست زنانه و بازتولید خلاق امر روزمره در متن بدل می‌شود.

https://jcl.uk.ac.ir/article_5247_9045b0ec12967919b23ec89a60443129.pdf

دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2026 01 10 Representation of Language, Power, and Identity in the Isfahani Folk Tale “Parichehr” and the European Tale “Snow White” from the Perspective of Sociolinguistics بازنمایی زبان، قدرت و هویت در قصه محلی اصفهانی «پریچهر» با قصه اروپایی «سفیدبرفی» از منظر جامعه‌شناسی زبان 189 211 5201 10.22103/jcl.2025.26170.3890 FA حمیدرضا قانونی استادیار، گروه زبان و ادبیات فارسی، دانشگاه پیام نور، تهران، ایران. پروین غلامحسینی دکتری، گروه زبان و ادبیات فارسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه شهرکرد، شهرکرد، Journal Article 2025 10 22 Abstract Introduction Sociolinguistics, as an interdisciplinary field bridging linguistics and sociology, investigates the relationship between language and social structures, viewing language as a socio-cultural phenomenon that reflects identity, power, and ideology (Fairclough, 1995, p. 22; Fishman, 1972, p. 9). By analyzing linguistic variation, communicative acts, and social discourses, this field demonstrates how language contributes to both reproducing and resisting social norms and power hierarchies (Hymes, 1974, p. 13). This study adopts a sociolinguistic framework, utilizing Fairclough’s critical discourse analysis to conduct a qualitative examination of the Isfahani folk tale Parichehr and the Seven Dwarfs and compare it with the classic tale of Snow White. Both macro-level (ideological and power representation) and micro-level (characters’ linguistic actions) analyses are employed to clarify the interaction between language, identity, and power. The research addresses the following questions: 1.How does language function in Parichehr and the Seven Dwarfs, and what roles does it play in representing power, identity, and social norms? 2.Which discursive elements in this tale are similar to or different from those in Snow White? 3.How does language shape social interactions and character relationships within the narrative? 4.What indicators of cultural and social norms, such as beauty, jealousy, and gender, are conveyed through language in this tale? Methodology This study draws on Norman Fairclough’s framework of Critical Discourse Analysis (Fairclough, 1989, p. 23), which examines the dialectical relationship among language, power, and identity across three levels of analysis: 1.Textual Analysis: Examining the vocabulary, syntactic structures, and speech styles of the characters. 2.Discursive Practice: Investigating how meaning is produced and reproduced within cultural and communicative contexts. 3.Social Practice: Exploring how ideologies and power structures are reflected in linguistic actions. This integrative framework enables the examination of the interrelations among language, power, and identity both at the level of individual dialogues and within the broader cultural structure of society. Discussion 1-3.Language as an Instrument of Power and Domination In this section, the analysis and interpretation of findings are conducted based on six main analytical axes of the study: 1.Language as an instrument of power and domination 2.Language and the discourse of identity 3.Language and gender 4.Language as an agent of socialization and interaction 5.Language, magic, and deception 6.Language, justice, and revenge First, these axes are examined in the local Isfahani folktale Parichehr and the Seven Dwarfs to reveal their linguistic structures, speech styles, and socio-cultural reflections. Then, using a comparative and sociolinguistic approach, the same axes are analyzed in the European tale Little Snow-White to identify points of convergence and divergence between local and global narratives. 1-1-3. Both Parichehr and the Seven Dwarfs and Little Snow-White illustrate how language functions as a tool of power, control, and social hierarchy in folktales. In Parichehr, the heroine’s simple, polite, and transparent speech reflects honesty and moral capital, enabling her to negotiate crises and assert identity, while the stepmother’s imperative, exaggerated, and self-centered language enforces dominance and social control. Dialogues with dwarfs and the mirror further reveal language as a medium of solidarity, moral legitimacy, and social mediation. Similarly, in Little Snow-White, the Queen’s commanding and manipulative speech acts consolidate psychological power, restrict freedom, and enact coercion, while Snow White and the dwarfs’ cooperative, supportive language represents social harmony and moral order. Iconic phrases-such as the mirror’s evaluation and descriptive imagery of Snow White-demonstrate the symbolic and normative function of language, reproducing cultural hierarchies and ethical ideals. Overall, both narratives show that language is not merely communicative but a performative and strategic instrument, capable of exerting dominance, shaping perception, reinforcing morality, and mediating social and ethical structures. 2-3.Language and the Discourse of Identity Individual and collective identity are shaped through linguistic discourse and reproduced within cultural interactions. According to Hall (1996, p. 4), identity is a discursive, fluid process defined within social relationships. Fairclough (1992, p. 65) also views language as a primary arena for representing and stabilizing social identities. 1-2-3.In Parichehr and the Seven Dwarfs Language serves as a key tool for representing and stabilizing character identities. Each speech act reflects both meaning and the social position of the speaker. Parichehr, through simple, honest, and polite language, establishes her identity as noble, innocent, and responsible. Her dialogue with the hunter demonstrates language as a substitute for violence, becoming a tool for ethical and social negotiation: Don’t kill me; hunt an animal instead and bring its heart and liver to the stepmother. Take my pearl necklace for yourself in return.” (Faroughi, 1978, p. 90) Conversely, the stepmother uses self-centered, competitive language to construct a dominance-oriented identity. The mirror functions as a discursive tool, allowing her to reinforce hierarchical superiority and marginalize others: “Oh! How beautiful I am. No one is as beautiful as me.” (ibid., p. 89( Overall, language in this tale operates at individual, moral, and social levels: Parichehr’s speech consolidates ethical and humane identity; the stepmother enforces a power-driven identity; and the dwarfs’ collective speech reflects social cohesion. Each character’s discourse mirrors their position within the story’s social and cultural system. 2-2-3.In Little Snow-White Snow White’s simple, honest, and innocent speech constructs a pure, noble, and vulnerable identity: My name is Snow White. My stepmother wanted to kill me, but the hunter spared me, and I ran until I found your house. In contrast, the Queen uses repetitive, manipulative language to assert dominance, measuring her social power against others: Mirror, mirror, on the wall, who is the fairest of them all? Snow White’s interactions with the dwarfs illustrate collective and social identity, where cooperative language and assigned responsibilities stabilize her social role. Descriptions like “white as snow, red as blood, black as ebony” create an idealized cultural identity, contrasting the Queen’s jealous and power-driven persona. 3-3.Language and Gender Contemporary approaches view language as a mechanism for producing and representing gender, not merely reflecting biological differences (Butler, 1990; Tannen, 1990; Coates, 2013) 1-3-3.Parichehr and the Seven Dwarfs Language constructs gender identities: Parichehr’s polite, honest speech reflects traditional feminine traits such as nobility, empathy, and responsibility, while the stepmother’s competitive, power-driven language expresses dominance and jealousy. The dwarfs’ speech emphasizes collective male roles based on care, order, and social cohesion. 2-3-3.Little Snow-White Snow White’s polite, direct language represents innocence and morality, whereas the Queen’s commanding and jealous language asserts dominance and social control. Interactions and tasks reinforce social and gender roles, showing language as a tool for shaping gendered identities and cultural norms. 4-3. Language as a Tool of Socialization and Interaction Parichehr: Language mediates relationships, social roles, and identity. Dialogues with dwarfs create solidarity and inclusion, while interactions with the hunter help navigate power and survival. Even silences and gestures function as meaningful social acts. Snow White: Language facilitates trust, social integration, and adherence to norms. Polite, respectful speech enables her to gain acceptance and navigate new social environments, reflecting socialization processes and reinforcement of collective rules. Symbolic descriptions also encode cultural values and social positioning. 5-3.Language, Magic, and Deception In Parichehr and the Seven Dwarfs, language functions as a tool of manipulation and control. The stepmother uses seemingly kind and persuasive speech to approach Parichehr in disguise, demonstrating how language can alter fate, enforce power, and seduce or deceive. In the story Little Snow-White, language, in addition to its social and identity functions, also appears as a tool of magic, deception, and exertion of power. The stepmother uses speech and language to consolidate her authority and, through deception, aims to threaten Snow White’s position. In this story, language is not merely a means of communication but a tool for psychological influence, controlling others, and guiding their behavior. 4.Conclusion Critical discourse analysis of the tale Parichehr and the Seven Dwarfs reveals that language in this narrative is not merely a medium of storytelling but a fundamental mechanism for the reproduction and contestation of power. The discourse of Zan-Baba/the Queen, employing strategies of disparagement, exclusion, and evaluative labeling, enacts a symbolic form of linguistic violence, drawing its authority from social recognition and cultural hegemony. In contrast, Parichehr’s language, as a discourse of resistance grounded in ethical and justice-oriented values, challenges dominant norms and enables the redefinition of feminine identity within a moral and collectivist framework. The dwarfs’ language functions as a discourse of solidarity, creating a dialogic space that mediates between domination and resistance. Comparison with Snow White indicates that, in Western discourse, truth is institutionalized as an external and absolute reference (the mirror), whereas in the Iranian cultural context, the legitimacy of truth emerges from internal relationships, kinship, and collective dialogue. From this perspective, Iranian discourse, unlike the individualistic European model, is collectivist, ethically oriented, and internally generated. Therefore, language in Parichehr and the Seven Dwarfs constitutes a symbolic field in which linguistic capital, legitimate power, and ethical resistance intersect in the reproduction or transformation of cultural structures. Keywords: Sociolinguistics, Isfahani folk tale, Parichehr and the Seven Dwarfs, Snow White. قصه‌های عامیانه همواره به عنوان بازنمایی‌های فرهنگی و اجتماعی، زمینه‌ای غنی برای تحلیل جامعه‌شناسی زبان فراهم می‌آورند. داستان پریچهر و هفت کوتوله از قصه‌های محلی اصفهان، نمونه‌ای بارز از بازنمایی گفتمان‌های قدرت، حسادت، همکاری و عدالت است که ساختار و محتوای آن با قصه اروپایی سفیدبرفی شباهت‌های قابل توجهی دارد. این پژوهش با رویکرد جامعه‌شناسی زبان، به بررسی نقش زبان و گفتمان در شکل‌دهی به قدرت، هویت، جنسیّت، تعامل اجتماعی، فریب و عدالت در قصه پریچهر و هفت کوتوله می‌پردازد و در عین حال، تطبیق آن با قصه سفیدبرفی، ابعاد فرهنگی و زبانی مشترک و متفاوت این دو قصه را روشن می‌سازد. پژوهش حاضر با تمرکز بر این ابعاد زبانی نشان می‌دهد که قصه‌های عامیانه فراتر از سرگرمی، ابزار بازتولید و تنظیم روابط اجتماعی، تثبیت سلسله‌مراتب قدرت و بازنمایی ارزش‌ها و هنجارهای فرهنگی هستند. تحلیل جامعه‌شناختی زبان در این متون امکان درک عمیق‌تر ساختارهای فرهنگی، اجتماعی و قدرت را فراهم می‌آورد و نشان می‌دهد که زبان هم ابزار بیان و هم سازوکار مؤثر برای شکل‌دهی به جامعه و فرهنگ است.

https://jcl.uk.ac.ir/article_5201_b6491d5a428c22197847a18d1bfa3d0d.pdf

دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2026 01 10 An Analytical Review of the Removal and Substitution of Mythological Figures from the Panchatantra into Kalila and Dimna بازخوانی تحلیلی حذف و جایگزینی شخصیت‌های اساطیری پنچاتنترا در کلیله و دمنه 213 231 5210 10.22103/jcl.2025.26157.3889 FA فاطمه گل بابائی دانشجوی دکتری رشته زبان و ادبیات فارسی، دانشگاه علامه طباطبائی، تهران، ایران. Journal Article 2025 10 20 Introduction The cultural approach in Translation Studies highlights how translation not only transfers language but also mediates cultural values and worldviews across different civilizations. Translators, as representatives of the receiving culture and first interpreters of the source text, filter narratives through the expectations, interpretive habits, and ideologies of the target literary system. Translation thus becomes an interactive process in which meanings are reshaped and selectively reproduced to align with the cultural and aesthetic norms of the audience. Within this framework, Translation Studies examines how texts are transformed, reinterpreted, and culturally reinscribed during cross-civilizational migration. This study investigates the removal and substitution of mythological characters in the multistage transmission of the Panchatantra into Kalila and Dimna, focusing on the deletion, modification, and substitution of Hindu mythic characters to reveal the cultural and ideological motivations behind this rewriting. Methodology This study employs a qualitative analytical approach grounded in the cultural approach of Translation Studies, drawing on the descriptive insights of scholars such as André Lefevere and Susan Bassnett. From this perspective, translation is understood as an act shaped by the expectations of its audiences and the discourses of the receiving cultural system. Accordingly, cultural turns in translation, whether deletions, substitutions, or ideological reframings, are purposeful strategies that align the source text with the discursive, ethical, and ritual norms of the receiving culture. These theoretical principles inform the study’s examination of how Kalila and Dimna reconfigure the mythological elements of Hinduism in the Panchatantra. Methodologically, the research is based on library sources and a comparative reading of the Panchatantra, translated into English from Sanskrit by Arthur W. Ryder, and of Kalila and Dimna in the versions of Ibn Muqaffaʿ and Nasrollah Monshi. Ryder’s version, as frequently cited direct translation of the Panchatantra, retaining Hindu mythological names and functions, making it a suitable baseline for identifying cultural transformations in the Arabic and Persian translations. By contrasting Ryder’s preservation of mythic structures with the systematic removal or alteration of figures in Kalila and Dimna, the study traces the mechanisms through which translators, acting as cultural agents, ingested and recreated the narrative in accordance with the Persian horizon of expectations. This two-level framework, cultural translation theory combined with textual comparison, enables a precise analysis of how the Panchatantra underwent a process of ideological filtering and cultural domestication in its journey from Indian culture to Persian. Discussion The comparative study of shared narratives in the Panchatantra and Kalila and Dimna demonstrates that the multistage process of translation and cultural rewriting led to the systematic removal of several Hindu mythological figures from the narratives. This conscious purification and myth-reduction, achieved through culturally and ideologically motivated strategies, significantly reshaped both the narrative structure and the conceptual framework of the original text. The omission of figures such as Shiva’s bull, the Wood Goddess, and Yajnavalkya reflects a broader intellectual shift from myth-based worldviews to more rationalistic and monotheistic interpretive models. These transformations can be interpreted as manifestations of a historical transition from magical and mythic thought toward discursive, ethical, and theological consciousness. However, the process of cultural turn also reveals points of narrative fragmentation, resulting in a weakened coherence of the plot. Similarly, the omission of figures like Yama and Baharunda not only alters the rhetorical dynamics of the stories but also contributes to an ideological reorientation that transforms Kalila and Dimna into a predominantly didactic work characterized by moral, political, and rational themes. Moreover, the erasure of Gauri’s mythological role and the suppression of her gendered symbolic functions reshape the power relations between male and female characters, reflecting the sociocultural norms and gendered expectations of the receiving culture. Taken together, these shifts demonstrate how translation functions as a space where cultural values, ideological priorities, and social discourses are reinscribed into the narrative. Conclusion The study concludes that Kalila and Dimna stand as a paradigmatic example of cultural rewriting within the history of translated literature. Its departure from Hindu mythological frameworks and its adaptation to Persian ethical and ritual norms demonstrate how translation functions as a culturally embedded act of reinterpretation. The replacement of mythological logic with rationalistic thought further indicates an intellectual transition marking the evolution of human interpretive modes. The findings of this study show that the transformation of the Panchatantra into Kalila and Dimna cannot be understood through linguistic comparison alone; rather, it demands a cross-cultural interpretive approach. The Persian translation reconfigures the explicitly mythological system of Hinduism into a rationalized and pedagogical narrative aligned with the ethical, theological, and political expectations of its new cultural environment. However, the process of mythological erasure also introduces certain narrative and rhetorical challenges. The removal of key Hindu figures disrupts the causal coherence of some storylines and alters the rhetorical dynamics of the text, leading in some instances to fragmentation or gaps in the narrative plot. Examining the mechanisms of this turn in translations not only deepens our understanding of the evolution of the text but also sheds light on broader dynamics of cross-civilizational circulation in the act of translation. The study thus underscores the importance of analyzing translated works as culturally reauthored texts whose form and meaning emerge at the intersection of differing worldviews, ideologies, and literary traditions. یکی از اهداف رویکرد فرهنگی ترجمه‌پژوهی در مطالعات تطبیقی ادبیات، واکاوی فرایند بازنویسی متون در انطباق با فرهنگ‌های پذیرنده است. پژوهش حاضر، به‌روش تحلیل کیفی و با تکیه بر این انگاره به بازخوانی تحلیلی جریان حذف و جایگزینی شخصیت‌های اسطوره‌ای در استحاله متن پنچاتنترا به کلیله ‌و ‌دمنه می‌پردازد. یافته‌ها نشان می‌دهد که انتقال چندمرحله‌ای این اثر از فرهنگ هند به ایران با تلاش مستقیم مترجمان برای اسطوره‌زدایی از روساخت متن همراه بوده‌است. در این راستا، حذف یا دگرگونی شخصیت‌هایی چون گاو شیوا، ویشنو، گارودا، یَما، بهاروندا، الهه جنگل، گائوری و یاجناوالکیا ساختار روایی و نظام فکری اثر را به‌گونه‌ای قابل‌توجه تحت‌تأثیر قرار داده‌است. از ‌این‌رو، کلیله‌ و ‌دمنه نمونة یک بازنویسی ایدئولوژیک در ادبیات ترجمه به‌شمار می‌رود که در آن نظام اسطوره‌ای هندوییسم به‌تناسب ارزش‌های اخلاقی و آیینی فرهنگ ایران دگرگون شده‌است. نیز، جایگزینی منطق اسطوره‌ای با نگرش عقل‌گرایانه، بازتابی از عبور ذهنیت بشری از تبیین جادویی و اسطوره‌محور پدیده‌ها به‌سوی اندیشه خردورزانه است.

https://jcl.uk.ac.ir/article_5210_1edf530a625fa7e1600743809b0e57e0.pdf

دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2025 12 22 A systematic study of the conceptual metaphor of death in the poems of Sohrab Sepehri and Federico Garcia Lorca بررسی تطبیقی نظام‌مندی استعارۀ مفهومی مرگ در سروده‌های سهراب سپهری و فدریکو گارسیا لورکا 233 254 5251 10.22103/jcl.2026.26212.3895 FA اکرم نعیمی دانشجوی دکتری زبان و ادبیات فارسی دانشجوی دکتری زبان و ادبیات فارسی، واحد اراک، دانشگاه آزاد اسلامی، اراک، ایران فاطمه قهرمانی استادیار گروه زبان و ادبیات فارسی، واحد اراک، دانشگاه آزاد اسلامی، اراک، ایران شاهرخ حکمت استاد گروه زبان و ادبیات فارسی، واحد اراک، دانشگاه آزاد اسلامی، اراک، ایران Journal Article 2025 10 30 Abstract 1. Introduction Cognitive linguistics, like some other modern linguistic approaches, considers the study of language to be valid only when conducted within its authentic context of use. This branch of linguistics seeks to describe the systematicity of language, its structure, its functions, and the ways in which these functions are realized and applied. One of its subfields is conceptual metaphor Cognitive linguists believe that metaphor belongs to the realm of thought rather than language, and that metaphor is an essential and inseparable part of our conventional way of conceptualizing the world. Our everyday behavior reflects our metaphorical understanding of experience. By challenging the traditional view of metaphor, they regard this new approach as emerging from human perception and the conceptual system, functioning as an effective vehicle for accessing individuals’ mental and cognitive systems; since humans consistently use metaphor in practice to express abstract concepts. Methodology This study has been conducted using an analytical–descriptive method through the interpretation and comparative analysis of the poems of Sohrab Sepehri and the Spanish poet Federico Garcia Lorca. The aim is to demonstrate the extent to which the poets under discussion have employed the mental concept of “death” and how this concept is applied within the various schemas of their poetic works. 3. Discussion The first prominent feature observed in the ontological metaphors found in the poetry of Sohrab Sepehri and Lorca is the anthropomorphic representation of the mental concept of “death,” which is strikingly evident in their works. Sepehri likens death to a human who is laughing, and elsewhere considers his unsteady runnings in life as an effort to reach and see the face of “death.” Lorca’s view of death is also noteworthy; he believes death is like a human who is not frightening, yet if someone fears it, they must carry it on their shoulders at all times and take it wherever it commands. At times, the ontology of “death” appears in an animistic form, meaning that in order to grant existence to death, the poets endow it with life. This is not expressed through anthropomorphism, but rather through non-human living beings. Sepehri refers to “death” as a living being that his body constantly keeps at bay; this mental category can represent any living creature, from an insect to an animal, which the audience visualizes according to their own perspective. Similarly, Lorca describes death as a living being whose voice has fallen silent near the Guadalquivir River, whereas previously its song had been heard by everyone—an analogy that reflects its animistic portrayal. In objectification metaphors, what stands out is the reification of the mental concept of “death.” Sepehri and Lorca have employed this cognitive mechanism to concretize the abstract concept of death, creating vivid imagery, although its frequency in Sepehri’s poetry is very limited. To express such an image, Sepehri speaks of a pit entirely covered by “death.” Lorca, like Sepehri, views death from a reifying perspective; for him, death resembles a long black cloak constantly draped over people’s shoulders. The emphasis on the color black indicates that the poet consistently maintains a negative attitude toward it. In ontological metaphors and the objectification section, mental concepts appear as tangible elements that can be eaten. In this category, the mental concept of death is not objectified as edible elements in Sepehri’s poetry, and no relevant examples were found. However, in Lorca’s poems, there are instances in which death is depicted as food or drink. Lorca describes death as an edible element with a bitter taste that nonetheless contains life within it. This portrayal suggests Lorca’s consistently negative view of death, since those who perceive this mental phenomenon positively envision it as sweet and derive pleasure from consuming it. Another topic examined in ontological metaphors is the spatialization of mental concepts. Sepehri, based on his perception of death, likens it to a valley in which he will one day behold his own existence. Lorca, like Sepehri, also refers to “death” as a place; he assigns boundaries to death and perceives those boundaries in the distance. As is evident, having boundaries is meaningful only for places, and anything likened to a place is assumed to possess limits. Thus, depicting death as having boundaries evokes its spatial nature. Another aspect examined in ontological metaphors is the use of nature and its elements. Poets, drawing on their environmental experiences, use nature to concretize abstract concepts. Sepehri likens the mental concept of “death” to the darkness of night, confronting the audience with the truth that death is something unknowable; just as nothing can be distinguished in dark nights, death is likewise unfamiliar. Lorca, however, adopts a different perspective: he views death as a seed that has grown from the eyes of his enemies, nurtured in the swamp of feverish mire, bearing black flowers whose fruit destroys human beings. Another issue discussed in conceptual metaphors is agency. Regarding the cognitive structure of these metaphors, it should be noted that they allow the speaker to understand the target domain in terms of the source domain through conceptual mappings between their elements. Sepehri and Lorca refer to the mental concept of “death” as an agent and attribute certain events in life to this abstract concept. Sepehri presents a distinctive view of death, considering it not as a force of destruction, but as a reason for the desire and pleasure present in the stem of the raspberry, revealing the flow of life within it. Lorca, like Sepehri, also treats death as an agent, describing it as a cause of silence that can even give rise to others’ laughter. Among the mental concepts examined as conceptual metaphors are those associated with volume. In the poetry of Sepehri and Lorca, death is employed through volumetric schemas, though this occurs only once in Sepehri’s work. Sepehri portrays life as an unpleasant custom and considers its wingspan to be as vast as death, imagining an immeasurable, enormous volume for death—thus making the volumetric schema clearly evident. Lorca, too, attributes size and volume to the mental concept of death, but from his perspective, this volume is small, possibly indicating the poet’s perception of death as insignificant. In directional schemas, Sepehri does not use the mental concept of death in a directional manner, and its frequency in Lorca’s poetry is also minimal. In one example, Lorca speaks of a death positioned at a very high direction, thereby assigning it an elevated status. 4.Conclusion The findings reveal that both poets have employed ontological metaphors in various forms. Sepehri and Lorca refer to the mental concept of death anthropomorphically, attributing human characteristics to it, and at times depicting the abstract concept of death as an animal or a bird. The use of spatialization to concretize the concept of death is another strategy employed to enhance understanding; Sepehri envisions death as a vast space, whereas Lorca does not, reflecting their respective worldviews and deep poetic emotions. At times, the use of similar metaphorical tools by Sepehri and Lorca to express the concept of death is noteworthy; however, different approaches to the application of conceptual metaphors are evident in their poetry. Sepehri focuses on the beauty and gentleness of death, while Lorca adopts a deeper and darker view of the concept. This suggests that Sepehri’s perception of death is not anxiety-inducing, as he constantly senses it around him, whereas Lorca harbors an intense fear of it, leading to a more realistic and terrifying portrayal. سازوکارهای شناختی در بیان مفاهیم ذهنی به کمک امور عینی سبب شد تا نظریه‌های گوناگونی در باب استعاره شکل بگیرد که در این میان، استعارۀ مفهومی با طرح دیدگاه‌های مختلف از طرف لیکاف و جانسون، نگاه سنتی استعاره را به چالش کشید. این امر به کمک نگاشت‌های مختلف، ارتباط حوزه‌های مبدأ و مقصد امور ذهنی و عینی را به خوبی نشان داد تا مخاطب بهتر بتواند به درک مفاهیم ذهنی دست یابد. درک این عناصر ذهنی به کمک امور عینی در سروده-های شاعرانی همچون سهراب سپهری و فدریکوگارسیا لورکا نیز به چشم می‌خورد که در این میان می‌توان به مفهوم انتزاعی «مرگ» اشاره کرد. آنان با کمک استعاره‌های ساختاری و درک مفهوم بیان شده با استفاده از مکانمند بودن، عاملیت، حجم‌پنداری و طبیعت‌انگاری، مخاطب را به کاربست مفهوم ذهنی «مرگ» آگاه می‌کردند، در بخش استعاره-های هستی‌شناختی نیز بهره‌گیری از طرحواره‌های انسان‌انگارانه، جاندار پندارانه، جسم‌انگاری و عناصر قابل خوردن سبب می‌گردد تا درک مخاطب به فهم عنصر ذهنی مرگ افزایش یابد. همچنین بهره‌گیری از طرحواره‌های جهتی از دیگر مواردی است که فدریکوگارسیا لورکا در عینی‌سازی مفهوم ذهنی مرگ از آنها مدد گرفته اما در سروده‌های سپهری، استفاده از طرحوارۀ بیان شده مشاهده نگردید. این پژوهش با روش تحلیل و تفسیر اشعار سپهری و لورکا صورت گرفته تا نشان دهیم شاعران مورد بحث تا چه اندازه از مفهوم ذهنی «مرگ» بهره برده‌اند و کاربست این مفهوم در طرحواره‌های مختلف سروده‌های آنان به چه صورت است

https://jcl.uk.ac.ir/article_5251_371e9a9e76a06bfec8e04e057b8e77ab.pdf

دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2025 12 22 "Symbolic Interaction in the Novel 'Two Women in One Woman' by Nawal El Saadawi and 'sahme man' by Parinoush Saniee Based on George Herbert Mead's Theory." کنش متقابل نمادین در رمان «امرتان فی امراة » نوال السعداوی و «سهم من» پرینوش صنیعی بر اساس نظریه جرج هربرت مید 255 270 5229 10.22103/jcl.2025.25289.3842 FA الیاس نورایی دانشیار، گروه ربان و ادبیات فارسی دانشکده ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه، ایران. شیوا صادقی استادیار، گروه زبان و ادبیات عرب دانشکده ادبیات و زبان‌های خارجه، دانشگاه پیام نور، تهران، ایران Journal Article 2025 06 28 Abstract Introduction Nawal El Saadawi and Parinoush Saniee are two prominent contemporary writers from the Arab world and Iran who have deeply explored social, cultural, and gender issues through their works. El Saadawi, an Egyptian writer and physician, is known for her critique of patriarchal structures and her efforts to give voice to Arab women, particularly in Two Women in One Woman, where she portrays the struggle of female identity against social constraints. Similarly, Saniee, in her novel Sahme Man (Sahme man), delves into the complexities of women’s personal and social identities within Iranian society. Symbolic interactionism, as formulated by George Herbert Mead, offers a useful analytical framework for these novels by emphasizing that identity and meaning are socially constructed through interaction and the use of symbols. This study explores how social and cultural interactions shape the minds and selves of the female protagonists—Bahiyya Shaheen and Ma’soumeh—and how these interactions contribute to the redefinition of womanhood in their respective cultural contexts. Methodology This study applies George Herbert Mead’s theory of symbolic interactionism as a sociological and interpretive framework for literary analysis. The research follows a qualitative, descriptive–analytical approach, relying on close reading of the two novels to identify how the concepts of mind, self, and society manifest in the protagonists’ experiences. The method involves comparative interpretation, focusing on the interaction between individual consciousness and social structures, as expressed through language, symbolism, and interpersonal relations. By tracing the processes through which meaning is created and identity is reshaped, the study seeks to uncover the sociocultural mechanisms behind the transformation of female subjectivity in both narratives. Discussion An analysis of Two Women in One Woman and Sahme Man through the lens of symbolic interactionism reveals that female identity in both works emerges through dynamic social and cultural interactions. In El Saadawi’s novel, Bahiyya Shaheen actively resists patriarchal norms and uses language as a liberating symbol, transforming from a submissive Me into an agentive I Her engagement with the generalized other leads to a redefinition of her womanhood. In contrast, Saniee’s Ma’soumeh begins as a passive subject constrained by traditional expectations but gradually gains self-awareness through her lived experiences and encounters with other women. In both narratives, symbolic communication and social interaction drive the evolution of identity and consciousness. The comparative perspective highlights that both authors use the mechanisms of symbolic interaction to move from depictions of female passivity toward the creation of self-aware and socially active women, though within distinct cultural and ideological contexts Conclusion Findings based on Mead’s theory indicate that mind, self, and society play fundamental roles in shaping individual identity. In Two Women in One Woman, Bahiyya Shaheen’s active mind allows her to transcend cultural constraints, leading to self-realization and redefinition through collective action. Conversely, in Sahme Man, Ma’soumeh’s awareness remains constrained by oppressive social forces, resulting in isolation and resignation rather than transformation. The comparison demonstrates that while both characters face similar societal pressures, their differing capacities for symbolic engagement and mental reinterpretation produce divergent paths of identity formation. Ultimately, the study underscores that the active interaction between mind and society is essential for achieving self-awareness and redefining feminine identity in contemporary Arabic and Persian literature. نظریه کنش متقابل نمادین که توسط جرح هربرت مید توسعه یافته است بر این اساس استوار است که معانی اجتماعی از طریق تعاملات اجتماعی شکل می‏گیرند و تغییر می‏کنند.این نظریه که به دنبال فهم چگونگی شکل‏گیری معانی اجتماعی و هویت‏ها از طریق تعاملات انسانی است، تلاش می‏کند تا نشان دهد که چگونه افراد با یکدیگر ارتباط برقرار می‏کنند و چگونه این ارتباطات به شکل‏گیری فرهنگ، نهادها و جامعه کمک می‏کند. هدف اصلی این نظریه بررسی چگونگی تاثیر تعاملات بر رفتارهای فردی و اجتماعی است که به تولید و بازتولید ساختارهای اجتماعی منجر می‏شود. نوال السعداوی و پرینوش صنیعی در « امرأتان فی امرأة» و « سهم من» کوشیده‏اند تا با استفاده از عنصر هویت، جنسیت و روابط اجتماعی و چالش‏های آن مخاطب را به درک بهتر و عمیق‏تری از مسائل اجتماعی و فرهنگی جامعه خود برسانند. بررسی ها نشان می‏دهد که نوال السعداوی با استفاده از مولفه‏های «خود»، « ذهن» و « جامعه» نشان می‌دهد که چگونه این تعاملات اجتماعی می‌توانند منجر به بازتعریف هویت زنانه شود و عاملی باشد بر کشف هویت و انتخاب‏های آزادانه و پرینوش صنیعی با استفاده از همان مولفه‏ها نشان می‌دهدکه چگونه فشارهای اجتماعی در زنان می‏تواند عامل تغییر هویت آنها و تبعات عمیق آن بر سلامت روانی و کیفیت زندگی آنان باشد.

https://jcl.uk.ac.ir/article_5229_c3eacb23ce888f96246212ff007d1fc9.pdf

دانشگاه شهید باهنر کرمان نشریه ادبیات تطبیقی 2008-6512 17 33 2025 12 22 The Influence of Perion cultuer in Arabic Literature on the History of the ibn yasar, s shobiah تأثیر فرهنگ فارسی بر ادبیات عرب با درنگی در شعوبی‌گری ابن یسار 271 287 5332 10.22103/jcl.2026.26149.3888 FA داود واثقی خوندابی استادیار، گروه زبان و ادبیات فارسی، دانشگاه آیت الله بروجردی، بروجرد، ایران. ابراهیم نامداری دانشیار گروه علوم قرآن و حدیث، دانشگاه آیت الله بروجردی، بروجرد، ایران مجتبی ترکاشوند دکتری زبان و ادبیات عربی، دانشگاه رازی، کرمانشاه، ایران Journal Article 2025 10 19 Abstract: Abstract Introduction There are countless ways to transmit the culture and literature of Iran in the Arabic language and literature; among these, we can mention the role of Arab-Iranian poets such as Ismail ibn Yasar, who played an important role in transmitting Iranian culture to Arab literature with his popularist policies and tricks; by boasting about his Kasravi ancestors and listing the honors of Iranian culture, such as respect for women's rights, he was able to reveal the influence of Iranian culture in the form of wisdom and proverbs; in addition, Ibn Yasar, with his frankness of expression and aggressive tone, achieved his intended goal, which was to highlight the presence of Iranian culture in the structure of the Arabic language and literature. This essay has attempted to point out the influence of Iranian culture on the Arabic language and literature, as well as the richness of Iranian culture, by analyzing Ibn Yasar's Divan and focusing on the poems of Shoubiah, by analyzing them. In this way, the role of Ibn Yasar's Shoubiah was not merely explanatory, but rather had a measurable cognitive and linguistic function that resulted in the addition of vocabulary from Iranian to Arabic, the alignment of Iranian moral and social concepts with Arabic texts, and the manifestation of the presence of Iranian culture in the form of words such as: Zaryab, Kasra, Taj, Aswar (rider) and Marazbeh (border guards) that are not common in the Arabic language. It has also added concepts such as: the ritual of friendship and kindness, the certainty of death, loyalty, etc., which ultimately opened up new possibilities for the Arabic language. From the beginning of Islam until the end of the rule of the Rightly Guided Caliphs, due to the colorful religious teachings in the heart of society, issues such as race, nationality, color, etc. it is not very important among Muslims. With the change in the course of the Islamic Caliphate and the rise to power of the Umayyad and Abbasid caliphs, as well as the further expansion of the caliphate's territory and new conquests, which resulted in the gathering of different colors, races, and nations under one rule, the Arabs gradually became a minority. The Umayyads, through their extensive propaganda, contrary to religious texts and the beliefs of religious leaders, convinced the people of the community that Arabs were superior to non-Arabs. As a result of this practice, we witness the appearance of titles such as Mawli, Ajam, Raqiq, and Abd in Arabic culture and literature. One of the factors that mixed the two Iranian and Arabic cultures was the law of welaa; according to this Arabic tradition, a foreigner could Arabize his non-Arab identity under certain conditions in order to enjoy the support of the Arab tribes. Methodology This research, by studying Ibn Yasar's poems and focusing on the poems of Shu'ubiah, and relying on the descriptive-analytical method, tries to answer the question of how Iranians in general and Ibn Yasar in particular were able to provide the means for the influence of the Persian language and literature on the Arabic language and literature by learning the Arabic language, serving it, and adhering to the political trends of their time? Discussion In the meantime, tribes such as the Iranians were able to influence the Arabic language and literature through cultural influence. Ibn Yasar al-Nesai was among the poets who was proud of being Iranian and was very fanatical about it; So much so that one day, while serving Hisham ibn Abd al-Malik in the city of Rusafa, next to an open pool, he boasted of his Iranian descent in a beautiful piece and so angered the Caliph that the Caliph ordered him to be drowned and then exiled to the Hijaz. By learning the Arabic language and relying on Iranian culture, he was able to express his intended concepts in the form of words; concepts such as the wisdom of his people, which is reflected in the dress of proverbs, or the respect for women's rights, which had no place in Arab culture before Islam, he brought to the Arabs' attention. Conclusion In searching for the intellectual sources of Iranian Arab-speaking speakers and poets, valuable golden veins of Iranian thought, thought, and wisdom can be found, which indicate the pioneering role of Iranians in culture and literature. Ibn Yasar, as one of the Iranians who adopted Arabic as the official language of his era in composing poems, with his bias towards his homeland, was able to consciously contribute to the transmission of this valuable culture in various ways, including the use of Persian words, ruling themes arising from Iranian culture, and themes in the form of proverbs, and of course, in order to achieve his main goal, which is to be proud of his Iranian race and to influence Arabic literature. Ibn Yasar and Iranians in his class significantly increased the vocabulary with Iranian roots in popularist texts, and this increase was accompanied by a semantic openness in Arabic texts. Iranian moral and social concepts have been represented in the form of Arabic equivalents through the methods of popularism and have helped to strengthen the conceptual harmony between the two cultures. On the other hand, the political actions of the time have played a role as a facilitating factor in the selection of Iranian words and images in Arabic. Finally, it is noted that the point of distinction between Ibn Yasar's poems and other poets is his excessive prejudice against the non-Arabs and their superiority over the Arabs, and his courage in expressing his opinions even in the presence of the Umayyad Caliph. چکیده راه‌های انتقال فرهنگ و ادبیات ایران زمین در زبان و ادبیات عربی بی‌شمار است؛ از این میان می‌توان به نقش شاعران عرب ایرانی چونان اسماعیل‌‌بن‌‌یسار اشاره کرد که با سیاست و ترفند شعوبی‌گری‌اش نقش مهمی در انتقال فرهنگ ایرانی به ادبیات عرب داشته است؛ وی با تفاخر به اجداد کسروی‌اش و برشمردن افتخارات فرهنگ ایرانی همانند احترام به حقوق زن، توانسته است تأثیر فرهنگ ایرانیان را در قالب الفاظ و واژگان و نیز مفاهیمی چون حکمت، ضرب‌المثل، آیین دوستی و مهرورزی و ... آشکار سازد؛ علاوه بر آن ابن یسار با صراحت بیان و لهجه تهاجمی به مقصود مورد نظر خویش یعنی پررنگ کردن حضور فرهنگ ایرانیان در بنای زبان و ادبیات عربی، رسیده است. این جستار که مبتنی بر مطالعات کتابخانه‌ای است و با روش توصیفی - تحلیلی انجام شده، کوشیده است تا با واکاوی اشعار شعوبی‌گری ابن یسار، به تأثیر فرهنگ ایرانی در زبان و ادبیات عربی و همچنین غنای فرهنگ ایرانیان اشاره کند، شاعر در این راستا با استمداد از زبان شعری، این تأثیرگذاری را دوچندان کرده است. کلیدواژه‌ها: اسماعیل‌بن‌یسار، شعوبی‌گری، فرهنگ فارسی، ادبیات عربی.

https://jcl.uk.ac.ir/article_5332_c6d017b9d3acd0aea4cd97ded98faf60.pdf