دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 36 2020 12 21 The Pathology of Folklore Literature Theses in Iran آسیب‌شناسی پایان‌نامه‌های ادبیات عامه در ایران 1 29 22049 FA فرشته آلیانی دانشجوی دانشگاه گیلان محرم رضایتی استاد دانشگاه گیلان رضا چراغی استاد دانشگاه گیلان Journal Article 1970 01 01 Folklore literature is a new field in Iran. Compared to other countries, not many studies have been conducted in this field. A number of studies that have been done both in terms of quantity and quality have a significant influence on introducing it. There are some theses written about this subject matter. If such theses are written in a correct and coherent way, they could be effective and efficient in solving many scientific problems of folklore literature field; consequently, providing scientific and useful results. The present article randomly picked and analyzed a total number of 100 theses registered in Irandoc system. The research goal is to highlight the situation of some university research in this field and criticize them in a constructive manner in order to support the research basis in this scientific field. The research method is descriptive-analytic and the data collection method is library-based with a pathological approach. The main findings of this study indicate that most of the studied theses are descriptive, thus they are not giving us new results. They are usually imitative in general section (introduction). Boring clichés can be seen in theses’ main structure. Literature review is not properly acknowledged. Authentic sources are not used, and generally, they lack a problem-based and academic approach. Of one hundred studied theses, only seventeen are problem-based and have a scientific approach. University theses being descriptive and compiled in this field indicate the primitiveness of folklore literature studies in Iran. One should realize that every research about any problem in any country begins with compilation, and then reaches to maturity and the level of analysis. It should be mentioned that although good steps are taken in recent years, this field is still in its early stages. Research Background In some parts of books, articles, theses, and speeches, traces of pathologies can be seen. For example, although in Analouee's thesis title (2015), it is claimed that it is about criticism of folklore works, in fact, there is no sign of criticism. But what is directly related to our discussion is an article titled “Persian Literature and Language Theses’ Losses” by Gholaminezhad and Ghaboul. It is not free from mistakes either. For example, one of the cases is that in this article, the research method is not clearly explained. Also, it is not clear whether the obtained information from these theses is the result of reviewing the whole theses or a certain part of them, or rather their title, or the research methods of each of these theses alone. In addition, this article has not stated the approaches of these Persian literature theses, separately. Except the mentioned article, no research has ever dealt with the pathology of folklore literature’s theses exclusively. Goals, assumptions, and questions In recent decades, folklore literature and language has become an academic field, and students’ have gained interest towards this area as a field of study. However, the criticism against these theses are growing as well. In order to organize and identify the strong and weak points of these folklore literature studies, the present article randomly chose and carefully analyzed a number of 100 theses. All their contents are saved in the science and information technology system of Irandoc. These theses are chosen from a total number 1100 theses, organized from the beginning of the century until the end of year 2018 on different aspects of folklore culture and literature. This article is to investigate what the features of these 100 theses chosen from a collection of 1100 theses are. What approaches have they used for criticism? What positive characteristics do they have and could they be of any help to studies in folklore literature? What pitfalls or major criticisms they have? Main discussion In this section, we deal with studying one hundred submitted theses of folklore culture and literature during 60s to 90s. The theses include 93 MA theses in Persian language and literature one of which is related to specialized orientation of folk literature. Seven of them are interdisciplinary theses, most of which are related to art department and three of which are PhD dissertations. The number of subject-oriented theses compared to all the other theses are more. These theses are merely descriptive and follow a totally data collection approach. Repetition is seen a lot in these theses. One of the main research problems in all kinds of folklore literature studies is the lack of pathological approach and criticism. This issue is especially significant in theses. The lack of pathological and critical study is highly observed so far that it became the main idea for writing this article. Knowing the sources that exist about the subject matter has a multiple function. They provide knowledge about research background; also, they are used in research design and data collection. Today, considering the abundance of sources about any subject, and the evaluation of identified sources are also important (Razi, 2015, p. 68). In some of these theses, we are faced with incorrect and unrelated sources. From 100 studied theses, 43 do not have source originality and the used sources in them are generally unrelated and sometimes fake. Conclusion Although we see different and exciting subjects in theses regarding folklore literature from 2000s onward, most of these theses seriously suffer from quality issues. Generally, subject choice about folklore literature is made enthusiastically and only based on the researchers’ sentiments. Therefore, so many subjects are chosen in the format of folklore culture or literature of different regions. Some of the theses are quite stereotypical in terms of subject due to the lack of attention to the research background. The number of problem-oriented and functional subjects in these theses is low in number. References Analouee, N. (2015) The criticism and study of Iran’s folklore researches’ course from beginning to year 1390 SH. MA Thesis, Folklore Literature Field, Tarbiat Moddares University, Tehran, Iran. Razi, A. (2015). Research methods and skills in literature and bibliography (in Farsi). Fatemi. ادبیات عامه در ایران دانشی بسیار نوپاست و در مقایسه با کشورهای دیگر پژوهشهای زیادی درباره آن صورت نگرفته است. همین مقدار پژوهشی که به لحاظ کمی و کیفی دربارۀ آن انجام شده است، تأثیر بسزایی در معرفی این رشته دارد. یکی از مهمترین پژوهشهایی که در ایران در دانشگاهها صورت میگیرد و نتیجه کار فشرده پژوهشگران دانشگاهی است، پایاننامههاست. پایاننامهها در این عرصه اگر درست و متقن نوشته شوند، میتوانند در حل بسیاری از مشکلات علمی رشتۀ ادبیات عامه که دانشی جدید است، مؤثر و کارساز باشند و به نتایج سودمند و علمی بدل شوند. در مقاله حاضر مجموع 100 پایاننامه، که در سامانه ایرانداک ثبت شده است، به‌صورت رندمی انتخاب و ارزیابی شدند. هدف از انجام این پژوهش روشن شدن وضعیت بخشی از پژوهشهای دانشگاهی در این زمینه و نقد سازنده آنها به‌منظور تقویت بنیانهای پژوهشی در این رشته علمی است. روش تحقیق توصیفی ـ تحلیلی و شیوه گردآوری اطلاعات کتابخانهای با رویکرد آسیبشناسانه است. اصلیترین یافتههای این پژوهش نشان میدهد، بیشتر پایاننامههایی که مورد مطالعه قرار گرفته، توصیفیاند، به نتایج جدیدی نرسیده‌اند و در بخش کلیات معمولاً تقلیدی عمل کردهاند. در ساختار اصلی پایاننامهها کلیشه ملالآوری دیده میشود. به پیشینه تحقیق درست توجه نشده است. از منابع معتبر استفاده نشده است و در کل رویکرد مسئلهمحور و دانشگاهی ندارند. از 100 پایاننامه بررسیشده، تنها 17 پایاننامه رویکرد علمی دارند و مسئلهمحورند. توصیفی و گردآوری بودن پایاننامههای دانشگاهی در این رشته نشاندهنده ابتدایی بودن پژوهشهای ادبیات عامه در ایران است. ازآنجا که پژوهش درباره هر مسئلهای در هر کشوری با گردآوری آغاز میشود و سپس به مرحله پختگی و تحلیل میرسد، باید گفت هنوز این رشته در ایران در مرحلۀ اولیه است؛ هرچند در سالهای اخیر گامهای خوبی برداشته شده است.

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 36 2020 12 21 Tamtaj in Folk and Persian Literature تمتاج در ادب عامه و ادب فارسی 31 63 22050 FA سیدمهدی طباطبائی عضو هیئت علمی گروه زبان و ادبیات فارسی دانشگاه شهیدبهشتی تهران Journal Article 1970 01 01 In the history of Persian literature, foods are among the categories that have entered from popular culture into literary language; in addition to writing independent books on the subject or composing specific poems about them, they have been mentioned in various literary texts. "Ode on Totmajiyye" by Shamsoddin Ahmad Ibn Manouchehr Shast Kolah, an Iraqi poet and a courtier of the Toghrol Seljuk (573-590), is one of the few poems that specifically describes how to cook a meal, which has a very high frequency of use in Persian poetry and prose. However, without understanding all its aspects, it will be difficult to understand the meaning of some verses and phrases of the Persian texts. This research investigates Totmaj and its related issues in a descriptive-analytical way, using library-based and content-analysis methods of Persian literature texts. The main finding, besides clarifying the subject, is to obtain the correct meaning of terms and combinations that have found their way into the Persian literature based on how to cook or eat Totmaj. Moreover, due to the passage of time and the changes occurring in this food, it has become difficult for the literati to understand their meaning. Research Background The background for the topic of this research in the Persian literature is the studies that have been done about the Ode on Totmajiyye and its poet. Therefore, the information provided about the Totmaj mostly came with the description of the poem. This discussion started by Bahar in an article in Mehr Journal (Bahar, 1938) and completed by Qazvini in the article " Unknown Poets: Ahmad ebn Manouchehr Shastkolah" (Qazvini, 1944). This trend continued in other studies as well, among which we can refer to the article "Ode on Totmaj by Ahmad Ibn Manouchehr Shastkolah in the battle of Molla Sadra" (Chatraei, 2011). Tajbakhsh (2010) has explained this term in this study. The commentators on Nezami’s "Haft Peykar" have also provided some explanations about the Totmaj, which will be discussed in the final section of the study. Goals, questions, and assumptions The scope of popular literature includes categories such as traditions, beliefs, habits, legends, anecdotes, proverbs, songs and folk poems, and the behaviors like cooking and eating, sewing and dressing, funeral rites, weddings, etc. The purpose of this study is to determine the method of cooking and eating Totmaj focusing on one of the sub-branches of popular literature. Also, it is aimed to draw the entry path of this food from popular culture to Persian literature. Main discussion The oldest and most well-documented information about this food can be seen in the Ode on Totmajiyye, composed by Shamsoddin Ahmad Ibn Manouchehr Shastkolah, an Iraqi poet and a courtier of the Toghrol Seljuk (590-573 AH). In this ode, the method of cooking Totmaj is expressed in a poetic language. The whole story is that the lover comes to the beloved's house and asks for food, and the cooking method is described as follows: 1. Using a stick, spread the dough on the back of a dish. 2. Cut the Totmaj with a dagger, in the shape of an arrow. 3. Place the Totmaj strings on a clean tablecloth until the moisture of the dough is absorbed. 4. Prepare the butteroil and buttermilk from milk. 5. After pouring water into the pot and lighting the fire underneath it, add garlic and Tezleq. 6. After adding the Totmaj dough to the pot, sprinkle the tail oil and pour buttermilk on it. 7. Finally, put the Totmaj on the table in a large container. Bread was not used in eating Totmaj; also, leeks and salts were among the substances that were poured into the pot along with Totmaj. Therefore, they were not needed while eating. It should be noted that in Persian literature, "water of Totmaj" is a symbol of low value. Besides, sharp sticks, called "Totmaj skewer", are mentioned for eating Totmaj, which are not seen in popular literature. On the other hand, Bahar explains this based on "filling the dough with leeks and garlic, and folding it layer by layer" (Bahar, 1938, p. 349), while it has not been mentioned in the ode on Totmajiye, and it seems that Bahar has referred to it as a mental symmetry due to its familiarity with the method of cooking Lakhshak soup. It should also be mentioned that by changing the shape of Totmaj, and the different variations that come with this food for the people, its application in the Persian literature decreases. Hence, it is difficult to understand the concept of verses written with the approach of how to cook or eat this food. Conclusion Every nation and culture has its own customs and traditions that are passed down from generation to generation besides language and race, and form a part of the people's cultural identity making it differ from others. Poets and writers also contribute to this process by reflecting these issues in their works. The relationship between popular culture and literary language has long been established in Persian literature in such a way that popular culture has always helped to enrich the literary language, and has been the basis for the discovery of new horizons in literature. This connection can be found in the entry of Totmaj from popular culture into literary language, and the entry of simple and unpretentious terms and combinations, which were formed only to convey meaning in the popular language. Interestingly, the poets of Persian literature have both referred directly to Totmaj and its related issues, and tried to use it in other themes through ironic and metaphorical devices. In the meantime, modernization and changes that naturally happen in people's lives may cause difficulties in understanding the meaning of categories derived from popular culture in literary language. Occasionally, a completely general and tangible issue which has been used in an allegorical form in a period of Persian literature history to clarify a particular concept, becomes one of the ambiguities of literature and the changes that occur therein. Another point is the low effort of lexicographers to record the vocabulary and compositions of popular culture, which has resulted in its abandonment. Nevertheless, one should not easily overlook the usefulness of Persian literature resources and texts in resolving the ambiguities of a subject, and as it is shown in this study, a wide range of information related to a topic can be obtained by comprehensive studies and reference to different sources. References Bahar, M. T. (1938). Shams al-Din Ahmad Ibn Manuchehr ShastKolah. Mehr Literary Journal, 5, 347-353. Chatraii, M. (2011). The ode of Ahmad Ibn Manuchehre ShastKolah in Mulla Sadra's corpus. Heritage Report, 49, 27 29. Ghazvini, M. (1944). Unknown poets: Ahmad Ibn Manouchehr ShastKolah. Yadegar, 2, 54 70. Tajbakhsh, A. (2010). A research on the Turkish words of Shams articles. History of Literature, 3(66), 55 70. غذاها ازجمله مقوله‌هایی هستند که در تاریخ ادب فارسی، از فرهنگ عامه به زبان ادبی راه یافته‌اند و افزون بر تألیف کتاب‌هایی مستقل در این خصوص یا سروده‌ شدنِ اشعاری خاص دربارۀ آن‌ها، در متون مختلف ادبی بدان‌ها اشاره شده است. قصیدۀ «تتماجیه»، سرودۀ شمس‌الدین احمد بن منوچهر شصت‌کله، از شعرای عراق و ندیمان دربار طغرل سلجوقی (590 ـ 573ق.)، از معدود اشعاری است که به‌طور ویژه، چگونگی طبخ هر غذا را توضیح می‌دهد؛ غذایی که بسامد کاربرد آن در شعر و نثر فارسی، بسیار بالاست و بدون احاطه به تمام جوانب آن، درک مفهوم برخی ابیات و عبارات متون فارسی دشوار خواهد بود. این پژوهش در پی آن است تا به روش توصیفی ـ تحلیلی و استفاده از امکانات کتابخانه‌ای، به بررسی چگونگی طبخ این غذا و مسائل مرتبط با آن ازطریق اطلاعات موجود در متون ادب فارسی بپردازد. عمده‌ترین دستاوردِ این پژوهش، افزون بر رفع ابهام از کلیت موضوع، به‌دست ‌دادن مفهوم صحیحِ اصطلاحات و ترکیباتی است که بر اساس چگونگی طبخ یا تناول تتماج، به ادب فارسی راه یافته است و بعدها، در اثرِ گذر زمان و تغییرات به‌وجود آمده در این غذا، پی ‌بردن به مفهوم آن‌ها، اهل ادب را با دشواری‌هایی مواجه کرده است.

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 36 2020 12 21 A Comparison of the Laughter-Semantics Systems in Folk Literature and Children Literature: From the Perspective of Social Semio-Semantics تطبیق نظام‌های خنده‌معنایی ادبیات عامه و ادبیات کودک: از منظر نشانه‌معناشناسی اجتماعی 65 97 22051 FA امیر حسین زنجانبر گروه ادبیات کودک و نوجوان، پیام نور. ایران. تهران جنوب Journal Article 1970 01 01 Greimas' square divides semantic systems into two classic types of "programmaticism" and "persuasion"; Landowski, besides the classical semantic systems, believes in two semantic-interactive systems: "adjustment" and "accident". The four systems of programming, persuasion, adjustment, and accident are based on order, intent, sensory interaction, and chance. The present study, employing an analytical-descriptive method, identifies and classifies the common laughter semantics techniques in Folklore (tales, jokes, and parables), and the contemporary stories for children. The techniques of laughter semantics in the strategies of forming the process of laughter are meant within the framework of a semantic system. In this study, the basis for the classification of strategies in classical semantic systems is the connection between the value object and also the change in the modal power of the actors. In the system of adjustment, the basis is adaptability disorder, and in the system of accident, the basis is the definition of accident. This study aims to show that the contemporary humor stories for children as funny situational sub-contexts inherit the meaning-making strategies among their subjects, from large historical-cultural contexts, such as stories, parables, and jokes. The research question is how the social interactions of the tale characters play a role in the spread of these laughter semantics processes. For the first time, this research introduces and classifies the semantic systems of humor. Introduction Social semio-semantics examines the role of social reflections and behaviors in the process of producing and receiving meaning. The text is not only the construction of its internal constituent elements, but also the product of its socio-cultural context. Sasani (2010, p. 192). calls the immediate spatial and temporal context as "micro-context", and in contrast, the historical spatial and temporal context as the "macro-socio-cultural context". Folk literature is humor as a macro context that indirectly plays a role in the formation of micro-contexts, such as children's humor stories. Background Landowski, in Reflective Society (1989), deals with the sign of social semantics and the role of the "other" in the formation of the meaning of "I", and in Khatari Interactions (2005), introduces his four systems. Moein, in Meaning as Lived Experience (Moein, 2015), and The Lost Dimensions of Meaning in Classical Narrative Semiotics (Moein, 2017), as well as in his numerous articles introduces Landowski to the Iranian semioticians. In Iran, semio-semantics research in the field of children's literature can be summarized in a study by Zanjanbar and Abbasi (2020). Aims, significance, and questions This research, in practice, can inspire satirists and creative writing workshops, and theoretically provide a classification of the narrative techniques of humor in which, based on the frequency of a type of special semantic laughter system, can compare the humorous style of children story writers. This provides a comparison of the style of satirists for comparative literature scholars. The study seeks to compare and classify the sharing of meaning-making techniques of humorous stories, jokes, and parables as macro-textures with the techniques of meaning-making contemporary humor stories for children as micro-textures. It also classifies them based on Landowski's four semantic-interactive systems. The research questions include: 1. In the context of Landowski's semantic systems, how is the process of laughter formation in the discourses of popular humor (stories, jokes, and allegories)? 2. What are the common strategies between the popular humor and humorous stories for children to create laughter-semantics conditions? It should be noted that the "laughter-semantics conditions" refers to the process of laughter formation within a semantic system. Research Methodology The research method is analytical-descriptive and the statistical population of this article is the written and oral texts of folk literature satire and fictional texts of children's satire. The sample group is selected by "targeted sampling" method. To complete the sampling, the "data saturation" method was used. The sample size obtained from the saturation consists of fifty works, a few of which will be mentioned because of certain limitations. Conclusion According to Landowski's social semio-semantics, the humorous semantic systems (laughter-semantics systems) consist of four systems: pivotal, persuasive, adaptive, and accidental. Each system has sub-strategies, which are made first in the macro-cultural contexts, and then extend the situational sub-contexts in the contemporary children stories. These strategies are differentiated and categorized based on whether the character achieves a value object, as well as how the characters' modeling ability changes. Modal ability refers to the four modality verbs "to want, to know, to be able, and must", which govern each character before performing the action. References Landowski. E. (1989). Reflective society (in French). Seuil. Landowski. E. (2005). Khatari interactions (in French). PULIM. Moin, M. B. (2015). Meaning as lived experience (in Farsi). Sokhan. Moin, M. B. (2017). The missing dimensions of meaning in classical narrative semiotics (in Farsi). Scientific and Cultural. Sasani, F. (2010). Meaning: towards social semiotics (in Farsi). Science. Zanjanbar, A. H., & Abbasi, A. (2020). Stylistics of "physical metamorphosis" in children stories based on the tensive regime of discourse. Journal of Language Related Research, 11(4), 49-74. گِرمَس در نشانهشناسی روایی خود دو نظام معنایی «برنامهمدار» و «مُجابی» را مطرح میکند. لاندوفسکی، علاوهبر این دو نظام، قائل به دو نظام معنایی ـ تعاملیِ «تطبیقی» و «تصادفی» نیز هست. نظامهای چهارگانۀ مذکور (برنامهمدار، مجابی، تطبیقی، و تصادفی) بهترتیب مبتنی بر نظم، نیتمندی، تعامل حسی، و شانس هستند. با توجه به اینکه نشانه ـ معناشناسی اجتماعی نظریۀ تولید و دریافت معنا در کاربرد است، پژوهش پیشِرو بر آن است که در چارچوب نظامهای چهارگانۀ لاندوفسکی، با شیوۀ تحلیلی ـ توصیفی نشان دهد که قصههای طنز کودکِ معاصر بهمثابۀ خردهبافتهای موقعیتیِ خندهداری هستند که راهبردهای معناسازِ بیناسوژهایِ خود را از کلانبافتهای تاریخی ـ فرهنگیای مانند قصهها، مثلها و لطیفهها به ارث میبرند. مسئلۀ پژوهش چگونگی کاکرد روابط بیناسوژهای (روابط میان شخصیتها) در تسرّی این شگردهای خندهمعنایی است. منظور از «شگردهای خندهمعنایی» راهبردهای شکلگیری فرایند خنده در چارچوب یک نظام معنایی است. این پژوهش برای نخستینبار نظامهای معنایی طنز را معرفی و ردهبندی میکند.

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 36 2020 12 21 Personality Types and Animal Symbols in Proverbs and Folk Culture Based on Alfred Adler's Theory تیپ‌های شخصیتی و نمادهای جانوری در امثال و حکم و فرهنگ عامه بر اساس نظریه آلفرد آدلر 99 127 22052 FA ابوالقاسم رحیمی استادیار زبان و ادبیات فارسی، دانشگاه حکیم سبزواری 0000-0001-6345-0031 مهدی رحیمی استادیار ادبیات تطبیقی، دانشگاه حکیم سبزواری، سبزوار، ایران 0000-0002-9884-5612 Journal Article 1970 01 01 The analysis of literary texts using psychological theories, which are referred to as psychological critique, and sometimes based on Freud's teachings as psychoanalytic critique, is a practical-pragmatic approach in dealing with literary text. It is an interdisciplinary approach that connects two areas of humanities and opens new windows on text comprehension. The issue of personality, and its multiple types, is the main area of applying psychology in the reality of the outside world. Awareness of this category leads to improved social relationships and constructive interactions. Personality types appear and play a role not only in external objectivity and in obvious social relations, but also in literary texts. Beyond that, the symbolic animals used in popular literature and proverbs, in a deep and profound function, can represent the personality types. Alfred Adler, a pioneer of social psychology and the theorist of individual psychology, has introduced one of the most influential theories in this field by presenting four personality types. The current paper, based on this theoretical framework and with a descriptive-analytical method, examines the literary proverbs and folk culture, and shows the validity of this theory in a range of literary statements and folk beliefs. This study, taking the theory from the field of one or more coherent works to the historical-applied literary proverbs and folk culture, shows how the proverbs, based on their cultural schemata, and due to their concise and influential nature, reflect symbolic animals in the form of psychological personality types. Research Background Skimming the literature, it was realized that so far no independent study has been conducted to analyzed the animal symbols used in the proverbs from the view of Adler's four typologies; the existing animal studies sometimes follow different approaches, some of which are cited below. Talebi and Qatreh (2019) studied animals from the perspective of conceptual metaphors and found that speakers have used their metaphorical interpretations of animal behaviors to describe the various characteristics of individuals. Fouladi and Ebrahimi (2011) conducted a study from the perspective of environmental critique, and statistically have dealt with animals. Selajgeh (2011) employed a semiotic point of view dealing with some animal symbols in the poems of Saeb Tabrizi and Bidel Dehlavi. They sketched out the literary role of animal signs. Adler's theory of personality has been the basis of the work of Sancholi and Kichi (2014) in "Demneh personality analysis based on Alfred Adler's theory of personal psychology". In the current study, however, a different component is focused: the existence of inferiority complex in Demneh's personality. Aims, questions, and assumptions The scientific study of personality types and their characteristics is the main focus of applied psychology (Schultz & Schultz, 2012, p. 5). The result of such a study is to understand the individual better, and thus improve the level of social relations. Categorizing four personality types, Alfred Adler has played a prominent and crucial role in introducing various human personalities. His views could be practical for the early recognition of the individual, and as a result, to adopt the best practices in dealing with others. This perspective will, of course, be more useful if it is obtained by examining folk literature, especially proverbs. On the one hand, folklore literature, due to its reliance on “cultural schemata”, is a representation of the interests, traditions, and culture of a nation (Stone, 2004, p. x). Furthermore, proverbs, having concise and artistic forms, represent a range of experiences and meanings (Manser, 2007, p. ix). Because of their rhetoric, these literary texts reveal not only direct meanings, but also implicit, textual, and invisible meanings (Yule, 2006, p. 112), and can offer a large amount of human knowledge in a limited period of time. The aim of this study is to identify some of the personality types through studying short artistic expressions and the structure of proverbs and folk literature. Discussion If in sociological studies, the study of social class, definitions, characteristics, and how they are formed is the most fundamental issue (Bendix & Lipse, 1967, p. 8), then in the field of psychological sciences, the issue of personality and various personality types is the main focus. Unlike his fellow professor, Freud, investigating individualistic psychology, Adler derived his personality discussions not from the myths and classical literary texts, but from the society ahead and the individual. Explaining his theory, Adler first described the general problems of the man. He categorized these problems into three categories: problems that focus on how we treat others, problems related to jobs and professions, and problems of love and affection. Analyzing these problems, Adler introduced four personality types: a) dominant type, b) getting type, c) avoiding type, and d) socially useful type (Ansbacher & Ansbacher, 1956, pp. 8-9). In line with the subject of this article, the four-mentioned types are examined through analyzing the proverbs, rulings, and popular culture. Conclusion Interdisciplinary research has a better and more practical outcome due to its two- or multi-faceted approach to concepts. This is because such a research not only opens up the scope and effectiveness of multiple-perspective analysis simultaneously, but also reveals newer horizons of knowledge. The current paper took an interdisciplinary approach, borrowing a psychological-literary perspective, to study and analyze the animal symbols used in the proverbs and popular culture, based on Adler's theory of personality types. The present study shows that folk literature and literary proverbs, borrowing the cultural ideas and including historical-class and long-standing experiences, is a very practical platform for literary studies through a psychological critique approach. Proverbs are considered cognitive concepts and reflect the objective and social realities. Adler's theory of personality and his four personality types are among the most influential theories in the field of psychological studies. This theory will give us a better understanding of the man and the improvement of the level of social relations. Analyzing the data clearly reveals that some of the animal symbols used in the proverbs and folk literature are applicable to Adler's personality types, indicative of various human behaviors. According to the findings, the two chosen animals, wolf and sheep, which are used in a range of proverbs in an obvious confrontation, can be categorized into two types: Dominant and Getting types. These two personality types are studied within sociological studies under the title of social classes. The avoidant personality type appears in the following animal symbol: The owl appears and the Hoopoe reflects the socially useful personality type. The result of the study, on the one hand, confirms the research hypotheses and the validity of this psychological theory, and on the other hand, shows the necessity of research in the field of folk literature, particularly the proverbs. References Ansbacher, H. L., & Ansbacher, R. R. (1956). The individual psychology of Alfred Adler. Basic Books, Inc. Bendix, R., & Lipset, M. (1967). Class, status, and power. R.K.P. Manser, M. H. (2007). The facts on file: dictionary of proverbs. Facts on File, Inc. Schultz, D. P., & Schultz, S. A. (2012). Theories of personality (10th ed.). Wadsworth Publishing. Stone, J. R. (2005). The Routledge dictionary of Latin quotations: the illiterati's guide to Latin maxims, mottoes, proverbs and sayings. Routledge. Yule, G. (2006). The study of language (3rd ed.). Cambridge University Press. تحلیل متون ادبی با بهرهگیری از نظریههای روانشناختی که ذیل عنوان نقد روانشناختی و گاه مبتنی بر آموزههای فروید و نقد روانکاوانه از آن یاد میشود، رویکردی کاربردی ـ عملگرا در مواجهه با متن ادبی است؛ رویکردی میانرشتهای که دو حوزه از علوم انسانی را به هم پیوند میدهد و دریچههایی تازه را بر درک متن میگشاید. مسئله شخصیت و نیز، چگونگی و چندگانگی تیپهای شخصیتی، حوزه اصلی کاربرد روانشناسی در واقعیت پیش روی دنیای بیرونی است. آگاهی از این مقوله، به بهبود روابط اجتماعی و چگونگی تعاملات سازنده منجر میشود. تیپهای شخصیتی نهتنها در عینیت بیرونی و در روابط آشکار اجتماعی، که در متون ادبی نیز ظاهر میشوند و به ایفای نقش میپردازند که فراتر از این، جانوران نمادین بهکار رفته در گستره ادبیات عامه و امثال و حکم، در کارکردی ژرف و عمیق، میتوانند نمودبخش تیپ‌های شخصیتی باشند. آلفرد آدلر، پیشگام روانشناسی اجتماعی و صاحب نظریه روان‌شناسی فردی، با معرفی چهار تیپ شخصیتی، یکی از اثرگذارترین نظریهها را در این حوزه ارائه کرده است. جستار پیشرو، مبتنی بر این چارچوب نظری و با روش توصیفی ـ تحلیلی به بررسی گزین‌گویههای ادبی و فرهنگ عامه پرداخته و روایی این نظریه را در گستره شماری از گزاره‌های ادبی و باورهای عامه، نشان داده است. پژوهش حاضر، بهمثابه نخستین پژوهشی که نظریه مذکور را از حوزه یک یا چند اثر منسجم، به گستره تاریخی ـ کاربردی گزینگویههای ادبی و فرهنگ عامه برده است، نشان میدهد که چگونه گزین‌گویهها بهدلیل اتکا بر انگارههای فرهنگی و با توجه به ماهیت موجز و تأثیرگذار خویش، حیوانات نمادین ـ سمبلیک را در هیئت تیپهای شخصیتی روانشناختی بازتاب میدهند.

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 36 2020 12 21 The Relationship between Gender and the Usage of Different Kinds of Politeness and Verbal Violence in Proverbs of Taleshi Language (Minaabadi Dialect of Ardabil Province) رابطۀ بین جنسیت و وجود انواع ادب و خشونت کلامی در ضرب‌المثل‌های زبان تالشی (گویش میناآبادی استان اردبیل) 129 157 22053 FA ملاحت شعبانی مینااباد دانشگاه پیام نور Journal Article 1970 01 01 Language usage is one of the most prominent social distinctions among men and women, which is often manifested in speech. In terms of “social norms”, linguistic politeness is regarded as a completely standard behavior in society. Each culture has its own behavioral norms, and the behavior that conforms to rules is politeness. Some of the social norms can be found in folklore and oral literature, including proverbs. Therefore, by choosing Taleshi language, spoken in Minaabad region of Ardabil city, the researcher tried to study the linguistic politeness and different types of face threatening acts to answer the following research question: is there any relationship between the gender of speakers and the usage of different kinds of politeness in the proverbs of Taleshi language. For this purpose, the researcher first interviewed the old and middle-aged men and women, and then collected 180 proverbs and examined them based on the existence of politeness and verbal violence. The data were analyzed by Log-linear analysis in SPSS software. The results of the statistical analysis indicated that there is a significant relationship in the usage of different kinds of politeness and verbal violence in the proverbs of different genders in Taleshi language, which, due to the community expectations, has also led to a difference in their social behavior. Introduction Research background Locher and Bousfield (2008, p. 3) describe impoliteness as the “behavior that is face-aggravating in a particular context”. Women and men have different roles and functions in specific areas according to the social expectations. There have been many studies on the change of social behavior which, in turn, affects the linguistic behavior. Brown and Levinson (1987) conducted a study on the language of men and women in a Mayan community in Mexico to evaluate the hypothesis that women show more politeness than men. They believed that the level of politeness in a spoken interaction depends on the social relationship between the speaker and the listener, and that the signs of being polite showed social relationships. According to Leech (2014, p. 139), apart from being manifested in the content of conversation, politeness is also seen in the way the conversation as a whole is structured and managed by its participants. This means that the conversational behavior itself can be interpreted as being polite or impolite. Fasold (1984) studied the gender differences in doing compliment. He called the phenomenon of compliments a bilingual phenomenon in which discourses 1 and 2 relate to social, communicative, and temporal situations. In the field of combinatorics on words, many studies have focused on English. For example, Lakoof (1973) found that women use politer words, but most men do not use such words in their daily speech. She also believed that women use more adjectives with adorable, seductive, sweet, sacred, and beautiful meanings compared to men. Goals, questions, and assumptions Various researchers such as Goffman (1967), Brown and Levinson (1987), Bousfield (2007), Culpeper (1996), and Culpeper et al. (2003) have investigated the category of politeness and impoliteness in language studies. While the positive face represents the need to be connected, the negative face represents the need to be independent (Yule, 2010). Although this theory has been the basis of much research in different parts of the world, it has not been explored widely in different dialects spoken in cities of Iran. So, the researcher, according to the Brown and Levinson’s politeness theory (1987), and Goffman’s face-threatening acts (1967) attempts to answer the question of whether there is a difference in the types of politeness and violence used in the language spoken by male and female Taleshi speakers. Other sub-questions to be addressed include: 1. Is there a meaningful relationship between the proverbs used by men and women in terms of the level of politeness and gender of the speakers? 2. Is there a significant relationship between the proverbs used by men and women in terms of level of violence and gender of the speakers? 3. What kind of politeness is most evident in the proverbs used by men and women? 4. What kind of violence is most evident in the proverbs used by men and women? Discussion and conclusion Based on the results of the data analysis, it can be concluded that there is a significant difference in terms of the proverbs used by men and women based on the variables of politeness and violence. In this study, which compared the content of the proverbs used by men and women to test the original hypothesis, it was significantly proven that there is a close relationship between gender and the usage of politeness and violence in the proverbs. These results are in line with those reported by Lakoof (1973) and Tannen (1990), but are inconsistent with the results of Spender (1980). Factors contributing to the development and continuation of these linguistic conditions include the violence resulting from the geopolitical situation of the region due to cultural and historical deprivations in the political and security terms that have influenced the manner of speaking and violent speech, since language is significantly a reflection of the culture and historical situation of the speakers. Log-linear test was also used to test the secondary sub-hypotheses of the study. Confirming the first sub-hypothesis of the research using the Fi test, the findings showed that there was a significant relationship between the level of politeness and gender of the speaker, so the gender of the speaker influenced the politeness level of the proverbs used. The results of this study are in line with those of Brown and Levinson (1987). Among the factors that should be noted in relation to the emergence and continuation of this linguistic feature in this particular region and in this particular sub-dialect is the naturalization and acceptance of this linguistic status by the women of the community and the indirect efforts to promote and disseminate it. The influence of neighboring cultures and other ethnicities in Iran, where this situation is also widespread and prevalent, may be some of the other contributing factors. By confirming the second sub-hypothesis of the study, it was found that the frequency of the types of violence used in men's proverbs varied. The results of this study are in line with those of Mohammadi (2016) and Mohammadkhani et al. (2006). Factors that indicate exclusively the emergence and in particular the persistence of this linguistic violence in this particular region can be traced to the long-standing traditional-patriarchal family system and its continuation up to the modern times. By examining the third sub-hypothesis of the study, it was shown that in terms of proverbs used by men and women, the percentage of politeness used by women was higher than men. On the other hand, the informal politeness used by women was more than the other types of politeness. Also, the percentage of proverbs used by men was higher than that of the women, while the use of words by men was higher than women. The results of this study are in line with those of Jannejad (2001), and Hamidi and Ameri (2015). The reasons for the emergence and continuation of these conditions include the fact that from a socio-linguistic point of view, women of high social class refuse to use impolite terms and expressions because they are always concerned with preserving their prestige and social status in the community. In general, it can be said that men and women have different roles and functions in specific areas depending on the social expectations. This not only does make a difference in their social behavior, but also affects their linguistic behavior. Men of all ages use more slang terms when talking to males and females. While women try to use interactive strategies in their daily interactions and conversations, they do not want to feel superior to one another. In their conversations, women try to minimize differences of opinion in order to reach an agreement, and this agreement improves and guarantees their relationship, even if they are not fully satisfied with the final decision. Thus, it can be concluded that gender is one of the components of individual and social identities, and therefore, the relation of language and gender is a subset of the relation of language and identity. As a result, in the studies of gender related linguistics, language and linguistic behavior are considered as the symbolic capital of the expression of sexual identities. References Bousfield, D. (2007). Impoliteness in interaction. John Benjamins Publishing Company. Brown, P., & Levinson, S. C. (1987). Politeness, some universals in language usage. Cambridge University Press. Culpeper, J. (1996). Towards an anatomy of impoliteness. Journal of Pragmatics, 25, 349-67. Culpeper, J., Derek, B., & Anne, W. (2003). Impoliteness revisited: with special reference to dynamic and prosodic aspects. Journal of Pragmatics, 35, 545-79. Fasold, R. (1984). The sociolinguistics of society. Basil Blackwell. Goffman, E. (1967). Stigma notes on management of spoiled identity (translated into Farsi by Masood Kyanpour). Markaz Publication. Hamidi, F., & Ameri, P. (2015). Creativity and modernism in the deconstruction of mystical and conversational languages. Women in Culture and Art, 7(3), 389-404. Jannejad, M. (2001). Language and gender; social linguistic research in linguistic differences between Iranian male and female speakers in conversational interaction. PhD Thesis, University of Tehran, Tehran, Iran. Lakoof, R. (1973). The logic of politeness; or minding your p's and q's. In papers from the ninth regional meeting of the Chicago Linguistic Society. Chicago Linguistic society. 292-305. Leech, G. (2014). The pragmatics of politeness. Oxford University Press. Locher, M. A., & Bousfield, D. (2008). Impoliteness in interaction. John Benjamins. MohammadKhani, P., RezaeiDougah, A., Mohammadi, M., & AzadMehr, H. (2006). Prevalence of domestic violence patterns, its experiential commitment in men of weights. Social Welfare Quarterly, 21, 225-205. Mohammadi, M. (2016). Violation of courtesy in Farsi-speaking social networks. Master's Degree in Public Linguistics, Hamedan: Bu Ali Sina University.The Power of Talks Who Gets Heard and Why, Harward Business Review, September. Yule, G. (2010). The study of language (4th ed.). Cambridge University Press. یکی از مشخصترین مرزهای اجتماعی مرزی است که بین زنان و مردان در استفاده از زبان وجود دارد و این مرز بیشتر در گفتار تجلی مییابد. از دیدگاه «هنجار اجتماعی» ادب زبان‌شناختی1، عملی کاملاً استاندارد در جامعه است. هر فرهنگی هنجارهای رفتاری خاص خود را دارد و رفتاری که با قوانین مطابقت دارد، ادب است. بخشی از هنجارهای اجتماعی را میتوان در ادبیات عامه و شفاهی ازجمله ضربالمثلها جستوجو کرد. بنابراین، محقق با انتخاب زبان تالشی که در منطقۀ میناآباد شهرستان اردبیل بدان صحبت میشود و با بررسی ادب زبانشناختی و انواع تهدید وجهه در صدد پاسخ به این سؤال برآمد که آیا ارتباطی بین جنسیت گویشور و استفاده از انواع ادب و خشونت کلامی2 در ضربالمثلهای زبان تالشی وجود دارد یا خیر. به همین منظور، ابتدا پژوهشگر بهصورت میدانی و مصاحبه با زنان و مردان سالخورده و میانسال، تعداد 180 ضربالمثل را جمعآوری و سپس آنها را بر اساس وجود ادب و خشونت بر اساس جنسیت بررسی کرد. بر مبنای تحلیلی که در 180 ضربالمثل جمعآوریشده بر اساس نرمافزار اس.پی.اس.اس. نسخۀ 25 انجام شد، نتیجۀ بهدست آمده نشان می‌دهد که رابطۀ معناداری بین جنسیت گویشوران و وجود انواع ادب و خشونت در ضربالمثلهای زبان تالشی وجود دارد که با توجه به انتظارات جامعه، این امر سبب بروز تفاوت در رفتار اجتماعی آن‌ها نیز شده است.

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 36 2020 12 21 The Female Characters in the Poem of Karistan Hatem شخصیت زنان منظومۀ «کارستان ‌حاتم» 159 189 22054 FA مژگان متوسل دانشجوی دکتری زبان وادبیات فارسی 0000-0002-4319-0540 سید محمد دشتی استادیار دانشگاه سلمان فارسی کازرون 0000-0003-4896-4215 Journal Article 1970 01 01 Karistan Hatem, a single manuscript which is kept in the manuscript Treasury of the Leipzig University, is the work of a poet named Farid Ibn Ghazfar. This legend is a poetic narration of one of Hatem Tai's stories. The poem gives a description of the mania of the Sham princes named Munir for Hosn Banu, the beautiful queen of Khorasan, and about Hatem's sacrifices that led to their marriage. Although the protagonist of this story is an invincible superhuman, his activism owes much to the dramatic role-play of the women in the story. In the following article, after briefly introducing the manuscript, the story has been deciphered from the viewpoint of the female characters' performance. By giving an in-depth investigation and analysis, it can be concluded that the story is based on the ancient beliefs left over from matriarchy. This claim is corroborated by implications for motherhood, including the city of women, totemism, exogamy, plant God themes, and sacrifice for the mother queen. Another result of this research is to deepen this story and its capacity to accept comprehensive readings of mythology, sociology, and psychology. Research Background Although Hatem and his stories, according to Ismaili (2007, p. 21), were very famous in the tenth and eleventh centuries AH, they have not received the due attention of scholars. So, only two related scientific studies can be mentioned. First of all, we should mention Hatam Nameh, which is an edition of two prose narrations of Hatem's story by Ismaili (2007). In the introduction of this book, the editor has mentioned different narrations of the story and a brief description of its features. Another research in this field is the article written by Shakibi Mumtaz and Hosseini (2012). The hero's passing and his attainment of individuality are considered in the final part of the story. Since there is no information about this version in the biography books and sources of the history of literature, it is hoped that the present study will be able to remove this unknown system from the forgetfulness of history and take a step towards the scientific critique of the story. Aims, questions, and assumptions Karestan Hatem is a narration of the poem Haft Sir Hatem. From Hatem's oral story, several poetic narrations have been adapted in Urdu, Hindi, Maleh, Dutch, Turkish, and the European languages (Ismaili, 2007, pp. 49-50), which show the extraordinary popularity of this work among the people, but so far in the sources, no adaptation and narration of Persian poetry from the story of Hatem has been mentioned. In Karestan Hatem, women play a key role and they are the cause of the main hero's transformation. The purpose of this article is to explain the position of the female characters in this story and the reason for the formation of this structure. In this article, the following questions are investigated: A. What is the mythological or psychological interpretation of each of the main female characters in the story of Karestan Hatem? B. From a social point of view, are the women of this system independent and active activists, or does the story have a patriarchal context against which women are subjugated and passive? Given the reasons presented, the present study seeks to prove the hypothesis that this story, from a mythological and historical perspective, is a representation of the era of motherhood. From a psychological point of view, each of the female characters in the story recreates one of the levels of the human psyche. And socially, most of the women in this story seek to prove their existence in the face of a multifaceted view. Discussion Some scholars believe that "women did not have a clear and decisive position in the old patriarchal society, and subsequently, in various genres of literature, but that they usually played a vague, decorative and marginal role, leaving the main roles to men" (Bagheri, 2013, p. 120). However, in some folk tales, women have a very high status. Anthropologists consider the way of life based on monogamy and agriculture of primitive societies to be the main reason for the formation of matriarchy. They argue that in the Paleolithic period, hegemonic ideas did not exist among primitive and savage prehistoric societies, and that those peoples were equated in access to resources and wealth. Therefore, motherhood does not necessarily mean the superiority of women over men, but that this system is based on the equality of the two sexes (Taheri, 2019, p. 392). The reason for the extraordinary importance of women in such a society has been the secrecy of their fertility. Examining the female characters in this story reveals manifestations of motherhood in the story. Evidence such as the existence of exogamy, sacrifice for the queen mother, and totemism show the roots of feminism in this story. On the other hand, there are four women with whom Hatem is married four times from the human soul, and this story shows the union of the conscious and the unconsciousness of the hero. From a social point of view, the witchcraft of women and their obligation to accept the customs of society indicates the domination of women in the patriarchal societies, which is presented in different ways in this story. Conclusion The public story of Karestan Hatem has frequent symptoms of the matriarchy era. From a social point of view, this story also reveals signs of the resistance of female characters to the manifestations of a patriarchal society. In this story, we can see a patriarchal atmosphere in which a woman is a means of maintaining power and has no independent voice, falling asleep in magic or becoming a passive creature. But these signs are diminished by the manifestations of female authority in connection with the days of matriarchy, so far as it gives a feminine texture to the story. On the other hand, many women in this story, from different psychological points of view, are different manifestations of the anima and the subconscious of the psyche. In fact, the story is a series of unification of the hero's conscious and unconscious spheres. Finally, by examining this story from different perspectives, one can get the wide capability of a public story for various interpretations. References Bagheri, B. (2013). Active women and passive women in folk prose stories. Popular culture and Literature, 1, 120-142. Ismaeili, H. (2007). Hatam-Nameh. Moein. Shakibi Momtaz, N., & Hoseini, M. (2012). The hero's journey in the story Hammame Badgard based on the analytical method of Campbell and Jung. Literary research, 22, 33-63. Taheri, S. (2019). The social status of women in the ancient civilization of the burnt city. Women in culture and art, 3, 391-411. منظومۀ «کارستان حاتم» که تک‌نسخۀ آن در گنجینۀ نسخ خطی دانشگاه لایپزیک نگهداری می‌شود، سرودۀ شاعری گمنام به اسم فرید بن غضفر است. این افسانۀ عامه، روایتی منظوم از یکی از قصههای حاتم طایی است. ماجرای این منظومه، شرح شیدایی شاهزادهای شامی به نام منیر به حسنبانو، ملکۀ زیبای خراسان است که با ازجانگذشتگیهای حاتم به وصال یکدیگر میرسند. اگرچه قهرمان این داستان ابرانسانی است شکستناپذیر، اما کنشمندی او مرهون نقشآفرینی چشمگیر زنان قصه است. در نوشتار پیش رو ضمن معرفی اجمالی نسخۀ خطی، این قصه از نظرگاه عملکرد شخصیتهای زن، رمزکاوی شده است. پس از زدودن پیرایههای ظاهری قصه، میتوان به این نتیجه رسید که این داستان بر بنیادی از باورهای باستانی مبنی بر زنسالاری استوار است. این مدعا با استناد به دلالتهای در پیوند با روزگار مادرسالاری، ازجمله شهر نسوان، توتمیسم، ازدواجهای برونهمسری، بنمایههای ایزدگیاهی و قربانی برای ملکۀ مادر تأیید میشود. نتیجۀ دیگر این پژوهش، نمودن ژرفای این قصه و گنجایش آن برای پذیرش خوانشهای همهجانبۀ اسطورهای، جامعهشناختی و روانشناختی است.

https://cfl.modares.ac.ir/article_22054_e3f8cedce7f1fa45b35ceccfdcb7249f.pdf

دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 36 2020 12 21 Narrative Elements in Fakhri Heraviâs Haft Keshvar عناصر روایی در هفت‌کشور فخری ‌هروی 191 218 22055 FA حمید جعفری قریه علی دانشیار دانشگاه ولی عصر«عج» رفسنجان زهرا جعفری کارشناس ارشد رشتۀ زبان و ادبیات فارسی دانشگاه ولی عصر«عج» Journal Article 1970 01 01 Haft Keshvar is a narrative fiction by Heravi that includes an introduction, seven resting places, seven countries, and six journeys through some countries. The author discusses human virtues in the introduction and elaborates on politics, rulers, and their courts to reveal historical agendas of the time. It is a 10th century AH masterpiece that embeds ethics and politics in a literary narrative. The present study is a structural analysis of Haft Keshvar that examines its plot, characterization, and allusions. In other words, it aims at extracting components of the story to see how they are structurally bound to each other. Our results show that stories mostly encourage intellectualism and rationalism. Moreover, the plot is resolved either by a wise man or character actions at the end of the story. Results also show that, despite their trivial approaches and settings, all the stories follow a certain integrated philosophy that form a certain mindset. All the stories are close-ended. Background The Anthology of Persian Literature Volume 5 includes an entity on Fakhri Heravi’s Haft Keshvar (Safa, 1991). Moreover, Zekavati briefly recounts some tales and characters from different locations (Zekavati, 2008). Afshar reports on the first and second editions of the book (2010). Asadi (2017) compares the linguistic, rhetorical, and intellectual characteristics of Haft Keshvar and Mahboobalghalb. However, the study by Kadivar et al. (2020) is the closest to our analysis. Aims The present study examines narrative elements, structure, and the correlation between them in Heravi’s Haft Keshvar. In simple words, it seeks to explore the elements employed by Heravi in developing the stories in Haft Keshvar. Discussion Heravi (2016) rewrites tales of other writers and adopts the themes related to the tricksters to achieve didactic goals. The basic ground on which tales in Haft Keshvar rely on is organized and simplistic. Despite their weaknesses, they all have a beginning, a middle, and an ending. Most of the tales have a closed circuit of plot schemes that follow a linear timeline. Characterization is highly important in Haft Keshvar. Characters are mostly static: Foil characters. Opposite characters who share the physical and perspective similarities and serve to transfer the author’s ideas. Ambiguous characters that are deployed solely to drive the story. Haft Keshvar is a classical and didactic work where human function is depicted through opposing forces. Dialogue, in the form of questions or argumentations between major characters, are the most frequent narrative elements. They appear as monologues or argumentations. In fact, the dialogue contributes to the construction of events and helps to form individual identities through conflicts, expressions, attitudes, and interests. Fairclough defines dialogues as systematic development of themes that speak for themselves (Fairclough, 2000). Time is naively ambiguous. A span of 30 days is set for the character to visit seven countries, and the other times are only for the main event to be developed. Setting of the stories are mostly realistic and only 25% of the story is fantasy. This indicates the fact that the author intends to validate the events. We should bear in mind that the characters do not need to be taken from real life, and they only need to be realistic and believable (Zigler, 1989). Since Haft Keshvar is didactic, the tone and atmosphere are serious and in line with the overall theme of the story. A close analysis of the narratives in the story reveals 8 cases of third-person point of view. In the remaining 46 cases, a character from the story narrates the events. However, the third-person point of view is dominant. All the stories begin with an introduction to the setting of the events and characters to set the action of the story. Everything is logically presented and the reader is not bewildered. All the stories have closed endings. Travelogues are either realistic, in which the author reports his own observations, or imaginary in which the author uses his own subjective perception (Razmjou, 2003, p. 212). Afshar and Afshary called this work Ibn Torab’s travel book, asserting its value as a travelogue. Conclusion Our findings show that the story follows a linear report. Nevertheless, there is an artificial rendering of events that give a closed characteristic to the work. All the tales have a beginning, middle, and ending ample with emotional and physical conflicts. Resolution of the events is mostly given by a wise man and characters’ actions. Characters are dramatically developed and named based on the ethics of the story. Dialogue is the basic tool to drive the stories. The book is a travelogue that reports the main character’s journey to seven different countries. References Fairclough, N. (1995). Critical discourse analysis: the critical study of language. Longman. Fakhri Heravy, M. (2015). Haft Keshavar. Nashr Cheshmeh. Razmjou, H. (2003). Literary genres in Persian literature. University of Mashhad Publication. Scoles, R. (1974). Structuralism in literature: an introduction. Yale University Press. Ziegler, I. (1968). Creative writing: Barnes & Noble, Inc. هفتکشور نوشتۀ فخری بن امیر هروی، اثری روایی است که یک «مقدمه»، هفت «منزل»، هفت «کشور» (اقلیم) و شش «مسافت» (= شش فاصلۀ میان هفت اقلیم) را دربر دارد. نویسنده در قسمت مقدمه، از صفات انسان کامل و برخی از صفات پسندیده سخن گفته و در کشورها و مسافتها به سیاست و کشورداری، بحث دربارۀ پادشاهان و وزیران، مراتب آنان، بایست‌های هر یک از این مراتب و همچنین مطالب تاریخی پرداخته است. این کتاب نمونۀ بارزی در زمینۀ اخلاق و سیاست به روش نقل حکایت با نثری ادیبانه و منشیگرایانه است که در قرن دهم هجری نوشته شده است. در این پژوهش اسلوب و الگوهای ساختاری هفتکشور تبیین شده و عناصر روایی چون طرح، شخصیتها و ویژگیهای داستانی و همچنین، میزان اقتباسش از دیگر آثار مورد تحلیل قرار گرفته است. شناخت اجزای سازندۀ حکایات هفتکشور و همبستگی این عناصر با هم و با کل حکایات در جهت شکلشناسی حکایات مهمترین هدف این پژوهش است. بررسی شیوۀ حکایات نشان میدهد که بیشترین بازدهی کشمکش در نوع ذهنی حکایات است که این موضوع نشاندهندۀ اهمیت عنصر خرد در هفتکشور است. گرهگشایی در پایان تمام حکایات با راهنماییهای یاریگرانی نظیر حکیم مشاور و کنش شخصیتها انجام میشود. براساس نتایج این پژوهش با وجود تفاوت در نتیجهگیری از حیث اهداف کاربردی و اندیشهای که زیربنای همۀ حکایتهاست، بهطور کلی تمامی آنها وحدت دارند و تفکری غالب، همه را به یکدیگر پیوند میدهد. پایان حکایتها نیز بسته است.

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 36 2020 12 21 Hindusâ Popular Culture and Rituals in Mathnavi-e Erfan by Bidel Dehlavi فرهنگ عامه و آیین‌های هندوان در مثنوی «عرفان» بیدل دهلوی 219 248 22056 FA محمد فولادی هیأت علمی دانشگاه قم زینب پناه دانشجوی دکتری زبان وادبیات فارسی Journal Article 1970 01 01 The poems of Bidel as a remarkable poet of Indian style, who lived outside the geographical boundaries of Iran, reflects the popular culture, rituals, traditions, and people’s beliefs in India. This Persian mystic poet whose works originates from the basic culture of his homeland, consciously or unconsciously, accomplished to reflect parts of the culture and popular beliefs of Hindus in his poems through different ways. This study seeks to survey some popular beliefs, customs, ceremonies, and rituals dealt with Bidel Dehlavi in Mathnavi-e Erfan. The results of this research was extracted by a descriptive analysis revealing that beliefs in reincarnation, Sati practice, Vedas custom, and burning the dead people are among some common traditions and beliefs in the land of India applied by the poet to create artistic themes and explain mystic and religious ideas for the audience. Furthermore, the romance of Kamdi and Madan in Mathnavi-e Erfan displays the luxurious state of courts of the Indian kings and their social customs. This research can be a reflection of popular culture and tradition of Hindus, and be useful in ethnology studies, social science, and cultural research. Review of the literature No independent research study was found on the themes of people’s culture and customs of Hindus, and its reflection in Masnavi-e Erfan by Bidel Dehlavi. Although some studies have addressed some aspects of the Iranian culture in Bidel Dehlavi's poems, the following can be mentioned. Khosravi et al. (2018) analyzed the level of Iranian culture in Bidel Dehlavi poems. Kariminia et al. (2018) focused on the reflection of public beliefs and ideas in Bidel's poems limiting themselves to the culture. Zolfaghari and Tabatabai (2015) studied the use of Persian proverbs in the poems of Bidel Dehlavi. Ranjbar (2013) investigated folklore in the Indian style describing aspects of people's culture in Bidel's poetry, which is a continuation of the Indian style poetry. Hosseinabadi (2015) studied myths of death in the Indian vision. The study has only paid attention to the subject of death in Indian mythology and has tried to study the beliefs, customs, and rituals related to the Hindu religion. In the similar line, Eliassy (2009) studies the subject of reincarnation in Hindu texts. Latifi (2016) explained the functions of shroud and burial in Hinduism. It could be understood from the research background that the present study is significant in the field of reflection on Hindu culture and rituals in the Masnavi of Erfan Bidel Dehlavi. Aims and questions The main purpose of this research is to answer the following question: which of the customs and culture of Bidel is reflected India in "Masnavi-e Erfan"? This Masnavi has become an important and reliable source for understanding the folklore and popular literature of the Indian land by containing long mystical thoughts as well as Bidel's references to Hindu folk culture, rituals, and customs. Hindu ideas about termination, metamorphosis, reincarnation, ritualism, Vedas, and the love story of "comedy and civilization" are of Indian origin. Although some of them are based on religious, philosophical, and theological views, it has shaped the culture of people in this land. Accordingly, in this research, an attempt is made to answer the research questions while analyzing and reporting some examples of Bidel's influence on Hindu's popular culture. 1. Which of the themes of Indian culture, including customs, traditions, and popular beliefs, is reflected in Bidel Dehlavi's Masnavi-e Erfan? 2. Is the poet only the narrator of some Hindu customs and rituals or he has been able to use these themes in an artistic way to express his mystical thoughts? Assumptions 1. The ritual of burning the dead, the ritual of Sati, the commitment of Vedad, the religious ceremony of the Ganges River, and the story of "Comedy and Madan" are mentioned as part of the customs, traditions, beliefs, and rituals of Hindu culture and religion in Masnavi-e Erfan. 2. Bidel draws on highly mystical and poetic concepts in the form of anecdotes, and attractive and dynamic images of Hindu customs and rituals by using mystical terms. Discussion Studying the culture of the people in Bidel's Masnavi-e Erfan, we seek to examine some of the beliefs, customs, and traditions that are related to the culture of the Indian subcontinent and are reflected in Bidel's Masnavi. The study of Masnavi-e Erfan from the perspective of popular culture proves that he was raised in India. Wherever he had the opportunity, he displayed the main themes of the people's culture and various aspects of Hindu customs and beliefs in his poetry. Belief in reincarnation and the influence on the beliefs of the Indian people, ritualism, rituals of mourning, as well as the love story of a dancer and singer are manifested in parts of Masnavi-e Erfan as customs and beliefs of the Indian people. Conclusion Undoubtedly, Bidels work, as a Persian-speaking poet in the Indian subcontinent, reflects the Hindu civilization, culture, and customs. The ritual of cremation, rituals, vows, religious ceremonies of the Ganges River, and the story of "Comedy and Madan" refer to some of the Hindu cultural and religious customs, traditions, and rituals. In the form of anecdotes, Bidel draws attractive and dynamic images of this ceremony that are not well-known to the audience of Persian poetry. In the story of "Comady and Madan", there are similarities with the love stories of "Khosrow and Shirin" and "Lily and Majnoon" in which Bidel Dehlavi was able to artistically combine Iranian and Indian stories. References Abazari, Y. (1993). Religions of the ancient world (in Farsi). The Institute of Cultural Studies and Researches. Ali Moradi, M. M., & Mahmudi, A. (2017). Indian religions (in Farsi). Samt. Bakhtiari, M. R. (2003). Folklore and popular literature (in Farsi). Adiban. Beyhaqi, H. A. (1986). An analytical research about the folk culture in Iran (in Farsi). Astan-e Qods. Bidel Dehlavi, A. (2009). The flam of song: the poems of Bidel Dehlavi (in Farsi). Negah. Elyasi, P. (2009). The afterlife in the holy Indian books. The Research Journal of Religions, 6, 1-26. Hossein Abadi, Z. (2015). An analysis of the death’s myths in the Indian perception). Journal of the Indian Subcontinent, 23, 4-25. Kardgar, Y. (2017). Waiting (in Farsi). Samt. اشعار بیدل دهلوی، یکی از شاعران برجستۀ سبک هندی، که خارج از مرزهای جغرافیایی ایران میزیسته، بازتابی از فرهنگ عامه، آداب، سنن و باورهای مردمی هند است. این شاعر عارف فارسیزبان که آثار او برآمده از فرهنگ پایۀ سرزمین خویش است، توانسته بخشی از گزارههای فرهنگی و باورهای عامۀ زیستگاه خود هند را بهصورت خودآگاه یا نا خودآگاه به گونههای مختلف در اشعارش بازتاب دهد. در این پژوهش برآنیم تا باورهای عامه، آیینها، مراسم و مناسک مذهبی بازتابیافته در مثنوی «عرفان» را بررسی کنیم. حاصل این پژوهش، که با روش تحلیلی ـ توصیفی انجام شده است، بیانگر آن است که اعتقاد به تناسخ، آیین ستی، رسم وداد، آداب سوزاندن مردگان، بخشی از آداب و رسوم و باورهای مردم سرزمین هند است که شاعر با دستمایه قرار دادن این آداب و رسوم به مضمونپردازیهای هنری و تبیین اندیشههای عرفانی و مذهبی برای مخاطب پرداخته است. همچنین قصۀ عاشقانۀ «کامدی و مدن» نیز در مثنوی «عرفان» شرایط پرزرقوبرق دربارهای شاهان هند و آداب اجتماعی آنها را نشان میدهد. این پژوهش میتواند فرهنگ عامه و آداب و رسوم هندوان را بازنمایاند و در مطالعات قوم‌شناسی، علوم اجتماعی و پژوهشهای فرهنگی و عرفانی ثمربخش و کارآمد باشد.

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 36 2020 12 21 Symbolic Concepts of Violet Flower in Mazandaranian Couplets مفاهیم نمادین گل بنفشه در دوبیتی‌های مازندرانی 249 280 22057 FA ویدا ساروی استادیار گروه زبان و ادبیات فارسی،دانشکده علوم انسانی،دانشگاه آزاد اسلامی ،واحد بابل، ایران Journal Article 1970 01 01 Vegetable elements create symbols that offer a transcendent embodiment of the signifier more prominent than their meanings, and in fact connect the human soul with the transcendental. The symbol is somehow related to the feeling of need in human beings. Popular literature is the field of recognizing the customs and beliefs of the people, which includes myths, beliefs, stories, songs, etc. Folk songs are an important part of the oral literature due to the protection of cultural and national identity and the transmission of feelings and beliefs about our past. In this study, more than a thousand verses of Mazandaranian poetry have been studied. Based on the library and field study findings, it can be said that the violet flower has a high frequency among other flowers in the poems of Mazandaranian people, because it represents the spring season, which is sometimes associated with the social, educational, and romantic themes (sadness of love, and pain of waiting). To the extent that the lover converses with the violet flower, he remembers Yar with his pleasant perfume, and considers the shape of his heart and the color of blue as a symbol of his aching heart. Finally, he sees its tangling and twisting as a symbol of the beloved's hair. Research background As far as the author has examined, there has been no independent research on violets in the Persian and oral literature, but some works have been written about flowers and plants. Rangchi (1994) has investigated the flowers and plants in Persian poetic literature until the beginning of the Mongol period. In this book, the author mentions the names of 170 types of flowers and plants and tries to explain their etymology and cite examples from the Poets' Divan. Zomordi (2008) studies plant symbols and cods. In this book, the author has analyzed plant symbols and its literary applications. Research questions The study pursues the following research questions: A) How is the violet flower reflected through symbols in the Mazandaranian couplets? B) What concepts does the structure of violet flower inspire in the Mazandaranian poems? Research hypotheses To answer the above-mentioned questions, the following hypotheses were raised: A) The most important concepts of violet flower in Mazandaran poems are the symbol of Seyed's escape in spring and the face of the beloved. B) The structure of the violet flower is a symbol of humility, and its bruising is a symbol of the bloody heart of the lover waiting for the beloved. Discussion Poetic symbols have always been the representation of the individual and collective unconscious secrets of each nation and civilization. "Anthropological perspective indicate that plant life has endeavored human reason and imagination and has given it a sacred and eternal color" (Mehandost, 2001, p. 166). The symbol shows the depth of the person. A world without a symbol will lead to the spiritual death of the man. The history of symbols shows that any subject can have a symbolic value (Chevalier & Gheerbrant, 2001, vol.1, pp. 49-55). Flowers and plants have become a source of poetic inspiration among poets in literature. Poets took help from nature and expressed the mystical, social, political, and other ideas in the form of poetry. In Mazandaranian poems, more attention has been paid to violet flowers. "Violet flower is called friendship flower; it is a symbol of love and its life is short" (Rangchi, 1994, p. 38). According to the people of Mazandaran, the growth of violets in the last days of winter is a harbinger of spring, the yard of nature, and the beginning of work and effort. Vanuše dar bemu dase be dasse//bǝhâre jelodâr bayye mevârek Ârus besâtene bečâ-bečâ -re//masse belbel sar hǝdă še sedâ re Translation: The violet flower came out in a bunch and announced spring; congratulations. the primrose married and the nightingale is singing intoxicated (Ahmadi Kamarposhti, 2014, p. 17). In addition to being the symbol of spring, the violet flower is also used for the lost concepts that are more associated with the grief of losing a loved one. Sometimes, with the change of the year, there is a talk of grief, and the lover remembers his memories with his beloved in the last spring. Another point to consider about violet flowers is its fragrance that the lover remembers as spring comes, and inhales the scent of the violets. On the other hand, the heart-shaped leaves of the violet flowers in purple and blue pushes the poets to direct their imagination towards considering them as a symbol of the lover's sadness. The realities of society such as poverty, social distance, sorrow and pain, etc., force the poet to speak and bring these silent elements into life with a simple description. The conversation with the violet flower in Mazandaranian songs is in fact a reflection of the poets' feelings and their living environment as well as a reflection of their suffering. Conclusion From the perspective of poets in Mazandaran, besides being the symbol of a promising spring and new year was well as dynamism and movement, the violet flower has a variety of concepts, including: attention to complexity and social unrest. The realities of the society in which they live indicate the educational attitude in the form of advice, the discredit of the world, indigenous beliefs and separation, and the expectation of the beloved's return. The beloved, which has a special place in Mazandaranian poems, has been re-mentioned in a significant part of the verses related to the violets. Where they speak with fervor of the beloved and affection, love falls from the margins of their couplets and accompanies the audience, and thus the presence of the violet flower indicates a reciprocal and practical confrontation between nature and the man. The poet approaches the violet flower so much that he sees it as a friend who is in pain with him. The fragrant scent is a reminiscent of sweet memories. He considers the lover of the blue color and the appearance of the heart as the shape of the violet flower. His embarrassed heart is caught in the twist of a lot of violet, and this is how the violet flower is tied to the life of the people of Mazandaran. References Ahmadi Kamarposhti, K. (2014). Tabari poems (in Farsi). Rasanesh Novin Publisher. Chevalier, J., & Gheerbrant, A. (2001). Dictionnaire des symbols (Vol. 5) (translated into Farsi by Soodabeh Fazaeli) Jayhoon Publisher. Mehandoost, M. (2001). General research in popular culture (in Farsi). Tous Publisher. Rangchi, G. (1994). Flowers and plants in Persian poetic literature (in Farsi). Institute of Research and Study Publication. عناصر نباتی موجدِ نمادهایی هستند که تجسمی متعالیتر از دال و حتی برجستهتر از مدلولهای خود را عرضه می‌دارند و درحقیقت روح انسان را با ماوراء هستی پیوند می‌دهند. نماد بهنوعی با احساس نیاز در انسان مرتبط است. ادبیات عامه، علمی برای شناخت آداب و رسوم و عقاید مردم است که افسانهها، باورداشتها، داستان‌ها، ترانه‌ها و... را شامل می‌شود. ترانه‌های عامه بهدلیل پاسداری از هویت فرهنگی ـ ملی و انتقال احساسات و عقاید گذشتگان ما، بخش مهمی از ادبیات شفاهی محسوب میشود. در اشعار مازندرانی نمادهایی دیده می‌شوند که در اساطیر ریشه دارند و کهنالگوهایی که نسل به نسل در میان مردم گشته و جایگاه و اعتبار خاصی یافته است. در این پژوهش، بیش از هزار بیت از اشعار مازندرانی بررسی شده است. بر اساس یافته‌های کتابخانه‌ای و میدانی تحقیق می‌توان گفت که گل بنفشه در میان گل‌های دیگر در اشعار مردم مازندران بسامد زیادی دارد، زیرا نمایانگر فصل بهار، سال نو و آغاز کار و تلاش دوباره است که گاه با بنمایه‌های اجتماعی، تعلیمی و عاشقانه (غم عشق و درد انتظار) همراه است. تا جایی که عاشق به گفتوگو با گل بنفشه می‌پردازد؛ با عطر خوشش یاد یار می‌افتد و شکل قلبی و رنگ کبود را نمادی از دل دردمند خود می‌داند و درهم روییدن و پیچدرپیچ بودنش را نمادی از زلف معشوق میبیند.

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دانشگاه تربیت مدرس فرهنگ و ادبیات عامه 2345-4466 8 36 2020 12 21 Nostalgia in Barzegari (scything) Poems: A Genre of Bakhtiary Poetry نوستالژی در شعر برزگری؛ یکی از گونه‌های شعر عامۀ بختیاری 281 311 22058 FA روح الله کریمی دانشجوی دکتری زبان و ادبیات فارسی دانشگاه پیام نور حمید رضایی دانشیار گروه زبان و ادبیات فارسی دانشگاه پیام نور فرهاد درودگریان دانشیار گروه زبان و ادبیات فارسی دانشگاه پیام نور Journal Article 1970 01 01 From the view point of typology, Bakhtiary poetry is enriched with a wide variety of poems. Several genres and categories of Bakhtiary poetry are "Saru","Dowalali","Sayyadi" (hunting),"Shouxi", "Balal", and "Barzegari" (scything). Barzegari which is known by terms such as Boveru, Baveru, Bidad, and Barzeyri, narrates gloominess, nostalgia, love, grief, expectations, and concerns of croppers who were busy scything and harvesting their crops far from their family and tribe, in a hot weather region called Garmesir in spring. They expressed their feelings and emotions through poems or songs. One of the main themes of these poets was the sower's sense of nostalgia away from family. This study aims to investigate the factors and several aspects of nostalgia in Barzegari genre of Bakhtiary poetry. This nostalgia is divided into man's and woman's categories. From the prominent aspects of man's nostalgia of Barzegary poetry, homesickness for the hometown, reminiscence of reaching the beloved, feeling nostalgia for the tents and the coolness of springs in Sardsir, the grief for the nature in general, and Sardsir plants in particular, and finally the grief of homelessness and loneliness could be identified. The women's nostalgia depicts their mental states such as separation and waiting for the lover. Review of Literature No independent study has been conducted to investigate, analyze, and identify the type of farming (or scything) in Bakhtiary popular literature so far. Some related studies have only collected some of the verses of this genre, without analysis and explanation. Ahmad Abdollahi Mogoei) 1994) in Book of Songs and Proverbs by Bakhtiary, Vahman and Asatrian (1995) in the book of Poetry of the Baxtiārīs, Hosseini (1998) in the book of Bakhtiari folk poems and songs, Kazem pour (2002) in Bakhtiari Music and Songs, Hossein Hassanzadeh Rahdar (2004) in From Bakhtiari to Bakhtiari, Hajatpour (2009) in the book Bakhtiari and the Evolution of Time, Ghanbari Odivi (2012) in the books of Folklore of Bakhtiari People, Davoodi Hamouleh (2018) in the Bakhtiari Folk Music, Zhukovsky (2017) in the book Materials for the Study of Bakhtiary Dialect has recorded a number of verses of Barzegary (scything). Objectives, questions, and assumptions Nostalgia is known as one of the most prominent themes of Barzegary's poetry, which expresses the relationship between human and nature. It is the main factor of permanence, charm, and the impact of this type of poetry in Bakhtiary culture. The aim of this study is to investigate and analyze the nostalgia cases in Barzegary poems; therefore, in this article, the following research questions are pursued: 1. What factors have caused nostalgia in Barzegary's poems? 2. Has gender been influential in nostalgia? 3. Were the elements of nature effective in creating nostalgia? Discussion In Bakhtiary culture, there are different types of folk poetry, such as cypress (mourning), Bilal (romantic), Dualali (women's joys), farming, fishing and so on. Some of these important types are "Bureau", "Bidad", "Barzegari" and "Barzieri". The most common and famous name of this species is Barzegari (scything). From past until now, Bakhtiary people have been engaged in agriculture along with animal husbandry. Planting, holding, and harvesting crops each have issues, problems, and poems. Among these, harvesting, especially harvesting in the tropical areas (Khuzestan), has led to particular problems and issues. Difficulty and the complexity of reaping in the tropical areas has led to the creation of a genre of folk poetry that is the subtlest, saddest, and poignant genre of Bakhtiary folk poetry. "This type of poetry is one of the highest Bakhtiary folk songs. Genuineness, creativity and art is highly manifested in it"(Ghanbari Odivi, 2012, p. 63) This type of poetry covers various issues, for example, work and its hardships, reaping at night, the unbearable heat of the day, lack of cold water, the influx of pests while sleeping, loneliness, and sadness, the love for the beloved and the nostalgia for her, chagrining while migration, anguish for women, nostalgia for different cold places, gloominess for cold fragrant plants, nostalgia for the domestic animals, nostalgia for wife and children, and haste to escape from Barzegari (Scything). One of the main and important themes of this type of poetry is grief and nostalgia. Due to the deep nostalgic state of this genre, these Barzegari poems can be called "nostalgia poems". By analyzing these poems, we can understand the wishes, problems, feelings, and affections of Bakhtiary harvesters in the past. Nostalgia is a term from the field of psychology that has entered literature. "Nostalgia is one of the terms of psychology and means desolation for the homeland or home and family, grief for hometown, grief for the past, and the desire to return to it" (Nazari and Shahedi, 2016, p. 240). After psychology and psychiatry, nostalgia became central in literature and art. Although nostalgia is a medical term and a common discussion in psychological criticism, it has been the subject of literary works for centuries. The nostalgic mood is seen in most of the Barzegari' verses. Nostalgia in Barzegari poems can be divided into male and female nostalgia according to their narrator. Conclusion Bakhtiary folk poetry is one of the most diverse and frequent folk poems in Iran from a typological point of view. Besides, Barzegari genre is considered as one of the most prominent types of Bakhtiary folk poetry due to the high frequency of its poems and its romantic and sad content, which has attracted attention more than other types. Especially since this type narrates the separation and isolation of Barzegar from his beloved, the cool and pleasant region and his hometown, thus, singing the verses creates a kind of empathy between the audience and Barzegar (sower). Due to the distance from the beloved and the pleasant cold climates, the farmers always remember these two (the beloved and the cool region, i.e. Sardsir) with regret, sorrow, and nostalgia. The contrast of the favorable cold climate (Chaharmahal –va- Bakhtiary) with the scorching heat of the tropical areas (Khuzestan) in the middle of spring and the days of reaping and harvest intensifies the feeling of nostalgia, grief, and regret. Hence, nostalgia is considered as the dominant element in the content of this genre. Barzegar's nostalgia for the beloved, sadness of homesickness, longing for the past, longing for the days of reunion and the desire to return to the cold region (Sard-e-sir) are the main themes that are observed repetitively. Nostalgia in Barzegari poem is divided into two categories: nostalgia for men and nostalgia for women. References Abdollahi Mogoei, A. (1994). Ballad and proverb Bakhtiari (in Farsi). Markaze Pazhohesh and Honar. Davoodi Hamouleh, S. (2018). Bakhtiari folk music: sounds - songs of happiness and unhappiness (in Farsi). Afraz. Ghanbari Adivi, A. (2012). Folklore of Bakhtiari people (in Farsi) Newshe. Hajatpur, M. (2009). Bakhtiari and change time. Motabar Hassanzadeh Rahdar, H. (2004). From Bakhtiari to Bakhtiari (in Farsi). Lajevardi. Hosseini, B. (1998). Bakhtiari folk poems and songs, including descriptions of wars and epics (in Farsi). Shahsavari Kolahchian, F. (2007). Nostalgia for the past in classical mystical poetry. PhD Thesis, Teacher Training University, Tehran, Iran. Nazari, N., & Shahedi, M. (2016). A study of nostalgia in Hafez's poetry. Mystical and Mythological Literature, 44, 265 -239. Pure, K. (2002) Bakhtiari music and songs. Anzan Vahman, F., & Asatrian, G. (1995). Poetry of the baxtiārīs: love poems, wedding songs, lullabies, laments. Munksgaard Eport and Subscription. Zhukovsky, Y. A. (2017). Materials for the study of Bakhtiari dialect (in Farsi). Allameh Tabatabai University Press شعر عامۀ بختیاری، از نظر گونهشناسی، تنوع و بسامد بالایی دارد. گونههای مختلفی مانند سُرو، دوالالی، صیادی، شَوخین، بَلال و برزگری از آن جمله است. گونۀ برزگری که با نامهای بَوِرو، باوِرو، بیداد و بَرزِیَری نیز شناخته میشود، روایتگر دلتنگی، عشق، اندوه، آرزوها، و دغدغههای دروگرانی است که فصل بهار، در گرمسیر بختیاری، دور از خانواده و ایل، به درو و برداشت محصولات کشاورزی مشغول بودند. آنان احساسات و عواطف خود را در قالب شعر با آواز بیان میکردند. یکی از مضامین اصلی این اشعار، حس نوستالژی برزگر دورافتاده از خانواده است. در پژوهش حاضر عوامل و وجوه مختلف نوستالژی در اشعار برزگری بررسی شده است. این نوستالژی به دو گونۀ زنانه و مردانه تقسیم میشود. از وجوه برجستۀ نوستالژی مردانه در شعر برزگری میتوان به دلتنگی برای زادگاه، یادآوری خاطرات وصال با معشوق، حسرت برای وارگهها و چشمههای سردسیر، دلتنگی برای طبیعت بهویژه گیاهان سردسیر، غم غربت و تنهایی اشاره کرد. نوستالژی زنانه، حالات روحی زنان چون انتظار و فراق را نشان میدهد.

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