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Purjafar.M.R.,Ph.D
Mohandespur.F     
 
Abstract:
    
In this article we compare two epic Heroes from two different environments, Rustam from the Iranian epic literature and Kocholin from the Irish Dramatic Literature.  A comparative study of those two heroes allowed us to evaluate and assess the theatrical and narrative possibility and capability of Ferdowsi’s Rustam and Sohrab story.  When taking into consideration and comparing the action of Rustam and Kocholin, the importance of our study becomes comprehensible since both of them ended up killing their own son.
In this study, the decisions, undertakings and actions of the two heroes from the beginning till the end of their stories was compared thoroughly and we showed that between those two epics many similarities exist, which indicate that the stories might have a common source.
 

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Hakim Ferdowsi's Shahnameh has been always the focus of  attention by Kurdish-speakers. This issue has encouraged Kurdish poets to compose epopees in Kurdish due to the style of Ferdowsi's Shahnameh. The epopees named Kurdish Shahnameh available in Kurdish Goorani dialect are not totally abstracted from Ferdowsi's Shahnameh, but they have some famous stories, characteristics and poetic formats and even epic and heroic nature in common with Ferdowsi original work. Studies have revealed that the narrated stories in Kurdish Shahnameh are in accordance with the stories narrated in narrative cliques and the content of narrators' scroll. Narrating epic stories in narrative and story-telling cliques have directly influenced on the Kurdish poets. It also has made Kurdish Shahnameh like narrators' narration, influenced by the oeuvre's contemporary needs, mixed with Islamic themes being careless about word superficial features.

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Afsoon Ghanbari
. GholamHussein GholamHusseinZadeh. PH.D
Abstract
On the status of chivalric literature, there are differences of opinion in classification of the Farsi literature genres. Some have considered this literary category as a sub-group of epic literature. Some others have referred to chivalric types as novels, while another group has categorized this genre under the heading of common literature. In this article, the assumed compatibility of epic and chivalric literature has been discussed and the relation between these two genres of literature has been studied, while the most important examples of these two groups of Farsi literary texts, namely the collection of poems of the celebrated and acclaimed Iranian poet Ferdowsi, referred to as Shah-Nameh, and the chivalric literary book named “Samak-e Ayyaar” have been selected. Thereafter, the intertextual relations between two books, based on the three foundation, productive, and interpretive oriented approaches have been scrutinized and the bonds between these two exemplary chivalric and epic literary books have been detailed and elaborated. Ultimately, it is concluded that given the meaningful relation between epic and chivalric texts, each of these two genres’ texts are categorized as sub-groups to a more general genre, stated as “heroic epic literature” genre.
 

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Translation and publication of the Persian novel in the epic genre after the revolution and war; especially in the West, despite the rapid, growth of quantity, major changes and new forms of content, has been very slow. It seems, Regardless of the political aspects and disagreement of the sacred and ideological content of these works with a Western audience, at least, Failure to discover and selecting suitable examples of existing novels – which have most harmony with Western taste - is something that by Attention and correction, can be Reinforcement for Publication and promotion these works outside Iran's borders. In this article, a random selection of war novels based on rhetorical (audience-based) criticism, Based on the national psychology of the English people as exemplified, in the manner of Kenneth Burke, is criticized and analyzed. The critique and analysis of the three novels "Clash" "Under the Cherry Tree" and "In Search of me", which are almost at the top, below and in the middle of this adaptive spectrum, are fully embodied. The result is a wide and varied range of maximum to minimum conformations, as the capacity for acceptance and persuasion by the English audience. So it seems, on the possibility of promoting and propagation a Persian novel in England, we should have to go into detail: some of these works are well-suited to be present in the UK's cultural space, and some are not. A group may also, with some form of editing, find the context needed to better communicate and attract Western audiences for persuasion and influence. The results can also serve as a mirror for Iranian writers to expand their global audience.