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<ags:resources xmlns:ags="http://purl.org/agmes/1.1/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:agls="http://www.naa.gov.au/recordkeeping/gov_online/agls/1.2" xmlns:dcterms="http://purl.org/dc/terms/">
<ags:resource>
					<dc:title><![CDATA[On the Literary Significance of Drakht-iAsurik]]></dc:title>
					<dc:creator>
					<ags:creatorPersonal><![CDATA[Azarandaz, Abbas]]></ags:creatorPersonal>

			</dc:creator>
			<dc:publisher>
				<ags:publisherName><![CDATA[Institute for Humanities and Cultural Studies]]></ags:publisherName>
			</dc:publisher>
			<dc:date><dcterms:dateIssued><![CDATA[2014]]></dcterms:dateIssued></dc:date>
				<dc:subject><![CDATA[Drakht-i Asurik]]></dc:subject>
				<dc:subject><![CDATA[strife-poem]]></dc:subject>
				<dc:subject><![CDATA[boasting poem]]></dc:subject>
				<dc:subject><![CDATA[enigma]]></dc:subject>
				<dc:subject><![CDATA[fable]]></dc:subject>
				<dc:subject><![CDATA[Figures of speech]]></dc:subject>
			<dc:description>
				<ags:descriptionNotes><![CDATA[Includes references]]></ags:descriptionNotes>
				<dcterms:abstract><![CDATA[Drakht-iAsurik (the Babylonian Tree) is a poetic work in the Parthian language, written in Pahlavi script. Due to several reasons, this work is considered as one of the most important Iranian literary works in the Middle Period. Despite the fact that the methodical studies of the structure of Middle Iranian poetic compositions began along with this work, this text, by itself, represents various literary experiences in the Middle Period; experiences that found the opportunity to manifest themselves once again in post-Islamic Persian poetry, particularly in Persian poets’ Qasidas. This article reviews and investigates the important literary features in Drakht-iAsurik, including strife poem (munadhareh), boasting poem (mufakhareh), enigma, fable, envoy (sharitah) and the figures of speech used in it.]]></dcterms:abstract>
			</dc:description>
            <dc:identifier scheme="dcterms:URI"><![CDATA[https://classicallit.ihcs.ac.ir/article_1129_7ed938e316bc0778a300debfbc706419.pdf]]></dc:identifier>
			<dc:identifier scheme="ags:DOI"><![CDATA[.]]></dc:identifier>
			<dc:type><![CDATA[Journal Article]]></dc:type>
			<dc:format><dcterms:medium><![CDATA[text]]></dcterms:medium></dc:format>
			<dc:language><![CDATA[فارسی]]></dc:language>
			<dc:source><![CDATA[https://classicallit.ihcs.ac.ir/]]></dc:source>
			<dc:source><![CDATA[Classical Persian Literature]]></dc:source>
		</ags:resource>
<ags:resource>
					<dc:title><![CDATA[The Role and Use of Descriptive Motifs in Vīs and Rāmīn]]></dc:title>
					<dc:creator>
					<ags:creatorPersonal><![CDATA[Dorri, Zahra]]></ags:creatorPersonal>

			</dc:creator>
			<dc:publisher>
				<ags:publisherName><![CDATA[Institute for Humanities and Cultural Studies]]></ags:publisherName>
			</dc:publisher>
			<dc:date><dcterms:dateIssued><![CDATA[2014]]></dcterms:dateIssued></dc:date>
				<dc:subject><![CDATA[motif]]></dc:subject>
				<dc:subject><![CDATA[Narration]]></dc:subject>
				<dc:subject><![CDATA[description]]></dc:subject>
				<dc:subject><![CDATA[informing]]></dc:subject>
				<dc:subject><![CDATA[preparatory]]></dc:subject>
				<dc:subject><![CDATA[suspension]]></dc:subject>
			<dc:description>
				<ags:descriptionNotes><![CDATA[Includes references]]></ags:descriptionNotes>
				<dcterms:abstract><![CDATA[One of the important issues discussed in literary criticism is the use of motifs in fiction literature. The motifs can be classified into two categories based on their importance and role in both poetic and prose fictions: dynamic and static. Description, though includes different kinds, is counted as a static motif because it is not regarded as an action or event and also because it can be neglected in contrast to narrative (dynamic) motifs which are within the framework of the causality. However, this does not imply that descriptive motifs are less important than dynamic ones, as they offer diverse functionalities such as persuasion, motivation, acknowledgement, explanation, dignifying, separating narrative parts, time passage realization, decoration, emotional effect, preparatory, suspension, informing, etc. This paper is focused on important functions of description in "Vīs and Rāmīn" written by Fakhreddin As'ad Gorgani.]]></dcterms:abstract>
			</dc:description>
            <dc:identifier scheme="dcterms:URI"><![CDATA[https://classicallit.ihcs.ac.ir/article_1130_5e5475147f34787653ab2568af332e3d.pdf]]></dc:identifier>
			<dc:identifier scheme="ags:DOI"><![CDATA[.]]></dc:identifier>
			<dc:type><![CDATA[Journal Article]]></dc:type>
			<dc:format><dcterms:medium><![CDATA[text]]></dcterms:medium></dc:format>
			<dc:language><![CDATA[فارسی]]></dc:language>
			<dc:source><![CDATA[https://classicallit.ihcs.ac.ir/]]></dc:source>
			<dc:source><![CDATA[Classical Persian Literature]]></dc:source>
		</ags:resource>
<ags:resource>
					<dc:title><![CDATA[A Comparative Study of Two Different Editions of Shahnameh Based on Semantics]]></dc:title>
					<dc:creator>
					<ags:creatorPersonal><![CDATA[Zolfaqari, Daryoush]]></ags:creatorPersonal>

			</dc:creator>
			<dc:publisher>
				<ags:publisherName><![CDATA[Institute for Humanities and Cultural Studies]]></ags:publisherName>
			</dc:publisher>
			<dc:date><dcterms:dateIssued><![CDATA[2014]]></dcterms:dateIssued></dc:date>
				<dc:subject><![CDATA[Firdowsi′s Shahnameh]]></dc:subject>
				<dc:subject><![CDATA[Rhetorics]]></dc:subject>
				<dc:subject><![CDATA[Literary texts]]></dc:subject>
				<dc:subject><![CDATA[Mirjalaleddin Kazzazi]]></dc:subject>
				<dc:subject><![CDATA[Jalal Khaleqi Mutlaq]]></dc:subject>
			<dc:description>
				<ags:descriptionNotes><![CDATA[Includes references]]></ags:descriptionNotes>
				<dcterms:abstract><![CDATA[This paper attempts to offer a theory with a rhetoric-based approach towards the investigations into the different editions of literary texts. The question is: which edition of optional recordings doesrhetoric approve? The proposed hypothesis is that the rhetorical criteria can be used in the comparison of different editions of literary texts. It is however clear that all recordings approved by documentology are not necessarily more fluent, because a lot of famous verses are based on annexed documentological reasoning.To test this hypothesis, a story of the "Shahnameh" edited by Jalal Khaleqi Motlaqis compared with the same story in "Nameh-ye Bastan (ancient letter) by Mirjalaleddin Kazzazi". In this comparison, the synthetic differences in these two editions, which determine the eloquence of the text, are considered. If this hypothesis is acceptable, it can be concluded that by relying on rhetoric techniques, a comparative study of different editions of literary texts, especially Shahnameh can be used in investigations into different copies and editions and can be the subject of fruitful studies.]]></dcterms:abstract>
			</dc:description>
            <dc:identifier scheme="dcterms:URI"><![CDATA[https://classicallit.ihcs.ac.ir/article_1131_8b62bf2ecc5758a073714974796dda13.pdf]]></dc:identifier>
			<dc:identifier scheme="ags:DOI"><![CDATA[.]]></dc:identifier>
			<dc:type><![CDATA[Journal Article]]></dc:type>
			<dc:format><dcterms:medium><![CDATA[text]]></dcterms:medium></dc:format>
			<dc:language><![CDATA[فارسی]]></dc:language>
			<dc:source><![CDATA[https://classicallit.ihcs.ac.ir/]]></dc:source>
			<dc:source><![CDATA[Classical Persian Literature]]></dc:source>
		</ags:resource>
<ags:resource>
					<dc:title><![CDATA[Lexicography in South India (Deccan)]]></dc:title>
					<dc:creator>
					<ags:creatorPersonal><![CDATA[Radfar, Abolqasem]]></ags:creatorPersonal>

			</dc:creator>
			<dc:publisher>
				<ags:publisherName><![CDATA[Institute for Humanities and Cultural Studies]]></ags:publisherName>
			</dc:publisher>
			<dc:date><dcterms:dateIssued><![CDATA[2014]]></dcterms:dateIssued></dc:date>
				<dc:subject><![CDATA[Persian language]]></dc:subject>
				<dc:subject><![CDATA[dictionary and lexicography]]></dc:subject>
				<dc:subject><![CDATA[the spread of a language]]></dc:subject>
				<dc:subject><![CDATA[South India (Deccan)]]></dc:subject>
			<dc:description>
				<ags:descriptionNotes><![CDATA[Includes references]]></ags:descriptionNotes>
				<dcterms:abstract><![CDATA[The longtime relations between Iran and the Indian Subcontinent and Pakistan date back to the ancient times. Evidence from the Achaemenid era as well as images of Ajanta caves in south India unravel the relations between Iran and India during the Sassanid era. After Islam was spread in Iran during the government of Sultan Mahmood Ghaznavi, and after his army's attack on India, Islam entered this large land along with Persian language and Sufism. With the passage of time, Muslim, and sometimes Iranian, governments were formed, as a result of which the Persian language was spread in the Indian Subcontinent, so extensively that it became the language of religion, politics, culture, literature, and art for centuries. After the roots of Persian were strengthened in India, and understanding Islamic teachings, literary texts and social life became important, knowing Persian turned into a vital necessity in India. Thus, teaching and learning Persian, as well as writing Persian grammar books and developing numerous Persian dictionaries became significant occupations. Then, writing dictionaries all over the Indian Subcontinent, particularly in Hyderabad and some other statesthrived. Learning a language is possible as a result of acquisition of the following two areas: 1. knowing vocabulary, and 2. knowing grammar. We can see that India wrote the maximum number of works on these two areas at least until 1965. Writing basicdiction aries and sometimes different one sin Deccan reveals this important point.]]></dcterms:abstract>
			</dc:description>
            <dc:identifier scheme="dcterms:URI"><![CDATA[https://classicallit.ihcs.ac.ir/article_1132_f4d4c1160036afaa0494d41d9351fb52.pdf]]></dc:identifier>
			<dc:identifier scheme="ags:DOI"><![CDATA[.]]></dc:identifier>
			<dc:type><![CDATA[Journal Article]]></dc:type>
			<dc:format><dcterms:medium><![CDATA[text]]></dcterms:medium></dc:format>
			<dc:language><![CDATA[فارسی]]></dc:language>
			<dc:source><![CDATA[https://classicallit.ihcs.ac.ir/]]></dc:source>
			<dc:source><![CDATA[Classical Persian Literature]]></dc:source>
		</ags:resource>
<ags:resource>
					<dc:title><![CDATA[Psycho-Political Analysis of the Story of Siavash]]></dc:title>
					<dc:creator>
					<ags:creatorPersonal><![CDATA[Safari, Jahangir]]></ags:creatorPersonal>
<ags:creatorPersonal><![CDATA[Mousavi, Sayyid Kazem]]></ags:creatorPersonal>
<ags:creatorPersonal><![CDATA[Zaheri, Ibrahim]]></ags:creatorPersonal>

			</dc:creator>
			<dc:publisher>
				<ags:publisherName><![CDATA[Institute for Humanities and Cultural Studies]]></ags:publisherName>
			</dc:publisher>
			<dc:date><dcterms:dateIssued><![CDATA[2014]]></dcterms:dateIssued></dc:date>
				<dc:subject><![CDATA[Siavash story]]></dc:subject>
				<dc:subject><![CDATA[Politics]]></dc:subject>
				<dc:subject><![CDATA[dynamic active]]></dc:subject>
				<dc:subject><![CDATA[skeptical character]]></dc:subject>
			<dc:description>
				<ags:descriptionNotes><![CDATA[Includes references]]></ags:descriptionNotes>
				<dcterms:abstract><![CDATA[The story of Siavash is one of the most important stories of Shahnameh. This story can be analyzed from anecdotal, ethical, romantic, psychological, and political perspectives. This study adopts a descriptive-analytic methodology to investigate the role of politics and power in this story from a psychological outlook. This paper is made up of two sections. The first section addresses the characterization of Sudabeh and Siavash from a psychological perspective. The second section deals with motives of power in the plot and conflicts of the characters that are analyzed based on their personality types and psychological issues. Due to her dynamic character, Sudabeh persuadesSiavash to abandon Kai-Kavous' court. On the other hand, Siavash has a cautious, skeptical and careful character, and, due to this kind of personality, he cannot develop a good relationship with Kai-Kavous and Sudabeh, nor can he demonstrate an appropriate behavior.Afrasiyab, suspicious of Siavash, orders his killing, and Garsivaz intends to take revenge on Siavash after feeling the inferiority complex caused by him.]]></dcterms:abstract>
			</dc:description>
            <dc:identifier scheme="dcterms:URI"><![CDATA[https://classicallit.ihcs.ac.ir/article_1133_b948e209b17f2a57ae8f9fb455a12bef.pdf]]></dc:identifier>
			<dc:identifier scheme="ags:DOI"><![CDATA[.]]></dc:identifier>
			<dc:type><![CDATA[Journal Article]]></dc:type>
			<dc:format><dcterms:medium><![CDATA[text]]></dcterms:medium></dc:format>
			<dc:language><![CDATA[فارسی]]></dc:language>
			<dc:source><![CDATA[https://classicallit.ihcs.ac.ir/]]></dc:source>
			<dc:source><![CDATA[Classical Persian Literature]]></dc:source>
		</ags:resource>
<ags:resource>
					<dc:title><![CDATA[Tazrigh in Poem of the Safavidera]]></dc:title>
					<dc:creator>
					<ags:creatorPersonal><![CDATA[Farahani, Roqayyeh]]></ags:creatorPersonal>
<ags:creatorPersonal><![CDATA[Fooladi, Alireza]]></ags:creatorPersonal>

			</dc:creator>
			<dc:publisher>
				<ags:publisherName><![CDATA[Institute for Humanities and Cultural Studies]]></ags:publisherName>
			</dc:publisher>
			<dc:date><dcterms:dateIssued><![CDATA[2014]]></dcterms:dateIssued></dc:date>
				<dc:subject><![CDATA[Persian poetry]]></dc:subject>
				<dc:subject><![CDATA[Safavid poetry]]></dc:subject>
				<dc:subject><![CDATA[literary style]]></dc:subject>
				<dc:subject><![CDATA[Tazrigh]]></dc:subject>
				<dc:subject><![CDATA[Dadaism]]></dc:subject>
			<dc:description>
				<ags:descriptionNotes><![CDATA[Includes references]]></ags:descriptionNotes>
				<dcterms:abstract><![CDATA[One of the main scopes of literary criticism is the investigation of reasons for emergence and abrogation in the literary style. Literature has a mutual relationship with the political, social and cultural situation of any country. Thus, some literary stylesare abrogated sooner than others. Tazrigh (atype of parody) emergedduring the Safavidera. It was a kind of poem that failed to survive; however, it is part of the Iranian literature, which is very similar to Dadaism. It is called Tazrigh. In this article, we attempt to scrutinize Tazrigh (as a literary style) and study those factors that caused its emergence. Finally, we compare Tazrigh with Dadaism and discuss their similarities.]]></dcterms:abstract>
			</dc:description>
            <dc:identifier scheme="dcterms:URI"><![CDATA[https://classicallit.ihcs.ac.ir/article_1134_7268a21994675e1b5bb48abe7c3914a4.pdf]]></dc:identifier>
			<dc:identifier scheme="ags:DOI"><![CDATA[.]]></dc:identifier>
			<dc:type><![CDATA[Journal Article]]></dc:type>
			<dc:format><dcterms:medium><![CDATA[text]]></dcterms:medium></dc:format>
			<dc:language><![CDATA[فارسی]]></dc:language>
			<dc:source><![CDATA[https://classicallit.ihcs.ac.ir/]]></dc:source>
			<dc:source><![CDATA[Classical Persian Literature]]></dc:source>
		</ags:resource>

</ags:resources>