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Volume 6, Issue 22 (9-2013)
Abstract
A Study of the Textual Potentialities of Maqamat al- Hariri in its Manuscripts' Illustrations Certain Arabic classical manuscripts were accompanied by illustrations to contribute to more objectively representing them. To do so, illustrators, by taking advantage of the pictorial potentialities of literary manuscripts, attempted to depict them in a more concrete manner. As such potentialities vary, the aforementioned manner(s) would differ, accordingly. The present paper makes an analogy between the narrative elements of Maqamat al- Hariri and the technical features of the illustrations. Our main question is thus, whether Maqama , with its peculiar stylistic features, calls for a specific type of illustration, and, further, how these features could influence the type of the illustrations. In answering the question, having made the analogy, we come to two major categories in the illustrations: 1. similar drawings for different maqamas 2. Dissimilar drawings for different maqamas. The result of the research reveals a peculiar style of illustration in Maqamat al- Hariri which can be introduced as the genre's pattern of depiction. Key words: Maqamat al- Hariri, illustration, miniature, Maqama, illustrated manuscripts
Volume 7, Issue 26 (3-2010)
Abstract
Ahmad Reza yalameha, Ph.D.
Abstract
Asir-eddin Akhsikati was among the Persian poets of late six century who was skilled in creation of new concepts and meanings and a well-known elegist of the Persian language. He lived in Ekhsiket in a region of Transoxiana. His book of poetry, known as Divan, was only revised and published once in 1999 by professor Rokn-oldin Homayonfarokh. This publication includes a preface on the poet's life and the method used for the revision and rewriting of old manuscripts about Akhsikati's work. Although the reviser has gone through a lot of trouble for the revision and has compared a number of manuscripts, due to delay in the comparison of the manuscripts and several misreading and disability to read many parts from the original work, added to the displacement and omission of verses, a high number of the poetic verses of this poetry book remain ambiguous and unclear. There are also too many deficiencies in the poems as well. The author of this research has had access to a few old versions of the poet's book of poetry and compared it with the published copy, finally identifying some of the mistakes, the demanded corrections, the unclear parts and even the rhythmical differences, some of which are mentioned in here. As a matter of fact some of the words have been misspelled and therefore found a totally different meaning.
Volume 8, Issue 32 (4-2020)
Abstract
Qahramān-nāmah (or killer hero, or The Tales of Heroes) is a work by AbūṬāhir Ṭarṭūsī, a prolific author in the sixth century. This story is one of the popular folklore, reflecting the mythological reign of Houshang Shah and the courage of his warriors. The main characters in this story are Qahraman, Houshang Shah, Gardankeshan, Sarv Kharaman, and Bahram Jebeli. There are several versions of the Qahramān-nāmah in Persian, Turkish, Uzbek, and Kurdish, but so far, except a few low quality and inappropriate stone prints, no critical correction has been made of this work. This article attempts analyze the existing version of the Qahramān-nāmah, some of the stylistic features of the National Library version (the basic version), and the main character of the story, the Qahraman.
Volume 8, Issue 35 (11-2020)
Abstract
Abstract
Many manuscripts and editions of Mush-o Gorbeh [Mouse and Cat] have been listed or published as the most famous work of Obaid Zakani; however, its comparison and examination clarifies that these various editions of Mouse and Cat are significantly different in terms of language, style, and even story. These narrations are largely considered as belated and folkloric compared to Obaid Zakani’s era and language. Therefore, many people have hesitated to attribute Mouse and Cat to Obaid. In order to investigate this attribution, these works should be compared, so that their shared roots can be identified. This paper merely follows this in three phases. In the first section, different editions of Mouse and Cat are compared and grouped based on the ending verses of the story. In the second section, the ending of the story is examined in all narrations. In the final section, some hypotheses are given regarding the relationship of these narrations, their origins, and other possible narrations based on the verses recorded in these editions of Mouse and Cat. They are, then, compared with the incomplete but older manuscripts. These editions of Mouse and Cat can be grouped in nine categories in terms of narration, and in two general classes in terms of story, based on the style and language. These very differences and a few ancient recordings that can only be seen in some of the belated and folkloric manuscripts indicate that none of these editions of Mouse and Cat can be attributed to Obaid.
Introduction
Research Background
Unfortunately, we cannot find an ancient, complete edition of Mouse and Cat today. The oldest manuscript can be found in the Anthology of Ali Ibn Ahmad No. 3528 (written in the ninth century AH) which is kept in the Central Library and Documentation Center of the University of Tehran, and the other manuscript is Obaid’s generalities of works (written in the ninth century-the early tenth AH century) which is kept in Mahdavi Library, and microfilm No. 1547 kept in the Central Library and Documentation Center of the University of Tehran. Both works are incomplete.
Since ancient manuscripts cannot be found, there are lots of debates over the attribution of this work to Obaid Zakani. Many studies have been conducted on Obaid, and some researchers, such as Mahjoob and Mohades have tried to reject the attribution of Mouse and Cat to Obaid in the introduction on Obaid Zakani’s Generalities of Works (Obaid Zakani, 1999), and the introduction on Mouse and Cat (Uppsala, 2011), respectively.
However, no study has been conducted on different Mouse and Cat narrations so far and this study is going to fill this gap.
Aims, questions, assumptions
Dozens of manuscripts of Mouse and Cat are attributed to Obaid. However, a comparison reveals that these manuscripts of Mouse and Cat are significantly different and cannot be considered as a single work. This paper tries to answer three main questions on this issue.
Although there are dozens of manuscripts and printed editions of Mouse and Cat, a comparison manifests that these editions are to a large extent different and cannot be considered as a single work. A thorough understanding of Mouse and Cat can be achieved by examining these editions, examining whether this work can be attributed to Obaid Zakani. This paper tries to answer three main questions.
1. How many narrations of Mouse and Cat are identified?
2. How are these narrations different from each other?
3. Do these different narrations share a common ground?
Results and discussion
The most ancient, complete manuscript of Mouse and Cat which is kept in the National Library of Tunisia was written in 1153 AH. Comparisons made between this manuscript and the other manuscripts as well as the lithography and prints that date back to the Qajar era reveal that there are various narrations of Mouse and Cat that can be classified into nine categories. These narrations differ in terms of the number of verses and vocabularies as well as the story.
Some of them are more difficult while the others are weak and folkloric. The handwritten narration which is kept in Tunisia can be considered more intact compared to the other narrations in terms of story and language. The manuscripts and the printed copies manifest the popularity of the Tunisian narration in the 12th, and particularly in the 13th and 14th centuries. However, it (or it could be said the other narrations of Mouse and Cat) cannot be considered as an ancient narration attributed to Obaid Zakani due to its linguistic distinctions with the eighth-century poetry. However, some conclusions can be drawn after reflecting on some of the ancient elements of other narrations that cannot be seen in the Tunisian narration, and some similarities could be found between this edition and the manuscript that can be found in the Anthology of Ali Ibn Ahmad and the edition which is kept in Mahdavi Library. If a narration can be attributed to Obaid Zakani, it should be one of those two incomplete manuscripts. Although some other narrations of Mouse and Cat were released in the interval between the release of these two manuscripts and the 13th century, none of them have survived.
Conclusion
There are various narrations of Mouse and Cat which are attributed to Obaid Zakani, but none of them can be considered as a work from the eighth century. The differences in these narrations are the results of the interferences that scribes made in collecting this work. Nine narrations of Mouse and Cat are available. The most ancient one is a narration originating from the Tunisian manuscript and since some manuscripts and prints of the 13th century are based on this version, it can be concluded that the Tunisian manuscript was the most popular narration in the 13th and the early 14th centuries.
In addition, there is a narration in the printed editions of Mouse and Cat that should be considered as an independent narration despite its general similarities with the Tunisian narration. This narration has been published frequently during the current century and today everyone recognizes it as the Mouse and Cat attributed to Obaid Zakani. Seven other narrations were released in the interval between the release of the Tunisian narration and the printed narrations, which were abandoned and less read for some reasons such as weak verses, weak plot, etc.
References
Obaid Zakani. (1999). Generalities of works (in Farsi) (edited by Mohammad Jafar Mahjuob). Bibliotheca Persica Pres.
Many manuscripts and editions of Mush-o Gorbeh [Mouse and Cat] have been listed or published as the most famous work of Obaid Zakani; however, its comparison and examination clarifies that these various editions of Mouse and Cat are significantly different in terms of language, style, and even story. These narrations are largely considered as belated and folkloric compared to Obaid Zakani’s era and language. Therefore, many people have hesitated to attribute Mouse and Cat to Obaid. In order to investigate this attribution, these works should be compared, so that their shared roots can be identified. This paper merely follows this in three phases. In the first section, different editions of Mouse and Cat are compared and grouped based on the ending verses of the story. In the second section, the ending of the story is examined in all narrations. In the final section, some hypotheses are given regarding the relationship of these narrations, their origins, and other possible narrations based on the verses recorded in these editions of Mouse and Cat. They are, then, compared with the incomplete but older manuscripts. These editions of Mouse and Cat can be grouped in nine categories in terms of narration, and in two general classes in terms of story, based on the style and language. These very differences and a few ancient recordings that can only be seen in some of the belated and folkloric manuscripts indicate that none of these editions of Mouse and Cat can be attributed to Obaid.
Introduction
Research Background
Unfortunately, we cannot find an ancient, complete edition of Mouse and Cat today. The oldest manuscript can be found in the Anthology of Ali Ibn Ahmad No. 3528 (written in the ninth century AH) which is kept in the Central Library and Documentation Center of the University of Tehran, and the other manuscript is Obaid’s generalities of works (written in the ninth century-the early tenth AH century) which is kept in Mahdavi Library, and microfilm No. 1547 kept in the Central Library and Documentation Center of the University of Tehran. Both works are incomplete.
Since ancient manuscripts cannot be found, there are lots of debates over the attribution of this work to Obaid Zakani. Many studies have been conducted on Obaid, and some researchers, such as Mahjoob and Mohades have tried to reject the attribution of Mouse and Cat to Obaid in the introduction on Obaid Zakani’s Generalities of Works (Obaid Zakani, 1999), and the introduction on Mouse and Cat (Uppsala, 2011), respectively.
However, no study has been conducted on different Mouse and Cat narrations so far and this study is going to fill this gap.
Aims, questions, assumptions
Dozens of manuscripts of Mouse and Cat are attributed to Obaid. However, a comparison reveals that these manuscripts of Mouse and Cat are significantly different and cannot be considered as a single work. This paper tries to answer three main questions on this issue.
Although there are dozens of manuscripts and printed editions of Mouse and Cat, a comparison manifests that these editions are to a large extent different and cannot be considered as a single work. A thorough understanding of Mouse and Cat can be achieved by examining these editions, examining whether this work can be attributed to Obaid Zakani. This paper tries to answer three main questions.
1. How many narrations of Mouse and Cat are identified?
2. How are these narrations different from each other?
3. Do these different narrations share a common ground?
Results and discussion
The most ancient, complete manuscript of Mouse and Cat which is kept in the National Library of Tunisia was written in 1153 AH. Comparisons made between this manuscript and the other manuscripts as well as the lithography and prints that date back to the Qajar era reveal that there are various narrations of Mouse and Cat that can be classified into nine categories. These narrations differ in terms of the number of verses and vocabularies as well as the story.
Some of them are more difficult while the others are weak and folkloric. The handwritten narration which is kept in Tunisia can be considered more intact compared to the other narrations in terms of story and language. The manuscripts and the printed copies manifest the popularity of the Tunisian narration in the 12th, and particularly in the 13th and 14th centuries. However, it (or it could be said the other narrations of Mouse and Cat) cannot be considered as an ancient narration attributed to Obaid Zakani due to its linguistic distinctions with the eighth-century poetry. However, some conclusions can be drawn after reflecting on some of the ancient elements of other narrations that cannot be seen in the Tunisian narration, and some similarities could be found between this edition and the manuscript that can be found in the Anthology of Ali Ibn Ahmad and the edition which is kept in Mahdavi Library. If a narration can be attributed to Obaid Zakani, it should be one of those two incomplete manuscripts. Although some other narrations of Mouse and Cat were released in the interval between the release of these two manuscripts and the 13th century, none of them have survived.
Conclusion
There are various narrations of Mouse and Cat which are attributed to Obaid Zakani, but none of them can be considered as a work from the eighth century. The differences in these narrations are the results of the interferences that scribes made in collecting this work. Nine narrations of Mouse and Cat are available. The most ancient one is a narration originating from the Tunisian manuscript and since some manuscripts and prints of the 13th century are based on this version, it can be concluded that the Tunisian manuscript was the most popular narration in the 13th and the early 14th centuries.
In addition, there is a narration in the printed editions of Mouse and Cat that should be considered as an independent narration despite its general similarities with the Tunisian narration. This narration has been published frequently during the current century and today everyone recognizes it as the Mouse and Cat attributed to Obaid Zakani. Seven other narrations were released in the interval between the release of the Tunisian narration and the printed narrations, which were abandoned and less read for some reasons such as weak verses, weak plot, etc.
References
Obaid Zakani. (1999). Generalities of works (in Farsi) (edited by Mohammad Jafar Mahjuob). Bibliotheca Persica Pres.
Volume 8, Issue 35 (11-2020)
Abstract
Abstract
Most of the epic poetic texts in the west of Iran have been written in the literary language of Gorani. Some of these texts correspond to the Shahnameh's report, some according to the narrative texts and some independent epic narrations. The oldest remained hand-written manuscripts of these works were written in the eighth century AH, but the narrations of these texts often have very ancient epic elements. Seven Army, written by Mustafa bin Mahmoud Gorani, is one of the valuable surviving texts in this language, which has often been considered to be composed by Almas-khan Kondolei. Numerous manuscripts of this text are kept in the libraries of Iran and around the world, some of which date back to 150 years. The narration of Seven Army of Gorani is to some extent similar to Naqali, and in some other aspects similar to the prose version of Seven Army. It also has prominent elements such as The Seven Khan of Jahanbakhsh, and includes stories such as "Yaghut-push and Laal-push", "Bahram Javaher-push", and the independent narration of "Rostam and Xenon". The aim of this research, which borrows a descriptive-analytic method for analyzing the ancient manuscripts as well as other library sources, is to introduce, critique, and analyze this system, express its values and novelties, discover its similarities and differences with Persian texts, introduce the hand-written manuscripts, and note the necessity of its correction.
Research background
Mohammad Rashid Amini rewrote this poem from Namdar Zamani's version in 2277 verses and published a book on the Kurdish Shahnameh (Horami) as well (Kondolei, 2011, pp. 465 – 594). This edition contains less than half of the verses of the poem. Iraj Bahrami has published a copy of the "Javaher-push Book" without mentioning the name of Seven Army. The editor has admitted to manipulate many verses of the single version of her reference (Mustafa bin Mahmoud, 2010, pp. 38-39). Also, Abbariki introduced 10 copies of Seven Army in his study.
Aims, questions, and assumptions
Seven Army is one of the poetic and epic texts in Gorani language. As there are several commonalities between Gorani's Seven Army and other Persian narrated texts in terms of content and structure, it has become imperative to have a more precise investigation of this subject matter. Combining the Gorani's text with the narrated texts as well as the other independent narrations such as "Rostam and Xenon" and "Rostam and Salsal Div" is one of the novelties of the Gorani's text.
This study seeks to answer the following questions:
1. What type of text is Gorani's Seven Army in terms of content and language structure?
2. Who is the composer of the Gorani's Seven Army?
3. Is the narration of Gorani's Seven Army similar to the Persian prose and other Persian narrated texts of Seven Army?
4. What is the source of the added and recent narrations of Gorani's Seven Army?
Results and discussion
Gorani's Seven Army is one of the epic texts in west of Iran. This narration is similar to Persian narration texts. In Persian texts, contrary to the Gorani's text, Teimur is aware of his lineage. In the narration of Gorani, Kaykhosrow is a captive of the Turan army; but there are three Iranian prisoners in the Persian narration texts (Banogshsab, Bijan, and Pas). The similar battle of Yaghut-push and Laal-push in the Persian texts is done by Teimur. The similar battles of Bahram Shah Javaher-push in the Persian narrative texts is the responsibility of Koohkash (Faramarz).
In the text of Gorani, killing Marjaneh Jadou by Jahanbakhsh is one of the steps of his Seven Khan. But the Persian book of Seven Army is not part of the Seven Khan, and Marjaneh is killed by Bano Goshsab (Haft-lashkar, 1998, p. 449). In the Narration Version of Shahnameh, she is killed by Teimur (Narration Version of Shahnameh, 2012, p. 767). The struggle of Jahanbakhsh and Xenon in the sixth Khan is taken from an independent Gorani narration called "Rostam and Xenon" which is included in Seven Army. Also, the report of the fifth Khan in this text, entitled "Killing Salsal Div", is an independent and separate narration in the Persian version of Seven Army (Seven Army, 1998, pp. 235-237).
The names of the characters in the Gorani text are divided into three categories: names corresponding to the famous names of Ferdowsi's Shahnameh, names corresponding to the Persian narrated texts, and names dedicated to the Gorani text.
The dual confrontation of good and evil, which is the main feature of the Iranian mythology in different levels and areas, is evident in Gorani's Seven Army. One of the important confrontations in this text is the confrontation of light and darkness. This opposition has ancient roots in Manichaeism, which is based on the opposition of light and darkness. This idea has a clear effect on Gnostic beliefs. Incidentally, in the Yarsanha Bible, called "Kalam-e Kazaneh", there is a mixture of Zoroastrian, Zarwani, and Manichaean cosmological ideas as well (Letter of the End or Treasure Word, 1996, p. 391).
Conclusion
Epic texts in the west of Iran have very old narrations and elements. While sharing similarities with the ancient Iranian epic texts, there are some differences and novelties between them as well. Probably the origin of these narrations goes back to the epics of western Iran, including the lost prose Shahnameh such as Piroozan Moallem Shahnameh and Rostam Larjani. According to the ancient Persian texts, these texts are sometimes similar to the Safavid narrative texts and sometimes have independent stories. So far, the composer of Seven Army has been considered to be Almas-khan Kondolei, while according to reliable manuscripts, the poet’s name is Mustafa bin Mahmud. In addition to the similarity between the story of Rostam and Sohrab and Seven Khan of Rostam and Esfandiar in Shahnameh, it is similar in some aspects to the report of the Persian narrative texts. In addition, it has other differences and novelties that add to its value. The arrival of armies from Khotan to the Yaghut-push and Javaher-push army is a unique part of this text. One of its brilliant parts is Seven Khan of Jahanbakhsh, in which the heroic pupils are more than the reports of Seven Khan in Shahnameh. The sixth Khan also includes the narration of "Rostam and Xenon", which is an independent story in Gorani language. The dominant view and the cosmological beliefs of the text are based on the opposition of good and evil, and light and darkness. This is rooted in Zoroastrian, Manichaean, and Yarsan beliefs. The language of this work is occasionally influenced by the linguistic and expressive elements of the Persian narrative texts.
References
Afshari, M., & Madayeni, M. (eds.) (1998). Haft-lashkar; Comprehensive Scroll of Narrators. Tehran: Institute of Humanities.
Aidenloo, S. (ed.) (2012). Shahnameh Narration Scroll. Tehran: Behnegar.
Condolei, A. (2011). Kurdish Shahnameh (Horami) (edited by Mohammad Rahshid Amini). Bija: Kordonia.
Hosseini Abbariki, S. A. (2016). A look at the Gorani system of Haft-lashkar and the introduction of its manuscripts. Payam Baharestan, 27, 68 - 97.
Mustafa bin Mahmoud. (2010). Javaher-push boo (edited by Iraj Bahrami). Anna.
Safizadeh, S. (1996). Letter of the End; Kalam-e Khazaneh. Tehran: Hirmand.
Leila Shokrzadeh, Parisa Mohammadi, Masoumeh Bahreini, Samira Behdani, Ali Asgar Sabet Jazari,
Volume 11, Issue 1 (3-2020)
Volume 11, Issue 1 (3-2020)
Abstract
Fungi are the most important agents of biodeterioration in museums, libraries, and repositories. The objectives of the paper were to evaluate the microbial diversity in biodeteriorated manuscripts located in a repository of the central library of Astan Quds Razavi (AQR) and to estimate the fungal occurrence of the repository air. The sterile cotton swabs and nitrocellulose membranes were used for sampling the manuscripts, while the sedimentation method was used for the microbial sampling of air. To evaluate the biodeteriorative impacts of fungi, fungal spore’s suspension inoculated on paper strips. Fourteen and six fungal isolates were collected from the three different deteriorated substrates and the repository air samples, respectively. Among the fungi isolates, Aspergillus sp. was isolated in high frequency (36%), followed by Penicillium sp. (21/5%) and Altelnania sp. (14%). Fungi species including P. chrysogenum, Cladosporium cladosporioides, Talaromyces diversus, and Aspergillus sp. were isolated from B1 sample as a parchment. The most fungal isolates (53%) in the air repository including Purpureocillium lilacinum, Talaromyces diversus, Cladosporium sp., and Aspergillus sp were achieved from MEA medium. The low number of isolated fungi from repository air can be attributed to the efficiently controlled environment factors of AQR repository. The combination of finding provides some support for the conceptual premise that it could be a direct relationship between the isolated microorganisms from air and those isolated from the manuscripts. The presence of color spots on paper strips can approve the biodeterioration of paper via fungal activities.
Volume 14, Issue 2 (5-2023)
Abstract
One of the vague words of Shāh-nāma is the word "Karimān" («کریمان»), in two verses as Rostam's ancestor. Contemporary literature was influenced by Moein who considered Karimān to be Karim («کریم»), but lexicographers, manuscript scribes, poets of epic poems, and linguists considered it a special name. Despite this, they have failed to explain ambiguities related to the root of the word. Using Diachronic Etymology and Comparative Linguistics, this paper examines the historical forms of the word (Kār-framān, Kahrumān and Qahramân) in comparison with similar cases in official sources and folklore (Persian, Turkish, Kurdish and Arabic). The old form of the word, " Kār-framān", in the official usage meant agent in the court in matters such as treasury and in military usage, meant the king's appointment in of the military department. For this reason, this title has been attributed to Sistani heroes, and in particular, to Rostam's ancestor. The implicit meaning of courage is also derived from the military usage of the word, used in the Arabicized form ("Qahramân"). Ferdowsi also mentioned the form of this special name as Rostam ancestor, and changed "Kahrumān" to "Karimān" in order to rhyme with Narimān. The reconstruction of the story of this character in the cycle of Sistani epics, clarified his relationship with "Hüšang-Shāh", who in Sistani sources was the third king of Iran. Therefore, the problem of Karimān's attribution to Hüšang was also solved and it became clear why he was named the third king of Iran in a hemistich from the Shāh-nāma.
1. Introduction
One of the vague words of Shāh-nāma is the word "Karimān" («کریمان»), which is mentioned in two verses of Shāh-nāma as Rostam's ancestor. In two verses, Rostam is Zal's son; Zal is the son of Sām; Sām is the son of Narimān and Narimān is the son of Karimān. While in later texts, Narimān is assumed to be the son of Garshāsp (the famous Avestan warrior). Now, the main problem of the research is to clarify, what is the origin of the word Karimān, which has been one of the mysteries of Shāh-nāma scholars? Is it a specific word or a general word? Also, what is the relationship between its semantic changes and the linguistic context of Shāh-nāma, which is about Rostam's ancestors?
Research Question(s)
1. What is the relationship between the etymology of the word Karimān and its developments in the history of the Persian language with its use in the Shāh-nāma as the name of Rostam's oldest ancestor (main question)?
2. Why, despite many uncertainties, in the manuscripts of Shāh-nāma, the word Karimān was never replaced with another word?
3. What was the reason for the difference in the meaning of the word Karimān and its Arabic form in the Arabic language?
4. In the description of Karimān in the Shāh-nāma, what was the reason for mentioning Hüšang as the third king of Iran? While he was the second king of Shāh-nāma.
2. Literature Review
Contemporary literature was influenced by M. Moein. Moin, in the dictionary of Dehkhoda and its annotations on the old dictionary of Borhān-e Qātea considered Karimān to be Karim («کریم») (Tabrizi, 1982: v.1/p.195; Dehkhoda, 1993: v.12/p.18314). But lexicographers, manuscript scribes, poets of epic poems, and linguists considered it a special name. Moin 's view has been repeated by most contemporary Iranian scholars. Despite this, they have failed to explain ambiguities related to the root of the word. But western linguists and orientalists had a different view, which is closer to the opinion of the old lexicographers. F. Yusti considered the word Karimān as a special name and mentioned him as Rostam's grandfather, Narimān's father and Hüšang's son, and considered it to be the same as Garshāsp (1963: p. 162). Another German linguist, Wolff, in the glossary of the Shāh-nāma, in addition to introducing Karimān as the father of Narimān, for the first time mentioned the repetition of this word twice in the Shāh-nāma (1965: p. 648).Meanwhile, Christensen, in the book of the Kianiān (1931), put forward the theory that Avestan Garshāsp has been transformed into three characters in national stories, named Garshāsp, Sām and Narimān, and in the Shāh-nāma, the special name Karimān, as Narimān's father. and Garshāsp's son have been added to these names (1993: pp. 130-131). Finally, the only Iranian researcher who did not repeat Moin's opinion was Akbari Mofakher who, based on the frequency of the name Karimān and its Arabic form, Qahramân, in Kurdish epic poems, considered it a special name, but mentioned it in two verses of the Shāh-nāma to two characters. He attributed separately: one is the father of Narimān and the other is the son of Hüšang (2011: pp.15-37).
3. Methodology
The problem of this research is one of the areas of application of historical linguistics in literary studies, which solves the ambiguities of classical texts by focusing on linguistic transformations at the level of meaning. The theoretical approach of the research is also based on the knowledge of "semantics" which is based on the views of F. Saussure, the founder of modern linguistics, is formed. Saussure's view in analyzing the relationship between meaning and the passage of time was more inclined to aspects of synchrony, but after Saussure, important changes occurred in this knowledge. including L. Hjelmslev, the Danish constructivist linguist, who investigated the relationship between aspects of synchrony and diachrony in the use of language, and the French linguist, E. Benveniste, in his essay "Problèmes sémantiques de la réconstruction", developed this view and combined etymological reconstruction with the examination of semantic components and the use of non-linguistic data. In this article, the theory of semantic reconstruction of language is used based on the analysis of aspects of synchrony and diachrony and the Benveniste approach.
4. Results
Finally, at the end of the article, the pattern of the structural evolution of the Middle Persian word "Kār-framān" in the form of the Dari Persian word "Karimān" in Ferdowsi's poem is shown in the form of the following schematic pattern:
In addition to the above structural model, from the point of view of semantics, the semantic evolution of the word Karimān can be seen in six layers of meaning, which starts from the origin of the word in ancient Persian and shows the path of its evolution until its use in the Shāh-nāma:
1. The general meaning of being an agent for the nobility; 2. The official job of presiding over taxes; 3. The officer of the army in the role of commander of the army; 4 and 5. The use of the third layer to name the leader of the Scythian dynasty in support of the Parthian king (in the Parthian federative system) and referring to Rostam's ancestor, with the form of the word "Kahrumān"; 6. Changing the form of the word to rhyme with Narimān in Ferdowsi's poetry
5. Discussion
The course of the word Karimān has been analyzed from the perspective of comparative linguistics in this article at several levels: 1. In Indo-European languages related to Persian (Kurdish), this word is found in two forms: Kar̊i:mân and Qahramân. 2. In non-Indo-European languages that have influenced the Persian language due to its neighborhood (Arabic, Turkish, Azeri) it is written as Qahramân. 3. In folkloric literature (Persian, Ottoman Turkish, and Uzbek Turkish) it is also mentioned as Qahramân.The word "Ghahremān" in Persian, Turkish and Kurdish is associated with a hero who was the son of Tahmureth and the successor or minister of Houshang. Comparing this name with the name "Ghahremān" in Ferdowsi's Shah-nāma reveals that the root of his story was an ancient epic myth about Rostam's ancestor. The most important use of this name in popular literature is a story called Ghahremān-nāma with several variants, the original author of which is attributed to “Abu Tahir Tarsusi” in the sixth century AH. The origin of this work is folklore, so it can be related to the ancient source of the story in the cycle of Sistani epics, which had an oral form. The oldest texts of this story are in Turkish. After that, there are Persian and Kurdish versions of the work. This work, like Iskandar-nāma, is an international work related to the civilizations of the Middle East and is one of the similar important works between Persian and Turkish languages. The existing variants of this work can be divided into three parts: 1- Old Ghahremān-nāma in Turkish: The oldest part of the Ghahremān-nāma text remains in Turkish: 18 Ottoman Turkish manuscripts and three Uzbek-Uzbek manuscripts. The above 21 versions are not identical. Despite the variety in the style of writing and the details of the story, in all these manuscripts the name "Tarsus the Wise" is mentioned as the author. The plot and letters of the characters are the same in all these texts. It is also mentioned in all these texts that the work has been translated from a Persian work. Finally, this work was translated from Persian to Turkish during the Ottoman period.
2- Middle Ghahremān-nāma in Persian: The oldest Persian prose of this story is related to two manuscripts from the twelfth century AH. Due to the old linguistic context and frequent references to "Hakim Tarsus" as a writer not found in new works, the high volume of Ottoman Turkish words and homogeneity with Turkish manuscripts that are two to three centuries older than Persian manuscripts, this work must be in the Ottoman period. So the original Persian work written by Tarsousi is gone.3- New adaptation: New Persian transcripts of Middle Persian manuscripts have been made in the Qajar period, which exist in different forms in the manuscripts available in the Libraries of the Iran. Also, the abbreviated form of this work has been published in lithography in Iran many times in the last hundred years.
6. Conclusion
Using Diachronic Etymology and Comparative Linguistics, this paper examines the historical forms of the word (Kār-framān, Kahrumān and Qahramân) in comparison with similar cases in official sources and folklore literature in Persian, Turkish, Kurdish and Arabic. The old form of the word, " Kār-framān", in the official usage meant agent in the court in matters such as treasury and in military usage, meant the king's appointment in of the military department. For this reason, this title has been attributed to Sistani heroes, and in particular, to Rostam's ancestor. The implicit meaning of courage is also derived from the military usage of the word, used in the Arabicized form of the word ("Qahramân"). Ferdowsi also mentioned the form of the special name of this word as the name of Nia Rostam, and changed "Kahrumān" to "Karimān" in order to rhyme with Narimān. The reconstruction of the story of this character in the cycle of Sistani epics, clarified his relationship with "Hüšang-Shāh", who in Sistani sources was the third king of Iran. Therefore, the problem of Karimān's attribution to Hüšang was also solved and it became clear why he was named the third king of Iran in a hemistich from the Shāh-nāma.
Volume 14, Issue 3 (5-2007)
Abstract
The historical background of the dastgāh concept, and the process through which it replaced the maqām system, still remains a major question in the history of Persian music. It is usually vaguely assumed that both concepts of the dastgāh and the radīf were introduced to Persian music during the Qajar era. The present paper is a first attempt to shed light on the issue through a historical musicological study as well as a number of hitherto neglected Persian musical manuscripts. This paper discusses the gradual historical evolution of the dastgāh concept from its eraliest manisfestations as an entity within the maqām system up to the formation of the idea of the radīf, as the main core and the model repertory of contemporary Persian classical music, in terms of several stages that began in the Safavid period and got its final accomplishment formulation in the Qajar epoch.
Volume 17, Issue 70 (5-2020)
Abstract
Sultan Valad is one of the gifted Persian poets, but unfortunately, his poems have not been precisely studied. It seems that the beauty of Sultan Vald's Ghazals have been neglected in the light of radiance of his father. Like many other Persian texts, the Valda’s Divan does not yet have a reliable edition. By studying one of the existing poetry collection, we have shown that the edition of the Sultan Valad’s Divan is one of the essentials in the field of research. In this study, we have introduced two new Ghazals relying on the Afandi Collection, which we have described it in the article and two authentic manuscripts. We mentioned two Ghazals of Valad according to the old Afandi collection and manuscripts that were not in Valad's Divan up to now. Valad's Divan has edited by by Asghar Rabbani with the introduction of Saeed Nafisi. It is important to note, however, that Nafisi has not edited the Valad's Divan, but has published Rabbani’s edition in Iran. There are also many verses in this collection that have been removed from the printed Divan. Finally, under the heading "K" and "G", we have referred to the mistakes that occurred in the printed Divan, also many verses are re-edited according to authentic manuscripts. Considering the criticisms of the printed Divan of Sultan Valad's edited by Asghar Rabbani (Hamed) with the introduction of Saeed Nafisi, the necessity of re-edition of the Sultan Valad's Divan becomes more evident.
Volume 17, Issue 70 (5-2020)
Abstract
Language is a means of communication between individuals that uses elements of both speech and writing to make this communication possible. When using the medium of writing, certain arrangements are required in order to bring the reader as close as possible to the mindset of the writer. One of such arrangements is using punctuation marks in the text. Punctuation marks greatly help the receiver of the message to understand the feelings and moods of the sender of the message when writing the piece. The common view is that all punctuation marks were borrowed from the Western writing tradition. Investigating the first Iranian press, the current research first reviews the history of such marks, and then shows that some of the marks used in writing were inherited from the Iranian manuscript illumination tradition while some others found their way into written language through different translations. However, sometimes the usage of some of the marks in the press differed from their original function.
Volume 25, Issue 2 (3-2018)
Abstract
Persian language and literature have a presence of about one thousand years in the Indian subcontinent. The growth of this language is indebted to Ghourid rulers whose mother tongue was Persian. However, we should not be negligent of the significant role of great Iranian Sufis and mystics such as Ali Ibn Othman Hojviri, Khawaja Moinuddin Chishti and Sayyed Ali Hamadani. The necessity of a research about the continuation and growth of Persian language in Pakistan is due to the questions as when this language and literature found its way and what is their importance in this country, as well as to what extent they have influenced Urdu and eventually their effects on Iranian studies. The research method is based on the review of historical documents with emphasis on numerous manuscripts kept in national and private libraries in Pakistan. The outcome of this research shows that the strength and solidity of Urdu is in critical need of more manuscript sources and stone-print documents for better understanding of spiritual culture, historical and public identity of Pakistan and seriously demands preservation of the ancient heritage of this region and production of new sources for the modern history and culture of Pakistan. Persian language and its heritage no doubt have a great share in this regard.
Volume 31, Issue 4 (6-2025)
Abstract
Foucault believes that power is a set of network of relationships through which it is implemented on people and the power relationship is necessary for life so that it does not fall apart. The power of the entire society has expanded due to the necessity of its presence in social relations. Power is not always negative, and has positive aspects for the growth and prosperity of society.
The novel "Shifa; "The Small Century Manuscript" is science fiction novel that presents the novel, media, modern inventions and power tools in distorting the truth to control humanity. This article, novel "Shifa; "The Manuscript of Little Century" with the analytical descriptive method and Foucault's theory, together with the fictional elements and linguistic styles according to the belief of postmodernists in the multiplicity of meanings, related to power, to point out that the politicians in this novel through technology And the media falsifies the truth to create a hyper-reality that is more real than the original reality to deceive the people by playing with their minds in order to create viruses, diseases and wars on people through it, after taking their critical thinking and all their assets as a means of generating people's power and positioning them as passive and pure consumers, to rule, and also sell their manufactured drugs and weapons to gain capital as a means of power. Knowledge, technology, language, discourse, medicine, prison, espionage, sex, capitalism, currency, government, religion and university are the tools of power in the hands of politicians.
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