Literary Interdisciplinary Research

Abstract Lily and Majnoon is one of Ganjavi's most important military works in the field of lyrical literature. Nezami depicts one of the most important and famous Arabic love stories in this poem. In this research, using the library study method and in a descriptive-analytical way and using Robert J. Sternbergs love triangle theory. (which is a psychological theory), the character of insane love has been studied, studied and analyzed. Studies show that majnon love in Lily and the majnon system, from Sternberg's point of view, is participatory love; Thus, the majnon enjoys intimacy in relation to a slight negligence; His love consists of components such as the desire to increase the well-being of the beloved, great respect for the beloved, mutual understanding of the parties in the relationship, sharing himself and the property and assets of the parties, gaining emotional support from the beloved, feeling emotional support to the beloved, sincere communication and respect Putting each other into a discussion of intimacy.In addition to intimacy, commitment is another issue that the majnon has in itself, and intimacy and commitment together create a shared love that is the majnon love for Lily. majnon love does not have the side of emotion (passion) in itself.

Abstract The art of illustrating literary works embellished text and helps to better understand the text. Khayyam's painting of quatrains has attracted the attention of Western painters not only from the perspective of Oriental artists but also with the help of Fitzgerald's translation. This study examines the most prominent examples of Khayyam's quatrains from east to west and answers the question of what are the differences between the illustrations of Eastern and Western artists and from what point of view each Have the quatrains have been noticed? One of the most famous Eastern examples is the quatrains of Mohammad Tajvidi's paintings and one of the best Western examples is the paintings of Edmund Sullivan, Gabriel Rosserti, and Gilbert James, which this study deals with. The necessity of research is that although in the West, a great deal of attention has been paid to the illustration of quatrains, but the Iranians have not paid enough attention to Khayyam's poems, especially its illustrations, and the existing paintings are mainly market art. Therefore, comparing these drawings with Western examples can further reveal the visual capabilities of the quatrains. The results show that Iranian painters were content to create an image equivalent to the quatrains, but Western artists took an interpretive approach to the quatrains and tried to create innovative images for Khayyam's quatrains through mythological symbols and the link between Eastern and Western culture.

Abstract رمانس امیرارسلان که در روساخت یک روایت عاشقانۀ طولانی است و در آن حوادث خارق‌العاده روی می‌دهد، مورد توجه ناصرالدین شاه قاجار بوده است. با توجه به این که در نظام پادشاهی، شاه در رأس هرم قدرت قرار دارد و روایت-شنویی او می‌تواند معنادار باشد، مسئله‌ای که پژوهش حاضر بدان می‌پردازد، بررسی رابطۀ معنادار بین روایت امیرارسلان با زندگی و شخصیت روایت‌شنو خاص آن- ناصرالدین شاه- است. این مطالعه از طریق بررسی مقولۀ قدرت در رمانس امیرارسلان به انجام می‌رسد؛ با طرح این پرسش‌ها که چه عواملی در ایجاد قدرت فرادست در این رمانس نقش دارند و مقولۀ قدرت به چه انواعی قابل دسته بندی است؟ و چه رابطۀ معناداری بین زندگی و شخصیت ناصرالدین شاه و روایت امیرارسلان وجود دارد؟ نتایج پژوهش نشان می‌دهد که در زیرساخت این روایت عاشقانه، قدرت مقوله‌ای پیچیده است که با ابزارهایی مانند برجسته‌سازی و حاشیه‌رانی، شکل‌گیری هویت‌های چندگانه، موقعیت سوژه‌ها، تخاصم و غیریت‌سازی و عشق به‌عنوان ابزاری قدرتمند که مبارزه را به‌عنوان دال مرکزی در درون گفتمان خود دارد، شکل می‌گیرد و به انواع قدرت نرم و قدرت سخت قابل دسته‌بندی است. همچنین نتایج پژوهش نشان می‌دهد که امیرارسلان در جایگاه قهرمان، دالی است که جانشین استعاری غیاب بزرگ شجاعت، مسئولیت‌پذیری و اعتماد به نفس بالا در وجود ناصرالدین شاه بوده است و تحقق آرزوهای دست نیافته ناصرالدین شاه - در دوران، کودکی، جوانی و بزرگسالی- در جهان روایت، این قصه را برای او چنان جذاب نموده که چندین بار از زبان نقال زبردست دربار به این قصه گوش فرا داده است.

Abstract The picture stories in the Persian elementary school book, by utilizing both text and images, are incredibly attractive to children. Children's book theorists, including Maria Nikolaeva and Carol Scott, have provided frameworks to examine and categorize the types of relationships between text and image. The main question of this research is whether the children's right to access information, in accordance with the "National Charter on the Rights of Children and Adolescents", has been respected in the picture stories of the third-grade Persian elementary school textbook? This research was conducted with the aim of protecting children's rights and focusing on the suitability of the content to the audience's level of understanding. In this regard, Nikolaeva's theory has been used as a scientific criterion. This approach is necessary because presenting concepts beyond a child's understanding is considered a violation of their fundamental rights. The research findings show that in visual stories of this level, not all types of text-image relationships were used, and the most frequently used relationship was the "complementary relationship." Also, including stories in the textbook show’s attention to the right to education for all children, and the content is designed in such a way that, in addition to the Persian language, moral and social concepts are also conveyed.

Abstract In this article, the two main characters of Souvashun's novel (Yousef and Zari) are psychoanalyzed by Karen Horney's theory of neurosis. Karen Horneydescribes different types of neurotic behavior as a result of overusing coping strategies to deal with basic anxiety caused by interpersonal relationships. She identified three broad categories of three neurotic needs in her theory: needs for power, prestige and affection. Horney considers the presence of anxiety as the main sign of nervous conflict in personality. Psychoanalytic analysis showed that the male character of the novel (Joseph) reflects all kinds of natural desires, feelings, and behaviors without anxiety, and that his behavioral contradictions are the kind of natural contradictions seen in ordinary human beings. But the character of the female one (Zari) is very anxious. The fundamental contradiction in his behavior reflects the symptoms of a benevolent nervous personality. Severe anxiety in Zari's character breaks down his character's defense structure. Eventually the fear of madness comes. Here, the neurotic character prepares to heal and undergo treatment. In Souvashun's novel, Dr. Abdullah Khan, by referring Zarito her real self, helps her overcome the gap between her imaginary self and his real self and regain her lost courage.

Abstract Introduction
One of the writers who shone in creating social novels is Mahmoud Dowlatabadi (born August 1, 1940, in Sabzevar). Dowlatabadi's novels, especially his novel "Kelidar," are among the best contemporary realistic works. This novel possesses significant sociological characteristics in both its volume and structure. In this work, Dowlatabadi addresses one of the peasant uprisings in Iran during the tumultuous period following World War II in the 1940s. This monumental ten-volume novel narrates the uprising of an exiled Kurdish family in the Sabzevar region of Khorasan, who take up arms against the oppression of landlords and are ultimately severely suppressed due to betrayals and plots by these landlords. The author depicts this uprising, which coincided with his childhood, in an epic narrative filled with numerous characters, realistically reporting the socio-political conditions of society during that time. The abundance of characters and events, meticulous attention to detail, use of vocabulary and expressions from the Khorasani dialect, reflection of local culture, beliefs, and customs, along with the narration of historical events from that period, all contribute to making this novel a significant realistic work. In "Kelidar," we encounter a class-based society where each character embodies their class characteristics. In fact, this novel narrates a class struggle in which the lower classes eventually form one of the uprisings of the 1940s to free themselves from the oppression and exploitation of the upper classes.

Materials & Methods
The present research aims to descriptively and analytically examine the social space of the realistic novel "Kelidar" based on Pierre Bourdieu's sociological theories and analyze the reasons for the emergence and decline of the peasant uprising based on the role of the social classes involved in it.

Discussion & Result
The novel "Kelidar," as a realistic work, portrays the class society of Iran during the years following World War II. Dowlatabadi, by creating numerous characters from different classes, delves into the inner layers of these classes and reveals the dialectical relationships among them. In this novel, the lower classes (peasants and villagers) are in conflict and tension with the upper classes (landlords and government agents). This confrontation recalls the political pattern presented by Marxist theory. In this novel, the lower classes unite under the leadership of Gol Mohammad to rise against the landlords and achieve some degree of success; however, this uprising does not lead to the ultimate goal of Marxism, which is the collapse of the capitalist system and the establishment of a classless society. Although the class structure and conflict among classes can somewhat align with Marxist classification, the characteristics of the class society depicted in "Kelidar" are more compatible with Bourdieu's sociological model. This is because in this novel, each character possesses specific habits corresponding to their class. These habits are unconsciously ingrained in the characters' behaviors and shape their actions within the narrative.

Conclusion
Aside from the existing historical documents and information regarding the overall nature of this uprising, which undoubtedly influenced this novel, the social world of this work also somewhat illustrates the reasons for the decline and failure of this uprising. One of the most important reasons is the lack of preparedness among the lower classes; although the peasant classes were fed up with the oppression and exploitation by the landlords, they were still not ready for such an uprising. The absence of self-belief among these classes and the internalization of the rules of domination in their subconscious undermine the uprising. On the one hand, the leader of the uprising—Gol Mohammad—experiences a lack of foresight and planning due to his disconnection from the intellectual class, which Bourdieu emphasizes as essential in social movements, thus discouraging the lower classes about the future of the uprising. On the other hand, the leader himself becomes spiritually doubtful and unstable. This leads to an internal collapse of the uprising, causing opportunities to slip away one after another. Meanwhile, on the opposing front, landlords unite against each other and, considering political changes in the country and government concentration on suppressing scattered uprisings, they seize this golden opportunity and involve the government in their efforts. In Bourdieu's sociological theory, the state is a super-capital that exerts power over all fields and treats all classes and social groups as tools in its hands. The state not only monopolizes physical violence (military and police) but also imposes its will on its opponents by internalizing its dominance over society—what Bourdieu terms symbolic violence. Therefore, in "Kelidar," although the state initially has a weak presence, it ultimately delivers a final blow to the uprising when it intervenes in suppressing it. Utilizing its symbolic power by granting titles and positions, it places local thugs and rebels at the forefront of repression, then violently and bloodily executes the leaders of the uprising, effectively crushing this rebellion.

Abstract The love story of Majnun Layla, a legend that originated in the Middle East, has been translated and retold so often that it has become part of our global literary imagination. The story has been often received, compared, and studied in connection to Shakespeare’s Romeo and Juliet. This is despite the fact that there are fundamental differences between the two masterpieces, not to mention that the reception of Majnun Layla has exceeded literary reception, extending to other media. The first part of the article presents new social, political, religious, and literary interpretations of Majnun Layla. The second part of the article discusses the legend’s migration from seventh-century Arabic culture to its operatic adaption in Azerbaijan in 1908 (the first opera to be staged in an Islamic context), its first cinematic adaptation in Malay language in 1933 in Bangladesh, its first scholarly treatment in comparative literature in Iran in 1938-1940, and finally its most recent cinematic representation in the 2011 American movie Habibi. The article notes the most important achievements and elements that have been added to the story during the legend's cross-cultural and multidisciplinary journeys. The article concludes by proposing that the multiple-horizontal-circle model of comparative literature and post-colonial studies is more adequate for understanding texts like Majnun Layla than the conventional binary-vertical-linear model for research in Arabic and Middle Eastern comparative literature and world literature. 

Abstract Attention to the structure and content of textbooks is very important given the psychological and developmental characteristics of the child. Poems related to the child's domain should be in line with their psychological characteristics and the content of the poem should be consistent with the child's thinking and intellectual environment. The purpose of this study is to investigate the structure and content of Persian poetry books in elementary school. Investigating the content of poems, templates, weight, gender, and poetry (classical or contemporary) are the most important components of this research. The research method is descriptive and analysis of textbooks and method of gathering information, documents and libraries. The results showed that the poets, templates, weight and gender of the poets in accordance with the sixth grade of the elementary school and the characteristics of the child's development were not paid much attention. Topics are often repeated in elementary school. The four-sided format was the most used in the poems. As we get closer to the final years of elementary school, new and modern forms are used less frequently. Due to the child's mental development and increasing vocabulary at the end of elementary school (fifth and sixth grade), more nymaii and song formats can be used. The most common use of contemporary poets in the first elementary period is the first to the third grade, and the number of contemporary poet’s decreases as we approach the end of the period.

Abstract The health, education and success of children in today's world is one of the most important issues in families, educational environment, culture and children's literature, which is reflected in stories, animations and other literary genres. The importance of this issue led to the study of children's literary works with a psychological approach. For this purpose, stories were studied; Among them, the story "I am not my daddy’s servant" written by Ahmad Akbarpour was chosen to clearly reflect this important point. The story narrates the problems of the life of a child named Davood, many of whose characteristics as the main character of the story reflect the personality of loving people based on the threefold division of Carnorhorney and compatible with his theory of psychoanalysis. This article, with a descriptive-analytical method, intends to identify and introduce the conflict of affection, to examine the main character of this story and to analyze her personality angles, which is a reflection of the characteristics of a loving person. The purpose of this article is to study the dimensions of benevolence and provide a solution to sublimate this important issue.

Abstract Children's and adolescent literature is diverse and can be examined from different perspectives. Therefore, the purpose of the present study is to study personality and characterization in the stories of Houshang Moradi Kermani based on the theory of personality in Karen Hornai's thought. The study is methodologically qualitative. The study population included stories of children and adolescents selected and analyzed by Houshang Moradi Kermani. Among the author's stories, there are a selection of stories whose characters can be compared to Karen Horney's theory of psychological analysis. The results show that the fundamental antagonism of the characters has led them to fall into three types of secrets, supremacy and isolationism. All personality types have resorted to idealism to relieve suffering and neurotic abuse, masking themselves deliberately or unconsciously with others and feeling that they have concealed the true self from others. In all of the characters in the stories, fundamental anxiety is seen as the most fundamental principle in Horny's theory, an anxiety that originated in the family, environment, and society and was imposed during childhood and turned into destructive neurotic behavior.

Abstract Religion and Morality in “The Prince” and “Siyasat-nama”, and also their differences, are the main subjects of this article. The comparative study is our method for the article. This study has supposed that Machiavelli’s opinion about the religion in “The Prince” is altogether utilitarian, realist, modern and of course un-scular. In fact, he recognizes the religion as an instrument only for people’s union, and he is also audacious, insensitive or even sometimes immeoral in morality. On the other hand, Nizam al-Mulk’s point of view about the religion in “Siasat-nama” is dogmatically, classic and conservatively and unlike Machiavelli, he not only respects the religion due to itself and it’s validity, but also is not unaware of the political affects of religion. furthermore, in morality, since he assume the morality has got rise of the religion (Islam), so he believed that moral will be existed even without government essence, namely, he does not consider morality based on government essence. All of these, as the hypothesis of this article, looked over with referring to the texts of mentioned books both.