https://jll.uk.ac.ir/ Journal of Prose Studies in Persian Literature en daily 1 Fri, 20 Feb 2026 00:00:00 +0330 Fri, 20 Feb 2026 00:00:00 +0330 https://jll.uk.ac.ir/article_5122.html Purpose: Gayatri Spivak used the concept of subordination in postcolonial studies to refer to colonized subalterns, arguing that even the theories of critics such as Foucault and Derrida could not prevent the true voices of the subalterns from being heard. Therefore, the voice of the subordinate remains either confiscated or silenced.Method and Research: This study, using a descriptive-analytical method and relying on Gayatri Spivak’s theory of subalternity, analyzed three plays: “Monsieur Jourdan”, “Setareganeh Faribkhordeh (The Deceived Stars)”, and “Jafar Khan az Farang Bargashteh (Jafar Khan Has Returned from Abroad)”. Through the deployment of elements of popular culture such as vernacular language, humor, rituals, and superstitious beliefs, these works reflect the plight of the underprivileged, whose voices are silenced or distorted in the dominant discourse. In these plays, women and the underprivileged classes are represented not as independent subjects, but as objects of power; However, through symbolic actions, allegorical language, and cultural resistance, a hidden and indirect agency emerges.Findings and Conclusions: Data analysis indicated that popular culture in these texts plays a mediating role between domination and resistance. On the one hand, it reproduces the mechanisms of discursive domination and places the subordinates in a position of imposed silence. On the other hand, it allows for a kind of symbolic resistance and cultural defense from below. Thus, these plays, while criticizing colonial and patriarchal domination, highlight the capacity of popular culture to represent marginalized voices and micro-resistances. https://jll.uk.ac.ir/article_5121.html Purpose: Mohammad Reza Šafīʿī-Kadkani published the latest scientific and critical edition of Tazkirat al-Awliyā in 2019 with the effort of publishing the Sokhan in two volumes. This edition, despite being considered most reliable and scientific correction of the Tazkirat to date, unfortunately contains some shortcomings. These defects and faults can be seen both in the text of the Tazkirat and in the comments and notes written by Šafīʿī-Kadkani on the text of the Tazkirat. Although a number of researchers and university professors have referred to some of these cases in several critical articles, the authors of the present article have also encountered other defects and drawbacks by reflecting on seventeen paragraphs of the text of the Tazkirat al-Awliyā and its collation with the Šafīʿī-Kadkani's comments, which are mentioned in the rest of the article. Method and Research: It should be noted that the authors of this article prepared and arranged their notes using a descriptive-analytical method and using library resources. Findings and Conclusions: The authors of this article have carefully re-read and analyzed the notes and comments of Šafīʿī-Kadkani regarding the propositions related to these seventeen sections of the text of Tazkirat al-Awliyā. The result of this study shows that some of Šafīʿī-Kadkani's comments are completely incorrect. In some cases, his comments are inadequate and incomplete, and they may lead the reader of the Tazkirat to misunderstandings and erroneous interpretations. https://jll.uk.ac.ir/article_5165.html Purpose: Despite the prominent status of Pahlavi texts in the history of Iranian literature and culture, the typology of pre-Islamic prose epics has largely relied on traditional classifications or broad, impressionistic interpretations, with limited attention paid to a systematic analysis of linguistic functions. Aiming to fill this gap, the present study conducted a comparative analysis of two major Pahlavi works, including  Yadgar-e Zariran (The Memorial of Zariran) and Karname-ye Ardashir-e Babakan (The Book of the Deeds of Ardashir-e Babakan), within the framework of Roman Jakobson’s sixfold model of linguistic functions. The theoretical foundations of the study were first reviewed, including both traditional and modern definitions and classifications of epic genres. Subsequently, the functional indicators of language were adopted as the basis of analysis. The study concluded by proposing a more precise method for the analysis and classification of epic texts from a typological perspective.   Method and Research: The study employed a combined methodological approach grounded in qualitative content analysis. Linguistic and narrative samples from each text were extracted through library-based research and analyzed comparatively in accordance with Jakobson’s six linguistic functions.   Findings and Conclusions: The findings indicated that in Karname-ye Ardashir-e Babakan, the referential function of language predominates. With its quasi-historical structure, report-like tone, and limited use of rhetorical devices, the text focuses primarily on conveying events and providing historical legitimization. In contrast,  Yadgar-e Zariran, emphasizing poetic and emotive functions, constitutes a full-fledged example of a prose epic. Its dynamic plot structure, salient characterization, and extensive deployment of rhetorical figures foreground the evocation of emotions. The results not only revealed a fundamental typological distinction between the two narratives but also offer a practical model for redefining the boundaries of prose-epic typology on a linguistic and objective basis. The application of Jakobson’s framework in this study further enables the extension of this model to the analysis of other Persian prose texts across later historical periods. https://jll.uk.ac.ir/article_5184.html Purpose: Classic literature in Pesian can be analysed by new scientific approaches and theories of modern art and science. Many works has been written on the effect of cinema on literature. Cinema affects literature in using some cinematic techniques. Here in this article cinematic techniques in ‘The Boxer’ story in Golestan are investigated. The main question is: How Saadi consciously or unconsciously used the cinematic techniques to enrich visual factors of his storytelling techniques through modern cinematic knowledge inferred that he had this knowledge in his mind and consciousness. The research technique used here is analytic comparison of cinematic techniques and their use in literature. The goal is to investigate cinematic techniques in this story and their semiotic effects on the narration of the story.Method and Research: We used Bellardi’s theory of Cinematic Fiction as our framework. Many cinematic techniques are found out in this story. In this story the reader can see the story in his mind while reading it.  Saadi used language and words to make cinematic scenes and sound effects to make a modern cinematic version of this story. These techniques reinforced the visual feature of his stories and created a new visual and audial experience for the readerFindings and Conclusions: This research can help readers to enjoy these features of Sadii`s works and help them to understand these techniques as a semiotic system and show new horizons in the works of directors and writers. https://jll.uk.ac.ir/article_5238.html Purpose: This study aimed to conduct a stylistic analysis of Afghan Persian journalistic prose during its early formative period (1290–1308 SH/1911–1929 CE). The study sought to answer the question of whether, in accordance with a general readership, any changes occurred in the prose of journalistic writers of this period.Method and Research: This study employed a descriptive–analytical method and adopted a layered stylistic approach. To address the research question, five stylistic layers, including phonological, lexical, syntactic, rhetorical, and ideological, were examined in selected editorials from this period. The analysis aimed to present a more precise picture of the stylistic structure of the Afghan branch of Persian prose during this time.Findings and Conclusions: The findings indicated that the journalistic prose of this era was influenced by classical Persian prose and bureaucratic traditions. At the phonological layer, rhythm and musicality produced through alliteration, rhymed prose, and purposeful lexical repetition enhanced the aesthetic quality of the text and were employed to convey the writers’ intended meanings. At the lexical layer, Arabicized diction and a sense of grandeur, together with political and religious codes, frequently appeared, endowing the text with a serious, formal, and governmental character. The abundance of complex and lengthy (hypotactic) sentences constituted a salient feature of the syntactic layer, aligning with the intellectual and didactic function of the editorials. The use of contrasts and semantic oppositions, as well as the employment of metaphors and similes, characterized the rhetorical layer. At the ideological layer, the co-presence of monarchism, modernism, and religious legitimacy was observed, which may signal the emergence of a discourse of religious modernism. https://jll.uk.ac.ir/article_5309.html Purpose:  Employing a descriptive–analytical method and integrating three key approaches, including Critical Discourse Analysis, Representation, and Imagology, this study examined the quality of the “image” of the “Self” and the “Other” in a travelogue from the 2010s. Its objective was to identify the factors that influence this process of “representation”.Method and Research:  This study analyzed the travelogue Janestan-e Kabulestan by Reza Amirkhani through a tripartite theoretical framework. The framework combines Laclau and Mouffe’s theory of discourse (which conceives all social phenomena as discursive), Stuart Hall’s perspective on Representation (which views images as discursive constructs), and Imagology, specifically Nanquette’s model, for classifying images of the “Other”.Findings and Conclusions:  The analysis revealed that the author’s constructed identity as a religiously committed Iranian Muslim fundamentally shaped the imagery. Based on the Imagology approach, three distinct types of the “Other” were identified: the “Other as non-alien” or “Alter” (encompassing both admirable and condemnable Afghans), the “Other as alien” (represented by the Taliban and Western forces), and the “transient or ephemral Other”  (such as personnel of the United Nations).Conclusions:  The study concluded that the author’s ideological identity and dominant religious discourse were the primary factors influencing the representation of images in the travelogue. The employed analytical framework, comprising Critical Discourse Analysis, Representation, and Imagology, proved effective in deconstructing these images and is proposed as a viable model for analyzing other travelogues. https://jll.uk.ac.ir/article_5353.html Purpose: Considering the principles of Sufism, which are founded upon asceticism and the renunciation of the instruments of power, the enjoyment of worldly blessings by Sufis appears problematic. However, Sufis like Abu Saʿid Abu’l-Khayr, while performing ascetic practices, attained considerable power and created the conditions for themselves and their followers to benefit from worldly advantages. The coexistence of ascetic conduct and the enjoyment of worldly blessings among Sufis has given rise to a recurrent form of criticism in Persian literature, often described as a discrepancy between outward appearance and inward reality. Identifying the factors, contextual conditions, and various dimensions underlying the emergence of such criticisms from the perspective of power is a principal objective, the achievement of which may illuminate the possible motivations behind ascetic practices, the mechanisms by which power is acquired through such practices, and the governing principles underlying this process.Method and Research: This study employed a descriptive-analytical method. After outlining the theoretical foundations related to power and asceticism, the principal criticisms directed at the sheikh and his followers were presented. Subsequently, the factors, contextual conditions, and processes contributing to the emergence of these criticisms were analyzed from the perspective of power.Findings and Conclusions: In accordance with the foundations of Sufism and in emulation of divine saints and Sufi masters, the sheikh engaged in ascetic practices. However, after attaining various forms of legitimacy among his followers, he did not employ Malamati (self-blaming) practices to preserve asceticism as a spiritual form of power. Instead, he facilitated the acquisition of power and worldly blessings for himself and his followers. Particularly in his acts of public hospitality, the sheikh prioritized gaining popular acclaim and spiritual authority over strict adherence to Sufi principles. Consequently, he and his followers were exposed to accusations of power-seeking and worldliness.Conclusions: The root of these criticisms lies in the perception of Abu Sa‘id’s miraculous acts as manifestations of worldly ambition and the desire for power, contradicting the core ascetic ideals of Sufism. https://jll.uk.ac.ir/article_5102.html Purpose: The present study aimed to demonstrate that the concept of love in Sawaneh al-Ushshaq (Occasional Inspirations of Lovers) is identical with the absolute reality, that is, God; and that the absolute reality (God) is made known through the form of love, which is one of His attributes. Accordingly, what are commonly referred to as the various kinds of love are, in fact, nothing but degrees or manifestations of God or the absolute reality of love. The love discussed and explained in Sawaneh al-Ushshaq is the absolute reality of love or the transcendent absolute reality.Research Method: The primary source of this study was Hellmut Ritter’s critical edition of Sawaneh al-Ushshaq. Data were collected through library-based research and documentary resources. The findings were analyzed using a descriptive-analytical methodology.Findings and Conclusion: Throughout the book, there is no discussion of pre-eternal, divine, cosmic, or human love as distinct types or categories. Love, in its hidden treasure, is free from all forms of distinction and typology. The so-called types of love are merely manifestations, appearances, or descending levels of the absolute reality of love (God), which have become determinate in the stages of ontological creation and divine legislation. The relationships of lover and beloved, determinations, distinctions, and radiances are all manifestations of that same absolute reality as it appears in the realm of contingency. Otherwise, the absolute reality of love (God), in the innermost essence of His being, is utterly transcendent beyond all directions, types, distinctions, and determinations. The results of this study were presented and elucidated through the discussion of major themes such as the absolute reality of love and monotheism, the absolute reality of love and the divine attributes, the ontological and legislative dimensions of love, pre-eternal love, divine or true love, the determination of love, the determination of loverhood and belovedness, and the permeation of love throughout the realm of contingent existence. https://jll.uk.ac.ir/article_5340.html Purpose: Samak-e Ayyar is the earliest long prose narrative and one of the finest stories in the Persian language and literature, shaped by epic, heroic, and ayyari[1] themes. This work encompasses numerous rituals, customs, and narrative motifs, elements that are closely connected to folk culture and that follow ancient mythological patterns.This study aimed to examine the manner of myth displacement in this text; that is, how characters, settings, and actions depart from their original mythological structures and are redefined within new social, moral, or narrative frameworks.Method and Research: Using library-based research tools and a content analysis approach, the study identified the mythological motifs of creation, dragon-slaying, and fertility in Samak-e Ayyar and demonstrated the various forms of their displacement within the romance.Findings and Conclusions: The findings revealed that these mythological motifs are present in this romance in modified and displaced forms and function as attempts to explain existence and to provide illuminating responses to death and life as they pertain to beings and phenomena in the world.Conclusions: The displacement of these myths accelerates the fundamental transformation of epic into romance. In this text, the two literary genres initially appear alongside one another; however, as a result of extensive mythological displacement, the epic gradually fades and gives way to romance.   https://jll.uk.ac.ir/article_5164.html Purpose: The books Nasihat al-Muluk (The Counsel for Kings) and Siyasat-nameh (The Book of Politics) are among the most prominent works of Persian political and ethical literature, both of which were formed in the cultural and historical contexts of ancient and Islamic Iran. Each of these two works, composed in different periods, offers guidance on governance, political ethics, and social administration. This study aimed to conduct a comparative analysis of the intellectual content of these two works, focusing on similarities and differences in ethical, political, and social concepts.Method and Research: Adopting a qualitative approach, this study employed content analysis of Saadi’s Nasihat al-Muluk and Nizam al-Mulk’s Siyasat-nameh. The research involved extracting key themes, comparing similarities and differences, and examining the historical and cultural contexts in which the two works were produced.Findings and Conclusions: The findings indicated that both works emphasize the importance of justice, ethics in governance, and the ruler’s responsibility toward the people, yet they do so through distinct approaches. Siyasat-nameh, with its focus on the practical and structural aspects of governance, such as military organization, taxation systems, espionage, and bureaucratic relations, reflects Nizam al-Mulk’s practical experience as a prominent politician. In contrast, Nasihat al-Muluk, using literary language, anecdotes, and parables, underscores the ruler’s moral character, wisdom, and the impact of personal conduct on society. Another difference lies in the type of audience and writing style: Siyasat-nameh was written specifically for kings and political elites, using a more formal tone, whereas Nasihat al-Muluk, with its literary and accessible diction, addresses a broader readership. Both works advocate shared values ​​such as justice, wisdom, and avoidance of tyranny; however, Siyasat-nameh primarily stresses the preservation of political order, while Nasihat al-Muluk focuses on the moral and spiritual upbringing of the ruler. Moreover, although the influence of Islamic culture and Iranian traditions is evident in both works, Nasihat al-Muluk displays these values with ​​ a stronger literary and mystical inflection. https://jll.uk.ac.ir/article_5359.html Purpose: In one type of collective narration, the narrator, despite employing a third-person point of view, functions as a conduit for a collective voice. Tars-o-Larz (Fear and Trembling) by Gholam-Hossein Sa’edi constitutes a notable example of this narrative pattern. Although the narrative focalization in this story is extradiegetic, the narrator, through a particular mode of positioning, becomes integrated into the network of the group’s social and cultural interactions and manifests a form of alignment with them. The significance of this study lies in its analysis of the mechanisms that, without resorting to the first-person plural pronoun, make possible the construction of a collective-oriented narrative while at the same time representing collective identities. Within the theoretical framework of the study, narrative elements were examined in relation to sociological concepts such as the Other and closed community. Method and Research: Adopting a descriptive-analytical method and focusing on the narrator’s agency and complicity, biased naming practices, the thematic construction of space, the representation of collective memory, and the plausible reflection of rumors, the study showed that the narrative voice, while maintaining apparent neutrality, contributes to the reproduction of dominant collective discourses. Conclusions: Collectivity in narrative may be conceptualized in two ways: through the presence of a collective narrator or through a narrative centered on a group. 1. Tars-o-Larz belongs to the second category. 2. Although the story is mediated by a third-person narrator, the narrator demonstrates consistent alignment with the characters, sharing their perspective and collective memory. 3. The narrative voice reflects group solidarity through biased naming practices, spatial thematization, and alignment with the characters’ worldview. 4. By subtly facilitating the verification of circulating rumors and refraining from overt judgment, the narrator reinforces the collective discourse of the group. 5. Thus, the third-person narration creates a collective-oriented narrative structure that implicitly supports the collective positions of the characters. The findings indicated that this form of third-person collective narrative can open new horizons for applying theories of collective narration and analyzing group-based discourses in contemporary Persian literature. https://jll.uk.ac.ir/article_5307.html Purpose: During the Qajar era, the emergence of new socio-literary concepts led intellectuals to seek new narrative forms. Khābnāmeh-writing (dream narratives) became a prominent literary-political genre. This study examines the narrative structure of these works and their role in the evolution of Persian fiction.Method and Research: Using a descriptive-analytical method and library research, this paper conducts a structural analysis of nine key Qajar Khābnāmehs. The theoretical framework analyzes eight narrative elements: plot, characterization, verisimilitude, theme, point of view, setting, dialogue, and tone.Findings and Conclusions: What can be clearly shown in this research is the role of dream books in the formation of modern Persian novels, such that in studying the sources of these novels, the role of these dream books cannot be ignored, but rather these works can be considered a bridge between ancient storytelling and modern novel writing.Conclusions: Findings reveal a coherent structure across the Khābnāmehs. Their plots share a six-part framework, utilize a first-person point of view, and feature characterization that moves beyond archetypes toward modern complexity. Settings are artistic and plot-driving, while dialogue enhances narrative cohesion. Thus, Qajar Khābnāmehs constitute a distinct genre that acted as a crucial bridge between classical and modern Persian fiction, significantly contributing to the development of contemporary Iranian narrative forms. https://jll.uk.ac.ir/article_5306.html In Persian language and literature, poetry and prose have developed in diverse forms and across a wide range of themes, among which the didactic genre holds a prominent position. Persian-speaking poets and writers have frequently conveyed ethical and behavioral principles through narratives and instructive anecdotes. A clear example of this approach appears in Sufi texts, where authors, by narrating stories about prophets, imams, and spiritual masters, encourage disciples and readers to uphold moral values and refrain from improper conduct. Abu al-Hasan ʿAli ibn ʿUthmān Jullābī Hujwīrī is among the major mystics of the fifth century AH (eleventh century CE). His renowned work, Kashf al-Maḥjūb (The Unveiling of the Veiled), is considered one of the earliest Persian treatises on Sufism, offering guidance on spiritual ethics, manners, and moral instruction. Despite the importance of Kashf al-Maḥjūb, its educational and literary teachings have not been examined in an independent study, underscoring the need for this research. This study explores the presence of educational concepts in Kashf al-Maḥjūb and analyzes the methods Hujwiri uses to convey moral instruction. Using an analytical–descriptive, library-based approach, the findings show that Hujwiri presents educational themes through encouragement and admonition, employing both direct and indirect methods, especially narratives and anecdotes, with moral lessons typically stated at the end of each story. His ethical and educational teachings are also directed toward society as a whole. https://jll.uk.ac.ir/article_5308.html Ernesto Laclau and Chantal Mouffe's discourse theory, focusing on concepts such as ‎‎"hegemony," "articulation," "nodal point," and "floating signifier," provides a mechanism for ‎analyzing how meaning is formed and stabilized in linguistic and social processes. In light of ‎this framework, the present study examines the Fifth Assembly from Rumi's Seven Assemblies; ‎an assembly considered the focal point of the transition from jurisprudential discourse to ‎mystical knowledge, where the discursive competition between reason and love reaches its ‎peak. The aim of the research is to investigate how the discourse of love is constructed and ‎dominates over the discourse of reason, that is, to explain how Rumi utilizes linguistic and ‎rhetorical mechanisms to stabilize love as a hegemonic truth. The research method is analytical-‎descriptive and based on critical discourse analysis within the theoretical framework of Laclau ‎and Mouffe; the text of the Fifth Assembly serves as the unit of analysis and the ‎aforementioned theoretical concepts are tools to explain its semantic processes. The findings ‎show that Rumi, by articulating rational signs in the assembly through binary oppositions, ‎mystical metaphors, and instructive parables, transforms the discourse of love into the nodal ‎point of the text's meaning and relegates reason to a peripheral and subordinate position. The ‎conclusion of the study is that love in this assembly is not merely an emotional experience but a ‎discursive and epistemological construct that, through mystical language, redefines the system ‎of meaning and knowledge and establishes the hegemony of love over the discourse of reason.‎ https://jll.uk.ac.ir/article_5311.html Sadeghi Ketabdar's Majma'-al-Khawas is the second biography of poets' which written in Chagatai Turkish about Persian poets after Majalis-al-Nafais by Amir Ali-Shir Navai in the early 11th century AH and Abdulrasul Khayyampour published it in 1327 AH along with own Persian translation, but the numerous shortcomings and errors in this printed led to its text being corrected and faithfully translated based on older and more accurate manuscripts and introduced. The most important flaw in Khayampour's printed is his use only of the first writing of the Tazkirah and his lack of access to the second and final writing of the text, which new correction was revised based on the second writing and compared with the first writing, but Some of the other most important distinctions of the new correction and translation are: The inclusion of 38 new biographies mentioned in the second writing, the presentation of a different and final form of the biographies based on the second writing, the mention of most verses and information from many poets, the correction of erroneous recordings entered from Khayyampur's original manuscript to his printed and the completion of its omissions, and the correction of Khayyampur's misreadings from the correct recordings of his original manuscript. In addition, the errors Chaghata text in Khayyampur's printed also permeated hir Persian translation, but many of the shortcomings of his translation stem from his own omissions which has resulted a free or conceptual translation, while the new translation relies on Chagatai words and is faithful to the https://jll.uk.ac.ir/article_5312.html Purpose: Among the fundamental components of Islamic mysticism is the examination and analysis of mystics' perspectives on the relationship between Sharia (religious law), Tariqa (the mystical path), and Haqiqa (truth/reality) throughout the course of spiritual wayfaring. Most Sufis have considered Sharia, Tariqa, and Haqiqa as three dimensions of a single reality. However, some deviant currents claiming mysticism have presented an unacceptable face of Sufism by disregarding the rulings of Sharia. In-depth familiarity with the intellectual foundations of each mystic regarding Sharia, Tariqa, Haqiqa, and the nature of their connection and interaction in the perfective journey of mysticism provides the possibility of a deeper, more precise, and more systematic understanding of mystical texts. Method and Research: The present research, employing a descriptive-analytical approach, while reviewing and explicating the diverse beliefs of mystics concerning the relationship among these three pillars, analyzes Hujwiri's multidimensional perspective in this domain in order to reveal the lesser-known dimensions of his epistemological thought. Findings and Conclusions: Examination of the text of Kashf al-Mahjub demonstrates that Hujwiri, relying on the epistemological and spiritual foundations of Junayd al-Baghdadi's school, has explicated the connection among the three essential realms of Islamic mysticism: Sharia, Tariqa, and Haqiqa. In his intellectual system, these stages are completely intertwined, and attaining the pinnacle of humanity depends upon commitment to them and bringing them into alignment with one another. Moreover, these three pillars constitute stages of attaining a single reality that extends from religious obligation to divine knowledge. https://jll.uk.ac.ir/article_5313.html One of the 9th-century historians was Fasih Khafi (died after 849 A.H.). His work is Mujmal -e Fasihi, a general history from the beginning of the world to the author's time. The author has quoted many poems in this work, and the present article has examined these poems in a descriptive-analytical manner; sometimes these poems are useful for correcting the author's historical errors Also, several poems from the poets who wrote the work have been quoted that are not found in their poetic divans and other edited works. There are also a few examples of poetry that are found in printed works, but Fasih has recorded them under the names of others. Ferdowsi, his poems and the poems that others composed for him, and especially the satire attributed to Ferdowsi, have a significant volume in the aforementioned history. A search of indexed texts in databases (such as Noorlib) shows that some of the poems that Fasih quoted in his history had not appeared in other sources before him. Since the authors do not have access to all the manuscripts of these poets, it is not possible to give a definitive opinion about the correctness of their attribution to the poets, and therefore one must be cautious about the actual composer of these poems.Findings: It is not possible to give a definitive opinion about the composers of all the poems of Mujam al-Fasih for the following reasons. published. https://jll.uk.ac.ir/article_5314.html The aim of the present study is to examine and compare the rewritten story of Simorgh, written by Mohammad Kazem Mazinani, and “The Gathering of Birds” by Peter Siss. “The Gathering of Birds” and “Readable Stories of Manteq al-Tair Attar” by Mazinani are, to some extent, miniatures of Manteq al-Tair for a child and adolescent audience, which allow the reader to freely interpret a mystical text. This comparison, using the method of description and content analysis, seeks to answer the following questions: Do mystical texts need to be rewritten or recreated, given their content nature? What structural and content changes have been made in the rewritten story of Simorgh, and which rewriting or recreation could be suitable for an adolescent audience? The results of the study showed that in rewriting the Simorgh story, Mohammad Kazem Mazinani maintained the narrative style of the story within the story and was somewhat faithful to the original text. In contrast, in the book "The Gathering of Birds", Peter Siss created a subtle suspense by using images and symbolism that helps the reader understand better and actively participate in the narrative; however, the mystical dimension of the work has been somewhat reduced and its educational and didactic aspect has become more prominent. In terms of structure, Peter Siss has provided the opportunity for reflection and questioning by creating an open ending (aperture). In terms of content, Mazinani's work is closer to the original text due to the use of mystical concepts and pre-text verses https://jll.uk.ac.ir/article_5315.html Studying Bayhaqi's history takes us across the valleys and ravines of the times to meet a seasoned historian who, after retiring from civil service, was busy organizing his notes on the events of the Ghaznavid era and writing Bayhaqi's history during the reign of Abu Shuja' Farrokhzad (443-452 AH) and for some time before and after that. Aware of the importance of the work he has undertaken, he aims to convey to future generations with "honesty", "accuracy" and "realism", impartiality and exaggeration what he has seen with his own eyes or heard from reliable people. In dealing with Bayhaqi's history, we will be introduced to two types of active readers: first, those who, from a traditional perspective, consider Bayhaqi's history to be a completely realistic and trustworthy report and praise Bayhaqi's honesty and accuracy in describing events and identifying personalities. The other two, who, with an eye on new theories, especially post-structuralist and neo-historicist theories, believe that history is essentially a "narrative" based on the mentality of the author who is consciously or unconsciously subjugated by the dominant discourse and does not allow the subordinate discourses to be seen in parallel with the whims of the power institution. Therefore, it is a mistake to believe in the existence of something called "reality" in the text and to seek to discover it. https://jll.uk.ac.ir/article_5316.html Context: Imagination is the constant dynamic factor in artistic and literary works, and Reflection on imagination based on Gilbert Durand's model is among the most widely used theories in this field. In his belief, the fear of death is the source of all human fears and governing his thoughts and behavior and the creation of artistic works is the artists' response to this constant fear; Therefore, imaginative images are reflected in all literary genres, especially literary works for children. Durand has categorized these images into two systems: the daily system (fear of time) and the nocturnal system of imagination (domination over time). The subject of this research is the analysis of the symbols and structures of the nocturnal system of imagination in the teenage novel The Fairies of Liasandmaris based on Durand's model of imagination. Method and Research: This article uses a qualitative method and by selecting the research sample, the Durand's model has been used as the basis for analysis. in this study, the library method was used to collect data and the deductive-inductive method was used to analyze the data. Findings and conclusions: According to the findings, the author, while reflecting on the symbols of the daily and nightly systems, considering the needs of this age group for spiritual and intellectual peace in the future path of life, he has been more inclined towards the structures of the nightly system. the mysterious structure is more prominent. Symbols of maternal matter and symbols of inclusion are more useful. https://jll.uk.ac.ir/article_5317.html In textbooks on writing and editing, limited and specific meanings have been assigned to the verb tavānestan (“to be able to”), and its use in certain senses has been regarded as a borrowing from foreign languages. It seems that the discussions of this verb’s meanings in such books have been presented without considering its wide semantic range in literary texts. This study aims to explain the various meanings of tavānestan through an analysis of its syntactic and semantic functions in Tārīkh-e Beyhaqī. Using a descriptive-analytical method, the research found that the verb appears a total of 435 times in the text, functioning as an auxiliary, impersonal, and full verb, encompassing a wide range of meanings. In categorizing these meanings, possibility and feasibility were considered the general and primary senses. The semantic subcategories identified include: actual or potential ability to perform an action, having permission or the right, having courage, having endurance or tolerance, being expedient or appropriate, being worthy or deserving, and being able to bear seeing someone. Among these, four meanings—having courage, being expedient, having endurance or tolerance, and being able to bear seeing someone—were identified for the first time and have not been previously mentioned in dictionaries or linguistic and grammatical studies. Therefore, when formulating rules for correct writing, it is necessary to avoid hasty judgments and to pay attention to the semantic capacities of this verb in literary texts. https://jll.uk.ac.ir/article_5318.html In educational systems, job satisfaction and employee motivation are foundational to organizational sustainability. This study, drawing on Herzberg’s two-factor theory, analyzes the narrative The School Principal by Jalal Al-e Ahmad—a text that reflects the lived experience of a principal confronting dysfunctional educational structures and offers a basis for reinterpreting human resource concepts within Iran’s cultural context. The central question is how Herzberg’s theory can be applied through literary narrative to examine factors contributing to job dissatisfaction and motivation in educational settings. The study identifies hygienic factors (e.g., administrative corruption, injustice, structural violence) and motivational factors (e.g., responsibility, empathy, meaningfulness of professional role) embedded in the text. Using a qualitative, interpretive, and comparative methodology, data were extracted through library research and narrative content analysis. Findings indicate that the dominance of hygienic factors leads to chronic dissatisfaction and psychological erosion, while intrinsic motivation—though present in the protagonist—fails against systemic dysfunction. The principal’s resignation emerges as an ethical and meaning-driven act in response to institutional failure. The study concludes that literary narrative can serve as experiential data for organizational theory, elevating Herzberg’s framework from a functional to a humanistic, cultural, and critical level—enabling the localization of HR concepts within Iran’s narrative and cultural landscape https://jll.uk.ac.ir/article_5333.html This study aims to elucidate the dimensions of Rumi’s influence by Imam Muhammad Ghazali within the framework of the first mystical tradition, with particular emphasis on the fundamental concept of self-knowledge (maʿrifat al-nafs). Since both mystics regard self-knowledge as the primary gateway to attaining divine truth and human perfection, this research seeks to examine the similarities and differences in their perspectives in light of this mystical tradition. The research employs an interpretive-analytical method based on library sources. To achieve a systematic analysis of this influence, a model grounded in the principles and foundations of the mystical tradition, as well as the goals and ultimate aims of spiritual wayfaring, is applied. The main findings indicate that the fundamental commonality between these two thinkers lies in their shared belief that self-knowledge is an essential condition for attaining divine knowledge and ultimate perfection. Evidence of Rumi’s influence by Ghazali, particularly in the Rumi and especially in discussions concerning the obstacles to knowledge and the role of vices such as greed, is documented based on Ghazali’s works. The findings suggest that while Rumi was influenced by Ghazali, this influence was selective, complementary, and elevating, whereby Ghazali’s mystical concepts are presented in a novel and poetic form. This influence represents a process of re-articulation and further development of mystical concepts, especially in relation to the theme of self-knowledge. https://jll.uk.ac.ir/article_5334.html The present study examines the reflection of the presence of Afghan immigrants in contemporary Persian fiction and seeks to analyze how their individual and collective experiences are represented in Iranian narrative literature. In this research, ten contemporary short stories and novels by Iranian authors were selected and examined through a descriptive-analytical method from the perspective of social, identity-related, and cultural themes associated with Afghan immigrants. The findings reveal that the issue of migration, the identity crisis of the second generation, legal and social restrictions, educational and occupational inequalities, illegal entry, child marriage, and the situation of Afghan women constitute the most recurrent themes in these works. The authors of these stories highlight the lived experiences of immigrants within the Iranian social context by depicting feelings of alienation, identity confusion, discrimination, vulnerability, and the struggle for survival. Alongside these narratives, the element of empathy and solidarity from Iranians plays a significant role in certain stories, contributing to the creation of a humane and trans-ethnic portrayal of the relationship between the two nations. The results of this study indicate that contemporary Iranian fiction, in addition to reflecting social realities, has succeeded in serving as a cultural platform to represent the voices and suffering of immigrants, thereby drawing fresh attention to the human and social dimensions of the Afghan migration issue https://jll.uk.ac.ir/article_5341.html This study, adopting a discourse-oriented approach, asks how feminine and masculine voices in four selected short stories by Moniro Ravanipour and Shahriar Mandanipour employ linguistic and narrative strategies to claim narrative authority and legitimacy. To this end, two stories by Ravanipour (“Sang-hā-ye Sheytān” and “Qesse-ye Ghamangiz-e Eshq”) and two by Mandanipour (“Rang-e Ātash-e Nimruzi” and “Meh-e Jangalhā-ye Balut”) are analyzed qualitatively and comparatively, drawing on a synthesis of Judith Butler’s theory of gender performativity and Norman Fairclough’s critical discourse analysis. The findings indicate that Ravanipour, by foregrounding women’s lived experience, the female body, and symbols such as stone and superstition, brings the feminine voice from the margins to the center and uses it to critique patriarchal discourse and redefine female subjectivity. By contrast, Mandanipour organizes the masculine voice around violence, war, death, and the repression of emotion; a voice that is initially endowed with authority but, when confronted with loss, guilt, and an inability to form or sustain relationships, gradually loses its legitimacy and retreats into silence and isolation. Overall, the analysis suggests that in both authors the “gendered voice” is not merely a reflection of the writers’ biological identities, but a discursive mechanism for legitimizing or challenging the narrative and the characters’ positions within the socio-cultural context of contemporary Iran. https://jll.uk.ac.ir/article_5342.html Tarikh-i Jahangushay by Ata-Malik Juvayni is one of the most significant texts in ‎Persian historiography. Beyond recording political and military events, it offers ‎profound descriptions of destruction, death, and lived human experience in tragic ‎moments, particularly in its narration of the Nishapur massacre. However, dominant ‎readings of this text have largely focused on event narration, ideological analyses, or ‎language-centered examinations, paying little attention to the perceptual and ‎embodied layer of the experience of violence. In this study, Maurice Merleau-‎Ponty’s phenomenological thought—emphasizing the perceiving body as the core of ‎ontology—is employed as the theoretical framework to demonstrate how catastrophe ‎is recorded not merely at the level of language or narrative but as a sensory, spatial, ‎and lived experience within the historical text. The study aims to provide a novel ‎reading of the Nishapur event in Tarikh-i Jahangoshay and explain how "the ‎perception of violence" and "the body of catastrophe" are represented in Juvayni’s ‎descriptions. The research method is descriptive-analytical, grounded in ‎phenomenological text analysis, focusing on concepts such as the lived body, lived ‎space, and the collapse of perceptual horizons. The findings reveal that Joveyni’s ‎narrative is rich with sensory and bodily markers, enabling access to a layer of ‎historical reality that transcends purely political or linguistic narratives—a layer ‎where catastrophe is experienced and recorded as the collapse of the lived world and ‎the erasure of the body from meaning.‎ https://jll.uk.ac.ir/article_5343.html Purpose: Amir Ghotb Adin Abol Mozafar Mansour Ebn E Ardshir Alabbadi is one of the excellent scholars, conservable preachers as well as a famous researcher in Sufism domain. He has written valuable works. We can refer to one of these valuable works named “Attasfieh Fi Ahval e Motasavvafeh” known as “Sufi Nameh”. It has been written in Persian in order to introduce sufi and their doings, logion, terms, morality, and etiquette. It has been also written for the public use and informing people about the attitudes of suphieh besides the principles of Sufism. As the educative system of monastery is based on Quran and the prophetic (peace be upon him) custom and morality, the monastery has been made to educate cultured moralist, and educated individuals,we can find it applicatory not only with the principles of Islamic culture but also with the roots of Greek morality as well as ancient Persian. Furthermore this book is ono of the excellent educational sources for the propaganda of moral and educative instructions. Method and Research: This research is based on library studies and the analysis of documents as well as the technique of the description of textual content. It has analyzed the educative instructions of “Sufi Nameh”. Finding and Conclusions: The results of this research show that Ghotb Adin Abbady’s intellectual tents are under the influence of three sources of education such as Islamic morality and education, the moral of ancient Persian specially the advice books of Sasanian era ,and Greek wisdom. https://jll.uk.ac.ir/article_5344.html Mystical metaphors in Sufi texts are not only literary devices but also cognitive structures that translate intuitive experiences and abstract concepts into tangible language. Ayn al-Qudsat al-Hamadani, one of the most prominent mystics of the sixth century AH, uses metaphors in his works that reflect his intellectual system, mystical conduct, and inner experiences. The present study, using a cognitive linguistic approach and based on the theory of conceptual metaphor, analyzes mystical metaphors in Ayn al-Qudsat's works to show how metaphors, as cognitive tools, make complex concepts such as divine love, death, the soul, union, and annihilation understandable. In this regard, the main question of the research is how mystical metaphors in the works of Ain al-Qud'at represent conceptual structures and what role they play in the transmission of mystical experiences. The research method is qualitative and descriptive-analytical, which is carried out by examining the original texts of Ain al-Qud'at, extracting metaphors, classifying them based on their domains of origin and destination, and analyzing their cognitive function. Also, complementary concepts such as mental images and bodily empiricism have been considered in the theoretical framework of the article to show how metaphors originate from human sensory and lived experiences and activate mystical meanings in the form of mental images. https://jll.uk.ac.ir/article_5352.html Background: L ‎ The tale "The Servant and the Merchant," with its three-stage structure of conditional ‎inclusion, threat of removal, and revival of position in a new domain, is a concrete example of ‎meaning rearrangement and shifts in power position within dominant mechanisms. ‎ Method: This study, using an analytical-descriptive approach and leveraging critical discourse ‎analysis, reinterprets the tale's text based on key concepts from Laclau and Mouffe's theory ‎and, by identifying chains of equivalence, difference, and moments of rupture, examines the ‎stages of development in the servant’s position. ‎ Findings: It shows that the removal of the servant, which was supposed to be the end of their ‎power, becomes an opportunity for the reproduction of meaning and the formation of a new ‎order. By redefining the signs and resources, the servant transforms the dominant order from ‎within and destabilizes tribal hegemony. This semantic and behavioral displacement is an ‎explanation of the discourse's flexibility and its potential for transformation from within the ‎very structure of power. the story of the servant shows that within the theoretical framework ‎of Laclau and Mouffe, meaning and power are never fixed and definite; rather, through the ‎rearticulation of signs, even within closed systems there is room for change and resistance. ‎The discourse of the servant challenges tribal hegemony—based on the cycle of "temporary ‎granting of power and removal" and shows that expulsion can turn into continuity, ‎transforming into individual autonomy.‎ https://jll.uk.ac.ir/article_5383.html Hossein Gholi Mosta'ān, a prominent Iranian writer in the half of the 20th century, excelled as a Feuilleton (Serial-story) writer. Among his preferred styles was the historical novel, drawing inspiration from Ḥabīb al-siyar fī akhbār afrād al-bashar comprehensive general history. Completed by Khandamir in 930 AH, Ḥabīb al-Siyar 's work spans historical events from antiquity to the author's contemporary era. This article, employing a descriptive-analytical approach and utilizing library data, explores the impact of Ḥabīb al-Siyar's work on Mosta'ān's historical narratives. Research findings reveal Mosta'ān's fidelity to the time and place details from Ḥabīb al-Siyar text while introducing alterations to the narrative logic. Deviating from Ḥabīb al-Siyar's approach, Mosta'ān emphasizes emotional connections between characters, infusing a romantic quality into his stories. Drawing inspiration from Ḥabīb al-Siyar's characterizations, Mosta'ān introduces changes, adding romantic dimensions to the characters. Through these creative adaptations, Mosta'ān artfully presents romanticized accounts of Iran's historical events, inviting readers to perceive Iranian history in a new light through his unique artistic lens. https://jll.uk.ac.ir/article_5421.html The influence of the literature of different countries on each other is something that is obvious. Considering that modern Iranian fiction is influenced by Western fiction, in this article we have dealt with the influence of Sadegh Hedayat from Western literature and writers. Utilizing the theory of critical discourse analysis in literary texts, provides the critic with tools that can be used to analyze texts more accurately and coherently. In this article, we have analyzed the text of the Blind Owl using this approach. Some critics focused on the socio-intellectual context of the Blind Owl creation. The difference between this study and previous researches is that we use the steps presented in Fairclough's theory. We seek to prove the view that Hedayat, especially in The Blind Owl, influenced by Western fiction and the intellectual system that governs the Western intellectual community, both in the structure and appearance of the narrative and in terms of content. One of the most important signs of Hedayat's influence from the Western intellectual world is his modern narrative and existentialist view of the world, which we examine in the three stages of Fairclough's approach and how Hedayat Western attitude is reflected. https://jll.uk.ac.ir/article_5427.html The theory of intertextuality, with its emphasis on the systematic relationship between a text and prior texts, is a suitable tool for analyzing works from the transitional period of Iranian literature. According to it, no text is formed without a connection to other texts. Gérard Genette classifies intertextual relations into three categories: explicit; implicit; and allusive. In examining the relationship between the trilogy Shams and Tughra, Mary of Venice, and Toghrul and Homa by Mohammad-Bagher Mirza Khosravi and classical literature, what most attracts the attention are the first and third types. Using a descriptive–analytical method and based on Gérard Genette’s model of transtextuality, the present study shows that: first, in this trilogy Khosravi frequently employs verses, phrases, and sometimes concepts from classical Persian literature—mostly in an explicit and direct manner and less often implicitly—and incorporates them, with slight modifications, into dialogues and events. In this way, he connects the modern novel with the tradition of Persian literature. Second, the author’s familiarity with and interest in the major poets of the Iraqi style (Saadi, Hafez, and Rumi) are most evident, followed by the Khorasani style and then the Indian style. Among these, by predominantly using Saadi’s poetry, he attempts to legitimize the genre of the novel within a completely traditional and familiar framework for the Iranian audience. Third, the poems composed by Khosravi that appear in the novel reflect the tradition of combining prose and verse, a practice whose precedents can be seen in Maqamat-e Hamidi and Saadi’s Golestan. https://jll.uk.ac.ir/article_5441.html The Persian Composition manner was very popular from the first days of its transfer to India and for several centuries it continued to be used by governments and prominent individuals in the same style and context; however, it is usual that over the course of several centuries, for various reasons, including changes in political and social definitions and relations and changes in cultural and linguistic norms, minor changes in the style, functions and formats of the Composition which was the most important means of communication of that era, would occur. These changes are more visible during the reign of the Timurids and their successors. Abulfazl Allami, minister, historian and secretary of Akbar Shah Gurkani, whose letters have been collected in a book titled " Mukatabat e Allami", is among the prominent writers of the period in question who made changes and innovations in the field of vocabulary, content, function and formats of the Compositions.Based on an authentic manuscript of the "Mukatabat e Allami " preserved in Hyderabad, the authors of this study have examined this work from the perspective of the customs and rules of transmission, and have evaluated the structure and details of the Gurkani period's structures. Among the achievements of this study are the introduction of several unknown formats of court documents, the explanation of the margins related to the correspondence, and the presentation of images of the seals and Tahmidiyahs special to the Gurkani kings https://jll.uk.ac.ir/article_5456.html The image of the Mongols in Persian historiography has often been shaped by an emotional approach grounded in the notion of absolute destruction. ʿAṭāmalik Juvaynī’s Tārīkh‑i Jahāngushā, as one of the most significant works contemporaneous with the Mongol invasion, offers—alongside its accounts of violence—a more complex and analytical narrative of the phenomenon of Mongol power. Focusing on the first volume of Jahāngushā, this article seeks to present a positive and analytical rereading of the Mongol identity, arguing that in Juvaynī’s narrative, beyond interpreting events within the framework of divine providence, human, social, political, and military mechanisms play a fundamental role in explaining the Mongols’ rise to power, expansion, and the continuation of their rule. This study is organized around the following questions: What human mechanisms does Juvaynī employ to explain Mongol authority? What is the position of social and tribal structures, the Yasa, the intelligence system, and the methods of imperial governance in this representation? And how does this image relate to the predominant perspective—rooted in the notion of absolute devastation—in the tradition of Persian historiography? The research method is descriptive‑analytical and based on a critical reading of the text, and the data have been extracted from the first volume of Tārīkh‑i Jahāngushā. The findings indicate that Juvaynī portrays the Mongols not merely as instruments for the realization of divine will, but as human agents operating through rational, organized, and calculated mechanisms. In his narrative, Mongol power emerges from a combination of organized violence, legal‑political order, informational efficiency, tribal cohesion, https://jll.uk.ac.ir/article_5505.html This article adopts a qualitative–explanatory approach and, drawing on library-based sources, examines Iranian humorous folk tales associated with the numskull type. It seeks to describe and analyze the structural, thematic, and narrative-world characteristics of these tales. In conventional classifications of folk tales, including the Aarne–Thompson system and Marzolph’s typology, numskull tales have largely been categorized on the basis of motifs and themes, and no clear criteria have been provided for their internal and typological analysis. The present study aims to reinterpret and classify these tales based on their narrative logic and intrinsic features.The findings indicate that tales related to numskulls can be examined in three main domains: tales of the numskull type, tales of the “wise madmen” (ʿoqalāʾ al-majānīn), and other closely related humorous types. Furthermore, numskulls, according to the type and degree of cognitive error and their mode of engagement with the world, can be divided into three categories: simpletons, gullible individuals, and naïve persons. The world of these tales is fundamentally a real world; however, from the perspective of numskull perception, it is transformed into an inverted and improbable world—a world in which the relation between knowledge and ignorance is reversed and conventional standards of rationality are destabilized. This article seeks, through a reconsideration of conventional classifications of folk tales, to propose a more coherent framework for analyzing the numskull type and their narrative world. https://jll.uk.ac.ir/article_5522.html purpose:The Travelogue of Ibrahim Beg is recognized as a critical and social work in contemporary Iranian history. Employing a fictional narrative style and a social approach, it depicts the face of Iranian society during the late Qajar period. This work holds a significant place not only in the history of Persian prose but also in the history of reformist thought. In the form of a travelogue, it presents a vivid depiction of social forces, power relations, and the roots of political and moral decline. Its importance is underscored by the fact that it has been compared to Rousseau's The Social Contract. Methodology:This research uses Foucault's power/knowledge theory to analyze discourse around four axes: women, rulers, clerics, and merchants. It asks how Zeyn al-Abedin Maraghei represents these social forces—and whether his work is merely critical or also reproduces both power and resistance Findings:The findings indicate that Zeyn al-Abedin Maraghei, within an ethical and social framework, represents women both as victims of ignorance and discrimination and as sources of national awakening. He divides clerics into two groups: power-oriented and reformist. He portrays merchants as the link between the economy and social consciousness. Finally, he represents governors as embodiments of tyranny and corruption. Thus, The Travelogue of Ibrahim Beg is not merely a literary work but a discursive text in which the complex network of power, knowledge, gender, and economic relations in Qajar society is laid bare. It presents the first Iranian formulation of the idea of resistance against the authoritarian order. https://jll.uk.ac.ir/article_5523.html Tukhm-e Shar (Evil Egg) by Belqis Soleimani, a landmark of contemporary Persian fiction, vividly portrays the lifestyle, social relations, and folk culture of the Kerman region, especially Baft and Rābor. This study, drawing on Henri Lefebvre’s theory of the production of space within a structuralist framework, examines how regional (climatic) literary elements function in the novel. It aims to demonstrate how indigenous components operate across three spatial levels—perceived, conceived, and lived—shaping plot, characterization, and narrative logic. The research adopts a descriptive-analytical method, with data gathered through library research and textual analysis. Findings show that climatic elements in Tukhm-e Shar are not merely atmospheric; they become structural components in space production and narrative organization. Material and non-material local features—customs, colloquial expressions, proverbs, medical and superstitious beliefs, vernacular architecture, and traditional occupations—intensify class and gender conflicts, represent the tradition-modernity opposition, and shape power relations. The results indicate that Soleimani, by integrating climatic elements with different layers of space production, offers a model of regional literature in which the locale is neither a neutral nor decorative backdrop but an integral part of the semantic system and a driving mechanism of the plot. Thus, it plays a fundamental role in forming the story’s world and the characters’ destinies. https://jll.uk.ac.ir/article_5526.html Teaching Persian to non-Persian speakers or even Persian speakers who are exposed to standard and colloquial literature simultaneously is one of the most important educational challenges. In the meantime, popular literature, with its high cultural and linguistic capacity, can be an effective tool for teaching colloquial Persian. The present study, focusing on the works of Ahmad Mahmoud, especially in the outstanding novel "The Neighbors", examines the advantages and challenges of using colloquial expressions and popular dialogues in the process of teaching Persian. Ahmad Mahmoud's works are considered very suitable sources for this purpose due to their honest and vivid reflection of the social and cultural life of the Iranian people and their extensive use of slang terms and colloquial dialogues. This research shows that using these texts, in addition to increasing the motivation of language learners, also helps them to better understand linguistic and cultural differences, but at the same time it also faces challenges such as the difficulty of accurately conveying meaning and the possibility of confusion due to differences from the standard language. This research uses a qualitative approach and textual content analysis. First, the slang and street market terms and dialogues in the aforementioned novels were carefully extracted and classified; then, content analysis was conducted to examine and identify the educational potential of these terms. Finally, based on the data obtained, the potential benefits and challenges of teaching these terms in Persian language classes have been discussed and evaluated. https://jll.uk.ac.ir/article_5533.html Suleiman is one of the prophets who has the most presence in Persian literary texts and there are extensive references to his life. These references are included under the three topics of "characteristics", "abilities" and "things related to him". This article, which is carried out in a descriptive-analytical way and by using long Persian folk tales, tries to examine the "things related to Suleiman " from all kinds of references; things that is almost specific to folk tales, and has not been discussed in ancient religious, historical and literary texts. The result obtained from this research is that these things related to Suleiman in long folk tales are made in four ways: 1) they are rooted in religious and historical texts - although major changes have been made in them -; 2) These things related to Suleiman are related to other prophets and kings who were attributed to Solomon through the "phenomenon of transmission"; 3) They do not have religious or historical roots, but they are mentioned in a very rare way, in some classic Persian texts,; 4- Without any religious or historical background, they are simply the creations of storytellers from the Safavid era onwards