List of Articles Farzad Ghaemi

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  1 - Epic Archaism (Distinct feature of the style used in Qaysarnameh written by Adib Pishavari)
  safa kazemian moghadam Farzad Ghaemi
  20.1001.1.23225793.1398.15.2.13.2
  Epic Archaism (Distinct feature of the style used in Qaysarnameh written by Adib Pishavari)   *Safa Kazemian Moghadam PhD student, Persian language and Literature, Ferdowsi University, Mashhad, Iran. **Farzad Ghaemi Assistant Professor, Persian language and l More

  Epic Archaism (Distinct feature of the style used in Qaysarnameh written by Adib Pishavari)   *Safa Kazemian Moghadam PhD student, Persian language and Literature, Ferdowsi University, Mashhad, Iran. **Farzad Ghaemi Assistant Professor, Persian language and literature, Ferdowsi University, Mashhad, Iran. Date of reception: 96/10/11 Date of acceptance: 96/12/6 Abstract Epic archaism is the simultaneous employment of epic as an influential and elevated style mingled with a form of archaism which lead to the sublimity of poet’s language. Qaysarnameh composed by Adib Pishavari is a complete example of using epic as a model blended with archaism as far as diction, syntax, and rhetoric are concerned.  This historic epic more than any other works in its era had remained devoted to the linguistic and literary traditions of his ancestors. Adib Pishavari has made tremendous effort to preserve Khorasani language.  Inspired by Shahnameh and using it as a model he took profound care to adhere to its style.  Archaism is one of the main reasons for preservation of epic language in Qaysarnameh.  This research studies different aspects of epic archaism in this work.  This quality in Adib’s poetry had found stylistic individuality in terms of diction, syntax and rhetoric.  Making words with new political, social, and military expressions, representation of Khorasani syntax and creation of compound images based on the ancient epic similes are among the principle features found in Qaysarnameh.     * . safakazemian@gmail.com ** . farzadghaemi@gmail.com Manuscript profile
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  2 - Codicology of the manuscripts of Heidari Hamleh-ie Heidari of Bāzel and types of its Supplements (and the sub-genres of Hamleh based on the approach of Genres(
  Farzad Ghaemi
  20.1001.1.23225793.1401.18.2.10.0
  Hamleh-ie Heidari of Bāzel Mashhadi is a work that has the greatest quantity and variety of manuscripts in Persian epic literature after Ferdowsi's Shāh-nāma. In this study, by codicological analysis of 100 manuscripts of the Hamleh, several new supplements were discove More

  Hamleh-ie Heidari of Bāzel Mashhadi is a work that has the greatest quantity and variety of manuscripts in Persian epic literature after Ferdowsi's Shāh-nāma. In this study, by codicological analysis of 100 manuscripts of the Hamleh, several new supplements were discovered and their its interactions with Hamleh was clarified, and then the text corpus was classified into five categories based on the approach of literary genres. Based on the approach of the textual criticism, the manuscripts of the Hamleh of Bazal, due to the Indian style of the poet and the ritual use of the work in Hamleh reading, unlike other literary works, over time, instead of adding and increasing verses, have suffered to reduce and remove verses. Of course, at the end of the manuscript, the situation is reversed because the Hamleh 's poems have been supplemented. Based on the classification of literary genres, the type of Hamleh was defined as follows: “Hamleh” composing, from the branches of the genre of secondary religious epic, and the subgenre of literary-artistic epic, was explained by the function of language epic. Also, the “Hamleh”s were in terms of content among the historical epic poems with two types of pure historical epic or historical-folk epic, and in terms of relation to the basic Hamleh (Hamleh-ie Heidari of Bāzel), they contained three subspecies: book completion, composition of similar works and book translation. Manuscript profile
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  3 - The impact of heroic chants in the formation of Persian epic stories
  Farzad Ghaemi
  20.1001.1.23225793.1392.9.15.2.5
  The basis of the epic stories among different human ethnic groups is known to be the chants and scattered oral narratives told by the minstrels and public entertainers. Often accompanied by music and dramatic, theatrical and ritual movements, these narratives were perfo More

  The basis of the epic stories among different human ethnic groups is known to be the chants and scattered oral narratives told by the minstrels and public entertainers. Often accompanied by music and dramatic, theatrical and ritual movements, these narratives were performed for the aristocrats and for the people and sometimes sur place underwent fundamental transformations. In this article first the views of the scholars regarding the oral chants and their narrators among different nations and the role of these poems in the formation of grand epic works were dealt with. Then evidence regarding the oral history of these narrations in ancient Iran and the social and artistic role of Ashkani minstrels who had the major part in the realization of this oral tradition has been presented. Finally, the tradition of recording these oral narratives reaching its peaks in the Sassanid era has been investigated. This created a trend whose continuation in the Islamic era in terms of translation of these works into Farsi and Arabic and their poetic recreation by the Iranian poets has produced the movement of the composition of Shahnameh in the Eastern Iran, and later on led to the formation of the rich Persian literature treasury. Manuscript profile
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  4 - Ferdowsi, his sources and his methodology utilized in the tale of Ardeshir Babakan
  Hamed Safi Farzad Ghaemi Mahdokht Pour Khaleghi Chatroudi Samira Bameshki
  20.1001.1.23225793.1395.12.2.4.2
  Abstract The enigma of sources and the methodology Ferdowsi employed to compose Shahnameh is one of the major challenges in Shahnameh scholarship.  Based on the similarity of certain titles in the introduction remained by the Abu Mansouri Shahnameh, a group assume More

  Abstract The enigma of sources and the methodology Ferdowsi employed to compose Shahnameh is one of the major challenges in Shahnameh scholarship.  Based on the similarity of certain titles in the introduction remained by the Abu Mansouri Shahnameh, a group assumed that this book was the sole source used by Ferdowsi.  However some believed that Ferdowsi along side it had utilized other sources.  The main reason for this group of researchers is that since the only common main source used by Ferdowsi and Tha'alibi is Abu Mansouri's shahnameh and that some parts of Shahnameh such as Bizhan and Manizheh, and The seven trials of Rostam which were not appeared in Tha'alibi's work, Ghorarosyr it can be concluded that those parts were certainly borrowed from another source.  Nevertheless the fact that Tha'alibi's use of the Shahnameh of Abu Mansouri is provable according to his own claim, due to the destruction of the Shahnameh of Abu Mansouri, it is difficult to determine which stories in particular were borrowed from this Shahnameh by Tha'alibi.  Analysis of four narratives of the tale of Ardeshir Babakan from four texts and their comparison with the version of the Shahnameh of Ferdowsi indicates that Ferdowsi while drawing upon a written source, had used many other sources intermittently to compile the tale of Ardeshir Babakan. Manuscript profile