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Ebrahim Ranjbar
Volume 65, Issue 226 , January 0, , Pages 1-23
Abstract
The Nefrin – e Zamin (the curse of land) is a novel which tells the reader about the dispute between tradition and modernity as well as the Intellectual and the rulers. It may also be regarded as a document testifying defeat of the Intellectualism and tradition. This novel was written ...
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The Nefrin – e Zamin (the curse of land) is a novel which tells the reader about the dispute between tradition and modernity as well as the Intellectual and the rulers. It may also be regarded as a document testifying defeat of the Intellectualism and tradition. This novel was written by Al –e ahmad to perform his responsibility as an Intellectual. In this novel, he tries to oppose modernity and revival of past religions in some Intellectual and political circles and bourgeoisie economy. From this point of view, in some parts, the novel acts as a political statement and some time realities are ignored as if the author does not wish to see them. Therefore, his views and social theory fails to be generalized. In the present work an attempt is made to investigate the responsibility of intellectual and the concept of modernity. His social theory is also explained according to some of the famous models of explanation in social science and then tradition and modernity is contrasted and a plan of his ideal society is provided. The result of the present study is that this social theory may not be explained according to a single model and in order to explain it more than one model should be drawn upon; all his views are not valid and suffer some weak points; he does not intent to theories and offer solutions, but opposes the present situation as an intellectual.
mir jalil akrami; mohammad pashaei
Volume 66, Issue 227 , January 0, , Pages 1-19
ebrahim eghbaly
Volume 66, Issue 228 , January 0, , Pages 1-31
Ali Reza Azadi
Volume 67, Issue 229 , January 0, , Pages 1-21
Narges Oskoei
Volume 67, Issue 230 , January 0, , Pages 1-23
Abstract
In the poem, the tone Is caused by the two things: the spirit of the poet and poetry style. Khaghani is very sensitive and touchy. This mentality is evident in his poem. It's like that, Khaghani fights with everything. Thus, in his poem, there is a kind of epic. Also, he has used the elements ...
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In the poem, the tone Is caused by the two things: the spirit of the poet and poetry style. Khaghani is very sensitive and touchy. This mentality is evident in his poem. It's like that, Khaghani fights with everything. Thus, in his poem, there is a kind of epic. Also, he has used the elements of poetry to be poetry, the epic is. His style of poetry reinforce epic tone in his poetry. This elements of Style Include: Measure, appropriate words for this style, Epic Pictures, hyperbole and mobility in elements of poetry. This article explores the epic tone in Khaghani poem.
Abbas Baghinejad; Naser Alizadeh
Volume 68, Issue 231 , January 0, , Pages 1-15
Abstract
Juvenility in Sohrab Sepehri’s poetry, the contemporary poet, is a prominent aspect which is discernible in different forms of his poetry. He takes advantage of his childhood recollections in diverse modes to espouse the grounds of his poetry. His congenial and candid tone which remains unadorned ...
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Juvenility in Sohrab Sepehri’s poetry, the contemporary poet, is a prominent aspect which is discernible in different forms of his poetry. He takes advantage of his childhood recollections in diverse modes to espouse the grounds of his poetry. His congenial and candid tone which remains unadorned is a fusion of his juvenile and at same time artistic language which helps him to express and reveal his mystic perceptions. His fanciful imagination like that of children tends to develop novel relations among objects and phenomena in order to recollect unconsciously novel, fantastic, and unprecedented images which their novelty and diversity, in turn, is a reflection of juvenile imagination. He looks at objects and phenomena without any preconception and prejudgment so that he can reflect a stream of amazement and enjoyment in his poetry which is akin to the children’s encounter with novelties.
Aliasgar Babasafari; Mohammadamin Mohammadpour
Volume 68, Issue 232 , January 0, , Pages 1-15
Abstract
استان‌ها و اشعار مبتنی بر توصیف اعمال پهلوانی و بزرگی‌ها و افتخارات قومی را در تعریف سنتی، حماسه می‌گویند. شعر حماسی از جمله جریانهای عمدة شعر معاصر است که ویژگیهای ...
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استان‌ها و اشعار مبتنی بر توصیف اعمال پهلوانی و بزرگی‌ها و افتخارات قومی را در تعریف سنتی، حماسه می‌گویند. شعر حماسی از جمله جریانهای عمدة شعر معاصر است که ویژگیهای حماسی آن متناسب با شرایط تاریخی دگرگون شده است. در این پژوهش برای توصیف حماسه، متناسب با نیازهای بیانی تازه، ابتدا به روند تطور تعریف حماسه تا دورهء معاصر اشاره شده و سپس نمودهای حماسی در شعرهای سیاوش کسرایی کاویده میشود. در این پژوهش اشعار حماسی سیاوش کسرایی در سه بخش بررسی وتحلیل شده است: ویژگیهای محتوایی ( شکل روایی اسطوره و حماسه های مردمی )، موسیقی حماسی و ویژگیهای زبانی ( بهرهگیری از زبان و کاربردهای باستانگرایانه، ذکر اسامی اسطورهای، ذکر ابزار جنگی، بهرهگیری نمادین از عناصر طبیعت ). نتایج این پژوهش نشان میدهد که هرچند منطق رمانتیکها در بخشی از شعر سیاوش کسرایی وجود دارد، اما او به اقتضای فضای سیاسی-اجتماعی روزگار خود به اشعار حماسی روی آورده است و در شعر و زبان وی میتوان مضامین و رویکرد حماسی را مشاهده کرد.
Mir Jalil Akrami; Majid Vahedpour
Volume 69, Issue 233 , January 0, , Pages 1-26
Abstract
The sonnet from the sixth century have a significant, serious and formal, functional and presence in the Persian literature, and cone in the form of dominant means of artistic creation by the major poets. Such kind poems although, has a language quality and special meaning which making that more distinctive ...
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The sonnet from the sixth century have a significant, serious and formal, functional and presence in the Persian literature, and cone in the form of dominant means of artistic creation by the major poets. Such kind poems although, has a language quality and special meaning which making that more distinctive and recognized from the other kinds of poems, so it couldn’t keep itself away from the other language elements effect of the previous period – that mainly are imagerable elements -. Some of these elements in its natural movement are moved from a period to another.Of course, the attitude and poets mental aspect (field) and cultural geography that is grow up, changes how to using of these elements. Among the different elements of language , we can speak of bureaucratic elements. These elements whether in the language field or in the meaning field ,when keep on their function, cause of creating images that are no longer possible. The problem related to the to court when are used in the Persian odes, hardly could departure of its surface meaning and often are used in the lexican meaning. These are attributable to the extroversion and poems emotional aspects that rhetorical is in this way. Figurative meaning of such elements is more in sonnet that show itself. The expansion of figure of speech in sonnet and changing of such elements attribute to odes causes whatever helps to the lyric of literature language –bureaucratic elements , are parodies by the poets. By analyzing of Persian sonnet in the studying period (course) we get this pint that the elements related all the bureaucratics somehow keep on their live in this poetical genre. In this article among the various bureaucratic elements of court, we had analyzed the army elements, the composition bureaucratic element .bureaucratic elements, by the view of rhetorical function.
Yousof Ali Beiranvand; Qasem Sahrai; Ali Heydari; Mohammad Reza Hasani Jalilian
Volume 69, Issue 234 , January 0, , Pages 1-16
Abstract
The Iranian and Indian people from long time till here have been accepted as two nations with common culture and common ideas. This issue brings with itself originality of both. Both of Ramayana and Sivash come to existence based on this common culture. One of exact and important common part in these ...
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The Iranian and Indian people from long time till here have been accepted as two nations with common culture and common ideas. This issue brings with itself originality of both. Both of Ramayana and Sivash come to existence based on this common culture. One of exact and important common part in these stories is similarity of action and characters features. In this paper with descriptive and analytical approach we tried to lunch new analysis based on characters and their action. With this approaches we come to this goal that characters like Siavoosh and Ram in faithfulness and Soodabeh and Keieki in deceitfulness and jealousy and hostility with son and also Kavoos and Jesret in hesitancy and Give and Hanooman in braveness and loneliness in front enemy and passing the water and Afrasyab in authority and hostility and Frangis and Sita in tangle of enemy and Kikhosroo and Loo and Kash in the way of their home and also Valmici in wisdom are all as same as each other.
Abbas Baghinejad
Volume 70, Issue 235 , January 0, , Pages 1-16
Abstract
Bijan Najdi is an innovative writer who has introduced a unique and different literary style through publishing his three short story collections. In narrating his story Najdi has employed a certain poetic prose which is quite new and unusual. Through blending the poetic narration and elements of story ...
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Bijan Najdi is an innovative writer who has introduced a unique and different literary style through publishing his three short story collections. In narrating his story Najdi has employed a certain poetic prose which is quite new and unusual. Through blending the poetic narration and elements of story together, Najdi has presented a style which includes both the narrative characteristics and poetic potentialities. This blending has played an important role in developing Najdi’s general works giving a certain structure and cohesion to the elements of his stories. Najdi is an innovative and experimentalist writer who is very much interested in new-story trying to make use of new techniques and an unusual language in narration. The present paper has explored Najdi’s norm-deviation behaviour and his deconstructional approach towards language trying to reveal the effect of this language on developing a few of the elements of his stories. To this end, the paper has studied elements such as “description”, “scene”, “theme”, “approach”, “narration” and “context”. The role of poetic devices and linguistic tricks such as “linguistic foregrounding”, “defamiliarisation” and other linguistic devises in shaping the story elements have all been investigated too.
Contemporary Poetry of Iran
sajjad aydinloo
Abstract
A Review of the Four Controversial Verses of Shahnameh1 about Zahhāk2 بکُشتی، به گُشنی یا به کُشتی؟)) Sajjad Aydenloo Associate Professor, Payame Noor University of Urmia, E-mail: aydenloo@gmail.com Abstract Ferdowsi, in the early kingdom of Zahak has ...
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A Review of the Four Controversial Verses of Shahnameh1 about Zahhāk2 بکُشتی، به گُشنی یا به کُشتی؟)) Sajjad Aydenloo Associate Professor, Payame Noor University of Urmia, E-mail: aydenloo@gmail.com Abstract Ferdowsi, in the early kingdom of Zahak has written four bits in expression of his concupiscible unconventional: پس آیین ضحّاک وارونهخوی ز مردان جنگی یکی خواستی کجا نامور دختری خوبروی پرستنده کردیش در پیش خویش چنان بُد که چون میبُدیش آرزوی بکشتی که با دیو برخاستی(؟) به پرده اندرون پاک، بیگفتوگوی نه رسم کییبُد نه آیین کیش The main difficulty of this piece is in the recording, reading and meaning of second hemistich of second line and then the connection or semantic independence of the two initial bits and the last two bits. In Shahnameh manuscripts, there are ten different recordings for second- hemistich of second bit and commentators and researchers have suggested ten meaning for it. The writer with criticism of the various recordings, readings and meanings based on reasons and witnesses like: writing "bekoshti" in most of the manuscripts, the existence of similar hemistich in terms of syntactically and semantically elsewhere in Shahnameh, paying attention to the traditional reception of some scribes and readers of the Shahnameh through the manuscript copies of these verses, explaining the report in “Bondaheshn” and … recording and reading “be koshtikeba div barkhasti” knows more likely and for every four bits continuously (enjambment), this interpretation is suggested: Zahhak when his lust was excited the beautiful girl and virgin was given to a man of warrior up against his eyes sexual intercourse with that girland Ferdowsi's intention of “ayine Zahhakevaroonehkhooy” this is the unbecoming work. Key words: Shahnameh, correction, reading, meaning, Zahak. At the beginning of Zahhāk's kingdom in Shahnameh, after referring to the prevalence of the oppression of his time and killing two young people every day to feed the snakes on Zahhāk's shoulders, and solving the problem by Armaeel et Garmaeelin that case, there are four verses concerning one of the Zahhāk's perverse behaviors, which appear in the second edition of Dr. Khalequi-Motlagas as follows: پس آیین ضحّاک وارونهخوی ز مردان جنگی یکی خواستی کجا نامور دختری خوبروی پرستنده کردیش در پیش خویش چنان بُد که چون میبُدیش آرزوی بکشتی که با دیو برخاستی(؟) به پرده اندرون پاک، بیگفتوگوی نه رسم کییبُد نه آیین کیش At the end of the second hemistich of the second verse,the sign (?) indicates that it is written and its meaning, -the first verse and the other two verses - is a place of doubt and need to be investigated. From the seventh to eleventh centuries, the above mentioned hemistich in the manuscripts of Shahnameh has been recorded in a number of different ways, which indicates its ambiguity. These different forms are as follows: 1. بکشتی چو با دیو برخاستی 2. بکشتی که باد تو برخاستی 3. بگفتی و با او بیاراستی 4. که کشتی چو با دیو برخاستی 5. بکشتی چو بازو برافراختی 6. به گیتی چو با دیو برخاستی 7. بکشتی و با دیو برخاستی But the prevailing recording of the versions is: «بکشتی که با دیو برخاستی» And all the editors and the authors kept this written version with the same spelling of the manuscript in the vast majority of low-credibile, semi-authoritative or credible editions of Shahnameh as mentioned above. The main point of the four verses in question about Zahhāk is in the recording, reading and meaning of the second hemistich of the second verse, and the other is the relation or the lack of semantic communication between the first and second verses with the two others (third and fourth). At the second hemistich of the first verse, the word "wish" means "sexual desire". In this verse, the verb (می‌بدیش) should also be read as a past continuous tense. There are ten different views which have been taken into account on the fundamental difficulty of these verses, namely, recording, reading and meaning of the second hemistich of the second verse of Shahnameh, many of which are well illustrated by the degree of complexity and ambiguity of the subject. Some of the most important reports are: 1. In 1989, in his critique of Dr. Khaleqi-Motlag's first correctional volume and in order to record «بکشتی» in the majority of the editions, Dr. Ravaghi proposed «گُشنی» which is Dr. Quiasi's correction, and he reported the second verse in this way: "Whenever a wish and inner desire was dominated over Zahhāk and whenever a wish-demon smiled on him, he would call in one of the warriors to mate with". Dr. Quiasi's correction and Dr. Ravaghi's suggested meaning, which has been accepted and repeated by a number of other reserchers, attracted the attention of the scholars of Shahnameh to these verses of the Zahhāk monarchy and has led to the opening of various discussions about them. 2. The late Dr. Joweiny, in his description of the first volume of the booklet of the Florence edition, kept the word «بکشتی»in this manuscript, but he meant it «به کشتی گرفتن». According to a narrative of Bundahishn3, Zahhāk forces the demon to have a relationship with a young woman and a young man with a fairy in front of her look, and considering the fact that the four verses related to Zahhāk are not exactly consistent with Bundahishn report, these four verses have been mutually interconnected. "Zahhāk whose behavior was abnormal, whenever his inner desire and passion hits him, he calls in one of the brave men on the ship who was in debate with his opponent demon, and the beautiful girl sitting somewhere calmly and quietly, made her obey the warrior to have a sexual relation in front of him, that this act was neither a custom of kings, nor a religion". 3. Dr. Khatibi accepts Dr. Guiasi's correction of «گُشنی», and according to two witnesses from Middle Persian, it means "the intercourse of the man with the demon", and "Demon" is considered here as a female species of these creatures. He has reported the first two verses independently of the third and fourth ones with these preliminaries and attention to the narrative of Bundahishn (we noticed that Dr. Joweiny, for the first time, had been careful to discuss these verses of Shahnameh). "Therefore, Zahhāk's evil spirit was such that whenever he wished, he would summon one of the warriors for having a sexual relation with the female demon in front of him". 4. Dr. Khaleqi-Motlaq in«آویزه‌ای بر یادداشت‌های شاهنامه», which is based on their previous descriptions, suggests that we might be able to read the word«بکشتی»in the form of «به کشتی», and the verb«برخاستن»means«مقابله کردن، پای داشتن». With this kind of reading and according to his persumption, Zahhāk wrestles with a warrior. "So Zahhāk, as a demon had a quirky behavior and whenever he wished, he would be able to summon a war man to wrestle with himself, whether he would force a demon to wrestle with". According to the author, there is not a firm bond with the independent view of two final verses and the reports of those who passed with the inversion of Zahhāk, and the excitement of his desire (lust) as stated in the first verse, and the hemistich«نه رسم کییبُد نه آیین کیش». Despite the fact that bringing beautiful and good-natured girls to the Zahhāk palace from anywhere and provoking them as a housemaid is a cruel affair with regard to the social structure and ritualism of the ancient times - and not with the contemporary look and analysis - it is not contrary to the custom of that time to regard it as the inalienable inwards of Zahhāk. There is evidence that both righteous and authoritarian kings, both in national/ narrative and in the real history of Iran, brought beautiful girls and women from different areas of their realms to their courts and took them as servants or spouses. Probably the reading and recording of the second hemistich of the second verse of those four verses is correct as follows: «به کُشتی که با دیو برخاستی» And we should consider it in the sense of the "ability to wrest" of the warrior with demon and his description as mentioned in the first hemistich, and we should interpret each of the four verses continuously. The quotes confirming this recording and meaning are: A) Register more copies of the bits. B) Similar to the semantic and syntactic aspects of the works being studied, elsewhere in the Shahnameh. The quotes confirming this recording and meaning are: A) In most versions «بکشتی که با دیو برخاستی»is recorded. B) There is similar semantics and syntactic structure of the studied hemistich at the other part of the Shahnameh. Several scribes and readers also deduced from the second hemistich the subject of the "Battle" of the first hemistich with a demon, based on the recordings of some versions of Shahnameh in the tradition of its reading. With the explanations and reasons presented, recording, reading, marking and meaning of the four verses will be discussed as follows: پس آیین ضحّاک وارونهخوی ز مردان جنگی یکی خواستی کجا نامور دختری خوبروی پرستنده کردیش در پیش خویش چنان بُد که چون میبُدیش آرزوی - به کشتی که با دیو برخاستی- به پرده اندرون پاک؛ بیگفتوگوی نه رسم کییبُد نه آیین کیش That is, the manner of ill-natured Zahhāk was so bad that when his lust provoked, he summoned one of the warrior men who could wrestle with demon, and then, whenever there was a beautiful and pure girl, he immediately forced her into the intercourse with the man in his presence, and in this regard, his behavior was neither in accordance with the dignity and conduct of the king, nor with religious principles. Notes [1]. It is the name traditionally given to an encyclopedic collection of Zoroastrian cosmogony and cosmology written in Book Pahlavi. 2. The Shahnameh ("The Book of Kings", also transliterated Shahnama) is a long epic poem written by the Persian poet Ferdowsi between c. 977 and 1010 CE. 3. Zahhāk is an evil figure in Persian mythology, evident in ancient Persian folklore as AžiDahāka (Persian: اژی‌دهاک), the name by which he also appears in the texts of the Avesta.
. Epicical and Mythical Literature
sattar pir eynaddin; abdollah toloeiazar; fatemeh modarresi
Abstract
An element or elements that unite the story of a single entity, the elements and its elements are interconnected, are called essentials. It strengthens the element or elements of the structure of the story and gives it, in certain narrative situations, its prominence and meaning, due to its repetition, ...
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An element or elements that unite the story of a single entity, the elements and its elements are interconnected, are called essentials. It strengthens the element or elements of the structure of the story and gives it, in certain narrative situations, its prominence and meaning, due to its repetition, prominence and meaning. These materials, in addition to highlighting, are also effective in moving the story. In many Persian fables, the foundation forms the story structure. In this sense, the story circles around it in its entirety, and the events that occur in the story form around the same material. The most important elements that are active in the epic works of action are: hero, hero journey, dream and dream, concealment of name, prophecy, war, castle, dragon and dragon, magic and wizards, war instruments and more. As a religious epic in the creation of the story and the theme of the work, Khavaranameh has used these materials well and has promoted its artistic and influential influences as well as the prominence of the story. We will look at these materials in this article
Persian Rhetoric and Grammar
Yousof Asghari Bayqut
Abstract
Turk of mine saying san san (Reviewing the reflection of Turkish language and culture in Khāqāni's Diwān)Yousof Asqari Bayqoot Assistant Professor, Dept. of Persian Language and Literature, University of Jiroft AbstractThere is no doubt that part of poets and writers' imaginary motifs is influenced ...
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Turk of mine saying san san (Reviewing the reflection of Turkish language and culture in Khāqāni's Diwān)Yousof Asqari Bayqoot Assistant Professor, Dept. of Persian Language and Literature, University of Jiroft AbstractThere is no doubt that part of poets and writers' imaginary motifs is influenced by their environment and geographical territory and it is somehow reflected in their literature. Writers and poets' susceptibility is more than others due to their subtle and sensitive spirits. Accordingly, the current research aimed to give answer to this question: Had Khāqāni shirwani been influenced by language and culture of Azerbaijan, his living environment? The research showed that the environment and culture of Azerbaijan and its common language, namely the Turkish language, were reflected in various forms in Khāqāni's; In addition to direct presence of thousands of Turkish words, allegories and ironies translated from Turkish, popular beliefs, Azerbaijan environment had serious impact on poet's works and had been the basis of creating many themes and poetic pictures, to the extent that without regarding this, part of Khāqāni's literature in his Diwān was not well interpreted and clarified.Key words: Khāqāni shirwani, Azerbaijan, Language and culture, Turkish language, Susceptibility
Sufism and Mysticism
Mohammad Ebrahimpur Namin
Abstract
One of the types of writings in Sufi literature is collections collected in recording and quoting the sayings of Sufi elders and elders؛ Works that in a general sense are called Sufi memoirs. This group of works is generally derived from a common tradition in most of the almost all religions and sects ...
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One of the types of writings in Sufi literature is collections collected in recording and quoting the sayings of Sufi elders and elders؛ Works that in a general sense are called Sufi memoirs. This group of works is generally derived from a common tradition in most of the almost all religions and sects that the lives of saints and saints, especially after their death, are not limited to the objectivity and historical reality of their lives, but more intertwined and covered with multiple layers of myth. A tradition of all kinds in its broadest sense can be interpreted as Hagiography. This heritage of Sufism as a type / genre has been mentioned in old and new sources with expressions such as circumstances or situations / Tazkereh / Sira or Sirat or Sirtnameh or Sir / Maqamat and Manaqbeh or Manaqbehnameh / Walinameh / Ulyanameh. The present study is a critique of the genre and examines the historical perspective of the developments of this type of Sufi writings, which shows how the genre originated from the legacy of the early ascetics and at the peak of its development leads to the specific scriptures of the elders.
. Epicical and Mythical Literature
Abbas Azarandaz; Masoumeh Bagheri Hassankiadeh
Abstract
The "eloquence" of mythical and epic characters has a long history in Iranian literature. Ferdowsi has introduced many characters of Shahnameh as "speaker", "eloquent", "smooth-tongued", and "sweet-mouthed" and praised them with these epithets. Some literary terms such as "Sokhan Shirin" and "Zaban Shiva" ...
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The "eloquence" of mythical and epic characters has a long history in Iranian literature. Ferdowsi has introduced many characters of Shahnameh as "speaker", "eloquent", "smooth-tongued", and "sweet-mouthed" and praised them with these epithets. Some literary terms such as "Sokhan Shirin" and "Zaban Shiva" have been used in Avesta, Pahlavi texts, and have been continued in Persian, and some, such as viiāxana "eloquent", the epithet of Mitra in Mehr Yash, has not been continued but were used as an obsolete form of Gyāxan in Rudaki's poetry, and some Persian lexicons, such as Asadī’s Loḡat-e fors, in spite of this, it has continued as a heroic epithet in epic texts among native and foreign heroes. This article examines the semantic range of "Eloquence" that is a common quality of Mithra, the prophet Zarathustra, heroes such as Garshasb, Sam, Rostam and Giv, and even Turanian heroes in Iranian texts from Gahan to Shahnameh.
History of literature of Iran
Hasan Anvari
Abstract
As in most areas of thought, science, economy, politics and culture of Iran, Azerbaijanis have been both pioneer and diligent in the field of lexicography for Persian language. The fruit of their efforts in this area includes a very long period of time from the oldest periods of the Dari Persian language ...
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As in most areas of thought, science, economy, politics and culture of Iran, Azerbaijanis have been both pioneer and diligent in the field of lexicography for Persian language. The fruit of their efforts in this area includes a very long period of time from the oldest periods of the Dari Persian language with ancient examples such as the Qatrân’s lexicon (5th century AH) to recent years and an example such as “Great Sokhan Dictionary” (published in 1381). This history and tradition is an ancient and fruitful achievement, and in this essay, we provide a brief report of this great and continuous historical effort with a review of the most famous and well-known examples of Persian dictionaries written by Azerbaijanis with a critical eye.
Sufism and Mysticism
Taqi Poornamdarian; Elaheh Bayat Zarand
Abstract
Symbols are powerful images that articulate a set of cultural and mythological concepts in certain semantic clusters. These clusters produced through creative literary processes constitute a part of our cultural memory. One of the symbols is Simurgh that was generated in the pre-Islamic Persian texts ...
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Symbols are powerful images that articulate a set of cultural and mythological concepts in certain semantic clusters. These clusters produced through creative literary processes constitute a part of our cultural memory. One of the symbols is Simurgh that was generated in the pre-Islamic Persian texts and continued to remain in the cultural memory of the post-Islamic Iran. It has continued in the form of new articulations in Persian poetry and mysticism. These multiple articulations show that Simurgh in the Iranian culture has become a central signifier. Thus, an intertextual re-reading of the signifieds encoded in it can make the tradition of mythological and symbolic thought in the Iranian universe comprehensible for the new generation. Accordingly, by drawing on textual evidence from both the pre-Islamic and post-Islamic body of literature and by adopting the technique of close reading, the present paper makes an attempt to shed light on the rich symbolism of this bird in order to explore its semantic developments throughout the history. Moreover, it discusses how and why these semantic turns have taken place. On this basis, the present paper makes an attempt to answer this question: What is the difference between Simurgh in the pre-Islamic and post-Islamic literary texts and what creative manipulations in its form and content have taken place over time?
Sufism and Mysticism
mohammad afshinvafaie; Mahdi firouzian Haji
Abstract
This article, seeks to reveal the hidden layers of discursive communication in Sufi language and to study textual structure of Auhaduddin Kermani’s Managheb, a Persian mystic and poet of the sixth and seventh centuries. In order to achieve this purpose, the linguistic elements (nouns, adjectives, ...
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This article, seeks to reveal the hidden layers of discursive communication in Sufi language and to study textual structure of Auhaduddin Kermani’s Managheb, a Persian mystic and poet of the sixth and seventh centuries. In order to achieve this purpose, the linguistic elements (nouns, adjectives, verbs, pronouns, plural nouns, adverbs, synonyms, numbers), the structural and contextual dimensions (context and position, inversion and suspension of reality, reject criticism and questioning) and their links with the dominant discourses (the prophets, the system of caliphate and the government, the mystic elders and other texts) have been examined in three steps of description, explanation and interpretation. Finally, by comparing a common anecdote in Auhaduddin Kermani’s Managheb, and Attar’s Tazkirat al-Awliya, critical and comparative structural analysis of the text is discussed.This article, seeks to reveal the hidden layers of discursive communication in Sufi language and to study textual structure of Auhaduddin Kermani’s Managheb, a Persian mystic and poet of the sixth and seventh centuries. In order to achieve this purpose, the linguistic elements , the structural and contextual dimensions (context and position, inversion and suspension of reality, reject criticism and questioning) and their links with the dominant discourses (the prophets, the system of caliphate and the government, the mystic elders and other texts) have been examined in three steps of description, explanation and interpretation. Finally, by comparing a common anecdote in Auhaduddin Kermani’s Managheb, and Attar’s Tazkirat al-Awliya, critical and comparative structural analysis of the text is discussed.
. Epicical and Mythical Literature
Kamran Arzhangi; mohammadjafar yahaghi
Abstract
Until today, Most scholars consider these scrolls as rooted in oral tradition and belonging to oral literature. The present thesis will argue against this position and will present evidence to support this opposition. It appears that these prose Shāhnāmehs (Tūmārs) relied on ancient sources. In addition, ...
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Until today, Most scholars consider these scrolls as rooted in oral tradition and belonging to oral literature. The present thesis will argue against this position and will present evidence to support this opposition. It appears that these prose Shāhnāmehs (Tūmārs) relied on ancient sources. In addition, there is no document to prove the continuity of the chain of oral narration of these narrations. This paper, by searching in ancient written epic sources, and compare them to Zariri’s narrations, indicate that Zariri, had six major and written sources in narrating the stories of his scroll: (1) Ferdowsi’s Shāhnāmeh. (2) Pre-Ferdowsi Shāhnāmehs-- directly or indirectly. (3) Early historical sources. (4) Epic poems. (5) Interesting narratives of adjacent countries and regions. (6) a collection of written sources that Zariri had collected to write his scroll. Accordingly, it is necessary to doubt the absolute knowledge of the sources and intermediaries of the narrations of this scroll in the stories which is shared with Ferdowsi’s Shahnameh.
Volume 70, Issue 236 , December 2017
Abstract
Content No. 236
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Content No. 236
Volume 71, Issue 237 , September 2018
Abstract
Content of No. 237
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Content of No. 237
Volume 74, Issue 244 , March 2022
Mohammad Ebrahimpour Namin; MirJalil Akrami
Volume 70, Issue 236 , December 2017, , Pages 1-40
Abstract
In the past half-century and especially in the past two decades the expression “mystical epic” has gained significant prevalence in the field of literary studies, and even some researchers have assumed the existence of a “mystical epic” as an independent genre in Persian literature. ...
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In the past half-century and especially in the past two decades the expression “mystical epic” has gained significant prevalence in the field of literary studies, and even some researchers have assumed the existence of a “mystical epic” as an independent genre in Persian literature. This study on the basis of the genre theory shows that against some similarities between some aspects of epic texts and some of examples of sufist literature, it is not possible to verify this assumption from the point of view of genre critic, because the acceptance of such genre is not matched with the intention of the sufi authors which is an important factor in determining the genre, and also it does not create any useful augury for the reader and lastly it does not offer any help for an accurate and reasonable classification of the species of Persian literature. Furthermore in explaining the extant similarities paying attention to the “mode” and the phenomenon “mixture of species” and the wonderful stability of the eastern and especially Persian forms of literature and also the interchange of the themes and concepts between various forms makes a reasonable explanation and formulation more possible.
sharokh hekmat; mohammad reza ghari
Volume 71, Issue 237 , September 2018, , Pages 1-20
Abstract
Three Drops of Blood" is one of the short stories of SadiqHedayat that has a surrealist and symbolic structure and it somewhat included the author's coordinates. the perception of the central concept of this story is somewhat difficult, it has always been accompanied by different interpretations and ...
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Three Drops of Blood" is one of the short stories of SadiqHedayat that has a surrealist and symbolic structure and it somewhat included the author's coordinates. the perception of the central concept of this story is somewhat difficult, it has always been accompanied by different interpretations and criticisms.According to many critics the style of this story is the full-fledged style of a particular storytelling of Hedayat.Hedayat uses an unusual and specific plot to make mysterious and symbolic story that challenges the reader's understanding of the meaning of the text and makes it hard to understand the meaning of it, and sometimes to doubt it.In other words, what has made the story style different from other realist stories is the use of a complex and unusual plot that has concealed the meaning of the text in several layers so that the reader cannot easily understand the central meaning of the story.In fact, by using a plot that is more based on association, repetition, and displacement and ambiguity Hedayat has made an irregular structure and anecdotal narrative about unrelated events in the story that has left out the critics' hands in different ways from its meaning forever.In this paper, the author attempts to use the method of study and analysis to elucidate the specific style of Hedayat's plot in this modern short story and to analyze the intellectual coordinates that is involved in the plot of the story in order to show the relationship between this type of plot with story
History of literature of Iran
Taghi Pournamdarian; Mostafa Mousavi
Abstract
Abstract:Nezami Ganjavi, a Persian poet of the sixth century AH, has been introduced as a Turk in some directional studies of the last few decades. In this article, we have tried, firstly, by referring to the works of Nezami Ganjavi, in which there is no doubt about their attribution, and secondly, by ...
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Abstract:Nezami Ganjavi, a Persian poet of the sixth century AH, has been introduced as a Turk in some directional studies of the last few decades. In this article, we have tried, firstly, by referring to the works of Nezami Ganjavi, in which there is no doubt about their attribution, and secondly, by referring to sources that have existed in this regard from the distant past to the present. And also published research and analysis on the subject under discussion, to examine the language of the military. In this study, it became clear that the mother tongue of the Iranian military dialect has been one of the various dialects in the history and vast geography of Iran, to which we have received many poems known as Fahlaviyyat in the margins of texts and manuscripts. The language of Nezami poetry was Persian Dari and there is no credible evidence that the verse was written in Turkish.
