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Seyyed Amir Jahadi
Volume 70, Issue 236 , December 2017, , Pages 59-80
Abstract
About the great figures of history, such as kings, ministers and men of politics, writers, jurisprudents and scholars ... From the ancient times to the present day, special works have been written and sometimes in the text of some historical books this issue has been investigated. The same category of ...
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About the great figures of history, such as kings, ministers and men of politics, writers, jurisprudents and scholars ... From the ancient times to the present day, special works have been written and sometimes in the text of some historical books this issue has been investigated. The same category of works should be mentioned in the books that have been introduced to the ministers. These works should be classified in a Persian prose poet as a book of the life of ministers. The purpose of this particular type is to find works that, like the books of general history from pre-Islamic to the epoch of the author, are examined in terms of the knowledge of the ministers or they have focused specifically on one of the historical periods. The background to these works dates back to Islam. In Arabic literature, such a Al-Zura Val Kottab, Al-Jahshyari, and Fakhri's history of Ibn al-Taqtaqi represent this literary form. In Persian literature, the book of life of ministers has been popular since the sixth century and has continued for centuries. Some of these works include: The Tarikhol Vozara najmaddin Qomi, Naseem al-Ashar Nasir al-Din Monshi Kermani, the Asarol Vozara Aghili and others. The book of ministers' life is of historical, social, political and literary importance. Some of the works of this type of literary are corrected and printed, and some are still manuscripts and lithographs. In this article, the author attempted to mention the Persian works of this literary genre to study and characterize the features of this group of works from a structural point of view.
Fiction Literature
arezu pooryazdanpanah; zeinab sheikhhosseini
Abstract
The dragon palace, the first volume of the Giants of Persia and I by Arman Arian, is the first mythical novel and one of the most successful examples of Persian teenage novels. The relationship between this novel and ancient Persian texts and Iranian cultural heritage is in reflection. The purpose of ...
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The dragon palace, the first volume of the Giants of Persia and I by Arman Arian, is the first mythical novel and one of the most successful examples of Persian teenage novels. The relationship between this novel and ancient Persian texts and Iranian cultural heritage is in reflection. The purpose of this research is to show the textual relation between the novel of the Dragon Palace and the earlier texts by descriptive-analytic method. For this purpose, the more textual approach, one of the cornerstones of the theory of the Gertratt-Genette theory, was chosen as the theoretical framework for this essay. In more text, any textual effects from another text are examined. The relations between texts in more than text, should not be of the same type of interpretation and interpretation, but the admissibility of the texts is the criterion. The findings of the research indicate the widespread connection between the dragon house novel and its predecessors, especially the Shahnameh. This relationship is based on the components of the more textual, more of a kind than the same kind of as the tragedy; However, all three processes of traction, namely displacement, increase, and decrease, are observed in this effect, among which the process of reduction is more frequent.
Ahmad sanchooli; Zahra keych
Volume 67, Issue 229 , January 0, , Pages 69-87
History of literature of Iran
hasan jahandar
Abstract
Atamalek Joveini, the author of the history of Jahangoshaye Joveini, has used the poetry of others in writing his book. The recording of many of these poems differs from what is stated in the original sources. In this study, we have studied one of the causes of these differences, which is the intentional ...
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Atamalek Joveini, the author of the history of Jahangoshaye Joveini, has used the poetry of others in writing his book. The recording of many of these poems differs from what is stated in the original sources. In this study, we have studied one of the causes of these differences, which is the intentional manipulation and change of the author. And by examining the examples, we have shown thatThis author has sometimes consciously made changes in the poems of others in order to create more harmony between poetry and prose, in accordance with the theme of the word Of course, this is just one of the reasons and so on to other factors Including the difference between Manuscripts and Possibility of memory error and taste manipulation There is also a brief explanation.Atamalek Joveini, the author of the history of Jahangoshaye Joveini, has used the poetry of others in writing his book. The recording of many of these poems differs from what is stated in the original sources
Literary theories
fatemeh jamali; Gellareh Alvandpour; narges mohamadibadr
Abstract
Rumi and Shams Discourse Analysis in the Expression of Love Based on Halliday's TheoryIn the current research, a romantic discourse of Rumi and Shams has been analyzed based on the order of Halliday's role orientation. Examining the text (speech and writing) in discourse analysis takes place beyond ...
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Rumi and Shams Discourse Analysis in the Expression of Love Based on Halliday's TheoryIn the current research, a romantic discourse of Rumi and Shams has been analyzed based on the order of Halliday's role orientation. Examining the text (speech and writing) in discourse analysis takes place beyond the formal structures of the language. In romantic words and texts, according to the speaker's abstract expression, mental images are coded in a special way. The main goal of this research is to find out how emotions are represented in this romantic discourse, as well as to find similarities and possible differences in the expression of their internal feelings. This research answers the question of how the characteristics of Rumi and Shams' romantic speech are determined based on Halliday's role-oriented order. The hypothesis of the research is that Halliday's role-oriented order is efficient in analyzing the discourse of romantic texts. Based on this, a sonnet by Rumi and a romantic expression by Shams Tabrizi have been selected as a case in point so that we can obtain broader dimensions of this discussion. the context of the text in a descriptive-analytical way has been investigated with the help of all three ideological, interpersonal and textual trans-roles. The findings of the research show that the high frequency of the behavioral process in Moulana's sonnet shows his visual experience of his lover and his special attention to the description of his beloved's behavioral states. The high frequency of the existential process in the words of Shams reveals the concept of the existence of this love.
Esmaeil Shafagh; Foroozan Azadbakht
Volume 66, Issue 227 , January 0, , Pages 71-94
Soussan Jabri; Maryam Jafari
Volume 69, Issue 233 , January 0, , Pages 71-93
Abstract
This paper aims to investigate speech acts in the mystical interpretation section of KashfolAsrar va ‘OdatolAbrar. The method used in this study is John Robert Searle’s theory and his five-group classifications of speech acts and systematic survey of utterances. The analysis of data shows ...
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This paper aims to investigate speech acts in the mystical interpretation section of KashfolAsrar va ‘OdatolAbrar. The method used in this study is John Robert Searle’s theory and his five-group classifications of speech acts and systematic survey of utterances. The analysis of data shows that declarations are of highest frequency with 55% of all speech acts and the goal behind using them is to express Meibodi’s Sufi beliefs mostly expressed in the words of God and great figures of Tarighat. The second place belongs to expressives with 26% which are quoted from the tongue of God and their aim is to evoke the emotions of the reader and persuade him/her. Directives occupy the third place with 15% frequency. The lower frequency of such speech acts shows that the persuasion of the addressee and explicit propagation is not so much regarded by great Sufis and is used less. The fourth place is for commissives with 2% which guarantees God’s kindness and generosity in His words. Finally, assertives with lower than 1% of frequency express the principles of the religion from the viewpoint of God and the Quran. The analysis of these speech acts also reveals the hidden stance of Meibodi apropos the intellectual trends of his time and shows his presence in the midst of conflicts between Sharia’t and Tarighat followers and also the dispute between Sufi sects of Love and Asceticism in the Hirat of sixth century (A.H) and his critical view of such intellectual trends. At last, Meibodi’s strategy for collecting, recording and organizing a coherent mindset out of the avant-garde Sufi great figures’ ideas is revealed.
Contemporary Poetry of Iran
dadyar hamedi; mir jalal oddin kazzazi; gholamreza salemian
Abstract
Epic Elements in Simin Behbahani's GHAZAL AbstractThe use of epic elements is one of the features of today's ghazall. SiminBehbahani is a poet who has paid special attention to this. He uses rhetoricalelements such as exaggerations and blessings to describe the phenomena ofnature in terms of specific ...
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Epic Elements in Simin Behbahani's GHAZAL AbstractThe use of epic elements is one of the features of today's ghazall. SiminBehbahani is a poet who has paid special attention to this. He uses rhetoricalelements such as exaggerations and blessings to describe the phenomena ofnature in terms of specific epic and warfare. The simplicity of likeness inBehbahani's sonnets and the use of epic compatible pseudo-shapes reinforcesher epic tune of her sonnets; besides, the use of magnificent and magnificentpuzzles affects this. Also, Behbahani sometimes expresses the epic themes ofhis sonnets, with the proper use of reverberant weights. The poet's Irandostyhas led him to give special attention to the myths of ancient Iran. In hissonnets, the battle with the evil forces and the Divan can be seen and there arereferences to the mythical and epic characters. Sometimes myths such asRustam and Zahak have been shown in a different way from their original.Keywords: Epic, Behbahani, Ghazal.16 Persian Language and Literature, Vol. 71, Issue 238, Fall & Winter 2018- 2019IntroductionEpic is one of the earliest literary genres. Some scholars believe thatnowadays the period of epic poetry has come to an end; this claim isnot aberrant, because epic poetry is glorified on a special social baseand only if that foundation is procured, an individual endeavor or apolitical support could lead somewhere. However, some of the elementsin epic poetry are noticeable in contemporary poems and odes.Nevertheless the content of epic poetry is so vast and copious that onecannot claim that the epic and ode are the same thing. To illustrate thesematters, the best kind of poetry is Masnavi (a poetic rhym form almostlike couplets). The reason is that poets do not have to cope with thedifficulties of rhyming while composing poems in this form and are ableto recite thousands of lines, while ode is too short to entail epic stories.To describe these cases, Masnavi is the most appropriate poeticform. Because poets do not get caught up when they compose this formof poetry and compose thousands of lines but ode is so short that thereis no room for dealing with epic stories. The matters discussed in odein classical literature mostly deal with love and mysticism, so in thecategorization of literary genres, they are considered as lyric poetry.Despite this fact, from very old times the elements of epic poetry isnoticeable in ode. Epic is defined as the conflict of antagonists. Thisconflict in mysticism and in ode is depicted as an inner struggle of anindividual with himself and is the most common form of emanation ofepic in classic ode. After constitutionalism, the Iranian society hasundergone many political and social changes. Fundamental changes ineducation and some people’s familiarity with other cultures have led toapparition of newfangled values such as freedom and justice, andresulted in protest against political system. Reflections of these protestscan be seen in constitutional poets. In Pahlavi’s era, the protests weredivulged more than before and the known poets of the era, most ofwhom were modernizers, recited poetry with collectivist and opposingtendencies. Gradually the conflict between modernized poets andleaders created a new form of epic which was not that much commonin the past. Most of the modernist poets such as Nima, Shamloo andAkhavan considered poetry a social function beside their concentrationon creativity and aesthetic aspect of poetry .They used it as a means todeclare their socio-political objections; this continued to be the caseuntil the Islamic revolution. After the revolution, poets mostlyemployed classical forms, like ode, to declare the epics duringEpic Elements in Behbahani's Ghazal 17revolution and exigent war; the thorough revolutionary excitement andthe noticeable increase of the audience can be counted as the reasons.These audience, unlike the more specific audience of the modernpoetry, are more accustomed to traditional forms and as a result aremore likely among those people who connect mostly with odes. Fromnow on, epic isn’t restricted just too mystical odes or inner conflict ofthe poet. The poets of modern world watch human ideals in an outerdomain. And in accordance with the alternations of the age, they fightwith admonitions such as autocracy, injustice, enormity and invasion.Simin Behbahani is one of the contemporary poetesses whose workscarry an epic tone. The influence of her work on the literary flow ofodes is undeniable. She elicited a new look from this form byfabricating new rhymes in order to bring up new debates. Romanticismwas bold in her early works. It appeared mostly in the form of personalapprehensions like love issues which also took social deductions oncouplets. We face cases like women who turn toward degeneration orthe tears of a student who is fed up with poverty and misery. Thesepoems are thematically remonstrant but they contain an inactive andaccordant tone. She does not convey romantic sighs after writing thebook "A line of speed and fire". Instead, her odes start to deliver an epictone. Since then all her work has been in epic language, a language thatbelongs to herself.The aim of this research is to investigate the elements whichinfluenced the epic tone in Behbahani's work.FindingsBehbahani has paid attention to epic elements in many of her odes. Inorder to do that she has used factors like exaggeration, description, mythand simile.Her use of exaggeration is not simply limited to physical powers,just unlike the exaggeration in the old poems. The ability of her heroesis not simply because of facing enemies like Dragons or crossingimpracticable roads one after another. These heroes contend withcruelty and scarify themselves for ideals like equality and freedom.Based on the fact that epic is elicited from myth, she has benefitedfrom the myth of the ancient Iran in her works. For instance, characterslike Zahhak, Rostam, Simorgh and deev have a considerable presencein her work but her approach is completely different from the previousmethods. Her conceptions are sometimes so creative that the myth is18 Persian Language and Literature, Vol. 71, Issue 238, Fall & Winter 2018- 2019even depicted completely inversely. This can be related directly to thetransformation of the social ideals and values. Simplicity in applyingsimile for subjects like intrepidity, greatness, resilience and solidity inBehbahani's works has strengthened the epic tones of her odes. Thecorrect practice of Simile vehicles was also beneficial.There are also other methods to an epic tone like applying veryrhythmic rhymes. Behbahani is a master of new and rare rhymes andshe uses the meaning of some rhymes to create epic tones.ConclusionSometimes the epic elements are applied in Behbahani's work just theway they were in old literature. Depicting tools like swords, daggersand arrows in order to describe the nature is an example. In some cases,she even uses a new method in articulating epic subjects like using veryrare rhymes just to keep up with the epic tone of the poems.Glorifications that she mentions in her works are not used in orderto prove personal superiorities, but to imply epic and social purposes.Besides, Behbahani sometimes depicts myths like Rostam or Zahhakinversely. This could alone be indicative of the differences of the socialbackground of the poem compared to the old times.
Literary theories
Smaeil Narmashiri; Ishaq Mirbalouchzaei
Abstract
The categories of noumenon(existence) and phenomena(appeared) are considered as important foundations in Immanuel Kant's philosophical system. Through these issues, she has explained the consequence of her philosophical ideas about the unprovability of God noumenon and the recognition and knowledge of ...
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The categories of noumenon(existence) and phenomena(appeared) are considered as important foundations in Immanuel Kant's philosophical system. Through these issues, she has explained the consequence of her philosophical ideas about the unprovability of God noumenon and the recognition and knowledge of the world. Rumi in the discourse of the allegorical genre of the elephant and the dark house seeks to understand the dimensions of appearance and disappearance through the concepts of sensory perception and empirical cognition in parallel with the use of the formation and shaping of the imagination. Since there is no difference between the nature of the power of direct understanding of mysticism and the rational argumentative aspect of philosophy, this article tries to analyze this allegorical discourse based on this scientific understanding.The main question of the research is: was Rumi able to achieve the cognition of the object itself and phenomena through the mediation of imagination and perceptual sensory concepts? The data of this research have been collected by descriptive analytical method using the library study method. In general, the findings of this article show that Rumi, based on the knowledge and intellectual system of mysticism, has acted in line with the epistemological dimensions of the noumenon of God and the phenomena of the objects. Of course, he has tried hard to observe the issue of understanding time by creating a logical and coherent satiety.
Parisa Orak mord gaffari
Volume 67, Issue 230 , January 0, , Pages 73-90
Abstract
Epopee of Zohre, Manouchehr, Aziz and Ghazal are samples of Mashroutiat era novels. These navels are imitated from Europe literature. The present study which is documental and library one aim to compare content and Structure of Zohre and Manouchehr epopee by IrajMirza with epopee of Aziz and Ghazal by ...
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Epopee of Zohre, Manouchehr, Aziz and Ghazal are samples of Mashroutiat era novels. These navels are imitated from Europe literature. The present study which is documental and library one aim to compare content and Structure of Zohre and Manouchehr epopee by IrajMirza with epopee of Aziz and Ghazal by SeyyedSharafadin-E- Gilani.The present study which is documental and library one aim to compare content and Structure of Zohre and Manouchehr epopee by IrajMirza with epopee of Aziz and Ghazal by SeyyedSharafadin-E- Gilani. The said epopee imitated from Venus and Adonis by Shakespeare.However, Aziz and Ghazal epopee isn’t as rich as IrajMirza one in terms of content and structural, and richness and strength of his poem is less than IrajMirza epopee, but novel of Aziz and Ghazal is more ethical and real in terms of content and it seems that Gilani is pursuant to the ethical refinement of reader’s thoughts.
Lyrical and Didactic Literature
Meisam Jafarian Heris; Mohammad Ali Mousazadeh
Abstract
Criticism and Correction of Twelve Verses of Hafez Based on Textual Documentation and Rhetorical Techniques Meisam Jafarian Heris 1Mohammad Ali Mousazadeh 21 Persian Literature and Language, Faculty of Persian Literature and Foreign Languages, University of Tabriz, Tabriz, Iran2 Assistant Professor ...
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Criticism and Correction of Twelve Verses of Hafez Based on Textual Documentation and Rhetorical Techniques Meisam Jafarian Heris 1Mohammad Ali Mousazadeh 21 Persian Literature and Language, Faculty of Persian Literature and Foreign Languages, University of Tabriz, Tabriz, Iran2 Assistant Professor of University of Tabriz, Tabriz, Iran The previous custom in correcting the texts was that the most archaic manuscript was absolutely the basis, and except for gross errors in the oldest manuscript, they did not consider it permissible to deviate from the oldest recording. Although this method was correct in most of the revised texts, the nature of Hafez’ poems and the variety of his sonnets were such that in the work of correcting his poetry, relying only on the oldest manuscript does not lead to a superior recording. On the one hand, Hafez was constantly in the process of completing various aspects of his poetry and possibly changing and modifying them, and on the other hand, he did not collect his poems himself, and the oldest written copy of Hafez’ Divan is dated after his death, which is said to have been collected by Mohammad Golandâm. It is possible that other people have been assigned to collect and edit Hafez’ sonnets. Based on this, in addition to the fact that we are faced with several original copies, the existence of numerous secondary manuscripts as well as the distortions of the scribes in his Divan, and the number of recordings in some verses and disagreements about them have caused that only referring to the older manuscripts will not cause these disagreements to disappear. In such a case, one of the ways is to examine disputed verses based on textual/semantic documents and rhetorical techniques
elham alijoula; Hengameh Ashoori
Volume 65, Issue 226 , January 0, , Pages 75-105
Fiction Literature
shahin ghasemi
Abstract
The main focus of this research is to analyze the narrative structure of narrative in the sacred defense novel Ermia, relying on modern models of structuralism and narrative, so since most of the research in the field of sacred defense fiction works in a general way, Or, at the very least, introducing ...
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The main focus of this research is to analyze the narrative structure of narrative in the sacred defense novel Ermia, relying on modern models of structuralism and narrative, so since most of the research in the field of sacred defense fiction works in a general way, Or, at the very least, introducing the elements of the story, in this study we will examine, for the first time, relying on modern models of structuralism and narrative, which are emerging literary criticisms, in the novel of Ermiaby Reza Amirkhani. So first, while introducing the structuralism theories Greimas and the narrative paradigm of Jappe Lint Veldt and GeererGennet, a brief history of the two sciences of structuralism and narrative in the fictional literature will be mentioned, followed by the two communication patterns (linkage and rupture) in the plot structure will be analyzed. Based on the research theory, while examining the structure of the plot, we will try to analyze the type of narration and its functions in this work, relying on the mentioned model
Asgar AsgariHasanklou
Volume 66, Issue 228 , January 0, , Pages 97-118
Abstract
QeysarAminpour is one of the most prominent poet after Islamic revolution, the theme of his poem sometimes has a direct and artistic association with the iran’s social, political and cultural changes, in last decades. This article review how society and it’s changes affetaminpour’s ...
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QeysarAminpour is one of the most prominent poet after Islamic revolution, the theme of his poem sometimes has a direct and artistic association with the iran’s social, political and cultural changes, in last decades. This article review how society and it’s changes affetaminpour’s opinion, thinking and language, also it tries to show the evolution of his poetical thoughts and social opinion to take into view the date of publication of his works. In this review the emphasis is on the transition of general theme of his poems, like heroic idealism, martyrdom, personal and social suffering, and mystical and philosophical thoughts about the nature of the death, aminpour, at the time of the victory of Islamic revolution and after that- occurrence of the imposed war- used the poem as a weap on and tool for creating excitement and emotion in his audience, in the 70’s decade. He thought about his own sufferings and people’s, so he compose his most beautiful poems. In the 80’s decade he represent his last thinkings about his tragic «situation» in a philosophical and hopelessly view in a possible way; a «situation», which become his countless audience ones.
Sufism and Mysticism
saeede dehqan niri; salman saket
Abstract
This study aims to introduce an ancient literary work known as Zad Al-Moghvin, a book written in the Persian language in the Transoxiana region. The author of this work, on the subject of ethics and sermons and most likely written in the twelfth or thirtieth century, is Mohammad ibn Mohammad Al-Nasr, ...
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This study aims to introduce an ancient literary work known as Zad Al-Moghvin, a book written in the Persian language in the Transoxiana region. The author of this work, on the subject of ethics and sermons and most likely written in the twelfth or thirtieth century, is Mohammad ibn Mohammad Al-Nasr, known as the Ghazi, who lived in Vobkent. Only three manuscripts of this work are available, one of which is kept at the National Archive of Afghanistan and was written in 1485, and the other at the Library, Museum, and Document Center of I.R.Iran's Parliament and written in 1618 and third manuscripts is kept at the the Salar Jung – Museum and Library and was written in 1646.In addition to introducing the manuscripts, the author, his religion, the sources used in the writing of this book, the text structure, and the reasons for its significance are explained in this study. Some of the sources that the author has used in writing this book are Tanbih Al-Ghafilin Samarqandi, Maqazi Mohammad ibn Eshagh, Zad Al-Abedin, Tafseer Anwar, Kitab Al-Anwar, and most likely, Tafsir Miraj.
Volume 71, Issue 237 , September 2018, , Pages 59-73
Abstract
Time is one of the mental concerns of human beings. There are difference views toward time in difference historical, epical, mythological ages. The study of epical works can clarify these approaches toward time which contain mythological, epical, historical and philosophical view. Since time and space ...
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Time is one of the mental concerns of human beings. There are difference views toward time in difference historical, epical, mythological ages. The study of epical works can clarify these approaches toward time which contain mythological, epical, historical and philosophical view. Since time and space collocate in Shahname, in this study the reason of this collocation and the structure of time are investigated. There are four kinds of time in Shahname: astronomical, mythological, philosophical and historical. Consequently, since time share the philosophical concept with space they collocate together Time is one of the mental concerns of human beings. There are difference views toward time in difference historical, epical, mythological ages. The study of epical works can clarify these approaches toward time which contain mythological, epical, historical and philosophical view. Since time and space collocate in Shahname, in this study the reason of this collocation and the structure of time are investigated. There are four kinds of time in Shahname: astronomical, mythological, philosophical and historical. Consequently, since time share the philosophical concept with space they collocate together
Leila Darvishipour; Ali Safayi
Volume 68, Issue 232 , January 0, , Pages 69-82
Abstract
یکی از راههای کشف سیر تحول پدیدههای ادبی روش تحلیل بینامتنی است که ارتباط عمودی بین متون را برجسته میسازد و از دیرباز با نام توارد، انتحال ، سلخ و المام ...
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یکی از راههای کشف سیر تحول پدیدههای ادبی روش تحلیل بینامتنی است که ارتباط عمودی بین متون را برجسته میسازد و از دیرباز با نام توارد، انتحال ، سلخ و المام مورد توجه محققان ادبی بوده است. براساس منطق مکالمة باختین، هیچ اثری منحصراً از قلم و فکر یک نویسندة خاص تراوش نکرده است و فقط انسان اسطورهای توانست با اولین سخنش به دنیایی بکر و بیان ناشده نزدیک شود. اگر این دیدگاه را مبنای بحث قرار دهیم، دیگر نمیتوان گفت تنها پرویز شاپور (78 ـ 1302) پدر کاریکلماتور در ایران و دهة چهل بوده است؛ زیرا ردّپای کاریکلماتور در طنزهای عبارتیگذشتگان، مثل برخی ضرب المثلها، رسالة تعریفات عبید زاکانی، لطیفهها، جملات قصار و اشعار برخی شاعران نیز دیده میشود و خود شاپور هم به همان میزان برکاریکلماتورنویسان پس از خود از قبیل سهرابگلهاشم، مهدیفرج اللهی، عباسگلکار، حوریه نیکدست و ابوالفضل لعلبهادر اثرگذار بوده است که این اثر پذیری را میتوان در سه محورِ بازنویسی، تقلید از تکنیک و اندیشه و جهانبینی در آثار پیروان شاپور بررسی کرد. جستار حاضر میکوشد با رویکرد توصیفی ـ مقایسهای، ضمن معرّفی پیشینه و پسینة کاریکلماتورنویسی در ایران، با بررسی مجموعة « قلبم را با قلبت میزان میکنم» از پرویز شاپور و پنج تن از کاریکلماتورنویسان مذکور، به آسیبشناسی روش کار شاپور و پیروانش نیز بپردازد.
Afsaneh Saadati; Mokhtar Ebrahimi; Parvin Golizadeh
Volume 70, Issue 235 , January 0, , Pages 73-96
Abstract
In this paper, in an analytical and coherent method, we focus on the nature of thought and the approach of Mawlana into it. We first have defined the concept of thought and then we have scrutinized it as terms of the origin, function, and the literal meaning and meaning of the Mathnavi. We are talking ...
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In this paper, in an analytical and coherent method, we focus on the nature of thought and the approach of Mawlana into it. We first have defined the concept of thought and then we have scrutinized it as terms of the origin, function, and the literal meaning and meaning of the Mathnavi. We are talking very carefully about the stretches of thought, telepathy, and the power of formulation of thought. And in the following, we remind some of the subtle psychological points of view from Rumi's point of view. It should be said that what has been discussed and endorsed in the world of Rumi's thought is mystical thought. In the thought of Mawlana, thinking is not only the most important part of human existence, but also the essence of the meaning and the face. The thoughtful and conscious man uses the real thought and its different approaches to create in different courses of life (artistic, behavioral, spiritual and psychological). Thoughts (inappreciable benign) are the cause of good and evil in the universe and constantly are engaged in absorbing, rejection, devouring and formulation. Mawlana means thought as one of the least devourer, and believe that this power causes to become the soul fat or lank. He has been reminisced differently, sometimes animistic approach or blameful approach. Paradoxical view of Mawlana is considerable. He has used to concordant by philosophers and mystic power of thought in all kinds of functions. He accredits practical functions of thought and includes an aspect of theory of thought vehicle for this function.
History of literature of Iran
Samaneh Hassanalizadeh; Ali Shahidi; Zohreh Zarshenas
Abstract
The Function of Bilingual Persian-Turkish Verse Dictionaries in the Transmission of Persian Language in the Ottoman Period in Anatolia[1]ABSTRACTThe main purpose of this article is to clarify the structure of Persian-Turkish bilingual verse dictionaries, because they are important in terms of reflecting ...
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The Function of Bilingual Persian-Turkish Verse Dictionaries in the Transmission of Persian Language in the Ottoman Period in Anatolia[1]ABSTRACTThe main purpose of this article is to clarify the structure of Persian-Turkish bilingual verse dictionaries, because they are important in terms of reflecting the social life of the people during the Ottoman period, their vocabulary and also the degree and type of influence of Persian literature on Turkish literature. In this research, while studying the dictionaries, the main motivations and incentives of the authors, the weaknesses and strengths of them as well as the challenges faced by the authors were determined. By drawing the main paths of movement and flow of Persian language knowledge, along with aspects of its impact and transmission, we found that Persian language played a vital role in the intellectual environment of society during the Ottoman period and was used as a language of cultural discourse during the religious conflict between Iran and Anatolia.Keywords: Ottoman Turkish, Persian Language, Persian-Turkish Verse Dictionaries INTRODUCTIONIn the propitious environment of the Ottoman era, on the one hand, the existence of numerous Persian poetry and prose works and the general interest in learning Persian not only as a literary language but also as a language for understanding Arabic, which was the scientific language in Islamic society, and on the other hand, the competition between writers, poets, mystics, Sufis or courtiers who mastered Persian and Arabic languages and could improve their social status through their works in the scientific and cultural fields of the Islamic world, are the important factors in the writing of Persian-Turkish dictionaries. For children who reached the age of education and also for adults, according to their age and ability to learning, Persian dictionaries were taught which included explanations of Persian words as well as Persian grammar. Starting language education at a young age, especially for children, is perhaps one of the main reasons for writing dictionaries in the form of poetry or “Nisâbs”. Children’s interest to read poetry made it easy for them to memorize foreign language words through repetition. According to the content and form characteristics of verse dictionaries, a person who was familiar with these texts at a young age, would learn the vocabulary, numerical value of the Arabic alphabet letters, conjugation of verbs, numbers, names of months, historical figures, proverbs, idioms, their usages and syntactic information through the sentences presented with their translation and also the basic grammatical rules of the language. In addition, they would become familiar with some figures of speech and versification, which were very useful for people who were interested in poetry. The importance of researching such dictionaries can be examined from several points of view; on the one hand, these dictionaries were a kind of educational tool which was taught in schools, mainly with the aim of promoting classical Persian literature. Words used for Ottoman managers and statesmen, historical and legendary elements, names of peoples and nations, places, occupations, groups, types of characters, clothes and clothing, shopping, size and weight, goods, eating and drinking, games, entertainments and hunting, elements of marriage and kinship, diseases, vehicles, elements related to religion and belief, calendar, riddles, terms and proverbs and other words that have the greatest impact on daily life, are important in reflecting the social life of the people in the Ottoman period. On the other hand, these dictionaries are important in terms of vocabulary, the degree of influence and historical development of the Persian language, as well as the intensity and type of influence of Persian literature on Turkish literature. Some of these Persian words or their combinations do not exist in the modern Persian language or not being used at all. Such words can fill the lack of words in Persian language and be useful in the studies between Iran and Turkey, such as text editions and reciprocating translations.METHODSIn this research, based on the descriptive-analytical method, 22 Persian-Turkish bilingual verse dictionaries have been studied.RESULTSThe authors have basically followed the principles of Arabic & Persian lexicography and the previous sources have served as a model for writing and enriching dictionaries. Many authors have emphasized in the introductions the propagation of Persian knowledge, which is the most important necessity for reading and understanding great poems and treatises in Persian language, and also having access to Arabic language. Verse dictionaries are less rich than prose dictionaries, and the words that appear in the dictionary section are often everyday words in the colloquial language of the people, and rare and complicated words for writing and essays are rarely used in them. Due to versification rules, which were one of the main challenges for authors, the meanings of all the words are not properly expressed, and in the meaning, usually a word has been chosen which is according to versification rules.CONCLUSIONThe study of bilingual dictionaries has increased our understanding of the influence of the Persian language and its determining role in the intellectual environment of the target society, which caused the spread of the Persian language as a language of cultural discourse during the religious conflict between Iran and Anatolia during the Ottoman period. In fact, it can be concluded that the motivation in learning and understanding Arabic language as a scientific language among Muslim societies and especially in Anatolia, through learning Persian language, has identified the Persian language as the most eloquent language in the Islamic society. REFERANCESArslan, A., (2016).Tühfe-I Husami: Inceleme,Ҫeviri Yazılı Metin,Dizin. Yüksek Lisans Tezi. 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I., (2004). Lami Ҫelebi ve Lugat-ı Manzum, Istanbul: Gaye Kitabevi.Pistor-Hatam, A., (1998). The Art of Translation. Rewriting Persian Texts from the Seljuks to the Ottomans, Prague: Academia Publ. House.Riyâhi, M., (1369). Zabân va Adab-e Farsi dar Qalamro-e Osmâni, Tehrân:Pažang.Sādeqi, A., (1995). Persian Dictionaries, In Encyclopedia Iranica. Vol.7, Fasc. 4, Edited by E. Yarshater (Costa Mesa, California: Mazda Publishers), 387–97.Schmidt, J., (2014). The Importance of Persian for Ottoman Literary Gentlemen, Istanbul: ÜlkeSelçuk, B. & M. Algül, (2015). Ҫocuklar Için Yazılan Farsca-Türkce Manzum Bir Sözlük: Dürri’nin Guher-Riz’I,Journal of Turkish Language and Literature, 2: 133-164.Şişman, R. S., (2016). Esami: Ikidilli Sözlük,Türkce-Farsca Manzum Sözlük, Istanbul: Dun Bugun Yarin Yayinlari.Tanyıldız, A., (2013). Tühfe-ı Lütfi: Türkҫe-Farsҫa Manzum Sözlük, Istanbul: Akademik KitaplarTuran, M., (2012). Hasan Rizayi ve Kan-ı Ma’ani Isimli Manzum Sözlügü, Turkish studies 7/4: 2939-2992.Underhill, R., (1986). Turkish.Studies in Turkish Linguistics. 7-21.Verburg, C. A., (1997). The Tühfe-i Şahidı: A Sixteenth-Century Persian Ottoman Dictionary in Rhyme Part I, Archivum OttomanicumYalap, H., (2018). Klasik Türk Edebiyatinda Farsca-Türkce Manzum Sözlüklerin Kavram Alani ve Yöntem Bağlaminda Değerlendirmesi, Tarih Okulu Dergisi, 36: 229-255 [1] Samâne Hasanalizâde: Ph.D. Student of Azad University, Science and Research Branch.Ali Šahidi: Assistant Professor of Tehran University.Zohre Zaršenâs: Professor of Tehran University. .
Yahya Sotoudeh Afshard; Mir Jalalal-din Kazazi
Volume 69, Issue 234 , January 0, , Pages 75-94
Abstract
The world and its way in the works of Khaghani Sharwani, the great speaker of the Persian literary class, is a remarkable reflection. As a profound scholar, he portrays the true face of the world in his writings and writings. In expressing this view, Khaghani has used the belief in Iranian religion and ...
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The world and its way in the works of Khaghani Sharwani, the great speaker of the Persian literary class, is a remarkable reflection. As a profound scholar, he portrays the true face of the world in his writings and writings. In expressing this view, Khaghani has used the belief in Iranian religion and the thought of the school of mysticism and Sufism and a view derived from the Religious orders. Khaghani describes the nature of the world and its nature by exploiting the evil face of Zeravan with such traits as: the harsh world, the awkward world, the unspeakable world, the ambitious, and the ecliptic. In the savage believer of Shervan, the world is so worthless that it throws a dirty soil and teaches and advises others to recognize the true image of the world and do not despise it. Speaker Dinard Sharwani knows that the turning of the time, by the command of the mighty God, cannot be self-sufficient, and that it should not be wronged by the wheel.
Firouz Fazeli; Mohammad Mohammad
Volume 68, Issue 231 , January 0, , Pages 77-108
Abstract
dramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality ...
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dramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidaritydramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidaritydramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidarity
. Epicical and Mythical Literature
vahid Idgah; hamidreza azimi
Abstract
AbstractAmong the well-known heroic long poems, there are two called Faramarznameh, the first one the big Faramarznameh and the second one the small Faramarznameh. The editors of both texts have dated them as belonging to the fifth and the sixth centuries A.H., respectively. But in both works there are ...
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AbstractAmong the well-known heroic long poems, there are two called Faramarznameh, the first one the big Faramarznameh and the second one the small Faramarznameh. The editors of both texts have dated them as belonging to the fifth and the sixth centuries A.H., respectively. But in both works there are signs that are not compatible with these claimed dates. These signs have not yet been fully studied, but have attracted the attention of some researchers to some extent. In this article, after mentioning the opinions of researchers about the antiquity of the two works and evaluating the related arguments and documents, focusing on the language of these two poems, it is shown that neither of these two works can be regarded from pre-Mongol texts. In both works, the use of some words and grammatical constructions, especially phonetic features, along with some other linguistic and literary characteristics, leads the researcher to believe that the dating of both should be reconsidered and as a result, both of them should attributed to the eighth century A.H. or even afterwards.
Akbar Heidariyan; Seyyed Javad Mortezaei
Volume 70, Issue 236 , December 2017, , Pages 81-98
Abstract
Poetical works of Khaqani has been always in the center of attentions of exegetes due to containing meaningful and rich odes and they have tried to go through the poet’s mind by eliminating the literal and spiritual obstacles. Among Khaqani’s odes, Tarsaeiyeh attracts much concern. Exegetes ...
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Poetical works of Khaqani has been always in the center of attentions of exegetes due to containing meaningful and rich odes and they have tried to go through the poet’s mind by eliminating the literal and spiritual obstacles. Among Khaqani’s odes, Tarsaeiyeh attracts much concern. Exegetes have cared a lot to this ode because it includes shortened Christian expressions which you cannot find in any other odes and it makes you familiar with rituals of that religion. In this writing, the author tries to review one of the verses of this ode and gives a new interpretation for it. The writer is to examine the word “Isha” in a famous verse of Tarsaeiyeh ode and finally interpret it in a way which Khaqani himself intended to.
Sufism and Mysticism
Mohammadreza Hasanijalilian; morteza shokri; ali noori
Abstract
Comparison and analysis of Mowlânâ's and Eckhart Tolle's Solutions about the Crisis of Meaning The meaning of life is a concept related to the contemporary era. Traditional man lived in the shadow of a meaning that arose from religion and myth, and modern man sought meaning in science, ...
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Comparison and analysis of Mowlânâ's and Eckhart Tolle's Solutions about the Crisis of Meaning The meaning of life is a concept related to the contemporary era. Traditional man lived in the shadow of a meaning that arose from religion and myth, and modern man sought meaning in science, reason and progress, but contemporary man - especially from the Second World War onwards – rejected the previous metanarratives is wandering in emptiness of meaninglessness. The crisis of meaning is the main preoccupation of the present time. The main issue of this research is how to treat senseless pain by referring to the ideas of Mowlânâ (672-604) and Eckhart Tolle (1948- ). In this regard, their opinions have been compared in a descriptive-analytical way. The results of the research show that Mowlânâ considers ego the main cause of human confusion and meaninglessness and introduces love as the most comprehensive treatment for existential diseases. The love that removes the meaninglessness by showing the passion of life and the sweetness of being, as well as seizing time and creating a new perspective in the lover's life. Tolle considers the conditioned mind, stereotyped thinking, captivity in the concept of time and inauthentic identity to be the main causes of the crisis of meaning in contemporary times, and to solve this crisis, he recommends living in the present moment. God is in the center of Mowlânâ's attention; But for Tolle, man is the original. Rumi's intended soul is similar to Tolle's intended mind. Mowlânâ's love is heavenly and directed to the God, and Tolle's love is directed to existence and all creatures.
najmeh taheri; Mohammad Sadeg Basiry; Mohammad Reza Sarfi
Volume 67, Issue 229 , January 0, , Pages 89-109
Abstract
Poetry is " one of the types of a poem that with the victory of the Islamic Revolution in Iran and prosperity as a stream of literary survive. This kind of poetry reviewed all the scientific Wu made and more protests around poetry press and Zhurnalisty. But the study tried for the first time for this ...
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Poetry is " one of the types of a poem that with the victory of the Islamic Revolution in Iran and prosperity as a stream of literary survive. This kind of poetry reviewed all the scientific Wu made and more protests around poetry press and Zhurnalisty. But the study tried for the first time for this type of poetry aspects of scientific and academic to attribute values and literary and artistic it well.
