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History of literature of Iran
mahdi rahimpoor
Abstract
AbstractThe first possible work in Persian in AnatoliaAfter the establishment of the Seljuks in Anatolia, the Persian language flourished there and caused many works in Persian to be written in that land. Much research has been done on what work was first written in Persian in Anatolia, and Iranian and ...
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AbstractThe first possible work in Persian in AnatoliaAfter the establishment of the Seljuks in Anatolia, the Persian language flourished there and caused many works in Persian to be written in that land. Much research has been done on what work was first written in Persian in Anatolia, and Iranian and Turkish scholars have written articles in this field. Earlier, Habish Ibn Ibrahim of Tefilissi (d. 559 or 579 A.D.) was considered the first Persian writer of the Roman Empire to have written several works in Persian of that land. But in recent years, another treatise entitled "Keshf’ al Aqaba" has been included in a collection of treatises written in the eighth century. The date of writing of this work is estimated to be late 5th century, which is very interesting to consider and if this hypothesis is proven, the date of writing of the first work in Persian in Anatolia goes back more than half a century and in terms of history of Persian language and literature in Anatolia It is important. In this article, while briefly introducing the treatise, there are indications that this work can be accepted as the first possible work in Rome.
. Epicical and Mythical Literature
shahrzad radmanesh; abolghasem ghavam; reza ashraf zadeh
Abstract
Most of the coordinates of language in Ferdowsi's Shahnameh are based on a central dialogue, along with these speeches, we also encounter the characters. The role of self-reflection is used for lonely conversations and is a narrative that shows the emotional experiences of story characters at different ...
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Most of the coordinates of language in Ferdowsi's Shahnameh are based on a central dialogue, along with these speeches, we also encounter the characters. The role of self-reflection is used for lonely conversations and is a narrative that shows the emotional experiences of story characters at different levels of mind and is close to the flow of the mind. This pre-speech stage is an internal quest that the person uses to explain the situations and present their minds. In literature, language and self-reflection are two systems of sign and try to depict the contents of the mind's personality. Self-reflection in Shahnameh means production and conceptual applications.In this paper, from the point of view of linking literature with psychology, spontaneity in Shahnameh has been characterized by two qualitative and quantitative research methods, which shows a significant relationship between self-reflection and personality in Ferdowsi's Shahnam. The result is that selfishness in actions such as action, action or confrontation has shown a passive attitude, while the relationship of personality faces with self-reflection is far more effective and clearer. In the analysis of the content, the most authoritative personality of Shahnameh with (23) Beit Rustam and then Siavash (20) Beat and Kikavos (18 bits) are the most authoritative characters.
Contemporary Poetry of Iran
hasan shamiyan; samaneh jafari
Abstract
AbstractNafthat-Al-Masdur is one of the most renowned masterpieces of technical andartistic prose in the field of Persian language and literature that ShihaboddinMohammad Khorandezi zeydari Nasawi has written in the description of thetragedies of Jalal al-din Khwarazmshah during the Mongol invasion.Thisbook ...
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AbstractNafthat-Al-Masdur is one of the most renowned masterpieces of technical andartistic prose in the field of Persian language and literature that ShihaboddinMohammad Khorandezi zeydari Nasawi has written in the description of thetragedies of Jalal al-din Khwarazmshah during the Mongol invasion.Thisbook has a generous and passionate language that the author has devoted a lotto the use of arrays, expressions, verses, hadiths, and Arabic vocabulary andexpressions.The question here is as follows: ʿHas the author followed aparticular pattern in using figures of speech, or has used these elements solelyfor the verbal and spiritual arrangement of his words?’. To answer thisquestion we should say that the technical language of this work seems to havea coherence and a pattern in it and the author follows the pattern of choosingtechnical, verbal and artistic arrays. On the one hand, he used ironies andsimiles far more than metaphor and trope, and on the other hand, followingthe same pattern he chooses Saj and Pun and uses them for the creation ofmusical language of his work. In the intellectual domain, the use ofexaggeration, assurance, and allusion, which are similar to simile, has madethe similarity of the language of Nafthat-Al-Masdurstronger.Keywords: Nafthat-Al-Masdur, Figures of Speech and Expressions,Deep Construction, Homogeneity, Equivalence.24 Persian Language and Literature, Vol. 71, Issue 238, Fall & Winter 2018- 2019Discussion and conclusionFamiliarity with the profound and constructive method of a poet and awriter's language has a significant effect on recognizing his work, howto read the text, and creating a dynamic connection with it. It is alsoeffective on the discovering of relationship among its constituents inthree phases of phoneme, lexicon and the syntax found in that work, aswell as its psychological dimensions.The language of Nafthat-Al-Masdur in two phases of Figures ofSpeech and Expressions is profoundly similar, in the sense thatsimilarity is the main factor in the selection of words and theirarrangement in the synchronic language. This parallelism pattern in therhetorical domain has made the two methods of Saj and Pun aprominent factor in the language. Hence the phonetic consistencybetween the lexicon creates a sound and sorrow that was caused by theMongol invasion of Iran, and in line with this music, in the spiritualdomain, the exaggerated words of the writer has been a reflection ofsimile in his work. The language of the Nafthat-Al-Masdurinexpressing and application of its array is also subject to the similaritypattern governing this work and its psychological effect is doubled.Zeydari prefers ironies and similes more than metaphor and trope.Because the profound construction of simile, like Saj and Punand ...,isbased on similes while metaphor and trope and other exemplary verbalarrays have the same profound construction.The reason for choosing this method of expression in Nafthat-AlMasdur is, on the one hand, the greater and better impact on theaudience, understanding of the real nature of the Mongol invasion usingthe music derived from the phonetic similarity, and ultimatelyemancipation from the sadness that dictates the soul and heart of theauthor. And this is also quite evident from the name of the work, whichmeans "it leaves out what it does with pulmonary disease, from thesputum and itself to make it a little relaxing."
Akbar Shamloo; Golamreza Salemeian; Nasrin Khani
Volume 69, Issue 233 , January 0, , Pages 123-139
Abstract
Binary oppositions is one of the most important issues is created based on philosophical principles that are the foundation blocks based on binary oppositions. The aim of this study is the analysis of poems of Khaghani attribute in terms of the theory of binary oppositions , binary oppositions understand ...
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Binary oppositions is one of the most important issues is created based on philosophical principles that are the foundation blocks based on binary oppositions. The aim of this study is the analysis of poems of Khaghani attribute in terms of the theory of binary oppositions , binary oppositions understand what impact it has had in shaping the content of the Khaghani’s poems? The results showed that Khaghani used from many oppositions to the morning descriptions , because however much a war between black and white scene shows. Fire descriptions have a same situation because the fire itself never does that word come to mind is its interactive elements. Travelogue’ odes as well, are place for Oppositions Creation; because the passengers are faced with many elements. but describes the, The level of conflict is minimized in the emotional issues descriptions; because the emotional issues are from Eros demands that aims to create greater unity.
Sufism and Mysticism
zahra Mahouzi; hoseinali ghobadi; Ahmad Pakatchi; Maryam Hoseini
Abstract
In the thoughts of Muslim mystics, converting of human attributes, is considered as a key idea, which is the basis for the explanation of further fundamental topics like: The identity of human and the quality of his mystical conduct. Before Hujwiri, the concept of Human being, frequently, has been described ...
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In the thoughts of Muslim mystics, converting of human attributes, is considered as a key idea, which is the basis for the explanation of further fundamental topics like: The identity of human and the quality of his mystical conduct. Before Hujwiri, the concept of Human being, frequently, has been described as an unknown isthmus between the Animal and the Angel. In the meantime, the Human, by annihilating of his attributes, takes distance from the being of the Animal and gets closer to the concept of the Angel. However, the conceptual convergence between the Human and the Angel, only, evolves over a historical process. During this historical evolution, the thoughts of Hujwiri plays as a milestone, because, for the first time, he formulates the idea of Converting Human Attributes to Angels, in the form of cohesive structure. In Sufias' compilations, the story of Joseph (The Prophet) and the Egyptian women, which origins from Quran, has been used frequently as a narrative context, in order to provide an explanation about the matter of converting of Human attributes. The present Article, plans to provide a historical analysis to reveal the path of evolution of the idea of Converting Human Attributes to Angels. Therefore, with an analytical and historical comparative approach, it studies the mentioned narration, throughout various Sofia's work, before and after Hujwiri. Also, this analysis is centered on Hujwiri's thoght, as an important turning point during the historical evolution of this idea.
Abbass Vaezzadeh; Abolghasem Ghavam; Abdollah Radmard; Maryam Salehinia
Volume 65, Issue 226 , January 0, , Pages 129-163
Literary theories
mehdi bagheri; mohammad Khakpoor; mohammad mahdipour
Abstract
The criticism of prominent works have been common in all periods, and the importance of research in this field is not less than the value of created works. In the twelfth century AH, Imam Bakhsh Sahbai was one of the critics who inherited literary theories such as Munir Lahori, Azad Belgrami and Siraj-ud-Din ...
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The criticism of prominent works have been common in all periods, and the importance of research in this field is not less than the value of created works. In the twelfth century AH, Imam Bakhsh Sahbai was one of the critics who inherited literary theories such as Munir Lahori, Azad Belgrami and Siraj-ud-Din Ali Khan Arzu, incorporating into the formation of his unique literary orientation in the subcontinent. The treatise "Sharh-i-Se Nathr-i-Zuhuri" is one of the works that can be considered as the crystallization of new ideas Sahbaian that has been obtained as a result of analysis and critique of linguistic and rhetorical elements of this treatise. The outstanding feature of Sahbai's views in the field of literary criticism lies in its novelty, scientific orientation, and coherence. Among his stylistic features are manifestations of deviation from the apparent requirement (placing the manifestation in the implicit position), using the word stopped on hearing or analogy, dokhana (aware of two inertia), verisimilitude (metaphorical ambiguous metaphor), relation of words in speech, and neologism. Many of the terms in her work are the primary form of interpretation used today in modern literary criticism schools around the world; as he uses "wording" almost in the sense of texture, and "skeleton" in the sense of structure. Sahbai considers the value of metaphor in literary creations to be dependent upon its complexity and elaboration and its application in literary works. Adopting an analytical-descriptive approach, this article seeks to illustrate the unique, innovative perspective accompanying Sahbaian literary criticism
mehdi mahoozi; rahele abdolahzadehborzoo
Volume 66, Issue 228 , January 0, , Pages 139-157
Persian Rhetoric and Grammar
Shirzad Tayefi; Mehdi Ramazani
Abstract
One of the themes poets and writers have created themes in their works is related to chess. As this game has had various forms in different eras, so some people and consequently commentators, ignoring this and just based on its current form, have described and explained related texts. One of these is ...
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One of the themes poets and writers have created themes in their works is related to chess. As this game has had various forms in different eras, so some people and consequently commentators, ignoring this and just based on its current form, have described and explained related texts. One of these is to equate "castle" with "rook". This research using descriptive-analytical method based on induction, and following old Persian texts follows to prove the differences between these two elements in chess. The results show that "castle" was a place in Roman chessboards, and has had significant differences with "Rook". Some commentators ignoring this issue have slipped in the description of texts related to this game and have referred rook as "castle", which itself has caused misunderstanding in describing terms, interpretations, and finally deviating from poets and writers' intentions.which itself has caused misunderstanding in describing terms, interpretations, and finally deviating from poets and writers' intentions.
Amirabbas Azizifar; Fateme Bakhtyari,; morteza shokri
Volume 71, Issue 237 , September 2018, , Pages 103-128
Abstract
Existentialism was one of the most important philosophical schools of the twentieth century, which featured prominent figures such as Kierkegaard, Nietzsche, Heidegger, and Sartre, had a great influenced on literary movement. Existentialism has been translated into Persian by the originality of existence. ...
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Existentialism was one of the most important philosophical schools of the twentieth century, which featured prominent figures such as Kierkegaard, Nietzsche, Heidegger, and Sartre, had a great influenced on literary movement. Existentialism has been translated into Persian by the originality of existence. The primacy of existence on the nature, individuality, freedom, immortality of inwardness, inefficacy of the universe and existential emotions, such as sadness and anxiety, are the basis of this philosophical movement. Sohrab Sepehri is one of the most prominent contemporary poets who have had many existential concerns about his poems. These concerns are presented in his works such as eight books. This study seeks to explain the main principles of the philosophy of existentialism in Sepehri's eight books. The central subject of this study is to what extent Sohrab's thinking is consistent with the philosophical principals of this school. The research method is qualitative and library study based on content analysis. The despair and grief of Sohrab from the current state of the world, his deep emotions, death, loneliness, genuine life, as well as the turning of the attention of the audience to the transcendental matter are among the factors that show the tinge of existentialist philosophy in his poem. Loneliness and sadness, love, the quiddity of life and death, and the transcendent, including the philosophical principles of existentialism, are also seen in eight Sohrab books.
Mohammadreza Abedi
Volume 68, Issue 232 , January 0, , Pages 109-131
Abstract
رمانهای اجتماعیِ پس از مشروطه، محصول جامعۀ دورۀ گذر از سنت به تجدد و میل به رهایی مطلق از سنتهای گذشته بود. در غالب این رمانها دین به عنوان شالودۀ سنن گذشته، آماج ...
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رمانهای اجتماعیِ پس از مشروطه، محصول جامعۀ دورۀ گذر از سنت به تجدد و میل به رهایی مطلق از سنتهای گذشته بود. در غالب این رمانها دین به عنوان شالودۀ سنن گذشته، آماج بیشترین انتقادها قرار گرفت. رماننویسان این دوره در پی آن بودند که فرد را در جامعه، نزدیک به آنچه در عالم واقع اتفاق میافتد، به تصویر بکشند؛ اقتضای واقعگرایی ارائه تصویری است که خوبیها و هنجارها را نیز در کنار نارواییها و پلشتیها بنمایاند. مسئله این است که نویسندگان در تصویری که از طیف مذهبی جامعه در قالب داستان بازنمودهاند، صرفا بر روی بخشی از این طیف، یعنی شخصیتهای منفی و متظاهر تمرکز کرده و عملاً خصوصیات آنها را به دیگر تیپهای مذهبی تعمیم دادهاند. آنها در این بین تیپ مذهبیِ دیندارِ راستین را تقریباً نادیده انگاشتهاند. در قریب به اتفاقِ مواردی که شخصیتی مذهبی در رمانهای اجتماعی حضور دارد، کانون تمرکز، رفتارهای منفی، گناهآلود و ریاکارانۀ اوست؛ از این رهگذر آثار مذکور غالبا از نوعی پیشداوری نسبت به مذهب رنج میبرد. به نظر میرسد، در پدیدآمدن چنین ذهنیتی تأثیر نوع نگاه غربی به دین ـ در مفهومِ کلیسایِ خردگریز و علمستیزِ قرونِ وسطاییـ که دین را در هیئتی منفور و تیره میدید، نمیتواند بیتأثیر باشد؛ نگارنده با مطالعۀ آثار داستاننویسان بزرگ نیمۀ نخست سدۀ حاضر، تیپهای مذهبی شاخص را انتخاب کرده و در قالب چهار تیپِ روحانی، مذهبی غیر روحانی، زنان مذهبی و تیپهای غیر مذهبی متظاهر به مذهب، به صورت تحلیلی بررسی کرده است. بررسی مولفههای شخصیتی تیپهای مذکور نشان داد که نگاه منفی به تیپهای مذهبی و تعمیم صفات تیپ مذهبی ریاکارِ گناهآلود به دیگر طیفهای مذهبی، تقریباً در همه داستانهای این دوره، با اندکی تفاوت در شدت و ضعف، یک امر شایع است.
Sufism and Mysticism
Khalil Baygzade; ehsan zanditalab; Ebrahim RahimiZangene
Abstract
An Epistemological Analysis of Spiritual Awakening in Persian Mystical Literature and Satori in Zen Buddhism Narratives (Case Study: Rumi's Masnaviye-Maʾnavi and Stories of The Gateless Barrier and One Hundred and One Zen Stories) Awakening means the annihilation of ignorance, and it is one ...
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An Epistemological Analysis of Spiritual Awakening in Persian Mystical Literature and Satori in Zen Buddhism Narratives (Case Study: Rumi's Masnaviye-Maʾnavi and Stories of The Gateless Barrier and One Hundred and One Zen Stories) Awakening means the annihilation of ignorance, and it is one of the most important concepts in Islamic mysticism, which Rumi has discussed and analyzed many times in the stories of Masnaviye Maʾnavi. The concept of Satori has the same meaning in Zen Buddhism texts, and understanding and experiencing it is central to meditation and spiritual journey. Hence, the goal of the present essay is to analyze awakening as reflected in Rumi's Masnaviye Maʾnavi as a prominent work of literature concerning Islamic-Iranian mysticism, alongside Satori narratives as presented in The Gateless Barrier and One Hundred and One Zen Stories, which are both famous texts in Zen mystical tradition. The demonstration of similarities and difference between these two philosophical traditions is done using a descriptive-analytical method. Upon analyzing the research data, it becomes evident that there is an overlap between features of awakening in Masnaviye Maʾnavi and Satori in Zen Buddhism; features such as being sudden, enlightening, and reproducibility, although the suddenness is reflected more in Satori narratives. Also, astonishment, which is a subfeature emerging from the audience's perspective, is reflected abundantly in Zen Buddhism texts, because of its irrationality and Incomprehensibility. Conversely, stories about wakefulness in Masnaviye Maʾnavi, which follow firm logical premises compared with Satori narratives, lack this feature.
Sareh Zirak; Fatemeh Khazaee
Volume 70, Issue 236 , December 2017, , Pages 117-140
Abstract
Iranian literature and culture are full of metaphysical deterministic trends that are associated with the Ash’ri approach. Metaphysical determinism is a theoretical approach about cognition and action and is not a legend making to be the simple subject of a morphological analysis. In this study ...
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Iranian literature and culture are full of metaphysical deterministic trends that are associated with the Ash’ri approach. Metaphysical determinism is a theoretical approach about cognition and action and is not a legend making to be the simple subject of a morphological analysis. In this study we show the narrative pattern of the cognition and the action in two tales of the Javame-ol-Hekayat by Ofi based on the hypothesis that any meaning making is based on the understanding of the destruction of meaning and the quest of object value. The results show that in the determinist approach the cognition is eternal, and the transformation and metamorphosis do not occur in it. And the narrative cognition finds its coherence just if to be reduced as a cognitive unit and being transformed to an eternal metacognition.
Mohammad Fouladi; Maryam Rahmani
Volume 69, Issue 234 , January 0, , Pages 119-132
Abstract
"Journey heroism" is phase that each character spending throughout his/her live. This metamorphosis and changing is as result of changes in their personality and life situation that in mystical insight it is called the final stage of spirituality and in psychological ideas is named individuality which ...
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"Journey heroism" is phase that each character spending throughout his/her live. This metamorphosis and changing is as result of changes in their personality and life situation that in mystical insight it is called the final stage of spirituality and in psychological ideas is named individuality which the hero by passing of mental process achieves to final stage of spirituality. In the twentieth century Simultaneous with the evolution in reading of literary works, psychological theories with purpose of representation of how the characters of stories were developed that cause the process one of this theories is classic theory of “the inner Hero's Journey" which Carol Pearson and Hioki Kimmar present it by combining the votes of Jung with mythological theories. According this idea hero's Journey to achievement to individuality also while he is passing three phase facing with twelve ancient pattern that passing every one of them is important role in achievement to his perfection. The story of "Gonbad e firuzeh" (turquoise dome) is one of seven story The Seven Beauties(Haft Peykar) of Nizami Ganjavi that can be studying according with criticism of ancient pattern of the inner Hero's Journey. In this story, according with criticism of ancient pattern presented by Pearson and Hioki Kimmar; hero Mahan after passing the ordinary world lands to unknown world that result of this is metamorphic character that is manifested in Khidr. So in this article, we try to the matching process through the various stages hero related to pattern presented by Pearson and Hioki Kimmar; at same time reviewing this phase in Mahan Kooshya story, and level of adaptation as well as roles of each Character every story based on criticism of ancient pattern of the inner Hero's Journey.
Elham Ali Joula; Mohammad Mansour Tabatabai
Volume 70, Issue 235 , January 0, , Pages 123-151
Abstract
From the very beginning, mystical journey for various reasons have been made through various methods and techniques that are known as ways or dynasties, The Sufis believe that every Sufi must be able to prove its dynasty; to extend its dynasty without interruption to the Imams, because they claim that ...
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From the very beginning, mystical journey for various reasons have been made through various methods and techniques that are known as ways or dynasties, The Sufis believe that every Sufi must be able to prove its dynasty; to extend its dynasty without interruption to the Imams, because they claim that the Qotbiat is the continuation of the Imamate or, at least, the specific viceroy. Sheikh Yusuf Ali ibn Hossein Behbahani of the Sufi elites of the twelfth century AH, according to the author of Rashhat al-Ghaybiyeh Fi Tahhqiqh Tariq al-Sufiyeh, while writing the book was alive. The book of Rashhat al-Ghaybiyeh Fi Tahhqiqh Tariq al-Sufiyeh by the Sheikh Yusuf Ali Behbahani, which is in the form of a manuscript, contains a series of Sufi contents in an introduction and 15 chapters and an a conclusion. One of the most important chapters of this book is the “expression of the order of the rituals and tribal dynasties”, in which, along with the arrangement of the dynasties of the Sufis elders, the route of their reference and immediate assign to Hazrat Amir Al-Mo’nenin (pbuh), or one of Taherine Imams (pbuh), his sons and from them to Prophet Muhammad (pbuh). In this research, while expressing the view of the author of the book of Rashhat al-Ghaybiyeh about Sufis dynasties, some evidence of the Sufi texts about the dynasties revealed, and the viewpoint of the Rashhat al-Ghaybiyeh’s author about the relationship between the speak and cuff and attribution of the Sufis dynasties, including the famous and the non-famous are expressed. And the name of some dynasties, which is mentioned without name and as another dynasty, by adapting the arrangements of its persons with other texts of Sufism, is also expressed.
Script
Fatemeh Mahvan
Abstract
Tarikh Jahangosha narrates the invasion and rule of the Ilkhanid over Iran. Illustrated manuscripts of Tarikh Jahangosha reveal the terribly painful memories that Iranian kept in their heart’s wounds by Ilkhanid rulers. Visual language of the Illustrations shows secrets of history that cannot be ...
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Tarikh Jahangosha narrates the invasion and rule of the Ilkhanid over Iran. Illustrated manuscripts of Tarikh Jahangosha reveal the terribly painful memories that Iranian kept in their heart’s wounds by Ilkhanid rulers. Visual language of the Illustrations shows secrets of history that cannot be expressed by the text. Therefore, the study of these paintings is as important as the study of its text. This article examines Tarikh Jahangosha’s paintings from the perspective of symbolism and composition by study on two illustrated manuscripts. Then, it answers these questions: symbolism in Tarikh Jahangosha have been influenced by what cultures? What pictorial features did the painters use to show the legitimacy of the kings (Farreh)? How does the images composition reveal the narrative of victory or defeat? The results show that paintings represent a hidden part of the history that cannot be achieved in the text, so we should pay more attention to the paintings of historical texts as a visual language and valuable historic document.
Sufism and Mysticism
Ramazan Tafsiri; Hamid Taheri
Abstract
Investigating the paradox and its function in expressing the experience of the unity of existence in the poetry of the Timurid era[1]Mysticism is the knowledge of unseen truths, and in other words, mysticism is the knowledge of the truth through names and attributes, and man’s reaching the position ...
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Investigating the paradox and its function in expressing the experience of the unity of existence in the poetry of the Timurid era[1]Mysticism is the knowledge of unseen truths, and in other words, mysticism is the knowledge of the truth through names and attributes, and man’s reaching the position of eternal life in God’s presence. The mystic of God, through inner journey, passes through the mystical stations one after the other and until it reaches the position of annihilation and connecting with the truth. Every school and way of thinking has its principles and rules, and mysticism also has certain rules and principles, and anyone who steps on the path of true knowledge needs a leader and a guide, and under his supervision he should study mystical teachings and conduct exercises as well as. He becomes mystical and in this way he achieves the perception of states and positions and the discovery of secrets, which is referred to as a mystical experience. Mystical experience is the collection of perceptions and knowledge of the mystic’s secrets, which after cultivating and nurturing the soul, he is inspired. Every mystical experience is specific to the mystic who has received it, and because these perceptions are discovery and intuition and are received through inner intuition, to express them, the mystic cannot use the language of expressions, and those truths and long meanings do not fit into the ordinary language. Thus, he uses a language appropriate to those experiences and resorts to code, simile, metaphor, and paradox. Of course, sometimes resorting to the language of allusion is completely conscious and on purpose, so as not to expose the secrets. Because not everyone is confidant of secrets. In order to explain mystical thoughts and experiences to others and to convince the audience, mystics use the artistic capacities of language in the form of paradoxical and contradictory expression and other types of allusive language. However, many of them consider mystical experiences beyond the explanation and description, and some consider it impossible to express and describe. These facts and knowledge are very different and variable according to the condition of the seeker. The question is why it is not possible to reflect these mysterious situations in the construction of conventional and standard language. And why after their linguistic reflection, the resulting propositions seem incomprehensible, and at first glance, sometimes seem contradictory and contrary to habit. This paradox has caused thinkers and linguists to pay special attention to the language of mysticism and the means of mystic expression. Since mystics do not use only the external forms of language, but also all the symbolic, allusive, pictorial, visual, music, dance and other symbols and conceptual signs of a society’s culture in expressing the mystical experience. The special type of expression and the use of different types and methods of language make the covering of the mystical experience more concrete and make it more difficult to understand the meaning from the form of words. According to this introduction, the purpose of this article is to examine the mystical language and the means of expressing the mystical experiences and understandings found in the texts of the mystical poems of the Timurid era. Understanding the characteristics of the language and expressing the mystical experiences of this period and its style depends on the text, and from the text and its texture, the characteristics of the language and the means of expressing the mystical experience of this era can be obtained. For the correct understanding of the experiences and the divine mystical mysteries of this period, we need to understand the concept of the environment of the text and to know the contexts of the origin of the text and in other words extratextual contexts and the culture, thought and politics of the Timurid era society. According to the necessity of the situation, culture and textual configuration of the text, it should be noted that the concepts of the mystical texts of the Timurid era society, consist of different cultural contexts and structures, different readings and religious narratives and views and perceptions and discoveries and intuitions of mystics. The pinnacle of all these views is the emergence of the ideas of the Shiite school in mysticism and the boom in reading the ideas of Ibn Arabi and other Sufi schools of ancient Xorâsân. The idea of surrendering to Valiyy and humanism of the Shiite school as a type of religious interpretation and the strict and traditionalist ideas of the Naqšbandiyye Tariqat as another model of religious readings are in opposition to each other and the way out from these two points of view, is the re-reading of Ibn Arabi’s thoughts that opens the way for the sufi orders and mystics of this age and has developed Sufism and mysticism and opened the field for all sections of the society to some extent. In this sense, the area of language: open and closed signs of the language of mysticism expands. The confrontation and entanglement of religious and mystical thoughts and sayings, patterns of open and closed society, politics, Tariqat and Šariʾat, have caused the complexity of the language of this period; since many of the sensitivities and grudges of the societies are the sources of conflicting ideas in the human society, and also the breadth of signs and the expansion of cultural concepts is the source of the interveneing of religious and cultural thoughts and traditions and all these matters play a role in the expansion of language and another characteristic of the expansion of the language of mysticism. In this era, the flourishing of art, especially painting, which is a form of the language of mysticism and means of expressing mystical experience. This case can be mentioned from the visual art of Kamâl al-Din Behzâd as an interpreter of Ibn Arabi’s idea of the unity of existence in the form of painting and drawing. ReferencesČenâri, A., (1377). Motanâqez-nemâyi dar šeʾre fârsi. Tehran: Farzân Ruz.Faʾʾâli, M. T. (1381). “Zabâne erfân”. Našriyyeye Qabasât. vol. 24. pp. 59-69.Fulâdi, A., (1391). Tanz dar zabâne erfân. Tehran: Soxan.Ibn Arabi, Mohammad ibn Ali, (1367). Rasâʾele Ibn Arabi. moqaddame, ed. N. Mâyel Heravi. Tehrân: Mowlâ.Ibn Xaldun, (1352). Moqaddameye târixe Ibn Xaldun. tr. by M. P. Gonâbâdi. vol. 1.Tehran.Jahângiri, M., (1375). Mohyi al-Din Ibn Arabi čehreye barjasteye jahâne Eslâm. Tehran: Dânešgâhe Tehran.Karimi, A. B., (1385). “Tajrobeye erfâni va bayâne pârâdoksi, tajrobeye didâdr bâ xodâ dar soxan”. Majalleye dâneškadeye adabiyyât va olume ensânie Dânešgâhe Tehran. vol. 75. n. 3. pp. 21-42.Mirbâqeri-Fard A. A. & M. Mohammadi, (1394). “Ebârat va ešârat dar zabâne erfân”. Biannual of Pažuhešnâmeye Erfân. vol. 15. pp. 193-216.Nasiri Jâmi, H., (1393). Howzeye Herât va šeʾre fârsi. Tehran: Mowlâ.Vahidiyân Kâmyâr, T., (1376). “Motanâqez-nemâ (paradox) dar adabiyyât”. Našriyyeye dâneškadeye adabiyyât va olume ensâni dânešgâhe Ferdowsi Mašhad. Year 28. vol. 3 & 4. pp. 271-294. [1] Ramazân Tafsiri: Ph.D. student of Persian language and literature of Emâm Xomeyni lnternational university.Hamid Tâheri: Associate professor of Emâm Xomeyni lnternational university.
Sufism and Mysticism
Parvin Golizadeh; manouchehr joukar; Zeinab Rahmati
Abstract
Discussing the “extraordinary” element in a system in which the place of elements is determined according to their relation to the overall design of the narrative is an appropriate way of analyzing magical realism and those mystical narratives consisting of extraordinary events. In order ...
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Discussing the “extraordinary” element in a system in which the place of elements is determined according to their relation to the overall design of the narrative is an appropriate way of analyzing magical realism and those mystical narratives consisting of extraordinary events. In order to display the existent correlation between the magical deep structure and the plot of these literary productions, the narrative structure of these mystical texts: Asrārottowhid, Resāle - ye Qoshayriye, Kashfol- Mahjūb, Mersādol-’ebād, Mesbāhol- Hedāye and Meftāhol- Kefāye and these fictions including One Hundred Years of Solitude, Metamorphosis, The Handsomest Drowned Man in the World, A Very Old Man with Enormous Wings and Aura is investigated with an eye to Claude Bremond’s model so that we can extract the main sequences in these works and we can specify the structural similarities and dissimilarities in these works’ main sequence according to the combination of “realistic” and “extraordinary” functions in a sequence. The obtained results indicate that there are similarities in the structure of the main sequence and their utilization of “realistic” and “extraordinary” sequences. The shared structures in the analyzed works are: “the linear structure without excluding the main constituents”, “the exclusion of initial state of equilibrium and the commencement with a crisis”, and “the nonlinear structure”. The shared combinations of main sequences in terms of the inclusion of realistic or extraordinary tasks are depicted as “exclusionary-extraordinary-realistic”, “exclusionary-extraordinary-extraordinary” and “extraordinary-extraordinary-extraordinary”.
Lyrical and Didactic Literature
maqsood mesbah; Ebrahim Pourdargahi; Hamidreza Farzi
Abstract
Abstract: Plants, as one of the important sources of food and medicine, have been the focus of human attention since long ago. Our ancestors over thousands of years, in addition to providing the medicine, food and clothing have gained more knowledge on the plants and have used the color and smell of ...
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Abstract: Plants, as one of the important sources of food and medicine, have been the focus of human attention since long ago. Our ancestors over thousands of years, in addition to providing the medicine, food and clothing have gained more knowledge on the plants and have used the color and smell of a number of plants in painting, dyeing, making perfume and doing the makeup. Indigo is one of the dye-producing plants that have attracted the attention of people due to its color stability and high ability to combine with a wide range of other natural colors. The extensive reflection of this plant in the poem indicates the prosperity and healthy use of the natural color of indigo, along with its healing properties, by the ancients. In the 6th century, for some reasons, including competition, the development of science or idealism by the poets, the therapeutic functions of Indigo, like the information of other sciences, have been mixed with the irony and metaphors and made it difficult to understand the meaning of the poem. This research aims to extract the reflections of the Indigo from the , Divan of Sanai, Anwari, Khaghani and Nizami by using the descriptive-analytical method to investigate and analyze its medical, literary and artistic functions and its public beliefs.
Mostafa gorji; Hamed moosavi joroukani
Volume 67, Issue 230 , January 0, , Pages 136-156
Abstract
A group of us certainly has confronted the question that what is ‘the meaning of life’? Everyone has responded to it depending on his knowledge and insight. Reviewing and analyzing the responses of contemporary poets who have reflected most of concerns/problems of human break an impasse. ...
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A group of us certainly has confronted the question that what is ‘the meaning of life’? Everyone has responded to it depending on his knowledge and insight. Reviewing and analyzing the responses of contemporary poets who have reflected most of concerns/problems of human break an impasse. With respect to this issue, authors have analyzed GheisarAminpour’s approach into the meaning of life. In this discussion, at first it has been paid attention to the meaning of “meaning” and then to the concept of “life”. In the Gheisar poetry, the word of “meaning” means in the sense of purpose, value, and function. “Life” has two concepts, sometimes it includes aspects of life such as birth, death, youth, teen, wife, and… and sometimes it means life issues such as pain and suffering, love, infinity, loneliness, vicious, and… he believes in forgery of the meaning of life in the discussion of the discovery of the meaning of life (life is meaningful and you should just find it) or forgery of that (life is meaningless and you should make sense for that). With reliance on two theories of supernaturalism and naturalism, he knows that matters like access to deep knowledge, fall in love and living amorously, God’s love for creatures, martyrdom, having children, having childish life and… are meaningful to life. It should be noted that with this approach, any research has been carried out on Gheisar poems. Incidentally, the research method of this study has been a library and content analysis one.
Yadollah Nasrollahi; Atefeh jangli
Volume 66, Issue 227 , January 0, , Pages 137-162
Asad allah Vahed; Taha Saderi
Volume 67, Issue 229 , January 0, , Pages 137-155
Abstract
Most of the quatrains attributed to Omar Khayyam are also attributed to other poets in different Persian literary old books. This has caused confusion among scholars in finding real pieces of Khayyam's written poems. Though doing a lot of job by many researchers in sifting the quatrains, it seems that ...
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Most of the quatrains attributed to Omar Khayyam are also attributed to other poets in different Persian literary old books. This has caused confusion among scholars in finding real pieces of Khayyam's written poems. Though doing a lot of job by many researchers in sifting the quatrains, it seems that there is steel a long way to go. In this paper we have studied eleven common quatrains of Omar Khayyam and Hafiz which are also attributed to other poets. Paying attention to the manuscripts that included those quatrains and analyzing the stylistic, theme and motif points of each quatrain we finally concluded whom each quatrain belongs to.
Assadollah vahed; Mir Jalil Akrami; Mahnaz Samandari
Volume 68, Issue 231 , January 0, , Pages 137-155
Abstract
Interaction, effect and influence of culture, language and literature among different nationalities in unavoidable. Considering effecting on other cultures and languages and at the same time, being impressionable from them, has a long term and noticeable history for Persian language and literature. Turkish ...
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Interaction, effect and influence of culture, language and literature among different nationalities in unavoidable. Considering effecting on other cultures and languages and at the same time, being impressionable from them, has a long term and noticeable history for Persian language and literature. Turkish literature and language is among the ones that has had the most interaction with Farsi language and literature. In specific time periods, this relation has been highlighted because of the political necessities, and alternatively, it is observable due to the emerging technologies and fluidity of European and western countries. Edebiyate-e Divani is defined as a six-centuries long Turkish literature, from 13th century up to mid nineteens century, which can be considered as Islamic Turkish epoch until literature of “edebiyate tenzimi”. Majority of created literary works in Divani-e Othmany period, are affected by Farsi traditional literature and also has been saturated by Farsi words and phrases to the extent that with a glance and nontechnical investigation, it can be traced easily. Based on the Othman literary works and also considering researchers of next periods, it can be concluded that this influence is not limited to the unconscious fluidity and indirectly effect, but also it has been tried intentionally to make the literary works as much as possible similar to the Farsi poets and their works in a mimicry way. In this paper, considering Turkish Edebiyate-e Divani in Saljoughian and ottoman epoch, the effect of Persian poets on the works of poets in this period has been investigated.
Fiction Literature
fariba rahimi; Naser Alizadeh khayyat; arash moshfegi
Abstract
Abstract Dual oppositions are one of the most important functions of human collective mind. For the first time, Nikolai Trojistov, a phonologist (1890-1938), referred to the term "double contrasts." This issue has been particularly respected by constructivist theorists, and novelists have either asked ...
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Abstract Dual oppositions are one of the most important functions of human collective mind. For the first time, Nikolai Trojistov, a phonologist (1890-1938), referred to the term "double contrasts." This issue has been particularly respected by constructivist theorists, and novelists have either asked for it or used it unwittingly in the narrative structure of their stories. Given the importance of the novel "This street is not accelerating", in the post-revolution literature, this essay attempts, in a descriptive-analytical way based on deconstruction elements, to examine the elements of women in the writings of contemporary literature in this novel. And has come to the conclusion that this modernist novel, in a deconstructive way, seeks to create doubts about the duality of man and woman. The apparent dual opposite of this novel is patriarchal / feminist thinking. For this reason, female characters find that their status and identity are the product of patriarchal imposed social relationships that created men and authority for the male language. The written language of the text is due to the reflection of beliefs, worldviews and emotional affairs, highlighting women's oppression in confrontation with the man, paying attention to the sense of hatred and fear in women, the sense of women's independence in the main character of the novel, protesting the male repressive and responding to With feminist criticism, deconstruction etc., it is an attempt to express contradictions in a patriarchal society .Keywords: women, writing, deconstruction, gender, world Mary
Hosain Shahbazi; Sanaz Jaafarpour; Karim Maimanatnajad
Volume 69, Issue 233 , January 0, , Pages 141-160
Abstract
Safina-yi Tabriz (721-723 AH),compiled by Abu'l Majd Muhammad Ben Mas'ud Tabrizi, reflector cultural, scientific and literary situation of Tabriz in the sixth century to the eighth century. This exquisite work is the first book that refers to the location of Khaghani's residence in Tabriz. It Quoted ...
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Safina-yi Tabriz (721-723 AH),compiled by Abu'l Majd Muhammad Ben Mas'ud Tabrizi, reflector cultural, scientific and literary situation of Tabriz in the sixth century to the eighth century. This exquisite work is the first book that refers to the location of Khaghani's residence in Tabriz. It Quoted from the book of O'Malley by Amin haji bolh (Baleh) Tabrizi (d. 720 AH). Based on the text of the Safina, Khaghani's house in Tabriz was located in the old square area. The purpose of this article is to answer Professor Shafiee Kadkani's recommendations in his article, find information about the old square, and the location of Sayn-Din alley in present structure of Tabriz. Based on the results, old square of Tabriz was located in Mahad-mahin neighbourhood next to the historical Ostad-Shagerd mosque. The research methodology in this article is fieldwork and analytic is based on the documentation library.
