علمی- پژوهشی
History of literature of Iran
Hasan Anvari
Abstract
As in most areas of thought, science, economy, politics and culture of Iran, Azerbaijanis have been both pioneer and diligent in the field of lexicography for Persian language. The fruit of their efforts in this area includes a very long period of time from the oldest periods of the Dari Persian language ...
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As in most areas of thought, science, economy, politics and culture of Iran, Azerbaijanis have been both pioneer and diligent in the field of lexicography for Persian language. The fruit of their efforts in this area includes a very long period of time from the oldest periods of the Dari Persian language with ancient examples such as the Qatrân’s lexicon (5th century AH) to recent years and an example such as “Great Sokhan Dictionary” (published in 1381). This history and tradition is an ancient and fruitful achievement, and in this essay, we provide a brief report of this great and continuous historical effort with a review of the most famous and well-known examples of Persian dictionaries written by Azerbaijanis with a critical eye.
علمی- پژوهشی
Lyrical and Didactic Literature
Nasrollah Pourjavady
Abstract
Despite the simplicity and clarity of most of the verses, the texture of expression in Hafiz’s poetry is based on a complex and generally hidden semantic network, which sometimes the deep and precise meanings hidden in it do not appear at the first glance. For this reason, several verses of his ...
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Despite the simplicity and clarity of most of the verses, the texture of expression in Hafiz’s poetry is based on a complex and generally hidden semantic network, which sometimes the deep and precise meanings hidden in it do not appear at the first glance. For this reason, several verses of his poem collection are exposed to understanding only with repeated reflections and re-readings. Among these verses is this famous one: عشق دُردانه است و من غواص و دریا میکده/ سر فروبردم در آنجا تا کجا سر برکنم “Love is a unique pearl and I am a diver and the sea is a winehouse/ there, my head, I plunged without knowing where I would come out”. The meaning of this verse has been considered clear and straightforward by commentators and connoisseurs, as evidenced by their works. In spite of this general opinion, the author of the present essay, relying on a more detailed reading and reflection on the complex and interwoven semantic network of the parts and words of the verse, tries to present his own inferred meaning of the verse to the readers while criticizing the aforementioned opinion. The genealogy of the poetic interpretations and Sufi concepts of the said verse shows a connection between Hafiz’s mystical school and Ahmad Qazzâli’s thoughts and his book “Sawâneh”.
علمی- پژوهشی
Lyrical and Didactic Literature
Maryam Mosharrafolmolk
Abstract
Understanding the Element of Water and Its signs in Sanaʾi’s Seyr al-Ebâd[1]One of the prominent characteristics of literary knowledge is to pay attention to the concept of sign. If we accept Saussure’s view that language is an order of signs that is based on an interconnected ...
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Understanding the Element of Water and Its signs in Sanaʾi’s Seyr al-Ebâd[1]One of the prominent characteristics of literary knowledge is to pay attention to the concept of sign. If we accept Saussure’s view that language is an order of signs that is based on an interconnected system of elements and relationships, we may get close to understand the systemic view of signs. In this view, codes and signs of language are not eternal and independent concepts that represent an external reality, but are “signs” that take their meaning only from the text.On the other hand, understanding each sign in the text is only possible if the reader is also familiar with the rules and conventions governing the text, because as Saussure and Jacobsen have shown, signs do not emerge only on the basis of a single text, but also on the basis of the literary genre which they are dependent to, and knowing the rules of a genre would not be possible except by evaluating the different ways that individual speakers apply in using signs. From this point of view, knowing the codes and textual signs of individual speakers or writers, becomes important because it not only opens the way in understanding individual literary works, rather, it is an effective and even necessary step in defining the conventions and rules governing a certain genre.Now, one wonder, if it is possible to classify and examine the signs and symbols used in a certain field in Persian classical texts, based on the common ground between them?In this research, I tried to survey the allegorical signs and codes which refer to the vital elements: “The essence of water” and the “essence of air” in the symbolic and allegorical Maθnavi “Seyr al-Ebâd” by Sanâʾi Qaznavi.It is obvious that by “code” in this article, I mean the semiotic concept, which is different from old rhetorical concept that can be seen in the books of “Maʾâni and Bayân”. Here we are seeking to identify and understand the specific signs that Sanâʾi used in his mystical language.An Allegorical creature in Maθnavi “Seyr al-Ebâd”Sanâʾi has used a number of animals in allegorical meanings in his Seyr al-Ebâd. Animals are usually a sign of moral imperfections and weakness of the soul. Here, marine animals have a special place. Marine animals such as oyster, turtle, alligator, crab, fish and whale indicate the qualities of the essence of water: they may be a sign of cold and wet nature and represent the qualities of “phlegm” among the four Humoral (Axlât). Laziness, laxity and weakness are attributes that these animals symbolically embody. Allegorical creature for Nature of Water By creating composite faces, Sanâʾi has created imaginary animals that represent the human lower soul or Nafs e Bahimi. In this concern, he has created an imaginary whale in the “Essence of Air”, an episode of his longish poem. He also talks about a creature with the head of a dragon and the tail of a fish and mentions attributes for these creatures that have a figurative and allegorical aspect. In creating this world of signs and these illusory creatures, Sanâʾi has used a set of signs that are related to the functioning of the soul in a combined way.To understand the more complex meanings of imaginary figures, it is necessary to pay attention to the context of the text and consider the verses together in the context of the poem. In this case, the components of imaginary figures create an interwoven web of connected signs that one cannot be understood without the other, i.e. they should not be viewed partial and separated: a common mistake by previous commentators. Any explanation is acceptable if it can create harmony between all the parts of the symbolical context, not if it is verified in one case and not in the rest.In describing the powers of the moon, Sanâʾi talks about the existence of “dragon head and fish tail creature”. With the help of old philosophical works, we understand that this weird creature refers to moon’s cold and humid nature, and at the same time, it signifies the heat-creating properties of the moon, which guarantee the influence of the moon’s powers in the prosperity of life. These properties are more powerful in the first half of the lunar month.Therefore, Sanâʾi created a mixed and illusory creature of water and fire that brought together these heterogeneities and opposite qualities. Allegorical creature for Nature of AirIn the episode “Properties of Air Element”, Sanâʾi created a crocodile whose head is towards water and whose tail is towards fire. The crocodile is a sign of the air element in nature. At the same time, it indicates the power of the Lust (Arabic: Hawa’) in lower soul. This is a fundamental power of soul, on which continuity of life is dependent on, and Sanâʾi’s goal is to make the reader aware of its dangers in an allegorical language.This paper is only one step in the way of knowing the significant philosophical signs in the intellectual world of Sanâʾi, and it will certainly not be the last one.Undoubtedly, choosing signs that belong to the same or opposite thematic areas can help us to draw the network of these signs. Drawing the map of contrasts and similarities of the signs, ultimately leads us to understand the meaning of them. ReferencesBressler, Charles E., (2011). Literary Criticism (Fifth Edition). Longman.Culler, J., (2001). The Pursuit of Signs (Second Edition). Routledge.-------, (1973). Structuralist Poetics. Routledge.Damiri, K., (1395). Xavâs al- hayavân. tr. Xâje Mohammad Taqi Tabrizi. ed. F. Mehri. Tehran: Markaze našre dânešgâhi.de Saussure, F., (1966). Course in General Linguistics. New York: McGraw-Hill.du Bruijn, J. T. P., (1983). Of Piety and Poetry. Leiden: Brill.Empson, W., (1949). Seven Types of Ambiguity, Chatto and Windus. London.Eqbâl Lâhuri, Mohammad, (1380). Seyre falsafe dar Iran. tr. A. H. âriyânpur. Tehran: Negâh.Ibn Sinâ, Šeyx al-Raʾis, (1383). Resâleye Nafs. ed. M. Amid. Hamedan: Anjomane âsâr va mafâxere farhangi.Sajjâdi, J., (1373). Farhange Maʾârefe eslâmi. Tehran: kumaš.Sanâʾi Qaznavi, Ab al-Majd Majdud ibn Âdam, (1360). Masnavi-hâye Hakim Sanâʾi be enzemâme šarhe Seyr al-ebâd elâ al-Maʾâd. ed. M. T. Modarres Razavi. Tehran: Bâbak.Sanâʾi Qaznavi, Ab al-Majd Majdud ibn Âdam, (1377). Hadiqat al-Haqiqat Va Šariʾtat al-Tariqat. ed. M. T. Modarres Razavi. Tehran: Dânešgâhe Tehran.Sanâʾi Qaznavi, Ab al-Majd Majdud ibn Âdam, (1388). Divâne Sanâʾi. ed. M. T. Modarres Razavi. Tehran: Entešârâte Sanâʾi.Sanâʾi Qaznavi, Ab al-Majd Majdud ibn Âdam, (1396). Divâne Sanâʾi. ed. M. Mosaffâ. Tehran: Zavvâr.Sanâʾi Qaznavi, Ab al-Majd Majdud ibn Âdam, (1396). Seyr al-ebâd elâ al-Maʾâd. ed. M. Ranjbar. Tehran: Mowlâ.Tafazzoli, A., (1354). Minuye xerad. Tehran: Bonyâde farhange Iran.Tusi, Mohammad ibn Mahmud ibn Ahmad, (1382). Ajâyeb al-Maxluqât. ed. M. Sotude. Tehran: Elmi Farhangi. [1] Maryam Mošarraf: Associate Professor of Persian Language and Literature, Šahid Behešti University.
علمی- پژوهشی
Script
Javad Bashary
Abstract
Mushaf No. 17394 of the Mar’ashi Library, written by Ismail b. Mubarak in 665 AH, contains a commentary translation of the Qur'an into Persian, which belongs to a part of the vast linguistic realm of Transoxiana. Comparing the present translation with the translation of the Qur'an from the existing ...
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Mushaf No. 17394 of the Mar’ashi Library, written by Ismail b. Mubarak in 665 AH, contains a commentary translation of the Qur'an into Persian, which belongs to a part of the vast linguistic realm of Transoxiana. Comparing the present translation with the translation of the Qur'an from the existing Persian interpretations before the seventh century AH and other existing translations of the Holy Qur'an that have been published or introduced in full or in part, it is determined that this translation or the text that was copied by Ismail b. Mubarak, owes nothing to any of the previous sources. At the end of the manuscript, the scribe mentions one of his sources, which is the book "Al-Moudih" by Haddadi (the great scholar and commentator of the fourth and fifth centuries AH), which shows that he had this missing text on the subject of Quranic sciences. Examining the linguistic and interpretive values of such a work will clarify its place among the existing translations of the Qur'an into Persian. Part of this article is about the origin of the manuscript and its history from Transoxiana to Iran. In the other section, the physical characteristics and artistic values of the manuscript are stated. The nature and structure of this translation and that in many parts it becomes an " commentary translation" is also mentioned. Finally, a number of linguistic features of the work are described in several sections to show its place in Persian language studies.
علمی- پژوهشی
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. Eskişehir Osmangazi Universitesi. Sosyal Bilimler Enstitisu.Ateş, A., (1958). Hicri VI-VIII (XII-XIV) Asirlarinda Anadolu’da Farsca Eserler. Istanbul, TM, CIII: 94-135.Baevskii, S., (2015). Early Persian Lexicography Farhangs of the Eleventh to the FifteenthCenturies.In Language of Asia Series.Vol.6, translated by N. Killian. revised andupdated by John R. Perry, Kent: Global Oriental LTD.Berkov, V.P., (1971). Questions of bilingual lexicography. Leningrad University of A. A. Zhdanov. Leningrad.Blochet, E., (1905). Catalogue des manuscrits persans de la Bibliothèque nationale. Paris.Borhân, M., (1342). Borhân-e Qate’. ed. Mohammad-e Mo’in, Tehrân: Ebn-e Sinâ.Brilkman, K., (2018). The Circulation of Knowledge in Translations and Compilations. A Sixteenth-Century Example, edited by J. Östling, E. Sandmo, D. Larsson Heideinblad, A. N.Hammar and K. H. Nordberg, 160–74. Lund: Nordic Academic Press.Doğan, A. (2018). Dillerden Biri Türkce Olan Manzum Sözlükler Üzerine Yapılan Ҫalışmalar Bibliyografyasi. Divan Edebiyat Araştırmaları Dergisi. Istanbul. 21: 85-114Duru, N. F., (2011). Lutfullah Halimi b.Ebi Yusuf’un Bahru’l-Garayib Adli Eserinde Muamma Bahsi. Selcuk Universitesi Edebiyt Fakultesi Dergisi 25: 109-138Düzenli, M. B. & M. Turan, (2016). Türkce-Farsca Manzum Sözlüklerden Tühfe-i Şemsi. Uluslararasi Sosyal Arastirmalari Dergisi. 9: 122-154.Düzenli, M.B., (2015). Farsca-Turkce Manzum Bir Sözlük:Tühfetu’l-Hafiz. Ankara. Turkish Studies International Periodical For Languages. Literature and History of Turkish or Turkic.10: 329-370Eleskergızı,T. & C. Sadıggızı, (2015). Hüsam’in Geciken Armağani. Turk Dunyasi: 225-231Faroe, E. C., (1991). Lütfullah Halimi’nin Bahru’l-Garaib’ı. Yüksek Lisans Tezi. Ankara üniversitesi: Sosyal Bilimler EnistitüsüFragner, G. B., (1999). Die Persophonie. Regionalität, Identität und Sprachkontakt in der Geschichte Asiens. Berlin: Anor.Gören, N., (2016). Bursali Nakibzade Ni’meti’nin Tühfe Nimeti Adli Farsca-Turkce Manzum Sözlüğu, Yüksek Lisans Tezi. Marmara Universitesi.Gözitok, M. A., (2016). Manzum Sözlük Gelenegimizin Kayip Halkasi: Nazm-I Bedi, Ataturk Universitesi Turkiyat Araştırmaları Enstitusu Dergisi. 55:127-148.Hagen, G., (2003). Translations and Translators in a Multilingual Society: A Case Study of Persian-Ottoman Translations, Late Fifteenth to Early Seventeenth Century. Eurasian Studies 2, no. 1 :95–134.Hodgson, M. G., (1974). The Venture of Islam. Conscience and History in a World Civilization. Vol. 2, The Expansion of Islam in the Middle Periods. Chicago. ILL: The University of Chicago Press.Holbrook, V., (2002,). Concealed Facts, Translation and the Turkish Literary Past. InTranslations:(Re)shaping of Literature and Culture. Edited by S. Paker. 77–107. Istanbul: Bog˘aziçi University Press.Kaçar, I., (2017). Lutfullah Halimi’nin Farsca-Türkce Manzum Sözlüğü: Tühfe-i Mukaddimetu’l lugat. Journal of Turkish Language and Literature, 2:131-146.Kaplan, Y., (2017). Farsca-Türkce Manzum Bir Sözlük:Tühfe-i Mukaddimetu’l lugat, Studies of the Ottoman Domain, 12:213-236.Karakütükçü, N., (2017). Geleneksel Bir Manzum Sözlük: Tühfe-i Şadi, Insan ve Toplum Araştırmaları Dergisi, 6:114-151.Kartal, A., (2003). Tühfe-i Remzî, Ankara: Akçağ Yayınları.Kılıç, A., (2007). Türkce-Farsca Manzum Sözlüklerden Tühfe-ı Şahidi(Metin), Turkish Studies International Periodical For Languages,Literature and History of Turkish or Turkic, 4: 516-548.Kılıc, A., (2007). Türkce-Farsca Manzum Sözlüklerden Tühfe-i Vehbi(Metin), Turkish Studies International Periodical For Languages, Literature and History of Turkish or Turkic, 2:410-475.Lewis, L. G., (2000). Turkish Grammar. Oxford: Oxford university press.Öz, Y., (2016). Tarih Boyunca Farsca-Türkce Sözlükler. Ankara: TDK Yayinlari.Özkan, F. H., (2013). Bozokli Osman Şakir ve Şehdu Elfazi,Uluslararasi Sosyal Arastirmalar Dergisi, 428-464.Öztahtalı, I. 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. .
علمی- پژوهشی
. Epicical and Mythical Literature
Milad Jafarpoor
Abstract
Jamšid nāmeh is an unprecedented prose epic in Persian literature that its original report was limited to the life of jamšid pishdadi and from this point of view, it can be considered as an independent narration such as: Garšāsp-nāma and Kush nameh which is related to the ups ...
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Jamšid nāmeh is an unprecedented prose epic in Persian literature that its original report was limited to the life of jamšid pishdadi and from this point of view, it can be considered as an independent narration such as: Garšāsp-nāma and Kush nameh which is related to the ups and downs of life of one of the mythological characters of Iran. The narrator of Jamšid nāmeh has tried to focus on the dark and obscure moments of Jamšid's life which all literary and historical sources have been suspended in relation to its reporting. What is mentioned about Jamšid in šāhnāmeh and other sources is more limited to the era of the monarchy, the decline and murder of Jam by the order of Zahhāk, but unlike other sources, Jamšid nāmeh specifically refers only to the events before Jamšid's encounter with Zahhāk and describes The narrator of Jamšid's wonderful life covers the period from childhood to his reign on earth. For the first time, the present study has been inductive in order to introduce the epic of Jamšid nāmeh, to examine the characteristics of Persian, Turkish, Urdu manuscripts and the other same name & unknown manuscripts.
علمی- پژوهشی
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.
علمی- پژوهشی
History of literature of Iran
neda sonboli; Abbas Gadimi Gidari
Abstract
The phenomenon that is called "child marriage" today and is one of the important social and cultural issues and harms related to women, is a historical issue that in the Qajar era in the struggle between tradition and modernity, gradually to the issue and subject It became important, at least among sections ...
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The phenomenon that is called "child marriage" today and is one of the important social and cultural issues and harms related to women, is a historical issue that in the Qajar era in the struggle between tradition and modernity, gradually to the issue and subject It became important, at least among sections of Iranian society. Child marriage or marriage of girls at a young age, although a common phenomenon in pre-modern Iran, does not mean that this phenomenon is not considered as a social harm and a critical phenomenon. In the silence of historiographical, official and even political sources in the face of this issue, literary texts that are considered as the main sources and sources of social history in Iran have considered this important issue as a source of social criticism and in a thoughtful way in They reflected their poems and writings. Relying on texts and literary sources of the Qajar and constitutional eras and new research, this article has analyzed the approach of texts to the issue of child marriage in a descriptive-explanatory method.
علمی- پژوهشی
Fiction Literature
hasan zolfagari; maryam moghaddami
Abstract
The barriers to women's employment and job promotion are among the main issues surrounding working women. Sociologists study the barriers to women's promotion in terms of glass ceiling. The Glass Ceiling is a set of factors that creates barriers on the path of women's career advancement. Fictional works ...
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The barriers to women's employment and job promotion are among the main issues surrounding working women. Sociologists study the barriers to women's promotion in terms of glass ceiling. The Glass Ceiling is a set of factors that creates barriers on the path of women's career advancement. Fictional works as the literary and cultural sources of any society play a part in representing social events and the issues surrounding the world of women. In some fictional works, the female characters face different barriers to continuing their studies, going into business, and being promoted. Conducting a study into the fictional works concerning women's employment and career conditions, the present paper attempts to identify the barriers to women's employment in terms of glass ceiling and based on a library research and a content analysis. The findings suggest that patriarchal views, marriage, work corruption, and having children are the major factors in creating the glass ceiling. Due to these factors, different carriers are dominated by men and strongly influenced by gender issues, a situation in which men win the jobs of high rank and women take the lower ones.
علمی- پژوهشی
Fiction Literature
Ebrahim Ranjbar
Abstract
Living has overtly a clear concept, and man has always been attempting to understand this concept and its objective. However, revealing its reality has been roughly impossible so far. Novel literature shows that this type of genre pays special attention to the concept and objective of living. According ...
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Living has overtly a clear concept, and man has always been attempting to understand this concept and its objective. However, revealing its reality has been roughly impossible so far. Novel literature shows that this type of genre pays special attention to the concept and objective of living. According to this perspective, I have analyzed the novel “The Association of the Squalors” (first published in 1398 H.S) in measure and method of noticing the concept and objective of living. For the methodology, I have inferred the character's goals, aims, and ways of living from their statuses, beings, and behaviors and from the expressions and irony in the novel and illustrated how the author represents social life of the characters and their conception and goal of living. The results show that the novel represents with particular care some aspects of the social community through representing realities of their life. In this community, the preliminary needs of life like health, subsistence, housing, and employment has been damaging to the household. It has also overwhelmed the community in a way that they have rarely had the chance to think about the goals and upper grades of spirituality. Consequently, the concept and objective of living have been restricted to supplying the preliminary needs of life and this has been inferred as a pestilence for a community that ought to go ahead in developing great expectations and goals.
علمی- پژوهشی
Literary theories
Ehsan Khanisomar; Mosa Parnian; Khalil Baygzade
Abstract
One of issues in narratology is the issue of focalization. Gerard Genet chose centralization as a superior view from a perspective that is a transcendental concept of visual side. This perspective is a point of view through which a lot of information is implicitly seen, felt, understood and evaluated. ...
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One of issues in narratology is the issue of focalization. Gerard Genet chose centralization as a superior view from a perspective that is a transcendental concept of visual side. This perspective is a point of view through which a lot of information is implicitly seen, felt, understood and evaluated. This research with the descriptive-analytical method is used to introduce focalization, its types and aspects in the popular novel Qeydar to examine the narrative information and to organize the validity of this work. The results of this research show that in terms of perception, in the narration of this work, there are two types of focalizer, "external" and "internal" with a position of limited and unlimited focalizers are interacting. The time of this novel is linear. Continuation of events except in the two fifth and ninth chapters, they are retold and most events have a singular frequency. Psychologically, the feelings of the hero of this work can be equated with the feelings of the author. The ideology that governs the atmosphere of Qeydar's novel, which shows the ideology of the author of this work, seeks to introduce the ideal character of Iranian society; a gentle personality a hero, a believer, a fighter and committed to the homeland, of which Qeydar is the supreme example. Amirkhani using the diversity in focalization and addressing the disturbed climate has brought the narration of Qeydar's novel closer to the social reality and has increased its credibility with the audience.
علمی- پژوهشی
Fiction Literature
Arezu Pooryazdanpanah Kermani
Abstract
One of the most important issues in human life today and consequently one of the most important features of postmodernism is uncertainty. The influence of this principle in the field of literature and the influence of the novel on it has made modern and postmodern novels more attractive for the reader ...
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One of the most important issues in human life today and consequently one of the most important features of postmodernism is uncertainty. The influence of this principle in the field of literature and the influence of the novel on it has made modern and postmodern novels more attractive for the reader and the reader more involved in reading the novel. The novel "Dilmzad" by Mohammad Roodgar is one of the selected novels of the Holy Defense in which various factors have been used to create doubt and uncertainty and the construction of its main theme is uncertainty. In the present article, different manifestations of uncertainty in the novel "Dilmzad" have been studied by descriptive-analytical method and through this, the author's preparations to create uncertainty and place the reader on the border of belief and disbelief have been analyzed. Findings of the research indicate that in this novel, uncertainty is expressed in the linguistic levels, narrative, characterization, perspective and time and place of the story, and among these, in the linguistic level of the novel has a special prominence. The author has also added to the skepticism and uncertainty of the story by narrating reality and mixing fantasy and reality with disregard for the cause-and-effect relationship in the story.
علمی- پژوهشی
Fiction Literature
Azam Nikkhah Fardaghi; samira bameshki
Abstract
The novel is one of the common types of contemporary literature that is directly related to the socio-political construction of any society. It has now strengthened this bond in recent decades; because epics and myths with their many capabilities can help the author to reflect the context of the metatext ...
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The novel is one of the common types of contemporary literature that is directly related to the socio-political construction of any society. It has now strengthened this bond in recent decades; because epics and myths with their many capabilities can help the author to reflect the context of the metatext and express the issues for or against it. Hence, novelists also employ different and sometimes contradictory approaches to the context of the metatext. In this study, we seek to answer the question that Belqeis Soleimani as of one of the authors of this type of novel, why and how invited epic characters to her novel?" To answer this question, we first examine the socio-political construction of the time of writing the novel (the eighties Ssi). Then, using the method of qualitative content analysis, we have clarified the author's position for or against the context of our metatext. Findings show that Soleimani by calling the active and norm-breaking activist Rudabeh of Shahnameh to her novel and making her passive against the norms of the patriarchal society and showing the negative consequences of such norms for Rudabeh as a representative of women, tries to represent and weaken patriarchal discourse by creating tension between actions of pretext Rudabeh and protext Rudabeh.
