Abbas Baghinejad; Naser Alizadeh
Volume 68, Issue 231 , January 0, Pages 1-15
Abstract
Juvenility in Sohrab Sepehri’s poetry, the contemporary poet, is a prominent aspect which is discernible in different forms of his poetry. He takes advantage of his childhood recollections in diverse modes to espouse the grounds of his poetry. His congenial and candid tone which remains unadorned ...
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Juvenility in Sohrab Sepehri’s poetry, the contemporary poet, is a prominent aspect which is discernible in different forms of his poetry. He takes advantage of his childhood recollections in diverse modes to espouse the grounds of his poetry. His congenial and candid tone which remains unadorned is a fusion of his juvenile and at same time artistic language which helps him to express and reveal his mystic perceptions. His fanciful imagination like that of children tends to develop novel relations among objects and phenomena in order to recollect unconsciously novel, fantastic, and unprecedented images which their novelty and diversity, in turn, is a reflection of juvenile imagination. He looks at objects and phenomena without any preconception and prejudgment so that he can reflect a stream of amazement and enjoyment in his poetry which is akin to the children’s encounter with novelties.
Mohammadbager Bahadori; Afsaneh Salmani
Volume 68, Issue 231 , January 0, Pages 17-40
Abstract
Parvin is the Persian literature’s shining star. The beautiful form and rich content of her poems are not hidden to any researcher. To this end, numerous subject matters and topics of her anthology which contain elegant and thoughtful resources necessitate to be searched which the current paper ...
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Parvin is the Persian literature’s shining star. The beautiful form and rich content of her poems are not hidden to any researcher. To this end, numerous subject matters and topics of her anthology which contain elegant and thoughtful resources necessitate to be searched which the current paper attempts to carry out. The present research is a qualitative study. In this study the reflection of oppression and tyranny, based on Parvin’s viewpoint, has been investigated. Evidently, she has used exciting examples, debates, elegies, odes, Mathnavis, and multiple poems to illustrate sagely the oppression and oppressor and their consequences and repercussions. She acknowledges that oppression causes the darkness of our soul and disreputation and destruction of humans in this world and the next one. Therefore, she invites people to oppose oppression. In Parvin’s viewpoint and thinking, oppressor has been likened to a snake, a biting dragon, a predacious wolf, and a sharp blade. Also, rulers, agents, judges, predators, and money-grubbers are considered four categories of oppressors who in one way or another are people’s killing thunderbolt and calamity. Parvin’s utopia is a place without oppression which provides welfare and tranquility including values for human beings. She believes that people’s acceptance of oppression is the reason for the tyranny of tyrants and people’s honesty and dishonesty arise from rulers’ honesty and dishonesty.
Mohammad Pashaei
Volume 68, Issue 231 , January 0, Pages 41-58
Abstract
“Her Eyes” is the first great novels written by BozorgAlavi. The sequences of the events are not chronological, and the narrator begins to narrate the story from the end of the story, and he employs different styles in narration. This article tries to analyze the narrative of “Her Eyes” ...
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“Her Eyes” is the first great novels written by BozorgAlavi. The sequences of the events are not chronological, and the narrator begins to narrate the story from the end of the story, and he employs different styles in narration. This article tries to analyze the narrative of “Her Eyes” based on the Gerard Genette viewpoints after offering brief discussion on the narrative, plot and the story. Gerard Genette distinguishes five main narration elements in the analysis of a story. These elements are: order, duration, frequency, voice and mood. The narrator employs flashback in the narration of the events in the novel of “Her eyes” and he collapses the liner and time sequences after hearing the news of death of master Makan, and he returns to the past by finding an unknown woman (Frangis). The size, time and duration of the novel of “Her Eyes” can be divided into two parts; in the first part, the story is narrated with high speed, and in other words, it has positive speed and the narrator narrates the events briefly and selectively. In the second part, the narration is slow and the events are narrated in detail and significant part of the story is about short period that depicts negative and slow speed of the narration. The narrated sections in this part play an import role in continuation of the story since these sections are more focused.
Zahra abdi goraby; Abbas khaefi; seyyed hassan seyyed torabi
Volume 68, Issue 231 , January 0, Pages 59-76
Abstract
Imagism or modern imagism is a set of images with vivid abstract and unrelated shapes which come together as cinematic editions. Imagist poets were effected by a kind of Japanese small and lyric poem and seventeen syllabic that named “Haiko” and the language of this poets is near to colloquial ...
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Imagism or modern imagism is a set of images with vivid abstract and unrelated shapes which come together as cinematic editions. Imagist poets were effected by a kind of Japanese small and lyric poem and seventeen syllabic that named “Haiko” and the language of this poets is near to colloquial and routine language. They were belived that we should use from”image” instead of direct speech for object array. Imagism is different from traditional dreamy ways such as (simile and metaphor). T.S.Elliot is one of the founders of this literary school. Some of the contemporary poets have been affected of this school in Iran. In this article, besides describing imagism literary school and its method, one of Ahmadreza Ahmadi’s poems which h is chosen from “I just wept the whiteness of horse” will be analyzed. His works’ analyze shows that images make the form in his poems with evading the concept and meaning. Image originality, freedom in the choice of subject and rhythm, using the spoken language and ambiguity are some of the features of Ahmadreza Ahmadi’s poems
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
Mohammad Mahdipour; Mohammad Khakpour; Khadijeh Pourzeyni
Volume 68, Issue 231 , January 0, Pages 109-136
Abstract
Qasida as a genre of Persian poetry flourished up to the late 6th century AH, and the 7th century AH marked the beginning of a period of its temporal decline. Inspired by certain social developments, however, this poetic form revived in the Constitutional Period with its authentic, traditional norms. ...
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Qasida as a genre of Persian poetry flourished up to the late 6th century AH, and the 7th century AH marked the beginning of a period of its temporal decline. Inspired by certain social developments, however, this poetic form revived in the Constitutional Period with its authentic, traditional norms. The present work is a structural and thematic analysis of the qasidas by Shahriar. Though Shahriar echoes many of the traditions of the classic Persian poetry, he does not arguably seek to follow the earlier norms and conventions as far as qasida is concerned. Due to his peculiar character, his qasidas employ a soft, lyric language. Though some of his qasidas do hold a candle to the relevant classic works, one should note however that qasida is not the major concern for him as he deems it as a rough poetic form. As with his other poems, the most important feature characterizing Shahriar’s qasidas is factography and expression of true, personal emotional experience. In qasidas with lyrical and emotional themes, this very feature has coupled with innovative fantasy and romantic descriptions to give birth to a new class of qasida unprecedented in the history of Persian literature. Shahriar’s qasidas fall in a wide array of thematic groups, but they can be split into the following categories in terms of the most prevailing purports: 1) panegyric, including Ikhwäniyät (brotherly poems), elegies, and social; 2) religious and monistic; 3) lyric; and 4) those dealing with the Iranian Islamic Revolutio
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.
