Persian Literature

Side and Outer Music in Majd Hamgar Shirazi's Quatrains

Naser Hamedi; Davod Mohammadi; Abdollah Hasanzadeh Mirali

Volume 11, Issue 1 , October 2021, , Pages 113-131

Abstract

  Majd Hamgar is one of the poets of the seventh century AH who was a contemporary of Saadi. He held a high position in the court of the Salghuri kings. A collection of quatrains of this ...  Read More Majd Hamgar is one of the poets of the seventh century AH who was a contemporary of Saadi. He held a high position in the court of the Salghuri kings. A collection of quatrains of this poet - over 610 quatrains - has been written by his grandson among the manuscripts of the Divan of four other poets in four sections. This exquisite edition, available in the British Library, has unique features; and has been considered by researchers. In order to know the important features of these quatrains in terms of subject matter and verse music, this version has been studied. The result is that Majd Hamgar's quatrains have been written on various subjects such as love themes, advice, herds of the world and destiny, satire and description of the beloved; and the poet has given a lot of importance to inner and side music. About half of his quatrains are in rows and a significant part of these quatrains has rhyme in four shutters, or rows and rhymes and in many cases, the end of the third stanza is related to the rhymes of the other stanzas united, as well as the letters, the allied, or in some way. It is a sign of the poet's attention to side music. Regarding the poet's view of external music, it should be said that the poet paid more attention to the shajar akhrab. The weights used in his quatrains are associated with various zehaf.

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RAHI; Tradition, Stereotype or Pseudonym? (Research on the Word “Rahi” in Persian Poetry)

Mahsa Rezaei; Najmeh Dorry; Saeed Bozorg Bigdeli

Volume 11, Issue 2 , May 2022, , Pages 115-133

Abstract

  A pseudonym or poetic name is one of the characteristics of Persian poetry that became common as a literary tradition from the sixth century onwards and stabilized in the poetry of ...  Read More A pseudonym or poetic name is one of the characteristics of Persian poetry that became common as a literary tradition from the sixth century onwards and stabilized in the poetry of seventh century poets. Poets such as Sanai, Khaghani and Anvari are the mainstreaming poets in this field and especially provide the ground for identifying and establishing of pseudonym in the Lyric. Relying on the repetition of a word that is one of the main characteristics of the definition of a pseudonym, some contemporary scholars have made a mistake in determining the pseudonym of poets and have attributed incorrect pseudonym to sixth century poets. Among these mistakes in attribution, we can mention the word Rahi, which has been introduced as the pseudonym of some poets. In this article, in a descriptive-analytical method,we mentioned the history of pseudonym in Persian and Arabic poetry as well as its place in poetry. We examined the hidden pseudonym in Sana'i and Rumi's poetry and by searching in Persian poems from the beginning and with emphasis on research in the poems of sixth century poets, we have studied the word Rahi in the place of pseudonym. The results show a kind of literary tradition and theme and words synonymous with the word Rahi in the use of this word by different poets, which cannot in all cases indicate the poet's pseudonym.

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Syntactic Construction Resulting from the Process of “Topicalization of Doubled Clitic” (pro-put) from the Perspective of Rhetoric in Persian Literary Texts

Farhad Mohammadi

Volume 12, Issue 1 , September 2022, , Pages 121-139

Abstract

  In the Persian language, there is a special syntactic structure in which the proposition of the sentence, which is a complete sentence itself, together with the subject, forms another ...  Read More In the Persian language, there is a special syntactic structure in which the proposition of the sentence, which is a complete sentence itself, together with the subject, forms another sentence. Abdul Rasul Khyampoor, the traditional grammarian, has mentioned such structure as a large and small sentence. The linguists also consider such a structure to be the result of the topicalization process, in which the proposition is basically an element within the sentence that then by the process of topicalization has separated from its grammatical position and moved to the beginning of the sentence and in place of that element, a co-referential pronoun has been placed. Of course, topicalization as a process in moving the components of speech to the beginning of the sentence has a wide structural scope and in this paper, only a special type of it is considered which causes doubled clitic in the sentence and produces a distinctive syntactic structure. The grammarian and linguists have studied this structure as a grammatical phenomenon. They have tried to describe and explain the way of this syntactic construction and to determine appropriate names and titles for its components. In this paper we study this structure with approach of rhetoric. We want to show that the main cause of forming this structure has been the rhetorical aims, such as “centeredness of the subject”, “observing the principle of speech” and “emphasis”.

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Fluidity of Motifs in Saeb Tabrizi's Poetry and Indian Style (A Case Study of Cypress and Cuckoo Motif)

Saeed Rahimi; Alireza Emami

Volume 12, Issue 2 , March 2023, , Pages 121-139

Abstract

  Motifs are one of the most important structural and unifying elements in artistic and literary works. In the field of literature, motifs are among the important elements of many texts, ...  Read More Motifs are one of the most important structural and unifying elements in artistic and literary works. In the field of literature, motifs are among the important elements of many texts, both poetry and fiction, as recurring stylistic elements. Of course, there are differences in the definition and role of motifs in poetry and fiction, and in this research, motifs are considered in their poetic function. In the history of Persian poetry, from the beginning, poets have used various motifs; For example, "candle and butterfly" and "flower and nightingale" are among the oldest motifs of Persian poetry. Some poets are more related to the use of motifs, and some have a special relationship with one or more specific motifs. With a more detailed study of the poetry of the Safavid period, known as Indian style poetry, we find that the use of motifs in the works of most of the poets of this period has a high frequency and significance. In addition to using this literary element a lot, the poets of this era also made some changes in the motifs in order to differentiate between their poems and the tradition of Persian poetry. One of the most important of these poets is Saeb Tabrizi, a poet of the 17th century and one of the most famous poets of the Indian style. He has a great tendency to thematize through the use of poetic motifs. Apart from that, the other characteristic of his poetry is the changes he makes in the meanings of the themes compared to their common and conventional meanings in the previous poems. In Persian literary research, these symbolic meanings are referred to as associations. In the present research, an attempt has been made to examine the evolution of poetic themes from a new perspective by matching the concept of the term association with the term motivation in the works of Gérard Genette, a contemporary French theoretician. In the end, by basing the theme of cypress and lunar/cuckoo in Saeb Tabrizi's sonnets, it has been concluded that one of the characteristics of Saeb's individual style and on a more general level, his period style is that his great desire to create new and original motivations for Poetic themes have caused a feature that was called "fluidity of motifs" in the present research. In many cases, this feature has led to the abstraction of multiple and sometimes chaotic and contradictory motivations for a single motif. In fact, the fluidity of the motifs can be seen as the excess of thematization and unbridled imaginations in the poetry of the period in question and a reaction to the possible loss that the poets of this period felt when looking at the great poets before them.

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Analysis of the Fourth Story of the Hasht Behesht by Amir Khosrow Dehlavi and Based on Ibn Arabi's Anthropological Theory

Mehdi Sharifian; Roya Hashemizadeh; Mohsen Mohammadifesharaki

Volume 11, Issue 1 , October 2021, , Pages 133-151

Abstract

  In Islamic mysticism, Ibn Arabi's view on the knowledge of man and his levels of existence has a special place. According to his opinion, the universe as a whole and all its manifestations ...  Read More In Islamic mysticism, Ibn Arabi's view on the knowledge of man and his levels of existence has a special place. According to his opinion, the universe as a whole and all its manifestations are the manifestation of the one essence of God; Accordingly, the world and the human soul are the result of the Illumination of the Aghle faal, and the soul has levels that are longitudinally related to each other; That is, each of these levels has a higher position than the lower level. According to this view, the soul includes the following levels: Rohe mojjarad, Nafse nateqa (aghle nazari & aghle amali), Nafse heyvani (rohe bokhari) and the Physical body, and among this, the soul, moves this path every time in order to communicate with the body. By looking  at the fourth story of Amir Khosrow Dehlavi's book Hashtabhesht, its secret and symbolic deep construction is revealed, which in this article, we have studied it with a descriptive-analytical method. According to the obtained results, this story was written under the influence of Ibn Arabi's thoughts and in it, "Shah" is a symbol of the Nafse nateqa which, by illuminating the Rohe mojarrad , reveals the secret of existence and told it to one of his wifes (the secret of Aghle mostafad) and The himself minister (the secret of Ghoveye shahvat). The minister abuses his trust and replaces the king; But finally, the king, with the help of his wife, defeats his.

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The Structural Analysis of Ebn-e Sina's Merajnameh According to Campbell's Model of the Hero's Journey

Ehsan Zanditalab; KHALIL BAYGZADE

Volume 11, Issue 2 , May 2022, , Pages 135-153

Abstract

  Merajnameh is an example of religious and mystical literature. It is a report of spiritual journey to unknown territories beyond self-awareness. In this literary form and narrative, ...  Read More Merajnameh is an example of religious and mystical literature. It is a report of spiritual journey to unknown territories beyond self-awareness. In this literary form and narrative, the concept of journey has always been a well-known element in the evolution of mankind towards perfection. For that reason, Merajnamehs of spiritual pilgrimage have been written in the form of travel books. The Meraj of Prophet Muhammad (PBUH), narrated by Abu-Ali Sina (aka. Avicenna), is one of the oldest independent examples in the Persian literature, written in prose, with a symbolic approach to the elements of narrative. The importance of studying such texts according to new literary theories is to attempt to open a new horizon in the reader's knowledge of the text in order to reveal its cryptic layers and to extend his comprehension of the text. The present research examines Ebn-e Sina's Merajnameh according to Campbell's concept of monomyth, which is a structuralistic psychological approach to the hero's journey, with a descriptive-analytic method and based on interdisciplinary studies of comparative literature. The results demonstrate that Abu-Ali Sina's Merajnameh is compatible with the narrative structure of Joseph Campbell's model of the Hero's Journey, except for some inconsistencies in the sublevels of "rejecting invitation" and "refusing to return" Which reveals the eloquence and dynamism of the ascension of Hazrat Khatami (PBUH) based on its narrative structure in the verses of the Holy Quran. 

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A Comparative Analysis of Debate in Iraqi_Style Sonnet and Contemporary Sonnet

Marzieh Hemmati; Fatemeh Sadat Taheri; Alireza Fooladi

Volume 12, Issue 1 , September 2022, , Pages 141-164

Abstract

  Many poets have chosen the art of debate to express their thoughts. Since the widest horizon of Persian poetry belongs to the lyrical type, a considerable number of Persian debates ...  Read More Many poets have chosen the art of debate to express their thoughts. Since the widest horizon of Persian poetry belongs to the lyrical type, a considerable number of Persian debates are also included in this type of literature. In these debates, the poet creates a dialogue or a give and take between the lover and the beloved, and each side tries to convince the other or force him/her to accept his/her opinion by showing his views as superior. Contemporary poets have also used debate extensively in their poems; but instead of boasting and competing with their opponents, they have talked, interacted, and tried to create an argumentative atmosphere. The present study through a descriptive-analytical method tries to discuss the differences between romantic debates in Iraqi-style sonnets and the romantic debates in contemporary sonnets as well as the reason for these differences. It has been concluded that contemporary sonnet, due to the political and social changes in Iran and changing views of poets, have moved towards dialogue and conversation; furthermore, it has undergone fundamental changes by altering the position of the beloved and his/ her individuality; In a way, it can be said that contemporary debate sonnets are different from Iraqi-style debate sonnets in structure, subject matter, content, gender of the lovers and the beloved.

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Report a Plagiarism (Plagiarism of Risal al-Quds and Ghalatat al-Salekin by Qutb al-Din Jami in Hadiqa al-Haqiqah)

Homayon Shekari

Volume 12, Issue 2 , March 2023, , Pages 141-162

Abstract

  The purpose of writing this article is to report the different aspects of plagiarism. This plagiarism happened in the sixth century (A.H.) in the city of Torbat Jam in northeastern ...  Read More The purpose of writing this article is to report the different aspects of plagiarism. This plagiarism happened in the sixth century (A.H.) in the city of Torbat Jam in northeastern Iran. There, the successor and grandson of Sheikh Ahmad Jami, Qutb al-Din Muhammad Jami, stole two books from Rozbahan Baghli Shirazi (Rasala al-Quds and Ghalatat al-Salekin). Qutb al-Din Muhammad Jami was known among mystics and scholars of that time, and he was considered a mystical writer. Rozbahan lived before Qutbuddin. He is a great mystic. A mystic who has written more than fifty books. His books are taken all over Iran. It seems that Qutb al-Din was unaware of this issue. Qutb al-Din has included two books of Rozbahan in one volume and presented them to the audience under the name of Hadiqah al-Haqiyah. To start the work, it was necessary to determine who the books were written by. I have provided a lot of evidence to identify which author each book belongs to. In this article, I have determined with what tricks Qutb al-Din did this plagiarism. In order to hide his plagiarism, he asked the scholars of his time to confirm the authenticity of his writings. I have examined these confirmations from another point of view. I have also determined which manuscripts of Rozbahan's books he had access to. For this purpose, I have compared the manuscripts of the books. Qutb al-Din stole Rozbahan's books but did not agree with all his opinions. In the investigation of this plagiarism, I have examined the difference in the views of these two people. These differences can be called ideological differences. This article is done by descriptive analytical method. Examining and comparing Roozbahan's books with Qutb al-Din Muhammad's Hudiq al-Haqiq shows that he stole Rozbahan's Risal al-Quds and Ghalatat al-Salekin, with minor changes, and presented them in his own name. The concern of convincing the audience has caused Qutb al-Din to change some signs of dependency of Rozbahan's books and remove others in a process that we have called the process of personalization. The most important characteristics of personalization of the text are: removing Rozbahan's rejection, modifying some of his views, extensive quoting of poems attributed to Sheikh Jam's family, adding the text of Sheikh Jam's treatises and adding personal views; In addition, in order to stay away from the disciples' question, he has asked the elders approved by Sheikh Jam's family to confirm that the text of Hadiqa al-Haqiyah is in accordance with Mustafa's Shariah; But now we know that Qutb al-Din, in this way, sought to prove the dependence of this work on himself and remove the accusation of plagiarism. The issue of including the poems of Sheikh Jam and his family in Hadiqah is also one of the issues to consider. By comparing the poems in the treatises and Hadiqa, it became clear that Qutb al-Din did not follow the trust in attributing poems and attributed other people's poems to Sheikh Ahmad Jam. Based on this, the attribution of the poems to the narrators claimed by Qutb al-Din is seriously doubtful. Some changes applied in the course of this plagiarism have gone beyond a simple difference and can be called an ideological difference. Differences in topics such as al-Tabas, unity, hearing, the expression of mystical experiences and the issue of vision are among these ideological differences. The revelation of this plagirismalso helps to examine the etymology of Rozbahan treatises. In this way, by examining the degree of correspondence between the versions of Risal al-Quds and Ghalatat al-Salekin with Hadiqa al-Haqiqah, we can approach the original version of Rozbahan's treatises. In the review of the versions, it was found that version "A", which was written in 817-822 A.H., is the closest version to the versions of Hadiqa al-Haqiqah and the closest version to the version approved by Rozbahan.

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Manuscript of Babajan Qazvini's Tazkereh Kalam al-Muluk: Adaptation or Transcription from Attar Neyshabouri Tazkereh al-Awliya

Asieh Zabihnia Emran

Volume 11, Issue 1 , October 2021, , Pages 153-168

Abstract

  The manuscript of Kalam al-Muluk (1403 AH) is a Persian mysticism work in Persian written by Kamaluddin Haji Baba bin Mirza Jan Qazvini, one of the most prominent students of Sheikh ...  Read More The manuscript of Kalam al-Muluk (1403 AH) is a Persian mysticism work in Persian written by Kamaluddin Haji Baba bin Mirza Jan Qazvini, one of the most prominent students of Sheikh Baha'i. The only version of this manuscript is kept in the library of the Majlis in 10294 entry. Kalam al-Muluk of Baba Jan Qazvini is about the circumstances and words of mystics and saints. Therefore, considering that it shows the author's mystical thoughts and ideas, and like most mystical texts, its prose is simple and far from ambiguity and complexity using simple and short sentences, its content is also a symbol of the rich mystical culture of Islamic Iran and the record of Persian-speaking mystics reflecting a manifestation of our Iranian identity and culture.The present article tries to answer the main question that why more than ninety percent of the mystical text of Babajan's theology is similar to Attar in terms of form and content via a descriptive-analytical method. The results of the research show that the mystical memoir of Kalam al-Muluk cannot be considered as an independent book, because the work is a writing and refinement of the memoirs of Attar. Since Babajan was a scriber and transcribed the works of mystics, it seems that he wanted to create an anthology of mystics’ lives.

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A Refrence to Cultural Geography of Body Language in Jamalzade’s Short Stories

Iraj Sadeghi; Bijan ZahiriNav; Khodabakhsh Asadollahi

Volume 11, Issue 2 , May 2022, , Pages 155-175

Abstract

  This study by relying on theory of linguistic behavior and social status of "Alfred Adler" and theory of Prospect's" Karl Sover "examines the world of the texts of Jamalzadeh's stories ...  Read More This study by relying on theory of linguistic behavior and social status of "Alfred Adler" and theory of Prospect's" Karl Sover "examines the world of the texts of Jamalzadeh's stories in terms of body language and non-verbal communication by definition of geography. According to Adler, language behaviors are a reflection of social and environmental situations. In the prospects of the text, cultural geography is formed given to human beings and behavioral changes. In this article, descriptive-analytical method and library studies have been used by examining non-verbal communication. The purpose of this study is to refer the function of linguistic relations in characters and human species in Jamalzadeh's stories and its conceptual effect on the relations of human species in the story. Sometimes. The story in formed of various human species (types). The results of this study showed that non-verbal communication is so significant in Jamalzadeh's works and Jamalzadeh uses linguistic and physical behavior to express intangible feelings and intangible concepts. The reasons for that are lexical poverty and conceptual suitable inadequacies. Lifestyle has an effect on dynamic structures. From the view of amplitude, according to the diagram, the most of non-verbal language behavior is observed in the eye component and the lowest linguistic behavior belongs to the organ component.

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From the Myth of Farr to Cosmic Energy in Ferdowsi's Shahnameh

Zahra Jalili; Abdollah vasegh abbasi; Mohammadamir Mashhadi

Volume 12, Issue 2 , March 2023, , Pages 163-185

Abstract

  Due to the fact that most of the works written in the field of "farr" are focused on its literal meaning, its derivatives and mythological manifestations, and also because the concept ...  Read More Due to the fact that most of the works written in the field of "farr" are focused on its literal meaning, its derivatives and mythological manifestations, and also because the concept of "Farr" in our time is the basis of many topics of modern physics, including luminous aura, energy chakras and it is energy therapy, in the review of Ferdowsi's Shahnameh, the historical roots of "Farr" and its various forms are less mentioned in connection with the manifestations of cosmic energy. The authors, looking at the concept of "Farr" and its characteristics, with a descriptive-analytical method and a library approach They have investigated the metamorphosis of "Farr" and its connection with cosmic energies, how it has appeared in today's world issues and what are its main sources? What are the types and interpretations of "Farr" and today's manifestations, and what is the reflection of "Farr" in Ferdowsi's Shahnameh. This article aims to investigate the material and spiritual forms and incarnations of "farr" and its connection with cosmic energy, and to analyze and investigate its transfer from the Mehri religion to the Avesta and then from Ferdowsi's Shahnameh to the present age. Some of the researches that have been written in connection with the theoretical foundations of this article in the field of cosmic energy include books on traditional cosmology and modern science, the quantum ideas of Rumi, the quantum world, research in Iranian mythology, Yashta, Farrah Ezadi in the ancient Iranian monarchy. and the article "Farah, this magical and heavenly force". The conducted research shows that human beings are surrounded by a subtle energy called aura of energy. In the past, this subtle energy, especially in the area of the head chakra, was known as "farr", and it is the most important discipline that connects humans to the beyond; At first, the donors of the "farr" were Mehr and Apam Nepat, and "farr" belonged to the sun and water, but after Zoroastrianism came into use, Ahura Mazda became the donors of the "farr" and fire became its main element. In the Shahnameh, "farr" is the main pillar and the fundamental element and in its incarnations it is transformed into an alive creature or objects and manifests itself in the form of strength and talent in the form of beauty, wisdom and power or mysterious objects. The appearance of the "farr" in Mehri religion, Avesta and Shahnameh is a luminous aura, and the appearance of the "farr"  has been attributed to tangible signs and forms, for example, in the Avesta, it is the bird of Verghan and Ghorm, and... after that in the Shahnameh, it is called Simorgh, Homa, A deer, a horse, a Jahanbin Cup, a ring, etc., and also the effect that this energy had on the head chakra and made the aura of energy  around the head brighter, they called Shamse, Crown, Dastar, Dihim, etc. as well as the effect that this energy had on the head chakra and made the aura of energy around the head more luminous, were like Shamse, Taj, Dastar, Dihim, etc., of course, in the Shahnameh, "Farr" is a divine gift, and sometimes it shines in the form of light from the faces of kings, etc., and sometimes it is manifested in the form of a divine thought in finding secrets and breaking magic.

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The Transformation of Memory into a Story in Sustainability Literature with the Atash be Ekhtiyar Novel

Mahmood Haddadeyan; Habibollah Abbasi

Volume 12, Issue 1 , September 2022, , Pages 165-186

Abstract

  Memoir is one of the literary genres and forms of writing in which the writer recounts the events that have taken place in his lives and has had role in them or has observed them.The ...  Read More Memoir is one of the literary genres and forms of writing in which the writer recounts the events that have taken place in his lives and has had role in them or has observed them.The author faces incidents with his perspectives, and over time, he accumulates them in mind and recreates them by relying on  his ability and art of writing.These variables can transform memory from the simple narrative of an historical event to a literary, readable and lasting work.With the start of the eight-year Iraq war against Iran, many Iranian warriors began to write memories and daily notes.These memories and notes, while expressing their feelings and thoughts in the history documents of events, used to explain the realities of the war and the creation of the story. The decoding of the transformation process of memory into a story in resistance literature is a matter in which research and development, while formulating and defining the principles and rules of the transformation of memory into a story, will pave the way for writers to create such works.In this research, we have analyzed the metamorphosis of the memory to the novel by relying on Atash be Ekhtiyar novel, written by Mohammad Reza Bayrami.The results of the research show that Atash Be Ekhtiyar has characteristics like dialogue, scenery, movement in time, the fluid flow of the mind, etc…that can transform this work from memory into litrary work and give it a litrary-historical nature. 

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“Manuheri's Deployment of Arabic Poetic Features: A Reason for his Distinguished Panegyric Poetry”

Fatemesadat Taheri; Saeedeh Birjandi

Volume 11, Issue 1 , October 2021, , Pages 169-184

Abstract

  This article studies the function of the personal style of Manuchehri Dāmghānī (d. 433 AH) in panegyric poems and boasting poems. Manuchehri has written various eulogies and panegyric ...  Read More This article studies the function of the personal style of Manuchehri Dāmghānī (d. 433 AH) in panegyric poems and boasting poems. Manuchehri has written various eulogies and panegyric poems that have been distinct in their own ways among all his contemporaries due to their poetic features and his mastery of the Arabic language and literature. Deploying a descriptive and analytical method, the writers try to answer the following questions: what is the relationship between boasting poem and panegyric poem in Manuchehri’s poetry? What are Manuchehri’s techniques in his panegyric and boasting poems? What are his differences from his contemporaries in this regard? And which factors have led to his use of this new style? After elaborating on Manuchehri’s personal style in eulogy and boasting, it is argued that Manuchehri’s new method has rooted in his knowledge of Arabic literature as well as his awareness of famous Arab poets and literary charaters. It is concluded that Manuchehri has deployed not only Arabic language -- as a means to express grace and antagonism-- but also known literary characters of Arabic literature along with some quotations, poetic images, themes, and implication. It is understood Manuchehri’s personal style is the result of his delicate mixture of panegyric poems with that of boasting poems, and it has been done consciously since he has eulogized himself for that.

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The Type and the Function of the Narrator in the Narrative of the Story of Rostam and Sohrab

chiman khoshnamay Bahramir; Teymoor Malmir

Volume 11, Issue 2 , May 2022, , Pages 177-195

Abstract

   The epic and heroic narrations are reformed in various ways. The narration scrolls and vulgar and folk narratives are a means of recreating these stories. The author of Shahnameh, ...  Read More  The epic and heroic narrations are reformed in various ways. The narration scrolls and vulgar and folk narratives are a means of recreating these stories. The author of Shahnameh, writers, scroll narrators and the narrators who narrate stories for generation, each choose a narrator and a particular point of view in accordance with their goals and attitudes to tell the story. In this research, we have analyzed the form and function of the narrator and the point of view in Rostam and Sohrab narratives. The question of this research is that how and in what point of view each narrator of this story emphasizes on some parts of the story or narrates it in a different way or with a different view rather than the original version? The result of the research indicates that the point of view of different narrators in Rostam and Sohrab narratives, is based on Fatalism. The narrator of Shahnameh, by mentioning the details of an event with pause and hesitation or generalization or omission, forms his own specific and intended discourse. The narrator of the scroll is an intervening narrator; he is constantly on the verge of revelation, judgment and interpretation and for the sake of the hero’s acceptance and admissibility as much as possible, he introduces him as a believer in religion. In the scrolls, due to the venue and the narrator's audience, the “character’s” action is based on society’s approbation and the common culture of the time. The narrator’s view of the woman in Shahnameh is different from that of the scrolls. The narrators have the same view about the battle of Gordafarid and Sohrab in every narrative and that is based on the prevalence of Gordafaris’s trick over her warfare skills.

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Hivela ( Luri Weddingsong) Content and Structure Analysis of a Weddingsong

Zahra Khakbaz; Hasan Zolfaghari

Volume 12, Issue 1 , September 2022, , Pages 187-210

Abstract

  There are several wedding songs in Luri culture and Hivela is one of them. This wedding song includes various narrations in different areas of Lur inhabitants. There is a Hivela with ...  Read More There are several wedding songs in Luri culture and Hivela is one of them. This wedding song includes various narrations in different areas of Lur inhabitants. There is a Hivela with 32 verses customized in Azna, Lorestan province which ranges from courtship ritual to a day after the wedding ceremony.  The Masnavi has syllabic rhythm and the poet is anonymous. Features, performance method, form, rhythm, rhyme, and aesthetic aspects of the song are investigated in this inquiry and its main narration is arranged and analyzed in 15 forms of discrete ceremonies. This research aims at a complete introduction of this wedding song and distinguishing it with other Luri wedding songs like Kelzanoon, Sit Biarem  and etc.; Since They are usually mistaken to be synonym of each other. Folk poems are similar to each other because of integration of their roots and it is hard to classify them but lack of a structured research about Luri wedding song revealed this gap more. Investigation of each wedding song discretely leads to better judgment about all wedding songs of Luri culture. The research is done based on descriptive-analytic method; Its main data is achieved based on field research in various Luri inhabitants’ provinces; Meanwhile written researches and works of other researchers were considered.

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A Study and Analysis of the Role of Color in the Afghanistanian Resistance Poetry Based on Max Luscher's Theory A Case Study of Khalilullah Khalili's Poetry

Shafiullah Salik; Mahsa Rone; Seyed Ali Ghasemzadeh

Volume 12, Issue 2 , March 2023, , Pages 187-210

Abstract

  The contemporary Persian literature of Afghanistan, affected by the social and cultural factors of the constitutional revolution and then the 7th Soar coup (7th Ardibehesht), was transformed ...  Read More The contemporary Persian literature of Afghanistan, affected by the social and cultural factors of the constitutional revolution and then the 7th Soar coup (7th Ardibehesht), was transformed and became the basis for the formation of different poetic movements. Each of them interpreted poetry based on their idealistic ideas. The poets of these poetic movements have also used colors as a tool to express their political and social goals; especially the poets of the movement of resistance. One of the best movements of contemporary poetry in Afghanistan, have used a range of different colors in expressing their thoughts.Since colors play an important role in reflecting the emotional and spiritual personality of a human being. They have also been considered in the modern psychology and thus, Psychologists can understand the mental states of the composers by considering the quality of the choice of colors in poems. One of the tests that can tell the artist's mental state based on the quality of the use of colors, is Max Luscher's theory of color psychology.This article is looking for a precise and methodical reading of the poetry of Afghanistan resistance based on the theory of Max Luscher, so that it can help us in a comprehensive and accurate understanding of the thoughts and personalities of the poets of this movement and the important reflected elements of their poetry. To introduce the hidden layers of contemporary poetry of Afghanistan and the way of thinking of its contemporary poets.The present study, using the descriptive and analytical method, investigates and analyzes the colors used in the poetry of the first poet of the Afghanistan resistance, Khalilullah Khalili. In this article, Luscher's applied colors and their evocative have been collected first. Then each of them has been classified, analyzed, and studied with the approach of Max Luscher's theory.A case study of Lusher's use of eight colors in Khalilullah Khalili's poems shows that his first choice in his poems is red and black. Red is a symbol of life and death. The symbol of death with burning flames that destroys everything and the symbol of life that pours the passion of love in the heart. The choice of black color next to red in the first choice expresses his displeasure and disgust with the surrounding environment and his protest against the current situation, hatred of aggression, injustice, and the suffocating atmosphere of the society. But the green and blue color in the second choice, which reflects the real situation and the desired goal of affairs, shows his desire for a better life and hope for the future, which requires peace and intimacy. The choice of brown and gray colors in the third step shows that due to social unrest, Khalili expresses his feelings and emotions in a hidden manner, and this issue makes his poetry more mysterious and consequently more artistic. And the choice of yellow and purple in the fourth step shows the poet's desperation, which has led him to take refuge in himself. He hides his natural passion and imaginative nature as much as possible, and this issue has made his poetic language symbolic.As a result, it can be inferred that the abundant use of red and black colors in the first situation shows the poet's tendency towards the concept of the uprising and struggle against aggression, tyranny, and social disorder.  The red color in his poems tells about martyrdom and struggle, and he seeks the way out of black color in red color, and therefore all his poems are covered with blood and martyrdom, and it tells about struggle. But also, the frequency of green and blue colors in the second situation which indicates the real situation, manifests the poet's desire for a better life, the end of aggression, tyranny, the creation of deep change and transformation in the society.

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Analysis of Rostam's Personality with Emphasis on Kant's School of Deontologism

Fatemeh Hajirahimi; Salman Rahimi

Volume 11, Issue 2 , May 2022, , Pages 197-215

Abstract

  In the philosophy of ethics, the criterion of valuing and measuring moral actions is one of the prominent issues. Immanuel Kant, a German philosopher, believes that only the present ...  Read More In the philosophy of ethics, the criterion of valuing and measuring moral actions is one of the prominent issues. Immanuel Kant, a German philosopher, believes that only the present has a moral value that is in accordance with the task and that the actor has no other motive than to perform the duty. To understand what an action is in accordance with the duty, one must refer to the Absolute. What is meant by the Absolute, which defines all our moral duties, is: Act according to a rule that you can simultaneously will that rule become universal law. Kant considers the absolute to be the obvious rule of practical reason. Since this is absolute, the rulings derived from it will also be absolute. Rostam, the ideal character of Shahnameh in all spheres of life, always paid attention to doing his duty and justice and did not use immoral tools and methods to achieve sublime goals. According to the Shahnameh, several propositions indicate the Deontologism of morality in the moral school of Rostam. In the present study, which has been done by descriptive-analytical method, the authors has come to the conclusion that Rostam's personality is closely related to some indicators of Kant's moral conscientious school. These indicators are: human duties towards oneself, human duties towards others, duties towards certain classes of people. 

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A Study of Technorealism in This Weblog Will be Transferred

Zahra Taheri

Volume 12, Issue 1 , September 2022, , Pages 211-229

Abstract

  Due to the dominance of cyber space on the world, it is obvious that people’s daily lives, especially young adults’, have been affected so much by this space. The same is ...  Read More Due to the dominance of cyber space on the world, it is obvious that people’s daily lives, especially young adults’, have been affected so much by this space. The same is true about art and literature as true mirrors to life. Therefore, this article focuses on the notion of ‘technorealism’ in This Weblog will be Transferred (2012), the acclaimed work of contemporary Iranian writer, Farhad Hasanzade, through a posthumanist perspective. Using ideas of Falnagan and others, the writer tries to elaborate on notions of technorealism which has recently become popular in young adult literature.  To this end, the notions of “physical self” and “digital self” are discussed while it foregrounds the fluidity of identity as a major feature of posthuman literature. It is argued that technorealist literature makes attempt to imitate cyber space and realize its features in printed books. Adopting a polyphonic multi-perspectivism while introducing linguistic innovations, this new genre tries to provide a positive perspective towards the cyber space, despite its all possible threats. It also tries to replace the grand narratives of liberal humanism –such as individualism and essential identity—with ‘collectivism’ and fluid identity which can be deployed as great guards against binary-orient system of liberal humanism.

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Analysis of Concept of Space in Three Stories of Shāhnāme According to the Levy-Bruhl’s Theory of Mythical Thinking

Arman Fateh Dowlatabadi; Habibollah Abbasi; effat neghabi

Volume 12, Issue 2 , March 2023, , Pages 211-230

Abstract

  Ambiguity of space in Shāhnāme is an interesting subject which attracts reader’s attention in the mythical and heroic parts of this epic. Irān is one of those ambiguous places ...  Read More Ambiguity of space in Shāhnāme is an interesting subject which attracts reader’s attention in the mythical and heroic parts of this epic. Irān is one of those ambiguous places which plays important roles in different stories. In three stories of Iraj’s enthronement, imprisonment of Kekāavoos and The Great War of Keykhosrow and Afrasiab, Iran plays an important role in the narrative of the story. Also, ambiguity of Irān as a place and its mythical characteristics is eminent in these stories. In these stories, Iran is not just a political unit but according to mythical thought of the creators of these stories is something beyond the logical entities and cannot be limited to what we understand of space. In this study, with the use of desk study and content analysis and emphasis on Lévy-Bruhl’s theory of mythical thought we have tried to reach an anthropological reading of these three stories. We have found out that ambiguity of space is rooted in the mythical thinking of the creators of these stories. In these stories, Irān and Iranians are not independent entities but participate in meaning and cause mystic emotions. In other words, Iran and Iranians can be used interchangeably as the context of stories suggest, meaning Iran is Iranians and Iranians are Iran. In Addition, mythical thought considers any threats to the members of a group as a threat to the group as a whole because it perceives the member and the group as one. A member of a group is not just a person but contains the mystical powers of the whole group. So what happens to one member of the group, happens to the group as a whole. If a member is injured, the whole group is considered to be injured. Furthermore, According to this kind of thinking, this perception of group and its members is not paradoxical.  So, wars between Iranians and Turanis are something beyond political wars and are an effort to protect Irān and Iranians. In these stories, taking revenge is not simply a political act but is an ethical responsibility of all members of the group in order to protect and preserve the group as a whole. So in these stories that we have analyzed, revenge plays an important role in the narrative of the stories since taking revenge is accepted as an ethical act to save the group in the mythical thinking. Alongside other reasons, our findings show that the ambiguity of space in Shāhnāme can be the product of mythical thinking.

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Examining Iranshahri's Thoughts as a Component of Intellectual Style in Gershasp Nameh

Seyed Mohammad Fathollahzade; Mirjalil Akrami

Volume 12, Issue 2 , March 2023, , Pages 231-254

Abstract

  Iranians were the people who lived in the land of Great Iran in ancient times, in their social relations with each other and with the neighboring countries and with the people of the ...  Read More Iranians were the people who lived in the land of Great Iran in ancient times, in their social relations with each other and with the neighboring countries and with the people of the world of those days, they had wars, peaces and reconciliations, friendships and relationships. This behavior and their relationships and belief, which is history as the preserver and guardian of the documents of the past, has been preserved for the future generation. The ancient Iranians, for whom Ardeshir Sasanian used the word Iranshahri for the first time, had thoughts and ideas to express their opinions, beliefs in establishing relations with others, in the manner and ritual of governance and statecraft. Historians, poets and writers have been influenced by these ideas. Especially the poets of the 4th and 5th century were more influenced by it in their epic works, one of them is the famous Iranian poet Asadi Toosi. Asadi Tusi's Gershasp Nameh is the most important heroic and epic text after the Shahnameh. Although its subject is wars and heroic performances, it contains important and effective elements in the formation process of Iranshahri's ideas. Various topics and elements that have happened throughout history in the thoughts of ancient Iranians and the long-standing beliefs of Iranian citizens in their daily lives have a prominent appearance. The purpose of this research is to identify and analyze the intellectual foundations of Iranshahri as one of the coordinates in the intellectual level of this valuable work. Now this question is raised, what were Iranshahri's beliefs and thoughts in this book? And what has been reflected? In order to answer the questions in this research, which is analytical-descriptive and based on library studies, topics and elements such as "minorism, theology and religious orientation, Shah Armani, reconciliation and friendship, pact, oath, prophecy, catacombs, magic , fate and destiny" which was one of the main intellectual bases of Iranians and ancient Iranians, based on "Gershasp Name" and reference to "Shahnameh", "Bahman Nameh", "Barzonameh", "Faramarznameh", "Bano Ghassab Nameh" and "Detailed Court" has been examined and analyzed. By studying and examining Gershasep's epistles and epic poems in the Khorasani style, we can conclude that there are few parts of his poems that are not influenced by Iranshahri's ideas. Garshasp, the book of Esdi Toosi, travels, stories, wars, and performances, which are the result of the presence of Gershasp, the mythical warrior of Iran. Events have taken place in it, and there have been effective elements and phenomena, and beliefs that the people of Iran have fully believed in. In this work, the literary master has shown himself in the best way and these themes and elements in Asadi's book have been manifested as the second and best literary work of Khorasani style. And compared to the works of other epic poets of this style, it has been reflected in the best way.

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A comparative study of the conceptual metaphor of satire from the linguistic point of view in Khaqani's and Motanabi's poems

ali Abasalizadeh; Homeyra Zomorrodi

Articles in Press, Accepted Manuscript, Available Online from 10 March 2024

Abstract

  The present study investigates how to conceptualize satire and slander in the language of two prominent poets of Persian and Arabic literature based on the theory of conceptual metaphor. ...  Read More The present study investigates how to conceptualize satire and slander in the language of two prominent poets of Persian and Arabic literature based on the theory of conceptual metaphor. Metaphorical examination of the concept of satire can certainly have a significant function in understanding poets from a psychological point of view, and in a broader form, the effects of this metaphor can also express the cultural issues of those societies and their social conditions. The comparative study of this issue based on the theory of conceptual metaphor has an essential contribution to entering the mental world of Khaqani and Motanabi and knowing thoughts and emotions as well as their similarities and differences. The research method in this article is a library, and the data has been analyzed using the content analysis method. In the end, the differences and similarities between both poets have been shown in a diagram. The research findings show: The source areas used in the language of the two poets are almost the same. The most source area used in the language of both poets is related to the use of animal names. The second source area used in Khaqani language is related to his use of verbal expressions, but the second group of source areas that clearly shows itself in the textual language is his use of the words taboo and abstinence, and the findings of Others are described in detail in the text. It is hoped that this research will help better to understand the thoughts and emotions of both poets.

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Semantic Analysis of verses from Divan-e-Kabir based on Edition and Translation

shirin RazmjooBakhtiri; Elham khalilijahromi

Articles in Press, Accepted Manuscript, Available Online from 07 April 2024

Abstract

  The current research is a semantic analysis of verses from Mevlana’s Divan-e-Kabir due to the lexicon and phrases edition, and syntactic relationships in the verses. The mentioned ...  Read More The current research is a semantic analysis of verses from Mevlana’s Divan-e-Kabir due to the lexicon and phrases edition, and syntactic relationships in the verses. The mentioned verses in the article, are difficult ones of Mevlana’s poetry, which have created a big challenge for both the commentators and the translators, who have been editor themselves. Even these translators have not been able to find a suitable equivalent for some verses. First, these verses have been studied from the perspective of authenticity of manuscripts according to the manuscripts used by professor Farozanfar in edition of Divan-e-Kabir and 4 authentic new versions. Then the reflection of the incorrect edition of these verses in the interpretations and translations of Arberry and Nicholson has been studied. The mentioned verses are studied under the title "Effect of edition on translation". Then the verses that the translators have not been able to analyze correctly in the source language and have provided an inappropriate equivalent in the target language have been discussed, under the title "Translation based on a misapprehension of the text". In both titles, the effect of incorrect edition on the understanding of commentators and translators is obvious. Therefore, it has been tried to present the original form of these verses to the readers

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The LNP Usage in Golestan Saadi's Anecdotes with an Emphasis on Butterfly Effect (Chaos) Theory

Mousa Zare; Kobra Nodehi; Mohammad Ali Khaledian

Articles in Press, Accepted Manuscript, Available Online from 07 April 2024

Abstract

  The butterfly effect (chaos) is a theory proposed in physics, one of the applied techniques in its science that has effective use in the communication system. According to the butterfly ...  Read More The butterfly effect (chaos) is a theory proposed in physics, one of the applied techniques in its science that has effective use in the communication system. According to the butterfly theory (chaos), the smallest deviation or error by the most effective and important member of a communication system will cause chaos and disintegration of that system. Among the great writers of Persian literature in line with Butterfly's perspective, Saadi is a seasoned and experienced orator who tries to present his opinions and suggestions to improve relations in communication systems and adaptive behaviors in Golestan. Therefore, the purpose of this research is to analyze all chapters of Golestan with an analytical method to show that not all members are equally effective in the space of communication and systems. The hypothesis is to emphasize this point that in Golestan Saadi, in every effective relationship, there is a system and system. In every communication system or system, there is a more practical element. The findings showed the application of L.N.P the foundation of Saadi's Golestan is based on six major issues: the chaos of kings, the chaos of hypocritical ascetics, the chaos of judges, the chaos of teachers and trainers, the chaos of administrators, and the chaos of intellectuals and scholars. The result of the research indicates the important issue that Saadi in Golestan believes in this basic principle that everyone should know their place in a communication system and the effect of their behavior on the whole system in order to prevent chaos.

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The functions of present condition in Saadi Golestan’s anecdotes

Faranak Shojaee Bahabadi; mahmood fazilat khakian

Articles in Press, Accepted Manuscript, Available Online from 24 April 2024

Abstract

  In this speech, we discuss how Saadi in Golestan considered all the effective factors in establishing verbal communication (prolocutor, audience and speech) and observed the requirements ...  Read More In this speech, we discuss how Saadi in Golestan considered all the effective factors in establishing verbal communication (prolocutor, audience and speech) and observed the requirements of each one in its place. He enumerates the characteristics of an eloquent theologian and advises the speaker to always keep in mind the requirements of the situation and position and speak the words appropriate to the situation. Saadi considers the mental preparation of the audience to be as important as the eloquence of the speaker in the impact of the speech. In Golestan he has arranged all three aspects of speech (subject, structure and tone) according to the current requirement the diversity of the subject in Golestan shows Saadi's careful attention to the divers rang of different audience and their moods. Saadi also considers the requirements of the present in the structure of the speech and uses all the possibilities and linguistic tools such as brevity and verbosity, simile, allegory and allusion. Saadi also considers the diversity of his audience in the choice of tone and the various tones in Golestan's text are indicative of this. In this research, the requirement of the present in Golestan's anecdotes has been investigated and examples from Golestan has been mentioned for each of them. A better understanding of Golestan's anecdotes can be achieved by realizing the appropriateness’ of the speech and the secondary purposed of the sentence. This research has been done by analytical - researched method and using library resources.

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Manifestation element of dialogue in the beautification of the Ashurai mourning song (Battle of the Kaaba and Karbala) by Gholamreza sazegar

mahdi sadeghi; fazlollah rezaei ardani

Articles in Press, Accepted Manuscript, Available Online from 29 April 2024

Abstract

  Abstract The dialogue element is effective as a lever in explaining the content and content of the speech and is a platform for creating realities and highlighting the characters of ...  Read More Abstract The dialogue element is effective as a lever in explaining the content and content of the speech and is a platform for creating realities and highlighting the characters of the work. This research investigates this component in Ashurai mourning (controversy between the two holy shrines of Makkah and Karbala) by Gholamreza sazegar with a descriptive-analytical and testimonial method. The words, combinations and tone of the words during the speeches of the two shrines depict the incidents and events of the two lands in the horizontal axis of the word, but the words of the shrine of Karbala emphasize the nature and perspective of the Ashura incident by introducing the characters. The semantic nature of the theme and the content of the poem, with the help of dialogue or two-way conversation as the basic element and help of creative arts, advances the framework of the word system in the vertical axis, towards a specific goal (Knowledge of the philosophy of Ashura) and the three main factors of dialogue, (Mutalkam, audience and message), are directed in a circular radius towards the horizon of Ashura philosophy. By using this element correctly, the poet puts the burden of creating and paying attention to the content of the events on the shoulders of this tool so that it can be removed from the text and made available to the reader. Finally, the rhetoric of the dialogue between the two shrines, by enhancing the linguistic and structural side of the poem as required by the prevailing context, takes a step towards crystallizing the hidden layers of the Karbala incident.

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