Persian Literature

The Beginning and End of Poetry in Heidegger’s Phenomenology

Enayatollah Sharifpuor; Farah Abuotalebi; Masoud Bagheri

Volume 10, Issue 1 , September 2020, , Pages 101-120

Abstract

  What is poetry? It is the main question that has been raised in philosophy, literature, and linguistics, and a group of experts have answered it. The present article seeks to answer ...  Read More What is poetry? It is the main question that has been raised in philosophy, literature, and linguistics, and a group of experts have answered it. The present article seeks to answer this question through Heidegger’s phenomenology, and thus, identify the field and subject of literary science. Studies have shown that what Heidegger called as the “house of existence” is the language that reaches the human ear from existence, and this is the consciousness and cognition of man. What human beings express from the understandings and openness of existence creates “speech” and human language. Poetry is the impression and expression of new understandings that have not been expressed in a human speech before; it is the words that reveal the universe differently and bring a new comprehension to human beings. If poetry is repeated and used in everyday speech, personal understanding becomes public. Human speech always oscillates in a range of historicity and newness, creativity and banality, poetry and everyday speech. Comprehensions are shared in human speech, and poetry is an opportunity to share new insights. Poetry makes the language comprehensible, and expands understanding and general language. It is essential for the literature to pay more attention to the creative and linguistic aspect of poetry and value creative speeches and new discourses that leave the literary traditions to develop and expand the language.

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- The Plot Development in Maqamat-e Hamidi (A Morphologic and Narrative Approach)

Mohammad Ragheb

Volume 2, Issue 2 , May 2013, , Pages 103-124

Abstract

  Twenty one Maqamas of Ghazi Hamid al-Din Balkhi’s (died in 559 A.H) work, by the name of Maqamat-e Hamidi (written in 551 A.H), are studied in present article. The study of 6th ...  Read More Twenty one Maqamas of Ghazi Hamid al-Din Balkhi’s (died in 559 A.H) work, by the name of Maqamat-e Hamidi (written in 551 A.H), are studied in present article. The study of 6th and 14th Maqamas is postponed because of obvious distinctions of plot structure with the other Maqamas. Each of Maqamas’ plot structure includes 10 functions and develops by increasing or decreasing of the functions. Indeed, the main purpose of this article is to offer a consistent definition of the genre (Maqama) rules in Persian literature. The present approach has been taken from the attitude of Vladimir Propp (1895-1970 A.D.) at Morphology of Fairy-tales (1928 A.D.) and notions of Narrative prose sciences.

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The Link of Rhetoric and the Dimensions of “Description” in the Works of Eight Children Poets

abbas baghinejad; Asghar Babasalar

Volume 8, Issue 2 , May 2019, , Pages 103-119

Abstract

  As a rhetorical and aesthetic approach, description and descriptive expression are used in children poetry, and different types of their forms are used by children poets. Utilizing ...  Read More As a rhetorical and aesthetic approach, description and descriptive expression are used in children poetry, and different types of their forms are used by children poets. Utilizing the creative potential of this form of expression, the childrenpoets strengthen the rhetorical and artistic dimension of their works, and easily access the main goals of children poetry: the development of the children's look into the environment, their mental and personality development, the strengthening of their imagination, the stylization of their emotions and deepening their thoughts. The importance, function and capabilities of poetic description and its rhetorical importance in children poetry, as well as the quality of its impact on a child, as an audience, are initially described in present study, and then, the forms and types of descriptions and descriptive expressions which are used frequently under the titles of "Subjective description", "objective description", "visual description"  and "narrative description" in the works of eight poets of child and adolescence have been reviewed and analyzed along with evidences of each. In addition to such analysis, the extent and the quality of the effects of each of these types has been assessed on juvenile audiences. Precise and immediate observation has been considered as the origin of the "objective description" and its ultimate aim is to represent the material and objective aspects of the phenomena. The "subjective description" has been evaluated as the result of the poet's use of objective affairs to expresshis/her mind, emotions and thoughts; and the "visual description" is defined as description based on imagination with a clear aesthetic reliability, an finally, the " narrative description" is a kind of description formed by the poetic and allegorical narration of the poet on the basis of his humanization.

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The Effects of Emotional Tensions on the Instability of Meaning of the Title of Mehdi Akhavan-Sales’ “The Message” in Intertextual Relation to the Text of the Poem

Sareh Zirak; Mehrnoush Kashani Mansour

Volume 10, Issue 2 , March 2021, , Pages 103-123

Abstract

  Abundance of despair and hopelessness is an indicative feature of the poetry of Mehdi Akhavan Sales. His emotionally negative state of mind has severely impacted his poems. The title ...  Read More Abundance of despair and hopelessness is an indicative feature of the poetry of Mehdi Akhavan Sales. His emotionally negative state of mind has severely impacted his poems. The title of the poem under our analysis, “Message,” has close paratextual relationship with the text of the poem. On the basis of this conjecture, “Message” raises the question: how come that the positive and emotional sense of “Message” has any meaningful relation with the overwhelming hopelessness in poem? The purpose of the authors is to explain how the title of the poem has gone through a semio-semantic transformation due to the desperate atmosphere of poem’s text. The narrational analysis of the poem shows that “Message” by accepting an inferior meaning has been transformed into a negative connotation. Here, the narrator closes all doors to any change, whereas if he would have accepted the help of an external actor, there might have been a hope for settlement of his ontological problem and, thus, the narration of the text would have alleviated from extreme pessimism to optimism. But the negative and paramount pressure of sorrow and hopelessness has transformed poem’s theme into its ontological enemy. The process of generation of the meaning of the poem leads to a conflict of life-death semantic form. Meanwhile, due to this conflict, the title of the poem — implying detachment, discourse and accepting others — loses its positive paratextual meaning despite its original social connotation, and due to domination of discourse attachment it shifts to its contradictory meaning, i.e. “no message” (rejecting others).

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Realism and Illusory Realism, the Basis of the Formation of Dual Confrontations in the Stories of K‌‌ahram's Worries and Colorless Buttons, by Hasan Farhangfar

Nasrin Asadpoor; Aliakbar Bagheri Khalili

Volume 13, Issue 1 , November 2023, , Pages 111-131

Abstract

  Hassan Farhangfar, Gilani's contemporary writer, is known in the realm of novels and short stories. Farhang-Far's effort to purify the society from class distance, cultural backwardness ...  Read More Hassan Farhangfar, Gilani's contemporary writer, is known in the realm of novels and short stories. Farhang-Far's effort to purify the society from class distance, cultural backwardness and the necessity of enjoying civil rights, caused him to make social realities the subject of his stories by combining realist and imaginary realist perspectives. He based them on dual oppositions. Although Saussure is the inspiration of structuralism, structuralism is known by the names of personalities such as Strauss, Barthes and Foucault, and Strauss plays a significant role in organizing it. Strauss considers dual oppositions to be the main function of the mind and the foundation of the culture of any nation. Because every structure in structuralism is expressed based on double opposition, the structure of literary works can also be analyzed based on double oppositions. In this research, the dual contrasts are divided into: 1) personality and thought, 2) place, 3) time, 4) symbolic-lexical, and the role of the realist and illusionary view of culture in their formation in two sets. The concern of Kahram and colorless buttons has been analyzed in a descriptive-analytical way. Based on the results of the research, place and time and conventional traditions determine the formulation of individual ethics in realistic and fictional fictional stories of culture, personality contrast is more prominent than other contrasts in them. One of the reasons is the author's entry into the details and psychoanalytical description of the world inside and outside of the characters. Because illusory realism wanders between two things, it is more capable of creating double oppositions. In these stories, the nature of personality confrontation is such that it manifests spatial, temporal and symbolic confrontations in order to provide the grounds for the emergence of realistic and imaginary realist events.

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The Creation of Adam in Manichaean Mythology

mm dd; Somaye Mashayekh

Volume 1, 7و8 , February 2011, , Pages 121-132

Abstract

  Kephalaia, counts to the important sources of Manichaean. It is written in Coptic by the Christians of North Africa, which have converted to this faith. Mani is called in this book ...  Read More Kephalaia, counts to the important sources of Manichaean. It is written in Coptic by the Christians of North Africa, which have converted to this faith. Mani is called in this book “The Apostle” and sometimes “the enlightener”. Each chapter resembles to Christ sermons. The disciple asks a question, and he gets the answer from the Apostle. This is what each chapter is normally based on. Creation has been always the midpoint and the beginning of everything. The creation of Human has been always the most fascinating and interesting part of each religion, especially in Manichaeism which is based on Buddhism, Christianity and Gnosticism. In no Manichaean script, except Kephalaia 64, the creation of “Adam” has been not recorded, be detailed. Mani explains that since Adam was fashioned by the evil power after the image of the divine Ambassador he was preeminent over all other mixed creations in three ways: his image, his soul and his intelligence. (Gardner, 1995:165)    

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Social Romanticism in the Poetry of Parvin E'tesami

qodsiye rezvaniyan; maryam mamodi

Volume 3, Issue 2 , March 2014, , Pages 95-114

Abstract

  Parvin E'tesami is one of the famous outstanding Persian poets of the constitutional era and also the reign of Pahlavi I who composed her poems based on Persian classical literature ...  Read More Parvin E'tesami is one of the famous outstanding Persian poets of the constitutional era and also the reign of Pahlavi I who composed her poems based on Persian classical literature with moral contents and new political and social themes in the field of didactic literature. Under the influence of European newfangled intellectuals, Romanticism formed during 18th century and devided into different branches of thought entering other parts of the world, when social-political changes made Classicism to be declined in western countries. During the constitutional era, following the political changes and the social developments occurred in Iran, Literature – especially the poetry, as the main cultural medium of the period was deeply influenced by the process. The effect is manifested in Parvin’s poetry as a criticism on injustices, taking the rights of the oppressed of her society, paying attention to the rights of women and to show her political protest. Accordingly, the present research has been accomplished to study the social poems in Parvin’s poetry to make the influence of romanticism on her poem through an analytic approach.

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Types of Lexical Aspects in Persian verbs

Zahra Abolhassani Chimeh

Volume 1, Issue 6 , August 2011, , Pages 101-120

Abstract

  The current paper is an outlook toward Lexical Aspect and its types exist as a semantic parameter in verb and indicate trend of doing task of verb in terms of continuance, iteration, ...  Read More The current paper is an outlook toward Lexical Aspect and its types exist as a semantic parameter in verb and indicate trend of doing task of verb in terms of continuance, iteration, duration etc. Although discourse aspect is considered as independent factor in verb morphology, but the resultant syntactic reflection does not solely corresponds to grammatical aspect; instead, it includes lexical aspect as well. At this essay, lexical aspect has been sparated and distinguished from grammatical aspect and its type will be analyzed. In general, lexical aspect may be divided into two categories: “Static” (e.g. to deserve) and “Dynamic” one. Dynamic verbs are classified into “Transitory” and “Constant” groups. Transitory verbs are also categorized into “Transitory- Contraction” and “Persistent” ones. The transitory verbs are characterized in “Transitory- Contraction” (e.g. to cough) and “Proceeding- Transitory” forms so the latter, in turn, may be divided into two categories: “Proceeding-Transitory-Static” (e.g. to sit) and “Proceeding- Transitory- Perfect” (e.g. to bear/give birth). The Constant verbs are also found in two types: “Finite” (e.g. to tell) and “Infinite” (e.g. to talk). In combination with grammatical aspect, lexical aspect produces different symbolic but regular aspects so that regardless of considering them, these values will be interpreted as irregular and out of order

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Khaghani’s satirizing Techniques

Mohammad Reza Torki; Moosa Damankash

Volume 3, Issue 1 , September 2013, , Pages 111-130

Abstract

  Satire shares such common ground with other types of humor like lampoon and farce that it is very unlikely to consider an exact borderline between them. Moreover, satirists do not agree ...  Read More Satire shares such common ground with other types of humor like lampoon and farce that it is very unlikely to consider an exact borderline between them. Moreover, satirists do not agree with each other on this realm. Adopting such an approach, in present article, we consider the Khaghani’s works, especially his Divan, and evaluate his attitudes about Satire regarding his poems. Nonetheless, the main part of our discussion is based on Khaghani’s techniques of satirizing because he used specific methods to create satire, depending on the atmosphere and conditions he confronted to and also for the sake of the stability of his words. Since it is impossible to investigate various examples separately and minutely, it sufficed to mention just few verses

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Analysis of “Tree”, a Short Story by Goli Taraghi, Through the Rhetorical Narrative Approach

Mohammad Rāgheb

Volume 4, Issue 1 , September 2014, , Pages 113-132

Abstract

  Initially in this article, a brief history of rhetorical narrative approach is offered and the definitions of important terms and concepts, such as implied author, types of audiences, ...  Read More Initially in this article, a brief history of rhetorical narrative approach is offered and the definitions of important terms and concepts, such as implied author, types of audiences, unreliable narrator, tension, instability, etc. from the viewpoint of three generations of rhetorical theorists are provided. Then, “Tree” a short story by Goli Taraghi, published in her collection, I’m Che Guevara, too [من هم چه­گوارا هستم] has been reviewed and interpreted. The main subject of the story is the Cycle of Misuse on-which all of characters are involve. Different groups of readers have their own feelings and opinions about the characters of the story, and they express their sympathy to some of them. Our Main purpose is to investigate the existing differences of readings and the quality of plot development from various viewpoints of readers. The story forms on the theme of “Tree:  immortality and decay”, and as characters stand on various permutations, different kinds of readings would be possible.        

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A Study of Iran Southern Regions' Image during 1940s in the novel Hamsāye-hā(the neighbors)

Ali Afzali; Zeynab Qasemi Asl

Volume 5, Issue 2 , March 2016, , Pages 113-133

Abstract

  Reviewing the feedback of society's image and different relations in society in in the world of imagination is one of the issues is considered when a literary work is studied. Undoubtedly ...  Read More Reviewing the feedback of society's image and different relations in society in in the world of imagination is one of the issues is considered when a literary work is studied. Undoubtedly what is going on in the mind of writer is not empty from impressions, judgements and socio-political ideologies of his life period. Ahmad Mahmud, the well-known writer of Iran's southern regions, has been able to make, in his novel The neighbors (Hasāye-hā), the concerns of his generation clear through a realistic view on different stages of growth and development of a teenager in the period of oil industry nationalization and party activities. The author's familiarity with the climate and atmosphere of the days of the story, creation of a strong language and descriptions, creation of lovely and tangible characters, using a linear and attractive narration, showing the people's culture, beliefs and problems in a real and believable manner, and presenting an honest picture of the political events of the period of oil industry nationalization are among the most important features of the work. "Khalid" is, in fact, the symbol of a nation who had been long involved with a foreign colonialism and was not aware of its own rights, but finally gets to a step of recognition that begins to fight ignorance, poverty and oppression in its way to real nationalism.

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Analyzing the Relation between Mystical Stations (Maqamat) with Rhetorical Techniques

Alireza Fouladi; Abbas Shahali Ramshe

Volume 6, Issue 2 , June 2017, , Pages 113-131

Abstract

  The language of a mystic is the only window through which one can enter the complicated world of his mind and heart from beyond the centuries. All of mystics' experiences have been ...  Read More The language of a mystic is the only window through which one can enter the complicated world of his mind and heart from beyond the centuries. All of mystics' experiences have been reflected on the mirror of their literary works. The more their mystical experiences, in a movement from the knowledge of certainty ('Ilm al Yaqin) to the eye of certainty ('Ayn al Yaqin) and from it to the truth of certainty (Haqq al yaqin), are complicated, their rhetoric languages desire to be more mysterious in a movement from simile to metaphor, symbol and paradox. We have achieved, in present essay, another rhetorical classification of mystical propositions clarifying the theoretical principles of seven Maqamas and the mystical ten stations from Sufi books, and enumerating the affective factors on the speech of mystics such as: "the state of sober and intoxication", "the quality of mystic's state and position", "the speaker and the audience", "the mystic's intention of language: a tool for teaching or experience", and "the natural structure of language". Generally, his intention is sometimes teaching, so his expression forms on the axis of "simile and allegory" and it is sometimes about the state of lovers, so the expression forms on the axis of intuition and consequently "metaphor"'. In some cases the mutual Maqamas and states of the lovers are ethical, so the expression tends to be ironic, and, in some other states, the expression is the result of selflessness and annihilation and tends to be paradoxical and mysterious.    

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Instability of Architecture during Ghaznavids Period Based on the History of Beyhaqi

Mitra Golchin; Amir Hossein Hashemi

Volume 6, Issue 1 , September 2016, , Pages 113-132

Abstract

  The deeper we go into the history of architecture, the less physical evidences are found; ceilings are collapsed, walls are fallen and the foundations are faded out over the time. However, ...  Read More The deeper we go into the history of architecture, the less physical evidences are found; ceilings are collapsed, walls are fallen and the foundations are faded out over the time. However, there is no trace of some of these buildings, but they are not completely destroyed and they have been surviving in written documentations. The period of Ghaznavid Empire (997-11860) encompasses one of the most prominent parts of the history of Iranian architecture from which few traces have remained; of course, there are many written documentation, such as the poets' divans, travelogues and historiographies, which can compensate the lack of physical documents.  Among these, the history book of Abolfazl Beyhaqi (995-1077) known as the  History of Beyhaqi holds a great importance due to its unique manner of historiography, and also, to its valuable literary features. Considering the architectural monuments have remained from the periods before and after Ghaznavids, the key question would be why the architectural monuments of this outstanding historical period are totally disappeared? It has been tried, in present essay, to answer whether it is possible to find documents in the History of Beyhaqi to justify the factors made the monuments faded out, studying the linguistic and literary points of the book and comparing them with similar applications in modern Persian.

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Khaqani and Imagism

Sayyed Javad Mortezaee; Saayed Mohsen Hoseini Vardanjani

Volume 7, Issue 1 , October 2017, , Pages 113-131

Abstract

  Imagism is one of the literary schools that holds a remarkable role in Persian literature. The researchers has determined some manifestations of Imagism in Indian style of Persian literature ...  Read More Imagism is one of the literary schools that holds a remarkable role in Persian literature. The researchers has determined some manifestations of Imagism in Indian style of Persian literature in addition to the contemporary literature. In this study, we refer to the similarities between the poetry of Khāghāni and the School of Imagism, a set of components makes Khāghāni to be considered as an Imagist, and study Khāghāni's poetry, considering image as the main color of poem as the most fundamental principal of imaginary poetry and show that like other imagists, the main concern of Khāghāni among all other poetic features, had been the image. He often uses his poetic features to create an image and portrays, with various imaging techniques, the image as the main color of his poem. Moreover, there are not some major defects of imaginary poetry such as the lack of human affection and impossibility to compose long narrative poem in the poems of Khāghāni. Considering these features the Khāghāni poetry can be introduced as the leading and pioneer example of imaginary poetry in Persian classical literature.

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A Ballad by Abū al-Ma‘ālī Nasrollāh Munshī

omid sorory

Volume 4, Issue 2 , March 2015, , Pages 115-124

Abstract

  There is not much information about the life and the works of Abū al-Ma‘ālī Nasrollāh Munshī, and his only known work is a translation of Kalila and Dimna.  But he had ...  Read More There is not much information about the life and the works of Abū al-Ma‘ālī Nasrollāh Munshī, and his only known work is a translation of Kalila and Dimna.  But he had composed poems too. There are three of his quatrains in Lobab al-Albab. There are also two lines of his Arabic verses in his translation of Kalila and Dimna which had composed in praise of King Bahram. It can be taken as another proof in account that shows his interest in poetry; however any other similar example has yet reported in other sources. Based on a new evidence, a ballad will be introduced in present study which wrongly attributed to four other persons.      

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The Persian Kids and Adolescent Literature A Basis for Teaching Persian Language to Non-Persian Speaking Adults Proposal, Argument and Quality

maryam sharifnasab; mohsen zoka asadi

Volume 8, Issue 1 , September 2018, , Pages 115-134

Abstract

  Persian language learners can be classified by several aspects such as their nationalities, their mother-tongue, being mono or multilingual, and their age that is itself divided to ...  Read More Persian language learners can be classified by several aspects such as their nationalities, their mother-tongue, being mono or multilingual, and their age that is itself divided to three groups of children, adolescents and adults. There are similarities, and also differences in language learning program of each of above mentioned groups. Non-native Persian language learners are divided, in present study, into two groups: 1. Adults, and 2. kids and adolescents. The kids and adolescents literature is originally produced for the audiences in the same age category, but the first part of the study is to answer whether the kids and adolescents literature is an approprate program for teaching non-native Persian language adult learners or Not? And after finding the answer, is to explain what types of Persian kids and adolescents literature seem being suitable as a program. Since the authors found no theory or hypothesis to benefit as a theoretical framework, this study has been accomplished through an inductive reasoning method to answer the research questions, because according to the research background, answering the research questions has also an innovative aspect. The results show that, based on educational and literary principles, a for-kids story is an appropriate base upon which one can teach Persian Language to non-native adult learners.

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Inquiry of the Lost Branch of Naqshbandi Sufism in Transoxiana in 12th and 13th Hijri Centuries

yalda azarmi; Najaf Jokar

Volume 7, Issue 2 , February 2018, , Pages 117-131

Abstract

  Founded by Shaykh Bahā’uddīn Naqshband, the "Naqshbandī" Sufi doctrine, came on the scene through the trend of the Sufism of Khājagān in the Transoxiana, became one of the ...  Read More Founded by Shaykh Bahā’uddīn Naqshband, the "Naqshbandī" Sufi doctrine, came on the scene through the trend of the Sufism of Khājagān in the Transoxiana, became one of the most sustainable and influential Sufi doctrines in Central Asia throughout its course of evolution that transcended the geographic boundaries from which it came about. Although it is regarded as a Persian Sufi doctrine, few academic studies have been conducted on Naqshbandiyya in Iran, so the necessity and importance of paying attention to the cultural background of Transoxiana, as a part of ancient Iran, and the rooting of the course of mysticism and Sufism in the region, and the study of the evolution and development of the Naqshbandiyya have led to inquiring the small and missing branches of Sufism in Transoxiana through using documentary sources in a historiographical and investigative manner and utilizing the unique manuscript of Tuhfa al-Rasūl and Farīd al-Maktūbāt, written by Mir Ahmad Kashi, one of the Sufis of Naqshbandi in Transoxiana. Based on the main hypothesis of the paper, it is possible to draw a sub-branch of the genealogy of the highly popular Naqshbandī doctrine through recognition of some key figures, works, and less known treatise of the doctrine.  

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An Analysis of the Function of Literary Devices in Hooshang Golshiri’s “The Wolf”

Cyrus Amiri; Bahman Fallah

Volume 9, Issue 2 , July 2020, , Pages 117-132

Abstract

  This article presents a formalist reading of Houshang Golshiri's short story "The Wolf". The first sections of this article provide an overview of the basic principles of Russian formalism. ...  Read More This article presents a formalist reading of Houshang Golshiri's short story "The Wolf". The first sections of this article provide an overview of the basic principles of Russian formalism. In these sections, Golshiri's views on form and formalism in literature are evoked to emphasize his being influenced by the Russian formalists and the new novel in France. By doing so, we have attempted to explain the theoretical framework applied to the present reading of "The Wolf." Indeed, here Golshiri's short story has been read according to his own theoretical writings on form in narrative fiction. It can be said that examining the literary devices in "The Wolf" provides a clear understanding of Golshiri's theoretical works. The present study shows that Golshiri uses techniques such as choosing a minor first-person narrator, disrupting the timing of the events, reporting public belief and rumor, delivering his narrative in pieces and not as a linear whole, using contradictory narratives and using a special language to create a structural ambiguity, which results in defamiliarization. In other words, the aforementioned techniques have greatly reduced the "referential" aspect of the Golshiri's language and have "highlighted" the formal components, raising the text to a certain level of "literariness".

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Analysis of Freemasonic Thoughts of Akhoondzadeh Based on the Playwriting “Monsieur Jordan”

Khodāyār Sāeb

Volume 5, Issue 1 , June 2015, , Pages 121-140

Abstract

    This article is to analyze the tendency of Mirza Fath’ali Akhoondzadeh to freemasonic circle, his relations to the members of Mirza Malkam khan’s freemasonry center ...  Read More   This article is to analyze the tendency of Mirza Fath’ali Akhoondzadeh to freemasonic circle, his relations to the members of Mirza Malkam khan’s freemasonry center and his playwriting on the basis of such relations. Initially, his tendency to freemasonic cycles in Tbilisi and his relations to Malkam khan’s freemasonry center have been proved and   his common intellectual elements with Malkom Khan Freemasonry center and its members are being pointed out; and finally, the position of play in his opinion has been explained. It has been shown how his selection of playwriting was compatible with his freemasonic thoughts. So his play “The story of Monsieur Jordan, the herbalist physician and Dervish Most’ali-shah known as magician” has been scrutinized and its freemasonry thoughts have been reflected. Monsieur Jordan, in this play, is the representative of an intellectual insight which belonged to Akhoondzadeh and his colleagues in freemasonry center. Shahbaz-Beyk, a young scholar who loves to get Europe, is an example of educated people of Akhoondzadeh’s period who were insisted to take advantage of European sciences.  At the other side, Dervish Most’ali-shah and female characters, who obviously represent the eastern culture, are symbols of undeveloped and irrational world from the point of Akhoondzade’s view.  

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How Accurate is the Ascription of Khan al-Ekhwan to Naser Khosrow Qubadiani?

EHsan reisi

Volume 8, Issue 2 , May 2019, , Pages 121-139

Abstract

  Naser Khosrow is one of the famous Iranian poets and writers who lived in 11th century. There are some works by Naser Khosrow in prose or verse, all of which have been written to promote ...  Read More Naser Khosrow is one of the famous Iranian poets and writers who lived in 11th century. There are some works by Naser Khosrow in prose or verse, all of which have been written to promote Ismailia teachings and beliefs. Due to the fact that many works have been mistakenly ascribed to Naser Khosrow over the years, there are doubts about the accurateness of the attribution of some of his major works in the last 100 years. One of the mentioned works is Khan al-Ekhwan, containing one-hundred sections (queues) various viewpoints about Ismailia. Through two methods of: a) Explaining Naser Khosrow's scientific method in creating his works; and, b) comparing Khan al-Ekhwan with his other prose works, and utilizing three techniques of: 1. Text mining to overview the text similarity metrics through bag-of-words and cosine models; 2. Reviewing the stylistic and lingual features of Khan al-Ekhwan; and 3. Studying Khan al-Ekhwan's structure, it has been proven, in present study, that although a significant part of Khan al-Ekhwan (thirty-eight queues of one hundred) is the translation of Yenābi' by Abu Yaqub al-Sijistani, and in fact the contents of these sections belong to AbuYaqub al-Sijistani, but it can be claimed that these writings are from Naser Khosrow's pen, considering the stylistic and lingual signs of  the work.

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The Communicative Structure of the Various Types of Dialogue in Tazkirat al-Awliya (Describing and Interpreting the Features of Speech Events)

Parsa Yaghoobi Janbesoraee; fateh ahmadpanah

Volume 10, Issue 1 , September 2020, , Pages 121-146

Abstract

  Due to their written characteristics, mystic biographies are subject to the restrictions of recorded discourse. However, conversational features like turn-taking, participant’s ...  Read More Due to their written characteristics, mystic biographies are subject to the restrictions of recorded discourse. However, conversational features like turn-taking, participant’s tone and turn sequences, which are inserted in biographical dialogues, reproduce some spoken language rituals. These dialogues contain some implicit information that can be described and interpreted through a systematic approach to conversation. Tazkirat al-Awliya is the most remarkable mystic biography whose dialogues are organized by following several procedures of spoken language. However, its conversational potentials have not been examined through Conversation Analysis. Therefore, in the following paper, by applying Hymes’ conversational analysis model — known as SPEAKING model — we distinguish and analyze its most frequent speech events in descriptive and interpretive levels. The results indicate that despite the previous findings about dialogue in Tazkirat al-Awliya, which were limited to analyzing dialogue content, the conversational features are produced and formulated in such a way that they can reinforce the intended meaning the author/narrator was trying to convey. This phenomenon can be perceived by studying the author/narrator’s attempts in creating contextualized dialogues with classified and purposeful participants whose tones, conversational sequences, and turn-taking dynamics are profoundly articulated. Such features not only reveal the hierarchal structures of episteme among different groups of mystics, but also cross-examine their loyalty to this hierarchal system.

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A Critical Approach to some verses of Nasser Khosrow

Mohsen Baghbani

Volume 2, Issue 1 , October 2013, , Pages 122-140

Abstract

  “Synopsis and explainer” methodological discussion has been reflexed, in literary domain, as stipulation and constraint; but synopsis explanation seems being different to ...  Read More “Synopsis and explainer” methodological discussion has been reflexed, in literary domain, as stipulation and constraint; but synopsis explanation seems being different to what happens in Methodology because sometimes the meanings of lexical items and combinations are given on individual, probabilistic, and untrustworthy interpretations. Present paper, applying few lines of Nasser Khosrow’s second ode, introduces an explanatory method for correction of manuscripts of classical Persian literature. Initially and based on the method, the meaning of each line is clarified through semantic and textual analysis, and then the differences exist between several manuscripts are resolved.

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Jami and the frequent Love Story

Dr.Baha‘ al-Din Eskandari; Dr.Mohammad Reza Movahedi

Volume 1, 3-5 , January 2011, , Pages 125-145

Abstract

  Through a mystical glance, Jami looks, understands and explains the universe. In such an interpretation, Love is the most determining concept. Love, in this view, isn’t just an emotional ...  Read More Through a mystical glance, Jami looks, understands and explains the universe. In such an interpretation, Love is the most determining concept. Love, in this view, isn’t just an emotional relation between two humans- though it is too- but is a widespread and pervasive category that helps you to find creation stimulus and interrelations in different universal phenomenon. What stimulate God to create are his self-loving and its hidden plenitude. And since the universe is nothing but hidden limitations of God existence, this Love, by formation of the world of exuberances, occurs in all universe dignities. And it is, in any way, the flourishing manifestation of eternal Love, God’s self-loving. With such a wide range, Love has different types and stages. Looking through Jami’s points of view and thoughts to the main elements of Love pyramid is the ultimate objective of present paper.

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Translation in Qajar Period (From 1796 up to the end of Mozafary Era)

Hooshang khosrowbeigi; Mohammad Khaled Feizi

Volume 2, Issue 2 , May 2013, , Pages 125-146

Abstract

  An important part of Iranian literary and historical background is remained in works had been translated or adopted from other texts written in other languages. They were done by translators, ...  Read More An important part of Iranian literary and historical background is remained in works had been translated or adopted from other texts written in other languages. They were done by translators, called “Mirzas”, who were masters in Persian literature. Their writing style was completely matched with the style of their period. Qajar’s era is considered as a prominent period in both French and English translation to Persian.This paper is going to study and evaluate the translation of English texts in to Persian and comparing it with texts translated from French in Qajar period. Surveying the history of English-Persian translation in Nasseri Translation center on the basis of some translations and translators, this article is to elucidate the reasons and factors of French surpassing to English in translation pieces.

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The Tradition of Epilogization in Persian Poems and its Structure and Content (until the Seventh Century)

Mahdi Dehrami

Volume 9, Issue 1 , September 2019, , Pages 125-143

Abstract

  Epilogue is one of the structural components of most Persian poems which comes at the end of many poems independently or as the continuation of the main chapters of the book. The goal ...  Read More Epilogue is one of the structural components of most Persian poems which comes at the end of many poems independently or as the continuation of the main chapters of the book. The goal of this paper is to study the content of the epilogues of Persian poems with focus on twenty-four poems written up to the seventh century. In most of the examined poems, epilogue has strong relations with the main chapters and plays an important role in understanding them. Persian poems are divided to three categories: poems without epilogues, poems with short epilogues, and poems of extensive epilogues. Of the remaining poems of Dari literature, the first poem with an epilogue is Asadi Tusi’s Garshaspname. Extensive epilogues may contain historical issues (date and the amount of time taken to write the work), introductory information (description of the work, number of lines, style, interpretation of the work etc.), social issues (preaching, condemnation, and protest), praise, prayers, and conclusion. Poets have epilogized because of reasons such as observing literary traditions, the need of the text for paratext, creating a space for dealing with issues other than the main content of the work, and improving the status of their works. Some poets do not distinguish between preface and epilogue in that both parts of their works might cantain praise, didactic material, and celebration of the work.

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