Hasil untuk "Indo-Iranian languages and literature"

Hadi Tite, Fatemeh Modarresi

Bahram-e Ardebili has been influenced by Nizami's Layla and Majnun in his seven poems entitled Haft Peykar. He reinterprets portions of this lyrical masterpiece from the perspective of Layla and Majnun, a reading that engages the reader actively. By creating multiple meanings and providing more vivid imagery, the poet establishes a layered representation of Nizami, generating a text with multifaceted meaning that allows the audience to reinterpret the poem as if rewriting it. This descriptive-analytical research investigates the common and reciprocal relationships in the images and concepts of Nizami's Layla and Majnun and Bahram-e Ardebili's Haft Peykar. In this process of influence, Ardebili has produced a more visual and traditional-breaking poetry, reminiscent of Nizami’s imagistic thinking in his verse. Additionally, Ardebili's perspectives on concepts such as the union of lover and beloved, the death of friendship in pursuit of union with the beloved, hope for reunion, and references to aspects of the original narrative of Layla and Majnun by Nizami have also been influenced.   Keywords: Nizami, Bahram-e Ardebili, Love, Influence.   Introduction Bahram Ardabili, formerly known as Taher Alafi, was born in 1942 and is among the poets of the Other Poetic Movement and a signatory of the Volume Poetry Declaration. His collection of poems titled A Passerby in the Dreams of Butterflies has been published. Among the characteristics of his poetry are a nuanced language, the discovery of new and undisclosed layers of imagery, an emotionally rich semantic background related to mysticism and introspection, enlivening nature, and the highlighting and use of substitution techniques in sentence structures" (Tite, 2021, p. 53). Ardabili views the story of Layla and Majnun from a different perspective, which provides a basis for examining the process of influence; because meaning hinges on the discovery of what we refer to as ‘literary tradition’. In other words, Ardabili, drawing on Nizami in some of his poems, creates something new. Thus, exploring the relationships between the two works to uncover techniques and meanings is essential. This research employs a descriptive-analytical approach and utilizes library resources to investigate the influences of Layla and Majnun by Nizami on the poetry of Bahram Ardabili. It also analyzes the relationships between images and concepts in the poems of the two poets in order to uncover meaning. This is crucial, as part of the meaning relies on uncovering relationships between texts and considering literary tradition to reveal "deconstruction" in Ardabili's poetry. Intertextuality explains that no statement exists except as derived from another statement and that no assertion exists except as a quotation of another. In fact, intertextuality is the conscious use of all or part of a previous text in the present text (Ajieh & Ghaderi, 2020, p. 66).   Materials and Methods This study, with a qualitative and analytical-descriptive approach, examines two texts: Layla and Majnun by Nizami and Haft Paykar by Bahram Ardebili based on the theory of intertextuality. The theory of intertextuality, first proposed by Julia Kristeva based on the ideas of Mikhail Bakhtin, emphasizes the interaction and connections between texts and demonstrates that no text exists independently of previous texts; rather, it is situated within a network of references, adaptations, and reciprocal influences. "Intertextual analysis examines the relationship of a text with other preceding or contemporary texts" (Kakavand Ghalenoei & Najjar Noubari, 2017, p. 47). To collect the data, the original text of both works has been reviewed based on credible versions, and then, through content analysis, intertextual elements are extracted and analyzed. This study aims to show how Bahram Ardebili, by rereading Layla and Majnun, has placed its romantic, mystical, and philosophical concepts in a new context, and what differences and similarities in narrative style, characterization, and themes exist between the two works.   Research Findings The findings of the research indicate that these two works are not only independently significant in the culture of Persian literature but also are intertwined in a complex relationship with each other and other literary texts. The repeated use of motifs, characters, and similar structures between these two works clearly demonstrates intertextual influence and interaction. In Layla and Majnun, the concepts of love and madness are presented both as essential elements of the story and as spiritual and mystical ideas, which can be clearly related to Islamic teachings. This phenomenon is also evident in Haft Paykar, where Bahram Ardebili employs allegories and mystical symbols to portray complex lyrical concepts. The influences of classical Persian texts are clearly visible in both works. In Layla and Majnun, the story of Majnun and Leyli's love is reminiscent of the romantic tales in Shahnameh, where human relationships are subject to fate and destiny. This inclination towards narratives in which love stands as a powerful force against the laws of nature and destiny is also observed in Haft Paykar. Bahram Ardebili’s Haft Paykar specifically utilizes a multilayered structure in which the main story resides within various narrative layers. This approach allows the reader to understand how each layer of the story refers to another text. Similarly, in Layla and Majnun, the love story of Majnun and Leyli is heavily influenced by similar narratives in the history of Persian literature, particularly those that reference symbols of endless love and the failures that arise from it. The comparison of the main characters in both works is also noteworthy from an intertextual perspective. The symbols and motifs present in Layla and Majnun and Haft Paykar are interesting in their own right. In Layla and Majnun, symbols such as night, desert, madness, and flight often serve as markers of reaching perfection and knowledge. In Haft Paykar, there are similar symbols that depict love and the quest for truth and spiritual perfection. In both works, the intertextual relationships drawn from various texts and stories significantly contribute to the reconstruction and interpretation of the main concepts of these texts. Moreover, the semantic connections of these works with other cultural and religious texts, through the concept of “love” as a spiritual and destructive force, are especially prominent.   Discussion of Results and Conclusions Bahram Ardebili, by establishing a connection between his poems and Nizami's Layla and Majnun, or in other words, by reinterpreting the lyrical epic of Layla and Majnun in the form of seven poems titled Haft Paykar, enhances its multiple meanings. Like Nizami, Ardebili regards imagery as the main component of poetry; this is something that Nizami openly acknowledged, referring to it as the essence of poetry. Ardebili demonstrates his belief in this matter by embedding imagery and creating extensive networks of connections among symbols. Ardebili’s perspective on the beloved has been influenced by Nizami. His beliefs in the union of lover and beloved, hope for reunion, the death of friendship in pursuit of the beloved, and the spirit of self-sacrifice for the beloved are among these influences. The reference to Majnun rescuing the gazelles in captivity and Majnun's calmness in meeting Leyli also points to the original narrative of Nizami's story. Nizami likens love to a breeze, and Ardebili also attributes this quality to love. On the other hand, Nizami does not see a place for advice or admonitions in love; Ardebili interprets love as containing awareness. Nizami provides an image of Hayoun and highlights his remarkable attribute of speed, and Ardebili also refers to the image of Hayoun and this characteristic. In terms of ideological discussions, Ardebili, like Nizami, believes in voluntary poverty and the afterlife, reflecting it in his poetry.

Nilay Özlü

This study examines three imperial collections housed within sultanic pavilions at Topkapı Palace during the late Ottoman era. Originally constructed in the 15th century during the reign of Mehmed II (the Conqueror) for the sultan’s personal use, these pavilions underwent significant functional and symbolic transformations over time. The Fatih Kiosk, once a private space where the sovereign collected and contemplated his collection of valuables, was repurposed as the Ottoman Imperial Treasury. The Privy Chamber, which was once the ruler’s bedroom and throne room, became the Chamber of Sacred Relics, where Islamic relics were safeguarded and venerated. Meanwhile, the Tiled Pavilion, a garden kiosk situated in the palace’s outer gardens, was converted into the Ottoman Museum of Antiquities in the late 19th century. These three royal pavilions were opened up for visits during the 19th century for diverse audiences holding different collections. By analysing the spaces, objects, audiences, and visiting rituals associated with these collections, this article explores Ottoman strategies of collecting and display. Reading these collections as proto-museal institutions, this research argues that the intertwined methods and discourses of exhibiting established the foundations of Ottoman and Turkish museology.

Marzenna Czerniak-Drożdżowicz

The article addresses a specific religious phenomenon found in the region of South India and connected to a group of Vaiṣṇava temples hosting the Raṅganātha form of Viṣṇu. The temples in question are located along the rivers, in this case, Kāverī and Pallar. Waters, especially rivers, perceived not only as a means of ensuring vegetation but also as endowed with certain divine attributes and often personified as goddesses, have in addition a place-connecting aspect. Keeping this in mind, the present enquiry takes as the starting point the Raṅganātha temple in Śrīraṅgam on the Kāverī-Kolliṭam river and revisits the concept of the holy sites of Viṣṇu, called raṅgas, situated along the banks of the rivers Kāverī and Pallar, and on their islands. The study, using, among others, some māhātmyas from the region, is the very first, largely preliminary attempt to broach this topic.

Peiman Abolbashari

The book “Sufism and Politics in Prose Texts until the End of the Fourth Century AH”, written by Mahdi Heidari, is a collection of eight re-published articles under the banner of a Book. The chapters of the book are based on fragile, non-historical theories and on the transcendental concept of unity and plurality and its effect on the establishment of Sufi multifaceted relations with politics. The choice of a weak hypothesis along with a lack of method has made the author lose track of the historical background and context and has caused the time and place to be lost in the text. Heidari has also made it impossible for the average audience to read the book by quoting untranslated Arabic narrations. Some generalizations of error in the classification of Sofia are prominent errors that have seriously damaged the work. In this article, an attempt has been made to critique the quality of the book, especially in terms of content analysis

سمانه رفاهی, نعمت الله ایران زاده

این پژوهش، در راستای مطالعات بین‌رشته‌ای ادبیات، به دنبال واکاوی پیوند میان معماری و ادبیات داستانی شکل گرفته است. هدف این پژوهش تحلیل رمان سمفونی مردگان عباس معروفی و نقش بناها و عناصر معماری در شکل دادن به ساختار این رمان است. روش تحقیق بر مبنای نظریۀ مفهوم سکونت نوربری-شولتز است. در این پژوهش بناهای معماری این رمان از منظر نظریۀ مفهوم سکونت و انواع سکنی گزیدن واکاوی شد. نتایج این پژوهش نشان می‌دهد بناهای معماری مانند کاروانسرا، قهوه‌خانه، خانه و فضاهایی چون آشپزخانه، انباری و عناصری چون آستانه و پنجره نقش کلیدی در این رمان ایفا می‌کنند و نویسنده با یاری جستن از ویژگی‌های منحصرد به فرد آن‌ها از منظر شیوه‌های مختلف سکونت و نیز دلالت‌های ضمنی‌شان مفاهیم موردنظر خود را شرح می‌دهد. خانه، قهوه‌خانه و کاروانسرا در این داستان ادامۀ شخصیت‌ها هستند و هویت شخصیت‌ها با این مکان‌ها تکمیل می‌شود. خانه برابر با پدر، قهوه‌خانه برابر با آیدین و کاروانسرا برابر با اورهان است. شخصیت آیدا نیز به کمک جزءفضای آشپزخانه و فضای آستانه‌ای، که مبین مفاهیم خاصی در معماری است، توصیف می‌شود.

Sajed Zare

Teaching Arabic has recently attracted a lot of attention inside and outside of the country leading to the publication of a pile of Arabic teaching textbooks including Arabic Language Teaching Methods: A Critical Approach (Compiled by a group of authors), which attempts to review and analyze the most recent Arabic teaching approaches. The present study enjoyed an analytical-critical approach to examine the formal, structural, and content-related aspects of the textbook. The results of the study indicated that the textbook, with all its merits, suffered from some shortcomings in mechanics of writing, editing and even content-related items. The major weakness of the textbook was having no integrated approach in developing the chapters of the book. It may have happened because a group of authors has developed the textbook. Such an inconsistency can easily be observed in the lack of formal and content integrity in some parts of the textbook. Instances of such an imbalance can be located in taking an unclear approach to clarify some topics, repetition of some texts with similar wordings, and lack of cohesion in some texts when analyzing the topics.

Güldeniz Kıbrıs

Ali Abedi Renani

In the 1990s, the Iranian intellectual community faced a trend of religious modernization. This new spirit flowed in the academic and seminary community, and the market for scientific debate and critique flourished. From this point of view, the age of righteousness has replaced the age of duty, and as a result, they demanded a new interpretation of religious texts and task-oriented jurisprudence. The common denominator of this movement is that pure understanding is not possible, and any understanding is preceded by pre-understandings. For this reason, this movement has been inspired by hermeneutic theories that seek to understand the nature and mechanism of understanding. The book under review examines the influence of Heidegger and Gadamer's philosophical hermeneutics on the religious modernization movement. In this article, I describe, analyze and evaluate the main claims of the book. It seems that Gadamer's philosophical hermeneutics is not a good model for analyzing the current of religious modernism, and although they have similarities, it is in some ways in conflict with the foundations of this movement.

Shervin Moghimi Zanjani

The main subject of this paper is Robert Filmer’s Patriarcha which is the essential text in the history of political thought and in a sense it is one of the most important sources of the controversial debates on politics in early modern England. We think that Patriarcha was one of the last systematic and coherent attempts to defend the "natural character of politics" and "divine right of kings to rule given by God alone. We try to show that Filmer’s point of view, in spite of its affinities with ancient political philosophers, it was essentially different because it is totally based on the revelation. Generally, we will attempt to understand Filmer’s text in the light of the rhetorical war between the defenders of the pre-modern political conception (emphasizing the naturalness of politics and denying the equity in political rights)  and the proponents of the new politics (emphasizing the artificial character of politics and the idea of ‘the individual possessed unconditional right by nature”.) Also, we cast light on the Persian translation of the Patriarcha and argue that the non-literalness of this rendering has led to some misunderstandings and erroneous equivalents.

Silvia Schwarz Linder

The Reformulation of the svātantryavāda and ābhāsavāda in the Doctrinal Teachings of the Tripurārahasya The aim of this article is to discuss a specific element of the teachings of the Tripurārahasya (TR), a Sanskrit work of South Indian origin, possibly composed between the 12th and 15th centuries and associated with the Tantric Śākta religious tradition of the Śrīvidyā. The element in question is the reformulation, to be found in the TR, of the Pratyabhijñā twofold doctrine known as svātantryavāda and ābhāsavāda. According to this doctrine, characterized by a realistic idealism, the divine luminous Consciousness, by Her sovereign freedom (svātantrya), manifests the world, which appears as a reflection (ābhāsa, pratibimba) in the mirror of Her own self. Scrutiny of the relevant passages from the TR, in the light of some extracts from the works of the authors of the Pratyabhijñā, makes it possible, on the one hand, to highlight the main features of this doctrine as it was recast in the TR, and, on the other, to put forward explanations for the inconsistencies detectable in the text of the TR, which may be ascribed to the influence of the illusionism of the Yoga-Vāsiṣṭha.

Mahboubeh Khorasani, Farideh Davoudy Moghadam

<strong>Abstract:</strong> <br /><strong>Introduction</strong> <br />Simile which is an important tool of literary creation can be regarded as the most significant element of expression used in reflection of experiences, beliefs, and thoughts of a lecturer. Thus, it has always been the subject of attention by the speakers as the most commonly used and popular factor. In the present study, this fantastic element is criticized in poetry of Badr al-Din Chachi, a great poet of the 8^th century. The main feature of the poetry is the numerous uses of imageries, especially simile and metaphor. In this research, which is based on the descriptive-analytical method, simile is considered as an essential part in presentation of the poet's fundamental themes. The main objective of this research is to examine the role and effect of simile in ambiguity and diminution of images in Badr Chachi's poetry. Besides, the poet's innovation and initiative in presenting fresh similes are evaluated. <br /><strong> </strong> <br /><strong>Discussion and analysis</strong> <br />The farther is the tenor from the vehicle, the more remarkable the rate of simile. On the other hand, the more similar are the tenor and the vehicle, the less remarkable the rate of simile. Obviously, in stereotypes, the tenor is easily found in both sides of the simile, so the simile has a narrow state, whereas in new and modern similes, as far as the poet has discovered a new relationship between the tenor and the vehicle, the degree of the simile is more understandable and more figurative speech is used. Therefore, in terms of imagery, the easily- recognized similes are more valuable. The similes which are fresh and unique are usually comprehensive, that is, their vehicle is also mentioned directly since the open view of the simile may divert the reader's mind from the speaker's intended purpose. Regarding Badr's poetry, it can be said that there are a number of open-angle analogues in his poetry, which is the result of the poet's genius and innovation. <br />  Noteworthy that any new and exotic analogies may enter into literary texts in two ways, either through the speaker's invention and creation, which can be the result of his experience and direct reception of nature or various elements of his life, or through one of the ways that can be used in modernization of stereotypical and vulgar phrases. The fact that the artist has a new perspective toward his surrounding elements can somehow reduce their familiarity. One of the most important approaches in literary criticism is defamiliarization which has a broader meaning in the works of the Russian formalists and includes all the techniques and approaches the author consciously enjoys to make the world weird to the audience. In Badr Chachi's poetry, there are also cases that indicate the poet's tendency toward rebuilding some familiar and popular images. <br />  Simile, metaphor, irony, and quintessence are techniques that can be imaginative by themselves. Now, if some of these figurative speeches are used in conjunction with one another in a verse, it will make the reader more contemplated and understandable for understanding the correlation between images. For this reason, this simile technique causes the density and sometimes interference of images. Comparative density is one of the features that is considered to be similar to rhetoric simile. Since perceiving the proportions of each image requires time and reflection, multiple similes presented within a verse will interfere with the transmission of the message of the image. Of course, it means the simile density within a verse so that the likeness is complete both in the structural and the semantic aspects of the same verse. On the use of simile in Badr Chachi's poems, it is essential to note that in most cases, the similes do not exceed two or at most three in one verse. In a few cases, it is possible to find verse in his Diwan in which four similes are used in one verse. It should be noted that the most important reason for the ambiguity of the similes is that in some cases, the simile is linked to the metaphor. Since metaphor is more vague and intriguing than other literary figures, it has had a great impact on obscurity of images.  One of the ways that can be combined along with rhetorical aesthetics to stimulate the emotions and feelings and the transference of thought and the message of the subject is to accompany the metaphor with other figures and techniques of exegesis and expression. From this viewpoint, in his poems, "Badr" has paid great attention to its arrangement through the use of a variety of innovative techniques. Hence, there is less likeness in his Diwan that with is not accompanied by one different literary figure or other forms of imagination. <br /><strong> </strong> <br /><strong>Conclusion</strong> <br />Badr Chachi is one of the poets who liked to pay much attention to simile as a way to express his content. He uses a total of 1,788 similes, which compared to the total volume of 2836 verses in his Diwan, comprise a significant frequency, that is, it has used at least a simile in each two verses. He has also taken advantage of all opportunities of creating new content and expanding the figurative meanings of words, for example, similes, simile and innovation combination, and refreshment of repetitive similes. The sharp look of the poet has helped him to add numerous new similes and innovative patterns to the collection of Persian poetry. In many cases, he has also been able to defamiliarize the commonly used and popular similes.  In dealing with similes, Badr Chachi has greater desire to use some especial figures among which the most favorite is simile. One of the highest frequency figures are singular to compound similes, compound innovative tenors, neighboring similes, as well as using new simile figures. Due to the poet's tendency to add up simile with other figurative and rhetoric techniques, especially metaphorical discourse, his poem's images are generally static and vague, and the reader needs to spend plenty of time to realize the associations and proportions between simile components.

Behjat Forughi Moghaddam, Taghi Eje’ee

<strong>Abstract</strong> <br /><em>Sharh at-Ta'arrof</em> is a very extensive and elaborate work on Kalaabaadi's <em>At-Ta'arrof</em> written in Persian and is in fact the oldest Sufi text of Persian language. However, Mostamli Bokhaari himself did not assign a name on his work, and this book is known as <em>Nur al-Moridin va Fadhihat al-Modda'in</em>, and is briefly called <em>Sharh at-Ta'arrof</em>. Apparently, <em>At-Ta'arrof</em>, in the sense of benediction and bliss, has been the writer's model in the writing of his work and he has followed it in this work. In this work, Mostamli has fortified his words by the verses of the Qur'an and has clarified and described many of his mystical terms and ideological foundations in the epistemological field through the Qur’anic stories for the sake of more and better benefit of disciples and the seekers of knowledge and perfection. Among the stories to be considered and applied in the <em>Sharh at-Ta'arrof</em> is the story of the creation of Adam (PBUH), the order to make prostrations before him and the refusal of the angels and the story of <em>Allam al-Asmaa</em> [i. e. he taught the names]", the Satan's violation and his being cursed, Adam (PBUH)'s violation and his being driven out of Paradise, his regret and saying "zalamnaa Anfusana [i. e. we mistreated ourselves]" and the acceptance of his repent, some of which Mostamli has explored and cited from several positive negative views and has made his mystical thoughts more tangible in this way for the audience. <br />The review of the story of Adam (PBUH) in the <em>Sharh at-Ta'arrof</em> shows that the writer, with an exploratory or realistic view, has considered God, Paradise, Adam (PBUH) and Satan as the actors of various parts of this story; and in this way, has described and explained the traits of God and some didactic mystical explanations, terms and principles. The most important results obtained from this review are: <br />1. The writer, in a positive and interpretive approach, has considered the true actor in the story of Adam's (PBUH) transgression from the order and his expulsion from Paradise, and in two cases, has explained divine affection and, in one case, has considered the reason for it as the arrangement of the journey from Paradise to the earth and its importance in austerity of the soul for Adam (PBUH). <br />2. The attribution of the transgression of interdiction to Adam (PBUH) is described in the <em>Sharh at-Ta'arrof</em> by two positive and negative approaches. In the positive attitude, Mostamli has considered the reason for the transgression as the fact that Adam (PBUH), in the state of infatuation by hearing the God's call of interdiction, has committed that violation to rehear the pleasing call of the almighty. In other words, the pleasure of rehearing the God's call has caused him to do this transgression of interdiction. According to the writer, this same state of infatuation and ignorance has caused Adam (PBUH) to say "Oh lord, we mistreated ourselves" after violating the prohibition of God and be subjected to forgiveness and divine mercy thereafter. <br />3. One of the interesting approaches of the author to the reviewed story is that he has attributed to Paradise the true action that led Adam (PBUH) to be expelled to the earth. In fact, in his belief, because Paradise had been proud of accommodating the Prophet of God and by this arrogance it committed an evildoing, it was punished, and God deprived it of accompanying with Adam (PBUH). <br />4. The most prominent act of Satan in the story of Adam (PBUH) is his violation of order and not prostrating before Adam (PBUH), which has been cited and evidenced by three negative viewpoints in explaining the negation of arrogance, negation of disobedience and necessity of piety. This negative attitude is existent, while some of the contemporary authors - including Abu Sa'id Abu al-Khair, Abul Hasan Kharqani and Abolqasem Karakaani - have a positive attitude to the story and have defended Satan and justified his actions. In the following table, based on the story and the interpretation of Mostamli, the different sections of the Qur'anic narrative of Adam's story are presented in terms of the type of attitude, the didactic inference of the writer and the actor of the deeds: <br />  <br /> <br /> <br /> <br /> <br /> <br />The type of attitude <br /> <br /> <br />The didactic approach <br /> <br /> <br />The story <br /> <br /> <br />The actor <br /> <br /> <br /> <br /> <br />Positive <br /> <br /> <br />Divine zeal <br /> <br /> <br />Being expelled from Paradise <br /> <br /> <br />God <br /> <br /> <br /> <br /> <br />Positive <br /> <br /> <br />Divine love <br /> <br /> <br />Being expelled from Paradise <br /> <br /> <br />God <br /> <br /> <br /> <br /> <br />Positive <br /> <br /> <br />The importance of travel <br /> <br /> <br />Being expelled from Paradise <br /> <br /> <br />God <br /> <br /> <br /> <br /> <br />Negative <br /> <br /> <br />Special disaster <br /> <br /> <br />Being expelled from Paradise <br /> <br /> <br />Paradise <br /> <br /> <br /> <br /> <br />Positive <br /> <br /> <br />Awareness and infatuation <br /> <br /> <br />His saying "we mistreated ourselves" <br /> <br /> <br />Adam (PBUH) <br /> <br /> <br /> <br /> <br />Positive <br /> <br /> <br />Pleasure to rehear the call of the almighty <br /> <br /> <br />Eating the forbidden fruit <br /> <br /> <br />Adam (PBUH) <br /> <br /> <br /> <br /> <br />Negative <br /> <br /> <br />greed <br /> <br /> <br />Eating the forbidden fruit <br /> <br /> <br />Adam (PBUH) <br /> <br /> <br /> <br /> <br />Negative <br /> <br /> <br />Contrariness <br /> <br /> <br />Being expelled from Paradise <br /> <br /> <br />Adam (PBUH) <br /> <br /> <br /> <br /> <br />Negative <br /> <br /> <br />Selfishness <br /> <br /> <br />Violating the order <br /> <br /> <br />Satan <br /> <br /> <br /> <br /> <br />Negative <br /> <br /> <br />Desecration <br /> <br /> <br />Violating the order <br /> <br /> <br />Satan <br /> <br /> <br /> <br /> <br />Negative <br /> <br /> <br />Impiety <br /> <br /> <br />Violating the order <br /> <br /> <br />Satan <br /> <br /> <br /> <br /> <br /> <br />

ابراهیم نامداری

آثار پدیدآمده دربارة ادبیات اندلس دو گونه‌‌‌اند: گونة نخست اطلاعات کلی دارد و از بدو ورود اموی‌‌‌ها به سرزمین اندلس تا انقراض حکومت اسلامی در آن دیار را شامل می‌‌‌شود که به اوضاع سیاسی، اجتماعی، اقتصادی، و ادبی اعم از شعر، نثر، و فنون جدید مانند موشح و زجل می‌‌‌پردازد. گونة دوم به‌صورت تخصصی به موضوع نگاه می‌کند؛ مثلاً به شعر یا نثر اندلسی در یک دورة خاص می‌‌‌پردازد. کتاب الشعر الأندلسی فی عصر الموحدین، تألیف فوزی عیسی، از این دسته است. تحلیل و بررسی کتاب نکات قوتی مانند نگاه تخصصی به موضوع، نقد علمی و بی‌طرف آرایِ دیگر اندیشمندان، استناد و استشهاد به اشعار به‌منظور اثبات ادعای خویش و در‌عین‌حال نکات ضعفی مانند وحدت‌رویه‌نداشتن در ثبت ارجاعات، دقت کافی نداشتن در پاره‌ای از نقل‌قول‌‌‌ها، بی‌قاعدگی نحوی، حرکت‌گذاری‌نکردن اشعار و اسم‌‌‌های خاص، نداشتن شرح کافی از واژه‌‌‌های دشوار، و تسلسل منطقی نداشتن مباحث در برخی فصول را نتیجه داد.

Alessandra Consolaro

Immanence, Abjection and Transcendence through Satī/Śakti in Prabha Khaitan’s Autobiography "Anyā se ananyā" This article aims to explore embodiment as articulated in Prabha Khaitan’s autobiography Anyā se ananyā, inscribing it in a philosophical journey that refuses the dichotomy between Western and Indian thought. Best known as the writer who introduced French feminist existentialism to Hindi-speaking readers through her translation of Simone de Beauvoir’s The Second Sex, Prabha Khaitan is positioned as a Marwari woman, intellectual, successful businesswoman, poet, novelist, and feminist, which makes her a cosmopolitan figure. In this article I use three analytical tools: the existentialist concepts of ‘immanence’ and ‘transcendence’—as differently proposed by Jean-Paul Sartre and Simone de Beauvoir; Julia Kristeva’s definition of ‘abjection’—what does not ‘respect borders, positions, rules’ and ‘disturbs identity, system, order;’ and the satī/śakti notion—both as a venerated (tantric) ritual which gains its sanction from the scriptures, and as a practice written into the history of the Rajputs, crucial to the cultural politics of Calcutta Marwaris, who have been among the most vehement defenders of the satī worship in recent decades.

Javad Nazari Moghaddam

Many texts on the Iranian identities with an emphasis on the correlation between dictatorial structure and the mood characteristics of the Iranian society argue that despotisms through the history of this country have caused the governance of egocentric values and the non-formation of appraising features of development such as accountability, participation, morale, and altruism. This research attempts to criticize the common viewpoint in the field of texts related to the Iranian identities. Based on the results of the research, it seems that we should hesitate upon the functions of the mentioned theories suggesting the correlation between the rulers' autocracy and the identities of nations. The achieved results can be used as a wealth for the studies in the field of development and culture.

Teymoor Malmir, Chonor Zahedi

Abstract Feriba Vafi is a hard working novelist of our time. Her first novel was ‘My bird’ has been worried to alleviate the plight of women in the society. In her last novel by the name of ‘bad az payan’ she deals with women issue continuously. But to intensify the effective ness of the story in the community and proper to time condition besides the choice of subject, she has used plot, signs and particular way of telling narrative. In this paper based on the account of Todorov analyzes we study the thematic link, plot and the way of telling narrative. The actions and reactions of characters in the novel ‘bad az payan’ represent an attempt, consciously or unconsciously, more or less, to recover and to reconstruct women’s identity. The plot reflectively addresses the social and partly the familial problems of the community of women. In this novel, the journey leitmotif serves to portray a departure to independence, knowledge and a better life; yet the problems persist and the journey continues, a journey which is associated with solitude and disorderliness. Notwithstanding, the journey is an ‘evasion, as the journey of the characters of the novel is represented as an evasion, in one way or another. Men and women set out the journey hoping to find a better situation, leaving a self-made bitter situation. The narration of Shahrzad in ‘hezar-o yek shab’ has dramatically influenced this novel in terms of such elements of narration as the use of subplots, multiple narrators, which serve to highlight narration as opposed to verbose ‘story-telling’ with which men identify women. That is to say, the type of narration invoked by women is distinct from that of men; this distinction, on the one hand, represents an old style which has bolstered the retention and survival of women, on the other, it represents a mockery towards the masculine world. It, therefore, implies that the reason why women have adopted a narrative discourse is because of their predisposition to bring about a change in their lives. The narration is structured as follows: 1. the present incidents, 2. the narrator’s thoughts and reveries, 3. the memory of past events by the narrator, 4. narration of past events to the narratee, 5. narration of the narratee’s past events, 6. narrator’s conjecture about the other’s mind. The narration of these six components is based on a combination of three tenses:  Past events that are being reviewed The present recurrence of past events The narration of the two former narratives The characteristic feature of the author’s style is the particular combination of time and narration. That is why an abundant number of propositions in this novel belongs in the narrator’s memory of past events and the recurrence thereof. The plot of the narrative revolves around correspondence; correspondence, which is the essence of life, ultimately turns into identity following a sequence of conflicts. Identity signifies ‘an end’; as long as there is correspondence, there is life, however, in the course of suffering or sickness, identity looms in. The deep structure of the narrative is that, for its continuity, life is contingent on correspondence. When there is a death or an end, there is no correspondence, and this serves to signify the fact that correspondence underlies life. This is reminiscent of love which ends with union, though it begins with an enthusiasm and affection which get intensified in the face of stumbling blocks and problems. The title and the theme of the novel is based on the desire to found a real life on love, a type of love which is congruent with the current age and lifestyle. The breaks and unions in the narrative are based on old-fashioned love traditions which doomed to failure; while the new age entails a new perspective on the love relations. The title serves to highlight the same theme. Love in past ages was a pioneering affair on the part of men, and this has been portrayed in the novel as an ephemeral emotion which recalls a master-slave or boss-employer system.  At its face value, this status quo has only given rise to masculine heroes, a heroism which has resulted but in vagrancy and disorderliness. Heroic ethics have downgraded in this novel; there is no hero, but a character. Past heroes are alluded to but their heroism is displayed as detriment to the lives of the heroes that is why heroes regret their actions. As for women, their current status is represented as much better than the past. Notwithstanding, feminine culture is considered to be crucial to the amelioration of human relations.

Reza Ghanbari Abdolmaleki

Abstract Morphology is one of the important methods in structuralist criticism. In this method, researchers are studying the structure of the literary work. In contemporary Persian literature, this method has been used less in Poetry analysis. There are poems in the collection of contemporary Persian literature can be analyzed by this method. "Mosafer" (Traveler) is one of the poems.  Sohrab wrote this poem in 1966. "Mosafer" is a symbol of Sohrab. "Mosafer" is someone who does not stay in one place. He always moves like a river. He, like mystics in search of the truth, travels around the world. This poem is rooted in the cultural traditions of Iran. In this poem, topics such as life, death and love are seen. These issues also exist in Iranian mystical texts. In fact, Sohrab moves along the former mystical ideas.  Basically Sohrab in this poem is involved from the beginning with the concept of death. Death that engulfs not only human but also devours objects. Such poetry is almost unprecedented in Persian literature. And so this type of poetry is to be considered as new methods. This poem has three parts: In the first part, the poet describes the time. And he then defines the location where the host is present. In the second part, passenger travel in the history of civilization. A journey that started long ago and is still ongoing. And the third part poem starts with these words: We must pass…. The language of this poetry is close to natural language. The appearance of this poem is simple but It is filled with cultural motifs. The theme of the poem is quite common but has led to philosophical issues. This poem has a narrative structure and Simple plot. This poem by using stream of consciousness, is told. In literary criticism, stream of consciousness, also known as interior monologue, is a narrative mode or device that depicts the multitudinous thoughts and feelings which pass through the mind. Characters, dialogue, dramatic situations, and events are the components of the plot. These components make up the superstructure that have gathered around deep structure. The structure of poetry is separable into two parts: The first part of the poem, from beginning to end of paragraph seven. The second part of paragraph eight to thirty-four. The first part consists of a display position that is two scenes of dialogue. The second part consists of a long monologue and a display position. In this study, the structure of the poem according to Propp's method is studied. Vladimir Propp, studied Russian fairy tales. In that study, he applied morphological method. Propp's method is very effective in discovering the structure of the tales. This poem has twenty functions (Khishkari). The first function is absence and the last one is wedding. Some functions in this poem, arranged by group. Thus, absence and departure and evil, are a group that are moving story. The sequence of functions on this narrative is different from the Prop pattern. Hero and villain in this poem, have an important role in advancing the narrative. Much of this poem dedicated to the dialogue between the Hero (Passenger) and Helpful (Host). Due to the move, the poem has a movement. So it must be said that this poem has a simple plot.

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S Mahdavifar

Difficulty and strangeness are the adjectives which have been ascribed to Khaqani’s Daivan for a long time. A notable part of such difficulties originates from the extensive cultural background on which the poet has based different themes, images and novel expressions. His strange manner in poetry is so that, for staying away from widely-used expressions, he has linked various kinds of knowledge with his poetic competence and created valuable and high poetry. His outstanding talent in using language and the delicacy he showed in using such kinds of knowledge all cause his words not to be strictly scientific and non-literary. Medical statements are one part of his cultural background used by the poet prominently in composing his poems. Due to the presence of great physicians such as Zakariaye Razi, Majusi Ahwazi, Abu Ali Sina, Ismail Jurjani etc. medicine developed a lot in his time. Moreover, the literary milieu of his time required our poet to be a knowledgeable person, especially due to the presence of prominent rivals such as Abul’ala Ganjavi and others. This article aims to investigate animal drugs as a part of such medical knowledge.

Ghadamzli Sarrami, Mohammad Moghiseh

Abstract It is concluded from the story that the reader to be briefed on the writer that he is fully aware of the education system process, furthermore it signifies that the inefficiency and distortion virtually experienced in the field of education affect the life cycle of the author as well.  Modir Madrese or School Principal is a fiction composed by Jalale Aleahmad a writer with genre of third person addressee, he narrates the biography of a teacher that he got tired of his job therefore he got his mind to assume the post of school principal, he reached to the favorite post by bribery as a result the previous teacher turned to school principal, the school situated at the slope of mountain.  The principal encountered with seven teachers, a janitor and 235 student who were mostly poor, geographical status, hygienic Services, yard, pond and school insufficient facilities which outlined as major shortcomings in the story.  Cognizance of students` parents, local council and establishment of school and home association, pornographies carried by a student, injury of 4th grade class teacher by car of an American citizen, jail of 3 grade class teacher due to sympathy toward socialists, appearing the accountant of education dept at the school asking for bribery and finally sexual scandal by 5th grade student counted as the major parts of the story , the whole incidences forced the principal to resign.  The current story represented in three perspectives like prose, simplicity and motive.  Motive signifies the text of story in social style it means realism fad while the prose depicts soft and colloquial by contribution of simile, explanations, proverbs and folkloric idioms, the stressed discourses, sarcasms and mockery including intensive and expressive prose manifested by representation of samples drawn out from the text.  The prominent part of the criticism revealed by analysis of story characters, as a result criticism of individual characters demonstrate symbol of each different guilds in the community, meanwhile none of personifications represented by nomenclature, ideas by characters and narration of myriad characters expressed by school principal composed of 81 figures plus classification of characters in five categories (main heroes, protagonists, antagonists, ordinary persons and walk on people) all of them well criticized and analyzed finally the characteristics of ethics, deed and faith except the protagonist and main heroes who form the tenet of the story reviewed by a lot of illustrations.  The epilogue composes of comparison of the above story with Quranic hero focused stories while the school principal (Modir Madrese) counted as hero focused fiction.