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Hamidreza Fahandezhsaadi; Abdolreza seif
Abstract
Tazkira al-Awliyâ is one of the first books in Persian language, which mentions the sayings and biographies of ascetics and Sufis in a unified way, and it is also among the first Persian works that have been edited in a scientific and modern way (1905) and this itself is a proof of the value and ...
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Tazkira al-Awliyâ is one of the first books in Persian language, which mentions the sayings and biographies of ascetics and Sufis in a unified way, and it is also among the first Persian works that have been edited in a scientific and modern way (1905) and this itself is a proof of the value and importance of this eternal letter of Attâr Nishâburi. Undoubtedly, such a great work requires diverse and innovative researches, and a number of editors and researchers have made valuable efforts in this direction; However, this book still has very important points and hidden angles that have not been addressed, and in this article, an effort has been made to point out ten of them in order to make this work as effective as possible: First, a short introduction about the Tazkira al-Awliyâ and the issue of attributing it to Attâr is presented. And then about issues such as "the suspicion of the nil", the omission of an important name in the mention of Abu Hafs Haddâd, the lack of discipleship of Abu al-Qasim Korrakâni under Abu Osmân Maqrebi, about the attribution of a speech to Abu Mohammad Jariri, the identification of one of the declarations of Tazkira by the name of Sa’laba Ansâri, the invalidity of Abu Ali Rudbâri's genealogy, the family relationship of Abu Amr Nojayd and Abu Abd al-Rahman Solami, the relationship between Ibn Xafif and Jonayd Baqdâdi, the relationship between Amr ibn Osmân Makki and Ja’far Xoldi, and the correct date of death of Mohammad ibn Aslam Tusi will be discussed with reference to authentic documents.
Key words: Attâr Nishâburi, Tazkira al-Awliyâ, textual criticism, historical error, annotations, names of persons. Key words: Attâr Nishâburi, Tazkira al-Awliyâ, textual criticism, historical error, annotations, names of persons. Key words: Attâr Nishâburi, Tazkira al-Awliyâ, textual criticism, historical error, annotations, names of persons.
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Abdul Reza Seif; Milad Movahedi rad; Aliasghar Eskandari
Abstract
Synesthesia (sensualism) is a kind of deviation from the norm of meaning, which by breaking the normal system of words and creating a concept contrary to the habit, creates literary pleasure in the audience. In this way of writing, the poet shatters the common mental system of the reader or listener ...
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Synesthesia (sensualism) is a kind of deviation from the norm of meaning, which by breaking the normal system of words and creating a concept contrary to the habit, creates literary pleasure in the audience. In this way of writing, the poet shatters the common mental system of the reader or listener by breaking the superficial structure of the words and not their deep structure and creates a new and pristine image to surprise the audience. In this essay, the authors, inspired by the analytical linguistics school of Lakoff and Johnson, have examined the prevalence of descriptive, analytical, and sensuous in Hafez's poems. The following article shows that the feeling in Hafez's poems, in addition to its different types of feeling; It implies different and different semantic concepts. One of the interesting methods in Hafez's poems is the emphasis on a special type of senses in sensing and transferring meaning from the source area to different areas of semantic purposes. By choosing this type of sensation, Hafez has increased the rhetorical and artistic texture of the speech, and in order to enhance the dignity and rank of tangible things and connect the mental and objective worlds, he has paid special attention to objective-abstract sensation.
Mostafa Eslami Sanjbad; Abdolreza Seyf
Abstract
The aim of this article is to scrutiny the concept of distance in Hafez Poetry based on the theory of mental spaces of Fauconie and Turner. This theory, which was proposed in the field of cognitive semantics, due to special attention to semantic processes and its complexities from a cognitive point of ...
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The aim of this article is to scrutiny the concept of distance in Hafez Poetry based on the theory of mental spaces of Fauconie and Turner. This theory, which was proposed in the field of cognitive semantics, due to special attention to semantic processes and its complexities from a cognitive point of view, can provide a suitable framework for analysis in the study of Hafez's sonnets, whom has always been the leader of Persian-language poets in terms of the complexity of their themes. Studies showed that the concept of distance in Hafez's poetry appears in the form of spatial distance, temporal distance and cognitive distance. cognitive distance is seen more than other types of distance in Hafez's poetry. In this way, the poet uses temporal and spatial elements and generally concrete and objective elements to convey an abstract concept, i.e. distance in knowledge, wisdom, understanding and perspective to the audience. Sometimes, by denying the apparent similarity between two things or people, the poet emphasizes the inner differences and actually the existence of a distance between them. This work of Hafez can be seen as breaking existing frameworks and creating new frameworks, which is related to Hafez's art of deconstruction. Sometimes, by considering two mutual phenomena, the poet emphasizes the negation of the apparent difference and their oneness in practice and the absence of distance between them. This group of verses can be well analyzed based on the approach of mental spaces in the form of conceptual fusion, because the poet uses two mutual mental spaces,and by creating a combined space of the two, creates a new space that contains elements of the input spaces and also new elements that did not exist in the input spaces and are the result of the combination of two mutual spaces. The space builders in Hafez's poems that convey the concept of distance fall into two general categories: the first category is linguistic units whose main function and role is space creation (elements of time and space, contrast, negation, etc.) The second is not limited to specific linguistic units, but rather literary techniques that the poet uses as a space creator (multiple meanings and opposition).
