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sima rahmanifar; hossein ghasemi
Abstract
Examining ancient fiction texts as a source for reflecting the political, social and cultural conditions of the past ages can, in addition to being a confirmation of other historiography sources, also reveal the thoughts of their creators, as the people of the pen and knowledge of those times. The tale ...
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Examining ancient fiction texts as a source for reflecting the political, social and cultural conditions of the past ages can, in addition to being a confirmation of other historiography sources, also reveal the thoughts of their creators, as the people of the pen and knowledge of those times. The tale of the mouse and the cat by Sheikh Bahae is one of these fictional texts that includes elements, components, and thoughts that can be directly related to the social and cultural conditions of the time of its creation, that is, the period The reign of Shah-Abbas I, and especially the opinions of its founder, Sheikh Baha'i, were examined. Based on this, the main questions of the upcoming research are what conclusions can be reached from the historical analysis of the above-mentioned story about the place of Sufism in this period, especially in contrast with Sharia, and how the literary text can be used to reflect a specific ideology and discourse. In a period, slow down? Also, what was Sheikh Baha'i's approach regarding the two intellectual spectrums of Sharia and Sufism with regard to his political-religious position? It seems that according to the situation in Iran during the Safavid era and especially during the reign of Shah Abbas I, it is possible to find the definite dominance of the jurisprudence system (symbolized by the cat in the story) over the elements of Sufism (symbolized by the mouse in the story) in this story. He proved the claim with the conversations and evidence provided by the mouse and the cat and also the end of the story. In fact, the early period of Safavid rule can be considered as the dominance of the Sufi system, the period of its continuation, the weakening of this system and the period of its fall with the definitive and final victory of the jurisprudence system and the expulsion of Sufis and Sufis from the sphere of power.
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Yosofali Beiranvand; Mina Khosravi
Abstract
The epic and mythological narratives of the Indo-Iranian peoples have been influenced by each other due to their common origins and long-standing cultural relations. The narrations of Rustam in Ferdowsi's Shahnameh and Ram in Ramayana have many similarities. It can be said that these two characters ...
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The epic and mythological narratives of the Indo-Iranian peoples have been influenced by each other due to their common origins and long-standing cultural relations. The narrations of Rustam in Ferdowsi's Shahnameh and Ram in Ramayana have many similarities. It can be said that these two characters are born of the long-term cultural relationship between Iran and India. Which of these two books was influenced by the other is hidden from us. We only know that the two characters of Rostam for Iranians and Ram for Indians have a special sanctity and show the magnificence of the epic hero in the mind. This research seeks to investigate the similar and different features of Rostam and Ram's stories with a comparative-analytical method. The similarities and differences between Rostam and Ram in summary are: 1- Birth prediction: Rostam's birth prediction by stars and Simorgh; But the birth of Ram was prophesied by Brahman. 2- Appearance beauty: Ram to have appearance beauty; But Rostam is described as tall and stout. 3- Loyalty to the king: Rostam occasionally shows his displeasure to the king; But Ram adheres to the king's covenant and... . The similar friends and enemies of Rostam and Ram are: 1- Afrasiab and Ravana are similar in that they seek power and have inherent evil. Except that Ravana is a demon. 2- White Devil and Raven are similar because they take hostages and the heroes have to fight with them to free the hostages. 3- Keikavus and Sita deceive the demon. 4- Zavareh and Lakashman are brothers and supporters of the hero. The difference between them is that Lakashman is with Ram in most of the events. 5- Tahmineh and Sita are the hero's wives who separated from the hero and gave birth away from him. The difference is that Sita did not hide the father's name from the her children.
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Mohammad ansari; jahangi safari; Ebrahim zaheri abdevand
Abstract
The Reflection of Mythological Motifs in the Story of the Baradaran-e-Talaee in Bakhtiari Culture
Abstract
The story of "Baradaran-e-Talaee" is a well-known tale in Bakhtiari culture that features various mythological motifs, including the ritual of sacrifice for the mother goddess, the ...
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The Reflection of Mythological Motifs in the Story of the Baradaran-e-Talaee in Bakhtiari Culture
Abstract
The story of "Baradaran-e-Talaee" is a well-known tale in Bakhtiari culture that features various mythological motifs, including the ritual of sacrifice for the mother goddess, the comparison of characters with gods, and the mythological function of objects and places such as rings, snow, mountains, and pomegranates. Therefore, understanding this story correctly depends on recognizing these mythological motifs. In this research, these motifs are studied in connection with texts such as Shahnameh, using the documentary method and descriptive analytical approach. The findings and results of the study show that the main myth in this story is the marriage with the Peri and the rituals related to it. Some of these rituals, such as marriage with an aqueduct, are still common in different regions of Iran. Furthermore, the characters in this story are transformed gods, or it can be said that the gods were an archetype for creating them. For example, the character of the Darvish, due to his two Ahura and Ahriman faces, is like the god Vayus. Most of Peri's functions, such as connection with water and spring, sacrifice, the power of transfiguration, and turning the hero into stone, can be seen in the actions of the character of the cave girl. The actions of the story, such as the killing of a young man/darvish at the fountain, are rooted in the ritual of sacrifice to the goddess of water. The transformation of characters into gold is a mythological symbol of immortality, exogamy, and the bold role of the daughter and father in marriage are also rooted in the culture of mythological marriages.
Key words: myth, Bakhtiari culture, "Baradaran-e-Talaee" story, mythological marriage culture, Izad Vayu.
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Muhammad Choopani; Ghafar Borjsaz
Abstract
Introduction: Rhetoric is the art of effective communication, tailored to the audience's situation and status. The term "speech" encompasses all verbal and semantic components, including its constituent parts.
Purpose:This research aimed to explore the functions and rhetorical capacities ...
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Introduction: Rhetoric is the art of effective communication, tailored to the audience's situation and status. The term "speech" encompasses all verbal and semantic components, including its constituent parts.
Purpose:This research aimed to explore the functions and rhetorical capacities of pronouns within the context of Zahhak's story, specifically in relation to the interaction between verbs and pronouns. The goal is to identify the specific functions and rhetorical capacities employed by Ferdowsi.
Research method:This study utilizes a descriptive-analytical approach and employs rhetorical criticism.
Findings and conclusion: This research explores the rhetorical capacities and functions of pronouns in Ferdowsi's story of Zahhak. It identifies two main areas where the pronoun's rhetorical capacity is developed: the interaction between pronouns and verbs, and the phonetic layer of speech. In the former, pronouns are used as adverbial complements of verbs and in syntactic shifts from nouns to verbs, satisfying both syntactic and semantic needs while inducing desired effects on the audience. In the latter, pronouns affect the formation of a specific phonetic environment in speech. The study concludes that pronouns play a significant role in the rhetorical efficacy of the story, serving various rhetorical and semantic purposes. Another function of pronouns in this story is to demonstrate their role in "binding the predicate" to convey certainty. Pronouns also play a role in various rhetorical processes at the phonetic level of speech. These processes include the "settling" of pronouns and their impact on creating a specific phonetic atmosphere in speech. This serves to convey the intended meaning and concept of the theologian, as well as reflect their discontent and dissatisfaction towards the events described in the verse, or the behavior of the characters that lead to these events. Another group of rhetorical processes of the pronoun in this story has been realized in the phonetic level or layer of speech, both in terms of the process of "pronoun settlement" and in the form of the pronoun's effect on the formation of an especial phonetic environment in speech.
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Esmaeil Alipoor
Abstract
The travelogues written by Europeans about Iran serve as invaluable research sources in the field of Iranian Studies. They provide insights into aspects of Iranian culture that may have been overlooked or intentionally disregarded by Iranian historians. However, it is important to acknowledge that these ...
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The travelogues written by Europeans about Iran serve as invaluable research sources in the field of Iranian Studies. They provide insights into aspects of Iranian culture that may have been overlooked or intentionally disregarded by Iranian historians. However, it is important to acknowledge that these works may contain elements of exaggeration subjective opinions inappropriate generalizations and biased political inclinations. This study aims to critically examine the portrayal of Iranian culture in the travelogue Beyond the Caspian Sea authored by Arthur Christensen a Danish orientalist and mythologist. Employing a descriptive-analytical approach rooted in the imagology methodology this article explores the travelogue's depiction of Iranian culture. Imagology a comparative literature approach delves into the representation of the "self" through the eyes of the "other" or vice versa with the ultimate goal of understanding the reasons and mechanisms behind this cultural reflection. As an interdisciplinary approach imagology intersects with cultural studies. The central question driving this research is why certain manifestations of Iranian culture and literature particularly those observed during the author's journey to Iran at the end of the Qajar era assume greater prominence in this travelogue. The findings reveal that Christensen's perspective is Europe-centric shaped by inductive reasoning stereotypes and political biases. By accentuating the negative aspects of certain individual and environmental elements of Iranian culture he attempts to generalize them to the entire Iranian cultural realm. The travelogues written by Europeans about Iran serve as invaluable research sources in the field of Iranian Studies. They provide insights into aspects of Iranian culture that may have been overlooked or intentionally disregarded by Iranian historians. However, it is important to acknowledge that these works may contain elements of exaggeration subjective opinions inappropriate generalizations and biased political inclinations. This study aims to critically examine the portrayal of Iranian culture in the travelogue Beyond the Caspian Sea authored by Arthur Christensen a Danish orientalist and mythologist
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Homeyra Zomorodi; Bülent akdağ Akdağ
Abstract
This study delves into the works of the Turkic poet Osman Kemal Efendi, commonly known as Osman Kemali. He was a devoted disciple of Jalal al-Din Rumi and a memorizer of the Quran. Rumi's profound engagement with rational and transmitted sciences, literature, jurisprudence, hadith, Quranic exegesis, ...
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This study delves into the works of the Turkic poet Osman Kemal Efendi, commonly known as Osman Kemali. He was a devoted disciple of Jalal al-Din Rumi and a memorizer of the Quran. Rumi's profound engagement with rational and transmitted sciences, literature, jurisprudence, hadith, Quranic exegesis, and the sayings of Imam Ali (AS) provided the fertile ground for the emergence of the most exquisite panegyrics dedicated to Imam Ali (AS) in the Persian literary tradition. This influence has also inspired Osman Kemali's poetry to be crafted in an ethereal style, embodying a genuine affection for the Ahl al-Bayt (AS). The significance of the present research lies in the introduction of a poet unreserved in his expression of love for the household of the Prophet. The primary objective of this study is to examine the extent to which Osman Kemali's poetry is influenced by Rumi. The research methodology is predominantly library-based, supplemented by interviews in certain sections of the study. The theoretical framework is grounded in discourse analysis, drawing on the ideas of Fairclough (2001). Findings indicate that Kemali's poetry is deeply influenced by Rumi in terms of theme and meaning, and it can be posited that the meter of his verses closely resembles that of Rumi's. In contrast to Rumi's poetry, which incorporates both personal and impersonal pronouns, Kemali's work is characterized by a restriction to personal pronouns. Another salient feature of Osman Kemali's poetry is his use of allusion; he employs verses, hadiths, and even Rumi's poetry as allusions throughout nearly all of his works, following Rumi's stylistic approach
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Mahmoud Fazilat; Abdolreza Seif; Arad Gholami
Abstract
The roots of many literary stories can be found in historical narratives. In this research, we focus on four historical and literary narratives that have a special type of deception as their motif. At first, we give a summary of each of these four narratives (descriptive level) and then we explain their ...
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The roots of many literary stories can be found in historical narratives. In this research, we focus on four historical and literary narratives that have a special type of deception as their motif. At first, we give a summary of each of these four narratives (descriptive level) and then we explain their commonalities and differences (analytical level). The first narrative is about a Persian man named Zopyrus, who helped Darius the Great to conquer Babylon. The second narrative tells the story of a man from the companions of the ruler of the Hephthalites, who led to the defeat of the Sassanid army by gaining the trust of Peroz I. The third narrative depicts the conflict between crows and owls which ends in favor of the first group with the cleverness and cunning of a crow. The fourth narrative is the story of a Jewish king who, with the trick of his minister, causes internal conflict and mass killing of Christians. In all these narratives, gaining the enemy’s trust by harming oneself is used as a motif, but the method of processing this motif is different in the aforementioned stories. This research, according to its topic and method, is conducted as library research. The findings of this research show that the main plot is the same in these four narratives, but their processing is different. In addition, the historical narrative of Zopyrus can be considered an ancient source for three other narratives; a source that has been neglected until now.
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Mansoureh Shahriyari
Abstract
The hands of history are the source of the majority of the protagonists in our lyrical, epic, dramatic, and didactic literature. Bahram Gur is one of these characters, whose rule in historical sources is enriched by legends in literary sources. His popularity has garnered the attention of historians, ...
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The hands of history are the source of the majority of the protagonists in our lyrical, epic, dramatic, and didactic literature. Bahram Gur is one of these characters, whose rule in historical sources is enriched by legends in literary sources. His popularity has garnered the attention of historians, writers, and artists, among others, among the Sassanid monarchs. This research investigates this character in the fields of history and literature from a descriptive and analytical perspective, utilizing library sources. Because the narratives concerning Bahram Gur have been recounted in historical and literary sources with distinctions, they have all pursued the same objective: the education of society members. This research seeks to address the question of how writers, historians, and writers in general perceive stories as an educational instrument. In order to elucidate this matter, we have first examined the perspectives of historians regarding the aforementioned character. Subsequently, we have examined the character of Bahram in Ferdowsi’s Shahnameh, Nizami’s Haftpakir, and other historical sources. The results suggest that, despite the fact that a character is the focal point of these studies, distinct analyses have been produced based on their respective perspectives. The objective of historical texts is no longer limited to the mere description of facts when viewed from a literary perspective and utilizing the elements of emotion and imagination. The poet or writer may also aim to achieve other objectives in addition to the creation of beauty. Ferdowsi and Nizami have analyzed and described Bahram’s character. In fact, despite the disparity in their modes of expression, these two leaders of the literary world have occasionally diverged from the historical aspect and have crafted educational narratives that incorporate historical evasions.
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Mohammad Amir Mashhadhi; Sara Nezamdoost
Abstract
The sixth century is the peak of the use of astronomical terms in Persian poetry and prose. One of the most prominent and prominent works in the use of terms and information of astronomy in Persian literature is the Maghamat of Qazi Hamiduddin Balkhi (559 AD), which he authored in 551. The purpose of ...
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The sixth century is the peak of the use of astronomical terms in Persian poetry and prose. One of the most prominent and prominent works in the use of terms and information of astronomy in Persian literature is the Maghamat of Qazi Hamiduddin Balkhi (559 AD), which he authored in 551. The purpose of the present research is to investigate the use of astronomy in Hamidi Maghamat in a descriptive-analytical way and to answer the question of how and for what purpose Hamiduddin Balkhi used astronomy and its tools in Maghamat. Therefore, by extracting samples from this tract, the authors have analyzed it in terms of the mentioned topic. The results of the research show that Hamiduddin Balkhi has used the science of astronomy skillfully and with full knowledge. Allocating an Maghame (20th) in Maghamat to astronomy shows the importance of the subject. From the point of view of the authors, the most important reasons for the use of astronomy in the authorities are to show the author's abilities and to express his grace and knowledge in the use of astronomy, the imaginative literary and artistic effects of the tract, to introduce the tract to the audience and also to indicate his religious beliefs, so that in this way, his tract be honored and after him, its immortality will be preserved.
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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.
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ُShayesteh Sadat Mousavi; Pariya shateriyan
Abstract
Metamorphism of mega-metaphors signifies the historical ruptures. The political and social concepts expose themselves in new configuration and evolve in companion with the historical transformations. Conceptual History or The History of Concepts is from new disciplines of History studies which surveys ...
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Metamorphism of mega-metaphors signifies the historical ruptures. The political and social concepts expose themselves in new configuration and evolve in companion with the historical transformations. Conceptual History or The History of Concepts is from new disciplines of History studies which surveys these conceptual evolutions. Conceptual History is a proper framework to observe the articulation of social- cultural concepts. This discipline shows how the concepts transform through the threshold eras (Sattelzeit) and transfer toward the future. Nevertheless, neglect of apparently non-political traits such as allegories, metaphors, myths, etc. could be regarded as one of the biggest deficiencies of this scope. In this paper, which is based on the Conceptual History Project of Reinhart Koselleck, we will observe the role of allegories and metaphors in conceptualization of the words and how they make the words enter the modern era loaded by a new conceptual connotation. Homeland, as one of the greatest keywords of the modern era, has been the focus point of this research. This word, along with a large number of other words, assume a new conceptual connotation in the constitutional era - which must be regarded as one of the main threshold eras of Iran's history-. As we will see, grafting to the concepts like woman, mother, home, etc. homeland breaks out of the lexical mold and evolves into a modern concept.
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Rouhollah Hadi; Mohammad Sarwar mawlaie; Siddiqullah Kalakani
Abstract
Abstract
Sanai's has a special place in both Dari/Persian poetry history and the changes he made in terms of content, especially erfan, wisdom and advice, and according to Sanai scholars, Persian poetry in ghazel and qasida owe it to Sanai to this day. Unfortunately, Hakim Sanai did not receive the ...
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Abstract
Sanai's has a special place in both Dari/Persian poetry history and the changes he made in terms of content, especially erfan, wisdom and advice, and according to Sanai scholars, Persian poetry in ghazel and qasida owe it to Sanai to this day. Unfortunately, Hakim Sanai did not receive the attention he deserved in Iran and Afghanistan until the fourteenth century for several reasons, except for the publication of Divan, Masnawi, and Sanai's biography. Some new and serious research on Sanai is conducted in recent decades through independent writings and research and master's and doctoral dissertations, especially in Iran.
Sanai-ology research in Afghanistan is similar in some respects to what has been done in Iran. Ranging from writing general, thematic, and specific articles to editing and publishing his works, to explaining some of Hakim Ghaznawi’s Masnavi such as Sairul-Ebaad to Hadiqah and writing independent books about his life; works, thoughts, circumstances and answering controversial questions among scholars and critics of the works in Iran and the use of research and studies by Iranian scholars; knowledge on these and the findings of Sanai scholars in Afghanistan can provide a broader horizon for Sanai scholars. The culmination of Sanai studies in Afghanistan is the holding of a conference on the 900th anniversary of Sanai, in which valuable research such as the description of Sir al-'Ebbad, the correction of Hadiqah, and the writing of research articles on Sanai and his works have been conducted. In the last two decades, the description of about a thousand verses of Hadiqatul haqiqa done by professor Ab. Ahad ashrati is, among other things, a better example that will follow In this article, an attempt has been made to review and critic the research findings of the scho.
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Elham Torkashvand; Ali Mohammadi
Abstract
Rashidi's history belongs to Timurid period, was written by Mirza Haidar Doghlat and its subject is to explain events and conflicts that happened to some of descendants of Genghis Khan and Mirzayan Doghlat and were written by historians. The scene of these conflicts is parts of present-day China, Uzbekistan, ...
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Rashidi's history belongs to Timurid period, was written by Mirza Haidar Doghlat and its subject is to explain events and conflicts that happened to some of descendants of Genghis Khan and Mirzayan Doghlat and were written by historians. The scene of these conflicts is parts of present-day China, Uzbekistan, Kyrgyzstan, Kazakhstan, Afghanistan and Tajikistan. This book was written about five centuries ago, in Kashmir and outside the geographical area of Iran, by a literate Mongol who had learned it in the Herat School. Apart from the historical events of this precious book, which is one of most unique historical books of Timurid period, this book can also be examined from a literary and rhetorical point of view. The results of this research show that the author has flourished his genius in the field of literature by using verbal and spiritual crafts as well as using a special method of narration. As a classical writer, he has tried to write his writings, both in terms of content and in terms of literary form, wisely and favored by scholars and literati. Hence, Rashidi's history, apart from historical propositions, contains literary and rhetorical flavors that have a worthy effect on the feelings and emotions of the audience. In this research, which has been done in a library manner, by giving examples and explaining them, the artificial parts of the text are distinguished from the narrative parts, and the reasons for Mirza Haidar's tendency towards literary industries and techniques are also explained.
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Homeyra Zomorodi; Mina Akbari Farahani
Abstract
The discussion of moral virtues and vices is one of the common ideas in the moral and mystical beliefs of ancient Iran and India. According to the idea of dualism, vice traits are caused by the forces of evil and darkness, and good traits are influenced by the forces of good and light. Avoiding vices, ...
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The discussion of moral virtues and vices is one of the common ideas in the moral and mystical beliefs of ancient Iran and India. According to the idea of dualism, vice traits are caused by the forces of evil and darkness, and good traits are influenced by the forces of good and light. Avoiding vices, especially the vice of anger, is emphasized in this common thought and its expression in Avesta, Pahlavi, and Manichaean works of ancient Iran and the works of Vedic, Brahminical, and Buddhist literature of ancient India. In the Shahnameh, the battle of these two forces of good and evil can be seen in the thoughts, words and actions of the characters in Ferdowsi's stories and words. In Mawlavi's Masnavi, there is a battle between good and evil in human existence. In this research, the attribute of anger in ancient Iran and India has been investigated based on Shahnameh and Masnavi, with a comparative and analytical method. According to this study, anger is used in the two concepts of the demon of anger and the vice of anger in the works of Iran and ancient India. We can see the reflection and influence of these two concepts in Shahnameh and Masnavi. Therefore, the research shows that the devil makes people feel demonic through the unpleasant attribute of anger and moves them away from the group of goodness and light and closer to the group of evil and darkness. Now, this anger can have a demonic face or a blasphemous quality. Therefore, by analyzing the evidence of the works, we have shown that Ferdowsi and Molavi, as two great poets of the Islamic period, have well expressed these concepts of ancient Iranian and Indian thought in the Shahnameh and Masnavi, and have adhered to the continuity of their ancient Aryan culture.
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Farzaneh Saniei; Ehsan Ghabool
Abstract
This paper aims to study the image of Iranian women in the Safavid era within the work of French priest Raphael Du Mans entitled the Status of Iran in 1660 . This book is one of the first works written in French about Safavid Iran and its author is unique among European tourists who traveled to Iran ...
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This paper aims to study the image of Iranian women in the Safavid era within the work of French priest Raphael Du Mans entitled the Status of Iran in 1660 . This book is one of the first works written in French about Safavid Iran and its author is unique among European tourists who traveled to Iran due to the length of his stay in Iran (more than half a century) and is also more famous than many other French tourists like Jean Chardin or Jean-Baptiste Tavernier. The present research seeks to first thematically classify the descriptions that Du Mans presents of Iranian women, based on the knowledge and method of imagology and then analyze his evaluative attitude towards Iranian women in each of these themes. Then, the reasons for this attitude are investigated based on intra-textual and extra -textual components. For this purpose the images of women within his book are extracted and classified. These images include women of religious minorities, the position of women inside and outside the house, dancing women, issues related to women's marriage and divorce, and polygamy. Then, by referring to historical resources and also checking the intratextual signs based on imagology the positive or negative evaluation of the images and the context of their formation are analyzed and identified. The result of the research is that most of the images that Du Mans presents of Iranian women have a negative connotation; the reason for which can be found in the purpose of his trip his European sense of superiority and also his ideas about women as a Catholic priest. Most of the images presented in Raphael Du Mans 's book can be considered direct images, because the author has lived in Iran for many years and has made numerous observations
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Amir Pourrastegar
Abstract
European's travelogues are important in understanding "another view", in anthropology and cultural-social history studies area. Sufism and Dervishes are one of the prominent topics in European travelogues, especially in the Qajar era. From this perspective, the present research is based on the ...
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European's travelogues are important in understanding "another view", in anthropology and cultural-social history studies area. Sufism and Dervishes are one of the prominent topics in European travelogues, especially in the Qajar era. From this perspective, the present research is based on the analysis of the travelogues of the European travelers of the Qajar era, who have described and sometimes analyzed dervishes in their reports. It’s obviously clear that issues such as:Sufi dynasties considering Dervishes as a class, Sufism lineages, and Dervishes' behavior and worldview are often associated with ignorance of Sufism, prejudice, superficial, and incognito. The approach of this research shows the four components of "Oral Dervish Literature", "Beliefs", "Beggary and Unemployment", "External journey", "Spells and Magic". "Using intoxicants and hypnotic substances" are more prominent in western travelogues. A few of these travel writers, including Polak, Browne, and Gobineau, have an Orientalist approach in its research-following sense towards Sufism and have combined it with their observations; Among other things, they have presented reports about the Sufi dynasties of the Qajar era, especially Ahl al-Haq, the origin of Sufism, and Iranian Enlightenment thought. Apart from this, in other travelogues, the spirit of Sufism is often not mentioned. In most of these travelogues, Sufism and mysticism have been relegated to the school of laziness and unrestrainedness, and wandering dervishes and storytellers have been portrayed as addicted to weed and marijuana. The results of the description and analysis of the aforementioned travelogues show that the reports of these travelers about Sufism in the Qajar era has only been narrated in the form of "affected dervishism", along with "generalization", "defects", "strangeness" and " Magnification".
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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.
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hossein hassanrezaei
Abstract
"love" is one of the most frequent words, in Iran and world literature. Because most people, experience love, One of the most common themes in art and literature is love. Persian literature, from the beginning until today, has expressed the love in forms such as Couplet-poem, Ghazel, story. Persian literature ...
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"love" is one of the most frequent words, in Iran and world literature. Because most people, experience love, One of the most common themes in art and literature is love. Persian literature, from the beginning until today, has expressed the love in forms such as Couplet-poem, Ghazel, story. Persian literature before the form of "lyric" has used "Tashbib" of ode’s to express the emotion of love. Although the poets of odes have written about various topics such as description of nature, youth, wind, etc., but "love" is one of the most important themes of odes, especially in Farrokhi Sistani's odes. Among Khorasani style poets, Farrokhi Sistani has more romantic Tashbib poems And more than other poets of this era, is known as tashbib poetry. Considering these factors, the present article try to examines different aspects of love in Farokhi's tashbib poems. First, The relationship between love and literatur, Farrokhi's position in Persian lyrical poetry, the effect of relationship with the court on praised’s preference for the beloved expressed. Then, the "Turkic race" of the beloved and his dual duty, military and charming, is examined. Pederasty and pedophilia and its causes are the subject of the next study. In the following, the reduction of love to mere sexual desire and sometimes even its tendency towards sexual deviations such as sexual addiction in Farrokhi's tashbib poems has been studied. The article ends with mentioning other important features of love in this period, such as realism, rationalistic view to love, simplicity of language and thought. The present article, which is written by descriptive-analytical method, In the end, concludes that Farrokhi, in his tashbib poems, expresses physically, happily, pederasty and hedonistically love, under the influence of personal and political-socio factors, such as hedonistic nature, luxury and prosperity, the abundance of Turkish beauties and the "tradition" of pedophilia in that period.
