فهرست مطالب

جستارهای نوین ادبی - سال چهل و نهم شماره 3 (پیاپی 194، پاییز 1395)

نشریه جستارهای نوین ادبی
سال چهل و نهم شماره 3 (پیاپی 194، پاییز 1395)

  • تاریخ انتشار: 1395/09/14
  • تعداد عناوین: 7
|
  • جستارهای ادبی
  • بیتا قنبری، امین دایی زاده جلودار صفحات 1-18
    نقد جامعه شناختی رمان که یکی از انواع پرکاربرد نقد ادبیات داستانی است، بر اساس پیوند میان ساختارهای اجتماعی و ساختار ادبی، قرائتی جامعه شناسانه از متن ادبی ارائه می دهد. این مقاله به روش تطبیقی به بررسی ویژگی های اجتماعی، کنش های معنادار فاعلان جمعی، درون مایه های اجتماعی تکرارشونده، شناخت جایگاه طبقاتی نویسنده و بازتاب آن بر پیرنگ و شخصیت های رمان، ارتباط و تناظر میان ساختار ادبی و ساختار اجتماعی در رمان های دانشور پرداخته است. زنان آثار دانشور، از هر دو طبقه اجتماع، «اشراف و محروم» و از آدم های دور و بر خودش انتخاب شده اند. او در رمان های متاخر خود، شخصیت های زن را از میان دانشجویان و قشر دانشگاهی برگزیده است. سووشون سکوی پرتاب نویسنده برای حرکت در مدار واقع گرایی بوده و دانشور خط عزیمت اندیشه زری را از فردگرایی تا جامعه گرایی و از انقیاد تا عصیان ضد روزگار خود و از زنی احساساتی و منفعل تا مرز زنی منطقی و فعال و از عامیانه اندیشی تا پهنه اندیشه های فلسفی و اجتماعی پیگیری کرده است. در نتیجه از دیدگاه جامعه شناسی، عواملی مانند تحولات اجتماعی، انقلاب بیرونی و درونی و ارتباط و تناظر ساختار ادبی و ساختار اجتماعی بر آفرینش و تحول شخصیت های رمان های دانشور تاثیری به سزا داشته
    است.
    کلیدواژگان: نقد جامعه شناختی، فاعل جمعی، ساختار ادبی، ساختار اجتماعی، سمین دانشور
  • فرزانه امیرپور، سیده مریم روضاتیان، حسین آقاحسینی صفحات 19-44
    یکی از مباحث مهم در بررسی زبان شعر، رابطه جنسیت با زبان اثر است. برخی پژوهشگران معتقدند میان زبان و نوشتار زنانه و مردانه، تفاوت وجود دارد. در این مقاله، با استفاده از دیدگاه های زبان شناسی به ویژه نظریه رابین لیکاف، میزان توانمندی شاعران مرد در بازنمایی زبان جنسیت و ایجاد زبانی متناسب با جنسیت شخصیت های زن و مردی که نامه های عاشقانه چهار منظومه غنایی از زبان آن ها سروده شده است، تحلیل و تبیین شده است. برای این منظور، زبان نامه های عاشقانه بر اساس مباحثی از علم معانی، چون جملات خبری، امری، پرسشی، قسم، دعا و منادا، تقیید و اطلاق بررسی شد. یافته ها نشان می دهد در نامه های دو منظومه «ویس و رامین» فخرالدین اسعد گرگانی و «شیرین و خسرو» امیر خسرو دهلوی، زبان نامه ها متناسب با جنسیت شخصیت های زن و مردی است که نامه ها از زبان آن ها بیان می شود؛ اما در نامه های خسرو و شیرین و لیلی و مجنون نظامی، زبان شخصیت ها تحت تاثیر جنسیت شاعر است. به نظر می رسد دیدگاه شخصی نظامی به شخصیت زن و موقعیت اجتماعی زنان دو منظومه از عوامل موثر در این زمینه بوده است.
    کلیدواژگان: زبان جنسیت، نامه های عاشقانه، منظومه های غنایی
  • لیلا غلامپور آهنگر کلایی، محمود طاووسی، شهین اوجاق علیزاده صفحات 45-71
    یکی از مهم ترین کهن الگو های یونگ «خویشتن» است که بیانگر یک نمونه خداگونه در آفرینش انسان است و رسیدن به این نمونه خداگونه، غایت رشد او را نشان می دهد. عطار با کمک مصداق های گوناگون کهن الگویی خویشتن در یک مسیر ماندالایی از خود تا خود مثالی به بیان نهایت رشد و ادغام در ترکیب عالی تری می پردازد که در عرفان به مقام فنا تعبیر می شود و یونگ آن را «حل شدن من در خویشتن» تعبیر می کند. عطار این فنا را در افعال الهی می داند ؛ زیرا سی مرغ تنها در فعل الهی (خویشتن) غرق شدند نه در ذات الهی، و یونگ آن را تکامل در ناخودآگاه فردی می داند. یونگ مانند عطار معتقد است که خویشتن (سیمرغ) هیچ گاه جای خدا را نمی گیرد؛ گرچه ممکن است پیمانه فیض الهی باشد.
    گوناگونی نمودهای کهن الگوی خویشتن در منطق الطیر بیانگر آن است که راه های معرفت بی شمار اما حقیقت یکی است و عطار این اندیشه فلسفی – عرفانی – روان شناختی را در نهایت ایجاز در تمثیل سی مرغ نمود سیمرغ تعبیر نموده است که سیمرغ «خویشتن یا صورت الهی» سی مرغ است که بر اساس نظریه فرایند فردیت یونگ، سیر تحول شخصیت سالکان از من (سی مرغ) به خویشتن (سیمرغ) تحقق یافته است.
    کلیدواژگان: سی مرغ، سیمرغ، عطار، ماندالا، کهن الگوی خویشتن، یونگ
  • مصطفی رادمرد، میر جلال الدین کزازی، محمدعلی داودآبادی فراهانی صفحات 73-101
    شاهنامه فردوسی آمیزه ای از اسطوره، حماسه، تاریخ و فرهنگ است. این اثر همواره در میان اقوام ایرانی و خصوصا قوم کرد، جایگاهی ویژه داشته است، شناخت بن مایه های فرهنگی آثار حماسی کردها به دلیل ویژگی های نزدیک فرهنگی و زبانی با شاهنامه فردوسی حایز اهمیت است و بدون تردید می تواند چراغی باشد برای پی بردن به باورهایی که در آبشخورهای فرهنگی و جامعه شناختی ریشه دارد. رجز و مفاخره از مهم-ترین مضامین جدایی ناپذیر حماسه است و از آنجا که تاثیر زبان و فرهنگ در بازگردانی-های احتمالی نمود می یابد، تلاش شده است تا در داستان های مشترک شاهنامه منسوب به الماس خان کندوله ای و شاهنامه فردوسی یعنی «رستم و سهراب»، «سیاوش»، «بیژن و منیژه»، «رستم و اسفندیار» و «رستم و شغاد»، نمونه های با محتوای رجز و مفاخره با هدف پی بردن به وجوه اشتراک و افتراق استخراج گردد و آن گاه علاوه بر مشخص کردن بسامد موضوع، میزان تاثیرپذیری الماس خان کندوله ای در بازگردانی داستان ها از شاهنامه فردوسی از نظر زبانی و فرهنگی واکاوی گردد.
    کلیدواژگان: شاهنامه فردوسی، حماسه، رجز، رجزخوانی، الماس خان کندوله ای
  • امید ذاکری کیش صفحات 103-126
    شعر غنایی از مهم ترین انواع ادبی در تاریخ نقد ادبی است. در تاریخ ادبیات هر سرزمینی، اشعاری وجود دارد که به همراهی موسیقی و یا برای همراهی با آن سروده می شده و از سوی دیگر، اشعاری ساده، عاطفی و موسیقایی وجود دارد که از دل جامعه عوام به وجود آمده و منشا اشعار غنایی رسمی شده است. محققان ایرانی تحت تاثیر تعریف رمانتیک شعر غنایی، اغلب این نوع شعر را اشعاری دانسته اند که بیانگر احساسات و عواطف شخصی است و «من» شخصی گوینده را بازگو می کند. در این مقاله که به شیوه سندکاوی نوشته شده است، نگارنده ضمن نقد و بررسی این دیدگاه، جلوه-های اصیل و بوطیقایی ادبیات غنایی را در ادبیات ایران پیش از اسلام بازگو می کند. گوسان ها، نوازندگان دوره گردی بودند که اشعاری را به همراهی موسیقی برای پادشاه و مردم روایت می کردند. از سوی دیگر، گونه های ادبی نظیر خسروانی ها و فهلویات اشعاری ذاتا غنایی هستند که منشا آن توده مردم است.
    کلیدواژگان: شعر غنایی، ادبیات پیش از اسلام، گوسان، خسروانی، فهلویات
  • حسن ذوالفقاری صفحات 127-154
    خراسان مهد ترانه و آواز بیشترین گونه های شعر عامه است و بیشترین گونه را در قالب دوبیتی دارد. بنا بر تحقیق نگارنده، از حدود 370 بومی سرود، خراسان با 41 گونه، حدود 14درصد از تمام گونه های بومی سرودهای ایران را به خود اختصاص می دهد. کله فریاد، ساربانی، حقانه/حقیقی، انارکی، سرحدی، فراقی، کوچه باغی، باخزری، لالوخوانی، چل-بیتو، چاربیتی، سرورزنی، جمشیدی، سیامو و جلالی، اشترخجو، سه خشتی، هورایی، نوایی، ساربانی، منظومه خوانی، نصرو، الله مزار، آفتاوه خوانی، لو، تالو متالو، تاله خونی، نازبانوچه، خرکشونی، صبح روسیاه، نظاره خونی، ختمیو، خالگرده، غزل بیرجندی، هلوکه خوانی، هدیه ددو، سرصوت، رشیدخان نام اشعار محلی خراسان است.
    در این مقاله این گونه ها را ذیل هفت نوع سرور، سوگ، سرگرمی، تغزلی، کار، خواب و نوازش و نیایش بررسی و معرفی می کنیم. این مقاله ضمن معرفی گستره شعر عامه خراسان به طبقه بندی و تحلیل نیز می پردازد تا زمینه تحقیقات وسیع بعدی فراهم آید
    کلیدواژگان: شعر عامه، بومی سرود، اشعار محلی خراسان
  • مجتبی مجرد صفحات 155-169
    بخشی از میراث کهن فارسی را باید در متونی یافت که ایرانیان در قرون نخستین اسلامی به زبان عربی نوشته اند. از آنجا که در برخی از این متون، اشعار و امثال و عبارات فارسی متداول در آن دوران ذکر و به عربی ترجمه شده است، می توان از آن ها به عنوان منابعی کهن و اصیل برای شناخت بخشی از ادبیات فارسی بهره برد. ما در این نوشته کوشیده ایم چند بیت کهن فارسی را که در کتاب دمیه القصر و عصره اهل العصر اثر علی بن حسن باخرزی (م. 467 ق.) آمده و به عربی نیز ترجمه شده است با توجه به دو دست نویس مجلس و پاریس و ترجمه عربی آن ها تصحیح کنیم. برخی از این ابیات در متون فارسی ذکر شده اما چون دست نویس های فارسی آن بسیار متاخر است، از تحریف و تصحیف مصون نمانده است. برخی دیگر از ابیات نیز اصلا در متون فارسی ذکر نشده و از این حیث بسیار ارزشمند است.
    کلیدواژگان: شعر فارسی، تصحیح متن، باخرزی، دمیه القصر
|
  • Bita Ghanbari, Amin Daeizadeh Jeloudar Pages 1-18
    IntroductionSociological critique of the novel is one of the most popular types of critique of fiction. This type of critique, based on the link between social and structural and structural literary, provides a sociological reading of the literary text. recreation literature is an artistic expression of the realities of society. The main subject of literature is language and language is a means of establishing communication and social relations. literature, which is made up of the language and culture of the people of the community, is a social phenomenon and its function is the exchange of the lived experience between humans. The relationship between literature and society, from ancient times to our time, is a reciprocal relationship. Therefore, in order to understand the literary works, it is necessary to recognize the historical, social, political, cultural, and even intellectual and moral differences of each period, in order to obtain a proper understanding of the thoughts and effects of a writer or poet. This is what is nowadays found in new literary theories. text is in a context of context that is consciously or subconsciously affected, and a text cannot be analyzed regardless of its context. This article examines Daneshvar novels, social features, meaningful actions of collective subjects, within repetitive social themes, recognition of the class position of the author and its reflection on the plot and novel characters, and the relation between literary structure and social structure.
    The women of Daneshvar's works are selected from both classes of society, "aristocrats and deprived", and from people around them.
    In her later novels, she has selected female characters from college students and academics.
    As a result, from the point of view of sociology, the creation and transformation of the characters of the Daneshvar novels have been influenced by factors such as social transformations, external and internal revolution, and the relation between literary structure and social structure.
    MethodologyThis study is based on descriptive and comparative analysis using library research.Conceptual structures, in the form of an ideal type and its adaptation to the repeated social themes in the work of Daneshvar, have been adapted to the writings of this author and adapted to sociological theories.This research intends to investigate and answer the following questions.
    - How is the theory of sociology compatible with the novels of Simin Daneshvar as the first female novelist in the field in Iranian literary production?
    - How does the status of the heroes of the triple novels of Daneshvar in the world of these novels is similar to their position in the field of literary production?
    - Is it possible to obtain a constructive and comprehensible structure of the theory to be applicable to sociological critique of Daneshvar novels in a practical form?
    DiscussionIn order to adapt the theory of sociology, with the literary structure of Daneshvar's works, we must consider all the social aspects of the Iranian society at the time of the writer and reflect it.This article deals with the views of the works on this subject, considering the classroom status of Daneshvar and its reflection in effect. The discovery of the correspondence between personality and linguistic structure and its adaptation to the social structure of Daneshvar's novel leads to a link between social and literary structure.Finally, by analyzing and explaining the elements used in this paper, we can be more confident that our critique is not limited to expressing societies in the novel and the effect and interaction between the community and the works of Daneshvar have been established within the framework of the theory. studying the structure and characteristics of the works of Daneshvar and its effect on the creation of female characters of the stories show that:1.The attempt to discover the individuality and identity of a woman has a remarkable place in Daneshvar novels. Daneshvar has studied the problem of the identity and status of Iranian woman in a stage of social change in her works.2. A deep attachment to home and family is at the heart of many women's stories. 3. Women of middle and educated classes in these works always try to maintain and correct them. If they are forced to go to the scene of events, they prefer to compromise on the revolution and are more likely to seek an internal revolution.4. In Simin Daneshvar's novels, like the works of many women of contemporary writers,there is a balance between the positive woman and the negative woman 5. In the stories of Daneshvar, women's characters tend to calm and reconcile and peace,and preference for the inner revolution over to the external revolution.
    ConclusionThe study of the social origins of Simin Daneshvar and its comparison with the origins of the storyteller's characters shows that the scholar has experienced two types of life from two different classes, but has always been with educators, intellectuals and elders of science and literature. These class experiences have affected the works and characters of her stories.
    ● Within the main collection of all three Daneshvar novels:Inside the main theme of all three novels, "Sow-va-shon", "Wandering Island" and Wanderer Cameleer , Daneshvar, represent the state of women in modern times.
    ●The degree of deconstruction and traditions of women escaping or wandering
    The degree of deconstruction and traditions of women escaping or wandering the image of women in the stories of Simin Daneshvar or Zari in the Sow va shon (a gentleman with a knowledge and manager and expert, a popular and affectionate face of the traditional family) or confused by the wandering and wandering island. They have an emotional and emotional distress that, by relying on beloved, husband, son, and brother, search for their problem in life. A woman in a wanderer who covers all aspects of her life is floating between old and new, traditions and traditions; a woman with her personality traits and her time.
    ● The process of personality transformation in Daneshvar novels:Important factors such as social changes and the external and internal revolution have an impact on the transformation of the characters of the story.
    Keywords: sociological critique, Meaningful structure, Collective subject, literary structure, social structure, simin Daneshvar
  • Farzane Amirpour, Maryam Rozatian, Hosein Aghahoseini Pages 19-44
    IntroductionThe phenomenon of language and factors affecting that have long been the subject of extensive research. In general, in all the languages, there are differences between speakers in terms of pronunciation of vocabulary and grammar. These differences include both individual and group differences. "The group differences depend on non-linguistic factors such as geographic region, age, gender, educational level, social class, religion, occupation, etc." (Bateni, 1984, pp. 78-79). Gender, from among the social factors affecting language, plays an important role in development of linguistic differences and leads to emergence of different linguistic characteristics in men and women. Moreover, the linguistic differences between men and women in different social situations can be attributed to their different social position in the society (Noushinfar, 2002, p. 185). In the present research, the Romance letters in four Lyric poetry collections have been studied using different linguistic theories, and Robin Lakoff’s theory in particular. Robin lakoff believes that female language is inferior to male language because female language includes signs of weaknesses as well as emphasis on meaningless, non-serious points and emotional responses. In his opinion, male language is more robust, and women seeking social equality with men must acknowledge their language "(Selden & Woodson, 1998, p. 263). All four poems that are to be investigated in the present study are composed by male poets, but some parts of these poems that mainly cover romance letters include words that are uttered by the female and male characters. Therefore, the main goal of the present research is to study the extent to which male poets have managed to represent gender language in these works.
    MethodologyAccording to the main hypothesis of the study, the language used in all four poetry collections correspond to the gender language, and all the poets have been able to represent the female language in letters from the female character of the story. The research question is: which of the poets has been more successful in representing the gender language and what is the reason for the lack of consistency between some poems and the gender language? The letters contained in the Khosrow and Shirin, Leili and Majnun and Shirin and Khosrow poetry collections have been thoroughly investigated in terms of conformity with gender language, as for Vis and Ramin poem collection, two letters from Vis and two letters from Ramin have been selected for content analysis. Documentary method and descriptive statistics have been used in this research. First, some gender language criteria based on linguistic theories, as well as some examples of the texts associated with the subject of the study are presented, and the application of each variable in the letters from male and female characters are analyzed at the end of each section.
    DiscussionIn this section, the linguistic theories, especially Robin Lakoff’s theory have been drawn on to specify the most important differences between male and female language. The results obtained from this investigation are then used to analyze the romance letters in the above-mentioned poems collections according to Lakoff, the most important features of female language are:1) Hedges: hedges are words that represent a sense of hesitation and anxiety. He believes that women use such words to avoid definite comments and sometimes refrain from answering; 2) more frequent use of adverbs such as “many”; 3) more frequent use of empty adjectives, i.e. adjectives that describe nouns, just like other adjectives, but cannot be defined explicitly; 4) direct quotation; 5) specific vocabulary, women use vocabularies that relate to their particular interests in different domains; 6) avoiding coarse or masculine language; 7) the use of indirect speech to make requests (Lakoff, 1975, p. 52-54) and 8) Lakoff also believes that the declarative statements are mostly made into questions in the female language (Cameron, 2005, p. 490).
    According to Lakoff theory, another difference between women and men is that women allow the addressee dominate over the conversation. Women use expressive linguistic forms more frequently, while men mostly use rational linguistic forms. Adverb and adjective are emotional expressions, but noun and verb have rational implications. The frequency of adjectives is much higher in female language. Women adhere to linguistic standards more than men do and send confirmation marks more frequently. The vocal patterns used by women are similar to questions and need confirmations. Moreover, women do not act as magisterial as men do. Lakoff believes that women use high sentence intonation and intensifiers to emphasize their speeches. They use "intensifiers" to emphasize on sentences and boost semantic load and consequently make their speech important. They describe things more intensely while men provide simple descriptions (Fotohi, 1391, p. 398-399). Therefore, the difference between the male and female languages are usually related to the frequency of specific linguistic elements. Therefore, using linguistic features derived from the views of Robin Lakoff and other linguists, romantic letters have been investigated within a framework of Persian semantics.
    ConclusionVis and Ramin, Shirin and Khosrow by Amir Khosrow Dehlavi, proved to be more consistent with the principles of gender language. Based on the findings:- The highest frequency of imperative sentences in the romantic letters of Vis and Ramin and Shirin and Khosrow poems is seen in the male language, in Khosrow Shirin and Leili and Majnoun of Nezami, however, such sentences are mostly seen in the letters from the female characters of the story; therefore, the language of romantic letters in these two poetry collections are not consistent with the linguistic principles of gender.
    - The question sentences that characterize female language in Vis and Ramin and Shirin and Khosrow are more frequently used in the letters from the female character, in Khosrow and Shirin and Leili and Majnoun, however, these sentences are most commonly used more by the male character of the story.
    - Swearing sentences: In the Vis and Ramin, Khosrow and Shirin and Shirin and Khosrow poetry collections, the prayer sentences are consistent with the linguistic principles of gender and are more frequently used in the letters from female characters. In Leili and Majnoun, however, such sentences are most commonly used in the letters from the male characters of the story.
    - As for proto-declarative and performative declarative sentences, all the poetry collections except for Leili and Majnoun, are consistent with the linguistic principles of gender.
    - In all of the letters, except for Leili and Majnoun, the secondary roles of the sentences and declarative sentences are more frequently used in the letters from female characters.
    According to the findings, the gender language, especially the variables that show the weakness of this language, are less evident in Nezami’s "Leili and Majnoun" and "Khosrow and Shirin" than the other two poetry collections. The reasons for the inconsistency between the gender language and Nezami’s words should be sought in the personal perspective of Nezami towards the woman character, the cultural and social conditions of the region where the story was created, personal perspective of Nezami towards Shirin as well as his interest in this character. Cultural differences and the historical and social status of Arab women can be considered as one of the causes of inconsistency between Leili and Majnoun's letters and the principles of gender language. Moreover, Leili and Majnoun are among the first works with a mystical background, in which Nezami depicts mystical journeys with weakness and subjugation of Majnoun.
    Keywords: Gender Language, Romantic Letters, Lyrical Poems
  • Leyla Gholampour Ahangarkolayi, Mahmoud Tavousi, Shahin Ojagh Alizadeh Pages 45-71
    IntroductionAttar is an Arif and Iranian poet in the early seventh century, and the creator of Manṭiq-uṭ-Ṭayr that is one of the most prominent mystical works in the world literature. Although the story of birds’ travel has its roots in the past, Attar is not an imitator. He is an innovator in the artistic structure and concluding the story; traveling to other dimensions of existence, the expression of Simorgh in Si Morgh, the use of pun in expressing the height of similarity and selfness -knowledge of the birds. He has influenced poets after him such as Rumi and Sheikh Mahmud Shabestari.
    In this paper, the author's purpose is to demonstrate analyzing ancient pattern of selfness, also its examples in Manṭiq-uṭ-Ṭayrof Attar based on Yong's psychology.
    MethodologyIn this research, Manṭiq-uṭ-Ṭayr of Attar has been studied and the most important examples of ancient pattern of selfness are extracted and compared with Yong's psychology. The research method is library and descriptive-analytic.
    Discussion"Every religion has a Godlike example and a primitive script" (Eliadeh, 2011, p. 35), "which Yong calls ancient pattern". The ancient pattern of selfness is" the manifestation of human totality and the end of his/her growth" (Moreno, 2013, p. 66), from mythologists’ viewpoint “Only the first emergence of anything is meaningful and valid, not its successive manifestations."(Eliadeh, 2007, p. 43). Selfness in Yong's psychology has various examples in which some of its examples that is used in Manṭiq-uṭ-Ṭayr are analyzed.
    3.1. The Creation World and the Particle:Attar describes the particle in the early verses of Manṭiq-uṭ-Ṭayr. While this particle is the secret of mystic (minor world), it is also referred to as the first element in the creation of the world (great world), which the most beautiful and most comprehensive of these is the famous paradoxical distich which is the result of Manṭiq-uṭ-Ṭayr.
    In such a sea as the Great Sea, the universe is a particle and the particle is a universe (Attar, 2010: p. 239)
    The above verses have two paradoxical images: The particle or elemental material that is the codename of selfness and the universe, which is also a mandala and a symbol of selfness, because "among mythological manifestations of “selfness” we often see the image of universe and in many images, we see a great man in a circle (mandala)" (Yong, 2010, p. 322) and universe is the largest mandala. The verses contain the mystical idea that the minor world is equal to the great world, and from science point of view, that the characteristics of macroscopic world are equal to those of microscopic world, because in physics also "particles are in the premise of elemental material that the whole world has been created from it" (Talbot, 2007, p. 45), but the first particle in mythology is interpreted as the first egg. Yong says "the seed is the elemental material in which the soul of world is imprisoned. Eagle or Simorgh (selfness symbol) comes out from an egg" (Yong, 2013, p. 261).
    3.2. The Story of Bird's Travel and the Ancient Pattern of Selfness
    In the story of bird's travel, there are also cases such as the community of birds and the perfection of seekers, the choices of Shahriyar, Si Morgh, Simorgh, Hodhod, birds’ travel, birds’ questions, the mountain of Ghaf, the seven valleys, the thirty, the mirror, the mirroring that all of them can be considered from analyzing point of view as ancient pattern of selfness, because it expresses the process of individuality and the evolution of birds or seekers, by which passing the process of individuality, namely, I (Si Morgh) reach to spiritual perfection or selfness (Simorgh) by mysterious tests and, according to Yong, it is a growth of human innate potentials.
    -Chickens’ trip
    In the myth of hero's travel, "the legendary hero is founder of something: a new age, a new religion, a new city, or a new way of life" (Campbell, 2005, p. 206), in his view, the hero begins a dangerous travel to the supernatural wonders and ultimately returns to the first place" (Campbell, 2005, p. 40). On this travel, “the first place of birds" is the "first place" or "the example universe". According to Yong, "the main task of hero is to develop the self-consciousness of selfness" (Yong, 2010, p. 164). In this heroic story, they are looking for a new martyrdom (Simorgh) and in a new place called Mount Ghaf to discover self-consciousness of selfness. "Selfness is usually found as a symbolic animal" (Yong, 2010, p. 310). "Simorghis a well-known manifestation of alchemy like an eagle and a crow. All of these symbols are supremely self-conscious, and we call it "selfness" (Yong, 2010, p. 260).
    -Seven Valleys of Manṭiq-uṭ-Ṭayr
    Seven is associated with seven worlds, and in terms of geometric shape (7) is in the row of curved shapes that circle is its subset. Since the universe is a mandala, they are related to selfness.
    "Seven are seven stages of transformation and seven of the highest degrees, and therefore, in the ritual of mystery and mysticism is called ultimate goal" (Yong, 2010, p. 93). "If this interpretation, which seven exactly represents the highest stage of illumination is correct, one can conclude that evolution process of individual's unconscious's term is over, and at a later stage, the collective unconscious is to be blossoming"(Yong, 2010, p. 94). Perhaps this is why Attar does not know all those masculinities enough in Manṭiq-uṭ-Ṭayr by arrival of Si morgh in seventh valley, that is, as a result, Simorgh story was manifested as divine act on Si morgh, and they were immersed in divine act, not in divine attributes and essence.
    This is all Valleys you passed through all in our act you passed through
    This is al l men you drove through every soul you drowned through (Attar, 2010, p. 427)
    -The World of Symmetries
    Although Yong believes that in terms of psychology one cannot distinguish the symbol of selfness from the divine form, both of these concepts are of one nature and one gem. The divine form is "selfness" (Moreno, 2013, p. 64). But he believes that "selfness will never take God place although it may be a covenant of Divine Grace" (Moreno, 2013, p. 139). From Attar's point of view, everyone sees himself/herself as (his/her example case) not God (Manṭiq-uṭ-Ṭayr, p. 427).
    "The requirement of" selfness "is displacement of human psychological center; in that sense, then, I will be solved in selfness and human in God" (Moreno, 2013, p. 66). Solving I in selfness and human in God is the one that is called mortal in mysticism and in Manṭiq-uṭ-Ṭayr, only I was solved in selfness, that is, in the divine form and not in the divine essence.
    Though many have gone through you see yourself and selfness (Attar, 2010, p. 427)
    Yong said that "it is not possible for psychological science to determine in a purely conceptual way the distinction between the image of God and God himself, because even the concept of selfness also represents something transcendental" (Moreno, 2010, p. 140). For this reason, Attar says that "you were both a Simorgh more or less". Because of this similarity, some researchers considered Simorgh as the symbol of God, not the divine form.
    The birds at the end of this resemblance, which do not coincide with the ordinary logic ruling the world, expresses astonishment and drowned in astonishment, as if each one had a different form; Si Morghsees himself see full Simorgh, but Simorgh himself looks like Si Morgh. Versess appear to represent a rotational and Mandalay path in this mirroring, which represents the transformation process and the manifestation of integrity, because "the transformation process shows a rotational movement" (Yong, 2013, p. 48) and "the mirroring is the peak of unconscious acceptance and entering it into a general picture of the world" (Yong, 2013, p. 222). By this final mirroring, Attar provides a general picture of "there", from a position that was integral to the whole and integrity, and this integrity is only reached to a Godlike example called Simorgh in Manṭiq-uṭ-Ṭayr.
    ConclusionThe ancient pattern of "selfness" represents a kind of Godlike and a primitive graph in the creation of mankind, and reaching this Godlike example represents the end of his growth, and Attar, by help of various historical examples in a Mandalay path from particle to universe, the birds community and the perfection of seekers, the choice of Shahriyar, Si morgh, Simorgh, Hodhod, birds’ travel, birds questions, Mount Ghaf, seven valleys, thirty, Mirror, mirroring, and by using the Mandalay and circular path journey from self (component) to example self (the whole) and the rotation of verses to express the ultimate human development and development, the thing that mysticism interprets as the state of mortality, which Yong refers to as "solving I in selfness". From Attar's point of view, this is a death in Divine acts, since Simorgh manifests itself as a divine act on Si Morgh, and they were drowned only in divine action, not in divine attributes and essence. This is interpreted in Yong's psychology as the "evolution in an individual subconscious".
    Yong, like Attar, believes that selfness (Simorgh) will never take God's place, although it may be a contract of grace. Because "divine form" and "God himself" are both transcendental, due to the similarity, some researchersconsiderSimorgh to be the symbol of God, not divine form.
    Keywords: Si Morgh, Simorgh, Attar, Mandala, Ancient pattern of selfness, Yong
  • Mostafa Radmard, Mir Jalaladdin Kazzazi, Mohammad Ali Davoodabadi Farahani Pages 73-101
    IntroductionSince epopee composing among Kurd people has been prevalent in allegiance with Firdausi’s Shahnameh, certainly recognition of cultural and sociological destinies through analysis of one of the most important pillars of epic, that is boasting, and the comparative investigation of this type in two epopees, can be a light to discover the beliefs which stem in the culture and society of Zagros-settler Kurds.
    In the current paper, boasting samples in two Firdausi (Khaleghi Motlagh’s copy) and Kurdish Almas Khan Kandooleei epopees have been extracted based on five common stories (Rostam and Sohrab, Rostam and Esfandyar, Rostam and Shaghad, Bijhan and Manijhe, and Siavash). Meanwhile, defining its statistical frequency in the form of chart, and the analysis of the most important common and segregation aspects of these samples have been considered to answer the following questions: 1- To what extent is frequency of attention to boasting and declamation in the two epopees? 2- Have the cultural and sociological differences had any effect on possible diversities of boasting and declamation in the two epics or not?
    MethodologyIn the current paper which has been carried out through the descriptive-analytical method, summary of each story has been declared, then the most important structural differences of the stories in Kurdish epopee have been written based on the comparison with Firdausi’s epopee. Then, meanwhile, determination of boasting samples in the two epopees and also determination of subject frequency, the most important discussable common or different samples have been analyzed. After that, the most important findings have been mentioned in the conclusion part.
    Results and DiscussionIn most common stories of the two epopees, the number of couplets with the content of boasting is not usually more than ten couplets except in Rostam and Esfandyar story which does not have the limitation. The longest appearance of boasting is also in the story. In the story, the boastings of Esfadyar addressing Rostam is complicated with reproof and contempt; but Rostam’s boastings are gentle and instructive. Glories in Kurdish Bijhan and Manijheh are soft and without response by the addressee. In other words, it is a kind of personal introducing with glory which (afoul or captive) Bijhan declares to response the others’ questions and it is obvious that the characteristic reduces glory language to a large extent and it also limits the reactions. In Firdausi’s Rostam and Sohrab, and Siavash, Rostam’s boasting towards Iranian king is obvious; but in Kurdish epopee even a sample is not obvious and this can exclaim the higher rank of the king towards Rostam in the culture of Kurds in comparison with Firdausi’s cultural view. If boasting resources are composed with irony, it will be more wealthy. There is much of the combination with irony in Firdausi’s stories, but in Kurdish epopee stories, it is very limited and it is particular to Rostam and Esfandyar story. Declaration of boasting and glory in Kurdish epopee stories is usually limited and specific to the main champions and characters of the story; but there is not such a limitation in Firdausi’s epopee. Firdausi’s declaration is purer than Almas Khan Kandooleei’s because boasting with the content of affront in the expression of great Iranian heroes (Rostam, Siavash, and Esfandyar) in Firdausi’s epopee is very limited and deficient. In the other words, we can rarely observe weasel, vulgar and offensive applications by Iranian champions. That is, in spite of the dominance of different excitements, Firdausi’s language is more strained and purer. And, vulgar and dirty words do not exist in his words (if there is any, it is of Iranian troops’ words) but in contrast, in Kurdish epopee the content of boastings is usually offensive and it is recurrent of lingual view.
    Keywords: Firdausi's Shahnameh, Epic, Boasting, Bragging, Alamas Khan Kandoleei
  • Omid Zakeri Kish Pages 103-126
    IntroductionThe classification of poems based on the literary genres is considered to be one of the oldest methods in the poetry criticism. Plato and Aristotle are the founders of this theory. Based on the views of these two great thinkers, contemporary theorists have considered the three literary genres of lyric, drama, and epic as the major literary genres. Lyric poetry has always been one of the most prominent literary genres in the history of literary criticism. The extensional and conceptual evolution of lyric poetry has got various definitions of such poetry emerged in Iran.
    MethodologyThe main question of the present study is what steps lyric poetry has passed in the process of its semantic evolution. Having utilized both a descriptive-critical analysis and library resources, the author aimed to answer the question in a nutshell. And, based on the answer, the author attempted to criticize the current views on this literary genre among Iranian scholars. Then, on reviewing the pre-Islamic history and literature, the author put his efforts in demonstrating the original manifestations of such poetry in Iran.
    Results and DiscussionLyric poetry has gone through three semantic stages. In other words, lyric poetry has been affected to a great extent by different sources. This poetry genre, firstly, was considered as a poem being composed to accompany the music or being sung by the accompaniment of music. Secondly, lyric poetry meant simple poems enjoying intrinsic music and being emanated from the heart of the society and the folk literature. The third source affecting lyric poetry seemed to be “personal feelings.” Accordingly, the lyric literature was originally proffered as the poems to raise personal feelings and emotions.
    To accommodate the principles of the lyric literature to those of the Persian literature, many Persian literary scholars have mostly accommodated them to the poetry of the Islamic period and defined lyric poetry through considering the principles of Romanticism. This view has led to the underestimation of the poetics and original forms of the lyric poetry originating from the pre-Islamic literature in most of the Persian works. In pre-Islamic Iran, poetry and music were so closely associated. Gōsān were itinerating minstrels who sang certain poems to the king and the people with the accompaniment of music. In addition, in pre-Islamic Iran, there were specific poetic forms such as Khosravanies, hymns, Owramnes, and so forth being recited in a singing way with the accompaniment of music amongst the mass of the people. Most of such native poetic forms were continued in the post-Islamic literature. As an original form of the folk couplets, Fahlaviat is an outstanding example of such poetic forms. Rhythmic lyrics were considered as an example of lyric poetry being prolonged in the post-Islamic literature. Therefore, in the evolution of the lyric literature of any nation, these two characteristics of the lyric poetry spontaneously existing in the literature of any country should be taken into account. According to the results of the current study, it is essential to take a fresh look at the definition and principles of lyric poetry in the Persian literature.
    Keywords: Lyric Poetry, Pre-Islamic Literature, Gōsān, Khosravany, Fahlaviat
  • Hasan Zolfaghari Pages 127-154
    IntroductionClimate diversity, clans and different cultures beside the large extent of Khorasan have made poems and songs as a part of people’s culture. Eighty percent of this region’s poems are “Aroozi Poems” and other twenty percent of common Kurdi and Azeri poems in North Khorasan are syllable poems. This fact shows that the grace and tendency of people to Aroozi poems or changing syllable to Aroozi poems is more than other regions. These poetries are performed by the singers and instrumentalists called “Ashegh”, “Bakhshi”, “Looti” and “Loulouchi”. Due to the diverse and rich folk poems of Khorasan, song’s genres of this region qualitatively and quantitatively developed. Rubai and Dobeyti (Persian quatrains) are gist and main part of Khorasan’s music and have a high diversity. Folk poetries of Khorasan are divided into seven common groups:1- Gala Poems
    In Birjand and some of its near districts, individuals and groups sing “Charbeyti” or “Charbeytu” commonly in marriage ceremonies, parties and circumcision ceremonies. Birjand people sing “Halooke” in religious ceremonies.
    Sorrow PoemsIn Birjand, while the ending of mourning ceremonies and after reading Quran and Fatiha for blessing of deceased person, people sing some poems called “Khatmiyo”. Also, “Sarvazani” or “Nava Avari” are poems that are sung to show condolence to deseaced’s family in Southern Khorasan. After invasion of aliens and massacre of people, women used to sing a song called “Anaraki”. Kormanjies of North Khorasan used to sing “Allah Mazar” beside the graves of their deceased persons. “Nasrou” is a common folk poem in Khorasan which is sung in the sorrow of a man called “Nasrou”. Nowadays, “Rashid Khan” song which was a sorrow song has changed to a festive and dancing music. “Harraei” is another mourning song, used to be sung in Ghoochan. “Sobh Rou Siah” is a mourning song that is sung before sunrise in the morning of “Ashura” to show their sorrow of killing of Imam Hossein.
    Entertainment PoemsThese are songs that people sing in their leisure time and by reason of getting entertained. One example is “Fal Sorouds” which has specific custom and ordinance in each region. Some songs are being sung in the time of some events or occasions called “Fal” songs such as “Chel Beyto” that is performed by women and among nomads. Quatrain in Chel Beyto is the base of performance. Each woman leaves an evidence of themselves in a jug, then while people singing a song for winter coming, an immature girl gets summoned to bring one of the evidences out of jug. Playing songs are other part of entertainment poems. These kinds are counting songs in order to make children familiar to counting numbers. “Ghazal Khanoom” is one of these songs which contain twelve songs for numbers one to eleven. Some of entertaining songs are rhythmic enigmas called “Chizchizak”.
    Rhythmic stories were entertaining for people and most of narrating stories were read by methods like “Shahnamekhani”, “Naghali” and “Naghl Avazeha” and in a rhythmic way. Naghl Avaz is a common way of reading a rhythmic story in Khorasan. “Zamen Ahoo”, “Najma” and “Nane Gol Mamad” are famous ones. Nane Gol Mamad is story of unfair killing of “Gol Mamad’’ in 1945 in Sabzevar mounts.
    There is another type of song which performs doubles and is sung in gala ceremonies called “Parijan” or “Parikhani”. It includes the love story of two lovers, “Siahmou” the female and “Jalali” male. The story originates in Taybad. “Aftabekhani” is a festive theater performed in some events especially marriage ceremonies in
    Birjand.
    Work PoemsAn example of these poems is shepherds’ songs. The main format of their poems is Dobeyti or Rubai (quatrain). In Khorasan, the quatrains of shepherds are called “Faryad” or “Kale Faryad”. Different methods of performing Faryad, by means of singing technics, cause different names for these poems, such as “Jamshidi” or “Sarhaddi”. Some of other work poems are:• “Oshtorkhjoo” to call up camels by the shepherd
    • “Sardero’ei” sung in the time of harvesting
    • “Bo Nando’ei” sung in the time of roof sealing off
    5. Sleep and caress Poems
    In Khorasan, Sleep and caress poems are whispered by mothers to put their children to sleep. They call these poems “Laalakhooni”.
    Romantic PoemsThemes of these poems are expressing love of lovers, separation, complaint, dialogue between lovers, departing pain and etc. “Falak Khani” is one of the main parts of Khorasan music. It is a type of poem to show complaint or protest. In Eastern Khorasan and Torbat Jam there are three romantic singing rhythms in the names of “Jamshidi”, “Sarhaddi” and “Hazaregi” which have mutual origins. Jamshidi has the format of Ruba’i and dobeyti. Sarhaddi is a romantic song which is sung in Torbat Jam and in the format of consecutive five and nine, and each one has independent theme. Some of other Sarhaddi rhythms are “Shah Zaman”, “Aman Leyli”, “Del Sheyda” and also some Sarhaddi dobeyti rhythms are “Jamshidi”, ”Hazaragi”, “Kooche baghi” , “Koohsani” and “Hasan Abadi”.
    Hazaregi poems have romance-mysticism themes. Another romance poem type is “Faraghi” which is called also “Gharibi” in some regions especially Afghanistan and Tajikistan, and is called “Charbeyto” in some other regions. Faraghies are pathetic peoms that are composed in these contents: being away from home, sweetheart, lover, parents and etc. “Nava’ei” also has romance theme and it is one of the most popular and widespread ongoing rhythms in north of Khorasan that has a Turki part on it. In Ghoochan, local instrumentalists play “Nava’ei” with “Dotar” and sing some local lyricist’s songs. “Se Kheshti” is another romance poem, sung by Kormanj Kurds in Bojnord, Birjand, Shirvan, Neyshabour, Esfarayen, Ghoochan, Daregaz and Kalat Naderi especially in villages and clans.
    Benediction PoemsBenediction songs are a combination of asking for needs and praying in a rhythmic way. Some of them belong to “Ramazan” month, such as “Sahar Khani” or “Ramazan Khani” which has special customs. “Allah Ramazooni” is a song that is sung by youths in the nights of Ramazan month and after breaking their fast. It is performed in many cities in Iran and it is known as “Ramazani” in Birjand. “Haghane” or “Haghighi” is a kind of song that eulogizes influential figures. In “Sade Birjand” they call these songs “Haghighi”. Groups of benediction poems belong to those songs that are read to ask God for rain. Due to drought in Khorasan, people sing these poems to ask God for rain. In Birjand, it is called “Atalo Matalo”.
    Keywords: Poetry, folklore, traditional songs, poems local Khorasan
  • Mojtaba Mojarrad Pages 155-169
    IntroductionSome of ancient Persian literature is hidden in texts which were written in Arabic in the early Islamic centuries. This heritage can be an interesting research area about ancient Persian literature.Insome of those Arabic texts, there are traditional Persian poems, proverbs and phrases Persian which are translated into Arabic by some authors.Unfortunately, many editors of these ancient texts were not completely familiar with the Persian language and therefore, they were not able to edit the Persian poems or phrases contained in these books correctly.In this article, I have tried to correct some of the ancient Persian coupletsthat were mistakenlyeditedinDomyat al-Qasr.
    MethodologyIn the first stage, all Persian poems were identified and extractedfrom the book of Domyat al-Qasr. Then, we compared two different editions of this book. In the next step, we collated the text of these two editions with two manuscriptsof this book: One of those manuscripts in the French National Library, and the other one in the Library of the Islamic Parliament. In the process of textual criticism, the correct form of the coupletswas obtained. After that, we have tried to find the poets of these anonymous poems and in those cases we succeed, we referred to the Persian sources of these poems and expressed their differences.
    ResultWe found that some Persian poems of this book have not come from any other sourcesandpoems from later sources are not immune to distortion. We also found that some of these poems have unique features that can be considered in the field of Persian literature and phonology. Another finding of this research is the emphasis on the fact that Persian poems remaining in ancient Arabic texts have had a greater chance not to be changed bythe scribes.
    ConclusionOne of the methods of deeper understanding and studying of Persian literature involves searching for texts that Iranians wrote in Arabic in the early Islamic centuries. Many Persian manuscripts including ancient Persian poetries have disappeared repeatedly during the horrific events, such as the Mongol invasion. One way to rebuild these works is searching and retrieving them from ancient texts, which are generally written in Arabic. This article shows that ancient Persian poems are not necessarily found in ancient Persian texts, but parts of Iranian culture should be sought within ancient Arabic texts.
    Keywords: persian poetry, textual criticism, bakharzi, domyat alghasr