فهرست مطالب سید اسعد شیخ احمدی

In contrast to previous centuries, where children and their literature were not considered important, they are now recognized as significant. Meanwhile, literature, as one of the contexts that connect children to the world around them, is now more intertwined with their childish feelings, pleasure, and desires. In literature, poetry holds a special place, and when it comes to children's poetry, it requires a delicate approach due to its specific standards.  The present study aims to analyze children and childhood stages in two poetic works for children, while evaluating their poetic characteristics according to the theoretical standards of children's poetry. The research method employed in this study is analytical, and data is collected through library research. The findings of the study suggest that the analyzed works do not take into account children's feelings and desires. Instead, adult themes are imposed upon children's texts. The works also disregard the standards of children's poetry, lacking in children's poetic language and imagination in both content and form. Additionally, the use of multiple symbols, ironies, and didactic language are among the characteristics observed in the two poetic works published in Southern Kurdistan.

Maulana Khalid Naqshbandi is one of the Sufi scholars, scholars, theologians, and Kurdish poets who, apart from numerous works in Islamic sciences, mysticism, and Sufism, in various poetic formats, including: odes, Maulana Khalid Naqshbandi is one of the Sufi scholars, scholars, theologians, and Kurdish poets who, apart from numerous works in Islamic sciences, mysticism, and Sufism, in various poetic formats, including: odes, poems, ghazals, and masnavis, poems in Persian and It is written in Kurdish and Arabic; In this research, the prosody weights of these poems have been examined and analyzed based on the standards and rules of prosody. The variety of prosody weights and the familiarity of this poet with various Persian and Arabic weights have revealed and highlighted the literary point of his poems. The obtained results show that the variety of prosody weights in his Persian poems is more than Kurdish and Arabic poems. The unique and beautiful point in his poems is that he has used the characteristic bahur of Arabic poetry in the composition of Persian masnavis, and he has benefited from the characteristic weights of the quartet poetry in the composition of the poetic forms of the piece and the sonnet. The weights of his Kurdish poems are syllabic and folkloric. He used his Sufi thoughts and beliefs in his Persian poems in the style of Iraqi style poets and used weights in their works.

One of the rhetorical aspects of the Holy Quran is the special phonic and musical components in the Language's Form of Quran that with its distinctive features, it has created a special musical rhetoric within The language's context of the Quran. This rhetoric is not only related to auditory aspects but also has a close connection with the generation and transmission of meaning in the verses of the Holy Quran. So that it has given a specific form to the language of Quran in such a way that it cannot be classified as a poetic words or fall under the common elements of prose. The musical aspects within the context of Quran's language have been a longstanding subject of interest among rhetoricians as a rhetorical model. Among these, in the Arabic verses of Saadi's poetry, a significant manifestation of the influence of the rhetorical and musical components of the Quranic language can be observed. The influence of the musical rhetoric of the Quran on Saadi's literary creations has not received much attention in the studies of Saadi's works. In this article, in order to explain the musical impact of the Holy Qur'an in Saadi's poem, we examine the different aspects of the rhythmic and musical impact of the verses of the Qur'an on Saadi's Arabic poems. The results of the article show Saadi's various techniques in using different aspects of the musical rhetoric of the Quranic verses in his poems, as he has used the musical capacities of the Quranic verses in different positions of the inner, side and external rhythm of his poems. These methods, in addition to revealing Saadi's insights into the subtle layers of the musical rhetoric of the Qur'anic language, show his remarkable genius in the artistic use of the musical rhetoric of the Qur'an in different rhythmic levels of his poems, without One of the rhetorical aspects of the Holy Quran is the special phonic and musical components in the Language's Form of Quran that with its distinctive features, it has created a special musical rhetoric within The language's context of the Quran. This rhetoric is not only related to auditory aspects but also has a close connection with the generation and transmission of meaning in the verses of the Holy Quran. So that it has given a specific form to the language of Quran in such a way that it cannot be classified as a poetic words or fall under the common elements of prose. The musical aspects within the context of Quran's language have been a longstanding subject of interest among rhetoricians as a rhetorical model. Among these, in the Arabic verses of Saadi's poetry, a significant manifestation of the influence of the rhetorical and musical components of the Quranic language can be observed. The influence of the musical rhetoric of the Quran on Saadi's literary creations has not received much attention in the studies of Saadi's works. In this article, in order to explain the musical impact of the Holy Qur'an in Saadi's poem, we examine the different aspects of the rhythmic and musical impact of the verses of the Qur'an on Saadi's Arabic poems. The results of the article show Saadi's various techniques in using different aspects of the musical rhetoric of the Quranic verses in his poems, as he has used the musical capacities of the Quranic verses in different positions of the inner, side and external rhythm of his poems. These methods, in addition to revealing Saadi's insights into the subtle layers of the musical rhetoric of the Qur'anic language, show his remarkable genius in the artistic use of the musical rhetoric of the Qur'an in different rhythmic levels of his poems, without having followed the path of artificiality in this work. followed the path of artificiality in this work.

Nali is one of the prominent and creative classical Kurdish poets of the nineteenth century. He used many Persian words and compounds in his Kurdish poems. He was one of the leading poets of classical Kurdish poetry in this area. In this research, all the poems of Nali’s Divan were studied, Persian words, nouns, and verb compounds were extracted, and their frequency was determined statistically. Nali presented a new method to create sentence structure and word formation in classical Kurdish poetry using the Persian language. In this way, Nali developed new meanings in Kurdish poetry. He used the capacities of both Persian and Kurdish languages in composing powerful metric poems. The data analysis showed the high frequency of Persian words and noun compounds in Nali’s poetry.

Poststructuralists, especially Derrida rely on processes and mechanisms such as deferment, trace and otherness to deal with the criticism of binary oppositions and metaphysics-based approaches. Despite the emphasis post-structuralism puts on its own mechanisms and approaches, explaining the theoretical deep structures of post-structuralism (and especially the ideas of Derrida) helps to realize the fundamental role of metaphor and metaphorical functions in the development of its theoretical foundations. This paper seeks to demonstrate that post-structuralism is essentially formed based on the metaphorical nature of language, and its theoretical and methodological bases are also inspired by the mechanisms of "metaphor" and "metaphorical function". On the other hand, it is the basis for a critique of post-structuralism. The results of this study show the other functions of "metaphor" in the evolution of human cognitive and thought system.
Derrida takes différance as the prior aspect in (to) language. He believes there is no truth beyond the system that is based on différance and otherness in language since such conceptions as center, truth, reality, origin, existence, absolute signification, and signified never come to be. This approach is the ground for Derrida's view of such categories like the rejection of signs, plurality of signification, plurality of identity and absolute subjectivity, priority of text, floating of signifier and deferral of signified. Among the fundamental oppositions that Derrida addresses to deconstruct, the opposition of signifier / signified is of great importance, as it affects his approach to oppositions such as: speech / writing and form / meaning. Derrida's purpose of deconstructing such oppositions is to criticize their metaphysical deep structures, and to cut the metaphysical roots of sign. Relying excessively on the "signifier" and its functions in the referral system of language, Derrida neglects the important role of the "signified" in identification of the signifier in this approach. There stands a permanent gap between the signifier and the signified, however, the identification of the subject relies on its reference to the signified, and it represents the proportionality and ontological conjugates extant between them.
Interpreting all ideas "in language" and "through language", ignores many deep and deciding bases. The recognition of reality in human perception system is based on a metaphorical process that is formed by distancing from the reality, and through the transfer from one signification to another signification. On the other hand, the mechanism of human mind is based on separating the things and putting them (or their components) "in relation to one another". In such a case, the integral concepts like truth, center, origin, and existence, would never find linguistic and mental manifestations. Accordingly, Derrida does not believe in the existence of truth, center or origin that are beyond différance as the prior aspect to language. Although metaphysics is itself a system of signification, its deep structure, as well as its relation to intuitive perceptions (not concepts) makes metaphorical and referral mechanisms underlying language to ultimately operate on a metaphysical ground. As his methodological approach shows, Derrida finally, and in spite of his claim, has operated on a metaphysical ground. The deep structures of Derrida’s ideas are more specifically in common with the ideas of Maimonides, and this shows that Derrida was influenced by his ideas.

Aesthetics has been a subject to analysis since the time of Socrates and even before his time in various ways by the Greek philosophers. The idea of aesthetics reached its peak of excellence in the classical era. The introduction of aesthetics using the scientific method dates back to the eighteenth century. Alexander Gottlieb Baumgarten was the first to use the term aesthetics. Music is fundamental to the structure of poetry. In fact, poetry is like songwriting that affects the feeling. In most of his poems, Hemin has given a great importance to the music. This paper is an attempt to investigate the aesthetical perspectives in Hemin's poetry. The aesthetics of music and the imagination of Hemin's poetry are considered as the main factors in the formation of a poetic image. Hemin's poetry is full of such enriching characteristics like fantasies, profound thoughts, overwhelming emotions, and linguistic fluency.

“Homay-o-Humayun” by Khajou Kermani is an 8th century AH collection of stories relating the demanding journey undertaken by Homay, the Syrian prince, to reach his beloved, Homayoun, the Chinese princes. Based on the model of Vladimir Prop, this study intends to find the characters of the story and their functions and also to investigate the mythological sub-structures within the structure of the story. Previous studies solely regard the narrative aspect of the story and do not deal with the mythological aspect. The structure of the poem consists of six characters and eleven functions. The story ends with the success of the hero. This story, in some ways, has a mythical structure which has been extracted using mythological sources. One can look for the origin of some of these patterns in Iranian myths, and some others can be traced back in the mythology of other nations. The basic structure of the story takes form on defamiliarization.

“Homay-o-Humayun” by Khajou Kermani is an 8th century AH collection of stories relating the demanding journey undertaken by Homay, the Syrian prince, to reach his beloved, Homayoun, the Chinese princes. Based on the model of Vladimir Prop, this study intends to find the characters of the story and their functions and also to investigate the mythological sub-structures within the structure of the story. Previous studies solely regard the narrative aspect of the story and do not deal with the mythological aspect. The structure of the poem consists of six characters and eleven functions. The story ends with the success of the hero. This story, in some ways, has a mythical structure which has been extracted using mythological sources. One can look for the origin of some of these patterns in Iranian myths, and some others can be traced back in the mythology of other nations. The basic structure of the story takes form on defamiliarization.

In terms of scope and diversity of topic as well as historical antiquity, literature of the Middle East is outstanding among world literatures, and Persian literature, in particular, has acquired a special reputation in this regard. As a living and dynamic Indo-Iranian language, Kurdish is in closer affinity with Persian language than all the others in the same group and enjoys a historical link with it. This close affinity has affected Kurdish popular culture as well as literature. Although the prosody and meter of Kurdish poetry has been derived from the Behers of Arabic Prosody, the use of these Behers in classical Kurdish poetry is akin to that of ancient Persian poetry. Moreover, the meters employed to compose macaronic and Arabic poetry used by Kurdish men of letters, match the meters which Persian poets have used in composing macaronic and Arabic poetry. In this paper, in addition to elucidating such cases, a general conclusion of the discussion is also presented.

Sixth century is one of the most glorious periods in Persian literature. This glory in literature paved the way for a special style of rhetoric which is later called religious poetry. One of the most famous poets of this period is Nezami Ghaznavi, whose style followed by other poets after him. Nezami’s poem is highly technical wreathed by vast scope of knowledge and skills of the poet. We can see the reflection of Islamic science in Nezam’s poetry. He also makes use of his full familiarity with juridical science in providing figures of speech, creative imagination and multiple form and style. In this paper, we have tried to explore this influence of Islamic juridical issues on Nezam’s poetry.

One of the most important issues in comparative literature is the investigation and analyzing the relationship between the literature of  creative  languages  and their  influences  on  each other.  Although  Arabic literature have  influenced  on most of the  Persian literay works, in this essay the  common  rhythms 0f  persian poems   that   lnfluence  on  persian’s   Arabic  poems  during  sixth  and   seventh centueries  will be  disscussed .Whereas common  rhythms   0f  persian  classical poems  is caused of  Arabic poems,  persian  poets  have  applied  it  to  Persian structure . In  addition to  use  Arabic  meters,   the persian  poets  considered   Persian meters  in their Arabic poems. In this essay the differences between   common  rhythms   in   Arabic  and  Persian   poems  are  disscused   by means of   reliable refrences.  The tresults demonstrates that the most bilingual and  Arabic poems     found   in   works  of  Iranian  poets,  in  rhythem  and  method of poetry,  are influenced by Persian poems. In fact these poets  said  Arabic in Persian form.

Abu „Abdollah  Ja‟far  Ben  Mohammad  Rudaki  is  one of the  rare celebrated literary poets. Owing to the fact that he was very efficient in persian literarure. Among those poems that belongs to him not more than a Thousand couplets remained. The study of his poems shows his skill  and  important  position  in  poetry.  This  essay  examines  and analyzes the metrical and prosodic charactristic of Rudaki‟s poetry in cluding four sections and the result of this research is prepared.

Elāhi Nāme poetry is consisting one of the absolute literary works of Attār Neishaboori, in biographies and translator books, It has been said that the rhythm of this couplet consisting catalectic hexameter Hazaj. In this article, the author regarding the elements of the couplet which is based on Mafā'elaton is attempting reasonably to prove that the mentioned couplet has been versified according to vāver Mas'ood Maqtoof  meter. It is necessary to note that these two meters (catalectic Hexameter Hazaj and vāfer Mas'ood) are similar, and this similarity causes confusion between these two meters in prosody of Persian and Arbic languages.