مقالات رزومه دکتر عارف کمرپشتی

Amir Pazvari is the most famous native poet of Mazandarani dialect, whose poems have been the subject of research by popular literature enthusiasts and researchers. A poem called "Amir and Gohar" has attracted attention among the romantic poems of native Mazandaran literature with the publication of Amirs and poems attributed to him under the name "Divan Amir Pazvari" in the last decade. Therefore, this essay aims to discuss Amir and Gohar according to the characteristics of romantic poems. Criticism and analysis of research shows that the legend of Amir's meeting with Imam Ali (A.S.) is the foundation of the poem named Amir and Gohar. Amir and Gohar are among the legendary characters; But the events revolve around the meeting with Imam Ali (A.S.) and do not indicate the course of the story and romantic events.In fact, there is only one legend about Amir and Gohar, and contrary to the expectations of researchers and lovers of popular literature, there is no poem with this name in Mazandaran. From the verses and couplets attributed to Amir Pazvari by describing feelings to "Gohar", only non-narrative poems can be imagined; Because, only a short section of Amir and Gohar's life is represented in the poems, and since there is no story and romantic history of Amir and Gohar, the story cannot be placed in the framework of romantic narratives.

The biography of Amir Pazvari, the most famous vernacular poet of Mazandaran, is accompanied by many speculations due to the lack of documents in history and literature, and the attribution of collected Amiris to Amir Pazvari is also debatable. Therefore, this paper aims to provide a different representation of this vernacular poet and his poems by examining the studies conducted on Amir Pazvari and Amiri. Criticism and analysis in various studies show that due to the vagueness of the poet's life, the uncertainty of the time and place of his death, and the doubts about the accuracy or inaccuracy of the attribution to Pazvar, the identity of the poet who became famous as Pazvari should be viewed doubtfully. Since there is no historical document showing Amir to be from Pazvar, the last name Pazwari was replaced with Mazandarani due to laxity and negligence. Also, in the oldest and most detailed version found, there is no famous Amiri to be cited as a representation of the poet's origin in Pazvar. The Amiris collected in Kanzalasarar Mazandarani, which was later published under the name "Amir Pazvari Divan", are not composed by Amir Pazvari himself. The existence of poems by other poets with reference to Mazandarani's Kanzalasarar, the study of Amiri's stylistics, especially the contrast between the antiquity and the novelty of using verbs and words, the disagreement of researchers on the rhythm and format, as well as the difference in the number of Amiri's published, confirm this idea.

Iran in the constitutional era, along with socio-economic developments and the transition from tradition to literary modernity, along with other trends, is influenced by the school of Romanticism. This descriptive-analytical method examines the poems of "Zohreh and Manouchehr" by Iraj Mirza and "Iraj and Hubare" by Qasem Larbon - the last lyrical poems of classical Persian literature - from the perspective of Romanticism and answers this question. Which system and with what components tends to romanticism? The research findings show that the components of Romanticism, despite its simultaneous emergence in the constitutional era and the idea that it will be prominent in Zohreh and Manouchehr;It is more prominent in"Iraj and Hubare".The emotional romanticism of "Iraj and Hubare" is expressed by the free expression of desires in the realm of morality, and the excitement and emotions of the system with the ups and downs of the story, a narrative of love, joy, sorrow, desire, demand, impatience and wonder. Social romanticism is related to the epic aspect of the system and nationalist ideas. Mythological characters, imaginary journeys, and the frequency of metaphor are also components of the romanticism of Larbon's system.

Sentences are divided into four different kinds of how to deliver a message; declarative, interrogative, imperative and exclamatory. The essence of a declarative sentence is to achieve information, however, we could infer other secondary meanings from it. This study has been done with an analytical-descriptive method and intends to analyze interrogative sentences of Iraj Mirza’s “Zohre and Manuchehr” and Ghasem Labon’s “Iraj and Hoobare” which are considered as the last lyrical poems of classic literature in Persian. This study is an approach to discover in what sentences are secondary meanings more significant and what the cause of this significance is. The results show that the frequency of interrogative sentences in dialogs to other types of sentences in “Iraj and Hoobare” is more than “Zohreh and Manuchehr”. The frequency of exclamatory, rhetorical and impatience statements, are the reasons why dialogs in Larbon’s “Iraj and Hoobare” are considered as artistic and outstanding. The frequency of exclamation and reprimand in interrogative sentences are used to approach Zohre to what her heart demands. Nevertheless, the frequency of exclamatory sentences in “Iraj and Hoobare” -due to its lyrical aspect- is caused by love. In addition, dubiousness in times of danger and impinging to one’s homeland -due to its being an epic poem- is shocking. Rhetorical questions used in in Larbon’s lyrical poems show purpose and confirm language and impatience. They are influenced by being apart or away from true love. This trend cannot be found in “Zohre and Manuchehr”.

Dialogue is what propels the protagonist through the story and is one of the most important elements of storytelling necessary to creating the structure of poetic and prosaic works. Accordingly, the descriptive-analytical method has been used in this study to investigate the latest Persian lyrics namely "Zohreh and Manouchehr" composed by Iraj Mirza and "Iraj and Houbara" composed by Qasem Larbon. Thus, the main question of this study is which of these rhymed systems are more abundant in dialogue forms than the other? And why? The findings show that although the use of dialogue was more frequent in »Zohreh and Manuchehr's » rhymed systems (about 76/27%) than in » Iraj and Hubara's «( about 51/43%), the latter showed more diversity in dialogue forms compared to the former. A two person dialogue (duologue) form in Zohreh and Manuchehr's rhymed systems has been scaled down to one solo individual monologue, so it is more prominent in ZOHREH's monologue, while Iraj and Hubara's rhymed system has been more frequent in using conversation with sub-characters of the story, self-scrutiny, conversation with natural elements and living things, dramatic monologues and corresponding monologues, compared to Zohreh and Manuchehr's rhymed systems, in addition to using a two person dialogue (duologue) and monologue. Although, Iraj Mirza's abilities cannot be overlooked, Larben has been more successful in representing different forms of dialogue, the contrast between earthly love and ideal love, the use of standard language, in addressing the community-based issue , completing the story, promising the truth and authenticity and providing the melodious dialogue.

Resistance literature usually describes the heroism, struggles and sacrifices undertaken by a nation or ethnic group against another nation or ethnic group that is occupier or aggressor (Mirsadeghi, 1998, 16. Sangri (2005) considers the struggle against internal tyranny or external aggression in all political, cultural, economic, social, and resistance spheres to be at the heart of the works of sustainability literature. (p.45). In contemporary Persian language and literature, the poetry of the Islamic Revolution, especially that of the 60s coinciding with the Holy Defense, "is a reflection of the militancy, stability and heroic mobility of contemporary Iranian youth in protecting the borders and homeland of their ancestors" (Rastegar Fasaei, 2002, 363). "Holy Defense Poetry is a combination of epic and lyrical layers and didactic veins" (Farhadi, 2018, 194).Although Iraj and Houbare is a lyrical poem, its composition during the imposed war and its incorporation of epic themes and concepts, has made "the study of the cycle possible within the context of resistance literature, culture of the front, and war literature" (Mirabedini, 1999, 174). Qasem Larbon (Rahimian) was born on January 1, 1914 in Babol. Larbon's nickname, in addition to referring to his birthplace, expresses his love and affection for Mazandaran. He worked as the French language teacher of the high schools of Babol and selected writing as his main occupation. More than 20 works of fiction, several plays and a collection of poems are the result of his work (Mirabedini, 2009, 3). The poem Iraj and Houbare, as his first book of poetry in 1011 lines, was first published in 1984. Larbon died on October 23, 2012 in Tehran. Addressing sustainability literature separately in poetic, prose, and even dramatic formats requires its own audience; But it seems that writers and poets have so far failed to present a remarkable work combining sustainability literature and lyrical literature. Larbon has been able to highlight these two issues in the form of a long and beautiful cycle, and now, the title "Epic of Love and War", has provided the motivation and necessity of the present study.

This research is written based on a descriptive-analytical method and its unit is the verses and lines of the poetic cycle. Due to the fact that the lines of verses are not numbered, the reference to the verses is based on the page number of the book (printed in 1984). The statistical findings of the research are based on the percentage of frequency of components and variables in relation to the whole poetic cycle, which is also shown in the form of a diagram.

Larbon is not a poet of revolution and war; but, the spirit of fighting against oppression, resistance and persistence against the ruling power is depicted in the form of chronology in stories such as: "Nestless Birds" (2000), "Bitter Bread" (2003), "Spark in the Dark" (2007) and "Abyss" (2009) and in the poetic cycle of Iraj and Houbare, he has portrayed this spirit against the aggression of the external enemy.  The literature on the stability of the Iraj and Houbare poetic cycle is examined in eleven components. National symbols are one of the most important components of the resistance literature in this collection; The name 'Iraj', one of the main characters in the story, is associated with the ancient ancestors and national symbols of the glorious history of Iran. The name of 'Fereydoun' and the reference to 'generation' and 'pure origin' also emphasizes the national symbols. The use of the names of 'Iraj' and 'Fereydoun' at the beginning of the poem shows that Larbon considers the historical and mythological nature of these men, and the story of Larbon's Iraj is also reminiscent of Iraj of Shahnameh. Respect for the homeland is another component highlighted in this collection such that Iraj prefers his homeland to his beloved and sacrifices his life to protect it. Expressing bravery and heroism is another component of the sustainability literature. In the poetic work of Iraj and Houbare, such bravery is not exaggerated but is depicted naturally and dramatically from a real scene. Martyr and martyrdom are among the main themes of the literature of sustainability, especially in the era of Sacred Defense, whose sanctity is multiplied by religious values​​. Larbon provides a magnificent description of Iraj's martyrdom in this poem.However, in the poetic works of resistance literature, no work with this theme can be found. However, in the poetic work Iraj and Houbare, the lyrical aspect of the poem is dominant over its epic aspect; But Larbon has been able to address all aspects of defense and war, including the role of women as one, which has received special attention due to the love story of this collection. The other part of the epics and poems of stability is related to the period after the brave martyrdom of the men in the field of struggle, which is also mentioned in this poem which depicts the conditions and states of Houbare and Iraj's mother after Iraj's martyrdom. Addressing the issue of war, battlefields, and operations is one of the components which has been widely reflected in the sustainability literature.In this poem, too, this important point is well illustrated in the letter that Iraj writes and sends to Houbare; this letter does not contain the usual romantic words of the lover and the beloved. The other components that can be referred to in this collection includes: description of the actions of the enemy, the eternality of the martyr, the use of military terms and phrases, and prioritizing the love of the homeland over the love of the beloved which is well illustrated throughout the collection.

Resistance literature, which is tangible in all periods of a nation's history based on the prevailing political and social conditions, and is crystallized in the poetic and prose works of poets and writers, is a literary manifestation of resistance and perseverance. The study of resistance literature in the lyrical collection of Iraj and Houbare shows that according to the findings, the frequency of resistance literature in the collection is 26.9%. Although the lyrical aspect of the collection dominates the epic aspect, Larbon looked at different aspects of resistance literature. Larbon has well been able to align the components of the resistance literature with the lyrical theme of the collection, which supports the research hypothesis. The opposition of ideal love and love for the earthly beloved has led the collection toward the literature of resistance.A tangible, true story taken from the contemporary history of society, which is not only made by the poet, but beyond that, is on a subject the audience is familiar with and identifies with it. Among the components of the resistance literature, due to the composition of the collection  in the context of the imposed war, battlefield staging and military terms have become more frequent than other components. Another feature of this work is the role of the family, especially the mothers and wives of the Holy Defense warriors, which was not paid much attention in other works of the poetry; However, this component is not an insignificant issue considering the content and lyrical load of the collection - if not highlighted - and it has become more frequent than other components.

Women, as half of the world's population, have always been under a magnifying glass. They suffered from oppressive and unkind treatment of men or government. Such ignorance has long been endured in the myths and legends of various cultures. Depriving women from the right to live a normal life with dignity; women were sometimes condemned to prison or commuted to exile. Sometimes they were subjected to a series of rigorous tests to prove their being. Folk couplet is the most famous and widely readable form of poetry in folk literature which can be easily communicated by the audiences who speak the same language, i.e. Persian, although their dialects are different. Regarding Pure Language without any limitation, folk couplet flourishes in exquisite literary beauties, wonderful fancies, and musical rhythms which have made it popular and prestigious. The purpose of this study was to investigate the reflection of the presence of women in 200 folk couplets of Savadkouh County using descriptive-analytical method and library-field approach. The findings showed that women's share in the folk couplet is more than that of men as they either make their own poems or are being addressed. Such presence is highlighted as a lover, beloved, and mother. Woman, as a beloved companion, has been investigated from three aspects, i.e. as a waiting beloved, thankful beloved, and as an advisor beloved. She is sometimes presented as a provoker of all kinds of vocals and sometimes as a helper to accomplish great things.

Woman, the great mother and the mother goddess - the femininity components symbolize the moon, the earth, and the waters, are instinctive feelings against the masculinity. These poems are often simple and unassuming poems. The epopee or versified poem in folk literature, generally known as folklore, can be narrative stories such as love, epic, mourning, rebellion, and so on. The purpose of this study was to investigate the representation of women and the form of their presence in folk couplets and versified poems of SAVADKUH including Shah Baji, Taqi and Masoumeh, Zainab Jan, Hojabr Soltan, Hojat Gholami, Taghi Yaghi and Rashid Khan using descriptive-analytic method. The results showed that presence of women in the folk versified poems can be seen as a tool for satisfying lust and venery, threatening and warning, cursing and ridiculing, for preventing evil eye, engaging in passive love, in polygamy, terrifying lover and praising the revenge.

Language is one of the main components of culture giving rise to the formation of communication and exchange of ideas. The folk language which has been used in Persian literary works considered as both one of the treasures of Persian literature and spiritual elements embedded in folk culture. It is an integral part of folk culture and literature, which includes beliefs, myths, parables, songs, etc. The use of folk or common language, is more evident in the literature of Constitutional period. The poetry of this period appears to be more of a demonstration for general approbation than for specific. Accordingly, the descriptive-analytical method has been used in this study to investigate the four elements of common language including lexicon, idioms, allusions and proverbs in the latest Persian lyrics namely "Zohreh and Manouchehr" composed by Iraj Mirza and "Iraj and Houbara" composed by Qasem Larbon. The findings suggest that although there is a similarity in prosody, form, content and linguistic features of these two rhymed systems, the common language usage seems to be less in "Iraj and Houbara" than "Zohreh and Manouchehr" due to the time in which the use of idioms , parables and boilerplate was inevitable.Language of poetry applied by Iraj Mirza has also been influenced by such language while it is more close to the standard language in the works of Larbon.

Iran is the cradle of literature¡ culture and ethics. Paying attention to ethics has always been considered by sages as an important necessity. There were also some poets who had the sociological look upon the society¡ in addition to relying on moral and social issues. Saadi is one of those poets whose works has overtaken others. He illuminates and deals with the roots of social problems like a sociologist and tries to convey the moral and religious doctrines with a simple language for different groups of people¡ especially young people. Saddi’s Gulistan is an encyclopedia of sociological theories. This book had been teaching for approximately many years as a good book on edification and purity especially for youth. Since the last two chapters of this literary masterpiece allude to more than ninety problems including ethical¡ social¡ humanistic and educational ones¡ an attempt was made to point out some of these problems and compare them with two or three new theories of contemporary sociology.

Theme as the central thought and the main word of the artist is interpreted in the text and content. Theme is the main essence of literary work that illuminates the direction of thought and idea of its author. Couplet is one of the most pleasing Persian poetry forms with chiliad written history. Perhaps its oral history is even older. This form, along with the Persian traditional poetry, has grown in different languages of Iran. One of these languages, namely “Mazandarani” has a remarkable literature itself.In this article, the themes of two hundred folk couplets of Savadkouh (a city in Mazandaran) have been analyzed. The findings indicated that most of the themes are socially-oriented.the study analyzes seven themes in two-hundred couplets.the themes are: pain of love, sorrow of nostalgia, curse, complaints of young ladies for imposed marriages, as well as dissatisfaction with the fortune and luck, compulsory military service and the complaint of lover from beloved. Most of the couplets are monologues, which have been composed for the regret and reminiscence of the past days. Some of the important factors leading these couplets are analogy, rivalry, treason, financial poverty, illiteracy, hard work in strange lands, system of lord and vassal or mastery system, denial of other cultures, and cultural hybridity.

In this paper, in addition to introducing run on couplet, the structure of rhyme and identical rhyme are analyzed in two hundred Mazandarani run on couplets using descriptive analytical method. The rhyme is made based on the proximity of the pronunciation of letters, rather than being based on the same type to be arranged in order of the last letter of the rhyme which appears to be principle in Persian and Arabic classical poetry. The rhyme is couched in mathnawi form in 25 percent of Mazandarani (savadkooh) run on couplets. The common denominator letters including “L” with “R” and “M” with “N” are found more frequently in rhyming the Mazandarani couplets. Slightly more than a quarter of Mazandarani (savadkooh) run on couplets have an identical rhyme scheme, and of those, just over a fifth of couplets are uttered with a verb prosody namely identical rhyme with verb endings. The frequency of identical rhyme with verb endings (about 25%), on the other hand, implies dynamism and movement to couplets as well as supervising the actions and behavior.

The history of Tabarestan written by baha-Al-din Mohammad-Ibn- Hassan-Ibn-Isfandiar _ known as Ibn-e-Isfandiar from Amol_ is one of the most valid local histories ever written in Iran. In fact, Ibn-e-Isfandiar is the father of the historiography in Mazandaran. The prose of this book, which was edited and published in two volumes by the deceased Abbas Ighbal Ashtiani in 1320, is literary. The fourth chapter of the first volume talks about the biography of scholars, pious people, historians, physicians, astrologers, and poets. Divarehvaz or Mastemard, Barbad Jariri Tabari, Qazi Hajim, and Isfahbod Khorshid Mamatiri are among the poets introduced in this section. These lines of verse were previously translated and explained by Dr. Sadegh Kia in his book, Vajenameh (wordbook) Tabari, published in 1327 by Tehran university publications. Wherever he could not find or was not sure about the meaning of a word or phrase, Dr. Kia used question marks (?) or dotted lines (…). This article is, in fact, the explanation of some of the dotted lines and question marks of Dr. Kia's Tabari Wordbook. Some of the poems of three great Tabari speaking poets of Ibn-e-Isfandiar's Tabarestan History, namely Divarevaz(Mastemard), Qazi Hajim, and Isfahbod Khorshid Mamatiri are explained in this article. This article has been written based on Ibn-e-Isfandiar Tabarestan History and Kia's Tabari Wordbook.