morad esmaeeli

The central focus of this article with an interdisciplinary approach revolves around the common concern shared by Hannah Arendt and Milan Kundera: the perils of history for the individual. A general question to ask in this research is why Arendt and Kundera in their books distrust History’s forces. This implies that the individual, under the influence of impersonal appeals and invisible hands, erases oneself from memory and surrenders to suprahuman forces. Totalitarianism has consistently drawn the individual into submission through the support of these suprahuman historical forces. Hence, according to Arendt, Eichmann, for instance, was corrupted by history, as he was stripped of any personal decision-making and choice, solely entrusting himself to the quasi-divine voice of history. Beyond these historical strategies, any transformative action becomes impossible. Returning to action (in Arendt's terms) and guarding the legacy of the novel (in Kundera's terms) constitute resistance against such historical overreach. In Arendt's view, every action initiates its narrative, while, according to Kundera, the novel's memory records experiences forgotten by official history. As a result, Arendt and Kundera prefer personal history over public history, action over reaction, and decision over command. Therefore, Arendt emphasizes the significance of action, and Kundera underscores the independence of the novel against history. Both advocate loyalty to a poetic individuality that is increasingly fading into oblivion in the modern era.

With the formation of modernity in the West, Iranian scholars and intellectuals sought to discover the reasons behind the development of western civilized nations and to implement it inside the country. Mirza Agha Khan Kermani is one of the first Iranian intellectuals of the pre-Constitutional era who faced the phenomenon of modernism, raised the flag of innovation and modernism, and called for imitation and modeling of western civilization in order to step into the modern world. Like many other intellectual writers, Aga Khan's innovation was not limited to the arena of politics and society; he also presented ideas for modernity in literature and writing techniques and called for a change in the traditional writing style. This research looks at the political and social thoughts of Aga Khan and examines its influence on his modern literary views and has come to the conclusion that Aga Khan planned his literary modernization on the basis of anti-traditionalism and under the influence of nationalism and liberal thoughts, he called for archaism in the Persian language and script, de-Arabization of the Persian language, simplified writing, clear writing, and departure from traditional constraints in writing.

Known as passivity, malady, and cancer, Black romanticism is one of the chief branches of romanticism. This type of romanticism has widely been present in prose and poetry since 28 Mordad coup d'état. Authors in this article endeavor to examine Nosrat Rahmani’s poetry to demonstrate the presence of black romanticism in mythical elements within Nosrat Rahmani’s poetry. Moreover, the article seeks to delve into the reasons behind this presence. Based on the findings of this article, the failure of the National Movement led to the shattering of Iranian intellectuals’ ideals. This gloomy disappointment after the coup d’état resulted in the emergence of black and pessimistic romanticism in Nosrat Rahmani’s poetry. Black romanticism manifests itself through motifs such as reflection of death, frustration, pessimism, treason, deriding of love, satanism, and gothic atmosphere. These themes play a prominent role in the recreation of mythical elements in Nosrat Rahmani’s poetry. As a result, the mythical elements such as Simorgh, Ghaf, Leili, Shirin, Bijan, and Hallaj are depicted as defeated and different from their former positive images due to the poet’s pessimism.

One of the concepts occupied the minds of thinkers in different fields of humanities from the past to the present is the meaning of life and the purpose and ways to achieve it. Muslim mystics are among scholars who implicitly discuss the meaning of life and its components. However, examining their words and thoughts reflects the point that one of their main concerns is to explain the meaning and purpose of life and how to achieve it. Using Victor Frankl’s theory of Logotherapy, this study examines the meaning of life and its achievements from the perspective of Rabia Adawiyah, the most prominent female mystic in the history of Islam. This study seeks an answer to understanding the meaning of life and the underlying components of meaning in the thoughts and beliefs of this great mystic. Based on the findings of this study, Rabia has a special look at life, its meaning, and purpose, and seeks to achieve the ultimate meaning, which she considers to be the right will. To achieve this, she performs acts that are in perfect harmony with Frankl’s theory and the posed values. Tolerating the sufferings and hardships that happened to her since childhood, loving God, looking differently at the relationship between man and God, and presenting a new form of relationship between man and God are among these actions. Of course, there are also differences in what the ultimate goal is in these two views. Contrary to Rabia, who considers the ultimate goal of life to be close to God and connecting with God, Frankl recommends having a goal in life to live better in this world and get rid of anxiety and emptiness.

In the 10th century, with the advent of Safavid Dynasty, a fundamental reform was made in Iranian society and, consequently, in all its thought and art domains. In this era, a style with vivid difference from the previous ones was born and the Persian poetry was reformed either in terms of form or meaning. Creation of new themes limited to one verse was one of the topics that had the most importance in the poet of this style and was replaced by all poetry topics. Through investigating the sonnets of four of the most eminent poets of this style the following results were obtained regarding theme: new themes and beautiful literary language have tight and direct relationship with each other and the poets depict such colorful theme using beautiful words and expressions. Features like attempts to find new themes, difficulty in understanding the theme for the audience, making wonder and joy for the poet and audience and freshness are the most fundamental components of ne themes. In addition, such themes are found through thought and silence and the principal source of their discovery are the environmental elements around the poet.
 

The emergence of Indian style with its different paradigm moved Persian poetry moved into a different route, which was incomparable with previous eras (Ismaili and Hasanpooralashti, 2014, 44-21). The most important concern for poets in this school is creating untapped concepts within a line as well as generating delight for its readership. In fact, in the poetry of this period, the concept has the highest significance and replaces poetical subjects to the extent that in the views of some scholars, Indian style is the poetry of the concept rather than the subject (Shamsia, 1995, 298).
To create fresh concepts, poets engaged in this style recourse to anywhere and anything to achieve their objectives. Even though the poets paid special attention to these terms and meanings, in their works, there were not any coherent and clear words concerning the quiddity of these terms. Also, views about their poetry are various and even antithetical. The lack of clarity and coherence generates questions for critics, audiences, and readers of Indian style poetry. Therefore, the authors of this paper are to address what are the characteristics and nature of the poems of the poets in question and find a possible answer.

This study is text-oriented and capitalizes on a descriptive-analytical approach along with the library-documentary method. As evident in the title of this study, though perusing the sonnet divans of four Indian style poets: Saeb Tabrizi, Kalim Kashani, Orfi Shirazi, and Taleb Amoli, the current article strives to find the quiddity and essence of Indian style concepts and synonyms from the standpoints of the poets.

Undoubtedly, paying attention to concepts and inventing them is the key concern of poets in the Indian style.  Few are poetical divans whose creators to be free from finding new concepts and meanings. This attention has been to the degree that it penetrated to their poetry and has been the subject of the (poetical) discourse, and this means that “poets in this period employed many poetical and rhetorical terms in their poetry, and spoke about it. They also evaluated their poetry, whether it qualifies or not (Hasanpooralashti a, 2005, 70). Concepts and synonyms include the meaning of the alien, colorful meaning, conspicuous meaning, delicate meaning, complicated meaning, circular meaning, elevated thought, fresh thought, new discourse, etc. which were frequently applied in the divans of this era. In continuance, explanations concerning the quiddity of concept and its synonyms will be mentioned.
3.1. Features of new concepts
One cannot easily achieve new concepts and a delicate meaning.
Also, articulating this meaning is difficult, and its understanding demands attention and cogitation.
This colorful meaning generate delight for the poet and wonder and joy for his readership
Undoubtedly the principal feature of the new concept and alien meaning in the Indian style is its freshness and uniqueness. In other words, the concept is new and the meaning exotic so long as they have not been utilized in their current fashion in the past, and they are unique to the poet or the result from the metamorphosis of the subjects which formerly were used.
3.2. Techniques of Creating Concepts
The poets operating in this style have referred to some techniques for creating the new concepts, and alien meanings, prominent among them are cogitation and silence.
3.3. The Wellsprings of New Concept Discovery
Due to changes that happened in the area of poetical subjects in this era, as well as the emphasis was placed om untapped concepts and exotic meanings, it is natural that the sources of the poets had altered too.
The Indian style poet treads a different path. Since, in this period, orthodox topics are toppled, the poets did not cull their themes from books and their predecessors. Instead, they got their inspiration from their surroundings. Hence, the poet permits himself to fish for new concepts from everywhere and everything. It has been their principal characters in this period. In this regard, all constituents of plain creation, their immediate Nature, the simple life of the mass could be the source of fresh concepts for them, and this phenomenon forms through forging abstract relations and imaginative bonds with inner thoughts.

In the 10th century, with the rise of the Safavid dynasty, there was a dramatic evolution in Iranian society. Persian poetry, which has always been the most important and main media in this land, thus in turn led to the emergence of a specific style in Persian literature. This style became known as the Indian style. The poets of this style were different in their style from those ones following Khorasani style poets who imitated the nature and its elements. They were also different from the mystic poets of the Iraqi style whose vision was entirely inner and universal. The newly emerged style paid attention to both the outside world and its embedded elements, and the inner world and their mental and psychological conditions. In this regard, they touched on a combination of the inside and the outside worlds. Notably, all could occur in only one poetic verse. Therefore, paying attention to themes became the most important mental concerns of poets of this style. In few anthologies, it is possible to know that its owner is free from the idea of finding new themes and new meanings.
This attention is so tangible that its themes and synonyms are clearly related to their poetry as well. According to the poets in this style, it can be argued that the themes and synonyms are a network of connections among the words of a verse, achieved by great effort and discovery of verbal and spiritual proportions which make them difficult to understand.
Moreover, the themes and synonyms must express a speech in a virgin and deep-thinking manner and precisely must reflect all elements of existence, ordinary life and nature components and thus create happiness for the poet and his audience.

According to intellectual and social atmosphere, poets' encounter with death has been different in each period.In the contemporary period, modern poets, especially the new wavepoets, have been influenced by modernism and existentialist philosophy.Therefore, the main question of this research focuses on explaining modernist and ontological contexts of thinking of death and its manifestations in New Wave poetry.The descriptive-analytical method of this research enables the researchers to first examine the modernist elements and opinions of famous philosophers – notably Socrates, Plato, Heidegger, Sartre and Blanchot – about "death” and then classify and analyze the modernist-existentialist manifestations of death thoughts in New Wave poets. Findings indicate that new wave poets understand death as an ontological phenomenon.Therefore, as in pre-modern poetry, there is no mystical, fateful, or even Khayami type of death thought. Also, while Ahmadreza Ahmadi, Bijan Elahi, Hossein Rasail, Mahmoud Shojaei and Hoten Nejat have more individualistic and modernist tendencies in the face of death, in Javad Mojabi, Shahram Shahrokhtash, Mohammad Reza Aslani, and Bahram Ardabili’s poetry, ontological-modernist tendencies of death-thought are manifested along with a mixture of social concerns and unsettled political conditions; in addition, in Parviz Islampour and Hamid Irfan\s poetry, political suffocation and lack of freedom have led to death thoughts and, hence, modernist individualistic tendencies are placed in the background.

As an interdisciplinary study in comparative literature, this paper is to address the linkage between literature and painting in Safavid era. Integrating Remak’s theory of Comparative Literature and Art, this study is to disclose how the same concept can be represented in different forms in poetry and painting in that era. Findings show that poetries and paintings in the investigated era are not in the perpetuation of previously dominant styles. Rather, poetry and painting in this era has their own special paradigm. In fact, Safavid poets and painters enjoy a set of common principles which cannot be compared with the previous eras. Furthermore, secularism is one main presupposition which make the building blocks of thought and art in the era. Indeed, the poets and painters in the era have created their own work in various forms such as: realism, partialism (micro reading), entertainment-related reading, using surrounding elements, etc. which all are the main components of secularism.

Inquiring about the true meaning of life and making an attempt to find an answer to it has been one of the mental concerns for man so far. A number of researchers and scholars from different fields have investigated its nature and tried their best to come up with an answer to it. The Islamic-Iranian mysticism is one of the fields that has paid special attention to life, its aims, and the ways to achieve them. Therefore, it can answer a wide range of questions that we face every day. This research with descriptive-analytical approach aims to focus on the true meaning of life from Abu Sa’id Abul-Khayr’s viewpoint and investigate the book Asrar al-Tawhid fi Maghamat al-Sheikh Abusa'id to find out a response to the essence of life and the meaningful life components in this great Sufi mystic’s belief. According to the findings of the present study, perspectival, creative, and experiential values that Frankle considers as the ways of finding meaning are crystallized in the ideas and deeds of Abu Saeed Abu Alkheir. He displays the perspectival values in his Asrar Al Tuhid through severe austerity, abandoning worldly attachments, self-mortification, and achieving freedom via renouncing self-centeredness. Similarly, Abu Saeed demonstrates creative values through his cultivating an intense passion for poetry, establishing romantic mysticism, believing in joy, and equating Sama with kind of worship. Finally, he represents reveals the experiential values through loving God and humans, thinking about the plight of human existence, being generous, sacrificing, serving humans, and tolerance.

The Indian style is one of the most distinctive poetry styles in classical Persian poetry. It has distinctive differences with its preceding and following styles. As such, it enjoys its own principles and traits. As a case, the high frequency of allegory application is one of its most distinctive elements. There is a consensus that the poets following this particular style drew their special attention to allegory and the function that this literary device might play in the structure and meaning of their poems. In this paper, the researcher argues that the underlying reason of the high frequency of allegory in the Indian-style poetry can be clarified using the ideas of Thomas Kuhn, who is a prominent philosopher of science. This approach can raise our awareness that any paradigm is framed in one or more frameworks that shape the possibly accepted propositions and norms in any specific period. Findings of this study represent three different patterns, namely synthesis, secularism, and symmetry, which are the main observed patterns shaping the meaningful propositions in Safavid era.  Since allegory is embedded with all patterns related to this period in their own structure, the poets following this specific style perceived allegory as an appealing and attractive one and, hence, they applied it extensively.

In a research on premodern Iranian poetries, from the first century of the history of Persian literature to the period of literary return, it can be seen that the imaginary forms used in the poetry of the poets of the third to fifth centuries AH are innovative, original and the product of their own poetic experience. But with the passage of time from the end of the fifth century onwards, poets, instead of incorporating images of the product of their personal experience and new elements of nature and life into poetry, have always remained within the same range of imaginary poets of the past and the same images. They have entered their poetry with minor manipulations. The question that this research seeks to answer is: why from the end of the fifth century onwards (until the return period), the forms of imagination used in the poetry of Iranian poets are often imitative and repetitive, and any innovation from the perspective of the ancients canchrt get out?

Inquiring about the true meaning of life and making an attempt to find an answer to it has been one of the main concerns for the man so far. A number of researchers and scholars from different fields have investigated its nature and tried their best to come up with an answer to it. The Islamic-Iranian mysticism is one of the fields that has paid special attention to life, its aims, and the ways to achieve it.. The present study, with a descriptive-analytical approach, aimed to focus on the true meaning of life from Bayazid Bastami’s viewpoint and to investigate the book Daftar-e Rowshanaei to find out a response to the essence of life and the components of the meaningful life in the belief of this great mystic. According to the findings of this study, Bayazid Bastami believes that the purpose of life is to completely separate from Selfand to immerseoneself in Allah the Exalted. This goal has become a stimulus for Bayazid to consider certain patterns and components such as fighting against self, avoiding egotism, practicing altruism, treating people with forbearance and tolerance, and serving people as the basic principles of his life.

Representation of Worldly Pleasure in the Poetry, Painting and Architecture Safavid Era Based on Henry Ramack Approach address the linkage among literature, painting & architecture in Safavid era. Embedded in Remack’s theory of Comparative Literature and Art, this study is to disclose how the same concept has been represented in different forms in poetry, architecture and painting in that era. Findings show that joy on earth or entertainment-related reading, one of the main components of secularism, seems to be one main presupposition which makes the building blocks of thought and art in the era. In fact, Safavid poets, painters and architects have specifically drawn their own attention to joy/entertainment related aspects. In fact, Safavid poets, painters and architects have specifically drawn their own attention to joy/entertainment related aspectsIndeed, they have created their own work in various forms referring to this component. Key words: Safavid Era, comparative literature, Henry Remack, poetry, painting, Architcture.

Undoubtedly choosing a proper methodology suitable with a research is regarded as one of the most fundamental principles of a scientific research. Familiarity and knowledge of these research methodologies and approaches will lead to the emergence of valuable and reliable researches.
The book: Research Methodology in Simple Language is written by Maryam Sadeghi; in her book, the author endeavored to clarify the methods and principles of writing a thesis for the students of Persian Literature.
The author of the current article concentrates on surveying and reviewing this book. He also points to the weak and strong points of the book in question. Based on findings of the article, despite the merits of the book such as dealing with research questions, containing specialized exercises, referring to the tables, and the most importantly focusing on the field of Persian Literature, the book has many fundamental problems, including the contradiction between the title of the book with its content, the writer’s lack of attention to the basic rules of writing and editing, the presence of confusing sentences suffering from lack of enough information, and its incomprehensibility. These shortcomings will prevent its readers from not only its full understanding but also from benefitting from it.

Myths express the beliefs and values of a people. In the passage of time, they have been manifested in the poems of Iranian people and Persian poem styles. In 10th A.H. century and after establishment of the Safavid dynasty a basic change in Iranian society and all of its art and thought schools took place. In this period, a poetic style, called Indian style, was formed in Persian literature that was entirely different from its older styles and changed the Persian poetry formally and semantically. The method of using of myths by poets is one of these changes. Indian style poets refer to myths as unsacred concepts, myths like Khidr, Water of Life and Christ that have the most frequency in Persian mystical poems. The Indian style poets of the Safavid age pay attention to the earthly world and this-worldly facts. The poems of this age are transformed to this-worldly ones.

Abstract: Qaboosnameh is one of the oldest and most important pre-Mogul invasion prose work that is rich with Iranian culture and traditions. The Iranian cultural identity is greatly and appropriately reflected in this work. The current paper tries to investigate seven important features of this work of literature. By using text analysis method and also document study approach, the authors of the current research paper did their best to conduct extensive research on pre-Islamic texts hoping to present a clearer picture of the country at the time of invasion and cultural exchange.

In the history of Iran, ministers had always played a crucial role in ruling the country and acted as an institution in the heart of the government; they also acted as the heads of forces for defending the country.After the advent of Islam and the conquering of the country first by the Arabs and then by the Moguls, the role that ministers played in Iranian history became more conspicuous. The present paper attempts to provide a picture of the role of Iranian ministers in the development as well as the spread of national identity during Abbasid, Samanid, Qaznavid, and Saljooquid periods. The current research paper also states that the great Iranian ministers had definitely played an immensely important role in the preservation of the Iranian national identity, especially at times when Iran was under foreign occupation or when disasters inflicted the country.Amongst different things that these ministers have done to protect the Iraniain national identity are those related to attempts to preserve the cultural identity of Iran, emphasis on using the Persian language and its expansion across the region, attempts to expand and protect the Iranian territories and using the policies of ancient Iraniain kings in governing the country.