فهرست مطالب najme dorri

Similar to classic literature, there are several different literary genres in folk literature. Some of these genres belong only to folk literature, this is while others belong to both folk and classical literatures. It is an essential task to identify each one of these genres. Salavāt-khāni is one of the folk poetries which intend to recall the sanctity of the saints on different occasions by inviting the audience to salute the saints at certain moments. Poems of this type are usually classified according to the occasions they are being used. For instance, they are known as worksong, chavoshi, or sahari-khani, this is while each one of these examples belongs to a different genre. Consequently, the goal of this paper is to investigate the characteristics of Salavāt-khāni. To this end, generic studies are used to study the internal and external features, such as structure, content, mode, function, and the specific interaction between the orator and the audience. There are only a few cases of Salavāt-khāni which are recorded in manuscripts. However, these limited cases are enough to prove Salavāt-khāni as an autonomous literary genre according to its unique structure.

Materialism, in its Hegelian-Marxist sense, provoked unprecedented reactions specifically among the clergies since its inception in Iran. Morteza Motahhari was one of the first people who understood the importance and sensitivity of this concept and its consequences in the intellectual condition of the society as well as the indisputable necessity of paying attention to it. Therefore, he could bring a part of society, especially the clergies, to an approximate consensus in its confrontation against it. The central question in this campaign is what the role and function of Persian literary heritage has been, and the present study has dealt with it.

 This study has been done in the framework of qualitative content analysis using library resources. Researchers have always considered Motahhari's thoughts and works as one of the most prominent and influential contemporary characters. As a result, some prominent works have been done about materialism in Motahhari's thought. Shaverdi and Kermani (2011) in their article, titled "Analysis and critique of Hegel's dialectical movement and dialectical materialism with emphasis on the views of Shahid Motahari", have dealt with the difference between the concept of movement in Islamic philosophy and Marxism from Motahhari's point of view. Another important work in this regard is Mohammad Sadra's thesis, titeled "The interaction between clergies and Leftist thoughts in contemporary Iran", which deals with Motahhari's efforts against materialism in the third chapter. It should be noted that there is very little research which examines Motahhari's thoughts and works in relation to literature. For example, Mousapour and Shirjooposht (2014) in a dissertation titled "Arabic literature in the works of professor Morteza Motahari" has examined the position of Arabic language and literature in some of Morteza Motahari's works. Also, Tijani Semari (2007) in his thesis "Foundations of mysticism from the Perspective of Imam Khomeini and Shahid Motahhari", has partly approached literary discussions with Morteza Motahhari in accordant with the link between mysticism and literature. Rahmdel (2012) in the article "A brief look at the Observer of Secrets" has addressed Motahhari's views on Hafez's poetry and thoughts. Hosseinzadeh Yazdi (2016) has explained the causes of the degeneration of Islamic civilization from the perspective of Morteza Motahari with an emphasis on the book Anecdotes of pious men. Fasai and Dorri (2020), in the article "The Position and Function of Saadi's poetry and thought in the intellectual System of Morteza Motahari", have searched for Saadi Shirazi's poetry and thought in Motahhari's intellectual system. Thus, like the approach of present study, no independent research was found which examined the role and function of Persian literature in Motahari's exposure to materialism. The main importance of this article is due to indicate the undeniable and important position of Persian literature in the socio-political environment of contemporary Iran.

Motahhari is one of the people who has a special interest in applying literary traditions.Meanwhile, the position of Persian literature in Motahhari's struggle against materialism is very prominent and significant. This issue refers more than anything to the latent capacities in Persian literature which can be present in the most sensitive historical moments and play its social function. In the following, referring to some of the most well-known figures of the Persian literary tradition, it will be clear how and with what quality Motahhari used their poetry and ideas to describe and interpret the monotheistic worldview and in contrast to the material one.

 Radical and revolutionary ideas of the Left were introduced to Iran in the first Pahlavi period by Taghi Arani, and unlike the Constitutional period, it took on a scientific form.In front of Taghi Arani and Donya Magazine were the clergies, who tried to present an anti-narrative against the materialism of doctor Arani and his followers. Realizing the necessity and the sensitivity of the issue, Tabatabai and his student, Morteza Motahhari were widely stood up against the roaring flood of materialism. Therefore, Persian literature has been one of the important tools for confronting materialism. Motahhari has realized that the tremendous capacity of this great treasure can be used to counter some currents, especially materialism. Hence, he has referred to the most prominent figures of Persian literature. Hafez, Rumi, Saadi and Khayyam are among those who have played a prominent role in Motahhari's decisive struggle against materialist traditions. Motahhari presents a completely mystical reading of Hafez's poetry and thought. He confronts Ahmad Shamloo and his material perceptions of Hafez. With meta-textual information and then textual implications, he reaches an immaterial reading of Hafez and tries to free him from the accusation of being materialistic. In this article, we have also shown that Rumi has a special place in literature. Motahhari uses some of Masnavi's anecdotes to weaken materialist discourses and to clarify some positions of dialectical materialism. We have also shown that Saadi's poetry has been very effective during Motahhari's confrontation with materialism. In the end, we have dealt with Khayyam and demonstrated that Khayyam's poetry and thought have also been used to explain some of the fundamental issues of materialism. In the final analysis of the result of this article, a part of the importance, sensitivity and performance of Persian literature is indicated outside the university and in the social, political and cultural relations of contemporary Iran.

In studies in the field of literary criticism, it is possible to dislodge an understanding of art and literature as the logic of representation and superstructure and instead view poetry as a social force and consequently its activism. Althusser and Gramsci are among the thinkers who promoted the latter approach to art and literature. In this reading, literary texts play a role in power relations by coming out of a state of passivity and isolation. Therefore, the present article seeks to show how and according to what rubrics a poem can be considered as an effective tool in the context of power relations. The selected poem is called "Bot Tarash". The poet, Nader Naderpour, based his poem almost entirely on the Greek myth of Pygmalion, with some minor changes. Regardless of Naderpour’s intention or motivation in composing this poem, what is of prime importance is the reproduction of this poem in contemporary Iranian society. To reach this semantic layer, the article first tries to clarify the logic of Nader Naderpour's main source, namely the myth of Pygmalion, and from this perspective to explain the relationship between “Bot Tarash” and the concept of freedom and agency of the subject.

The research method in this article is in the framework of qualitative content analysis and using library resources. This article is related to the philosophy of existentialism; Isa Amankhani in two articles entitled "Reflection of existential views on the poems and opinions of Ahmad Shamloo" (Amankhani: 1391) and "Existentialism and Shafi'i Kadkani" (Amankhani: 1392a), has shown the impact of existentialism on the poems and opinions of Shamloo and Shafi'i. In addition, in the field of contemporary poetry, articles such as "Existential Thoughts in the Poems of Shafi'i Kadkani and Adonis" (Shamian Saroklai and Samin Vahdani: 1394) and "Study and Analysis of the Foundations of the Philosophy of Existentialism in the Poetry of Sohrab Sepehri" (Azizifar et al.: 1397) have shown the tendency of contemporary Persian poetry towards existentialist ideas. Regarding the myth of Pygmalion, Shafi'i-Kadkani has given useful and important explanations about the reflection of this myth in Persian literature; To my knowledge, however, no dedicated study has focused on the analysis of “Bot Tarash,” its relation to freedom in existentialist thought, and its depiction of human agency. The main purpose of this article therefore is twofold: to show how Naderpour's poetry is related to modern man and his fundamental questions; and to investigate what issues have been represented in the poem and with what motives.

The intimate and mutual relation between philosophy and literature is not a new phenomenon. Many existentialist philosophers, for instance, have chosen to convey their concepts and philosophies in literary forms. Concepts such as “committed literature,” first introduced in Sartre’s literary manifesto in What Is Literature?, techniques such as absurdist expression, and psychological states such as anxiety and abandonment are instances of this mutual relation (see Amnokhani, 2013). These literary works convey concepts that have a decisive presence in the field of existentialism. As briefly mentioned in the literature review above, many studies have traced the presence and interconnection of philosophical concepts in literary works. In addition to these very important points, existentialist philosophy provides us with a criterion by which we can clarify some of the less explored aspects of literary texts. Among these, the concept of "agency" and "freedom" are two of the key concepts of existential philosophy that from this perspective can be effective tools in literary criticism and theorizing. As one of the most well-known existentialist philosophers, Jean-Paul Sartre believed that human beings are free beings, citing the the primacy of existence over essence. In existentialist philosophy, freedom is the motivating element of human life and is in fact the enabling factor in the emergence and realization of human potential. According to Jaspers, "existence can replace freedom" (Jaspers, 1390: 233). For this reason, Jean-Paul Sartre considers man "condemned to freedom" (Sartre, 1391: 40). If we look at Naderpour’s “Bot Tarash” from this perspective, we will reach less explored semantic layers. In this poem, like the myth of Pygmalion, there is a kind of supernatural power that creates another being. This created being is at a lower level than its creator in terms of rank, status and existential hierarchy. In the poem, after the process of creating a sculpture, the mason falls in love with the sculpted figure and expects her to become the other willing side of this romantic relationship. However, faced with her rebellion in protest, the mason tries to suppress and break the sculpture. Here, with a glance at the question of freedom in the philosophy of existentialism, it becomes clear that the freedom and agency of the subject has been taken away.  In effect, the subject’s will to recreate herself and her essence is interpreted as rebellion and mutiny and is thus faced with the wrath and rage of the superior creator. Thus, the myth of Pygmalion and subsequently Naderpour's poem have found an ideological function which has been reproduced in the form of a kind of conservative thought.

According to what has been said, Nader Naderpour's poem was evaluated from the perspective of some of the concepts contained in existential philosophies. In light of existential thought, he is a free being who can shape his nature and determine his own destiny. The myth of Pygmalion, which is the main source of “Bot Tarash,” has found another function from this perspective. Pygmalion expects obedience from Galata after making Galata in the best, most beautiful and perfect form possible. But Galata refuses to comply and in response to this disobedience, he is turned into the original lifeless piece of rock. In analyzing this motif, the keywords freedom and choice as defined in the philosophy of existentialism have been used. Any individual, group, or thought that has shaped such a structure has not paid attention to human freedom and agency. If we consider Galata as a metaphor for humankind, mythological thought has not recognized his agency at all and has considered his move towards self-recreation as a threat. Now, if we re-appropriate the above concept within the context of the modern world, we will reach the modern reproductions of this myth in Naderpour's poetry. From this perspective, “Bot Tarash,” in line with the same classical deterministic discourses, has led to the reproduction of a kind of determinism in the modern era.

Quatrain is the most popular and practical form of Persian folk poetry, commonly used by people of all ages on different occasions, such as celebrations, funerals, or even during work or break times.  Features of Quatrain distinguish it from other forms of Persian folk poetry; it incorporates a casual style, focusing on daily routines, habits, and especially feelings of romantic love and the pain of separation. Generally, Quatrain is a language of emotion felt for others. Additionally, the exclusive structural features of Quatrain raise the question of whether Quatrain can be considered as an autonomous literary genre.  In other words, can a poetic form be considered as a basis for a unique literary genre. In this paper, one thousand five hundred Quatrains are selected from different regions in Iran and examined to identify the external and internal features of Quatrain. The results show that Persian Quatrain has fairly similar generic features, establishing the basis that Quatrain can be considered as both a separate genre and form.

One of the motives of the love poems is "Death of Lovers". In these texts, the poet uses his art to describe the death of the hero as a memorable event. This descriptive-analytical study answers the questions of how the basis of the death of lovers in Persian love poems can be classified and what role does each of its subspecies play in the narration of the story? For this purpose, the book "One Hundred Persian Love Poems" (Zolfaghari, 1394) was the basis of the work and it was concluded that three types of death (natural, suicide and murder) with subtypes and causes, have occurred for lovers.

The Place and Function of Sa'di's Poetry and Thought in morteza Motahari's Intellectual System Abstract: Martyr Morteza Motahari's literary activities are often associated with Hafiz - The Watcher of the Secret, the Mirror of the Cup, and Hafiz's Mysticism - and accordingly research has often focused on Hafez's place in his intellectual system. But contemplation of other works of the diagram is a special attention of the martyrs of the Persian language and literature, especially Saadi Shirazi. Studying morteza Motaharis Implications of Saadi and the Functioning of Saadi's Works in morteza Motaharis Discourse. For this purpose, the non-literary works of Shahid Motahhari, who at first glance have nothing to do with Persian literature, have been studied. The results show that among the most serious and fundamental political, social and ideological issues, Motahhari has used Saadi Shirazi's poetry and thought. Saadi's role is also identified within one of the most important contemporary social-political currents.

Analysis of components of love from the Point of view of the Chishti Order in the works amiran-e Dehlavī Love has always been one of the most fundamental principles of Sufism. Since the spiritual preceptors of the Chishti Sufism know it as arising from the mystical thought of Khorasan, this path regards love as an eternal deposit and gift and the very foundation of the universe that flows in all particles of the Possibility World, and to succeed to the loved is considered as the last degree of seeker behavior. Moein El-din Chishti, Bafareid Ganj Shar, and Mo-hammad Gisooderaz are among some spiritual preceptors of this path, who have left some written works and sensational odes, and they can be found in the works of Chishti poets such as Amir Khosroo and Amir Hasan Dehlavi. In this article, we review the prose and poetry works of the Chishti order in order to find that what is the love position in the foundation of Chishti thinking, and what is the effect of sorrow or grief on the seeker behavior? Is wisdom always at odds with love? And what is the perspective of Chishti order about the virtual love? Keywords: Chishti order; Sufism; Love; Sorrow; Wisdom; Virtual love

The prosodic meter of poetry and rhythm of music both originate from the same source which is the symmetric sequence of sounds in time. Prosody seeks to understand various types of metric lines in poetry. Since the first tool for recognizing and understanding meter is through listening, it would be beneficial that teaching methods to be based on listening and speaking skills. However, teaching methods in most formal educational institutions focus more on the lingual aspects than musical ones. In traditional education methods, the participant should go through the labyrinth of learning traditional prosody to understand and memorize a piece. The difficulties of understanding prosody in classical approaches are rooted in onomastics and the categorization of Bohoor and Zahafat. The principles are not only obstructive but also confuse learners. Vaziri (1314, 1315), Khanlari (1386), Najafi (1391) consider the existence of Zahafat unnecessary and have put them all aside. They have smoothened the path of learning through regulating the exceptions, discretions, and necessities of poetry. According to the authors' experiences, there has not been a proper method for understanding meter and preserving that knowledge for a long-term. The method proposed in this study is the use of music to facilitate learning and long-term memorization of Persian poetry metric lines. This study aims at preventing the hardships and difficulties of learning prosody by updating the learning method and using musical content. With the proposed approach, two goals could be achieved: facilitating the learning while enjoying the process and empowering the long-term memorization of Persian metric lines.  The first stage of this interdisciplinary study is gathering information from library and literature review. The next is some oral practices. The data procession method was descriptive-analytic. The results show that the educational musical content is necessary for teaching Persian poetry meter. The following order is followed in this paper: First, a summary of findings by other researchers on the effects of music on the brain and learning process and the role of music in teaching is presented. Second, by studying the sources in linguistics and definitions of the natural rhythm of speech, referring to Persian prosody and the theory of music, the constituents of music and prosody are adjusted. Then, the existing difficulties of naming the meters and classifications are analyzed to identify the issues regarding the process of learning prosody (which is the main purpose of this study). Finally, it has been shown that to produce a scientific content of musical learning, the characteristics of prosody should be considered. Knowing the principles of prosody and music is the main factor to offer ways for the use of music in prosody learning. In composing prosodic melodies, the musical rhythm and note durations are not choosable for the producer since these constituents are unconscious. To produce prosodic melodies, the producer has to choose three-note durations among 21 possible choices. These durations are the eighth note (e), quarter note (q), a dotted quarter note (j) that in the making of musical contents have identical relations with tri-syllable prosody (short, high, and long). Prosodic melodies are the same as Persian meters with syllables having bass capabilities in addition to prosodic ones (regarding duration and sentence structures) with the ability of intervals among durations that makes them capable of being a part of major and minor scales in addition to Iranian Dastgah such as Mahoor, Homayoon, Shoor. Learners can listen to the respective melody repetitively to learn and memorize a verse. By this approach, the prosodic meters are easier to understand without being forced to go through traditional rules. Through studying the sources on traditional prosody and fundamental issues of Bohoor, and new sources on this matter which consider Zahafat unnecessary or even wrong, it could be concluded that learning prosody adds nothing but understanding the forms.  In new prosody, understanding the rules of syllable scanning all depend on understanding the meter first. Learning the meter can be facilitated by using it in repetitive sessions of listening. This practice does not require any professional skill. The results of this study show that prosody contains a few parts of the musical capabilities. That is, all such capabilities are available in the theory of music. As a result, it is possible to modernize all the rules of Persian poetry through rhythm. Besides, the data provided by this research paves the way for creating educational musical contents with melodic prosody to facilitate learning and long-term memorization of Persian poetry meter.

Typology is a branch of linguistics which studies the structural similarities between languages, regardless of their history. Linguistic studies have proven that different languages in the world have similarities which called Language Universals. Study of Word Order is one of the most important topics in Typology of language, because of languages are more diverse in this respect, and this diversity is a tool for typological studies. One of these diversities is sequence of Relative Clause and Noun. Topologists have identified two types: Relative Clause – Noun (Rel N) and Noun - Relative Clause (N Rel). In their view, these two sequences correlate with the arrangement of the main constituents of language in particular (verb and object).Consequently, according to their predictions, (N Rel) sequence is predominantly in VO languages, and (Rel N) sequence in OV languages. In the present article, we study relative clause in Persian and Arabic languages in order to clarify what are the characteristics of relative clause in both languages and what are the similarities and differences between them. In addition, the research seeks to study the sequence of noun and relative clause in the light of the views of Topologists. The research method is descriptive-analytical and the sentences are collected from different official texts of both Persian and Arabic languages. Over ten thousand sentences were studied .The findings of the study showed that Persian and Arabic languages follow the dominant global pattern in the sequence of relative clause and noun, meaning that both languages have the sequence (N Rel). In this context, however, the Persian language does not follow the predictions made for the ending verbs or OV languages. While the Arabic language is consistent with the predictions presented for VO languages. Also another result of this study is that the phenomenon of relative clause movement in Persian language is possible but not in Arabic.

Written narrations” are folk long stories that in narrative convention had been changed from oral form to written form by maintaining some folk language features. Narrative convention is an enduring tradition in great Persia that consistently provided needful resources for creating valuable literary works. The long stories that have entered from oral literary realms to written literary realms, have special content and structure, historical and cultural features and they have an individual identity. This individual identity encourages us to put this long story as a particular literary genre. Knowledge of literary genre prepares domains for researchers to study literary works in a methodical frameworks. Formerly, some researchers have put written narration in “Romance”, “Prose epics”, “Heroic novels” and “Legend” genres. In this essay we are trying to introduce written narration as a literary genre with individual feathers. In this way we are using three inside text variable “content, form/structure, aspect” and four outside text variable “function, context, addressee, intertextuality”

In the Persian language grammar resources, there are disagreements about the matters such as construction of verb from infinitive or infinitive from verb, dividing the verbs into regular and regular verbs, the number of past morphemes, and originality of phonemes "t" or "d" at the end of the present stems; and even sometimes there are "negligence" in the categorization of causative, prayer and imperative verbs as the regular or irregular verbs.  In this article, the views of the syntax authors are criticized through studying the grammar books and articles, and after concluding in each case, a relatively new classification of the construction of the verb is presented under the new titles as follows: "1. Regular verbs;    2. pseudo-regular verbs; 3. Irregular verbs; 3. multi-root verbs". Other major results are as follows: the past stem is constructed during the initial construction of the present; and infinitive is constructed from the past tense of the verb, but after the emergence of infinitive, the stems are usually recited and recalled on the basis of the infinitive. Out of the last two phonemes of the past stem, the originality is with the phoneme “t” and frequency prevalence is with the phoneme “d”.  Today, there are eight past morphemes in Persian language:  -d, -ad, -id, -t, -st, -est, -ist, -oft, Regular verbs include pseudo-verbs, causatives, prayers and imperatives, and a few other delicate points.

Local poetry is one of the ethnic and cultural expression of any nation. Two native poems "Yadeten" by Saleh Sangbor and “ Marvouzu” by faramarz shakuriI, which are in Bandar Abbasi and Guilak dialect of Persian language respectively, are the full mirrors of popular culture of two nations residing in Bandar-Abbas and Bandar-Anzali. Both poems reflect a nostalgic throwback of the poet to the old days. . In this study we try to show the components of their nostalgic regards to cultural elements of society in which they have lived. To this purpose, nostalgic concepts of this poems, under two general titles of individual memory and collective memory has been analyzed. Review of this paper shows, despite the common benefit of both poet in nostalgic components, amount, style and practical purposes of folklores elements in two poems are different

"Tarabi'srebellion"is one of the interesting parts of Jahan-goshaHistory. The analysis of narrative elements of this text can help understanding the spirit of the whole work. Joveyni, the writer, confesses inthe Introduction that by writing history he aimesto perpetuate Mongol's magnitudes. That means the readers encounter with a one-sided narration. In spite of this fact, according to the expectation of readers, the writer tries through some textual tricks to show he has an objective position in history narration. But this target would not be possible by two reasons: the first reason deals with the nature of narration that does not let the creator to take a neutral position. The second reason relates to the intentions that force Joveyni to write his work, i.e., he reduces the history to a panegyric. "Tarabi'srebellion" is one of the texts thatis structurally cracked through a deconstructive approach of reading, so that not only the writer fails to achieve his goal, but also the text stimulates a rebel against itself. Through a creative re-readingof this historical event, this article tries to present a new interpretation and portrait of Tarabi.a reading that can be extended to the whole text.

This article discusses how the first Islamic government was formed and how Muslim Arabs copied the public office patterns of Iran as a model. For the first time in the reign of Omar and then after conquering Iran, when Arabs became familiar whit Iraniangovernmental organizations and tax system and observed their advantages, with the help of the expert Iranians, established the governmental offices in Islamicregion. And then they hired experienced Iranian clerks to work in these offices. Up to about 82 A.H all the documents in Islamic government were written in Farsi, but in this year (65 -86 A.H), Abdolmalek - ibn - e - Marvan ordered to translate them into Arabic. Though in the first years of Islamic reign, there was just one office to deal with all financial and legal affairs and to send letters etc., with the beginning of the reign of Omavids and then Abbasids, the offices were increased in number and divided into different branches. The five major offices during the reign of Abbasids were: The ruling and seal, post, ministry, judgment and tax. The article deals with these fiveoffices and how they were copied after the Iranian model.