جستجوی مقالات مرتبط با کلیدواژه "ابتهاج" در نشریات گروه "علوم انسانی"

Poetry, as the most prominent verbal art, is the link between emotion and imagination formed in rhythmic language. Examining and recognizing the most significant features of the linguistic and intellectual style of poetry in recent decades is a way to introduce the horizons of contemporary poetry. It is obvious that due to the structural changes that take place in the body of society, the flow of thought and views of the dominant poet also goes up and down.The increasing expansion of cyberspace in this decade has caused to increase poetry among different masses of people and the relationship between artists.Meanwhile, Houshang Ebtehaj and Mohammad Zohri, as the most brilliant figures of contemporary poetry, has been influenced by these crises, and changed the way of reciting poetry and turned to Nimai poetry with a load of classical literature.The purpose of this study was to identify, extract and categorize the stylistic features of the language and thought of the sonnets of Amir Hoshang Ebtehaj and Mohammad Zohri by descriptive-analytical method. The introduction of social and political themes, attention to new psychology, the influence of philosophical theories and humanistic schools were the most important intellectual components Also, both poets, especially Ebtehaj, shouted the existing anomalies in the most difficult conditions, using various poetic formats as well as appealing to symbols and
metaphors and other literary symbolic tools.

Poetic images have acquired a new nature and function with the transition from tradition to modernity. Until the constitutional period, fantasies often had descriptive and aesthetic aspects. Contemporary With constitutionalism, the function of images has also changed. Following the emergence of Romanticism, poets' self-awareness of their social status, the emergence of individual and social rights, the emergence of poetic individuality and some other factors, images have a tool to express individual and social emotions. New functions such as: influence on emotion, coexistence with emotion and meaning and signification were previously known as artistic features in the images of Western love poetry. Shahriyar and Ebtehaj are semi-traditionalist poets, most of whose images have new functions. The same factor distinguishes these poets in terms of the coexistence of the image with the emotion and the impact on the emotions of the audience. This research analyzes the emotional features and functions of images in the sonnets of these two prominent contemporary poets. The methodology of the article is descriptive-analytical using library resources.

In Avicenna’s work, pleasure and pain are explained and described in detail. However, not much research has been done on how perception determines pleasure and pain. In this study, two issues have been discussed: first, the place of ‘innate’ and ‘acquired’ perception in recognizing pleasure and pain; second, that in Avicenna’s intellectual system, pleasure is not limited to material and sensual pleasures, and non-sensual pleasures have strength and intensity. By explaining and describing the true nature of pleasure and pain, Avicenna seeks to overcome natural and animal pleasure and move towards intellectual and spiritual pleasure. Therefore, in Avicenna’s philosophical system, sensual pleasure means the feeling</em> of the suited, and intellectual pleasure means thinking</em> about the suited. In his interpretation of pleasure, Avicenna, in addition to the word ‘perception’, also used the word ‘attainment’. Since something is attained when its essence is present for the perceiver, pleasure is not attained by taking what is equal to the pleasant thing, but only by attaining the essence of the pleasant thing. In a content analysis of Avicenna’s work, we realize that attention to intellectual and spiritual pleasure is one of the most important features of his philosophical system, which he has also described as ‘bliss’.

This research has been written with the aim of studying and comparing the reflection of music in the poetry of Shahriyar and Ebtehaj. In order to achieve this, the authors have studied words and terms related to music (instruments, musicians, Iranian original music, general musical terms, musical occupations, musical verbs). In addition, we examined the forms of imagination and literary function of the words of music in the poetry of Shahriyar and Ebtehaj. After examining the musical samples of Shahriyar and Ebtehaj's poems, we expressed the similarities and differences in the reflection of music in the poetry of these two poets.

This research is a library and has been done by descriptiveanalytical method.

This study shows that music has been an instrument for these two poets; A tool for conveying their intended concepts and themes.

One of the most important aspects of the similarity between the musical verses of Shahriyar and Ebtehaj is bio-music, addressing the poet's self and the high frequency of accompanying music with sadness. The most important aspects of the difference in the musical reflection of Shahriyar and Ebtehaj's poetry can be found in the musical view and attention to musicians.

In the semantic functionalism approach, language constructs are examined according to three specific views: Ideational, interpersonal, and textual. These three, calledmetafunctions, form the basis of Systemic Functional Linguistics (SFL). Halliday, the founder of systemic functional linguistics, believes that the patterns of experience and mental concepts of the creators of works are reflected in the verbal processesof ideationalmetafunction. Therefore, by examining the types of processes, and the factors and circumstances that create them, one can become aware of the ideas and experiences of the creators of literary works and analyze the factors influencing their formation.Considering this aim and adopting a descriptive-analytical approach, Ebtehaj lyrics, based on their constructive discourse, were divided into three historical periods and after determining the frequency and describing the function of verbal processes as astylistic feature their constituent factors were analyzed. The findings show the extensive application of the material process and then the relational process to other systemic functional linguistics processes.The reason for the high frequency and type of application of the mentioned processes, as well as the small representation of other main and secondary processes ofideationalmetafunction in Ebtehaj sonnets should be considered in factors such as the effect of meaning on the formation of the language of the work, political and social changes of the poet’s time,his special mood and stylistics, the importance of the role of the audience in his thought, as well as his drawing inspiration from earlier and contemporary poets.

identification of style and difference of schools is the study of forms of imagination. Imagination is the main element in all classic and modern definitions. Poet takes advantage of imagination in order to establish a relationship between man and nature or discover a relation between these two. In doing so, he transcends the ordinary logical form of expression and turns it into a type of poetic expression and imaginary word called poetry.Among different types of imageries, simile is of particular place in distinguishing literary words from the non-literary. This literary element has retained its own function in a continuous way in the course of evolution of Persian literature. Simile as a term consists of establishing the similarity between two or several objects in order to specify their commonality in one or a number of attributes. Then, if we want to express the meaning and common feature between two things, we make use of the technique of simile. Poets and writers including Ebtehaj and Furugh have pursued their specific goals in application of simile; including expression of the state of the thing that is likened, praise ad critique, illustration, description, bragging, summarizing, expanding, making the word imaginary and creation of theme. The present study relies on descriptive-analytic method and library resources to study the poems of Furugh and Ebtehaj from the structural perspective.

Hooshang Ebtehaj (H.E .Saye), a contemporary poet and modern poet, has brought a new and special manifestation of Ghanaian poetry. In both Nimayi poetry and Ghazal, he is indebted to the lyrical attitudes and language of his predecessors, and has been influenced in various ways by the rich mentality prevalent in Persian poetry, as well as by renowned Ghazal poetry. Anyway, Ebtehaj's approach has monopolistic features that distinguish it from other traditionalist sonnets. In this essay, several aspects of the poetry of Ghazal are studied and the quality and aspects of this poet's influence on the tradition of Persian poetry, as well as how he deals with some of the foundations and components of lyric poetry, are analyzed and Explain. In this regard, Ebtajaj's dual approach, which is sometimes traditional and sometimes unusual and exclusive, deals with such topics as rich mentality, romantic attitude, love tradition, beloved beauty, beloved lust and fascination with love. Has been studied and the role of these categories in the development of lyrical and thematic-creativity and the aesthetic richness of ebtehaj's poems, both solely in love with his sonnets and with symbols of social and philosophical prestige, has been described.

The preparation of the first seven-year development plan and its implementation by the adoption of the Law of "Permission to Implementation of the Rules of Procedure of the Program Commission Report" by the legislative assembly on February 26, 1927, was the beginning of the application of economic planning in Iran. During the first days of the first development plan, simultaneous with the nationalization of the oil industry, there were political and economic crises in the country. Since the primary purpose of the first seven-year plan was to direct oil revenues to the country's development plans, it had a direct impact on the first seven-year plan and was one of the most important causes of the recession in the first development plan. On the other hand, oil revenues accounted for only 37.14% of the cost resources of the first plan. Besides assessing the success of the oil-free economy plan of Mosaddegh’s administration, the realization of other sources of cost of the first plan could prevent this plan from recession. So this question arises that in addition to the crisis of nationalization of the oil industry, what other factors have contributed to the recession of the first plan? The present study historically and with the analytical-explanatory approach reviews analyzes and evaluates the hypothesis of the disconnection of the main initiator of planning in Iran and the involvement of the political factors in the planning organization which caused the first program to the recession. The findings of the present study suggest that Abu-Alhassan Ebtehaj’s collusion with the instigators of the coup, on Mordad 28th, the abandoning of his constructive role in the country’s planning system during Mosaddegh’s office-when the planning system was getting established in Iran-and the intervention of political factors in the planning job are among the overlooked reasons behind the failure of the first development plan.

Divine will has a particular status in the system of theology and humanities discourses. In the course of his study of Usul-e Fiqh, Muhaqeq Khoei  has examined the issue in the light of his theory of the soul dominion. In the course of this research, it has turned out that the concept of "will", Muhaqeq Khoei argues, is different from that of "knowledge"; thus, one cannot reduce one to the other, in the same way that the concept of "will" differs from that of "jubilatio". In the light of his theory of the soul dominion, Muhaqeq Khoei has explained divine will considering it as the dominion of divine action and belonging to His attributes of action. However, the principles of the soul dominion theory in the explanation of divine will are not acceptable and making it exclusive to the will of action is not correct. According to the preferred view, divine will is reckoned as the philosophical concepts. Holy Essence free from inside or outside pressures suffices as the origin to abstract the "essential will of Allah". Likewise, the origin to abstract the "divine will of action" is the action of the spirit along with the mentioned specifications.

This paper focuses on the weakness of will or the distance between theory and practice. Thus it tries to explore the quality of the ontological analysis of this problem based on the theory of the graded unity of being. In a quiddative analysis, the principles of willful act enjoy causal and temporal sequence; however, in an ontological analysis, they are the levels of the single truth of being. Accordingly, knowledge and act are the different aspects of a single truth which, upon being originated in essence, is called knowledge at one stage and will or desire at another stage. As a result, knowledge and voluntary act are two ends of the same continuum which has a single root in human essence; a root of the type of love and bliss. In a quiddative approach, weakness of will is rooted in the weakness of the components of the causal chain preceding it, such as the concept of act and affirmation of its advantages. Nevertheless, in an ontological approach, the weakness of voluntary act is directly related to Man’s ontological weakness and the weakness of the knowledge which is commensurate with it. The ontological view differs from the quiddative view in that it does not consider voluntary act to be at the end of a chain of basic principles in separation from knowledge. Rather, it views act as one of the manifestations of an ontological truth which is commensurate with knowledge.

In this paper, we seek to provide a clear picture of the notion of free will in terms of the principles of Transcendent Philosophy and remarks by Sadraean philosophers. The most important extant definitions of free will in Transcendent Philosophy consist in the following: “having multiple principles of knowledge, desire, will, and muscular movements,” “having dual principles of knowledge and will,” “possibility of both action and omission,” “wanting both action and omission,” and “independence of the agent and not being influenced by others.” The most comprehensive and common interpretation of free will is to say that it is to have will and knowledge, as this is interpreted in terms of the Transcendent Philosophy, according to which both knowledge and will are like existence: notwithstanding their conceptual distinction, they are present in all stages of being, and despite their synonymy, they are graded. The comprehensive notion of will which consists in delight, love, and consent begins with inferior instances such as desire in the natural world and extends to God’s essential delight and love. To refine the notion of will to existential love makes the acceptance of human free will more rational and plausible despite the dominance of causes over humans. Furthermore, consideration of human essential love and desire at the stage of his epistemic existence before God (the divine archetype, al-‘ayn al-thābit) accounts for the free will and answers some questions.

Interrogative sentences are among grammatical categories that occur most frequently in world languages. In Contemporary poetry including those composed by Ebtehaj, sometimes interrogative sentences fulfil semantic-pragmatic functions other than posing questions including surprise, breaking news, disappointment, complaint, objection, warning, rebuke, etc. This study aims at an investigation of the semantic-pragmatic functions that interrogative sentences fulfil in Ebtehaj's poetry. A descriptive-analytic methodology is employed to survey a statistical society that includes the complete poetical works by Ebtehaj. 120 sonnets, 84 Nimai poems, 17 quatrains, 10 couplets and 8 strophes were randomly studied. The results show that in 187 cases, Sayeh used interrogative sentences to fulfil 28 different secondary functions other than interrogation including the following respectively: expressing wish, objection, surprise, complaint, helplessness, doubt, rhetorical questions, disappointment, praise, emphasis, breaking news and attracting attention.

Deviation is one of the defamiliarization techniques that the poet uses to enrich his poems with creative images and concepts. In this technique, the text deviates the rules governing the standard language to create foregrounding in literary texts. Ebtehaj is one of the contemporary poets who have used this technique frequently in his poems. This study tries to analyze Ebtehaj’s poems using a descriptive survey research method within a structuralist framework based on Leech’s deviation pattern which includes eight types of deviation in order to reveal the beauty and salience of his poems. The analyzed poems in this study were selected randomly from Ebtehaj’s Tasiyan book. The result showed that Ebtehaj has utilized all eight types of deviation, but semantic deviation ranks first among all types. The use of other types of deviations and the consequences are also analyzed in this study. By these deviations, Ebtehaj states his ideas with common words in a creative and unconventional style. Besides, the preposing of verb has high frequency among other types of grammatical deviation. Using this technique, he has put more weight on the action rather than the actor.

It can be said that all political revolutions in the world are formed from various waves, including economic wave, cultural wave, social wave (with the aim of social justice) and other waves and movements. The literature, as well, is a vast and powerful wave that in addition to its impact, has the ability to influence revolutionary currents and movements. However the plurality of waves always cause the interference of popular masses and artistic and literary works of these frightening flames of the revolutions, can represent these masses In this paper we have tried to show the influence of Hungarian revolutionary poet Sándor Petőfi on social-revolutionary poems of Amir Hushang Ebtehaj “Shadow”, and in addition point out the similarities between the life and status of society these poets havelived in. societies that bear the burden of injustice and poverty, and those which ultimately bring out the sound of their masses’ sea of anger to those who have been sitting happily on the shore and smiling, by their artists and particularly poets’ voice.

Will is one of the most important philosophical and theological concepts for which Islamic thinkers have provided many and sometimes conflicting definitions. In this paper, we show that Mulla Sadra, with regard to the foundations of the transcendent theosophy, and his special interpretation of the truth of will, puts forward three ontological features for this truth. On the basis of these characteristics, he criticizes the rival interpretations and reveals the mystery of misunderstandings in the recognition of the truth of the will. These attributes are: the existential blending of will with other states of the soul; the existentiality of the will and its being unmixed with quiddity; the polarization of the truth of will. All these qualities are effective in explaining the truth of will, and other thinkers’ neglect of them has led them to epistemic deviation. Also, two recent factors play an important role in shaping Sadra's vision of explaining the truth of will, a view that regards the truth of will as a kind of love and cheerfulness.