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

Informed by Henri Lefebvre’s “Production of Space” theory, this study aims to explore Khaqani’s representation of prison in his “Prison Poems” in the light of the perceived, imagined, and lived space dialectics. This research adopts a descriptive-analytical approach and employs library sources. The results of this study show that in the perceived space, the poet, informed by phenomenological and critical perspectives, reinterprets the material space of the prison by confronting the veil and recognising the implicit mechanisms of power; in the imagined space, echoing the prescriptive knowledge of the discourse of power, the poet, as the subject, adopts a forced understanding of the space, which reveals the power and role of other groups in Khaqani’s imprisonment; in the lived space, the poet, echoing an implicit resistance against the discourse of power, employs his imagination and poeticity to create a different space within the realm of possibilities, which has no material correlation with the real prison but only adds a utopian meaning. This study concludes that the material space of the prison, the imprisoned poet as an active subject, and the discourse of power affect the ambience of Khaqani’s “Prison Poems.”   

This article examines the views of two poets, Abū al-ʿAlāʾ al-Maʿarrī and Khāqāni Shervani, towards women. Abū al-ʿAlā was a blind poet known for his pessimism, which led to his anger towards material life and its people, particularly women. In contrast, Khāqāni, a Persian poet recognized for the complexity of his lyrics and hidden meanings, is also noted for his pessimism; some researchers consider him one of the most pessimistic Persian poets regarding women. The issue of women occupies a central place in the poetry of both poets. Despite their negative views, they attribute significant positive roles to women, especially as mothers, elevating them from a state of inferiority to one filled with passion, love, and sublime spiritual feelings. This article aims to reveal the portrayal of women in the poetry of Al-Maʿarrī and Khaqani. This distinctive topic is central to their work and has been explored through a descriptive-analytical approach. The article follows the American School of Comparative Literature, seeking to identify similarities and differences in how both poets view women as mothers, daughters, wives, and lovers. It highlights the private and public motivations that have shaped their often hostile perspectives towards women. The conclusion suggests that both poets do not harbor hostility towards mothers; rather, they see them as sanctuaries providing comfort. However, regarding daughters, both express relief at their burial or death, albeit for different reasons. Overall, the lyrical themes in both poets' works are somewhat limited by their reliance on traditional meanings. The poetic landscape during their time did not allow for new interpretations; however, Khāqāni appears to have drawn more from lyrical meanings compared to Al-Maʿarrī.

Two Controversial Phrases in Dīwān of Ḫāqānī Širvānī
This note discusses briefly two controversial phrases in two odes by Ḫāqānī Širvānī (c.a. 12th century), namely "ḫaṭṭ-e tarsā" 'Christian script' and "setāre-bastan" 'to set a curtain' (or alternatively, "setār-bastan" 'to play Setār (a musical instrument)'. Firstly I discuss the phrase "Christian Script"; this phrase has traditionally been defined as "an alphabet used by Christians",  the precise concept it denotes however, has been disputed among the modern scholars. Thus, various alphabets such as Greek, Latin, Armenian and Syriac have been suggested as the possible answers. I discuss the shortcomings of these suggestions and argue that the "Christian Script" denotes the Georgian alphabet. Finally, I discuss the phrase "Setāre-bastan". Challenging the common reading of the phrase as "setār-bastan" 'playing Setār' I argue that the accurate reading is "setāre-bastan" meaning 'to set a curtain'.

Khaqani is one of the most prominent and paramount ode-writers in the history of Persian poetry. In his poetry, known as one of the pre-eminent of the Azerbaijani style of Persian poetry, he has a unique distinction according to the requirements of this school in expressing various virtues and knowledge, and his Divan has become a poetic encyclopedia of numerous sciences. As a significant part of the Iranian religious culture, the topics related to religious sciences form a fundamental part of the religious allusion and references to his Divan. Since the Hajj pilgrimage is one of the basic principles of Islam, Khaqani has made pilgrimages to Hajj twice based on his interest and love as well as his firm belief. He has mentioned the essential manifestations of this religious obligation in the form of particular references. He brought it into the Divan and wrote poems, especially for the Hajj pilgrimage called Ka’ba Setayi. Considering that one of the most crucial parts of Hajj is held in the last three days of the first decade, i.e., the eighth to the tenth of Dhu’l-Hijjah, this study aims to examine these effects and examples in Khaqani's poetry.

Visual arts have witnessed the emergence of various roles and themes throughout history, resulting in the development of diverse methods and platforms within the industry. In the realm of urban music, specifically in Iran, musical instruments are adorned with various images, becoming integral accessories to this art form. In the 6th century AH, along the banks of the Aras River in the region historically known as the Kingdom of Sharvan, Khaghani Sharvani, a poet and musicologist, highlighted the unique role of Daf, a percussion instrument adorned with depictions of domestic and wild animals, especially in hunting situations. This article employed a historical-analytical method and relied on library studies to explore this topic. Multiple factors contribute to the significance of Daf in this context, making it difficult to pinpoint a single definitive reason. However, considering the historical connection between similar practices among the shamans of Siberia and the Caucasus, as well as Khaghani Sharvani's emphasis on the association between Daf and the hunting grounds of the kings of Sharvan, this explanation emerges as the most compelling and informative among the various reasons that can be discussed.

One of the important subjects in Khaghani's Divan is the praise of the Ka'beh, its description is reflected in six long poems of his Divan. One of the most beautiful of these descriptions is the description of the Kaaba as a "seven makeup pens" Bride. The term "seven makeup pen" most commonly used in Khaghani's poems. Cultures have brought this term to mean "having full makeup" and what is called today "seven pens makeup" and considered it to include hana, vasmeh, sormeh, sorkhab, sefidab, zarak, and ghalieh. Commentators of Khaghani, in the description of the mentioned verses, have only mentioned the same seven elements of makeup found in the cultures. Since Khaghani is a poet of precise details, it can be assumed that he had similarities in mind in describing the Ka'beh as a Bride with full makeup. The issue of the present article is, what meaning or justification did bring this attribute for the Ka'beh have in Khaghani's mind. The results of the investigation of this issue show that first of all, the meaning of "seven makeup pens" about the bride or lover is not only facial makeup; it also includes decorating hair, wearing beautiful and expensive clothes, using ornaments, use of perfume and sitting in the Hejleh and secondly, Khaghani has adapted parts of the house of the Kaaba with the usual makeup of the bride and has considered them as the complete makeup of the Ka'be.

Imagination is a special use of language that the geographical environment, political, social, religious, historical, individual spirit, and the like are influential factors in the use of all kinds of imagery in poetry. One of the most obvious elements used by the poets of Persian literature in expressing themes and imagery is religious elements. The present article analyzes and compares the function of religious elements in the poetic images of Nasser Khosrow's, Sanai's and Khaghani's poems.

This article was done by descriptive-analytical method and the method of collecting information was library.

Quranic and religious themes and moral and religious teachings have been used many times to create rhetorical images in poets' poems. Apparently, Khaqani has more initiative and innovation in creating images based on Quranic concepts and in the form of innovative simile, metaphor and irony combinations. Naser Khosrow's poetic images also have a very deep connection with the principles of Ismailia religion and this religion has had a great impact on the type and genre of images. Sana'i, however, has brought the use of religious elements in the creation of poetic images closer to the atmosphere of mysticism and Sufism and has a mystical understanding of religion.

Religious elements in the minds of these three poets have been manifested in three specific aspects: in Nasser Khosrow, religious concepts have two prominent aspects; One philosophical and rational aspect and the other legislative and religious aspect. But the religious concepts in Sana'i's mind are the result of the entanglement of several dimensions, on the one hand, a philosophical view of its Islamic type, on the other hand, the religious dimension of Sana'i, which does not give much importance to interpretation, and the third dimension is the emotional dimension, which reaches its peak with making love to God. . In Khaqani's depictions based on religious elements, the proper place of Sharia thoughts is observed in the images, and the value and sanctity of Sharia foundations are preserved in the pictorial connections. However, sometimes a kind of contradiction and inconsistency can be seen between some images.

Khāqāni’s poetry stands out in Persian poetry for its abundance of images, interpretations and concepts which makes his poems difficult to understand and  explain. Though, there have been valuable researches explaining the much more complicated aspects of the poems of this renowned Persian poet, there are still a great number of expressions and interpretations in his poems which have not been understood accurately. The hypothesis behind the present study is that part of the difficulty in understanding Khāqāni’s poetry is the phenomenon of linguistic interference. As one of the consequences of bilingualism, linguistic interferences refers to the (unconscious) influence of the speaker's mother tongue on her/his second language. It also includes the presence of regional beliefs and cultural characteristics in the speaker's speech and writing in second language. Based on the aforementioned hypothesis, the present study focuses on words, sentences, interpretations and idioms in Khāqāni’s poetry which could be understood only by considering their Turkish counterpart. Considering that Khāqāni is from Azerbaijan, and his poetry is written in Persian; there have been many historical discussions about the language of Azerbaijan in his time (12 AD). Away from such considerations, this study solely focuses on his own text to investigate the complications and problems in Khāqāni’s poetry, some of which are due to the poet's linguistic interference.

Khaghani's poems are one of the most difficult and the most complex Persian poems, and many commentaries have been written on these poems since long ago. Much has been said about the Factors of this complexity and what has caused the difficulty of understanding his poems accurately, and many efforts have been made to solve these difficulties. Despite this and despite the valuable efforts of commentators and Khaghani scholars, the knot of some verses of Khaghani's poems remains unsolved and the meanings provided by commentators for these verses do not seem convincing. Some of these ambiguities are related to Khaghani's special way of making words and combinations, and others are related to his special way of using words, verbs, phrases, etc., which has created a amazing style but the ambiguity of some of his other verses is due to their incorrect reading. In this article, we have tried to resolve the ambiguity of some verses of his poems with the help of evidence from Persian literature and evidence from Khaghani's poetry and in one verse by using one of the using one of the parallel descriptive texts. Based on this, we are going to explain some verses whose meaning remains unclear despite the explanations of the commentators. Also, by correcting the reading of a verse that has become ambiguous due to misreading, we try to provide an acceptable meaning for it. 

The Monsha't of Khaqani Shervani (520-595 A.H), is a collection of his letters to the governors, scientists and acquaintances written with an esthetic and technical prose. These letters are of importance regarding literal, social and artistic aspects, so that studying them closely would be of great necessity. These letters can be used as some of the main references in "Khaghani Shenasi" as well as the sociology of the poet's era. Monsha'at provides us with beautiful aspects of 6th century A.H technical prose composed in utmost beauty, arrangement and sophistication, presented in the form of a letter. Some of his letters are "Del-Neveshteha" (written from the heart) which provide us with great amounts of information about the author himself and the social condition in which he has lived. This paper aims at manifesting the importance and the value ofMonsha'at as a vivid example of the art of a capable poet writing prose. This is done to remind Khaqani researchers about Monsha'at and its importance in helping the process of the studies.

In recent years, and in the theory of knowledge; metaphor has found a new meaning, that it is mentioned as the "conceptual metaphor". According to this theory, not only metaphor studies at the level of words, sentences or even at language level but also it studies in the mind, behavior and actions of individuals in a society and it reflects unconsciously. So explanations and study of thoughts, actions and human’s behavior in a society In which they live; is one of the essential functions of this type of metaphor. Thereby in this article we examine the conceptual metaphors of speech in Khaghani‘s odes who Is one of the most important poets of the sixth century; In order to find the cause of many disputes, controversy and conflicts in his contemporary poets.t was found that Khaghani knows speech as property, miracles and magic, maiden bride, competition, pearls, food and tree.That a Kind of superiority and uniqueness in Khaghani‘s mind causes his controversies and immorality with other poets.

The present study investigates how to conceptualize satire and slander in the language of two prominent poets of Persian and Arabic literature based on the theory of conceptual metaphor. Metaphorical examination of the concept of satire can certainly have a significant function in understanding poets from a psychological point of view, and in a broader form, the effects of this metaphor can also express the cultural issues of those societies and their social conditions. The comparative study of this issue based on the theory of conceptual metaphor has an essential contribution to entering the mental world of Khaqani and Motanabi and knowing thoughts and emotions as well as their similarities and differences. The research method in this article is a library, and the data has been analyzed using the content analysis method. In the end, the differences and similarities between both poets have been shown in a diagram. The research findings show:The source areas used in the language of the two poets are almost the same.The most source area used in the language of both poets is related to the use of animal names.The second source area used in Khaqani language is related to his use of verbal expressions, but the second group of source areas that clearly shows itself in the textual language is his use of the words taboo and abstinence, and the findings of Others are described in detail in the text. It is hoped that this research will help better to understand the thoughts and emotions of both poets

The famous ode of “Tarsaeiyeh” contains a verse that has puzzled the commentators and proofreaders of Khaqani's collection of poems. The main complexity of the verse in question is the reference that "kissing the church bell" has the ironic meaning of becoming an infidel and leaving the religion of Islam. The main problem in Khaqani's verse is that "kissing the church bell" does not occur in any of the old texts, and unlike kissing the crucifix, "kissing the church bell" was never widespread in Christianity; In addition to the various statements of the commentators of Khaqani's collection of poems, two detailed articles have exclusively dealt with this topic; the first article is about the proposal to correct "Kissing the church bell" to "Drinking the church bell" and the second defends the authenticity of the recording of "kissing the church bell" and rejects the first article. Of course, there is no authentic textual evidence for "kissing the church bell" and "drinking the church bell" in either article. In this study, based on some evidence from Khaqani's collection of poems and other works of Persian literature, it is shown that "I kiss the church bell" in Persian (ناقوس بوسم) in Khaqani's collection of poems is the result of a pun on the "I knock the church bell "in Persian (ناقوس کوبم). In the old spelling, sometimes the writers did not put the stroke of "ک" and "گ"; so the phonemes were easily converted to "ب" and "ت" etc. In another part of the article, "the bell of Magi " is explained and shown that, in Zoroastrian, "the striking of the mortar," was considered as a call to prayer and a sign of invitation to participate in religious ceremonies. Thus, by assigning the bell to Magi, no heresy has taken place, and only the conversion of a proper noun into a common noun has occurred.

Due to the abundance of words and combinations and various information in Khaqani's poetry, there have been many errors and misreadings, and some of these interpretations have remained hidden from the commentators and correctors of Khaqani's court even to this day. One of these interesting spellings has occurred in the verse "As this bride is from the skin of Khurram/ As gold was the elemental Khurramvan", the author proposed to correct the analogy of the first stanza in the form of "As Ibn Ars is from the skin of Khorram". has done. "Ibn Ars" is a word that means weasel, and as shown in this article, it is one of the animals that, according to the information obtained from some ancient animal books, was very interested in jewelry, especially dinar and dirham coins, and collected They have found pleasure. In this research, a brief review and analysis of this interpretation in Khaghani's Court has been done.

Khaqani is a self-congratulatory poet; So that you can hardly find a poem where he did not talk about his superiority. One of the reasons for Khaqani's self-praise is the inferiority complex. In the past, the social and economic level of the family was effective in determining the position of people in the society. Since Khaqani did not have a rich family, he has been neglected; Therefore, one of the reasons for his narcissism is his inferiority complex. . Another reason is the existence of rivals who spoke ill of the poet, as a result, the poet had to express his merits. Conceptual metaphor theory, which started with Lakoff and Johnson's opinions, proved that metaphor is also seen in thinking.  The conceptual system based on which we think and act has a metaphorical nature. In the traditional approach, they look at metaphor as a decorative tool, but in the new approach, they look at metaphor as a translinguistic tool that is not only in language; Rather, it is current in human thought and action. Therefore, in the new approach, metaphor is not an aesthetic tool for poets and writers; Rather, all people use it in their daily speech. According to the cognitive linguistic theory of metaphor, in metaphor, we understand one conceptual domain through another conceptual domain; That is, we use the tangible domain to objectify the abstract domain. According to the cognitive linguistic theory of metaphor, many abstract concepts have a metaphorical structure, although they may not be revealed at the level of language. Despite this, metaphors dominate the concepts. Metaphor in its cognitive sense is a bridge to understand abstract or less tangible concepts. Lakoff and Johnson have divided metaphors into three types: 1. Ontological metaphors: existential metaphors are metaphors in which abstract concepts are considered as an entity. 2. Structural metaphor is one concept is organized in the framework of another concept. 3. Directional metaphor is a type of conceptual metaphor in which concepts are conceptualized based on physical directions.The living environment, life events, experience, culture, etc. have an impact on human thoughts and feelings and are reflected in his words; Therefore, by studying the works of a poet or writer, one can reach the thoughts of that poet or writer. In this research, which was carried out in a descriptive-analytical way, while introducing the theory of conceptual metaphor, metaphorical maps related to self-praise were extracted. To objectify the concepts related to self-praise, the poet has used the concepts of the following areas in order of frequency: Concepts of family and social system (31 items), kingdom (19 items), nature (16 items), religion area (15 items), Astronomy field (4 cases), medical field (4 cases), professional field (4 cases) and.

Mantiq Al-Tir Khaqani's ode is one of the brilliant examples of Persian literature. This ode is also one of the remarkable examples of the language and journey of the birds. A number of birds have gathered in the spring season and each one is praising a flower and arguing about the superiority of the flower in question. In this research, we have tried to examine this ode from a new angle based on the theory of intertextuality and with a descriptive-analytical approach and relying on documentary studies. The theory of intertextuality is one of the methods of examining the text, which was formed by Julia Kristeva, under the influence of the theory of conversational logic of Mikhail Bakhtin. The basis of this theory is that it explains the meaning of the text based on the conversation and interaction with other texts before and after it; Because meaning is the result of conversation and conversation has different ways. The findings of this research show that this text (ode) is the meeting place of various discourses, including musical, mystical-philosophical, epic, religious, historical and literary. All these discourses have been involved in the formation of this text (ode) like pieces of a puzzle, and finally they have all reached unity in the form of poetry.

There is no doubt that Hafez's poem is a multi-layered and interpretable poem, and this issue causes the reader of the poem to seek a more meaning behind the appearance of words and sentences; But this subject sometimes immerses the reader in the virtual and semantic space of the poem so much that it makes him unaware of the poetic image that is placed in the appearance of the verse and deprives him of the pleasure of understanding the artistic image of poetry. This is quite tangible about this Hafiz verse: "If the head can be placed on the ground of the beloved threshold, a shout of pride can be raised to the sky". In this verse, because the meaning is almost certain and that is submission to the beloved and at the same time having a sense of pride and honor, the true meaning of the sentences and propositions presented in the verse is no longer considered how it is possible for someone while his head is on the ground he can shout at the same time. Scholars of Hafez's poetry, like readers, have been overwhelmed by the spiritual atmosphere of the verse and have not paid attention to this point. In the present article, while examining the background of the word "Golbang" in Khaghani's poem, we mean the verse of Hafez. According to the present study, this verse is a verse of praise that describes the drum that is playing in the court.
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Khaghani’s poems are one of the most complicated Persian poems. One of the neglected reasons behind this complication is the phenomenon of "unconscious linguistic interference", which appears in the works of bilingual poets and writers. Khaghani is from Sharvan in Azerbaijan and it is said that his mother tongue was Azerbaijani. Unconscious linguistic interference in Khaghani's poetry refers to the application of the themes, patterns, and rules in Azerbaijani which leads to the unfamiliar linguistic forms in his poetry. This article tries to investigate the unconscious linguistic interference in Khaghani's poetry in two types: terms and phrases which do not have Persian equivalents, and those that have Persian equivalents, but their Persian equivalents are different from that of Azerbaijani. Paying attention to this phenomenon will make it possible to get the exact meaning of many of Khaghani's poems and solve many of the ambiguities in his poetry.

Khaghani’s elegies have a unique place in the genre of elegies of Persian literature; Such elegies are full of visual language and various interactive actions with the audience and have added to the lyrical tone and the influential aspect of the poem. A great share of lyrics in Khaghani's elegies stem from the process of nonverbal communication which has been induced by Khaghani's artistic and verbal abilities in the context of this poem; The present study aimed to examine the types of non-verbal communication in Khaghani's elegies and analyze the infrastructures of the types of these communications in making Khaghani's elegies more emotional. In order to conduct this study, descriptive and argumentative research methods were used; The statistical population of this study included Khaghani's elegies and the following results were obtained: Non-verbal communication processes in Khaghani's elegiesin the main branches of body (27%), environmental (23%), face (20%), movement (18%) and music (12%) and are often influenced by popular and cultural beliefs and myths, literary traditions, as well as the spiritual and psychological needs of human. The relationship between non-verbal communication and the text of the poem text was conducted by the methods of emphasis (50%), completion (30%) and substitution (20%), which strengthened the emotional load, animism of poetic images, linguistic dynamics and novelty, as well as emphasis and recognition of lyrical tone in Khaghani's elegies.

Divan Khaqani is one of the texts that requires mental effort to understand; the difficulty of Khaqani's poetry on the one hand and its teaching in different courses of Persian language and literature on the other hand has made commentators interested in its description, and several descriptions and excerpts have been published. One of these books is a book called "Saghar-e Bolourin". This book was written by Mr. Ahmed Ghanipour Malik Shah and Tirgan Publishing published it for the first time in 2019. In addition to the good aspects of this book, there are some problems, and a detailed and complete review of all of them does not fit in one article. Therefore, the most important items have been selected and reviewed here. Semantic problems of some verses, numerous uses of other people's works without referring to them, writing problems, incorrect references, unjustified changes in the text of poems, not following the precise and scientific method in writing and documenting and introducing the list of sources, not introducing the description method, and other requirements of writing a book are among the things that are included in the list of the book shortcomings. While carefully examining the mentioned problems, finally, by showing many inaccuracies in the book, we come to the conclusion that the book needs serious editing and these problems noticeably cast a shadow on the scientific position of the book.