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

 Based on Harold Bloom"s anxiety of influence theory, there is always a dialectical and combative relationship between later poets and earlier poets based on the power of poetic influence due to the lateness of the later poets. According to this theory, later poets look for a way to get rid of this anxiety of influence, achieve an independent identity, and create a new style by a creative misreading of the literary works of the past, as a conscious or unconscious defense mechanism. In addition to poetry, this theory also includes other creative texts.
By the analytical study of the structure and content of the two paratexts of the preface and the conclusion of Marzbannameh based on Harold Bloom"s anxiety of influence theory, the present research aimed to answer the question of how Saad al-Din Varavini uses the preface and the conclusion of the book to get rid of the anxiety of influence of the authority of Nasrallah Monshi and the dominance of Kalila and Damneh on the scope of literary prose texts considering the fame of Kalileh and Damneh at the time of writing Marzbannameh and the fact that Marzbannameh was written later.

 The present research is a theoretical study that was conducted using library research. The research method was descriptive-analytical.

 The findings of the research showed that the similarities in the story structure and style and allegorical nature of Marzbannameh and Kalila and Damneh and the temporal precedence of Kalila and Damneh and its popularity and fame at the time of writing Marzbannameh inspired Varavini to use the creative misreading, i.e. creative content and language craftsmanship, in the translation of the text due to the anxiety of being influenced by Kalila and Damneh, while he also seized the opportunity in the two paratexts of the preface and the conclusion of the book to talk about the inventiveness of his book and the non-use of the thoughts of the leading and contemporary writers, and finally considered Marzbannameh superior to Kalila and Damneh and himself superior to Nasrallah in a subtle way.

 Therefore, in the preface and the conclusion of Marzbannameh, Varavini considers Marzbannameh to have a unique and rare style through his attribution to the class of elite and owners of art, pontificating for being a master of masterpieces of Persian prose that precede Marzbannameh, emphasizing felicity, word-arrangement, and elocution in Marzbannameh, and asserting repeatedly not to have imitated and used the thoughts and concepts of other eloquent writers. With shrewdness and tact, he first considers Kalila and Damneh superior to other works of early prose. However, by criticizing Kalila and Damneh given the universality and generality of its audience, he finally considers Marzbannameh to be superior to Kalila and Damneh and all earlier texts, and in this way, he is searching for a special place for himself and his book, getting rid of the anxiety of influence, and stepping out of the shadow of the earlier texts’ authority.

In this paper, we have investigated the fostering of theological concepts through verses and narrations in the preface of Amir Khusrau Dehlavi's Masnavi. The research type is analytical-descriptive and its method is library. After investigating the prefaces from a theological point of view, we have come to the conclusion that Amir Khusrau Dehlavi has quoted verses from the Holy Quran or hadiths of the infallible Imams, either directly or indirectly and implicitly, in most of the verses that contain theological concepts. Thus, he sought to achieve two goals: One is that he attempted to foster theological concepts by quoting verses and hadiths in order to make his beliefs believable to his audience, and on the other hand, he sought to pay tribute to the Holy Quran and the hadiths of the infallible Imams. Among the three poems investigated, theological concepts in the preface of the poem Hasht Behesht are more than the other two poems, and in the preface of this poem, the poet has discussed diverse and various concepts of theology. Most of the theological concepts used in the preface of these three poems are concepts that have been repeated in other poets' poems before Dehlavi, however, Dehlavi is one of the prominent poets in terms of verses, hadiths and narrations that have been used to document and foster theological concepts.

The Theory of Surrealism by the French Founder; Andre Burton and his entourage were raised; It did not take shape on its own, and many contexts and prefaces played a role in its formation. Among those fields, we can mention philosophical fields, irrationality, norm-breaking, and discovery and intuition. Among the foreword, we can mention the theories of Socrates, Plato, the psychoanalytic theories of Freud and Jung, the theories of Dadaism, Romanticism and especially the poetry of ancient Iranian Sufis. Forewords that Sanai, Attar and Rumi followed in their poems following Sufi elements and Sufi poetry; It has had the greatest discourse affinity with surreal theory and elements. Accordingly, the present study has felt the necessity of examining surrealist prefaces in the Masnavi of Sir al-Ebad al-Ma'ad, the Al-Tair region of the third book of the Masnavi Manavi with almost the same quantity. Therefore, it intends to use the descriptive-analytical method in order to develop surrealist elements in the researched works with the aim of development. Preliminary results of the research indicate that the prefaces of surrealist elements in the studied Masnavi are explicit and implicit. So that the three famous mystic poets explicitly mentioned the same elements in their poems as important accessories and elements of mysticism, and sometimes with allusions, metaphors and allegorical and symbolic metaphors, they introduced the elements of mysticism, which were also common in the theory of surrealism

Shams’ articles are a text provided by Shams’ words, during which he resided in Konya and was accompanied by Mawlana. Articles are important for understanding Shams’ personality and thought, as well as better understanding of Mawlana, but the text is very complex and vague, even in some cases without any specific link, because: 1) Shams speaks briefly and with remark and avoids speaking and attending in public; 2) This book is not written by Shams, but his words that others have written, although some of its contents may have been modified by himself later on; 3) The existing versions of Shams’ Articles are very messy. One of the ways to explain some of the stories and to resolve the ambiguities of the articles is to refer to the works of Rumi and his son, Sultan Valad. The scholars who have studied the works of Sultan Valad, have all come to the conclusion that his books are not literally supreme; nevertheless, the importance of his works, in particular, of his Masnavi in clarifying some of the events of Shams and Rumi’s life, as well as his superiority in history of Turkish poem has been emphasized. In this article, after a brief introductory statement, some examples of his poetry and prose are mentioned which are effective in explaining or detailing some vague and concise points of Shams’ Articles.