جستجوی مقالات مرتبط با کلیدواژه « : ادبیات ایران » در نشریات گروه « ادبیات و زبان ها »

Nowadays, digital technologies have strongly influenced all aspects of our daily life via redefining our communicative practices and habits of text reading and textualizing. Accordingly, a need to change the role of literature and literary discourse in the contemporary media space of Iran and the Arab world has been felt and steps have been taken in this respect. By adopting a descriptive-analytical method, the present study sets out to make a scholarly account addressing the experience of Iranian and Arabic digital literature, exploring certain works produced by them comparatively, and discuss their degree of aesthetic creativity in terms of form and content. As the findings revealed, despite the historical precedence of Iranian digital poets and writers over Arabs, there is a significant digital division between Iran and Arab countries. Although the Arab countries are highly distant from digital literature of the West, they have produced aesthetically more creative literary works, compared to Iran. These works more actively follow the processes of participatory or collective creation, and being aesthetically creative in form and content.

Color, as a visual element in the field of visual arts, has also been used in literature for a long time.Research shows that Persian writers have shown two different approaches in using colors in their poems. Some of them have shown more precision in the use of color in their poems, but others have a kind of color blindness in recognizing and using colors in their poems and use limited colors. In such a way that when presenting the image and in imaginary images, even these few colors are not used enough and usually the color in his poetry is weak and weak words and only comes to fill the weight. The purpose of this article is to investigate the ironic concept of colors in Persian ironic literature. The question that is raised is, what are the concepts of colors in Ironic literature? This research was carried out with a descriptive-analytical method, using library and internet resources, by collecting allusions found in three encyclopedias "Dehkhoda", "Amid" and "Persian allusion culture". The findings show that colors in Persian allusions have been investigated in four semantic meanings of color, i.e. description of natural phenomena (plant, animal, nature), description of human physical condition, description of miracle color and description of ideal phenomena in heaven. In Persian allusions, colors are sometimes used to express obviousness and appearance, as well as to describe a place or object, as well as to express an action. The white color, in an allusive sense, refers to the morning light, blindness and the miracle of Moses, the yellow color to describe natural phenomena such as the moon, the earth, the sun, the world, and the sky in allusions, to express the dawn and the sun, to describe the natural phenomenon of the greening of plants and Life and description of the ideal phenomena in heaven, i.e. the clothes of heavenly beings and the blue color to describe the spiritual condition of man, which attributes this color to the eyes and indicates misery, gloom and sadness. Also, the color black is used to describe the spiritual state of man both in this world and in the resurrection, such as black court, black work, black writing, and Russia.

 In the post-Islamic centuries, especially after the Mongol invasion, a form of secular worship called Sufism and mysticism emerged, which affected other aspects of Iranian culture, including literature. Mysticism includes certain stages and degrees which the seeker of the path of truth must go through. Many writers, including Rumi, Sanai, Jami, and Attar, have devoted their literary works to recounting these stages and degrees. In the meantime, Attar, as the pioneer of mystical literature, was followed by many other poets and writers. The tradition of seclusion and the corner of monasteries was a refuge that many such people sought and this gradually led to the creation of mystical literature. Attar, as one of the most important poets and scholars in the field of mysticism, in Mantiq al-Tair, which reflects the essence of his mystical thought, has had a special concern for the stages and houses of conduct which we have undertaken to examine in this article.