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

Mystic commentators, inspired by Imam Sadegh who said that "the language of the Qur'an is multidimensional", have considered several levels of meaning for the Qur'an and They insist that interpretation is infinite. This study by studying mystical interpretations from the beginning to the sixth century, seeks to show Following the demonstration of the high capacity of interpretive language in thematic and transcendental language and the appearance of Quranic words in two stories: “The throwing of Prophet Ibrahim in the fire and its cooling on him, and Manifestation of God on Prophet Moses in the form of fire from a tree. Authors with documentary method and content analysis, In order to answer questions such as: To what extent has interpretive language been effective in providing different readings and passing through the one-meaning system on the subject of fire? And whether the mystical commentators' perception of the symbolic concept of fire in the story of the encounter of the two prophets, despite the difference in its symbolic and symbolic meaning, has finally led to a single concept? The findings indicate that the mystic commentators, by relying on the interpretive reading in the fire of both stories, have gone beyond the conventional and conventional meanings and the one-meaning system and have reached a deeper realm of different meanings and readings and in accepting the cryptic concepts as other meanings of fire and while reviewing a period of stages of psychic cirrhosis, practical and theoretical methods and mystical authorities have been effective in the minds of the audience.

In ancient beliefs, the four elements of nature formed the basis of the world, and in fact, they are the elements that are tied to the creation of existence in human culture.
The aim of this research is to compare the topics related to the four elements of nature in the selected poems of Afshanah Shabannejad (Persian poet) and Suniye Saleh (Arabic poet) after brief introduction of these two authors. Nature is separately investigated and the method of dealing with these concepts is mentioned with examples
In this article, the frequent interpretations of the poets in question about nature are discussed, and from a quantitative point of view, Arab poets create works more than Persian poets, while Persian poets use soothing and cheerful words in contrast to Arab poets' use of words. Harsh, fear and illusion, he has created more qualitative works
Undoubtedly, nature and its manifestations are one of the main foundations of the poems of Suniye Saleh and Afsan Shaban Nejad, and in this article, using the selected sources of two child and adolescent poets, a comparative study of the four elements of nature (water, wind, earth, and fire) and some words and Interpretations related to the elements of nature have been discussed.

Water and fire are two categories that have long been used as symbols among different nations and cultures and have been respected by nations as two important elements of nature. These elements are considered holy, purified and pure symbols in many places. Therefore, for a better understanding and correct recognition of these signs and symbols, there must be a specific framework and method; One of these methods is the use of semiotic knowledge. Charles Sanders Peirce is one of the famous semioticians who presented a new way to understand signs. His semiotic system, unlike Saussure's, which is based on a binary model of the signifier and the signified, is a three-dimensional model consisting of representation, subject, and interpretation. In fact, it is with the connection of these three aspects that the main meaning of signs is obtained and the meaning hidden in the lower layers of the text is determined. On the other hand, after the Second World War, due to the inappropriate social and political atmosphere prevailing in Iran and the Arab countries, as well as the stagnation and decay in the society, many poets of the Persian language and the Arab world, in their poetry, turned to the use of symbols and the myths were inclined. In the meantime, Shafi'i Kodkeni and Adonis also used a lot of symbols in their poetry due to their full knowledge of literature and national and world heritage. In fact, Shafii Kodkani can be considered one of the most knowledgeable poets of Persian literature, who is fully aware of the situation of his time, and the use of symbols and myths in his poetry is considered one of his ways to express the disordered state of society. Adonis is also one of the most prominent contemporary Arab poets who has always tried to convey a new attitude to the audience in his poetry. He is a modern poet whose all efforts are aimed at getting rid of the past and looking to the future. For this reason, he turns to the world of symbols because he cannot clearly express his mentality in the petrified Arab society. On the other hand, the symbols of water and fire are considered to be one of the most frequent symbols in the poetry of these two poets due to their value and meaning in human life and their alignment with the fundamental thoughts and views of Shafii Kodkani and Adonis, and the reason for choosing these two symbols is also for analysis in this article, the special importance of these two symbols compared to other symbols in the poems of these two poets and also due to the closeness of the concepts of these two symbols and their great use in their poems.The present study tries to explore the layers of meaning and the function of the symbols of water and fire in the poems of Shafii Kodkani and Adonis in a descriptive-analytical and comparative manner and using the semiotic model of Pierce.  In this article, the researchers have tried to refer to different sources and use the library method to randomly select poems from the whole divan and tell the audience the invisible world of meanings hidden in the layers of the words water and fire. In order to get the implied meanings of these words, they have first considered the general atmosphere of the society mentioned by the two poets and then by examining the coexistence of other words and using the two sides mentioned in Peirce's theory, i.e. representation and subject, they have reached the third side and the final goal, which is the interpretation of the word.Shafii Kodkani and Adonis are among the great and contemporary poets of Persian and Arabic literature, whose poems have attracted the attention of many researchers and many researches have been done on their poems. But with the investigations that were done in reliable scientific databases, it seems that none of these researches were based on semiotic theories and this issue demanded that a semiotic-centered research be done on the poems of these two poets. Therefore, it can be said that no independent research based on semiotics has been done on the poems of these poets and only in some researches, some topics of semiotics have been briefly mentioned. Therefore, the difference between this research and the previous researches is that, firstly, only two symbols have been specially selected from among the symbols in the poems of these two poets to make the discussion more specific; The second difference is that this research analyzes the symbols in a comparative way in order to determine the commonalities and differences in meaning between the two poets. Another difference that can be pointed out is that in the present article, the symbols are examined based on Peirce's theory of semiotics in order to achieve the underlying layers of meaning in the mentioned symbols in a systematic way and in a specific framework. From the results of this research and the meanings that are obtained from the words water and fire in the poems of these two poets, we can refer to flow, cultivation and purification, metamorphosis, annihilation, life, renewal, greatness and glory of the past, war, new birth and love and feelings mentioned.By examining the political, social and cultural conditions governing the society of two modernist poets, namely Shafii Kodkani and Adonis, it can be seen that in some moments of their poetic lives, due to the chaotic social and political atmosphere and the stagnation in the society, they symbols are used to express their thoughts in order to convey their constructive views to the audience and free people and society from ignorance and corruption and guide them towards modernization and progress. Among the signs, they use more natural symbols, and among natural symbols, they use more symbols that are in line with their thoughts and ideas. Therefore, they pay more attention to the symbols of water and fire, and these two words are among the most frequent words and signs in the poems of these two poets. In the current study, considering the semiotic model of Peirce in the function of water and fire symbols in the poems of the mentioned poets, it is concluded that the representation of water and fire, which is actually the signifier, is the phonetic image of the words and the meaning of the first signs. In fact, Shafi'i Kodkani and Adonis use these mental and vocal forms and abstract concepts such as flow, cultivation and purification, metamorphosis, annihilation, life, renewal, greatness and glory of the past, war, new birth, love and feelings are expressed for the audience in a concrete and sensual way. Therefore, it can be said that these abstract concepts are the subject of Peirce's semiotics model, which is considered as the secondary meaning or the signifiers and semantic elements of words. In order to guide the audience from the primary meaning or the representation to the secondary meaning which is the subject and object, the poet draws the space of the poem in such a way that the reader can easily understand the function of these signs and to achieve the third side of Peirce's theory, which is the interpretation.

The principle of contradiction is one of the most important factors in the development and flourishing of personality in the collective unconscious part of the human mind, which in Jung's school of analytical psychology is the motivator of all behavior and the producer of all mental energy. By making scientific comparisons between mental energy and sustained biological force, Jung establishes a deep connection between the intensity of the mental energy of myths and their conceptual nature, so that their conceptual place in the deep layers of literary and artistic works is well illustrated. In this study, considering the mental energy and inner force of myths, the works of creators such as Forough Farrokhzad and Amal Dunqul are explored based on Jung's principle of contradiction or duality, to determine the extent and intensity of their influence on the paradoxical and symbolic nature of mythical elements and The unified paradoxes of fire and water and their negative/affirmative revelations are studied in the works of Farrokhzad and Donqol in relation with such elements as rain, lake, river, Satan, flood, etc. Considering the discontents of the contemporary world, an analytic/descriptive method has been used in order to show the political thought and idealistic objectives of these two poets which concern the meaningful notions and dual psychological tendencies of sacred and ideal myths such as purity, purging, fertility, fecundity, rebirth, dynamism, immortality, deliverance and illumination.

.Basically sign and meaning in language science complements each other and each one does not count anything without another, Attar in a discourse that provides fire in their mystical works, A species of signs is evident that the fire is not only in the position of a heated warfare, which also occurs in the position of the meaning and meaning, which is further investigated in the field of linguistic substitution. Our main questions are that the fire in the poetry of Attar Neishaburi finds, how to flow and expands; Also how fire can make meaningful and mean meanings and values; Also, fire and correlations are related to which semantics signs, such as tension, perceptual, emotional and aesthetic systems? In this process, symptoms are commonly used in transplantation with seminal fluid, dynamic and multidimensional. This method is able to reveal the alternative reading of literary and mystical texts. Investigating Attar's works shows that he has a new approach to phenomena, including fire in perceptual transplantation, and beautiful concepts and concepts. Attar in this linguistic approach, the fire from the constructive semiotics has led to a sign of fluid semantics. The purpose of this article is to examine the meaning of 'fire' in the works of Attar Neishaburi, which has been done in descriptive analytical manner. According to this research, a military can be achieved for better understanding of concepts associated with the sign of fire in Attar Nezhaburi poetry.

One of the constructive and fundamental elements in the material world, which has always played a valuable role in human life, is "fire." Whatever exists in the universe is related to this sacred element.  Fire has long had a special place in Iran. Zarathustra gave it a moral and spiritual aspect and considered it a sign of purity. Given the mysterious nature of the fire and the symbolism of fire in myths of the past and present religions, we find that this element has always been linked to the life and lives of humans and its ritual ceremonies. It is certain that the fire in the cultural background of our ancestors was religious belief, but today it can be regarded as a symbol of bondage in past and present culture. Iranian mystics like Rumi expressed this fire in the school of love and beauty in expressive expressions and seeing light like Zoroastrians in the course of the spiritual journey, And has come to light with inward intuition. This is the fire that has been echoed by Rumi:  "Whoever does not have this fire is nothing." And this fire appears in spiritual wine and mystical music and beauty of the beloved And completely colors the mysticism of Iran. In this speech, it is attempted to provide an interpretation and analysis of the fire in the view of Rumi through an analytical method (library).

Fire is one of the fundamental elements in the creation of the universe and also the most important manifestation of life in nature for human beings. The element of fire has been of great sanctity and importance among all human beings and religions since the beginning of life. This element has always been of special importance in the thoughts and poems of two great poets of Persian language and literature, namely Ferdowsi and Rumi and has been manifested in various forms and species in their works. Ferdowsi described fire as the superior fire, and in her view fire is the source of other basic properties such as heat, cold, dryness and wetness. The mythological features of fire in Shahnameh, such as test fire and purification fire, are very vivid and symbolic. Fire is used in Rumi's poems in the form of allegory, allusion, permission, metaphor, symbol, etc. Fire is seen in Rumi's poems as examples of the fire of truth and his manifestations, the fire of the prophets, the fire of love, the fire of hell, the fire of the soul, etc. all of which have been used to explain knowledge, love and the manifestations of creation and evil. In this article, in a descriptive-analytical manner, the images of fire in Ferdowsi's Shahnameh and Rumi's poems have been studied.The functions of knowledge, love and fire purification are mainly influenced by myths and have many points in common with Ferdowsi's Shahnameh in terms of approach. But in the analysis of the mystical approach of Rumi's poetry and his images, we find that he has found his way into the most abstract realms of his existence and expresses the content of his conscience symbolic.

Fire is one of the four elements the discovery of which transformed the life style in humans.   This element has always been revered by all nations.  Some worshipped it while others used it in their rituals.  From the distant past till present whether in mourning ceremonies or in festivities fire with its symbolic dual meaning has been present in human’s life and played an indispensable role in man’s life in various ways.  Nowadays candle serves the same illuminating purpose in all occasions, be it in feasts or in mourning despite the conflict it might offer it conveys a kind of peace which explains its common use in the world.  All renowned civilizations worldwide have different stories for the advent of fire and the common point in all mythologies throughout the world is that its discovery has been recognized as a turning point in man’s life and been revered by all.  Using descriptive analytic method as well as library sources this research is an attempt to study the standpoint of fire in Avesta and Bondahesh and further analyze the conflict embedded in this symbolic element. Fire had been an inspiration for poets to compose enchanting poetry by creating a multifaceted feelings to prepare the grounds for composition.  This is in accordance with the history of variety of forms fire displays in Avesta and Bondahesh where the root of this element lies.

Sati, which is unlike the modern moral standards and incompatible with the standards of the Abrahamic and Zoroastrian religions, is an old Hindu custom that has been practiced for many years and seems to have been abandoned nowadays. It is an official custom related to the sanctity of fire, the glory of love, Hinduism, and the result of Indian patriarchy and xenophobia. This study has tried to explain the cause and elements of its emergence. It also attempts to investigate why and how the Indian books (the sacred and historical ones) refer to this custom and then analyze the historical texts and literature in Iran with regards to poetry.

In contrast to the traditional rhetorical view of aesthetic metaphor, which is a purely linguistic phenomenon, Linguists such as George Lakoff and Mark Johnson consider metaphor to be perceptual and conceptual in nature. This view of metaphor falls within the framework of cognitive semantics, in which meaning is based on conceptual constructs and, like other cognitive domains, represents subjective categories. The present study uses a descriptive-analytical approach to analyze conceptual metaphors and pictorial schemas in proverbs. Love, life, science, disability, humiliation, worldliness, and modesty are among the mappings of positive and negative concepts in conceptual metaphors in proverbs derived from literary texts. Among these, “water” and “fire” are words that have been used in Persian proverbs and the divans of poets and prose of former and contemporary writers to indicate the material and spiritual realms.The findings of this research indicate that the main mapping in the metaphorical sense of the proverbs based on the word “fire” is destructive, which is repeated with a frequency of 42 times.The main mapping in the conceptual metaphor of proverbs based on the word “water” is in the form of a spatial scheme (displacement) that is repeated 18 times. This highlights the central mapping of the word “water” and its rotation and instability. In general, by borrowing these mappings, poets and writers have created themes that always keep the listener enthusiastic and have contributed to the promotion of proverbs.

Fire is one of the most important and mysterious elements of the universe, and it can be said that the human civilization began with its discovery. The myths from different ethnic groups show how man discovered fire and what its significance and status was. The important place of fire in the myths of Iran and Vietnam and the similarity of some rituals of the two countries in which fire is sanctified and worshiped, show that there are common cultural aspects between the two nations. The purpose of this study is to better understand the myths of Iran and Vietnam, especially the myths related to fire. Using the descriptive-comparative method, in the present article, an attempt has been made to study some myths of the two countries and the narratives related to the element of fire. According to the classification of myths related to gods and rituals and the discovery of fire, the results of the study show cultural similarities between the two countries, as Fire Dancing Festival in Vietnam is similar to the Chaharshanbe Suri and the Azargan festival in Iran. Also, in the myths of the two countries, fire symbolizes victory over the enemy and hell symbolizes the punishment of sinners. The difference between the mythological narratives of Iran and Vietnam is more about the gods and how to discover fire.

The use of allegory as one of the most important and basic industries of rhetoric is common among poets of Persian language and literature. Most of the allegories used in the works of poets are rooted in myth and religion. Ferdowsi and Rumi, who have elevated the position of Persian poetry in epic and mysticism to the highest possible point, have made the most use of allegory in order to instill their mental abstractions in the mind and thought of the audience. The use of allegory of fire is one of the most significant and most allegories used in Ferdowsi's Shahnameh and Rumi's poems. Despite the essential and structural differences in the epic and mystical literature, the thematic similarities of the allegory of fire can be seen in the poems of both poets, which, despite the similarity in subject matter, are different in content. In this article, by descriptive-analytical method, thematic commonalities and attitudinal differences of two famous poets are discussed to determine the degree of influence of two poets from myth and religion and also determine the course of images of fire from myth to mysticism.

Fire is one of the four elements whose role in the construction of universe and the emergence of universe is very important to the ancients. For this reason, Ferdowsi has used this holy and ancient element in "Shahnameh" very much. When it is speaking about fire, we must also pay attention to ancient and mythological beliefs and ideologies. Although fire is not a very beautiful and valuable phenomenon for the inhabitants of the southern lands and hot lands like Saudi Arabia, and it may have been used as a torment and fear of some of these tribes, but for the northern tribes and peoples who lived once in the glaciers for a long time, it is a valuable blessing.All of this makes the fire sacred in the minds of the peoples living in the Northern Hemisphere. After that, it should be reflected in the historical period and even after Islam, in the works of poets such as Ferdowsi, as a sacred element and used in celebrations and joys.

Cognitive linguistics as a semantic approach included a set of theories, which conceptual metaphor and imaginary schema are the most important. Imaginary schemas are fundamental and abstract conceptual structures in the mind that are based on physical experiences and activities during the interaction or observation of the surrounding world. The present study intends to conduct a descriptive, analytical and comparative method and in order to get acquainted with the metaphorical and cultural system of "water and fire", to conduct a cognitive analysis of imaginary schemas taken from these two opposing elements in six books of MasnaviManavi and Shams Moulana’s general poetical works. The aim of this study was to achieve cognition through the use of volumetric, motion and power schemas in Moulana’s poems, so that by examining the function of these schemas, a more accurate knowledge of the individual and social personality of this poet can be obtained. One of the most important achievements of this research that can be mentioned:These two elements find supernatural properties in literary concepts and metaphorical functions, especially mystical themes, when placed along a verse, and depict a kind of long-standing contradiction between reason and love.
Cognitive analysis of schemas expresses the introverted, intuitive, emotional, and receptive personality of Moulana.

It can be find common points in many mythology and symbolism that has rots in human's common collective subconscious and narrates from proximity of people's cultural and spiritual's beliefs. Universal myth of phoenix is also among the mythology, that although has many metamorphosis, but it can be detected many common points and specially the root of the death and doom in all faces to be shown from this solar bird. This fact has been shown in this mythology that the death is a passage to a better type of life and up most way for access to renaissance. The themed that has been acceded in a ascendant to arena's mysticism, has been appearance like spiritual resurrection and secondary birth, and so, the phoenix, this legendary bird, has been found non- objective aspect and sacred face. The phoenix is a symbol of transcendental spirit that is entered into the area of the beyond death. In this article, that has done like library method and such as analytical description, it has been determined, the mythological mystical of the phoenix - the fire bird- due to the some nations' mythology.

Imagination and symbolism are tools that mythology language and mystic language choose for expressing their fundamental teachings.The concept of hell is one of the universal topics that mythology and mysticism have attention to this. Terrible images that has presented from this evil and dark place in the mythology, expresses human’s depth of thought and world review in old ages and shows the man’s deep religious and moral needs.The hell-this valley of fire and eternal of the spirit’s fearful metamorphosis- has described in most texts with the words are related to material.The hell’s fire punishes evils and from another dimension, is a passage way for the ascent of the soul and the soul attains perfection with symbolic passage from fiery hell in its evolution.Also from a mystical view, the allegorical of hell is a point to degrees of separation and neglect from manifestations of God and to be cover sensual veil.If we die out the fire of internal hell, we can travel the path to perfection in a heavenly relaxation.With a look to the process of human’s insight to the hell’s concepts and its teachings, from the mythology world to mysticism’s arena, causes the extent of vision and a deeper understanding of different dimension of the adventure.

Gaston Bachelard, the philosopher, epistemologist and French man of letters is including those people who discuss imagination and what shapes it. In his opinion, the four elements play an important role in the creation of literary images. These elements subconsciously appear in the mind of poets and in the time of imagination have an essential role in the creation of images. Fire is of the elements that Bachelard particularly phenomenology that and believes each poetic word has a fire in its chest and all literary images require the element of fire. He considers two aspects of fire such as good and evil and its purification and destruction properties. He also believe on four nodes, in connection with the fire, that like Freud borrowed their names from mythology and scholars. This study relying on Bachelard ideas, tried to read and analysis the poems of Mehdi Akhavan Sales, to reach the fire and related concepts in images and poetic interpretations.

In the passage of history, man has objectified his images like immortality by external symbols. Man nourishes the concept of immortality in order to escape death and mortality; this is done by elements of nature. One of these elements of nature is fire which is used to show the mysteries and symbols of immortality. In the passage of time, the concept of fire is seen through generations, and has been preserved in certain terms. In Persian language, the terms like ‘ojaq-koor’ (she is sterile) ‘ojaqe khaneh’ (fire-place) and ‘ojaqe khanehat khamoosh mabad’ (I wish you have son) contain the term ‘ojaq’ or fire-place that denote to son and having no child to carry a man’s name. In the present article, first, we consider one of the most important symbols of fire that is according to the people of antiquity contains the notion of immortality. Then, the linguistic signs that show the relationship between the notion of immortality and fire-and-son are entertained.