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

Jalis-ul-Mushtaq is a poem by an unknown poet with the name or surname "Ali" who was one of the poets during the reign of Amir Shiranshah in Sharvan, Azerbaijan (Haq: 869-907 AH) and he composed it in the field of poetry in 870 AH. This work is a translation of the poems of Basatin-ul uns Akhtasan Dehlavi, the secretary and writer of the period of King Ghiyath al-Din Tughlaq (720-725 AH) and Muhammad King Tughlaq (725-752 AH).In this verse, the love story of King Keshvargir, the son of King Batihan (a large city in southern India) and Mulk Ara (daughter of the King of China) is narrated, and interrelated stories are also narrated in it. In Jalis-ul Mushtaq, unlike Dehlavi's abbreviated version, Ali has narrated the story without any linguistic and expressive difficulties.

One of the most important developments in Persian poetry after the constitutional revolution is the attention to the political and social issues of the country. Pro-constitutionalist poets, along with the changes in society, wrote poems for the constitution and paid attention to social events. One of the most frequent themes is the description of the uprising of the people of Azerbaijan led by Sattar Khan against Muhammad Ali Qajar, which has a special place in constitutional literature. Sattar Khan started the uprising and his companions also stood up and continued the uprising with the hardest struggle, resistance, enduring famine, torture, insults and insults. The most important performance of Sattar was that he resisted and fought for eleven months during the campaign of the Qajar government to Tabriz. After Sattar Khan, Mohammad Khayabani revolted against the Qajar government. The events of Tabriz and Sattar resistance were not far from the eyes of the poets. Prominent poets such as Mohammad Taqi Bahar, Aref Qazvini, Adib al-Mamalek Farahani, Vahid Dastgerdi, Mirzadeh Eshghi, Nasim Shamal, Farrokhi Yazdi are among the poets of this period who paid attention to the issues of Azerbaijan. . The results show: Describing the Despotism of Mohammad Ali Shah, Denunciation of Russia, praising the people's resistance against internal Despotism and the presence of characters in the country, praising Sattar Khan and sympathizing with the people are important components in relation to Azerbaijan in the poetry of the constitutional period.

Various studies have been conducted on lullabies, and the lullabies of different ethnic groups have been examined from different aspects, for example, the article "Lullaby, the oldest enchanting whisper of the mother" by Moghaddasi (2013) which deals with the structure and topic of lullabies. The article "Lullaby, the music of woman’s role in the transmission of oral culture" by Vodjani (2004) which refers to the role of woman in the transmission of oral culture. "Investigation of lullabies between three folks of Azari, Kurdish and Gilak" by Haghgou (2013) examines and compares the theme of lullabies among these ethnic groups. In the article "Taking a Look at the origin and themes of Iranian lullabies" by Hasanli (1999) investigates at lullabies as one of the poetic types of children's literature. The article "Motifs in Sabzevari lullabies" by Vahdanifar and Davari (2021) specifies the way of motif formation in Sabzevari lullabies, and introduces the most common motifs used. Studying the background of the research shows that researchers have often collected and categorized lullabies in different dialects and geographical regions, but so far there has been no independent research on Azari lullabies and analysis of their themes and motifs.Research goal and questionsThe present study focuses on the necessity of paying attention to popular literature, especially Azari lullabies, and while protecting this treasure, it examines and analyzes the motifs in the lullabies in order to make the reader more familiar with the cultural, economic and social attitudes and beliefs, religious identity and customs of the people of the region. In this research, we seek to answer these questions:1. What is a motif?2. How are motifs formed in the investigated lullabies?3. What are the most common motifs used in these lullabies?

Lullabies are one of the branches of folk literature and the first songs for children, which are included under the children's literature category in terms of dealing with children. Although the original composers of the lullabies are unknown, the simplicity of the language and the practicality of the lullabies among people is one of the secrets of the durability of these beautiful verses. The themes of lullabies are echoes of thoughts and spiritual reflections, social and political concerns, individual and collective emotions and desires that can be affected by the geographical, cultural, social, and political conditions of the society. In this research, an attempt has been made to analyze 120 common Azeri lullabies using the descriptive-analytical method. The aim was to introduce the lullabies of these people, to reflect on their inner reflections, individual and social emotions, religious thoughts, and social and cultural conditions of the mothers of that time. We divided the lullabies into five categories based on the theme: religious motifs, nature motifs, maternal wishes and threatening their child's enemy’s motifs, cultural and social motifs, and family and relative motifs. Among these motifs, the motif of nature with 42 items and the motif of maternal wishes with 28 items had the highest frequency. The results of the research show that the composers of the lullabies have used various motifs to enrich their lullabies’ themes and without knowing and analyzing these themes, it is not possible to know the main concerns of the concepts of these lullabies."A motif is a word, a sentence, a state, an image or an idea that is repeated in a literary work and plays a special role" (Zeitouni, 2002, p. 69). Since every repetition is of interest in stylistics, the motif as an important repeated element in literature can also be considered for stylistic review and criticism. Motifs that the author is aware of repeating and uses as a literary skill to express an opinion and draw the reader's attention to a specific topic, enriching the creation of atmosphere, characterization, coherence and thematic dimension of his work, are called self-conscious motifs. However, motifs that originate from the individual and collective experiences of the author and appear and repeat in the works of the author or poet in a completely random manner without any preparation, are unconscious motifs. Since the human mind has two conscious and unconscious parts, depending on which part the motif is present in, it is considered a conscious or unconscious element (Dehghan et al. 2011, p. 93-4). While examining the motifs in the lullabies, we noticed that some motifs are repeated accidentally and unconsciously, without their composers having a specific meaning for these repetitions. But in many motifs, the repetitions are purposeful and their composers have consciously used the format of lullabies to impress the audience and promote their ideas and thoughts. In other words, it can be said that: "lullabies carry with them a kind of narrative trick from the perspective of the audience. Because in lullabies, the mother addresses her child, but what she says has nothing to do with the child, and these narratives are her or other mothers' wishes that have been institutionalized in the heart of popular speech" (Salajegheh, 2008, p. 424).

 As a part of the oral literature of the society, lullabies are derived from the mentality of the mass of people and indirectly convey various concepts to the mind of the listener. In the current research, we first investigated the formation of motifs in lullabies using the content analysis method, and then we identified frequent motifs in Azari lullabies and classified them. In this research, 120 Azari lullabies were examined and it was observed that in terms of motifs and recurring themes, Azari lullabies can be divided into five general categories: religious motifs, nature motif, cultural, political and social motifs, maternal wishes and family and divided relatives’ motifs. In examining the motifs, we notice that some of them are repeated accidentally and unconsciously, without their composers having a specific meaning for these repetitions. But in many cases, most of the motifs are purposeful works that their composers have consciously repeated to prove and promote their worldview and beliefs to the readers. Deep thinking about the content of the lullabies shows that most of the lullabies have common features despite the geographical and dialectal differences, among them simplicity and fluency, collective character, imagination, similarity of theme, consecration of beauty and goodness, etc. can be mentioned. Mothers convey their emotions and feelings to the audience through lullabies in the form of simple motifs, and this simplicity of expression makes the audience interested and therefore, the motifs have a greater effect on them.

According to the phonological rules of New Persian, the name "Isfandiyar," which belonged to Gushtasp’s brave son, is an irregular word. This name is derived from Old Iranian "*Spanta.dāta-", and should be pronounced in New Persian as "Ispandiād", as in Middle Persian. However, there is no attestation of this pronunciation in Persian books. This article argues that the proper name "Isfandiyar" is actually a loanword in New Persian, originating from the Azari dialects. A phonological peculiarity of Azari is changing Old Iranian */t/ to /r/ in postvocalic or intervocalic positions. Furthermore, we provide evidence that the Parthian house of Mihran, who claimed that Isfandiyār was one of their ancestors, was the primary source of stories about this hero. As rulers of the Caucasus and Azerbaijan, they delivered the Azari form of his name to the central and eastern Iranian regions in two stages. During the rebellion of Bahram Chobin, they made prominent resemblances between the stories of Isfandiyar and Bahram, which helped to spread the Azari form of his name. In the second stage, the rulers of the Samanid dynasty, who claimed to have descended from Bahram Chobin, extended the Mihranī version of the heroic exploits of Isfandiyar to Khorasan and eastern Iranian regions. As a result, the Azari form of the name became more prevalent, and other forms of this proper name were forgotten, as evidenced by the works of contemporary poets and authors in other regions of Iran.

Apart from superstructure chains in the structure of myths, other points such as "numbers" and their function are involved in their construction. The present study, in a descriptive-analytical approach, has extracted the numbers used in the fifteen myths of Azerbaijan, and then dealt with the quality of their dissemination in popular beliefs in three sections of "less than ten, decimal, and compound". Out of 26 numbers with 462 repetitions, the proportion was 71% for the first group, 23% for the second group, and 6% for the last group. "One" in the counting unit position, "forty" for the celebration, and "twelve" for the group are the most abundant numbers and functions in each category. Numbers have commonalities in their multiples. The other finding is that the epic or love theme of myths has a two-way relationship with the chosen number. Composite and ironic combinations also indicate the presence of numbers in the linguistic structure of myths.

The poetry of the fourth and fifth centuries AH is a mirror of nature in comparison with the poetry of other periods. The poet of this period speaks more of the elements that his audience, the king and the courtiers, see and know. Among these elements are the textiles whose names may have changed today; “kordovâni” is one of them. It is a thick textile that was used in wine filtration, wound dressing, and making tents, as well as in war clothing. This textile had different types some of which were precious and some were not of much value. “Kordovâni” does not appear in Persian dictionaries or in Persian poetry; it is mentioned only in the poetry of Qatran Tabrizi, the famous poet of the fifth century. This article is an attempt to determine the meaning of the word “kordovâni,” its origin, and its uses, based on Qatran’s poetry and with the help of Arabic and Persian sources, and to show that this textile is attributed to an area of Azerbaijan, where it was woven, and that it has long been associated with the Arabic-speaking community. Qatran who was familiar with the Arabic language and texts probably saw the word in Arabic texts.

The purpose of this paper is to investigate the effect of Mohtasham Kashani’s tarkib-band verses (composite-ties) on the development of the Shiite literature and Shiite identity in Azerbaijan and Arran. Research

In order to investigate its objective, this paper utilizes the analytical aspect of the library survey as its methodology for reviewing pertinent documents and historical manuscripts. Discussion and Research

The results of the discussion show that Persian literature utilizes the key significances of language (by using elegiac poetic forms) and geography, and turns both of them into its important cultural media for the allegorical promotion of religious teachings. In this sense, Kashani's compositeties can be regarded as religious symbols of Shiite identity and culture in Azerbaijan, Aran, and consequently Iran.

The general use of Kashani’s composite-ties in the Shiite mourning ceremonies, their aesthetic inscription on mosques’ walls, and their translation into Azeri attest to the undeniable significance of his poetry in furthering the Shiite religious identity and culture in the country, especially in Azerbaijan and Aran.

Azerbaijan has been one of the important cultural centers of Iran and the place of Sepand, whose inhabitants have played a significant role in spreading and promoting Iranian culture. The presence of Persian language and great Persian-poets has long made this part of Iran one of the bases of this language. One of the famous Azerbaijani poets, Hammam Tabrizi, is a seventh-century poet, whose collection is especially important, because he has lyric poems in Azeri language. A search of this poet's collection shows his attention to Shahnameh and the national epic; so that in the collection of Hammam, the general characters and terms of the ancient Iranian culture and sometimes the images of Shahnameh are one of the poet's tools for composing poetry. Therefore, in this article, we have tried to examine the case of Hammam Tabrizi by examining the cases in which he considered the Iranian culture and Shahnameh.

Turk of mine saying san san (Reviewing the reflection of Turkish language and culture in Khāqāni's Diwān)Yousof Asqari Bayqoot Assistant Professor, Dept. of Persian Language and Literature, University of Jiroft AbstractThere is no doubt that part of poets and writers' imaginary motifs is influenced by their environment and geographical territory and it is somehow reflected in their literature. Writers and poets' susceptibility is more than others due to their subtle and sensitive spirits. Accordingly, the current research aimed to give answer to this question: Had Khāqāni shirwani been influenced by language and culture of Azerbaijan, his living environment? The research showed that the environment and culture of Azerbaijan and its common language, namely the Turkish language, were reflected in various forms in Khāqāni's; In addition to direct presence of thousands of Turkish words, allegories and ironies translated from Turkish, popular beliefs, Azerbaijan environment had serious impact on poet's works and had been the basis of creating many themes and poetic pictures, to the extent that without regarding this, part of Khāqāni's literature in his Diwān was not well interpreted and clarified.Key words: Khāqāni shirwani, Azerbaijan, Language and culture, Turkish language, Susceptibility

The rich literature of this land is bound up with history and culture, and local and native games as a part of the culture of the community have interwoven with this valuable literature which has inherited this treasure in the literary genre and it is recorded for their land. On the other hand, popular culture can be the source of great works of art and literature, just as the foundation of the largest and most enduring work of art by Muhammad Hussein Shahriar. He, because of his childhood in the pristine nature of the village of Khshenbab, has placed the local games of Azerbaijan which he had enjoyed as a child in his Turkish poetry. The present article analyzes and reviews 9 games of Azerbaijani play based on the poet's sayings by descriptive-analytical method regarding the library studies and oral research among the people. Accuracy in these exciting games created by the demands of life in nature and tribal culture shows that all of these games are tailored to be simple, group-based according to the culture of the countryside, often following the styles of simple people's lives and being influenced by nature. They did not need any special tools, or their used tools were part of the nature.

Advent of religious literature in Iran dates back to old times. The Persian Language and Literature has had the themes on the love of the Ahl al-Bayt (AS). By recognition of Shia in Iran, the elegy on Imam Hussein was progressed unprecedentedly. Under the influence of the elegies written about the martyrs by Vaez Kashefi, the elegiac prose literature was expanded in Iran and the elegy in the poetry was culminated by composition of Mohtasham Kashani. The elegiac poetic literature was developed in Azarbaijan since late twelfth century of hegira by elegies of Mir Fatah Mousavi Maraghehi and it was exalted in thirteenth and fourteenth centuries. Molana Safi (1882-1929) was a pioneer in elegy in Azarbaijan. The Divan of Elegies has been published frequently as a unique divan since his death. This article has tried to investigate Safi Tabrizi place in Azarbaijan Elegies Literature.

Azarbaijan province of Iran is considered to be Turkish language while researches show that the Azeri dialect is Persian form Persian dialects and until the fifth century AH, most of where are now spoken to Turkish, have been spoken. The same background has led to the use of numerous Persian and Pahlavi vocabularies, names and adjectives, and the use of Persian grammatical rules, among the Turkish and modern languages of the people of Azerbaijan and Zanjan, etc., without being borrowed and alienated. The word “Ahrendjan” is also the same as the one associated with the ancient hill, the difference is that the brothers and speakers in the correct form (Ahrān), made a discount and shorten it (Ahran), and then with the extension " Gan = John "made the name of the place and, with this formal change, made the sacred and Ahoorian meaning devilish. Although in the evolution of language, the change and extension of meaning is acceptable, but for this term, because of its Zoroastrian religiousness, it is necessary to consider the religious denigration of Zoroastrians or the possibility of unfamiliarity with Pahlavi speakers due to silence. The language was considered to be the main factor. In this research, the author, pays attention to the local names, she has tried to show the mystery of this development in this Persian word of Turkish thought by studying field-library and descriptive-analytical method.

In this study, the sociolinguistic status of Karingani has been investigated from the perspective of the domains of use as well as the attitudes of speakers towards this language. Azerbaijani Turkish is the language of the majority. The language of the immigrant minority, Karingani, has created special sociological linguistic conditions in contact with the Turkish language. A sample of 49 people was selected through a stepwise sampling to answer the questionnaire questions as a tool for collecting information. Descriptive information such as frequency, percentage and distribution of respondents and responses were extracted using SPSS 21 to investigate the domains of language use and also the participants' attitudes towards this language. The findings indicate that although some people in some private spheres, for example, in connection with some members of the family, use Karingani more or less, in other areas, even unnecessary areas, such as in relation to the sisters and brothers, this linguistic variety is not used so the language is not sociolinguistically stable and safe. Most speakers have shown positive attitude towards ethnic language. Linguistic support and a positive attitude on the one hand, and the limited use of this language, even in some private spheres, on the other hand, are controversial and is an issue that requires further investigation.

One of the ways of recognizing beliefs of any nation is examine the mythical symbols and institutes of those nations which have originated from their minds and inners and have been remained in their history, art and literature. Of the most important ways to survive ancient myths it could mention to their transformation as folkloric stories that by their cultural functions help lives of mythical figures as a vivid and dynamic body. That is the words of myth and fiction in Iran and the words are mixed together. The story is a weaken form of stronger concept, i.e. myth. When myth in part of its history, by losing part of its holiness as stories that in each period become the place for reflection of several thoughts, new words, customs and rituals and transform itself. Reading these stories introduce us with the mythical bed of these fictions deeply. Azeri myths from the aspect of having samples to body transformation figures have rich wealth, as the present research indicates in Azeri myths several kinds of body transformation, human to animal body transformation and human to human and human to plants and reversely and demon and fairy transmutation and other strange organisms and myths are observable well.

At the same time contemporary political and social developments, the kind of idea about poets and authoring of events on developments and consequently, reflect this transformation in literature than in the past, fundamental change found."D.r Hamid Shirazi," a contemporary poets ever, the most magnificent social themes in the form of new-ancient poetic images offer Hamid particularly known love in his "beloved tears" and incompatibility and conflict New extremists like Ahmad with the social spirit of his poetry caused him to be kept hidden . This article is intended to reflect some of the political and social concepts in the analysis of his poetry. attack on Shah, defend Azerbaijan, according to the country and the situation of political conflict against Iran Hamidi Shirazi of the major themes of political and social poetry form. Special attention was his home and promote it. Along with the glory of his social poems often incompetent-the leaders of Iran and then mixed with cries of revolt and is seeking And sometimes, especially in homegrown poetry in praise of the former residents of Iran with excitement and epic. His poetic art, at all, in the deep themes in simple terms to deposit his heart.

The hidden myths in the folk tales explain historic identity of nations. One of these tales that has current in Asia Minor, central Asia, Azarbayjan and Arrant is Taher and Zohreh's tale. The tale is description of alignment of love in front of grudge, faith in front of perjury and revival against tradition. The tale as other "Asiglar" stories a bught contents is very rich. With due attention to this point that accomplished any study in Iran ,this article study interpret the contents of Taher and Zohreh's tale in two variants of Turkman and Azarbayjan , because each variant has particulars for its as the episode of Mahim in Turkman variant and "Analar Gosni"(redeploy of women) in variant of Azarbayjan, and show their contents in five parts :religious, generosity, surprising ,amorous and epic and show their similarities and differences.