جستجوی مقالات مرتبط با کلیدواژه "خاوران نامه" در نشریات گروه "ادبیات و زبان ها"

All texts are made up of single words, words and sentences that are put together for a specific purpose to convey a specific meaning or concept. A text is a longer unit than a sentence and becomes a discourse when it is coherent. In coherence theory, text analysis is at the core of all readings. In fact, the author reflects his real and meta-real world with the help of language and maintaining the relationship between the elements that make up the text, adding to the semantic depth, effectiveness and allure of the text as well as its appeal to the audience. The present study analyzed the elements of the text coherence in Ibn Hussām Khosfi's Khāvarān Nāma, using Halliday and Hassan’s text coherence theory (1976 AD), in the two categories of "grammatical and lexical". One finding of this research is that lexical and semantic elements, especially the element of repetition, are the first and foremost factor of coherence and cohesion of the text. Considering that the Khāvarān Nāma is an epic-narrative text from the omniscient point of view, the text has a central axis and the reference of pronouns in the sentences, as another important factor in text coherence, is both limited and specific. What creates this unity and coherence is the poet’s profound thought, which flows in the longitudinal axis of the poems.

 Ali-Nameh, the first Shia epopee (epic poem) discovered and introduced in recent years by Persian literature scholars, has opened up new horizons for researchers working on religious epic. Khavaran-Nameh is another prominent religious epic recognized in Persian literature. The present study aims to compare these two epopees on topical, linguistic, and literary levels.

 This article employs a descriptive, analytic research method. Following an in-depth investigation, the existing samples in both epopees were sorted, discussed, and compared from the three above-mentioned perspectives, and the salient similarities and differences were identified. Statistical population of this study were Ali nameh which includes 11220 verses and Khavaran-Nameh, but due to not publishing the main source made us to use Tazian-Nameh, edited by hamidollah Moradi.

 Following an in-depth investigation, the existing samples in these epopeese were sorted, discussed, from the three above-mentioned perspectives. This study conducted a stylistic analysis of the outstanding topical, literary and lingual Study features of Rabi’s and Khusfi’s poems. The study identifies these features along with characteristic examples and outstanding results have been illustrated at the end of this article.

 At the topical level, the sources of Ali-Nameh proved more reliable than those of Khavaran-Nameh and were much in line with historical accounts. Linguistically, Khavaran-Nameh was richer in terms of word range and combinations, enjoying more coherent grammatical structures and fewer problems in rhythm and rhyme. At the literary level, too, Khavaran-Nemeh enjoyed more rhetorical and expressive figures of speech than Ali-Nameh.

"Alinameh" is an epic-historical poem which is undoubtedly the most valuable epic-historical poem in the Persian language after Ferdowsi's epic. This epic, in addition to its literary and artistic values, has unique historical and religious value, And it can be said that it is the only surviving Shie epic from previous centuries. Khavarannameh is also a literary work that was written in 830AH and its author was Ebn Hosam Khosfi from Ghahestan, Khorasan. And he has composed his poem in Bahre Motaghareb and with the weight of Shahnameh. The subject of Khavarannameh is the wars of Ali Ebn Abi Taleb (a.s.) in the land of Khavaran with Malek Ashtar and Ghobad, the king of the East and TahmasabShah. According to Ebn Hosam, this poem was compiled from an Arabic book- this poem is also called Taziannameh. Considering that these two works were written in two different times and with separate motivations, and considering the literary and artistic value of both works, the comparative study of these two epic-religious systems from different perspectives can be important. In this research, the linguistic level of two systems has been studied.

The research method in this study is descriptive-analytical and library-style. The studied community is Alinameh Rabi edited by Reza Bayat and Abolfazl Gholami and Khavarannameh by Ebn Hossam Khosfi, which, due to the lack of publication of its complete poem, was used from Taziannameh (summary of Khavarannameh) edited by Hamidollah Moradi.

Discuss:

These two systems will be examined at three levels: linguistic, phonetic and syntactic (grammatical). In the examination of the language features - this level, which itself includes three parts, word, phonetic and syntactic - has examined the simplicity, root, type, subject and various combinations of words in Alinameh and Khavarannameh, and examples have been mentioned for each of them. In examining the phonetic features among the large number of verses of two epopees, sometimes we come across a few verses that have flaws in terms of rhyme. To correct the rhythm of the verses, sometimes it is necessary to change the pronunciation of the words, read an extra letter or reduce the letters. Examples of these cases are mentioned in this section; and in examining the structural features to such things as saturated letter, prayer letter; The method of counting numbers has been discussed.

The results of this study showed that both systems have slight problems at the linguistic level in terms of choosing words; But linguistic variety and composition were more in Khavarannameh. The high frequency of Arabic words, compounding, and repeated phrases were common features of the two opopees. At the phonetic level, in both opopees, there were slight defects in terms of rhyme and weight. The features of Khorasani style were more in Alinameh than in Khavarannameh. At the syntactic level, both systems had slight deviations from norms.
 

Ibn al-Hussam's KhavaranName is a epopee that tells imaginary stories of the travels, heroic acts, and battles of Imam Ali (as) against the infidels. It  is often considered as an epic work due to its epic features, although the features of popular literature have become so prevalent that it has largely deviated from the classical Persian epics. This feature shows that Ibn Hussam had a direct connection with the masses. Based on this view, in the present article, an attempt has been made to determine the most important folk elements of this work and how they are used. To achieve this goal, first the mass beliefs and thoughts of the people, and then some folkloric features of the narrative are examined, and finally the use of the slang language in its  vocabulary is studied.  This research shows that the KhavaranName is an artistic phenomenon that has originated from the life of the people and has been mixed with various manifestations of the mass life of the people in different ways. As a result, the dramatic crystallization of popular elements has made KhavaranName closer to popular literature.

Ibn Hassam Khosfi’s Khavaran-Nameh is a verse in the form of religious epic, with the theme of fictional tales and wars of Ali (AS) with kings of idolatry such as Tahmasshah, Salasul Shah, and embraces ancient concepts. Patterns of hero and travel,  due to its nature is one of the most used motifs. This study, through descriptive-analytic method,  seeks to review Joseph Campbell's proposal for the heroic journey and also its amount of appliance  in the Middle East. Campbell considers life as a journey that the hero must take on this journey, while awaring of his strengths and In addition,  by identifying his inner desires and secrets and his strengths and weaknesses, he should conduct individua’s ethical issues. The three main themes of the hero's travel theory are: departure, approach, and return. This theory is in harmony with the epic hero's life. Because the hero of each epic should encounter somke delimas, he should  face the most terrible paths ,the most awesome creatures and the most dangerous enemies; however, with all his courage, he can go through all the difficult passages and achieve his goal. The is a religious one. The results of the study indicated that in Khavaran-Nameh Ali (AS) began a long journey to save human beings from evil forces. In this journey, How fought  with the Dragon and the Wizardand ultimately he  eliminated them. Ali (AS), with his inner voice, addresses the Prophet’s worry, he could obviatethe obstacles and problems that each hero goes through to complete their achievement and excellence. after the unity and godliness, the victorious and glorious man returns to Medina and delievers Solomon’s souvenior to the Prophet. The results of the study also indicated that the internal stages, transcendental help, crossing the threshold, whale abdomen, test path,woman in the role of tempter, blessings and free and free stage in Khavarannameh conforms to the stages of Campbell's journey and heroism, and the omission of some stages is due to the religious nature of this epic effect.
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The story of "Rostam's death" in Shāh-nāma and Ghorar-assiar Tha'ālabi is different from all other sources. In these sources, there are four narrations of Rostam being killed by Bahman: natural death, the death of both opponents at the end of the war with Esfandiār, and being killed by “Ŝoghād/ Ŝaghād”. The source criticism of the story of Rostam and Esfandiār shows that it did not exist in Khodāy-nāma. The difference between the narrator of the story (Azād-sarv) and the narrators of Abu Mansouri's Shāhnāma and the anonymity of Ŝoghād in the sources has obscured the origin of the story. This article, considering the continuity of ancient contents in the folklore sources analyzes the role of Bahman in the murder of Rostam in narrative scrolls and epics. It also investigates an episode in Khāvarān-nāma of Khusfi (15 AD), which depicts Rostam being thrown in the camouflaged wells of Bahman. Finally, this research has proved that the killer of Rostam, in the oldest sources, was nobody other than Bahman, and in order to reduce the humiliation of being killed by a Kiani king, his guilt has been projected on the betrayal of a half-brother.

Aliname and Khavaranname are prominent examples of religious epics of the fifth and ninth centuries in Persian literature related todescription of the wars under the command of Imam Ali (as). Epic elements are formed according to the content and theme of the stories, and the structure is drawn according to the theme procession. Comparative analysis of modern epic elements in ancient epics is the main topic of this article. In these two poetrypoetries, the main elements of the epic include the story format, heroism, time, place, elements and extraordinary forces. Aliname and Khavaranname are among the Iranian epic works after Shahnameh in terms of literary status. These two epics have common foundations and structural-epic features. The events of both epics are temporally proportional. The epic of Aliname is more about describing Imam Ali (AS) in the battles of Jamal, Seffin and Nahrawanwhile Khavaranname is mainly concerned with the description of Imam Ali's travels and expressions of bravery in land of Khavaran, accompanied by Malik Ashtar, Abolmohjan And Amr Umayyah and other elders of his army and the war with Ghobad, the king of the East and other pagan rulers such asTahmas king, Salsal King and the war with the demon, the dragon and the like. The research method is descriptive-analytical. The results of this study indicate that although the two epics are very similar in appearance and epic elements, the theme and form of the epic elements in the stories are different. Although these two books are strong in the field of habit and fiction, the popularity and absence of the heroes of these two poems from high moral qualities have caused the general public to consider the main hero of the story as an example and manifestation of their ideal and epic man. Irrespective of the religious dimensions of Aliname and Khavaranname, in terms of epic aspects, the heroism feature is reflected with the presence of Imam Ali (AS) and other religious figures and heroes of the Islamic Revolutionary Guard Corps. In these two religious epics, there are many wars between Muslims and infidels for religious reasons, and in the end, the Muslims win. In describing Karzar Square, these two religious epics are very similar to Ferdowsi's Shahnameh which share exaggeration and forms of imagination with an active manifestation. “Rabi' and Ibn Hussam” imitation of Ferdowsi's expression is quite obvious. In the study of Aliname and Khavaranname, from the narrative point of view, we came to the conclusion that Ibn Hassam and Rabi' used more direct methods in characterization. In other wordsm, bydescribing the characters of the story and by showing Imam Ali as a hero, they made him a "brigade" that seems to be far-fetched and extraordinary in the audience's opinion. Many of the stories in these two epics are strong in terms of plot. The plot of Khavaranname is about the events that are related to the elements of supernatural things or acts that make the story weak and unbelievable. In the field of extraordinariness, with the presence of bold elements such as demons, dragons, magic, as well as the high frequency of objects and strange places in this epic, it can be called the most imaginative epic poetry in Iran. This is despite the fact that extraordinary elements such as dragons and demons are not seen in the poetry of Aliname. In terms of heroism, the goodwill and intimacy of the heroes of these two epics and the absence of high moral qualities have led people to consider the main protagonist as an example and manifestation of their ideal and epic man. In general, Khavaranname is less cohesive in structure than Aliname.

The great and prominent personality of Ali(p.b.u.h) is in such a way that attract every body and in the history always the writers and poets write about his personality. Like Molana Mohammad IbnHesamKHosefi is the poet of Nineth century. He was the first religious epic poet of Persian literature and is from the first poets that Shiiethinkingtrain in it’spoem. The big personality of Ali makes him to say beautiful and mot lines. PhillippHamon. French semiotician, thinks the personality as a symbolic element and develops the theoricsemiotic , basic of personality. In this research wich done on the descriptiue-analytic way, tries to study that Ali’s personality in Khavaran-Name based on thesemioticstheoricpersonality of Philipp Hamonthat knows the personality a conceptual semiotics and a complete sot of thought and features.Hamon knows the personality a sing that constitute ofDALL(name, syntactic status and the rhetoric type)  and Referent (characteristics, the speech Act and Behavioral Act). Generally, by studing the personality semiotics we can realizthe characteristics and features of deep-internal layers of people and this sets of behaviors puts as a pattern for ourself. The results of this research stating that the speech Acts, shows two levels of Imam Ali’s personality. In the saying with people he traced back a needless and powerfulpersonality wich has fear of anybody and anything, but in the words that done with God. He pictures as a person that needs is incapable that needs to Gods to do his jobs. His behavioral acts include different acts. Like war, killing, save and soon that the abundant frequency of the actsshowsthe greatstatus of Imam Ali in the story and that he’s move a person wich involved war with enemies and killing them to defend thereligion and muslims. Names and the used tittle for this Imam like; Ali, Heidar and Qashamsham all has a compatibility with the characters and acts of his personality and his names title indicate to all of the qualities that he shows in the story.

An element or elements that unite the story of a single entity, the elements and its elements are interconnected, are called essentials. It strengthens the element or elements of the structure of the story and gives it, in certain narrative situations, its prominence and meaning, due to its repetition, prominence and meaning. These materials, in addition to highlighting, are also effective in moving the story. In many Persian fables, the foundation forms the story structure. In this sense, the story circles around it in its entirety, and the events that occur in the story form around the same material. The most important elements that are active in the epic works of action are: hero, hero journey, dream and dream, concealment of name, prophecy, war, castle, dragon and dragon, magic and wizards, war instruments and more. As a religious epic in the creation of the story and the theme of the work, Khavaranameh has used these materials well and has promoted its artistic and influential influences as well as the prominence of the story. We will look at these materials in this article

Hearing the term "epic" mostly evokes the works such as Shahnameh in minds and accepting Khavaran Nameh as a subcategory of literary – epic work is difficult for most of the people; since the main character of such works is real, historic and religious. Epic is one of the descriptive poetries which is based on description of heroes' glorious acts which can be individual or tribal. Religious epic traces a long path in our country since ancient era. Khavaran Nameh is one of the old religious ones for the Shiites in which the main subject is journey and Imam Ali's fights with Eastern countries accompanied with Malik Al Ashtar. Ferdowsi's Shahnameh is the greatest and most valid epic verse. Comparison of national epic and religious one based on Shahnameh and Khavaran Nameh is the main aim of the present research.

Morphology analyzes the effect of content on the structure of literary works as well as the impact of their structure on content. As the structure of each literary work is closely related to its content, each particular concept is embodied in a specific format. The present study, drawing on a descriptive-analytic method, was an attempt to explain the narrative and to analyze the morphology of Ibn-e- Hesam Khosfi Birjandi’s Khavarannameh (d. 875 AH). Khavarannameh is an epic religious work including fantasy stories such as the travels and warfare of Imam Ali (AS) from the perspective of the characters, heroes, dutifulness, time, location, motivation and movement. The work stands out because of its structure and form of the themed stories. The present study was an attempt to analyze the structure of Ibn-e- Hesam Khosfi Birjandi’s Khavarannameh in light of Propp’s theory. The work included some religious practices which did not exist in Propp’s classification. The results suggest that in spite of its religious nature, the religious-epic Masnavi of Khavarannameh has its own unique functions as a fairy tale. It also has some other functions that are specific to religious epics, such as invitation to faith, acceptance of the invitation, rejection of the acceptance, and so on. Regarding the number of moves, the rising action of the events include 12 one-move adventures, 5 two-move adventures, 7 three-move adventures, and 3 three-four-move adventures which play a significant role in the logic and coherence of the work.

The unity manifested in the thought, the poetic vision, the expression of feelings, and the poetic perception of a poet determines his or her poetic style. Style does not include the lexical items only; but is the product of various factors which wield an important influence on the audience. One such case is the relation between a word and its meaning. The type of words and literary terms used in a poem must correspond with its subject matter and form. In this article, supposing that the lexicons used in the rhetorical pictures of epic poetry have been chosen in accordance with the condition, position, and decorum pertaining to them, after discussing a case of generic and stylistic icon, i. e. the relationship between a word and its meaning, the allusions in the religious epics: Tazian-nameh (a shortened version of Ibn Hassan Khossfi’s Khavaran-nameh), Raji Kermani’s Hamleh-ye Heydari, Mohammad Rafi Mashhadi’s complete edition of Hamleh-ye Heydari, and Khaje Rabi’s Ali-nameh have been researched and analyzed. A majority of the allusions has been mentioned alongside a consideration of the element of hyperbolic imagination and the concept of the rupture of habits-which is the soul and essential ingredient of an epic-and has been given expression to in epic terms. Some of these allusions which contain themes dealing with military tools and equipments and adverbs of manner and also paradox, have gained an epic format. Yet, some others, for instance the pictures related to the sunrise and sunshine, because of their very epic nature, have augmented the epicality of the allusions; these allusions, in addition to reflecting the mind of the poet and the customs and manners permeating the society, are in tune with the atmosphere of the epic poems.

Adaption from literatures for cinema is classified into interdisciplinary studies and it is interested by many comparatists in recent decades. In this overview, human sciences and specially literatures are related with other sciences particularly cinema by comparative literatures. Therefore, literatures be transformed into actionable knowledge. In this paper, khossfy’s khavaran-name is investigated as a qualified work for adaptation purposes in the comparative literatures and adoption frameworks. These dramatic aspects are: narrative story, dramatic characters, Suspension and the variety of conflict. Also, these dramatic aspects contain of plenteous content and mach between space and presented picture in context. The method of the study is descriptive - analytical and this study is accomplished by centrality of khavaran-name context. Accepted theories are used regard to American theory and research process is performed by comparative literatures interdisciplinary view of this theory.

In this type of criticism، the main elements that a critic takes into consideration are rhythm and rhyme، vocabulary، syntax and word order، and forms of imagination. In the standard epic language، i. e. Shahname، all these elements help the typical literary epic and recall thought epical contents، but in some epic works after Ferdowsi، it is seen that the main epical elements have been separated from context and have made the epic language oscillate and even have made it similar to lyric language. In order to find out this issue، we decided to review the main elements of epic language in a secondary epic، i. e. Ibn Hessam Khusfis Khavaranname. In this review، it has been specified that the poet has been nearly successful in using most elements of epic language including side rhymes، epic vocabulary، syntax and a fluent epic language، although unreal imaginary content has influenced the poet''s work، and as a result non-epic vocabulary and combinations have been imposed on him، and this fact has kept his language away from the sound standard epic language.

Fatalism is one of the characteristics of the traditional eastern societies according to which, the destiny of man is predetermined and all affairs take place based on this destiny hence there is no room for man’s free will. The origin of fatalism in Iran is studied in this article and its signs such as star worship, astrology, fortune, alms giving, belief in supernatural powers are discussed in Shahnameh and four other epic religious works including Alinameh,Haydari attack by Bazel Mashhadi and Raji Kermani and Tazian nameh, summary of Khavarannameh. It became clear that predictions made by the astronomers in Shahnameh are more frequent than in the epic religious works and on the contrary predictions made through divine and supernatural inspirations and revelations are more common in the religious works. Also, belief in fortune and chance is Shahnameh is more prominent than in the epic religious works. Among the religious epics under study, Khavaran nameh is closer to Shahnameh in terms of Mythology. Next comes, Haydari attack by Kermani and Bazel Mashhadi, and Ali nameh respectively.