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

The present article, realized by using analytical method and library research, has discussed the different roles of colors in French and Persian terms. On the one hand, these terms have been studied in the field of linguistics, especially in terms of vocabulary and syntactic structure, and on the other hand, their hidden and obvious symbols have been analyzed by the intercultural point of view. In order to be aware of the commonality and differentiation of the colors’ role in the terms of both French and Persian languages and to create order and coherence in the text of the article, the authors have categorized them into six groups, according to their own initiative: Conceptual metaphor, terms structured by noun and adjective, metonymy, political domain, abstract concepts and terms based on infinitive. It is noteworthy that by referring to specialized books and dictionaries, the body of research consisting of qualified terms for each group has been conceived and for each of them, equivalent has been chosen in the target language. In addition to examining each term, the authors of the article have provided an analytical study of the examples, citing the views of linguists. Also, by referring to the book Le Proverbe : Vers une définition linguistique (2012) by Sonia Gomez-Jordana Ferari, the syntactic structure of the examples of the research body has been examined.

Symbols and symbolism play a significant role in creating images and conveying meanings. Color is one of the important components of imagination and the most prominent element in the realm of sensations. It forms an important part of the symbolic language of poets and literary writers. Iranshah Ibn Abi al-Khair is one of the epic poets who incorporated the element of color in the Kushnameh poem. The essay utilizes a descriptive-analytical method. The findings of the research indicate that the most frequent colors are black, yellow, white, green, red, purple, blue, azure, and violet. Black color symbolizes thickness, darkness, the beauty of the beloved. Yellow color represents death, weakness, incapacity, betrayal, power, jasmine.White color signifies brightness, purity, holiness, contrast fight, raising awareness, science,  knowledge, growth of plants. Purple  color symbolizes the flag, cover  in war scenes. Blue is a symbol of purity, clarity, preparation for war. Azure symbolizes the sky, describes the sun, religion. Purple represents joy, happiness.

Colors affect human understanding of the phenomena of existence. The mental tendency towards color and the use of its spectrums is a reflection of various psychological actions. Each color leaves a special effect on the human body and soul, which can be proven by the two sciences of physiology and psychology. Poets have a deeper understanding of colors due to their sensual and different view of the world, which is reflected in various ways of illustration, from simile and metaphor to sensibility, defamiliarization and symbolism. The present research has analyzed the poetry of Simin Behbahani and Golrokhsar Safi Ava, two contemporary women poets from Iran and Tajikistan tradition and innovation in their poetry, and many of the deep and incidental images in their poetry have been achieved through the use of color and the creation of innovative words. As a result, both of them have used the color "black" more than any other color in order to overcome, from the perspective of Max Loescher's color theory. Both poets tend to go beyond the sad and hopeless spirit; Nevertheless, in this area, Simin's poems have more frequency, variety of spectrum and more meanings in comparison with Golrokhsar, and its application takes on a realistic and descriptive form.

In modern psychology, colors are one of the main criteria to evaluate personality. Colors are a kind of quivering energy and visible sounds that leave special effects on the body and soul of each individual. They can be a rich and useful source for mental studies and analysis of spiritual and psychological characteristics of any ethnicity and population. While studying the aesthetic attributes of Azeri Bayatis, this article also studies and analyses the colors incorporated in them based on Max Lüscher’s eight practical color test, and some spiritual and psychological qualities of people in the region were studied through the works of anonymous poets of these songs. The research methodology was descriptive-analytic and the data collection method was library research. 3600 collections of Bayatis were used as the statistical population and in 226 of them different colors were used. Based on the findings of the research, the spectrum of the colors used in the Bayatis partially demonstrates the spiritual and psychological qualities of the people in the region in communicating their feelings, beliefs, sensibilities, happiness, failures and reflecting their individual and social living environment which was full of ups and downs. Villagers live in harsh mountain and subsistence conditions, but their way of life and strong spirits have made them hard-working, resilient, active, and strong individuals that have tended to improve their living conditions.

The basic elements in literary images and imaginary forms, such as metaphor, simile, irony, metaphor, matching of the senses, etc., depend on colors; color has an important and prominent place; Because it gives literary words dimension, direction and depth and also its great impact on our lives and spirits is evident, poets use this element to give objectivity to their literary concepts. The abundant effect of colors has encouraged many researchers to study their effects and dimensions, both positive and negative, and each of them is trying to show these effects to others. In this article, an attempt has been made to study color as one of the main and important elements in contemporary literature, especially in the poems of Adonis and Qaisar Aminpour, by descriptive-comparative method, and also to evaluate the poems of these two Syrian and Iranian poets. The most obvious achievement of this research is that these two poets used six colors of black, white, blue, green, red and yellow with different committees to reflect and express different intentions and themes that were often due to the social conditions of the society. Their symbolic use was used to add to the richness of their poems.

One of the most important elements in the emergence of artistic creativity is the use of color. In fact, color is one of the special elements that can reveal many secrets and achieve many hidden secrets through knowing its characteristics and effects. Poets, as aestheticians of the universe, have used colors in their poetic images and sometimes used them to explain the inexpressible concepts and symbolic space of their poems.In this research, which has been carried out using a library method, while presenting poetic evidence from the poems of Ferdowsi Toosi and Bashar Ben Bard as the studied poets who have used colors in some way, analyzing the methods and how they use color in literature, symbolism and rhetoric (especially of black and white color) in inducing the message to the audience.The results of the research show that black and white colors in these poems of Ferdowsi and Basharban have a high frequency compared to other colors. Ferdowsi and Bashar Ben Bard have made good use of the huge capacity of colors to convey their thoughts, intentions and messages in various social, cultural, religious and political fields in a real, ironic, symbolic and mythological space to their audience.

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.

From an expert's perspective, color and form are human visual perception's most significant visual elements. Nowadays, a significant number of theories have been proposed in the field of color recognition, and the advancement of science and research experiences have paved new ways for feeling and perceiving it. Ethan, the author of "The Art of Color", claims A physicist studies the energy and particles in light, the composition of colored lights, the spectrum of elements, and the frequency and wavelength of colored rays. The molecular structure of pigments is of high importance for a chemist. A biologist examines the distinct impacts of light and color on the visual system and how the eye adjusts to them. The psychologist considers the effect of color on the psyche and mental understanding of colors. Artists are interested in color aesthetics and weigh on the representation of it in artworks. Thus, all these sciences were historically regarded as a subset of philosophy. Therefore, the most comprehensive theories on color were considered a tangible quality issued by philosophers. However, a lack of familiarity with these theories has recently made colorology a new science, concomitant with Newton's experiences and experiments. It is assumed that its origin goes back to the era of specialization of sciences. Historically, philosophers in Iran and Greece have paid attention to the issue of color regarding light, and unknown secrets are written with the source of conceptual or visual sensory perceptions. 
Therefore, these writings continued with the emergence of Islam, influenced by the Arabic translation movement in the Abbasid era, and were closely related together; they framed the mind of Muslim philosophers by creating developments and new perspectives and the foundation of the philosophical school of illuminationism by Sheikh Shahabuddin Suhravardi at the height of this interaction in the following centuries. 

Similarly, this study tries to analyze its philosophical data about colors comparatively and to extract the similarities and differences in their opinions about the perception of this visual element based on light. It is assumed that: Therefore, in all of their comments, the philosophers of Iran and ancient Greece explained the same color by taking the model of light; the perception of this element, a combination of conceptual and visual perception has been manifested. Zoroaster and Mani, in Iran, were regarded as the philosophers and wise people to accept or reject these hypotheses. While describing their religious-knowledge system, they have explicitly or implicitly referred to color manifestations in a written or visual manner. The thoughts of Empedocles, Democritus, Socrates, Plato, and Aristotle were studied in Greece.

Analyzes of the common and distinct aspects of various visions of philosophers suggest that color in their opinions is not only a mixture of the two conceptual and visual senses; each has only stressed one of these two. Thus:Colors emerge in the form of lights with a metaphysical and spiritual nature either in the stand of the soul and its darkness or in the stand of God's manifestation and approaching to Him, and can carry a meaningful quality for humans and finally provide the basis for symbolic spiritual interpretations. Iranian philosophers paid extensive attention to seeing this visual element in the conceptual sense. They perceptually and intuitively substantiated the perception of color and defined ranges of pure and raw colors between white and black. In this range, they valued content and the concept of colors.
Likewise, Greek philosophers heavily emphasized seeing this visual element in their vision. Colors that regularly emerge in the shape of various lights with physical nature can potentially convey the tangible quality of the object and the form in isolation as well as in combination with each other for humans and finally form the basis for the sensory interpretations. Therefore, perception of color and its context leads to the emotional and tangible substantiation of its existence by the power of vision, the three components of the object's essence, the way the light shines, and the condition of the eye state. 
Everybody has considered the existence and the human reaction to their perception certain and expressed comprehensive comments focusing on how to view this visual element. However, should we profoundly consider the thoughts and ideas of these philosophers as the final point, we will find out the correspondence of their opinions with colors and their conversion and combination, which God has created in nature. Ironically, this has been the turning point in their effect on each other and building common interests. It means they spiritually contemplate God's signs, whether in a perceptible or over-perceptible world. The contrast between white and black and various colors between these two are shared among Iranian and Greek philosophers; the red color is also formed by the combination of white and black, whether physically or metaphysically. Greek philosophers emphasized the tangible quality of colors and immediate and direct feeling. On the other hand, Iranian philosophers heeded attention to the mental perception of colors by their mythical and symbolic functions. The functions are based on a stable mental process and are considered the reason for viewing various colors without a sensory organ. According to the belief of Iranian philosophers, the nature of light and color are not separated, and their difference and how color is affected by light is not considered in viewing various colors. The Greek philosophers believed that the difference in how light is affected by colors caused the eyes to see the colors differently. Greek philosophers have expressed some conditions in their ideas to realize the color vision and the perception of it beyond the vision power.  However, Iranian philosophers considered human efforts the condition for the light seeker in symbolic transit from darkness and the evils to brightness and the goods in the evolution of the soul. In the scope of Greek philosophy, color is a material element and the product of the dissociation of light to reveal several defined objects from which the primary colors are taken, and from the combination of them, the secondary colors are produced.  However, light is synonymous with the existence and manifestation of God’s infinite nature from which various colors are produced in Iranian philosophy. It is the cause of the realization and emergence of colors in the realm of human existence. From Iranian philosophers’ point of view, white and black colors are created based on how much they benefit from the source of God’s grace; thus, they have semantic and symbolic value.  Nevertheless, these colors are created based on the extent to which the physical radius of light increases or decreases.

Unlike Socrates, who briefly and concisely proposed his thoughts on how he sees colors, other philosophers in these two countries have pointed out the details of the emergence of colors based on light and its different types. The difference is that Iranian philosophers studied the classification of colors and the Greek philosophers examined their combinations. The former have always considered colors in the longitudinal hierarchy and the latter in the transverse hierarchy. Although the Greek philosophers' opinions are distinct from each other, i.e., Empedocles and Democritus studied colors based on the movement of light particles, Socrates reviewed them based on eye frictions with light rays, Plato considered the outcome of the exit of the radius, and Aristotle examined them based on their impressions. Thus, they have proven all these topics based on the visual sense. On the other hand, Zoroaster and Mani saw colors from another angle of view and considered the intuition of the human soul in gaining the grace of Ahura as evidence for different colors. 
The Greek philosophers believed that the difference in how light is affected by colors caused the eyes to see the colors differently. They believe that the nature of light and color are not separated, and the difference and how color is affected by light are not considered in viewing various colors. Therefore, they explained the perception of this visual element regardless of the arguments of physical logic about the perception of colors based on conceptual sense.

Poets and writers, for a long time, have figuratively or explicitly uttered their emotions and feelings in their works through various colors, in such a way that significant results can be achieved regarding their personality traits if their works are examined psychologically. The present study was an attempt to analyze the use of colors in Nizami-Ganjavi’s Eskandar-Nameh and al-Hariri’s Maqamat, recruiting descriptive-analytical approaches. The results revealed that Nizami-Ganjavi had exploited colors by 380 times in Eskandar-Nameh, namely, 261 times directly and 119 times indirectly, using words such as dark, light, pitch-black, and the like. Accordingly, black and its derivatives with 107 repetitions, respectively with 57 and 50 direct and indirect cases, had the highest frequency. The use of colors had been typically employed as a simile, a metaphor, and an irony to account for the inner states of humans, which was to a great extent in agreement with the views of contemporary psychologists about different colors. Al-Hariri had also referred to 37 colors in his Maqamat, with yellow having the highest frequency (14 repetitions). In contrast to Eskandar-Nameh, the use of colors in Maqamat had been more symbolic and ironic, often stemming from the nature of colors; for example, white signifying hopefulness, black representing despondency and misfortune, or yellow indicating sorrow, ailment, and demise in one place and a symbol of delight and exhilaration in another. Additionally, the frequency of the colors in these two works is illustrated in diagrams.

The Symbols manifest role in creating images and conveying poetic concepts. Colors find a symbolic form in poetry to express emotions viz, anger, fear, and love. Poets use colors in the real sense to sensualize beauty. Sometimes, considering their symbolic aspects, they draw abstract concepts. The movement of socialist poetry in Afghanistan, poets, with a deep look at the phenomena of existence and awareness of the diverse and symbolic concepts of colors, have used different colors to express their ideals and desires. Present study, actualizes descriptive-analytical method to analyze the symbolic position of color in the said movement. The results show that the symbolic use of colors is prominent in this poetic movement. The color, red: is a clear symbol of freedom and communist thought; black is a symbol of suffocation and tyranny ruling the society. Poets of this realm have found a way out of the black symbol in red color. The white color is a clear symbol of peace and victory while other colors such as green, blue, and yellow, which have the highest frequency among the main colors along with other colors, are considered important elements of symbol creation in the movement of socialist poetry.

Biddle Dehlavi,a famous Indian poet, is a poet and illustrator who took the word “color” out of its specific meaning and turns it into various and pleasant forms with a relative and compositional mind and with that word, the network has created a very wide association. The purpose of this researches to study and analyze some of Biddle’s illustrations and innovations with color motifs from a linguistic and to rhetorical perspective and to explain and clarify its connection with his ideas and thoughts.

The present research has been done by descriptive- analytical method and library method. The main source of the work was Bidel Dehlavi’s Divan, edited by Akbar Bahdarvand, which was published by Negah Publications.

In Biddles Divan, the word “color” has been used more than seven hundred times, so much so that in addition to the “poet of mirrors” attributed to him by Dr. Shafiee Kadkani, he can also be called “poet of color”. color is used in Biddeles poems sometimes linguistically and sometimes in literary and rhetorical structure. Sometimes it is intended in the literal sense, and sometimes in the virtual and unreal meaning. Thus, this element has played a significant role in shaping the meaning and form of his poems.

From a rhetorical point of view, the remarkable frequency of new and abnormal metaphors with the element of color has added to the ambiguity and richness of Biddles speech. The images that Biddle made with the word color are more in line with his mystical beliefs and are summarized in the concept of transformation, destruction and annihilation, which he used in the form of rare metaphors, similes and pristine and fresh allusions and it shows a world far from the mind, chaotic and surreal. From linguistic point of view, additional compounds made with “color” have the highest frequency, especially compounds such as “color circulation” which are related to the mysticism of the poet’s existential unity.

Impressionism is in fact the first modern movement in European art, and the successor to realism, which first appeared in the second half of the nineteenth century in the art of painting and then in the art of literature; because the relationship between painting and literature is a long-standing relationship that literary critics have affirmed from the past to the present time, and it is not unreasonable to refer painting as "silent poetry" and poetry as "illustrative painting". In Impressionist thought, the artist's momentary view of natural phenomena and the evidence around him, under the influence of the amount of light and the difference and type of light radiation in different modes of the day has a special place, in addition Impressionist artists had interest in color and light which this feature is well reflected in their works. Ibn Khafajah (451-533 AH) as one of the most famous poets of Andalusia also known as “The poet of nature” created the dynamic, fluid and unique images that are somewhat similar to the works of Impressionist painters inspired by the beautiful landscapes of Andalusia nature. This paper is the result of a research with a descriptive-analytical method that has explored and researched Ibn Khafajah's poetry with the purpose of acquiring a modern attitude toward old poem as well as studying and analyzing the visual features of his poetry according to the Impressionism view.

One of the new types of literary criticism is the archetypal critique of texts, which is based on psychological critique and it is based on the theories of the famous and contemporary Swiss psychologist Carl Gustav Jung. Jung calls the collective unconscious products, prototypes, archetypes that have various manifestations such as mother, wise old man, hero, anima, animus, rebirth, shadow and fraud. According to Jung, images have no content alone, so they manifest themselves in the form of symbols in dreams and myths. Today, archeology is one of the main topics of literary criticism, especially mythological criticism, and the search for archetypal symbols is one of the favorite topics of mystical literature researchers. Since Movlana is a mystic who has a symbolic mind and has composed "Masnavi" in the form of a cryptic work that has an infinite range of archetypal symbols and has the ability to study archetypal, so in this study, the archetypal symbols of Movlavi's "Masnavi Manavi" in the class of archetype was examined in the sub-category of color.