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

Conflict is one of the issues that occurs in social relations and is revealed when the goal of an individual or a group is not in line with the goal of another individual or group. This element has been very effective in continuing the story of Khosrow and Shirin. This descriptive-analytical study investigates the conflict and its types in the story of Khosrow and Shirin. Although the conflict between Khosrow and Shirin lasted long, it has led to positive results. However, other conflicts in the story have ended with negative results. The types of story conflicts include 1) Goal conflict: The conflict between Khosrow and Farhad, Bahram and Khosrow, and Shiruye and Khosrow is of this type; and 2) Emotional conflict: The conflict between Shirin and Maryam, and Shirin and Shakar. The strategies taken by the characters in the story to resolve the conflict are: 1) Surrendering strategy: Khosrow's strategy against Shirouye and Farhad's strategy against Khosrow is of this type; 2) Shirin and Maryam have used the avoidance strategy; 3) Win-loss strategy (competition): Khosrow's strategy in disagreement with Farhad and Sheroe's approach to Khosrow is like this; 4) Win-win strategy: This is the strategy of Khosrow and Shirin; and 5) Compromising approach: Khosrow's method in reaching Shirin is like this.

Suicide is one of the social harms that is instigated by the impact of mental and psychological backgrounds, social situations and conditions. Emile Durkheim posits that according to the relationship between suicide statistics and the prevailing social conditions, societies are divided into coherent and incoherent groups based on which different types of suicide are committed. In this descriptive and analytical article, the suicides of the two characters Farhad and Shirin in Nizami’s Khosrow and Shirin are explained and analyzed through Emile Durkheim's theory of suicide and by relying on the foundations of the school of Romanticism. To this purpose, an attempt is made to explain the anomic and cytomic conditions of Sasanian period, and to investigate the effect of social anomic conditions on the choice and type of suicide of Farhad and Shirin. According to the results obtained, Farhad and Shirin's self-destruction is of an individualistic type, which follows social discontinuities, including insecurity, social isolation, deprivation, betrayal, family system breakdown, mistrust of the government system, lack of a sense of belonging to the society and family, aimlessness, discrimination, depression and non-acceptance of the prevailing conditions.

The life and art of Farhad, the unfulfilled lover of Khosrow and Shirin's story, has always had the capacity to be interpreted in Persian literature and other languages in different and sometimes conflicting with the original spirit of the story. Farhad's continuous presence is not only limited to the field of poetry, but also extended to the field of drama. Hekmat wrote the play Shirin and Farhad with an eye to the Nizami’s works, and perhaps based on a local legend as well as some the principles of socialist realism. In this article, which has been done with analytical-descriptive method, we have first listed the macro-Marxist concepts that were influential in the development of this play. Opposing the institution of monarchy, heroizing and leading the masses, favoring the inferior people and emphasizing public love over private love are some of these opinions. Then we have followed the discussion about what are the characteristics of Farhad's character that Hikmat came to this story. Farhad's militant and revolutionary character, as well as his ambiguous and mysterious face in legends, along with his huge and heroic stature, have made him a suitable person for socialist payment. On the other hand, Farhad has a bright face in Turkish literature. Turks have taken this type from Persian literature and cultivated it in various forms. Farhad's influence in folk literature, having dramatic structures and having a hopeful ending are among the factors that probably made Hekmat interested in rewriting and turning this story into a play.

Khosrow and Shirin is one of the great romances of the twelfth-century Persian literature. The evaluation and comparison of the identity of this romance's characters with other historical and literary resources show the differences in narratives of Nezami and that of other historians and writers of this romance. For instance, in some texts, Shirin and Farhad are introduced as bondwomen and general. Researchers argue that the reasons behind such differences are known as variations in the narrative sources and the identification of Shirin with Afagh (Nezami's wife). Moreover, it seems that the reason for such differences could be the neglect of the primary theme and plot of the story by Nezami's narrators since based on the internal symbols of the romance, as historians and other poets narrate, Shirin and Farhad are bondwomen and general roles which have changed in Nezami's work. Our evidence for this assumption is a reference to the symbols of milk and pomegranate about the eponymous characters which according to the Slovenian Iranist Marijan Molé, and the text of Zarathushtra-Nama are matters used in ancient Iran by the two classes of farmers and soldiers. In the romance of Khosrow and Shirin, this relationship is shown in Shirin and other maids' love for milk, and the growing of pomegranate tree from Farhad's ax. In the original version of the story, Farhad and Shirin are considered the representatives of the warrior and farmer classes because of their affiliation with the symbols of milk and pomegranate. However, with the decline of the former class in time, and the sinking of its related into oblivion, the original reason for the existance of these two symbols in the story has remained unknown for narrators and readers. By looking at the story from this perspective, Shirin, Farhad, and Khosrow are respectively the representatives of the working (farmers), warrior, and royal classes. Therefore, we could guess that in the early versions of the story, like some historical and literary sources, Farhad belonged to the warrior class, and Shirin was a woman from the lower class of the society (farmer) who due to the decline of the warrior class, gradually their character changed in the later versions including the one Nizami worked on. Hence, the presence of Farhad as a warrior in some pastiches of Khorow and Shirin could be due to the adherence of the poet to the sources and is not related to his poetic license or manipulation of the text.

Shirin and Farhad collection; the Kurdish version of Nezami’s original work by Mam Ahmad Lotfi is one of the popular examples of this genre. This work has a simple and fluid language, which narrates the history of Shirin and Farhad with a legendary structure. In the Kurdish version, with the exception of the names of the characters, the main course of events and the general framework of the story are different. The story of this poem is based on the evaluation of the myth content of the subcategory of legends in which a dragon catches a girl until rescued by her hero. Nevertheless, the comparative study of both poems from the viewpoint of the mythological manifestations indicates the infrastructure and the common theme of these works. Thus, Khosrow (in Khosrow and Shirin) and Farhad (in the Kurdish version) are considered the martyred god of fertility, with the difference that in the Kurdish version, Farhad, like the other gods of fertility, has no resurrection. In both stories, Shirin plays the role of goddess of fertility and love in different ways. The subject and function of the myth of fertility historically represent the period of agriculture and philosophically reflect the resurrection of man in the other world.

khosrow and Shirin are historical characters but just a vague trace of Farhad is remained in some texts and his historical position is slippery and doubtful. On the other hand, he has an idealistic character in Nezami story which is not in line with historical narrations that are close to the Nezami age. By scrutinizing work of Khosrow and Shirin, we can find that Nezami catharsis Shirin deliberately and present a model of idealistic beloved in this way. This popular theme shows us that, in contrast with historical perception of society, Farhad plays role of only a love victim in this poem. Farhad is gimcrack of Shirin in this story and his role is a reciprocal reaction from Shirin against uncontrolled fancy of Khosrow. Farhad's love which is unilateral and pathological is described with great enthusiasm in this poem and since this kind of love has been consistent with features of Iranian society, it is accepted by common people and Farhad becomes model of lover and real inamorato. Here it is attempted to provide a new reading of this poem on the basis of conspiracy theory and demonstrate that how Farhad plays role of a predetermined victim. At last, this article tries to de-stereotype the picture of idealistic lover in Iranian culture and literature- which this poem has main role in constructing and forming it.

Khosro and Sheerins romantic has been drawn to attention from the past till now and also has been reported in different ways by different people including Dainoori, Jahez, salabi, Tabari and Ebn Nabate. Nezami Ganjai cayabilities in versifying the work have been admired by other versifiers like AmirKhosro Dehlavi, Saleemi Jarooni, Shahab Torsheezi, hutefi Kharjardi, Vahshi Bafeghi, Orfi sheerazi, Vesal sheerazi and Nami Esfahani. as Nezami's mather was a Kurdish, Bistoon was in Kurdish area, Ghasr-e-sheerin was located there as well as the dominama of the folklore amony the peoplein the area, one may ask to what extent Nezami's mather culture had in fluence upon him to versify Khosro Sheerin. since Sheerin & Farhad s of Almas Khan Kandoolie had been made with respect to an oral narration that exsits in this area, the study tries based on the to answer the question comparison of this work with Nezami s Khosro & Sheerin. Also purpose of the article tries to make the readers to. become familiar with the work of Almas Khan kandoolie & to understand Khosro & Sheerin s Nezami better, to become familiar with other narration of this tale through the study of common distinct points between two works.