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

Verbal violence refers to any speech in which the speaker antagonistically exploits specific words and phrases to control, humiliate, coerce, threaten, ridicule, and quip his/her audience. Also, it refers to promiscuity in the speaker’s discourse. Social critics’ verbal system largely has an aggressive structure. As a social critic, Hafiz reflected his critique in his divan. Thus, his work can be a fresh, intersecting, social arena to examine verbal violence in his critical and individual encounter with a dominant ideological system. The current study will initially survey various definitions of violence. Then, it will define violence in the contemporary world. Afterward, it will concentrate on the violence within Hafiz’s divan. It will demonstrate that violence in Hafiz’s poetry is divided into verbal and nonverbal violence. The former has two categories: implicit and explicit. Given the implicit violence, it is the product of the poet’s imagination.  Lastly, the current article will study ‘inversion’ in the divan. The study results highlight the different degrees and types of verbal violence in Hafiz’s poetry when one pays attention to the implications of violence and its subject and addressees. Furthermore, findings indicate that Hafiz directly or indirectly employs vulgar and sarcastic expressions and descriptions in his relation to others at individual and social levels. Indeed, Hafiz’s verbal violence can create in his addressees a sense of abandonment, frustration, sorrow, and humiliation. Given the modern definitions of violence, one can classify with literary works containing high frequency of violence

has characteristic which distinguishe another kinds. The present research has accomplishend at scope of vocal literarure and aiming skit,s anglitic comparison in poem of sanaei qaznavi gamal Adin uohamad ben Abdorazanq wich was great poets of 8 hegi ra and Seljuk stgle . The most important discussion in this research is track record and derivation the skit at Persian literature and language the wag of use of 3 poets from prosodic rhgthm , lyrical, mental level and poems leial ,user of the name of animal in skit and use of diminutive structure ,hidden and explicit skits ,use of tabu words and personal and social skit. The obtained result show that ,anvari and gaml adin is more honest than sanaei in skit. Although , skits of sanaei and anvari than GAML Adin is crustg , bitter and hot language , but it has expressed stable and fair and show the maturitg power of those on literal zone and poeti

Shahrashob is one of the types of Persian poetry that has a close connection with folk literature. This type of poetry, which is called by other names such as Shahrangiz, Dehrashob, Falak Ashob, etc., is of two types in Persian literature; In the first type, the poet praises and condemns the people of a city or a class of society in his poem. But in the other type, which has more literary value, the poet describes the craftsmen and defines their profession and industry, and in this way provides the audience with valuable historical information in the field of occupations, customs, beliefs and folk culture. One of the important features of Shahrashob is the use of humor in them.
In riots that deal with the people of a city or a class, the humor is often in the form of satire, but in riots that describe the people who speak and introduce their industry, more streaks of humor are seen. One of the reasons for the prominence of humor in the second type of chaos is the use of a wide range of humor techniques, which can be classified and analyzed based on common theories in humor. Based on the statistical results of this research, the humor techniques used in Chaos City have different frequencies. For example, the techniques of "minimization", "simile to animals", "ridiculous simile" and "sarcasm" have the highest frequency and techniques based on verbal games have the lowest frequency

Satire is a kind of beautiful literary trick that expresses human ugliness and shortcomings in a sarcastic way with a hidden chuckle for social reform. It is very difficult to discuss and review satire and satirical works of Persian language due to the lack of sources and information, because this important literary style is less studied independently and is more mixed with humor and especially ridicule. Satire is a special way of expressing poetry and prose, which is very effective and attractive by means of which the most important topics are expressed with the most delicate and at the same time the sharpest views and the most winning words. Satire plays an important role in the awareness and awakening of the public because it often expresses the obvious and bitter truths in a simple language that is close to people's understanding and replaces an opinion exactly in their minds. This research, which was carried out with a descriptive analytical method and using library sources, dealt with the role of satire in the Masnavi and the description of its humorous anecdotes, and it is clear that satire is used abundantly in Masnavi and Rumi used these anecdotes to express moral, philosophical, mystical, religious, etc. views and points

One of the lyrical literary manifestations in Mojir al-Din Bilqani's poems is his satires. These satires, along with Khaghani's satires, have been forgotten and not studied. For this reason, the present study tries to eliminate immoral satires, introduce satire and mention the reasons for its existence in Mujir al-Din's poems, and identify his rhetorical technique.

The method of this research is descriptive-analytical and the data have been collected using library resources. The study area and society is a collection of poems by the divan of Mojir al-Din Bilqani, which has been published by the Institute of History and Culture of Iran with the correction and suspension of Mohammad Abadi.

The results of the research show that the language of Mujir's satires is chaste and often away from insults with taboo words. Her satires are mostly related to opponents and rivals and in this case, simile is the most important imaginative image and poetic element of Mujir. The mind of the illustrator Mujir al-Din is not content to bring one image and his similes are mixed with other images. Also, he has tried to show his superiority with allegorical expressions based on similes. This has reduced the ugliness of his satires and increased their rhetorical aspect.

In his satirical similes, the poet has established a poetic connection between unrelated elements and has forced the audience's mind to try. Therefore, his satires have an artistic aspect. In terms of meaning, his satires reflect the social situation and morality that govern society. Therefore, the satires of Mujir al-Din Bilqani, in addition to their artistic aspect, are significant in terms of meaning.

The type of humor as a literary genre has always been present in the literature of this land with intensity and weakness for a long time. Humor is a critical writing that is mixed with the nectar of delicacy, that is, a humorist who cleverly and consciously expresses his protest in an artistic and beautiful way that makes the audience laugh, not a laugh of enthusiasm, but a bitter and biting laugh. In fact, humor is an evolved form of satire. This means that criticism became public insteed of personal, and also defended the right of society instead of defending individual rights. obaid zakani is one of humor who uses various techniques to create different types of humor. in this article, we have tried to examine them.

the present research has been done by the method of theoretical study and using library sources. Our study area and community is the generalities of obaid zakani, edited by Abbas lqbal Ashtiani and the efforts of parviz Atabaki, published by zavar publications.

Humorous poets and writers each deal in an almost ordinary way, but obaid zakani himself is the creator of various methods of satireeach deal in an almost ordinary way, but obaid zakani himself is the creator of various methods of satire. Sometimes in prose and sometimes in poetry, sometimes in the form of jokes and sometimes in the style of a humorous letter of advice, sometimes he invents humorous words, sometimes he interprets words in a humorous way. Characterization is also one of his tricks, sometimes he uses historical characters as his humor and sometimes fictional characters. He sometimes chooses animals as the characters of his stories. Obaid is so interested in expressing the facts and problems of his society that he does not hesitate to use vulgar words.

Obaid uses tricks such as the metaphor of Tahkmiyeh, janas, playing with words, exposing the horseshoe, inverting Persian and Arabic anecdotes, and humorous interpretation of common proverbs and humorous reasoning.

Satire in literature means a piece of poem or prose which stands against eulogy and meets personal purposes. It bears a caustic, explicit and sometimes insulting tone, but if it is to express the socio-political pains, it employs a softer language. Satire is constructed based on caustic and painful criticism, and sometimes, it is led to sarcasm and painful insult. Any form of emphasis on ugly aspects of a phenomenon, whether voluntary or involuntary, is a satire. Satire is a piece of prose or poetry which tends to ridicule or insult somebody. Due to the literary definition of satire and the difference the critics considered between satire and abusiveness, dissolute and indecent writings – which disgrace people - can be excluded from satiric ones. In this study, the authors have tried to analyze satire in Arabic and Persian language and its impact on Arabic, especially on Bashār ibn Burd

Yaghma Jandaghi (1196-1276 ) is one of the famous poets and famous writers of Qajar era. The collection of his works include letters and prose writings and poems. Most of his reputation, in addition to his sonnets and masnavi, is due to his lampoons, which so far have not been and may not be addressed. Yaghma has paid special attention to the new style and in his lampoons. In this paper, the sample size is his lampoons, which examines two of Yagma's innovations in lampoon. One of these innovations is the use of the Taazia template for lampoon, which the poet used in one of his works, "Moradiyeh". In another of his works, Sukuk-al-dalil, Yaghma also uses the new method in the lampoon, which we here refer to as innovation .In another of his works, Sukuk-al-dalil, Yaghma also uses the new method in the lampoon, which we here refer to as innovation .

Satire is a genre of literature that has been observed in different frequencies in the works of most Persian and Arab poets, who have created remarkable works worth reading in this genre. The stylistic comparison of this literary genre in Persian and Arabic poems forms the basis of determining the similarities and differences between them. The present study has been conducted in the field of comparative literature and is based on the American school of comparative literature, with the aim of investigating the main stylistic similarities and differences between Khaghani’s and Hotaieh’s satires on three linguistic, literary, and intellectual levels. The study has adopted a descriptive-analytical methodology and is based on the two poets’ books of poetry. The results suggest that at the linguistic level, both poets have used different meters in writing satire, but the rhythm in Khaghani’s satires is more prominent than it is in Hotaieh’s satires. Also, they have both written in a non-offensive language. At the literary level, Khaghani’s satires are more abundant with figures of speech. Finally, at the intellectual level, Hotaieh was motived by social inferiority in writing satire, but Khaghani was motivated by subjective and personal discomfort in writing satire.

tering “others” is one of the humans’ basic issues in their social life while its quality and the quality of human life are directly related to each other. It involves selecting between violence and tolerance. Through studying the approach of one of the greatest poets of Persian literature regarding this issue, this research tries to study how encountering “others” has been described in invectives as a genre in Persian literature. Anvari's invectives are among the most important resources for identifying his personality and viewpoint. Contrary to ode (Qasida) and Ghazal, the poet has more freedom of speech in invectives; thus, it is possible to learn more about the poet’s world and identity through studying this literary genre. studying the components of encountering “others” reveals the attitude of the poet and his discourse towards tolerance and violence. The results of this research indicate that Anvari encounters “others” in a violent way in his invectives, in a way that is far from tolerating or accepting “others”. Verbal violence will result in normalizing violence in social relations in encountering “others’ and pave the way for other types of violence like elimination and rejection.

Each literary genre has special stylistic features. Recognizing the stylistics of these genres can lead us to understand them more accurately. Lampoon as a type of literary genre has been applied by the poets several times and they have created considerable works in this regard. Hotai’a is one of the most famous and eminent poets in this literary genre who has significant works in this field. The present article aims to investigate stylistic features of lampoons used by Hotai’a and to analyze them considering literary, intellectual, and linguistic aspects. In literary level, rhetorical and lexical figures of speech are searched; and in intellectual level, intellectual themes and lampoon concepts of the poet are investigated. Finally, the linguistic and rhythmic features of the poems by Hotai’a are explored in the linguistic level. According to these factors, this study seeks to provide a better and more accurate understanding of the lampoons used by Hotai’a and to pave the way for a better study and comprehension of this type of poem.

As a linguistic device, parody has such a high power that can be used to reflect many controversial social issues in an improving manner. Parody and mainly satire, as indirect linguistic devices, are extensively used at the time of cultural and ethical crises to reflect and make the situation better, when no direct language use can be improving. This paper investigated that how AtaMalek Juwayni, like many other Iranian satirical figures and critics, has optimally used these effective linguistic devices in favor of social and cultural development. Through a satirical and critical view on many of his contemporary actions, beliefs, and events, and like a social and political reformist, he has reflected the existing problems of his time and tried to resolve them. The findings of this study also showed that his critical and satirical writings did not only include the Mongolians, but they also comprised the ordinary people, women, Khwarazmian commanders, Sheikh-al-Islams and many of the well-known figures of the time. It seems illogical to expect such a great writer to put himself at risk of death and his writings at risk of destruction through explicit criticism of the violent governors of his time. Juwayni's critics and satires are quite implicit and hidden that special consideration is needed to be understood.

Irony is a type of lyric which aims at modifying the disorganizations by picturing and criticizing the disadvantages and deficits of the society. In this regard¡ they can be considered as the most effective type of criticism. This method of expressing is not the result of prejudice or hatred¡ but it is a critical review on various disadvantages in the society which is mentioned in a special kind of language accompanied by laughter resulted from sorrow and sadness. Irony has an extended application nowadays while in the past it overlapped libel¡ facetiousness¡ and ridicule. “Abolghasem Payandeh” and “Jalal Al-e-Ahmad” are two contemporary writers¡ and critics who have satirical style. Through using satire in their stories they reveal the shortcomings and vices of the society aiming at awakening people and repairing the situation. Although they both had the same goal and they both used the same tools and ploys¡ due to the difference in the origin¡ social status¡ and approaches the employed¡ the product of their efforts are different. The aim of comparing these two writers is to show these similarities and differences. Although regarding time and language they are close to each other¡ Abolghasem Payandeh’s criticism is more socio-cultural¡ and Jalal Al-e-Ahmad’s is more socio-political. They both employed techniques like similes¡ irony¡ folk interpretation¡ strange word formation¡ etc¡ but satirical similes are more frequent in Abolghasem Payandeh’s works¡ while in Jalal Al-e-Ahmad’s works Irony and folk interpretation are more frequent.

Satire is an important literary form representing the poet’s feelings and emotions more vehemently than other types of poetry, and depicting social and individual life in a simple language; therefore, it has attracted the attention of many critics and researchers. In the Abbasid Era – the golden era of Arabic literature – Satirical lampoon came into being which on one hand, because of possessing a satirical spirit, was calming and joyful and, on the other hand, was far from the impolite language by which human soul is repelled. The present article studies the satirical lampoon of Ali Ibn Debel Alkhozai, the Abbasid court’s poet, with regard to the most important caricaturist aspect of it, that is, the overstatement of the faults of those who are satirized. The poet’s caricaturist achievement will be analyzed based on examples from his sarcastic treatment of the individual, social and political subjects. We will attempt to examine the most important satirized subjects in every field to indicate the ability of the poet in the creation of caricature pictures in poetry and his similarity to the present caricaturists.