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

The three paintings related to the yellow, green and red Gonbads in the Haftpeykar’s collection of the illustrated manuscript of KhamsehNezami in the library of ShahidMotahari School are so similar to each other which are seen as photocopies of each other.The purpose of this research is to show the reason for the similarity of the illustrated. In the method of structuralist critique, the Haftpeykar narrative system has a single narrative unit that is repeated throughout the story, especially the seven Gonbads and this repetitive narrative unit carries the message of the story, which is the basis of BahramGour's test and spiritual evolution. Assuming that the repetition of the structure of the illustrateds is related to the repetition of the story representation in the single structure of the text of the poem, the components of these illustrated is compared to the structural features of the story and the relationship between the mentioned illustrates and the narrative concept of the system is investigated by a descriptive-analytical method to understand a similar concept in the structure of the illustrateds and the purpose of the painter of this design and concludes that the painter recognizing the message of the system, in order to convey the message of the system, designed similar drawings to emphasize the message of the story and To show the greatness of the Safavid court, he repeated the initial section in three drawings to depict the glory of the court.

It could be said that Nezami’s Haft Peikar is a book about the unity of Hero and his holy joining to his Anima which leads to a sort of self-awareness according to a variety of symbols or meaningful metaphors. The appearance of collective unconscious archetypes of this book put it in an aura of ambiguity that cannot be understood unless by psychological approaches to myth. The archetype of “archetypal woman” or “archetypal mother” in symbolic travel of Bahram and his different steps of self-awareness examinations is a movement from the deepest layer of darkness to the heart of lightning. In the stories of this book, some kind of deficiency and lockage in Hero’s psych cause him to move and travel to open the unknown windows. According to Nezami’s report, the mysterious life of Bahram changed him into a mythical hero that at the end of his life was an aware man who reached a kind of metaphysical individuation. The main concern of this article is the Bahram’s travel which happened in order to reach a kind of regeneracy and the consequence of events and their internal connections empower the self-awareness process of the Hero. The aim, by revealing the psychological side of myth and analyzing the symbolic elements in HaftGonbad’s stories, is to investigate the internal connections between stories and make all fictional actions and reactions meaningful in line with improving the Hero’s metaphysical side. It should be said that the approach of this article is analytical-descriptive.

Undoubtedly Haft Peykar is recognized as the best fiction poem of Nezami in which a historical story is mixed with a collection of fictional stories. Like Khosrow va Shirin and Hezar-o-yek-shab, women appear in two roles, narrator and character, who, except for the governmental role, have main responsibilities the same as men. The function of minor stories in this tale is instructing and entertaining and make the readers experience a various spectrum of events and contents which is the same as Haftkhan in epics structurally. Indeed, the reader is getting acquainted with natural, social and supernatural worlds simultaneously in order to be able to have necessary skills to manage the society against different crises. Like Hezar-o-yek-shab, Heft Peyker worth studying due to not only its consistent and mathematical structure but also that kind of creativity which is seen in composing different stories. In this article, the author aims to present an analytical report of general structure of narration and its relation with some contents in order to increase reader's understanding from capacities and literal details in Haft Peykar.

Recognition of ethical and educational thoughts of the nobles of literature is impossible unless we study their works. The thoughts of nobles of literature and poets appears sometimes in the veil of prose and sometimes within verse poetry and prose take the form of fiction occasionally. One of the most outstanding verse fabulists(storytellers)is Nezami-e-Ganjavi with a dynamic and figurative language. Nezami’s art of storytelling glamorizes in Haft-Pekar and the most outstanding part of it Haft-Gonbad. So in order to become familiar with these educations and access to the manner of storytelling and techniques of Nezami’s storytelling and his unique methods, in this article while presenting clear and comprehensive definition of the fictional elements, effort have been made to investigate rules governing the structure of stories of Haft-Gonbad with a descriptive –analytic procedure. To achieve the goal, first we express characteristics of Nezami’s fictional language and then we introduce briefly Haft-Peykar and the personality (character)of Bahram. Then with a short definition of fictional elements, each of the stories of Haft-Gonbad of the basis of fiction of fictional elements such as plot, scenery, theme, character, theme, tone and factuality has been analyzed and evaluated in regard to technical value. Finally, at the end of article on the basis of analysis of outstanding fictional elements it has been stated that Nezami had been using tradition of story in narrating for fiction writing and for the purpose of renovating his story he used dynamic scenery, marvelous external description and numerous Knotting in the plot. With respect to other elements, Nezami’s stories have the characteristics of ancient stories generally.

'Nizami''s 'Haft Paykar' has been anslysed based on reception theory in this paper. The background of such a reception is the combination of myth and gnosis in a symbolic language. Its characteristic is the transcendent understanding of the context through interaction between the reader and the context and its content is the perciptable and clear awareness of the reader and it is interpreted as Nizami's sacred observation of creation.Nizami's Haft Paykar as a lingual phenomenon has been assumed the external that reflects its interior (content) similar to a mirror. In other words, the appearance is the manifestation of its interior, which in turn represents a heavenly prototype; the content cannot be manifested without its appearance. The appearance is smaller than its interior; thus, it cannot reflect the whole interior but it can be the mirror and manifest it symbolically. From such a viewpoint dome is assumed as the mirror of heaven (seven planets). In order to explain such a reflection correlated elements such as location (heaven, dome, Haft Paykar and centre), number (seven), light, color, the material of planet and personality (Bahram, Shideh and Semenar) have been analyzed.