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

The unpredictability of various forms of lyric literature, which is rooted in the limitless manifestations of human emotions, reinforces this thought that in the corner of various works, there is a possibility of emergence of a new and even unknown example of this type of literature in one of its many sub-branches. One of these possible examples is an original boasting written by Najmeddin Razi from the words of the Holy Prophet Mohammad. All aspects of the content and language of the mentioned piece have naturally been affected by the unique position of the boaster. The writing ability and the deep devotion of the author of Mersad ol-Ebad undoubtedly added to the impact of this hypothetical boasting. In this article, while extracting and introducing this special piece, the content and linguistic components that make this boasting stand out compared to other common boastings in Persian literature will be presented and analyzed considering the unprecedented centrality of its high-ranking speaker, the Holy Prophet Mohammad (pbuh).

Asadi's Garshasbnameh and Banoogoshasbnameh should be considered as important epic works in Persian language. Although the dominant approach in these two works is epic, the reflection of emotional components that are linked to the basics of lyrical literature is well highlighted. Singing and boasting are among the examples of lyrical components that Pahlavan uses to meet his various goals. The purpose of the present research is that by applying the theoretical foundations of Fairclough's critical discourse analysis, the level of description in these brags and boasts has been represented in order to explore the various dimensions of these military tactics. The main question of the research is, what is the effect of boasting and boasting in the mentioned works in the representation of the discourse of "power" and in what discourse components has this category appeared?

This research was done based on library sources and descriptiveanalytical method.

Words are used in brags and jokes to start a psychological war by the wrestlers. Also, the words in the mentioned works show the approach of "shepherd and lamb" in the discourses proposed by the characters. In connection with the characters, by describing a series of actions and emphasizing their physical abilities, the wrestlers show the gap between the singer and the other person as high as possible. At the level of association, the commonality of word networks in multiple phrases and sentences is an extension of power hegemony. Pronouns in these systems have played a role in reflecting the hierarchy governing interpersonal and social relations. The form of the verbs in boasting and arrogance is often news, which indicates the certainty of the issues raised. Also, authoritarianism is one of the important messages obtained by analyzing verbs.

The analysis of idioms and boasting in the mentioned works at the level of description shows a conscious confrontation by the singers in introducing the characters. Also, alienation between the discourses of the parties is clearly seen.

Azhari Shirazi is an anonymous poet of the 11th century AH who has not been researched about this poet. The basis of the present article is based on the unique version available in the library of Shahid Motahari High School and its purpose is to study the style and thought of the manuscript of this Safavid poet.

The present article is an intra-textual, stylistic and theoretical study that has been done by library research method. The study area and community is Shirazi Divan.

In Isfahani Divan, Isfahani style can be found along with verbal and spiritual industries and innovations. The language of this poet"s poems is simple and his lyric poems are very delicate. Despite the poet"s acknowledgment of composing Turkish poems, no trace of it was found in this version. His poetry has advantages in various aspects among the court of his contemporaries; Notable are the titles for the poems, the lamentation, the boasting, the romantic lyricism and quatrains, the humorous and satirical Masnavi, and the pieces containing the material of history. I also enjoy a variety of linguistic and literary benefits in this divan.

Azhari Shirazi has experimented with other Isfahani style poets. The time of the poet"s life can be considered according to the articles of the Divan, between the years 991 to 1061 AH or shortly after. At the intellectual and content level, religious, romantic and humorous themes are the main themes of his poems. At the linguistic level, unlike Isfahani style poets, slang words are less noticeable in his poems. The use of special weights and long lines is a feature of his poems. At the literary level, phonology, repetition, types of puns, as well as forms of imagination, simile, metaphor, irony, allusion, observance, and style of equation have the highest frequency in his poems.

In this article, Boasting is considered as a free way in critique of poetry. The question is, can one consider the bloodshed to some extent as one of the manifestations and means of critique of poetry among the poets? Poets are generally influenced by their emotions and inner influences in praising their works or preferring them to the works of others, and have not considered a precise criterion for arbitration. The method of this paper for research on this issue is based on content analysis and descriptive examples of poetic works, along with an examination of the relationship between poetry's poetic style and the reasons for turning poets to the forefathers. As a result, it is seen in Persian literature as a lightweight element, which can be considered as literary criticism. However, it can be examined in the form of a kind of critique called "uncritical critique" and "critique of criticism" or critique. Generally speaking, in the poetry, in any case, it is possible to include a critique of poetry or others, in many cases.   Mofakhereh (boasting) in the term "literary" refers to poetry that is a poet in terms of bounty and perfection and speaking to the good ethics and the righteousness of mankind due to the nature of self-esteem and courage and generosity and the likes of it, and perhaps the honorary and familial honors and In short, he has written in his honor and perfection. "(Mautman, 1364: 258). In this article, self-righteousness is considered as a free way in critique of poetry. Poets have generally been praised for their works or their preference for the works of others under the influence of their inner feelings and influences, and have not considered a precise criterion for arbitration; therefore, influenced by the state of governing of their individual and social life, their general viewpoints About their works in their poems. In many cases, poetry can include criticism of the poetry or others, in many cases.  This research is analytical-descriptive and based on content analysis. To do this, collecting information from library resources provided a good example of the poetic works of the poets. Then, based on the opinions of researchers and contemporary scholars, the theoretical foundations of the research were explained, then the collected samples of the poems were adapted to those theoretical foundations.   Because of the fact that the existence of literary works is undeniable, it can be arranged as a matter of research; however, the problem is that selflessness or self-sufficiency in a free manner in the discussion and analysis of poetry among past poets and Contemporary has been prevalent, and it seems that it can be regarded as some of the manifestations and means of critique of poetry among poets. Although the foolishness seems to be two sides of a coin (see: Parsa, 2006: 57); however, the study of Fakhr in the works of poets, as an independent perspective in critique of poetry, can be understood in light of their styles and perspectives. It can be very influential. Because, in order to identify the way of speaking and gaining knowledge of the poet's thoughts and feelings, we can pass through various ways. One of these ways is to examine the things the poet tells about himself and, possibly, to present his thoughts and opinions about his individual and social life and others. Hence, although it is overlapping with other literary subjects, due to its particular prominence in the context of Persian literary works, it is possible to discuss it with specific boundaries.   From the review of this topic, the following results can be obtained: The poem is generally unrelated to poetry style of the poets. Because some of the poets, by means of melancholy and discourse, put strange words and sophisticated scientific terms in the way of inventing a new style of poetry. The rejection and acceptance of discrimination in poetry is a relative subject and depends on the circumstances and circumstances. However, observance of moderation is more artistic. Some scholars bring poetry containing self-esteem into uncensored critique, which in terms of definitions and descriptions is similar to critique. Criticism is the most widespread critique, and most of all, criticisms have emerged. There are some reasons why he has a poem: First, praise for his arts and his abilities in composing poetry, which is the most commonly used form for maintaining the position of the poet and his artistic status. Second, a thought expressed in the form of imaginary language and imagery: this idea creates a poem that shows the personality and vision of the poet. Therefore, poets generally have tried to celebrate their thoughts. The poet is partially influenced by his family and his individual education and social status. Therefore, his thoughts, themes and style of speech are inspired by his personal manifestations. Like Khaghani, whose lyrics are from the point of view of technical and social critique, of course, with some kind of insight. But a poet like Mowlana, described in Masnavi, is more descriptive of the factors and attributes that influenced the creation of this book. In the face of self-righteousness, the poet is sometimes humbled by the poetry of another poetry. Perhaps in this perspective, a way of critique of poetry can be found. Because the poet compares his speech to the art of others, he criticizes his poems. Therefore, it can be said that there is no doubt in poetry with any point of view, it ultimately involves criticizing the poem itself or others.    1- Dargahi, Mahmoud, poetry critique in Iran, Tehran,: Amir Kabir, 1998. 2- Dashti, Ali, kakh  E Ebda, Tehran: Javidan, 1979. 3- Farghani, Saifuddin, Divan of Poems, Correction and Introduction Zabihollah Safa, Tehran: Ferdowsi, 1986. 4- Fazilat, Mahmoud, Principles and Classification of Literary Criticism, Tehran: Zwar, 2011. 5- Ferdowsi, Abolghasem, Shahnameh (based on Moscow printing), by Said Hamidian, Tehran: Ghatreh, 2005 6- Firoozabadi, Majd- al- din Mohammad, Al-Qamous Al-Muhit, Beirut: Al-Rasullah Institution, 2005. 7- Fromm,  Erich, Man for Self, Tr. by Akbar Tabrizi, Tehran: Behjat, 1983. 8- Hafiz, Shams al-Din Mohammad, Divan of the poems, corrected by Mohammad Ghazvini and Ghasem Ghani, by Abdolkarim Jorbozedar, Tehran: Asatir, 1998. 9- Ibn Qutibah, Abu Muhammad Abdullah, Introduction to al-Sha'r  va  al-Shoara, Tr. by Azartash Azarnoush,Tehran:AmirKabir,1985. 10- Khaghani, Afzalodin Badil, Divan of Poems, Correction of Ziaeddin Sajjadi, Tehran: Zavar, 2003. 11- Khojandi, Kamal, Divan of Poems, Correction of Ahmad Karami, Tehran: Ma, 1994. 12- Mu'tamman, Zain al-Abedin, Persian Poetry and Literature, Tehran: Zarrin, 1986. 13- Nezami-e- Aruzi, Ahmad bin Omar, Chahar maghaleh, corrected by Mohammad Qazvini, Tehran: Jami, 1993. 14- Nezami - e - Ganjawi , Elias bin Yusuf, Khamseh . Correction of Vahid Dastgerdi. Reviewer Baha'addin Khorramshahi, Tehran: Friends, 2004. 15- ___________, Makhzan-al-Asrar, Correction of  Bart Zanjani, Tehran: Tehran University, 1993. 16- Onsori, Hasan  ibn  Ahmad, Divan of Poems, Correction by Mohammad Dabir Siagi, Tehran: Sanai Library, 1985. 17- Parsa, Ahmad, Stylistics of  Hajviat-e - Khaghani, Journal of Social Sciences and Humanities, Vol. 25, No. 3, Pages 57-67, Shiraz University: Autumn 2006. 18- Rumi, Jalal al-Din Muhammad, Masnavi, correction of Reynold Nicholson, Tehran: Amir Kabir,2003. 19- Sa'di, Moslehoddin, Boostan, Description by Mohammad Khazaeli, Tehran: Javidan, 1993. 20- _________, Golestan, Correction and Explanation of Gholam Hossein Yousefi, Tehran: Kharazmi, 1996. 21- __________, Kollyyatl, efforted by Mohammad Ali Foroughi, Tehran: Amir Kabir, 1985. 22- Shafiei Kadkani, Mohammad Reza,  Fiction in Farsi Poetry, Tehran: Agah, 2001. 23-___________, Poetry Language in Sofia Prose, Tehran: Soxan, 2014.                           24- ___________, Poetry Music, Tehran: Aje, 2003. 25- Shamisa, Syrus, Literary Criticism, Tehran: Mitra, 2016. 26- Tolstoy, Leon, What is Art,  Tr. by Kaveh Dehgan, Tehran: Amir Kabir, 1993. 27- Zaif, Shoqi, Literary Criticism, Tr.by Lamia Zamiri, Tehran: Amir Kabir, 1984. 28- Zarrin Koob, Abdolhossein, Literary Criticism, Tehran: Amir Kabir, 1995.

IntroductionSince epopee composing among Kurd people has been prevalent in allegiance with Firdausi’s Shahnameh, certainly recognition of cultural and sociological destinies through analysis of one of the most important pillars of epic, that is boasting, and the comparative investigation of this type in two epopees, can be a light to discover the beliefs which stem in the culture and society of Zagros-settler Kurds.
In the current paper, boasting samples in two Firdausi (Khaleghi Motlagh’s copy) and Kurdish Almas Khan Kandooleei epopees have been extracted based on five common stories (Rostam and Sohrab, Rostam and Esfandyar, Rostam and Shaghad, Bijhan and Manijhe, and Siavash). Meanwhile, defining its statistical frequency in the form of chart, and the analysis of the most important common and segregation aspects of these samples have been considered to answer the following questions: 1- To what extent is frequency of attention to boasting and declamation in the two epopees? 2- Have the cultural and sociological differences had any effect on possible diversities of boasting and declamation in the two epics or not?
MethodologyIn the current paper which has been carried out through the descriptive-analytical method, summary of each story has been declared, then the most important structural differences of the stories in Kurdish epopee have been written based on the comparison with Firdausi’s epopee. Then, meanwhile, determination of boasting samples in the two epopees and also determination of subject frequency, the most important discussable common or different samples have been analyzed. After that, the most important findings have been mentioned in the conclusion part.
Results and DiscussionIn most common stories of the two epopees, the number of couplets with the content of boasting is not usually more than ten couplets except in Rostam and Esfandyar story which does not have the limitation. The longest appearance of boasting is also in the story. In the story, the boastings of Esfadyar addressing Rostam is complicated with reproof and contempt; but Rostam’s boastings are gentle and instructive. Glories in Kurdish Bijhan and Manijheh are soft and without response by the addressee. In other words, it is a kind of personal introducing with glory which (afoul or captive) Bijhan declares to response the others’ questions and it is obvious that the characteristic reduces glory language to a large extent and it also limits the reactions. In Firdausi’s Rostam and Sohrab, and Siavash, Rostam’s boasting towards Iranian king is obvious; but in Kurdish epopee even a sample is not obvious and this can exclaim the higher rank of the king towards Rostam in the culture of Kurds in comparison with Firdausi’s cultural view. If boasting resources are composed with irony, it will be more wealthy. There is much of the combination with irony in Firdausi’s stories, but in Kurdish epopee stories, it is very limited and it is particular to Rostam and Esfandyar story. Declaration of boasting and glory in Kurdish epopee stories is usually limited and specific to the main champions and characters of the story; but there is not such a limitation in Firdausi’s epopee. Firdausi’s declaration is purer than Almas Khan Kandooleei’s because boasting with the content of affront in the expression of great Iranian heroes (Rostam, Siavash, and Esfandyar) in Firdausi’s epopee is very limited and deficient. In the other words, we can rarely observe weasel, vulgar and offensive applications by Iranian champions. That is, in spite of the dominance of different excitements, Firdausi’s language is more strained and purer. And, vulgar and dirty words do not exist in his words (if there is any, it is of Iranian troops’ words) but in contrast, in Kurdish epopee the content of boastings is usually offensive and it is recurrent of lingual view.

Narcissism is one of the poetic techniques in which the poet boasts about and glorifies his/her own people’s merits and achievements. This style can be seen in most of Arab poets in different eras. Narcissism is classified into various kinds such as congenital، literary، political and religious narcissism and so the like. As it was liked a lot in the past، composing this style was very common. But it diminishes from Jahilid (Pre-Islamic times) to Islamic age and from the Omowian dynasty to the Abbasi dynasty by degrees. This poetic technique in the Mamloki period had less opportunity and it was during this period that literary narcissism emerged. The outstanding Egyptian poet Jamalladin Ibn Nubata living in the Mamloki period attempted this style. Although no part of his Diwan (collected poems of a poet) is allocated to narcissism. Most of his is literary narcissism in which he brags about his poems. In this essay descriptive methods have been used to analyze the concept of Ibn Nubata’s literary narcissism.

Boasting is a subcategory of the genre of epic and is one of the themes of not only Persian poetry but also world literature. Indeed، some poets، such as Taleb Amoli employ it in their works. Taleb Amoli has exaggerated in self-glorification، egoism، and boasting about his poems. In this article، different types of Taleb’s boastings are examined in more than ten divisions and the reasons of his boasting are also investigated. Utterances which are «against boasting» are also explored in Amoli''s poem. Boasting about his poems and different virtues are the very things Amoli boasts about.