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

One of the aspects of literary activities of Saadi, the great poet of 7th century, is related to ghaside. Many years ago, when Saadi steps into poetry arena, odd has been reached perfection, and other poets with his same language were progressing. Saadi's poetry life is associated with the cadence of elegy and his tendency is more to lyrics. In this research we are going to show Saadi's art in this little arena. We look up his adds according to linguistic Persian concern. He speaks as a brevity language. At the same time his words are clear and without ambiguity. Subtle language is as a result of Iraqi style. In which the oldness of inflexions and syntax has been seen less in old coordinates complicated of odds language. Saadi enlists soft words in his odds and he doesn't have any tendency in abbreviation language. Mystical themes with its words and terms has been seen same as singular or merged in his odds. Sometimes we find colloquial language and words in his literatures. Syntactic techniques which cause eloquericy in his lyric poems has been seen in his odd and meter of his poems has become soft and consistent. Consonants and vowels in his odds can pronounced easily and nothing will be diminished in his poems. In this opportunity we look up Saadi's odds in 3 levels of phonetics, lexical and syntactic based on descriptive and analytic method and with the use of statistical table that we try to clear the subject

Faramarznameh is one of the most valuable and comparatively voluminous epics after Ferdowsi’s Sahnameh. A reflection on the cultural and literary history of Iran demonstrates that there are a lot of narratives about Faramarz in both written and oral forms. Tales of this hero have been preserved in a scattered way in Sahnameh, post-Sahnameh heroic poems, written sources, raconteurs’ narratives and oral ones. There are four oral narratives of post-Sahnameh heroic poems in Kohmareh-Sorkhi, a region in Fars province in Iran two of which, namely Borzunameh and Banugosasbnameh are still rampant among some of storytellers and raconteurs, but the other two, Faramarznameh and Shahryarnameh are abandoned among the native people. These last two are narrated today just by Alihossein Alinejad, the oldest and the most famous raconteur of the mentioned region and the last survivor of the storytellers. The raconteurs’ narrative of Faramarznameh in this area is an amalgam of the epic on one hand and the mythical beliefs of the native people on the other hand. A scrutiny on this narrative will eventuate in recording a narrative that has never been written down before and, moreover, will show some of the mythical beliefs of the people of this region. In the present study an attempt has been made to report the raconteurs’ narrative and, thereafter, examining the similarities and differences between the written version and the raconteurs ’one; It also tries to examine the way through which the beliefs and myths of the native people of the region have affected the raconteurs’ narrative; and finally to discuss the identity of the composer of this work on the basis of raconteurs’ narrative.

Songs in contemporary poems do not merely contain prosodic rhythmics. In today odes, the singers as well as composers partake in creating the work. Hence, the length of the verses, the style of writing, and the arrangement of words play an important role in recreation of the odes by the singer(s). This special method in writing odes creates a particular rhythm. This rhythm create tension in the reader’s eye and then in his soul in order to make the reader aware of poet’s thoughts and tensions. Poet Saadi Youssef is a pioneer in the creation of white rhythm and the manifestation of the rhythm is eye-catching in his poems. This internal rhythm in poems is called white rhythm. In this paper, the authors hypothesized that Saadi Youssef as an Arabic poet is a pioneer in the creation of the white rhythm. The research is to investigate some aspects of this rhythm such as dispersion of words, blanks, segmentations, and geometric representations in the poems of this poet through content analysis theoretically.