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

Imagery is one of the prominent elements and components in the field of aesthetics of literary works. The aim of the research Is to discuss images in lyrical literature, based on which three poems were studied and imaginary elements were extracted and then classified and compared into four image elements. These four elements are: abstract element, elemental element, element of nature and astronomy. Exploring the imagination of each poet helps the audience to better understand his view of his surroundings and to be able to connect with his poetry.One of the remarkable topics in lyrical literature is the topic of love, which in every period the poet tries to portray this topic in his poetry in accordance with his words and the relationship between the lover and the beloved and their connection and separation according to the circumstances. In this article, each of the poets in the field of imagery in all three poems has assigned the highest amount to the element of nature, which in Weiss and Ramin is more than similes, in Khosrow and Shirin the metaphor of Masrah and in Gol and Nowruz. We had both elements of fantasy.Also, all three poets have used the least abstract elements, which was in the form of a metaphor. In terms of the use of abstract elements, the three poets have tried to sensitize mental matters and give them life. Weiss and Ramin, as the first poem, has been a model for other poems.

Imagination is the essence and the main substance and constant element of poetry and it is something that comes from the power of imagination. Imagination is the measure of artistic value and validity of poetry. If we accept that poetry is the entanglement of thought, emotion and imagination in a melodious language, and that imagination is the main element of poetry, then we will realize the importance of imagination in the field of poetry. One of the most beautiful elements of imagination is metaphor, which has many types but In this article, it is tried to be investigated in general under the title of Masraha metaphor and Makaniyeh metaphor and to determine the amount of imagery with this element in the poems. To express his feelings, the poet chooses the most general element of imagination, i.e. metaphor. Based on this, three romantic poems which are similar in terms of theme, situation and romantic images have been chosen to examine the element of metaphor in them in order to know that in these poems, in different situations that occur in the story, To what extent have the poets decided to use the element of metaphor to convey their meaning? In this research, three love poems have been studied in a descriptive-analytical way, and the evolution of the images of fantasy from the 4th century to the 8th century has been examined. Also, a statistical chart of imaginary elements has been prepared,

In the book “The Hero with a Thousand Faces”, Joseph Campbell introduces the hero’s journey archetype by examining various mythical stories in all over the world. He believes that in all stories, the hero’s journey follows a constant paradigm. In this research, this paradigm is investigated besides other archetypes including shadow, old wise man, anima and other mythical symbols in the book “Gol and Nowruz”. Examining this verse based on the Joseph Campbell approach is a new reading of this lyrical narrative. Although, Nowruz’ journey is done apparently to reach the beloved, in fact, it is considered a religious journey. Nowruz gets marry to Gol, as a Christian girl, by converting her to Islam after reaching her and returns to his country by uncovering the veil of ignorance. This journey introduces the hero as a universal figure, so that the society accepts him eagerly. He owes his immortality to the values that grants them to the society.

There has been much debate about the nature and nature of love from the perspective of psychology. In recent decades, researchers have tried to study literary works by focusing on various theories; one of the theories in this regard is the theory of love. Is John Lee. In his theory, he compares the types of love with the original colors, and the three main styles of love are given: love to an ideal person, love as a game of love as friendship. Farsi, Kermani Khawaji in "Homay and Homayoun" and "Flower and Nowruz" poems, like other Ghanaian poets, deals with the subject of love and relationships of lover and lover; in this study, we have tried to find love in Khaju's poems with John Lee's theory of love. Examine and adapt. The main question of this research is to answer the following question: What are the characteristics of love in these two poems which correspond to the type of love in Lee's theory? The result of this study shows that love in these two love stories is characterized by John Lee's theory of love. It corresponds to being romantic and having a passionate style. Send feedback History Saved

The process of individuation from the perspective of Jung is a kind of sophistication and mental development of man which the center of personality is transferred from “ego” to “self” and since literary works, due to the inherent richness and rooted in the collective unconscious include symbols and metaphors, conscious and unconscious structures and involve the reader and require a literary text archetypal analysis. This poem written by Khajuei Kermani was analyzed by descriptive and analytical method based on Jung Individuation Theory. His journey to Rome is in fact a symbol of his quest for the process of psychic individuation begins by the first impulses of love that makes the foundation of the poem and the protagonist is a young and inexperienced princess in the beginning and begins individuation the activation of anima and recalling continuity and unity to the realm of the conscious mind of the hero and by guidance of old wise man and solving problems and eliminating inner shadows and flexibility of persona, he achieves coordination between his consciousness and unconsciousness and finally, the individuation process and self-knowledge is ended successfully.  

The collective unconscious manifestation centered on the myths, stories and literary creations led to a branch of criticism which is one of the most important and most used methods of contemporary literary criticism that examines the nature and characteristics of the archetypes and their role in literature. From the perspective of the archetypical criticism, myths are basically the structure of literature that make possible the verbal communication of narration and meaning.The concept of collectivist sub- consciousness and its two related concepts, archetype and individuation are important Jung psychology. One is important in terms of its role in the development of personality and the other in terms of reversing its themes in artistic creation and dreams ( Yavari, 2009:102-104). Thus, the recognition of this layer from the unconscious in the process of self-knowledge and individuation, which is one of the fundamental concepts in Jung’s psychology, is of particular importance. Jung believes that there is a close relationship among the art, literature, dreams and myths and art and literature as dreams are the place of manifestation of imaginations and the emergence of a collective subconscious. He believes that great poets like Ferdowsi, Hafez, Molana and Hedayat are eternal since their works reflect the collective subconscious manifestations and the common mythological insights (Shayeganfar, 2012: 251). Consequently, literary works, due to the inherent richness and rooted in the collective unconscious include symbols and metaphors, conscious and unconscious structures and involve the reader and require a literary text archetypal analysis. Given the importance and application of the individuation process in explaining the epic stories and especially the protagonists of the story, the present research tries to investigate 1- the roles and effects of each archetype in the process of individuation effective in the identity of “Nowruz” and 2-according to this fact that the protagonist of this story is compatible with Jung Individuation Theory, it is necessary to adapt this theory in order to investigate this personality from a new perspective in the scope of the mentioned theory.

The present study was conducted based on descriptive analytical method. For this purpose, firstly, theoretical fundamentals of research with relying on library resources and Jung’s opinions about the process of individuality were categorized and then with an analytical approach, the symbolic journey of the hero of the story to achieve self-awareness and during the process of individuality have been addressed.

One of the most basic theories of Jung is that the trend and direction of growth in personality is towards unity and stability and to achieve this goal, all psychological systems must separate and evolve into their components; in other words, all the different systems of character like the Anima (Anima), Shadow, Persona and etc. allow the occurrence, division and evolution of the balance between the consciousness and the subconscious mind and the person achieves psychological development (Shamlu, 2016:59). The process of individuation in his opinion is a kind of mental growth that the center of personality “ego” (self-awareness) moves toward “self” (inner un-consciousness layer) and this transfer is indeed movement from ego to self and different layers of personality come to recognize and adapt to each other and self-awareness and unconsciousness are coordinated( Jung, 2013:359).The process of individuation in fact is compromise of the consciousness with inner center that begins usually with the plundering of personality and suffering. Many myths and fairy tales have expressed the initial stage of the process of individuation with the patient or aging of the king or they are the theme of another old story, for example, the king and his wife did not have children or the monsters of women and children and horses destroy the wealth of the kingdom or a giant, without a hurricane, and a tail of sea and land on the king’s army or darkness, drought, flood and cold throughout the country make trouble (Jung, 2013:253).The story of “Gol and Nowruz” begins with the wish of the king of Khorasan to have a son and the God gives him a son as the result of his prayers and he calls him Nowruz. Since the requirement of process of individuation is a journey to the inner world and the unconscious in order to obtain identity and to reach self-knowledge, Nowruz, the main protagonist begins journey to Rome for self-knowledge and identity that reflects a deep desire for inner change and a new experience. This symbolic journey or the process of individuation, which is the same as the transfer of the center of gravity from I to ego is done with the help of a series of ceremonies such as Anima, Shadow, Persona and old wise man. So that Nowruz, with the first spark of anima achieves psychological balance between self-awareness and the unconscious from the subconscious and with the absorption and analysis of the shadow in self-consciousness and flexibility to coordinate and make compatible the persona in different situations with timely guidance of old wise man.

Independence, self-knowledge and identity and non-attachment on the parents are the main theme of the story that is the process of individuation. Nowruz individuation begins with the plundering of his personality and suffering from pain and he goes to the desert with a group of companions and reaches the caravan in the desert. The owner is a man named Kashmir and he is talking to him. After the description of the events of his life speaks about the Roman Caesar and his daughter and exaggerates in the expression of beauty. So with the resurrection of the love in Nowruz soul by the words of Kashmir about “Gol” (flower). The process of achieving perfection and spiritual integration is flourished, because love is the primary motive of this poem and from the archetypal perspective leads to the inner coherence of existence and the body and mind, self-awareness and coordinates the unconscious as it is necessary during the process of fostering identity and existence of Nowruz symbolically to reach self, self-knowledge, travel to inner world and the unconsciousness that begins to journey to Rome for reaching inner anima and through the shadow and flexibility of the mask by guidance of old wise man begin to create a psychological balance between self-consciousness and unconsciousness. After overcoming the forces arising from the collective subconscious and attracting them into self-consciousness, the protagonist expands the domain of self-consciousness and transfer the psychological center from “ego” to “self” and finally by unification of the two opposite sides of the psychic they are merged into the higher proposition and reborn and evolved psychologically.

 Vladimir Propp (1895-1970), the Russian scholar, analyzed a lot of the Russian folk tales and recognized common themes within. He broke down the stories into “morphemes” and documented 31 elements or narrative units that contained the structure of so many of the stories. Propp gave each element a symbol, thus allowing a story to be described by a series of those symbols. He broke up fairy tales into parts. Through these parts he could organize the tale into a series of sequences that took place within the Russian fairytale. Typically there is an initial situation, after which the tale usually takes the following thirty one functions. Propp concluded that all the characters could be set on into seven extensive character functions in the 100 tales he analyzed. This paper, explores “Gol and Nowruz” which is an adventurous and exciting tale of Persian literature; the tale is Nowruz’s quest to find his beloved “Gol”. For this purpose the paper, an introduction of morphology and “Gol and Nowruz” have been outlined then the tale has been analyzed in the light of Propp's patterns in order to determine to what extent this tale is in parallel with Vladimir Propp’s Morphology of the Folktale. Considering the motion sequences in each of Propp’s the expansions, and comparing it with the interpretation of the tale, it is recognized that the sequence of functions are not in complete parallel. In the analysis of the tale, we come across with seven movements; a search begins, hero moves first to find his beloved (a), but before reaching to her, the second movement, type (H and M), the third movement (H), the fourth movement (H), the fifth movement (M), the sixth movement (H), and the seventh movement (M), occur. The hero solves the problems and moves from one stage to the next and finally achieves his purpose. It is revealed that the lines of the tale do not meet the Propp’s paterns and it is not in parallel with it completely, because, encountering the problems, the desires and motivations of the characters are different; and it is the most significant factor why there is a difference between the tale and Propp's pattern of movements. However it is significant that all extensions of Prop’s classifications can be traced in the tale.  Comparing the narrative line of the tale with Propp’s patterns we can find that the tale has the 28 functions, out of the 31 Propp's functions, in common with Propp's functions, and we can conclude that this tale is consistent with the patterns of Prop. Prop concludes that all the characters could be resolved into 7 broad character functions in the tales he analyzed and have done the the same here: The villain and The false hero (the Dragon of Roman Empire, Shebel Zangi, Farrukh Rooz with his army and the storm of magic). The dispatcher (Shervin), the helper and the donor (Mehran, Yagoot, Bakht Afrooz, the Old Priest), the princess or prize (Gol), the hero (Norooz). The paper explores the characters’ tendencies which can be interesting too.

Allegory has a special place in Farsi language and literature. So lots of Persian literature works have allegory. GOL & NOROUZ the valuable work of KHAJoI KERMANI also benefits allegory. Indeed the writer of this work has used allegory in this work and allegory is used in whole story, sometimes as a story and sometimes as a proverb. With analysis and we have shown that NOROUZ shows a good person and GOL shows the beloved person, KESHMIRI is a person with signs of the beloved, father means money and belongings, HAKIM index shows wisdom, two green birds shows secret sound, travel means to go through, black monster means bad willing, priest means old person. Also the poet at the end of the stories has used proverb and mysticism.

The study of narratives، as the greatest gift of structuralism is considered as one of the most important aspects of the modern literary theory. Following Prop، structuralists attempted to present an overall model in creating different narrative in the 20th century. In this field، A. J. Greimas—the most popular narrative theorist—went beyond the limited studies of Prop، and presented his action model and his narrative chains. By doing so، he attempted to reach to the general principles of the narratives language and to analyze each narrative based on a specific narrative structure. He created his action model in a way that it can be adaptable which other narratives. Therefore، the aim of the present research is to study the narrative structure of Bahram and Gol-andam story، as a sample of the amatory and lyrical poems based on Greimas theory so we can analyze the structure of the original Plot using changes in statuses according to two-fold reciprocities، the narrative chains، and the action model of narratives. after analyzing the context، we concluded that Greimas''s action model in analyzing the narrative of lyric poems of Bahram and Gol-andam is approximately useful and plot of the story has a particular structure and narrative cohesion and is investigate from two viewpoints (two-fold reciprocities and syntactic rules) and from the action viewpoint، it includes two distinct action models with distinct actives which is rarely seen in other narratives.