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

The story of "Slave eats fruit with her king" is among the educational stories that examples of its prose and verse can be found in Arabic and Persian literature .The oldest source of this narration is related to Arabic literature in the book "Al-imtāʿ wa al-muʾānasaẗ"of Abu Hayyan Al-Tawhidi (4th century). After that, examples of Arabic and Persian prose and verse have mentioned it until the end of the ninth century. Rumi and Attar have also recreated the verse of this narrative in Persian literature in a creative way.This story which has mentioned in two different narratives leads to the same moral conclusion which is "loyalty and commitment". Therefore, examining the sources of this story not only acquaints posterity with the experiences of different ethnic groups, but also preserves and records the culture and history of the predecessors .This study not only finds the sources and compares the Arabic and Persian sources of the narrative, but also examines its narrative elements such as theme, plot, character, dialogue, perspective and scene, and identifies how Persian verse sources are similar to the old Arabic sources. The most important results of this study which is based on comparative analogy is that, the theme of the story is the same in all the Arabic and Persian sources, and Persian verse anecdotes have arranged the same theme with a different structure with the inspiration of ancient sources.

One of the important topics of Georg Hegel's philosophy in the book "Phenomenology of the Spirit " is the speech "King and Servants”. The dialectic relationship between King and servants is the beginning of the process of thought and the basis for self-awareness and human freedom. Therefore, self-awareness and freedom are realized in the dialectical process of struggle between characters as King and servants. This article analyzes the active relationship between God and servant between the lover and the lover in Saadi's lyrical poetry with a descriptive-analytical method. Also, the lover's self-awareness and freedom are analyzed in relation to the beloved. According to the speech of God and servant, it can be said that the conflict between the lover and the lover takes place in a dialectical process. The presence of a lover is necessary for the transformation of the lover's thoughts and emotions. The lover reaches self-awareness and freedom through the dialectic passage. The lover's mind in Saadi's ghazal moves in two dialectical processes; The lover stops moving in a dialectical process by connecting the beloved and identifying the object. In another process, it is not possible for the lover to impose respect on the beloved. Love becomes alienated and negates the external and real factors of love, and in this situation without resolving the dialectic; The lover achieves liberation and freedom. Then, the self-awareness of the lover is separated from the sensual knowledge of the beloved, and in the course of consciousness, his individual desire becomes one with the general desire. Therefore, the mana of the beloved becomes important for the lover.

Social features are the elements or constituents of a community, without which it is not possible to analyze that community. Shahnameh is important as a work arising from cultural, historical, and social heritage. The richness of this work and its importance are so much that many historical and epic epopees have been written by imitating it, and Tabrizi’s Shahanshah Nameh is an example of them. Making an investigation into the social components in these two works not only leads to the clarification of the ritual of life from Ferdowsi's lifetime to the end of the Mongol rule, but also clarifies the similarities and differences of the social components in these two works. No research has been conducted on this topic so far and the existing cases have only investigated some social components in the Shahnameh. The author seeks to prove the hypothesis that king is the main person of the country in these two works. The results of the research show that the people in the Shahnameh are aware and involved in the politics of their country, but they submit to coercion and bullying in Shahanshah Nameh and do not have any roles in determining their fate. This indicates the suffocating atmosphere of the Mongols' rule during the writing of Shahanshah Nameh. In addition, Shahanshah Nameh is similar to Shahnameh in components such as customs, celebration and mourning customs, and some war customs, but the ones such as the ruling style of kings, social justice, and public awareness are different in these two books.

Systemic functional theory is a cognitive approach that expresses human experiences through the transient system of language. In fact, much of our daily experience is shaped and defined by our actions, events, thoughts, and perceptions, and the language system plays an important role in reflecting the various actions and actions of the world. In Halliday systematic functional grammar, the ideational metafunction processes is of particular importance in the transmission of experiences. Application of ideational metafunction processes: material, mental, relational, behavioral, existential and expressive are manifested through verbs. The purpose of this study is to investigate the story of the king and the maid using ideational function variables which has been made possible by researching the physiology of this story in Molavi's Masnavi and identifying and determining the types of processes based on the role and mean. The research results also show that material, verbal and relational processes have more frequency and according to this, characters often have the role of speaker, audience, carrier and knower. Therefore, determining the frequency of current processes and how they are used in this story can be considered as a stylistic indicator. Therefore, researchers in this study have tried to answer the question using descriptive-analytical method, how can the poet's way of thinking and text analysis be achieved with the stylistics of the verb?

Title:Analysis of the semantic sign of the story of the king and the maid of Rumi's spiritual MasnaviPegah Rasooli *PhD student of Islamic Azad University, [email protected] Ojaghalizade Assistant Professor Islamic Azad University, RoodehenFatemeh EmamiAssistant Professor Islamic Azad University, RoodehenAl-Tanfih and Al-Maraghah Al-Linguistics:Date of arrival: Date of acceptance:AbstractOne of the novel methods in the study and analysis of literary texts is the use of the sign-semantics model. In this approach, the process of producing meaning is linked to sensory-perceptual conditions, and signs, along with meaning, become fluid, dynamic, plural, and multidimensional. Considering the interpretability and breadth of meaning that can be seen in the mystical anecdotes of Masnavi. This approach was the basis of research in the story of the king and the maid from the first book of Rumi's Masnavi. The present paper, in a descriptive-analytical manner, seeks to examine the types of discourse systems used in this story. The results of this study indicate that discourse is dynamic and discourse evolution has given special effects to the story. Discourse systems have components of action, tension, enlightenment, with phenomenal, transcendental, ecstatic, ethical and cultural functions, and the action system based on stress with high emotional pressure has the most pivotal role. Also in the analysis of the text, how to produce and defer the meaning based on the functions discussed, is explained.Keywords: Sign - Semantics, Narrative, Spiritual Masnavi, King and Slave, Action, Tension, Susa.

The anecdotes of Masnavi are not fabricated and paid for by Rumi, but Rumi has received them directly or indirectly from other sources. Some of these anecdotes, including the anecdote of "Shah and Kenizak", have been taken from non-mystical sources, but have been seized and then narrated in a very different way from their own sources in Masnavi. The most important possessions of Rumi in the sources of the story of the king and the maid are the possession of signs and the purpose of the present study is to investigate the why and how of these acquisitions.

This research is a theoretical study that has been done in a descriptive-analytical manner and the method of data collection is library. In this research, based on discourse semiotics and using critical discourse analysis tools, the ideological layer of Masnavi narrative style has been studied.

Rumi, as the narrator of Masnavi, has adapted the story of the king and the maid from four articles and Ferdows al-Hikma and other sources, and by capturing and changing its signs and using special symbols of mystical discourse, a new and different narration. It has provided. As a result of this change in discourse and style, the narrative has found an ideological and different function from its sources.

By removing this anecdote from the main context and by deconstructing and redefining the signs of the semantic system of the discourse governing the sources of the anecdote, Rumi employs it in mystical discourse and establishes his own mystical semantic system. Has transferred himself from the above story to the audience. Since Rumi"s mystical discourse is organized in opposition to the discourses of the world, theologians, cortical scholars, theologians and philosophers, in the Masnavi narration of this anecdote, a bipolar opposition is seen between the mystical discourse and the mentioned discourses; In such a way that the signs of rival discourses have been marginalized and rejected, and the signs of mystical discourse have become prominent.

In the tale of Rostam and Esfandyar we are faced with two noble warriors.  One believes that “No one will ever see me in chains alive” while the other brazely states “A king’s fetters are no cause for shame”.  What brings the two noble warriors in opposing sides and leads them to their inevitable end is the difference in their outlooks towards the kingdom and Pahlavani or heroic institution the former is raised from the Persian tradition before Zoroaster and the latter is derived from the reforms made by Zoroaster.  Employing the structuralist approach this research studies the standpoint of Pahlavani institution and its relations with the kingdom institution in the two following traditions before Lohrasp, and Lohrasp-Goshtasp.   Important features in the former are the following:  the presence of Nyram’s family as a representative of Pahlavani essence, the convincing validity of heroic identity, independence and freedom of a warrior, Pahlavan’s intermediary role between the king and his subjects, his supervision over justness, and the royal empire, and minimizing the King’s power.  In the latter tradition Pahlavan or warrior belongs to the royal family. He does not have a genuine identity and he is totally obedient to the commands and has no role except fighting under the king’s banner.  Contrary to the former Lohraspi tradition, the royal institution has unlimited power and no institution is defined and recognized to supervise king’s deeds and to threaten his avariciousness.  It seems that Lohraspi-Goshtaspi tradition is the result of reforms made by Zoroaster himself or Mobads in the name of Zoroaster.

The truth of criticism, or the chain of our condition, is the most important characteristic of knowing how to live. The precise influence and deep thought of people like Movlavi, in order to set the right goals, both in individual and social focus causes the most accurate stories in the form of "Masnavi". One of the centers of gravity of "Masnavi Manavi" is the story of the king and the maid, whose critique of the truth creates highways that the more we understand its depth, the more our inability to face it and the darkness in front of our eyes. Many descriptions of this story show the power of meanings and the resurrection of words that are poured in the form of order, and each thinker shapes it in a way based on the taste and talent of his critics and how artistically the ideas become Movlavi's companions. In this research, our different view targets the original principles of governance, and if we look at it fairly, we will realize that it is novel and different.

The main question of this article is whether myth can have an unconscious presence in the process of forming a literary form; to answer this question, first, with a descriptive-analytical approach, the two layers of mythological beliefs about the relationship between water and rain, fertility and blessing with the kingchr('39')s main function in a political-cultural system are explained. The findings of this article show that the belief in the relationship between the king and the set of beliefs related to water and rain has been an important and effective source in the subconscious formation of the most common and frequent system in Persian poetry. This article also examines the relationship between myth and literature and examines the corresponding relationship between the concept of the king and water and rain and fertility and analyzes the characteristics of the mythical king, examines the dimensions of the development of a recurring image stereotype.

Mysticism and politics are two related categories that affect each other. The combination of the character of the king-ruler with the mystical perfect man is an instance of such influence. Seeking for the perfect human model, people attributed the Divine Farreh (a divine mystical force) and divine confirmation to the kings and considered the kings as the examples of this model. This model has similar characteristics with the model of the perfect man in theistic and non-theistic religions; including having Divine Farreh and being just, wise and sage. In this study, which is a content analysis study, the effect of mysticism on the formation of the image of perfect king-human has been studied in didactic texts (Qābus-Nāmeh, Siyāsatnāmeh (Book of Government), ‎Akhlāq-i Nāsirī (Nasirean Ethics), Saadi’s Gulestān and Soluk-olMoluk). The results indicated that Mystical attitude has played an important role in characterization of the king-ruler in non-mystical (or educational) texts. Accordingly, there are two different attitudes: 1. achievable perfect king-human; 2. unachievable perfect (or ideal) king-human. Based on results, the unachievable perfect king-human has only been considered in Solukol-Moluk.

In recent decades, there has been a growing interest to study a variety of figurative attributions and simile structures from the perspective of their profound social and cultural role, regardless of their mere aesthetic function. In literary studies, figurative attributions and simile structures which are commonly acknowledged as "metaphor" in this article, usually have mere ornamental function being considered as one of the most significant rhetorical devices, while the communicative function of metaphor for conveying a certain worldview is usually neglected. In recent decades, numerous research studies conducted in various fields have revealed that metaphor is one of the major means in history by which events in the world have been constructed as reality or knowledge for human being. The researches in the above studies hold that each metaphor can serve various manifestations of reality. In another words, metaphors can arrange human perception and experience so that they represent certain worldviews to the existing events. In this respect, metaphors are formed based on implicit assumptions, views, and values in order to convey and promote certain worldviews. Relying on contemporary theories on metaphor, it was attempted in this article to provide an extensive analysis of various divine and prophetic manifestations of king in Rashid al-Din Vatvat’s Divan to show the metaphorical basis of the diverse descriptions and qualifications of king in his poetry and to illustrate the communicative means used under the influence of the original metaphor.

Abdul-Rahman Jami was one of the most influential poets of the 9th century who had worksin poetry and mysticism, following previous poets. In this paper, Mathnawi of Al-Silsilah al-Dhahabhas been studied in terms of teaching topics and moral instructions. The main questions of the research are how was the Jim's educational insight, which level of the community he taughtmore and which methodswere used by him to teach.The review of the book shows that Jami appearedboth asa preacher and sociologist in the community and tried to transfer moral teachings and instructions to the audience through criticizing the social, religious, and mystical aspects of his society. The Sufis and the Kings were the most important corps that have been criticized.He believed that the hypocritical Sufisin appearance ruin human morality through hypocritical religion. The kings also recommend the two corners follow the principles of ethics through oppressed and impolite. The most important inscriptions of the poet include advising on theology, religious practices, adherence to teaching and inscription, avoiding piety and mischief, observance of justice, kindness and goodness, condemning defamation, suppressing and oversleeping

In the present paper, Kalile and Demne anecdotes relying on King and Barhamnan’s anecdote have been investigated from structural narratologist’s point of view. In the main body of the paper, at first the threefold levels of a narrative text; that is, story, discourse, and narratology have been introduced, then the anecdote of “King and Barhamnan” at the level of “story” and its three – dimensional components; that is, plot, character, and suspense have been studied.
Plot, is one of the elements of the story, and is an indicative of the motivation and the purpose of the story events. Plot is mentioned as a map, plan, network of discursive events and pattern of story events which is consisting of base sequences and sub-sequences. These sequences can be combined in three ways in the narrative:Embedded bonding: it is a story within another story such as the stories of Marzban Name.
Chain bonding: in this type of bonding, the sequences like the rings of chain come together one after another such as the story of The Seven Labors of Rostam or Haft-Khan-e-Rostam
Alternating bonding or intercross of sequences: in this type the narrator advances two or more story in parallel.
In the story of King and Brahman, the combination of sequences is homogeneous and hierarchical that has a significant compatibility with the theory of "Dynasty" or "part" of Roland Barthes in roles. The author leads the story that has begun with an "unstable situation" in the first series into a "constant situation" at the final series (sixth) rely on positive and dynamic character and the protagonist of the story.
In the field of character the pattern of Greimas "activist" follows a hexagonal structure (the transmitter, goal, receiver / contributor, agent, retardant). Heblar (the king) is transmitter. At first it seems that the Brahmans are the subject of this story, but with the progress of story and the reveal of Brahman's nature their character change its place from subject into competition and anti-hero position; in return the doings and actions of Irandokht, the wife of the king, turns her into the subject and agent of the story. The purpose is dream interpretation and disposal of possible risk caused by terrible sleep; receptors are all those who Brahmans decide to kill such as Heblar's wife and children and his secretary and minister and the white elephant and camel ... as well as the realm of the king and kingdom; the contributor of the Belar, the minister, and Idon, the wise man; and Brahman are considered as rivals and as a retardant.
Within the scope of suspension the author has succeeded to create influential roles of different forms of suspension in creation of mixture of doubt and expect, particularly, methods such as "the ignorant of readers to the future of the characters and setting of the main character at a crossroads".
In general, it is said that Kalile and Demne anecdotes conform to the structural narratologist’s opinions. In conclusion, we can almost delineate a similar narrative structure for Kalile and Demne anecdotes.

One of the most significant and beauteous topics in Islamic Mysticism is “Jala “ and “Estejla “ and their perfection. With Ibn Araby brilliance, despite his conciseness, these two terms had been studying by the gnostics, God is the knower of own and sees himself in himself without any requirement to the others, and[while] be immersed in his perfection of glory. However since he is absolute perfection and constantly emanation, the universe is theophany of him and he has outwardness in objects. The outwardness of God in things is named “Jala”. as that, God sees himself in himself, he tends also to see himself in others, therefore he creats universe until he observes himself in manifestations, that is named “Estejla” . Estejla completely is appeared in anthropos teleios(perfect man) abode. After Ibn Araby the first mystic that deal with and explain this topic, was “Ibn fnary”. He investigated them in several part of “Mesbah Al‟ons”. Imam Khomeiny wrote several valuable interpretation in detail and explain Ibn fenary „s viewpoints in his book. So, because of importance of Imam‟s special look and interpretation, this article has been formed.

Literature, in any shapes and forms, is a base for concepts and rites which people have believed in over time. Lawsuit and pleading is one of the issues that has been discussed in literature and reflected in it in different styles. "Complain elevating" is one example of litigation that has been widely reflected in literature. In addition to historical, political and social aspects, this rite can be explored from a literary perspective. "Complain elevating" is a rite which has survived centuries, though superannuated by allusions and other literary and social traditions.Poets and writers have had political, educational and literary uses of this ritual. Consequently, it has been used for different poetic theme-makings such as a raw material, as a device to criticize rulers and encourage peasants, and as a device to reform the society. This paper aims at reviewing the historical roots of the rite and exploring the w3ay it is reflected in the words of poets.

semanticplurality of text and polyphonic nature of literary texts which are connected with the theory of intertextuality, are some of important and appreciated results of modern literary theories that have opened various landscapes for the commentators and literary critics.
From the perspective of intertextual connectionsespecially of hypertextuality, Rumi's Masnaviis a unique workamong the narrative works, as its first story, i.e. ‘the king and handmaiden’ has been the hypertext of several similar stories in some narrative and non-narrative texts. The comparison of this story to its hypotext narratives based on Genette’s theory of hypertextuality, and determination their relationship with each other, may show Maulana’s rich taste in storytelling.
In this study, the analysis of Masnavi’s narrative to its sequences of propositions and the and the comparison to the components of hypertext narratives based on the above theory show that the relation between hypertext narrative to poetic hypotexts is from the indirect and complex transformation and to prose hypotexts is from the versificative transposition.
In addition, the application of the principle of free association, which resulted that Maulana has several times used histoire enchassee (enshrined) stories and conscious semantic digressions which led to the successive failures in the story line.

Jamshid is one of the ancient Indian-Iranian gods, whose name has appeared in the Vedas, Shahnameh, and Avesta. This ancient mythical character has gradually changed to an epic character; he has descended from the rank of gods to the form of a great king in Shahnameh and Avesta. The story of Jamshid in Avesta is closer to its original myth. In Shahnameh, the character is more epic due to the influence of Muslim narrators, the poet’s religious beliefs, and coordination with the social beliefs and ideas. Studying the different aspects of this character can help understand the development process and find out the similarities and differences in the mentioned works.

When Gazan Khan made Rahdin Al-Din Fazlolah Hamedani the Vizier، Iran was in critical political and financial state. As Rahid Al-Din believed that this crisis is because of Mongol political ideas he tried to change Ilkhanate Government to a central power with the use of Iranshahri ideas. Some of his attempts to make political changes can be found in the language structure of his letters. With specific use of language، Rashid Al-Din tries to deconstruct political concepts according to Iranshahri ideas. With the use of some language tools such as naming، word choice، verb choice and conceptual metaphors، this research study three political concepts- king، people and religion- in Rahid Al-Din letters. He uses preislamic Iranian king''s names for Mongols in order to give Mongol''s an Iranian credit and to justify their domination in Iran. The study of verbs shows that Rashid Al-Din gives weak social role to people. He mostly chooses Material Action Supervention verbs for people. Rashid Al-Din use religion as a tool to improve Ilkhanate''s power. He calls Mongols kings، «king of Islam»، «supporter of Allah''s lands» and «supporter of Allah''s servants».

"The slave of merchant" is a tale in book two of Marzban Nameh. The protagonist of the tale is a slave who is commanded by his master to go on a business journey. During this journey he confronts many perilous events but each time he is saved because of his acumen power. From one side, the slave is the representation of a fabulous face of a myth, Adonis and is a symbol of the god of nature who dies and revives for the sake of his servants and the hero of an exogamy social system who has been far from his homeland and becomes the king of a foreign land on the other side.

The researchers of Mathnavi have considered the first tale of this work named “Kanizak va Padeshah” as a symbolic tale and each of them has decoded it according to his particular view. They all agree upon decoding three characters of this tale. The main dispute is over decoding the king and maid characters. Seemingly following the Kharazmi commentary، most commentators assume king as the symbol of soul and maid as the symbol of the self. In the works of Dr Zarinkoub، maid and king symbolize human being and God respectively. But some scholars believe that king’s taking shelter in the mosque and confessing to his fault is discordant with considering him as the symbol of God. Thus، there seems to be more propensity to Kharazmi’s view. After criticizing other views، this research tries to explain the view of Zarinkoub by focusing on the motif of the story and Molavi’s manner of fictionalization. It is assumed that the motif of this tale is the fault of human (maid) in knowing the true beloved (king) and choosing an unstable beloved named the world (goldsmith). There are two groups of factors which confirm this hypothesis: the factors outside the tale which include the theme of the main source of the tale، the record of such theme in gnostic texts، the presence of this theme in the works of early mystics like Attar and the repetition of such theme in other tales of Mathnavi. The factors inside the tale are: the prologue of the tale and final verse، the dilemma of the tale and its pivotal character، the denouement and conclusion by Molavi at the end of the tale.