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

When it comes to dealing with the concept of love and romantic relationships in Persian literature, the elements of death and loneliness also come into view. Being somehow masochistic, passionately in need of love and in pain and suffering, the lover"s character in Persian literature often feels lonely and dies from the sorrow of love at the end of the story; either committing suicide or being killed. These two items also play a key role in story development of romantic epic poems, by some means paving the way for the manifestation of poetic imagery. The present research examines the elements of death and loneliness in three main well known romantic epic poems in Persian literature: Vis and Ramin by Fakhruddin As"ad Gurgani, Khosrow and Shirin and Leili and Majnoon by Nizami Ganjavi. It aims to analyze and describe the abovementioned elements in these poems with the consideration of psychological, fictional, cultural, literal points and the like.

This research uses a library-based descriptive-analytical method.

In Persian romantic epic poems, "love" provides a foundation for different dimensions of the element of "death" and "loneliness". In fact, these two elements are directly related to the ups and downs of romantic relationships.

The dimensions of loneliness in these works include "loneliness as a result of the separation from the beloved", "loneliness as result of betrayal by one side of a romantic relationship", "voluntary loneliness and solitude as a result of failure in reaching the beloved", "preferring loneliness to unlawfully reaching the beloved" and "loneliness because of unrequited love". The dimensions and causes of death in these works can also be summarized into "wishing for death because of separation or failure", "committing suicide for the sake of love or the beloved"s death", "death from the conspiracy of the opponent in a love triangle" and "death from old age".

Pun is one of the most important figures of speech and tricks that link Azerbaijani style poetry to its true essence, beauty. Nezami Ganjavi is one of the most prominent Persian language poets who has been able to make use of all of his pun capacities in musical and aesthetic richness of his works. In rhetorical books and stylistics, despite the presentation of various types of division, there has been little mention of aesthetic functions. Therefore, in the present article, with a descriptive-analytic approach, while presenting the exact frequency of puns in the poetry of Leili and Majnoon, Nezami's skill and ability to utilize various functions of the genus is analyzed and evaluated. According to a total of 1964 studies, a variety of pun were found in Leili and Majnoon, of which the pun mozare with a frequency of 35.9 and pun lahagh with a frequency of 31.3 were the best areas for Nezami's art. The result of this research suggests the creativity and diversity of pun's functions in the context of Nezami's poems like: strengthening the inner and outer music of the work, verbal and semantic coherence of speech, the literary resolution of the audience due to the understanding of the semantic relations of the components of the word, an artistic companion to other figures of speech(repetition, alliteration, allusion, antithesis) in a couplet.Keywords: Pun, Figures of sound, Rhetoric, Nezami Ganjavai, Leili and Majnoon.

Various aspects of popular culture in Persian painting is a tradition that has been used for centuries. Basically, realism and folk culture have been considered after Herat school. Painters not only use these cultural elements to create the atmosphere of their works, but give them a metaphorical role to present a semantic layer to the audience. This function is mostly seen in mystical paintings through the display of the appearances of folk culture. Humans and their material tools, in the actions and situations of people, are the subjects of folk culture that play a role in the association of meaning. So, paying attention to ordinary people, especially in the rural and non-urban areas, and using them metaphorically, help the better understanding of the main theme. In this descriptive-analytical study via the case study method, various elements of folk culture in a painting of Mirseyed Ali entitled "Taking the Majnoon to Leili's Tent" has been read metaphorically from the perspective of folk culture.

Time narration is one of the basic issues in narratology. The main theorist of this issue, the French structuralist ,is Gerard Janet. For him, time plays an important role in narration progress. Janet has studied and analyzed time in narration, around three axes of order, duration and frequency. Each of the three factors defined in these axes, creates one of the three speed states in narration: constant speed, positive and negative speed. “Leili and Majnoon” story by Hakim Nizami Ganjavi has been versed in the sixth century. The study of this story based on Janet’s narration and time theory indicates that negative speed has the most important role among the mentioned states and Nizami has tended to redundancy and reducing the narration speed more than brevity and positive speed in narrating this story.

Models for Analyzing Narration Pace Abstract For Genet, continuity, as a quality of time, is the second among his three desired sections. In continuity, some of the devices used for increasing or decreasing the narrative in length are manifested. Narration pace, which controls the length of an incident and the amount of pages dedicated to it, is one of the main factors to be analyzed when discussing continuity. To do so, one has to one has to divide the time interval has to be divided by the text size and the result shows the positive and negative momentum as well as the narrative criteria. In the study at hand two more methods for gauging the narration pace were proposed according to which the narration pace for Leili and Majnoon Collection, which is Nezami's third work and was written after Khosro and Shirin, was measured. 

Nezami is one of the greatest poets and writers who tried his best to employ different functions of the dialogue to characterize and express the emotions of the characters of his stories. The story of Khosrow and Shirin is a good example in this regard, but the cultural geography and sovereignty of the pure Love, has prevented transparent and direct dialogue between the lovers of the story in Leili and Majnoon story. To solve this problem, Nezami uses techniques such as monologues, dialogues between the main characters and minor characters, and letter writing. Amir Khosrow Dehlavi has imitated Nezami in this regard. The questions raised in this research are then regarding detecting the outstanding differentiating features of the characters of the two works and the differences of their ways of characterization. To answer the afore-mentioned questions, a descriptive-analytical method of research was employed to compare and contrast the indirect dialogues between the characters of the two works. The comparison and analysis of dialogues between the lovers of the two stories showed that the attitudes of the two authors towards this issue are different, which led to two different characterizations. The lovers of Nezami’s story are loyal to the social norms and pure love. Leili talks less and eloquently and her talks show the face of a nomadic Lady. Majnoon, with all his insanity and love, enjoys most of the characteristics of a patriarchal society, with all the madness, but it seems that a century-long distance between the two poets and the influence of the Indian court has made the lover's personality distant from the main story and more to the ordinary people of the contemporary era. The change of some of the events of the story is at the service of Dehlav’s special views in this story.

The narrator is a fundamental concept in analyse of the narrative texts and Focalization as an interstitial element, from one side connecte to the story and the characters and from other sid connecte to the narrator's speech. Pari Saberis leili o majnoon in dramatic persian Literature and Ahmed Shoghis majnoon leili in Dramatic Arabic Literature Dramatic as other dramatic text consists of dialogue and scene descriptions. Saberi and Shoghi in the dialogue, hide themselves behind his personality that creates and contrast in a scene description directly speak to their readers and give them different information to better understand the interaction and to better visualize . Thus we can say that found both the External and Internal focalization in leili o majnoon and majnoon leili. in the description of the scene, the author does external focalization and in dialogue by the plays characters Internal focalization is done. However, the considerable differences in the model of internal focalization and focalized phrase of these two works connect to the modern and classic plays and playwriters ideology and gender.

Leili and Majnoon by Jami is one of the most famous works similar to that of Nezami. The present study, which is based on analyzing the content, tries to find the similarities and differences of these two works of art, regarding imagery of the beloved. Based on the findings, it was reveal that:The image of beloved in both works is similar regarding using the virtual images and figurative language such as metaphor. Both poets, in using metaphor, most of all, have used shape, color, and the size which are based on the vision; whereas, Jami has used metaphors which are based on smell. The two poets, in using the type of image, have clear differences. Nezami is mostly fond of presenting “Figurative image” of the beloved while Jami, in addition to imitating these pictures, uses more and different “Verbal images” about beloved. Through highlighting figurative image and expanding its scope by the help of different knowledge such as science, medicine and folk belief, Nezami adds to the romantic aspect of his work; however, thanks to different verbal images, Jami images adds to realistic aspect of his work; therefore, his story, in terms of believability, is easier and more realistic.

Azerbaijan is the origin of many lovely stories; "Khosro & Shirin", "Asli & Karam" and "Mohammad & Pari" are great samples of these stories. "Asli & Karam" is one of the lovely stories in Nezami's hometown which is common in Turkish language among Azerbaijani people and is of many similarities with Leili & Majnoon who are symbols of love. "Asli & Karam" are also symbol of love in Azerbaijani literature. The present article studies "Asli & Karam" in Turkish and Leili & Majnoon in Persian comparatively.

The aim of this article is to criticise and analyse the above mentioned play.The focus is mainly laid upon the presentation of the necessary elements in a theatrical text and their representation in the play written by Pari Saberi. She has tried to add some elements and characters into the story, or alter the story in a way which is more agreeable with today’s individual and social life. For this purpose she has made the story and the characters seem Iranians.
The result shows that she has been able to proceed according to the principles of play writing and by some changes in the text has managed to veer the play out of monotonous state.The play has been formed coherent and consistent and well organized, but creating the right atmosphere and character development still needs some attention.

Abstract the term INDEX firstly was introduced by Roland Barthes in Narratology in the second half of the 20th century. From the point of view Barthes who is a structuralist, index is one of different kinds of functions in narrative texts. This type, although would be weak from act’s view, it could be rigorously necessary as the narration’s complimentary unit, for the Reinforcement of the space, color and the psychology of characters. However Index initiates from Western modern fiction, it exists in Persian classical literature as well. Sometimes index is correspondent to prologue which there are many instances of it in classical fictional texts. Nezami used index intelligently in whether prologue or otherwise in both “Khosrow and Shirin” and “Leili and Majnoon” epopees. In these epopees, elements of Prologue and Indexe Relate with Atmosphere and subject entirely.

Maktabi Shirazi is one of the poets at the end of the ninth century and the earlier times of the tenth century; he is the most famous nazira processor of Nizami's Leili and Majnoun. The outstanding characteristic of his work is the way of proposing the features of pure love (Azra love) among the best imitators of Nizami and even Nizami himself.
According to the famous tradition of the prophet, pure love has three main features: 1.a pure and chaste love without any sensual mood, 2. laying hidden the love secret, 3. death of lovers in the love way. Other features include: intensifying love during time, trying to see the beloved even with the cost of losing life, the presence of inhibiting factors, amorous passion extremity, the sponsors, the ridiculous and the jealous, not accepting advices by the lovers, making love mad, and finally death of lover and beloved. Besides mentioned cases, other unique features of Maktabi's narration about pure love include that this love is naturally existed in the lover and beloved from the beginning of birth; not tolerating others and in some cases the closeness of pure love to the real and cosmic love.

Maktabi Shirazi, the ninth-century poet, his fame reached with effect "Leili and Majnoun", a work written in Masnavi and Anecdotal plan. The poems such as "Leili and Majnoun", is the boundary between the anecdote and the art story. That's why they sometimes justify a claim about story elements or to assign a title, is not so easy, especially in divisions, there is also the possibility of duality, in some of the same story. However, the main purpose of this research, the search for the story elements of the system and analyze them. Elements such as, plot, point of view, characters and its variants, theme, dialogue and its various styles, tone, atmosphere and scene of the story. Investigations showed that, this narrative themes are romantic and its story is an love virginity; The structural elements of the plot with dialogue between the characters and sad space is perfectly synchronized throughout the story. the point of view in this narrative, is external (omniscient). also Characters are more static, except the main characters of the story, the characters are dynamic. Another feature of this story is consistent with the tone and theme of the narrative. Because of the nature of this story, It constitutes a huge amount of dialogue element.

The aim of the present article is to show the comparative literature's role at Islamic literature service and then its transfer to all around the world; because since the formation of comparative literature recognizes Islamic literature as a global one and its effect on the global literature. Thus we also may draw the main lines of the present article as follows: the factors which helps and will help the Islamic literature globalization.Leili & Majnoon, A thousand and one night, Kalileh and Demneh study the effects on Divine Comedy. It shows that Arabic literature and books have had deep effects on western literature.

Lover’s person's life, often the source of the narrators and transmitters. For this reason, love stories in literature people of different have occupied a large space. The stories have many similarities in structure. Layla and Majnun story is the most famous and most ancient Arabic tales has a major influence in the development of Persian literature. Iranian literary love stories and the stories of many who have been created with the same name, the story is in Persian literature in terms of structure and content, have many similarities with the Arabic novel, it is the story of aziz and negar. Outlook tries to comparative analytic method, coherence and diversity of the stories from the perspective of structuralism review. The difference is similar to the story of Leili and Majnun Arab and aziz and negar story, according to the American School. The as a result aziz and negar story, a group of folk love stories of literary influences are not given formal.

The term Morphology, as a method of analyzing and categorizing text elements, emerged in the field of structural analysis, first with the studies of Vladimir Propp on one hundred Russian folk tales. This method is very convenient and useful for functions recognition, specific functions and text movements and the combination and relationship of the elements. Jami’s Leili-va- Majnoon is one of the valuable narrative texts of the 9th century so that the narrative aspects of this poem could be analyzed in the area of Structuralist literature. In this study, it has been attempted first, to determine the functions and specific functions in Leili-va-Majnoon story and then to categorize its structural elements by considering functions and the way they are related, for the main purpose of indicating story movements and then demonstrating the morphological structure of Leili-va-Majnoon story.

Symbols are part of the culture of a nation and in order to better understand the myths and literature of that nation, we have to realize the meanings these symbols convey. Symbol, sign, is an indication having a meaning beyond what it signifies. Symbols can be observed in all forms of nature cases in point are animals, human beings, plants, things, etc. This paper tries to answer the question that what the significations of the names of birds are in Khosrow and Shirin, and in Leili and Majnoun? How have each group of the birds been presented in these two works considering their symbolic meanings? And how to find if there is a relationship existing between their symbolic meanings? To find answers for the questions raised, first, these two works have been studied in detail, next the symbolic meanings behind the words and the figurative meanings extant in these two works have been demonstrated, then meanings with lyrical themes have been determined, and in the end, the comparison between the symbols and their meanings have been presented in Fig.

This  study  is  an  effort  towards understanding  the  historical  nature of “Ozri Love” and its reflection in the lyrical poem of  Leili and Majooun. Being a supreme human love, the virtuous love holds an outstanding   position both in mystical and poetical literature. In spite of little historical –literary evidence, this  kind of love still manifests itself in mysticism and sometimes becomes an excuse for approaching to the ocean of true knowledge. This love is a beginning for a new way of affection that causes the soul of the lover to be cleaned and consequently influences  Sufia texts by didactic educations.

The element of atmosphere in a story is one of the effective factors on readers that cause exiting. Sadness fear، love or hate. On the other hand atmosphere has a close relation with other story elements such as personality، dialogue، accent، plant،…. so that almost all of the elements have an important in making such atmosphere. On of the stories in which sadness expressed effectively such atmosphere is Nezamis'' Leili and Majnoon. This work is outstanding story in persian literature and using a lot of similarities is a best to prove the saying. Among inspiration، Maktabi Shirazis'' Leili and Majnoon (895) is one of the best and most beautiful of the similarities. In fact one the most important reasons that this book is great and beautiful containing exciting scein and new atmosphere، atmospheres that add attractive narration to this book by using comparative analysis. This paper aims to get familiar with Nezami and Maktabi،s atmosphere and analysis which has done in these two books representing sadness، grief