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

As we know, the oral literature of each nation is the best expressive of the beliefs and minds of a nation and its ruling policies, and the history of any nation can be sought through reflection on the culture of that nation, including their songs. The songs and ballads that sometimes have been united by a state or a policy, or in accordance with certain political conditions, are born, such as the poems and songs of the mashrote period, which are in this period of thematic and thematic unity, and themes such as invitations to The struggle, the depiction of the curiosity of the kings, the expression of the crimes of the domestic and foreign tyrants and their treason to the Iranian nation, the praise of freedom and its martyrs, and the induction of hope for the future, the invitation to fight by helping with elements such as raising the level of people's awareness and commemorating the martyrs Way of freedom Hence, various manifestations of ritualistic, national and humanistic literacy were formed. In order to flourish these components, the mashrote age has contributed a lot, because it initiated new developments in the political and social arena, and consequently, changes in the field of culture and literature of the country such as democracy. In this essay, we try to investigate the poems of the mashrote era, the coordination of the poets as well as the thematic unity of the poems. This research has been done by descriptive-analytical (library) method.

Lyric includes a wide range of subjects and poetic formats. Specifically, it is a type of poem in which the element of emotion is dominant and naturally it has some components that have made it different from other types. In the present study, the author investigated the indicators of lyrics in the story of Homay and Homayoun by Khaju Kermani and the poet pays attention to rhetorical principles and the relationship with the audience. Components that this study has been written based on them are the personalization of "I" in lyrics and introspection, being romantic-mystical, compounds of lyrics, descriptions, and metaphors, investigation of battles and banquets, etc. which is matched by expressing some examples of Khaju's poems. The general purpose of the research is how these components are manifested in Homay and Homayoun? The result of the research is that; the mighty poet has paid attention to the form and meaning and the way they are used and their impact on the reader. This literal type enjoys a great deal of lyrics value due to the usage of battle and mythological elements by Khaju and ethical points(doctrinal) that are specific to other types, and the emergence of lyrics indicators is outstanding in the way that it covers epic and ethical indicators. The imagination power of the poet and using these features have turned the work into a lyric and made it a special one.

Black Humor is one of the most important literary genres in poetry collections of "Al-Badawi Al-Ahmar" by Muhammad Al-Maghout, which has played the most important role in the fame of this work. Black connotes a laughter mixed with pain that comes from a rebellious person to deal with heterogeneous political and social situations. The main content of black humor is biting and mocking criticism about serious, sad and scary issues. "Al-Badawi Al-Ahmar", written into the free verse, is a valuable work in terms of the use of black humor.The source of Al-Maghut's black humor is his social thought, which is rooted in bitter truths such as poverty, imprisonment, displacement, lack of freedom, and the incompetence of the rulers. In so doing, humors of Al-Maghout is full of biting descriptions that initially make the audience laugh, but at the same time, it brings deep sadness to the heart. The purpose of this study is to investigate the kinds of tricks used by Al-Maghout in black humor of "Al-Badawi Al-Ahmar”. To answer this main research question, the researcher employed content analysis method. The present study suggests that Al-Maghut used the techniques of symmetry, Irony, surprise, magnification, miniaturization, paradox, personification, metonymy, and sarcasm from which surprise and metonymy have been the most widely used in this work.

One of the most important features of Hafez’ lyrics is to apply creatively the costumez and coverings . the main usage of Hafez is for saying beautiful mystical meaning. In his way analogies,metaphores rised out of similiesnd sometimes they’re shown in the form of zrony and imagery in the article authors are going to show some interwoven forms of analogies and metaphors and to poetry imagination in words,using words and expression related to costumes for imaginary simile of Hafez thoughts are intended. It is true that Hafez has  excelled in the  used  of   elements of imagination  formes  and in   the  arrangement of words  with  spiritual industries ,he has made  the work miraculous and this art show is not for evry one. There’s no need to mention that this research has used the method of (analytic-descriptive)which itself is sub-part of the library method to explaine the poems.

An adjective is a word that binds noun to itself and explains about it. Poets use a powerful tool called adjective to express their deepest feelings. In literary works, especially poetryو The adjectives appear in rhetoric rather than in grammar, and reveal the hidden points of the writers mental. Expressive adjectives in Attar's lyric poems have many rhetorical, aesthetic and stylistic values that are important both in terms of content and coherence of the text and in terms of determining the style of lyric poems.

The present research is a theoretical study that has studied these ambiguities in a library manner, analyzing artistic-aesthetic functions, find out a proportional relationship between these functions and Attar's personal style. For this purpose, the expressive adjective of the first 400 his lyric poems have been studied based on the rhetorical functions of stylistics.

The Attar's lyric poetry is one of the most glorious literary works in which descriptive compositions, while simple, have cryptic ambiguities that make them difficult to understand. In this research, have been found some manifestations of the aesthetic applications of adjectives in poetry, such as the equivalent adjective, the distinctive adjective, and so on, which have not been mentioned in literature works and grammatical-rhetorical researches of adjectives and worth considering.

The results show that the Attar's style lyrics in artistic application of adjectives, has been an intermediate style between a content and expression styles of the language and it has the most obvious rhetorical application to creation musical effects. Also the allegories in these lyric poems have an essential role in the coherence of the longitudinal axis; In such a way that the correct receipt of the concept depends on the correct receipt of the allegories.

One of the forms of Persian literature is lyrics, which affords the widest horizon in expressing emotion and receiving emotional and sensory experiences. Tone is the color the speaker adds into the words, and in Saadi’s lyrics there exist many different tones, which are intertwined. These tones play a crucial role in expressing his artistic and emotional message to the reader. Elements such as poetic form, rhythm, syllables, the meaning of words, sentence structures, and descriptive and poetic imagery are some of the items that form tone. Any literary work contains one or more tones and understanding them is so crucial that perceiving the expressed meaning depends on this understanding. The discussion of tone is related to the field of semantics, because the debate as to whether or not the tone is chosen in accordance with the audience’s mood goes back to that field. Each word is a unit of language that conveys a message from the speaker to the audience. To convey in the best possible way, the will of the speaker and the expectations of the audience should be considered. In order to speak in accordance with his audience’s mood, Saadi expresses the most difficult meanings in the simplest way. Bringing difficult meanings in the form of simple words is Saadi’s art, and understanding these difficult meanings depends on perceiving Saadi’s tone. The present article is an attempt to understand Saadi’s lyrics through his word choice, imagery, repetitions, and coordinating rhythm. The purpose of this study is to understand Saadi’s tone in two of his poems by extracting those tone-making elements from the text. Understanding the tone-making elements in the poetry of Saadi is possible by expanding the area of research in this field, while by ignoring some of the factors his message fails to be received properly.

Naziri Neyshabouri is the greatest lyricist in the Gorkani Mogolan period and one of the most famous poets in the tenth and eleventh centuries AH. But it has not been taken into consideration as befits this great poet. The present study investigated the techniques of using kinds of simile, their frequency and Neyshabouri's attitude to different kinds of simile in analytical-descriptive manner, in terms of eight forms of simile, content, elements, compound and singular, both parties of simile (sensational and intellectual) and theme in Naziri's odes and lyric poems. Statistical and scientific analysis of each of the similes will be presented to elaborate the aesthetic criteria of Naziri's poetry.

Rhyme is one of the factors influencing the aesthetic creation, and is one of the components of the compilation of the poetry, which has a prominent position in Persian poetry, and the Persian poets have long been concerned with its application. As the Persian poetry evolves, the application of the rhyme becomes more visible and the poets have gone through a variety of words. Among those that types of rhyme play a major role in the poetry of his poetry, is Sultan Walad, who has used a variety of words in rhyme position in his lyrics. This research, with a text-oriented approach, and from the angle of statistics deals with the types of rhyme and their functions in Sultan-Walad’s lyrics; thus the rhymed and non- rhymed poems and the various types of rhyme in the lyrics of the poet, which include a considerable amount of his Diwan were studied and finally It was found that the his rhymed lyrics are much more than non-rhymed lyrics, and the frequency of all kinds of rhymes also shows that the verbal rhyme are the most frequent type of rhymes in the sultan Walad's lyrics. On the other hand, the functions of rhyme in his lyrics were also investigated from the musical, inductive and rhetorical points of and we concluded that the poet has used the rhyme for his purposes, including: aestheticizing, expressing his thoughts, and reflecting his own feelings and ...in his poetry.

Linguistic and semantic arts of Hafez is a kind of poetical resurrection, making his poems so mysterious that it leads to many interpretations and suspensions in general and some in specific. This mystery contains the levels of syntax and compounding. In Rainbow poem of Hafez consisting of ten lines, he uses the word of consignor and are usually called the consignor poem in this article. From amongst the poems in which Hafez uses this geometrical instrument, some are simple and some are complicated. To the point views of the writers of the present article, one of the most complicated distiches of Hafez: When I told the dot to come inside the circle, It said: O Hafez! what consignor this is! Undoubtedly, many interpretators and explainers have been trying to decipher these complexities, however, they have not rendered and explanation on the given distich, or they have proposed a guess which is not justifiable. Thus, this poetic line is mysterious one. The present  article tries to decipher this mental and linguistic art  in the consignor lines as mentioned above.

An oath is an ethical and internal solemn promise with a causative arproach affected by rites and beliefs as well as by both emotional and religious practices of which a variety of different literary genres have been found in religious sources (books), historical texts and poetical works (Divan) of most poets. The most common types of it, has been reflected among the Persian poets in the form of "written oaths" or "offidatives". So that, a variety of these genres would be seen in most poetical works and books of other poets. However, there are many poets whose poems lack a considerable amount of such oaths, yet they take many oaths (verbally). Sheikh-e-Ajal, Saedi, is one of those poets whose works involve a variety of sereval oaths especially in his Ghazal (lyrics). Amony his works, "Boostan" has got very limited oaths, but "Golestan" as it was expected does not have enough oaths and it does not exceed more than two. On the contrary, his lyries contain a large amount of oaths. In Saedi's artistic style, most of these oaths have both terrestrial and emotional manifestation, and are mainly romantic ones. In other words, the fraquency of both emotional and romantic oaths in Saedi’s words are more than his religious and ideological oaths. The present stady focusing on Saedi’s works and in connection with “lingual enactment” a ttempts to investigate the function of oaths taken in his (Ghazal) lyrics and to compare its quality with Sheikh-e-Ajal’s other poems and written works.

The first Sufi poet who versified in mystical didactic poetry, after Masnavi Sharif, was “Baha al-Din Mohammad”, the eldest son of Mawlana Jalal al-Din Balkhi. He was born in 623 Hijra in Larandeh, one of the cities of Asia Minor, and was trained in Konya and Damascus. He understood the speeches of the elders and caliphs of his father, such as Borhan-al-Din Mohaghegh Termazi, Shams Tabrizi, Salah al-Din Zarkub and Hessam al-Din Chalabi; and in addition to acquiring clergyman position, he taught some lessons during the time of Mawlana life. Sultan Valad is one of the elders of the Moulayan dynasty. He has some poetry and prose works, including “Valadname” elegies, lyrics and couplet poetical works.

The meter of poem is one of the very influential elements in the fantasy of the word and leads to the dance of words in poetry, placing the poetry in a higher position than prose. In fact, the meter is a means for the poet to choose the musical field of poetry in accordance with the intended subject and theme and to affect the emotions and feelings of his audience. One of the main frontiers of success of the great poets is the harmony between the meter and the content of their poetry. In using the meter, the poet focuses on the music and its emotional impact, because the emotional impact of each meter is different. There are a variety of meter in poetry, each of which is effective in creating an attractive structure for poetry, and the music and symmetry created in poetry are not created merely with meter and rhythm. The present research, by using librarian and content analysis method, along with statistical data, studies the external music of Sultan Valad lyrics and seeks to answer these questions; 1- Statistically, what is the frequency of the prosodic meter used in the poet’s lyrics? 2- Has the poet used low-applicable and unfamiliar meter? 3- How much is the level of coordination of meter and content in the lyrics of Sultan Valad? The use of fluent and reboant meter, the use of rhyming syllables in accordance with the word tone, and the use of nominal, verbal propositional rhythm and by Sultan Valad, had brought a soft music to his poem. Repetitions have an important role in creating music in Sultan Valad’s poetry and lead to a good melody in linear order.

It should be said that due to the importance and the base that Sultan Valad has in mystical poetry, because he benefited from Mawlana, he had not been taken into consideration by critics and researchers as it should be. Only in some researches some aspects of his life and his poetry are explored briefly, which we briefly describe below: - Burgel (1383), in the book “Moulavi Jala al-Din Mohammad bin Mohammad”, describes Sultan Valad as one of the most famous biographer of the father; the son who founded the Sama dervishes sect and followed the disposition and works of his father. In this work, the aspects of Sultan's life are also presented. - Shafei Kadkani (1387), in an article titled "The Prosodic Characteristics of Sultan Valad Divan", believes that there is still no exact academic research on Sultan Valad’s spiritual heritage and mystical and poetical position. In this article, the influence of Turkish language and the language of monastery on the prosodic Bahrs of Sultan Valad poetry is studied. - Mousavi and Hojat al-Eslami (1389), in the article “Sultan Valad and his caliphate after Mawlana” describe the position of Sultan Valad position in Maulavieh mysticism. In this article, the influence of Sultan Valad on mysticism and the introduction of his mystical position are studied. In this research, which is done for investigating the external music of Sultan Valad’s lyrics and its relevance to the content, at first some samples of the poet's poems are given in terms of frequency respectively, and the coordination level of meter and content is investigated; then all the meter used by the poet are presented in sequential tables in terms of frequency and statistical data. Referrals will also refer to the number of the lyric and its page number.

The findings of the research indicate that Sultan Valad had used 26 meter in 9 different Bahr for versifying 826 lyrics, which Hazaj bahr with 325 lyrics and 34.39% has the highest frequency. Subsequently, Ramal bahr with 133 lyrics and 10.16% is ranked second, and Rajaz bahr with 130 lyrics and 73.15% is the third. The low-applicable and unfamiliar meter used by the poet is only 3, with a frequency of 9. Most of the meter used in Sultan Valad Divan are short, lively, joyous and sinuous. The meter “Mafaeil, Maqsur’, with the frequency of 150 lyrics, has the highest frequency. Perhaps the reason for using this much is the proper environment of the Sama circle as well as the inner emotion that forms the lyrics music before its words. Also, after extracting of meter and bahr and thinking about the poems’ themes, the coordination level between meter and content in Sultan Valad poetry was investigated. It was found that he used the appropriate words, syllables, poetry options, rhymes ant rhythms to fit and coordinate meter and content. With the awareness and knowledge he had about poetry music and prosodic bahrs, Sultan Valad had chosen the bahr appropriate with the theme and subject in order to add to the effect of his speech. Among the studied poems, only in a few lyrics, fewer than a dozen, there is not much coordination between meter and content; meaning that the meter of these poems is not selected in full proportion to the content, although they can simply be neglected.

Shushtam mountainous city, one of the suburbs of the city of Sabzevar, with a history of about two thousand years, is located thirty kilometers south of Sabzevar and on the northern slope of mountains called "Kohmish". It forms part of the Sheshmad oral literature, songs and local dubits. These songs are: Romantic, Expensive, Religious, Social, Individual, and Requiem. The purpose of this article is to examine the content and structure of the local poems and songs of the local people, which have been transcribed as oral literature and from the language and content of the local people. The method of gathering information was through interviewing people. Each term is described as far as possible except for its operational definition, meaning and meaning. The population under study was the people of Shushtam town and its neighboring villages. Part of the results of this study is the decline and disappearance of these poems and songs. The reason is that the statistical data are consistent with this.

Mohammad Taghi Ziyah Leshker, known Danesh, is one of mighty creators of Imagery, rhetoric and novel composer of later Qajar and early Pahlavi period. His anthology includes odes, lyrics and sections which are influenced by innovative Persian and Arabic rhetorical books. In this respect, his exquisite spiritual lyrics possess especial prominence and certain beauty and distinguishes him from all other innovative poets. The used spiritual literal imagery and novel rhetoric puts specific influence on the reader as though the ultimate aim of the unmatched and super lyrics is to flaunt imagery, rhetoric and novel composing. Reflection on Danesh lyrics, one could understand the noteworthy and impressive traces of prior rhetoric composers and books influence in Taghi Danesh’s tender-mindedness, imagery and aesthetic effects of novel spiritual rhetoric. Reading his lyrics manifests his deep knowledge of Persian and Arabic rhetorical books and discloses his inclination to create proportionate spiritual novel rhetoric. This study tries to address and argue novel rhetoric in Taghi Danesh lyrics and avoids verbal terms to be far from speech prolongation

the most important term of Yung's psychology is the oldest example that has various types such as: self, hero, shadow, mask, anima, animus and old wise man. Among the ancestors of the samples, what is said in the present article is Anima, "the elemental element of the embodiment of all the psychological tendencies of feminine in the soul of man, such as: feelings, ambiguous mood, prophetic revelations, irrational sensitivities, the ability of personal love, feelings Towards nature, and finally, relationships with the unconscious. " (Jung, 1377: 270) Anima has two positive and negative sides. The positive side of it will make people achieve excellence, perfection and individuality. On the contrary, the negative motive of Anima, the annoyance of the human body and beyond, is the cause of his destruction. In the classical Persian literature, Anima is the same fancier fanfare. Attar, in his sonnets, has always spoken of a lovers who, in the dream and awakening of the kingdom of his mind, always calls him to himself. Hence, Anemian signs can be examined in his poem.
2. Research the present study is descriptive-analytic. In order to co-ordinate the discussed topics, the old ideas of Jung's model of Anima are firstly classified as Anima. Then, with regard to the components described by Jung, the signs of Anima in the lyrics of Attar and the character of the mistress of tracing, have been reviewed and compared. To illustrate Jung's views on his books, he has also used credible sources to analyze his views.
3. in the ghost of Attar, Nishapouri, she has appeared in five cases, which are referred to below:3-1. Beloved and Individual
in the process of individuality, man dies of "me" and reaches "himself," or his own original self. (Jung, 1377: 245). In the writings of Attar of Neyshaburi, the descriptions given from the joinal stage are very similar to the process of individuality. In Islamic mysticism, they are told to someone who "has joined in God and is related to ethics ... [also] is connected with lack of perception." (Goharin, 1388: 10/191) In Attar's eyes, the lover at this stage, due to the affection of the beloved Anima, reaches the peaks of spiritual growth. As a result of the removal of the veil curtains, he reveals some factual facts about him and deserves the human personality aspects He will emerge.
3-2. Beloved and Freamkhani
the ancient presence of the beloved Anima in the ghosts of Atar is very prominent, especially when the poet deals with the emotional experiences he experiences in his unconscious. Experiences that are present in the individual entity of Attar, but as a common heritage to other people, are worth attention. The poets use the various tools to describe these experiences. "Therefore, the poetic tools, the best example of pursuing emotional patterns in individual lives and poetry themselves, are the most important venue for exploration of contemporary human experiences with ancient patterns of the past generation." (Horri, 2009: 177) On this basis, the presence of the beloved Anima in the poetry of Attar is the common heritage of humanity that has come from the distant past to the unconscious of Attar, and he has described various aspects of it in the form of poetry. One who loves the hearts of all the lovers of the world and speaks to him about every whim and dowry.
3-3. Expression of the Beloved in Dream and Dream
Jung believes that, because Anima is an "inner side" of the soul, (Allner, 1993: 58), it always becomes dreamy and dreamy. (Jung, 1368: 109) Attar, too, often speaks of a lover in the guise of ghosls, which appears to him in an unconscious manner and can communicate with him in his dreams. A visit to a beloved in the Valley of Dreams is a dream that he loves to accomplish, waiting for his life. The poet believes that the person who succeeds in seeing a manifestation of Anima is beloved, the heat of love will make all of his infidels believe in faith.
3-4. Spirituality and eternal and eternal beloved
Beloved Anima, in the eyes of Attar, acts like a rescuer who, in moments of frustration, cries for a man's existential shout and brings him back to life. Yong also believes that "whenever a man's reasonable minds fail to recognize the truths that are hidden in his subconscious, he is helpless to bring them out. Even the role that feminine feminism plays in the matching of the male's mind with intrinsic values ​​and thus makes the way more inferior to the angles is more critical. " (Jung, 1377: 286) From the viewpoint of Attar, his beloved has a life-giving spirit, which he even uses, and Moses possesses insight. Anima of the beloved in the sonnets of Attar, when he reveals himself, appears the new doors of the universe of meaning, and all the physical states of the human body are transformed into the Enlightenment of his devotion.
3-5. the Negative Way of Beloved
the beloved Anima appears in two different forms: sometimes negative and annoying, and sometimes positive and calming. This feature is in line with Jung's approach (Shamsa, 1370: 231), which states that the male psychological man in this board mentions men in a destructive game, and that the effect of this psychic trick is manifested in all male conversations, and freedom Exercise and emotional effects of the sexually transmitted genitalia. (Jung, 1377: 284) The figure Attar provides to his beloved is sometimes accompanied by love and love, and it depicts an ideal image of it. Sometimes, he also reveals his bloodsucking up and his negative side.
4.Anima is the embodiment of the female soul tendencies of the man. Attar, as a faithful and mystic poet, speaks of a lovers who have a spiritual and profane structure. This is apparent in light of the metaphoricalness of the mystic language. In Attar's eyes, the lover, relying on the attention of the beloved Anima, reaches to the peaks of perfection and spiritual growth. As a result of the removal of the veil curtains, he reveals some factual facts about him and deserves his human personality. Find out The lover has a certain path in the ghazals of Attar; it means that he first involves terrestrial concepts, and in line with the approach of the lover (solicitor) to the individuality stage, the epistemic aspect of it is added, and eventually, in a final destination It finds only that it contains spiritual truths. He has made great contributions to Pierre Farzaneh this time. The presence of the beloved Anima poetry in the poetry of Attar, as a common heritage of human type, has come from the distant past to the poet's unconscious, and he has mentioned it using the artistic means of poetry. Jung describes the manifestation of Anima in two modes of sleep and dream. Attar also often speaks of a livelier who appears to be in a state of indifference to him and communicates with his dreams. Along with Jung's approach, Anima's beloved in Attar's eyes, as a savior, in the moments of despair, he casts out to the cry of the existential of man and returns him to the cycle of life. This approach illustrates the positive and clear functions of Anima's beloved. Attar has mentioned the negative qualities of Anima. The poet addresses to his inner self, that if there is a confrontation, I will be disturbed and astonished, and that sadness will come across me.

Amphibology is one of the important elements of literary language and one of the most widely used forms of imagery and has been considered as a kind of semantic deviation. Amphibology is created on the axis of adjacency and collocation, and the language can become mysterious with the help of it. Amphibology can also be regarded as the most artistic and mysterious literary technique used by professional poets and lecturers. Undoubtedly, the recognition of the wonders of this imagery figure has led us to identify their mysterious words. In Persian literature, Hafez and Khaghani are considered to be the forerunners of this art. Shawkat Bokhari is one of the poets of 11th hegira century and one of the capable Persian poets of Transoxiana. His poetry is full of fantasies, and most of the imageries can be found in his lyrics. This research seeks to examine different types of amphibology through a glance at lyrics of Shawkat Bokhari.

This article aims at analyzing and comparing Persian Pop Lyrics. In this research, a descriptive-analytic method is used, and the analysis is done according to Baker (2006) which is based on the integration of critical discourse analysis and corpus linguistics. Independent variables are genre, gender of the lyricist, and time, and dependent variables are lexical differences including frequent words, keywords, and collocations. The hypotheses are as follows: there are significant quantitative and qualitative differences in lexical choices between two genres (social and love lyrics). Gender of the lyricist has a significant impact on lexical choices in the lyrics; Pre-revolution and post-revolution lyrics are significantly different regarding lexical choices. In order to answer these questions, a corpus of 1000 Persian Pop Lyrics has been analyzed by analytical tools of the corpus analysis software, Wordsmith, and SPSS. The results of this investigation are as follows: social and love lyrics have significant differences in terms of frequent words, keywords and collocations. Gender of the lyricist has a significant impact on the lexical choices in the lyrics. Also, the results show a significant difference between pre-revolution and post-revolution lyrics regarding the lexical choices. So, all of the hypotheses in this study are confirmed.

Hafez has long since been known, and researchers areeager eloquence and beauty aspects, beautiful poems of the great poet explored and put on display, but the beauty of it, the words of Hafiz, resurrection and its beautysurprisingly novel. This study is trying, with the current study and explore specific techniques to use its poet, Hafez art word shown in the increased load music and other aspects of the beauty of his words portray. In general we can say that the verb in the poetry of Hafez, one of the most significant factors, illustrator and poet is done by combining various actions of the imagination, music is Ragvshnvaz his word.