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

In order to understand the lyric poetry in any language, one should be familiar with the different aspects of its most important concepts. Because despite the common meaning overlap in words such as love and beauty in the world’s lyric poetry, there are still special cultural and linguistic differences without which it’s impossible to properly understand a poetry. One of these concepts is madness and its various images and interpretations in Persian poetry. This article tries to use descriptive – analytical method to examine various aspects to show how a common word finds its way in to Language of lyrical poetry and gradually expands other concepts of the poetry tradition, it becomes permanent, and then due to its parallelism with intellectual currents in the context of history, culture and thought. It is possible not to present it as a discourse in lyrical poetry. The results of this study show how the concept of insanity travels the discours path and undergoes changes from the dictionary meaning with the passage of time and political situation, and it is promoted from the socially unpleasant meaning ti the concept of love and then in the context Mutazila and Ashari philosophical conflicts become a suitable term for anti – rationalism, and with the spreadof Sufi ideas, it becomes a valuale term. And it goes beyond the limit of a mere word and opens its place as a common discourse by expanding the semantic realm and become one of the basic discourses of Persian lyrical poetry

Animal is viewed in traditional literature as a tool and symbol that shows the human attitude. In the new perspective, however, especially in Deleuze's view, the animal is no longer a tool in hands of humans but humans must submit themselves to the animal and get close to animality. Considering the new concept, this study used the ideas of such thinkers as Deleuze and other related postmodernist thinkers to examine the characters and features of Suvashoun novel from the perspective of animality. The main themes that this study discussed are animality, childhood, madness, humanity. Regarding animality, we see Suvashoun a dialectic, where antithesis appears in Yusuf's humanity. Madness and prison are means used for liberating man from his subjectivity in prison. That is why Zari takes her vow to the madhouse and distributes it among the prisoners. Desire and body, childhood and femininity, Kelo’s personality and MakMahon's poetry, and Dr. Abdollah Khan's mysticism leaves no room for human humanity of Yusuf. He should be the contemporary Siavash, whose head is innocently cut off in the bowl of his mythical innocence. Such a Suvashoun not only ensures the liberty of his soul but accomplishes the animality of Zari.

After the spread of rationalism and rationality in the Renaissance, the importance of the concepts of poetry and poeticism in various literary works decreased day by day and any irrationality and "madness" was confined within the sanatoriums. Desperate for the results of western rationalism, modern writers tended to look at the semantic, subjective, and non-figurative aspects of poetry in fiction in order to both confront the prevailing wisdom and represent the outcry of "madness" in the form of modern fiction. From the point of view of modern theorists, "poetry" in its new definition was generally associated with an interest in abstraction and irrationality and the rejection of common standards in literature. In this article, we have tried to show the concept of "poetry" and its relation to "madness" through the stylistic components of modern stories in the novel "Shazdeh-Ehtejab". Findings show that in Golshiri's novel "Shazdeh Ehtejab", "poetry" through components such as anti-narrative, ambiguity, nonlinear timing, and attention to the metaphorical construction of sentences and elements such as "madness" and "death", takes the narrative out of the ordinary and in addition to making the text and atmosphere of the story poetic, it creates a meaningful and protesting relationship with the negation of rationalism and attention to "madness" in the modern era.

Biedl Dehlavi is one of the poets who distinguish himself among the poets of Indian style due to his special language and style. His poem is complex and mysterious, full of deep fantasy material and deep philosophical and mystical thoughts, and a special look at the world. In His poems, some words have a high frequency that is known as a motif and represents a kind of attitude toward the world. One of the high frequency words in Biedl’s poems is the abstract concept of "madness", which is a key word. In this paper, directional metaphors of "madness" are analyzed based on cognitive semantic theory and conceptual metaphor function. Biedl’s poetry is rich in complex concepts that can be described, and analyzed using the conceptual metaphor function in objectifying the abstract realms. This analytical and descriptive article, a collection of information from library method, inductive method of reasoning (except all) and qualitative data analysis and sometimes quantitative method, examines the abstract concept of "madness" in Biedl Dehlavi's sonnets based on metaphorical analysis Directions. Directional metaphors are expressed in Biedl’s poems with directional motions of rotation, up and down, inward and outward, the distance, the center of the antichrist, before and after this Java. However, in many passages, the madness is conceptualized as perplexity or occasional movement with the upward and downward motions of movement. The congruence of the metaphors used to conceptualize the metaphorical themes implies Biedl’s poetic power and his use of environmental experiences in expressing his mystical thoughts.

The present study examines Shakespeare’s King Lear according to the Lacanian Psychoanalysis specifically in the light of the Lacan’s four discourses concept. The main question concerns the madness of King Lear and the subsequent turmoil ravaging society after the dominant stability and order in the beginning. The study shows that when King Lear as the master signifier and the locus of identification for the barred subjects, is removed from the discourse, the truth of discourse is going to be revealed, the veil of fantasy is torn apart, and the king and society find themselves in madness. The researchers first present a lengthy introduction mainly discussing the history of psychoanalytic criticism and showing how dramatically it is changed after the radical psychoanalytic innovations made by Jacques Lacan. The next part is totally allocated to explaining the theory of the discourse of master and its constituent components such as the master signifier, the other, the object petit a and the truth.

An examination of Adunis' poems shows that the contrary opposites have a special status in his thinking; they play a crucial role in conveying the poet's new and favored concepts. One of the most important oppositions, which is found at high frequency in his poems, is the opposition of light and darkness. By using analytical-descriptive method, the present article attempts to evaluate two opposite and commonly used concepts of light and darkness in Adunis's poems based on mystical analysis. In this way, Adunis' special view about the nature and objects becomes clear, revealing aspects of the mystical thoughts in his poetry. The results show that concepts such as good and evil, inward and outward worlds, guidance and deviation are reflected in these two concepts. According to Adunis, one must abandon the intrinsic nature of them and unite darkness with light and reach a point where all opposing elements and multiples are united. To achieve this goal, the poet puts away material things and relies on a particular concept called "madness", and in this way, reveals the Truth and provides the knowledge of the ultimate nature of being.

Nietzsche mentions two central pillars for the genuine influential civilization of ancient Greece, i.e. , the Apollonian and the Dionysian principles. The first principle, using the logic of wisdom, has structured and formed all affairs and orders of the Greek's world, and thus contributed to the formation of the unique individuality of the Greek man. The second, relying upon passion, madness and ecstasy, has tried to reach beyond the systematized frames and limited individualities of the first principle and therefore has led to a more extensive and comprehensive individuality by means of passion and excitement. The growth and transcendence of the Greek man has taken a big step forward through the constant conflict and dialectic between these two contradictory elements. Meanwhile music and sculpture have functioned as the containers of these two elements, representing the Greek wisdom and madness. However, based on mythical, historical and cultural evidence, it must be said that the two mentioned contradictory principles did not originate in ancient Greece but ancient Iran. The present article is an attempt to shed light on the Iranian origin of the two principles by analyzing their main features. Next, their background in the ancient Iranian civilization is presented. Finally, their continuation into various Iranian cultural trends, especially the mighty trends of mysticism and Sufism, undergoes discussion.

Madness is word which is of relative validity and its present discourse still needs reformation. Thus، with a qualitative approach، while studying the notion of madness and its evolution throughout time، this research aims to investigate the temporal events influencing such notion. Looking at genealogical approach of Foucault and using qualitative content analysis method، this study reads the evolution of this concept in the works of Persian lasting poets like Ferdowsi، Nizami، Sa’di، Molavi and Hafiz، and tries to reform this discourse as much as possible. The results show that from Ferdowsi to Molavi the usage of such concept has been noteworthy but after him such attention decreased. Semantically، investigation of madness and its evolution as well as the study of changes in the features of Majnoon character show that، in all times، the poets have two positive and negative interpretations of madness (secular and divine madness) and it was the element of war which directed the vast attention of society to this notion and after the subsiding of war the ground for rationalization was provided. The exploration of Majnoon character shows that Hafiz’s Majnoon is the most egoist، Sa’di’s the smartest، Molavi’s the most happy and Nizami’s the most lover. Approving Foucault’s principle of exclusion، this study shows that the influence of temporal events on the changes of words cannot be ignored.

A long-time existing subject in Persian mysticism, which has formed innovative works, is wisdom and its contrast with mystical love and madness or the contrast of Aristotelian peripatetic school (philosophy and reasoning) with the platonic Eshragi school (mysticism and intuition). The wisdom which is confronted, and humiliated, by a mystic poet like Molana in his two eternal works, i.e. Masnavi and Shams Sonnets, is Greek wisdom which follows self and dream, acting as an obstacle in reaching the destination, and in Molana's words, “It is the incomplete love which denies love.” This does not refer to the complete wisdom, bearing the title of “wisdom of wisdom,” which has been admired and praised in religious verses and sayings and in the works of some mystics such as Molana. This paper, by referring to other mystical poems and texts, tries to examine the contrast between such wisdom and mystical love and madness.