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

Seyyed Mohammad Rezamirzadeh Eshghi, an Iranian poet, writer and journalist, was born in Hamedan in 1273 AH. He is one of the famous and passionate figures of the constitutional era in Iran. Emotion and music are inextricably linked in his poetry, and literary arts and semantic sciences play a prominent role in his poetry. What is evident in Eshghi's poetry is the social aspect of his poetry in such a way that the socio-political content of his poems is connected with the life of contemporary people. In this research, the author is trying to evaluate and analyze all kinds of news and essay sentences using western words in love poems in a descriptive-analytical and library method. The results of the research show that Eshghi has criticized the social and political issues, the chaos of the country and the interference of foreigners in government affairs in his news and essays by using western vocabulary and by using imagery and creating themes, using the language of humor and irony. use poetic images in the service of his social and political ideals and express sharp political criticisms in the form of news and essays.

The term carnival was used by the great Russian critic and philosopher Mikhail Bakhtin in the 20th century to criticize and analyze literary works. This word was presented to him as a culture; A culture that was brash and open, free and unrestrained, played jokes and games against the domination of everything powerful and holy and imposed beliefs. According to Bakhtin's theory, the components of carnival in the works of Dehkhoda, Mirzadeh Eshghi, and Nasim Shamal are grotesque realism, laughter of death, non-religiousness, relativity and the juxtaposition of opposite concepts and the promotion of polyphonic space. According to the nature of the topic and research objectives, this research is in the field of descriptive, library-documentary research, which has an applied nature, and in its example, two works by Dehkhoda, one by Mirzadeh Eshghi, and one by Nasim Shamal are examined. The sampling method is selective and the data collection method is documentary. By using a descriptive-analytical method, after introducing the carnival and its components in Persian literature, the analysis of the carnival process in the considered works is done by citing examples.

To change the way of expression and develop the meanings and themes of their poems, poets use many and diverse methods, and a group of these methods are called "arts of expression". There are other methods for effective expression and ways of developing meanings that are not specifically and specifically discussed in the topic of literary arts, but they are just like the arts and sometimes more effective in creating effective poetry. These methods are referred to as "meaning cultivation ways". The ways of cultivating meanings and innovation in the way of expression make the literary work come out of monotony and make it accepted by tasteful and interested readers, for this reason, no matter how diverse the speech is, it will be lively and dynamic for the attractive audience. The main goal of this research is to find the ways of developing the content in the poems of the constitutional era.

Study method In this article, which is written in a library method, the methods of developing meanings in the poems of the constitutional era are examined and analyzed.

Among the ways of developing meanings, in the poems of the constitutional period, anecdotes and narratives, descriptions, similes, similes, and satire are used more.

The poets of this period pay a lot of attention to details and nature in their descriptions, and they have used the art of space creation to mention the maximum details and to accurately describe. Constitutional poets turn to allegory and humor to communicate their reform ideas and revolutionary messages and use it as one of the ways of developing meanings.

Seyyed Mohammad Reza Kurdistani, known as MirzadehEshghi, is one of the pioneers of Neo -poetry in the constitutional period, who mentions political, social, cultural issues, etc. in his poems. For this reason, his poems can be analyzed based on a sociological approach. The review of MirzadehEshghi's poems tells many political, social, cultural, etc. facts of the poet's life period, which is the focus for showing these social and popular issues of contemporary Persian poetry can be seen in his works, especially in the poem "Three Tableaux of Maryam". According to Pierre Bourdieu's theory of action, active people are influenced by inner values and institutionalized habits in their society and in this poem the combination of Bourdieu’s “Agency and Structure” and its practical concepts are revealed in the best way.The two central categories of habitual and field are the basis of Bourdieu's view in Ideal Eshghi’s poem, which the poet, by developing these two categories and dialectic analysis between them in the objective world, shows how the inequality in the society of the constitutional period is always reproduced for the sake of the wealthy people. What can be perceived from this poem is the social and cultural conflict and contradiction between the concepts of tradition and modernity, which in this poem is also expressed particularly as a social action of Bourdieu's cultural theory. The subject that doubles the importance of this comparative comparison is MirzadehEshghi's view about social issues, which puts him unlike his predecessors, and like Bourdieu, in the front line of the fight against the domination system.

Nostalgia is one of the most widely used words in literature, which is used in Persian to mean loneliness,return to the past. Due to the similar conditions of the twentieth century in Iran and Iraq, there are commonalities between their literary themes. Mohammad Reza Shabibi and Mirzadeh Eshghi; There are two prominent poets of Iran and Iraq in twentieth century who have many similar foundations in the thems of nostalgic literature. In the present article, based on the descriptive-analytical method and the American school of comparative literature,First, themes of nostalgic literature were extracted, then some results were obtained: Both poets, when they find it impossible to Realization of the positive values of society, they experience failure and death thinking and fell sense of nostalgia. In their view, a return to the historical past and an ideal society is the key to restoring the country's identity. Unlike Shabibi, Eshghi hopes for tomorrow in which peace and friendship will covers all the jars and oppression and hypocrisy will be dismantled.

Hafez is not a poet like Khajoo that apply a word in his poem, merely in order to create double entendre, and He is not follow Khaghani's way in paling the grace of poem through abundance of scientific expression. Rather his poem is balanced synthesis of scientific aspect of word with poetical dimension of speech. Hi use this rhetorical figure (ihām) on the basis of his detailed Knowledge about scientific texts. So it is necessary to survey the series of couplets which have scientific background, considering every aspect. Our hypothesis is that, there is no sort of conventional word-play thing in such couplets. Although most of our medieval knowledge in comparison to modern sciences are almost nothing, in most cases the speech of poets like Khaghani and Hafez is exactly according to the facts of those ages. In this paper as an instance, meanwhile paying a complete attention to the variant readings and Hafez poetic art also by getting help from common scientific texts of the Hafez age, we have critically edited some couplets of Hafez. If this method receive verification from Hafezian scholars, we can be hopeful that it can be effective and solving in other cases of Divan-e Hafez.

So far Hafezian scholars have enumerated various factors in creation of different variants of Hafez poems. The nature of different variants at the first step is studied considering this aspects: whether these reforms were made by the poet himself? Have the scribes had any influence in its formation? Or other factors than these two have been the source of different variants? Hafez researchers believe that the most important determinant of different variants is not the scribes errors and mistakes, but they are related to the following agents: Unwillingness of Hafez to collect his poems The evolutionary rudiments of his aesthetical points of view The socio-political situations of his time Changing of individual and particular cases into general We can expand this list by two important points: The evolution of Hafez knowledge: Perhaps the evolution of Hafez knowledge in different branches of science of his time has been a reason for the substitution of some of the variants. Hafez textual researches: This factor can be the one of main and the most effective reasons of different variants. Therefore intertextuality will be the authentic method in critical edition of Hafez’s poem. Goals: “The establishment of a reliable text” of Divan-e Hafez -like his poem and character- is an exception in the world of text edition. For edition of Divan-e Hafez it is not the scientific method to collate one particular copy of divan with other manuscripts and note the variants in the footnotes without any critical review. On the contrary, for each different variant several explanatory essays are necessary, these notes along with paying attention to the different versions of manuscripts and exploring aesthetical and rhetorical aspects of Hafez’s poem should be assessed totally, and only in this case -maybe- it is possible to perceive Hafez’s mind and language. This burden is heavy enough to be carried by only one person, that is to say it is necessary for the scholars to research the various layers of Hafez’s multiplanar poem from a special angle where the differences exist. This article is -we hope- a small step in that direction.

In process of creation of art works, Hafez does not believe in “beginning from nothing”. He is the poet of selections and motivations. Instead of using his mind power for creation of art works at the same level, as the poets before his time, through literary critical criterions, which he has learned at the schools of rhetoric and poetic specialists, he strains “Persian/Arabic texts in literary as well as in scientific fields” and as an eloquent poet, selects what he approves of mentally and linguistically, and recreates by exceeding artistic genius values, his knowledge and reflecting incidents of his time. In the process of researching the textual relationships between Hafez poem and Persian/Arabic poetry/prose as well as scientific texts, it turns out that throughout his life time, he has been researching on these resources. There are evidences in the Divan-e Hafez which show that some of the different variants have a root in his researches in scientific texts. For example: حیلت / حالت / طاقت کوه اندوه فراقت به چه حیلت بکشد حافظ خسته که از ناله تنش چون نالی است (Hafez,1387Š: 129) Varian Readings in Hafez’ Qazals (Neisari, 1385Š vol.1:291): حیلت :based on 31 manuscripts→ oldest one: Hagia Sophia dated 813 A.H./1410 A.D. حالت :based on 2 manuscripts→ oldest one: Khalkhali dated 827 A.H./1424 A.D. طاقت :based on 2 manuscripts→ oldest one: dated 817-34 A.H./1414-31 A.D. حیلت:based on The Oldest Manuscript of Divan-i Hafiz dated 801A.H./1398-99A.D. (Hafez,1394Š:14) QB: حالت‖PNSEJ: حیلت Hilat (حیلت) in this line is a single word with a double meaning (=ihām) “obvious” and “far-fetched”: 1. Means or Plan 2. Scientific term applied in the knowledge of ingenious mechanical devices (=ilm-ul-hiyalعلم‌الحیل) that refers to the ancient form of modern mechanical engineer.

Although Hafez poem is clear, it has a deep structure which a thorough understanding of his poem and deciphering his “dense poetic language” would not be possible unless through Intertextuality. This principle can be true in editing his poem. In such cases we should use the method of adding up a series of rational, eloquent and narrative reasons for the preference of different variants and critical editions. It is necessary to be noted that while we emphasize Hafez textual researches, we do not ignore his independent individual and original artistic creativity in the formation and completion of his poems.

Mirzadeh Eshghi is one of the poets of the Constitutional period whose views and opinions are very important in the political and social developments of the Constitutional period. With the aim of identifying the concepts and components of love modernism, the present study intends to answer this main question: What is the pattern of modernism in Mirzadeh Eshghi's poetry collection? His openness, courage, precision, and precise analysis of the political situation of the community are very significant in awakening and stimulating national emotions. The important point is that the lack of attention to the details of modernism, the expression of the diverse themes of modernism and paradoxical thinking, and the inner conflicts of love have caused his thoughts to not be adequately and comprehensively identified; therefore, in this research, using the "Grounded Theory" strategy, without any presumptions and biased judgment, the concepts of modernization in love poems were extracted and categorized. At the end of this process, by comparing and measuring the data and concepts, the components of modernization including 61 concepts were designed and arranged in the form of 11 components. The category of "domestic policy affairs" and Social developments with 12 repetitions have the highest frequency compared to other categories.

This article explores the elements of imagination and emotion in Eshghi poems by describing and analyzing the data obtained from library studies. The textual body is composed of 88 poems. The results show that in the discussion of imaginary forms, metonymy has the highest frequency and this finding is consistent with the poet's own prediction as the primary critic in terms of literary self-criticism. In the next positions are tropes, metaphors and similes, respectively. He did not use far metonymy, and the frequency of lexical and easy metonymies is higher than their corresponding difficult types. About tropes, based on cognitive patterns, it becomes clear that Eshghi has a precise selecting look, and he cares about the reader and attracting his attention. The frequency of tropes in the lampoons is higher than its average in of all the poems. He prefers vehicles based on "adjective and description" in his tropes. The similes are often easy to understand by due to Eshghi’s nice choices in this regard. The metaphors are also from easy to understanding types, and all of these indicate the obviousness of the simplicity in his poetry. From an emotional point of view, in his poetry, "personal self" prevails and "social self" is placed after it, and this is contrary to the general belief about the place of emotion in constitutional poetry. An analysis of Eshghi’s poetry based on psychological emotions shows that sadness along with despair and compassion are the most important emotions that dominate these poems, which define

Sustainability literature is a reflection of the reactions of oppressed nations and their dissatisfaction with the current situation; Therefore, the literature of stability, in spite of linguistic, temporal, cultural, religious, geographical and similar differences, pursues a single mission, and that has been the awakening of the masses of the people and their incitement against the occupiers of their land or its oppressive rulers. The subject of the present study is the analysis of stylistic components in the poems of Mirzadeh Eshghi and Mohammad Taghi Bahar.

The research method is descriptive-analytical; The data were collected in the form of libraries and analyzed by content analysis.

The poetic motifs of the constitutional era are almost common in the poetry of the poets of that era, but the approach of each of them is different from the other and indicates his own worldview. This is also true of the sustainability motif.

Mirzadeh Eshghi's extensive use of the manifestations of folklore in expressing the concepts and issues of sustainability has caused folklore to play a prominent role as a stylistic feature in such poems. The reflection of folk beliefs and the use of idioms, allusions, similes and proverbs are the most important manifestations of folklore in the poems of Mirzadeh Eshghi. In contrast, Bahar has not used much of the effects of folklore in his poems on sustainability and has expressed the concepts of sustainability more in harsh and literary language. Intellectually, love is more radical than spring. In the beginning, Bahar's discourse, regardless of his linguistic maturity, is like a love with a cracking language, and it represents an unyielding discourse and all the protests in Ahmad Shah's period until the beginning of Reza Shah's period. But very soon after his imprisonment, this discourse changed and criticism gave way to praise of Reza Shah. In other words, stability in spring poetry gives way to submission and silence.

Among both Iranian and Arab countries, there have consistently been poets who have tried assiduously for their homeland’s glory and freedom and have dedicated their poems so as to liberate their nations. Amongst these patriotic poems, Mirzadeh Eshghi, Miqati Al Tranblusi and Saati Al Mesri can be mentioned. They have intended to enlighten general public’s thoughts and to be the voice of their nation against outsiders or corrupt governments. Mirzadeh Eshghi as one of the poets and journalists of the Constitutional Era in Iran, was a revolutionary who utilized his poems as a sharp weapon to express his perspectives and used his poems, writings as well as his language to serve political purposes of his homeland. Miqati and Saati were 19th century poets whose works are considered to reflect their homeland’s illustrations more than any other poets. This study has been done with a descriptive-analytical approach and has benefitted from various books and articles for two main goals: To find common grounds in these poets’ works and to explain their differences in terms of imaginative styles and thoughts and their expressing of patriotic emotions. The results show emergence of people’s spirit from homeland description, modern imagination and differences among the three poems regarding their homeland’s illustrations.

The constitutional movement revolutionized the literature of the Qajar period by dramatically changing the entire structure of society. Factors such as connecting with the Western world, travelogues, establishing new schools, translating Western works, the press and more. It provided the Iranian modernization grounds, and this modernization influenced the works of the constitutional period in terms of linguistic, literary, and content, resulting in the most important stylistic changes. In this research, descriptive-analytical and library methods have been attempted; articles on social and literary situation, constitutional poetry and poets (Farrokhi, Aref and Mirzadeh Eshghi) have been presented and more on style, grammatical and structural features Just consider these poets. The mere section deals with vocabulary analysis. Research in the grammatical structure of constitutional poetry is important because on the one hand constitutional poetry has provided the context for structural and content change. And then, influenced by translation, they became acquainted with and influenced each other's European prose and poetry. Citing evidence and examples from the works of these poets, we conclude that populism has a high frequency in constitutional poetry, and although poets have a claim to modernity and modernity in literature, especially poetry; They are not well versed in grammar rules, so syntax and linguistic errors are abundantly evident in their poems.

Imagology is a scientific term in the field of comparative literature. It studies and represents the “other” and “I” in the literature of a country or that of a foreign country. The Constitutional Revolution was a turning point in Persian literature and Iranians’ attitudes. The revolution and Iranians’ encounter with the West at that time led to the emergence of critical literature in Iran. The discourse of Mirzadeh Eshgi revolves around the Iranian identity, especially the ancient Iran, which, in his view, is the era of greatness of Iran. In his works, whatever is contrary to the Iranian identity is considered as the “other,” and the way out of the yoke of this “other” is the restoration of the national and ancient identity of Iran. Thus, this research studies Eshghi’s view on the “other” in order to highlight Iranians’ opinion about foreigners and to reveal many hidden aspects of the literature of that age.

Literature, especially the poetry of the Mashrooteh era, is often of the type of social-political literature, and depicts the sufferings of society at a critical time in the history of Iran. The Mashrooteh poet is expressing agent of society and expresses its pain. These calamities, whether from the government or nongovernmental bases, are reflected in the poetry of the Mashrooteh. The main mission of Mashrooteh poetry is to unite with the people with the intention of notifying and informing, to show protest and anger against the oppressors, and more precisely to fight against internal tyranny and external colonialism. Complaint is a poem that is aggressive and aroused by the emotion of anger and expresses the poet's disgust and protest against what does not correspond to his ideals or is against his attitudes and goals. Mirzadeh Eshghi, along with the passionate excitement and passion of sensitive emotions, is so brave and anti-oppressive that finally longs to achieve his mission and aspiration at the cost of his life and was removed from the circle of anti-authoritarianism. In this article, by studying, examining, and analyzing the themes of his grievances and views and the views of those around him and future generations, we try to show how and with whom this committed poet protested, against whom, and why and how he was removed from the battlefield. This is necessary and useful for finding the role of Mashrooteh poetry and literature and the value and importance of the poets of this period.

Mirzadeh Eshghi and Gibran Khalil Gibran have reflected some of the principles of the Romantic school in their works, which have led to common ground between the works of the two Iranian and Lebanese poets. This article seeks to study the differences between the three poems of Three Pictures of Maryam (Ideal) and Mirzadeh Eshghi (1) and Khalil Gibran's Merta al-Bania (2) based on the criteria of the School of Romanticism and their success rate, they are compared and examined. Naturalism, village bias against the city, freedom, dead-end, imagination, empathy, despair, despair and idealism are among the features and principles of the Romantic school that appear in the works of these two poets.The findings of this study indicate that both naturalism and its manifestations have both descriptive and narrative expression in Mirzadeh Eshghi as well as in Khalil Gibran, and this expression creates a rich and romantic atmosphere that is not a romantic kind of romanticism, but a social and revolutionary one.

Mashrotiat’s era has had very great impact in different areas, especially in the field of Persian literature. Elders and intellectuals of the period by recognizing the global and national, new design and new themes were based on Persian literature. so in its place is notable. The poets such as Aref Ghazwini, Mirzadeh Eshghi, Dehkhoda, Irajmirza and Nasime Shomal, were creator of the new literature in the era of mashrotiat. They had an effective role in the development of major literary especially in the satire literature. The answered to this Question:  the poets how much were used the satire potential and how using the disclosure to improving the knowledge society?  Social protest and disclosing in the poems of the above mentioned poets is obvious and is common indicator. Disclosing is very important in durability of the satire poems. Conclusion shows the maximum percentage of the disclosing poem couplets belong to the Dehkhoda, and the minimum to the Irajmirza. Study of the percentage of disclosing poems of the above mentions poets showed that they are changeable between 17 to 30%. Meanwhile, the percentage of Dehkhoda and Nasimeshomal’s poems   are superior to the Eshghi, Aref and Irajmirza.

Nostalgia (Nostalgia), memorable or monuments or withhold mapping can be summarized in a feeling of bitter and sweet things, people and situations in the past, defined. The Oxford English dictionary, the nostalgia of being away that long from home is a form of nostalgia, is defined. The word nostalgia nostalgia made of two Greek words. nostos means to return home and algia means "pain" is. In this study the etymology and definition of this word - according to theories to explain similarities and differences between different manifestations of political nostalgia in shahriyar,bahar and Mirzadeh will be discussed, the various manifestations of mental problem (nostalgia away from home as nostalgia, exile, prison, nostalgia for the legendary Iranian poet, a difficult political atmosphere, killing people and destroying the city, recalling the glorious history of the past) analyzed and investigated.

The most literary critics confirm that the poetic language of Mashrooteh movement is the ordinary one, in spite of its new themes and poetic creativities. Therby, its ordinary language causes the eloquent errors which are opposite of the Persian language standards. Mirzadeh Eshghi is one of those poets who made the mentioned errors. On controry of the prior studies which looks at it generrally, this research involves the studying of eloquent errors in Eshghi's poem specifically. Therefore we understand that, in the level of word, analogy and barbarism are great errors in Mirzadeh Eshghi's poem so that it leads to cacophony. In level of sentence, also, solecism is the prevalent error in his poet. The usage of other eloquent errors are less than the mentioned ones.

Mirzadeh Eshghi is one of the famous and revolutionary characters in Constitution Period. The concept of «homeland» has repeatedly mentioned in his works and sayings. He has a kind of paradoxical view towards the concept of «homeland» in his poems. In his nationalistic poems، some themes such as: the dictatorship of profit-seekers، the hypocrisy of politicians، the reasons of the Iranian''s backwardness، the ways of fighting with the enemies، and the revelation of the true identity of the foreigners، are repeatedly mentioned. Studying Eshgi''s different viewpoints about the issues related to his country، this paper tries to analyze and interpret the concept of homeland in Eshgi''s poetry and thoughts; so that the less known dimensions of his poetry are also discovered. Therefore، according to Eshgi''s ideas and viewpoints، the key of accessing to the ideal principles of nationalism is found in connection with some ideas such as the individual''s nature and emotion، anti-Arabian ideas، public union، and opposition against fake governments، and also some «isms» such as Socialism، Darwinism، Idealism، Chauvinism، Nationalism، Anarchism، and Romanticism.

Seyed Mohammad Reza Mirzadeh Eshghi (1273 - 1303 AD. N.) Constitution and vowed known contemporary poets, statesmen of his time is prolific. This article is based on a discuss of literature of love poems, his mastery of the knowledge and different lightness axis is proved, he identifies strengths and weaknesses. A love poem to come up with innovations and one of those impressions is the first poetry attributed to him. Even in more traditional formats, as well as he is known for making Mosammt Tarjyy Sakhth. If you want to change the meter, but the demand is not desired. Most of his imagery stereotypes and old, but sometimes in the context of dynamic imagery poem flows more or less on Ashash added appeal. Among the array of literary greatest effort to promote poetry through music, puns and repetitions, and contradictions association through observation and Tlmyhhast Alnzrha. Bob also shows that there is interest allusions from ancient Iran, ancient Iranian culture and history does not recognize.

Satire as a proper means used to introduce humanistic issues, received great attention in modern literature. Like art in which caricature tries to exemplify some specific views prominently, and lead the viewers to particular concepts, in poetry, irony plays a vital role in transferring the ideas. Therefore, the poet does his best to draw the reader's attention toward intended meanings. This style of writing can be observed in Mirzadeh Eshghi 's works as well as Ahmad Matar 's, in which it plays a sensitive role in stating some crucial concepts and promoting knowledge in addressee and creating suitable atmosphere for social developments, a task not easy to deal with. This paper displays the characteristics of the concepts in two poets ‘ poetry and investigates the function of satire and its scope of application. The article will then search for some concepts which embody the technique of satire in their poetry through a comparative analysis.