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

Literature has been a full-view mirror of social and economic developments. According to this macro perspective, the culture of work and life and the jobs that people have dealt with in some ways have been reflected in poetry. In fact, one of the written sources that can represent traditional occupations and popular beliefs about them is literature. These jobs were very common in traditional society but now are being forgotten due to the growth of societies and the dominance of industry, and they cannot be found except in museums. In this article, we will examine common occupations in the poems of Yaghma Jandaghi. Yaghma is one of the poets who, due to the diversity of his poems and the content of his works, has paid special attention to public culture and occupations of street and market people, and through their recollections, he has nurtured novel meanings and themes. Various occupations such as blacksmithing, gardening, grocery, sewing, nursing, etc. have been reflected in his poems. The current research was carried out using a descriptive-analytical method. The results of the examination of occupations in Yaghma's poems show that his poetry, while having literary, aesthetic and meaning-making uses, also gives a clear picture of the economic and livelihood foundation of that time. In turn, it can open a new chapter of discussion under the title of work culture in the subcategory of public culture.

The mixing of many superstitious, fictional, tasteful and emotional narratives in the historical and incorruptible narratives of Ashura and Karbala has caused that, especially during the Qajar era due to the policies of the government, many superstitious and fake contents in the religious-literary texts that This event has been paid, enter. The main goal of this research is to analyze and investigate these superstitious beliefs and its political-social analysis in the religious-Ashura literature of the Qajar era.

The research method in this article is a descriptive-analytical approach based on library studies and document analysis. The statistical community of the research includes three prominent ritual-Ashurai works from Qajar period verse literature, namely Ganjineh al-Asrar of Oman Samani, Zabdeh al-Asrar of Safi Alisha, and Ateshkoda of Nyir Tabrizi.

The findings of the research indicate that superstitions, fake narratives, emotional, emotional and emotional approaches are very common in the religious literature of this era according to the necessity of the conditions of the Iranian society during the Qajar rule.

Narrative damage in mentioning the historical event of Karbala, including the emotional attention to the Imam"s farewell to his family, the sadness and despair of the Ahl al-Bayt of Imam Hussein (a.s.), fake stories such as the wedding of Hazrat Qasim in the midst of the battle, false and suspicious mystical interpretations of this event. It can be clearly seen in all three examined works.

Proverbs are expressions that existed orally among people in the past, and later writers, poets and elders of every age put them in written form. The reason for the commonness of such features is brevity, weight and desirable tone, historical and fictional roots based on experiences, etc. The purpose of the present research was to describe and explain the parables in the poems of Qaim Maqam Farahani, to introduce and introduce this literary, political and social personality and to know more about his poetry and thought. He uses Persian proverbs as a weapon in political campaigns. Unlike his contemporaries who do not mention the events of their time. In most of his poems, he talks about the events of the day. The current research was carried out using a descriptive-analytical method. The results of the investigation and analysis of the use of proverbs in Qaim Maqam's poems show that Qaim Maqam referred to common proverbs. Since the poet found the ode more appropriate to express his intentions; Therefore, the most presence of proverbs and proverbs in the Diwan of Qaim Maqam poems was observed in the form of odes.

Balladry flourished in Iran since the end of the Qajar period and at the threshold of the constitutionalism movement, and most of the ballads of this period reflect the ideals of the constitutionalists and the political and social conditions of that era. These ballads can be divided into two parts: - Ballads written by unknown poets and in most of them there is not much connection between poetry and music. - The ballads written by well-known poets and musicians such as Ali Akbar Sheida and Arif Qazvini, and there is a deep connection between poetry and music in them, which is the result of two factors: - the scientific and precise familiarity of the ballad makers with the techniques and concepts of Dastgāh (musical systems) [divisions!] and gušeh of Iranian music. – Their Familiarity with composition that has made the deep connection between poetry and music in the best possible way. The themes of these ballads are also of two types: - Romantic themes which are the natural continuation of balladry in the past era and the pre-eminent creator of such themes is Ali Akbar Sheida. - Themes that include the celebration of freedom and national goals, and the pioneer of this kind of thematization is Arif Qazvini, who created a movement in balladry, and later, people like Amir Jahid followed his style.

Although the role of the press can be examined from a social, political and cultural perspective, it cannot be ignored that the emergence and expansion of the press has had a profound effect on our language; In particular, the influence of Persian prose on the press is undeniable. The press has a prominent place in the contemporary history of our country; Thus, the study of developments related to the contemporary history of our country without considering the role of the press will be incomplete. Stylistic analysis of the prose of twenty newspapers from the early years of journalism to the end of the Qajar period is the main subject of this research. In this research, an attempt has been made to examine the stylistic features of these newspapers in five related phonetic, lexical, syntactic, rhetorical and ideological layers. For this review, we selected 50% of the text of an issue from each newspaper. In this study, the citation research method was used and to answer the questions and information required, we also referred to the content of sources and references related to the research topic in the form of books, articles and dissertations. The results show that in the phonetic layer; Some historical variables are evident. Also, the music and the song resulting from the rhyme and the phonology (repetition of a phoneme) have somewhat added to the beauty of the text. In the lexical layer; Political codes, Shari'a, and Arabic and foreign interpretations have a high frequency. One of the characteristics of the syntactic layer is that it shortens most sentences as well as uses a basic style. In addition, a high percentage of the way to remove verbs is related to symmetry. In the ideological layer, the influence of layered stylistics, lexical and syntactic layer is well evident. Also, the stylistic features of the newspapers of this period were compared with the prose of the literary genre of the same period.

With the rise of Sufism in the early Qajar period, the conflict between mujtahids and Sufis intensified. The Sufis were trying to regain their former social status, and the mujtahids did not want to give in to these traditional rivals. This caused a new wave of conflict between Shiite mujtahids and Sufis in the Qajar period. This two-sided conflict ceased as much as literary controversy and denial, until in the early Qajar period Mohammad Ali Behbahani and his sons became the leaders of the anti-Sufi discourse. From this period on, the conflict between the Sufis and the jurists is no longer an ideological conflict based on denial, but an attempt to eliminate the rival discourse. The Behbahani family played a prominent role in this anti-Sufi discourse and created a new chapter. The importance of the Behbahanis in this anti-Sufi discourse is both due to the multiplicity of anti-Sufi works of the members of this family and their act of Sufism; This action caused four famous Sufis of the time to be killed, directly or by order of Mohammad Ali Behbahani; An action that has never been seen before in history. This article tries to exclusively study the role of Mohammad Ali Behbahani and his family in strengthening and expanding the anti-Sufi discourse of the early Qajar period

Although the beginning of the Qajar rule evokes the literature of return and its end is reminiscent of clear, political and simple constitutional poetry and prose, in general, the prose of the Qajar period can be called moderate prose; That is, a prose that mixes parts of the characteristics of the past prose with parts of the characteristics of the simple and spoken language of the Qajar period. What emerges from this mixing and combination is a different way of writing that has adapted the composition and symmetry of propositions and literary and ironic phrases from artificial and rhythmic prose, and has taken the simplicity of phrases and verbs, frankness, and spoken interpretations from prose and everyday language. . Along with a regressive trend in prose writing that includes historical historians such as Mohammad Sadegh Nami, Mohammad Taghi Sepehar and Reza Qoli Khan Hedayat, there are two relatively strong trends that combine imitation with innovation. First, it is an important part of the historiography in the Qajar period, that is, writers such as Badainagar, Khaqatnagar, Mirza Razi Tabrizi, Mahmoud Mirza Qajar and Zain al-Abidin Shirvani, who made the approach to prose between the creator and the sender and combining it with phrases from the language of the time the goal of their writings. have given; And the second is the transformation of the construction writings of the previous artefact by Qaim Maqam and Fadel Khan Grossi into moderate, flexible and artistic writings and mixing it with poems, proverbs and speech interpretations, the final outcome of all these activities leads to the simple, clear and analytical prose of the Naseri period.

The manuscript "Principles of Seasons in Achieving Achievements" by Rezaghili Khan Hedayat (1215-1288 AH) is one of the authors of the Qajar era in the thirteenth century AH This work has not been edited or published yet. The book is a mystical encyclopedia in which the author deals with the course of mysticism from the past to the present. So far, two copies of this book have been introduced in the libraries of the Majlis and Bu Ali University of Hamadan. The guidance of this book is written in eighteen chapters and the attention to the eighteen principles of the book shows the essence of Sufism of the Qajar era. Given the historical and literary importance of this work, the author seeks to introduce the version of the principles of the chapters and study and the elements and components of style, expressing its linguistic features, literary, religious, mystical and historical value. Introducing this work, in addition to showing its literary status, will also be effective in explaining the scope of mysticism and Sufism.

This research was conducted by descriptive-analytical method with the help of library resources.

The author first introduces the mystical dynasties and then introduces the Nematullah dynasty and the life of Shah Nematullah Vali. From the point of view of linguistic structure, Hedayat has tried to use the language of the past and their linguistic practice in order to make his work acceptable to the general public; Hence, it has made extensive use of ancient uses of language.

Hedayat prose is mature and stable and far from difficulty and complexity, for this reason and due to the proximity of this work to our time, it does not have special and privileged stylistic features, and since this prose work, along with verses from other poets' poems It has cases of stylistic coordinates.

Tabat al-Qulub is the work of Sheikh Aladdin Naqshbandi, the last old Naqshbandi of Kurdistan and one of the most famous contemporary writers in the fourteenth century AH. It is a treatise written in 1341 AH. It is written in Arabic and shortly after writing, it was translated and explained in Persian by Sheikh Fakhreddin Mazhar, nicknamed Mazhar al-Islam, which is the basis for studying this study. So far, a manuscript of this book has been introduced. In this article, an attempt has been made to study the stylistic features of Mazhar al-Islam in the translation and description of Tabat al-Qulub in terms of language (morphology and syntax), literature, thought and content.

This research has been done by descriptive-analytical method with the help of library resources.

The prose of the book, except in the introduction, which is mixed with literary arrays and is accompanied by Arabic phrases - is a relatively simple prose in which the author does not intend to be artistic; But throughout the book, both in the introduction and in the text, the use of Beaufort Arabic words, phrases and combinations is seen.

The prose of the book is mature and solid and far from difficult and complex, for this reason and due to the proximity of this work to our time, it does not have special and distinguished stylistic features and since this prose work is accompanied by verses from other poets, It has some features of style. The Arabic compositions and expressions in the book are such that the author's Arabic's blue is evident in the first pages of the book. Testimony to verses and hadiths, numerous poetic and prose evidences, is abundant in it. I see novel industries such as puns, obedience, and derivation in Beaufort's book. So with a comprehensive look, we can look at this manuscript from a linguistic and structural point of view. With the studies done in phonetic, lexical, syntactic and rhetorical systems, we come to the conclusion that Mazhar-ul-Islam has been more interested in expressing the theme than engaging in the art of writing.

The Educated poet land of Iran in the thirteenth-century AH, which coincides with the Qajar dynasty in Iran, as in previous periods, has nurtured many poets. Due to the historical proximity of this period, there are relatively many biography of the poets available to the literary people who introduce the poets of this period. One of these biographies of the poets is Mehake shoara, written by Mohammad Saleh Shamlou Khorasani. Although the poetic style of this period is called return and has defined characteristics, the Mehake shoara biography of the poets provides to the researchers with new information by describing the poetry of thirteenth-century poets. this article introduces the poets of this period and examines the characteristics of this literary period Based on the information that this biography of the poets provides to the readers.

The Iranian folk culture originates from ancient time so that Iran can be considered the origin of ancient rituals and beliefs. Kermānshāh province is one of the regions rich in cultural heritage. Therefore, the beliefs of its inhabitants may well reflect the folk culture of this region. In the same vein, as an important element of folk culture and literature, the crystallization of this rich culture in these deeds is highly important and remarkable. By adopting a descriptive-analytical research methodology, the current research investigated the attributes of folk culture and literature in five deeds of Qājār Era in Kermānshāh Province. The results indicate that these texts are the best indicator to observe people's thoughts during Qājār period and can be clearly seen in the reflections of folk culture and literature. The expressions of professions, instruments, weight and quantity, titles, curse and prayer, measurement and religious rituals are among the material and spiritual elements that have been analyzed, identified and investigated in these deeds.

Today, in historical and cultural studies, objects and images are also called sources of information as text- document. They are important not only to supply the information of written sources, but also to provide information enabling writers of historical texts who have not been able to express them. Examining these works and reading commonly used cultural themes can help better understand public opinion and lifestyle. The themes of magic and amulet are derived from the main doctrines and ways of thinking. The common cultural and religious ties that unite them are closely tied to the popular culture of the people. In the context of this study and in order to understand the influence of ideology and religion on the material culture of the Qajar period, the authors have tried to apply different themes to these works by studying the case of armbands to answer the following question: how do Islamic Shi'a notions fit into the apparent structure and patterns of Qajar armbands? Research methodology is descriptive – analytical. In this research, this issue has been addressed in two parts of the position of Iranian -Islamic culture and the formal and cultural annexes of amulets (narratives, codes and decipherments). The result of this study, while demonstrating the direct effect of Shia and Islamic beliefs on Qajar periodical armbands, showed the direct effect of popular beliefs on how these works are used and designed.

In Iran and the countries influenced by Iranian culture, on the thirteenth day of Farvardin, every year, people leave the house and go on excursion outdoor from morning to night. This day, called Sizdah Bedar, is one of the most important rituals. Nowruz's famous ritual that has no history in ancient literary and historical sources, and the first related documents belong to the time of Fath-Ali Shah Qajar. The memories and travel guides of the Qajar era show that the Shah and the royal court as well as the public have officially and widely celebrated the thirteenth day of Farvardin, and that in the ancient Iranian beliefs, the "thirteenth day of July was sinister. According to the words, the thirteenth day of all the Iranian months were sinister. Regarding this historical background on the sinister nature of 13th, Iranian at Qajar era had believed in this day their homes might be destroyed and also the New Year calamities have been destined on this day. To this end, they were going to the plains and gardens to relax and save themselves from the losses of that day. Contemporary scholars have also brought up various guesses and views (at least 14 opinions) about the cause of the “Sizdah Bedar” ceremony among which symbolism of the thirteenth day for the thirteenth millenary in Iranian beliefs –which shows the end of the twelve thousand-year-old universe and the beginning of the final disturbance and destruction- sounds more likely. To do the present research, the authors benefited from a review of many literary and historical references, writings and research of contemporaries with specific precision (in print, language corpora and soft wares) and then on the basis of the evidence obtained from the history of the Sizdah Be Badr discussion and conclusion have been presented.

In this survey, twenty travel books of most famous travelers who visited Kashan from the reign of Shah Abbas the Great to the time of Persian constitutional revolution have been investigated. Accordingly, what a traveler has seen and heard about Kashan is compared to other traveler's records of the same or different time and also to the present situation, and this way, the truth or falsity of these records has been revealed. Among the travelers of Safavid period, Chardin, Anthony and Robert Shirley, Tavernier, Figueroa, Della Valle, Herbert and Olearius, whose descriptions include the typical records of that time, have been chosen. Furthermore the works of Polak, Browne, Curzon, Sykes, De Bode, Olivier, Flandin, De Sercey, De Gobineau, Dieulafoy, Aubin and Pottinger have been examined as the selection books of Qajar period. The data of these sources has been analyzed based on historical geography of Kashan region under the categories: administrative divisions, routes, geographical situation and configuration of the city, weather, water supply, rampart of the city, alleys and neighborhoods, mosques and sacred sites, earthquake, markets, houses, telegraph offices, Fin garden, population, religious minorities, governors, industry, mints, agriculture, mineral materials, genuine or superstitious beliefs and ideas, Heydari-Nemati conflicts, recreations, costumes, women's condition, fear of scorpion, insects and diseases, dialects, cookery and the revision of native's attitudes toward travelers. The relation of traveler's descriptions to his life era and his occupation and character has also been discussed in the article.

Interdiscipline studies and seeking help from theories of critical studies are the ways to make applicable the critical researches of literary texts. New historicism is one of the most novel methods of text analysis in the field of critical studies of literature which believes in historicism of the text and textuality of the history and renovates the mentality and worldview behind the next and understanding the relation between this mentality and structure of the power of its time. In the present paper, the life of Seyyed Ashraf Neyrizi, known as “Shahab” is first introduced and reviewed, and then his most important poem of praise written for Ahmad Shah Qajar in celebration of his return from abroad is analyzed. Shahab is one of the poets of the Qajar period whose poems should be considered as one of the unknown loops of “the return to classical poetry” in the time of constitutional revolution. He had been the Shekhul Islam of Neyriz in Fars province during the Qajar period and had a knack for love poems. Despite the statement of EmadFaqihKermani who says that one can’t be a Sheikhul Islam and at the same time be in love, Shahab was able to be both in love and in fond of saying poems and at the same time the Sheykhul Islam of the Neyriz city. In the present paper, the events and social situation of the period Shahab lived in and his poem of praise are first reviewed, and then the relation between the mentality in the text and the “power” of that time is analyzed based on New Historicism. As a result, rather than praising the Qajar Shah, the poem of praise written by Shahab indicates a secret and sometimes disclosed criticism of the hegemony of the ruling government. Poems of Shahab can be analyzed to achieve an exact image of and knowledge about the era of “return to classical poems” and the literature of the era of the constitutional revolution both in terms of form and meaning behind the text.

No doubt, one way of getting acquainted with different nations and ethnic groups and knowing their sciences, thought patterns and cultures is to translate their works. Jāme’a al-Shawāhed, a literary work of Qajar period, by Mohammad Bāqer Sharif, is a translation of an anthology of poems. The present article investigates the translation method used in this book. First, literal translation which is the method used by the translator is being dealt with. Then, after discussing the deficiencies of this method, suggested translations are provided.