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

Ritual poetry as one of the oldest literary types, in terms of capacity and content variety, has appeared in the field of literature more than other types. Because more than any other type of literature, it shows national and sometimes transnational and religious beliefs. The poems of Iranian poets, from ancient times to the present day, have well shown the course of changes in this literary genre. In this research, by examining the background of ritual poetry, we examine the path of its semantic evolution. Then, by providing a comprehensive definition of ritual poetry and specifying its place in the Persian language, we will analyze and examine its components. The collection of information in this research is library-based and its method is analytical. In this research, ritual poetry in the past and contemporary has been compared, and due to the fact that this type of poetry today has a wider range of meaning; Ritual poetry after the revolution is the basis of contemporary ritual poetry analysis. Ritual poetry is divided into the types of monotheistic, transcendental, emancipation, religious and stable poetry.

The purpose of this article is to review the collection of poems by Abdul Samad Amir Shaghaqi, one of the contemporary researchers and poets, which was published under the title (Speaking Poems). Considering that the published poems of this poet have literary values in linguistic, intellectual, lexical and rhetorical levels. is significant and so far no research has been done in this field, conducting this research is considered an effective effort in the field of introducing the poetry and thought of this poet.

This research is done with a descriptive and analytical method and based on library studies. First, the examples related to the discussed levels will be extracted and then by referring to related sources, the necessary description and analysis will be done.

Amir Shaghaghi's poetry has significant compliance with the principles and characteristics of Khorasani style poetry. He is a poet committed and bound to preserve and promote ritual and religious rites. There are also interesting interpretations in the field of lyrical poetry as well as attention to social and cultural issues in His poetry is visible.

Amir Shaghaghi's poetry can be examined at the linguistic, intellectual, lexical and rhetorical levels. He has also dealt extensively with the status of some religious personalities, social, cultural and other miscellaneous issues. At the lexical level, his mastery of the Arabic language and terms related to some sciences is evident. He has used simile, saj', tansiq al-sefat, Ersal al-masal and Phono tactics.

Battle with dragon is one of the most exciting adventures in the mythological and heroic history that had always been the center of attention. Little by little, it found its way into religious poetry being regarded as an important achievement for religious heroes, as many poets from the 7th century till present refer to the event of slaying the dragon by Imam Ali in the cradle. The oldest narrative source of this story is Manaqib Ibn Shahr Ashub in the 6th century Hijra. However, in other authentic Shi’a and Sunni texts and sources such as Shavahed al Tanzil by Haskani, Manaqib by Kharazmi, and Manaqib Ali Ibn Abi Talib by Aljallabi al Shafeei there are no references to this story.  This research is concerned with the study and analysis of the theme of dragon killing in both myth and epic, paying particular attention to the slaying dragon by Imam Ali in cradle, also dealing with the reasons behind the frequent growth of this theme in religious poetry.  The fame of this theme in the field of divine religions could be a symbolic discussion, dragon being the symbol of either external enemies including Ahriman, Anti religion enemies or internal enemies such as Nafs or lower soul.  All saints could at some point overcome this latter enemy and in case of Imam Ali dragon can be regarded as both internal and external enemy.  Due to having an epic prestigious form, this tale not only during human history but also within the domain of religious poetry have been tremendously received.

Committed poets, thinkers and thinkers, people with a precise approach to affairs and with experience and wisdom, their reserves and resources will never allow them to be isolated and indifferent to the events of their surroundings. Undoubtedly, the Wahhabi tragedy that has befallen Muslims since the second half of the 12th century AH was the most important event of the Islamic Ummah. Muslims - of all faiths and religions - have risen up against it and enlightened public opinion through cultural activities such as composing books and publishing poems by poets and with larynxes who sang and sang songs and published poems rejecting Wahhabism. These poems and these words disgraced the suspicions that shook the pillar of Islam and destroyed the pillars of religion, and sometimes with magicians and the wisdom of poetry and sometimes with reason and narration and by using rhetorical aesthetic images and various literary styles for defense. From their beliefs and religion, crush them, and expose their lies. This article seeks to examine and analyze the responses of poets who rejected the Wahhabi ideas for a decisive and concise reason, along with a brief look at the history of the Wahhabi movement

A flourishing trend emerging from the literature of the Islamic Revolution, ritualistic poetry, albeit with a history in Persian literature and rooted in religious poetry, has over the past decade attracted into the arena of contemporary literature young and lively figures less heard of in previous epochs of Persian literature. These figures are the embodiment of a genre of poetry that not only manifests a transcendental and spiritual content but also exhibits a flourishing novelty in form and structure unprecedented in contemporary times. Mohammad-Hossein Ansarinezhad is one such poet and the present article is devoted to an investigation of the themes and verbal qualities in his volume of ritualistic poems Shams ul-Sharaf.

After the Islamic Revolution, the front concepts and religion values were developed in the community. Therefore, the muslim and undertaked poets poid attention to reflecting the divine verses and Islamic themes in their poetriss more than the post. Poets like shahriar, Azizi, Safarzadeh and mosavi Garmarodi are among them. In these poets, compositions that were composed in connection with the Islamic Republic and the sacred defense some themes are more lust red for example, Quran stories, moral and religious teachings, Jihad, martyrdom, karbala movement and mahdism.Like the other poets of the revolution age, Azizi is not only a poet but also a teacher an understand poet allows himself great duties and mission Azizi’s biggest mission is to educate a human in a composition language His too much attention to the composition of new compounds in his masnavies increases to his poetries mobility and frechness (Torabi 2005: 193), the compositions which have been made through inspiring from the valuable verses of Quran karim and Islamic themes.This study investigates the form and content of the pictures in Azizi’s composition the scope of this study is the inductive investigation of some compositions of Azizi and because no independent poetry in the imagery has been composed in his city up to now, this study can be considered in order to review the literary images in Azizi’s poetry

Sixth century is one of the most glorious periods in Persian literature. This glory in literature paved the way for a special style of rhetoric which is later called religious poetry. One of the most famous poets of this period is Nezami Ghaznavi, whose style followed by other poets after him. Nezami’s poem is highly technical wreathed by vast scope of knowledge and skills of the poet. We can see the reflection of Islamic science in Nezam’s poetry. He also makes use of his full familiarity with juridical science in providing figures of speech, creative imagination and multiple form and style. In this paper, we have tried to explore this influence of Islamic juridical issues on Nezam’s poetry.

The influence of Shahnameh Ferdowsi in the Persian literature was the reason behind the formation of National epic poetry in Iran. Following the gradual decline of National epics which has started in the late 5th and the beginnings of the 6th century Hijira, composition of the historical epics and soon after religious epics began. With the establishment of Shia faith and special regard towards religious thoughts in Safavid period and the support of the court for the religious composers, the inclination for composing epic-religious poetry in praise of Prophet Mohammad and Imam Ali and his descendents greatly intensified. Mirza Abutaleb Fenderesky Esfahani was the pioneer of such poetry. He composed a poetry under the name of “Haydari rapture” about the life of Imam Ali, thereby he initiated a tradition that very soon inspired other poets in that period and later periods to compose and imitate epic poetry of this genre under the general name of “Haydari attack”. These poetries were normally concerned with the life of Prophet Mohammad, Imam Ali, major events in the beginnings of Islam, and Imam Ali’s Wars. Haydari Attack compositions in the 12th century Hijra, began with the composition made by Bazel Mashhadi and within a century after that, several people in his imitation, created works of this genre the last of whom was Lotfollah Ghajar, known as Majnoon. This article is concerned with the life and works of Mirza Abutaleb Esfahani, as the pioneer in the composition of epic-religious poetry and his influence over the continuity of composition of this genre of poetry and thus forming a tradition in the name of “criticism” in the Persian Poetry