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

Ritual literature has a long history in the history of Persian literature, which shows the importance of ritual topics and concepts for poets and Persian speakers. In the past, the main theme of ancient religious literature was myths, traditions and cultural customs, but from the Islamic era and especially with the coming of Shia governments, it took on a religious flavor. Regarding the nature of ritual poetry, especially in the contemporary era, definitions have been made that are not usually comprehensive; furthermore, there has not been a precise boundary between ritual poetry and other poetry, and sometimes in the definitions of researchers, ritual literature has been mixed with mystical, religious or didactic literature. In this paper, library research has been used to identify what ritual poetry is and present a more comprehensive definition of ritual literature. In what follows, the most common types of ritual literature are listed. The structure and content of ritual literature are briefly examined.

Literary works are evaluated and analyzed from different points of view. Rhetorical criticism is one of the methods of literary criticism in which we evaluate the text from the perspective of the function of rhetorical devices and images. This article deals with the rhetorical review and criticism of the Masnavi of protest "Swamps and Waters Poem" by Seyyed Hasan Hosseini. In this poem, the poet objects to the social situation and spiritual changes in the society after the war. The aim of the article is to analyze the mentioned text from the point of view of the influence of rhetorical elements to clarify how the poet has used these devices to achieve his goal and convey the message. In this research, 77 couplets of this poem are examined based on its figures of thought and figures of meaning. The result of the research shows that the poet expresses concern about social problems with figurative language. By observing abnormal approaches that have an unfavorable reflection on the individual and the society, he changes the way of language an speaks out. As a poet of engagement, Hosseini views rhetorical arts not only as a means of creating aesthetic effects, but also as a way to expose social problems, and express feelings of happiness and longing. With the help of language facilities, he intends to provide a favorable context for the reconstruction of Islamic and social values.

Denomination and ritual are subjects that have fascinated writers all around the world for many years. The denomination is a wide-ranging topic that cannot be included in concise books or writings. Poets, especially Urdu poets, express specific beliefs toward their denomination, ritual, and religious leaders. Denomination and ritual are involved effectively in human life and are evident in his speech and writing. The present study investigates the concerns and interests of the Urdu poet Iftikhar Arif. It studies his denomination and understanding and the influence of Islamic leaders. He has been able to take his name and his poems to the top of the literary sky in religious literature. His poems are full of a deep understanding of Islam, love for the Prophet (PBUH) of Islam, and his household. It can be said that he has a sufficient understanding of religion and has expressed the issues of the present age in the context of religion.

James Frazer has introduced a theory called Sympathetic Magic to categorize types of magic that encompasses many types of magical rituals. According to theory of Frazer, sympathetic magical rituals which are based on the association meanings and imagination, are divided into two categories homoeopathy and contagion. In the type of Homoeopathic Magic, it is believed that the similar absorbs and produces the similar. Also, contagious magic relies on the principle that a thing can be affected by a part of it. There are rituals among the Lak ethnicity that based on sympathetic magic. In this research, many of these rituals were studied by descriptive-analytical and oral interview methods, so that the fields and basis of rituals in those cases can be examined and determined. So, results were obtained like this: Magic is not good phenomenon among the Lak people; Unless it correctly solves someone's problem. The rituals based on homoeopathic magics among this people include Denoru, Howās, Planting greens, fortune-telling, Alafe and some healing rituals. Also the rituals based on contagious magic include personal items, umbilical cords, baby teeth, hair and nails, magic cures, Avalghara, and to some extent alafe. This type of magic rituals is based on human contact. Of course, these beliefs are not only related to the Lak people and there are similar beliefs in other Iranian tribes.

The most beautiful and yet less known poets of the Safavid era, who has been confused with another speaker in some sources. His works include the divan and a collection of masnavis under the titles of Malahat Ahmadi, Sabahat Yousefi, Aine-Khane and Pari-Khane. His divan has been edited and printed by one of the researchers in the past years, but the masnavis of Sahib have not been edited and published yet. In this article, Malahat Ahmadi's Masnavi, which is one of the ritual poems of Persian literature in the Safavid era, is discussed from the point of view of textology. Melahat Ahmadi is written in Bahr Khafif; The entire work is devoted to the praise of the Holy Prophet of Islam (PBUH). In many places, the poet refers to the Prophet's favors for himself, of course, many verses are also addressed to the Prophet, in which the poet asks for his favors and intercession for himself. In addition to the text, many short and long anecdotes, which sometimes have the flavor of reality, have also been narrated. The style of the work is largely influenced by Hadeegh Sana'i, the language of the work is relatively fluent and stable, and in some positions, the tone and color of the lyrics are woven into the poem.

Teaching religious beliefs to children is an example of ritual literature. This kind of education is found in different historical periods and among most nations. Hussainiya is a collection by Abu Turab Ibn Hassan Hosseini, nicknamed Jowzaa-e- Natanzi, a Shiite poet of the end of the thirteenth century AH. He wrote the book for his eight-year-old son, Hussein, and named the collection Hussainiya after him. This work is in the form of Masnavi, has the rhythmic structure of “Moftaelon Moftaelon Faaelon”, and contains more than 1300 verses. Its only Manuscript numbered 1531 is available in the library of the Faculty of Theology of Ferdowsi University of Mashhad. This work is a unique example of the educational-ritual collections of the Sheikh sect in the Qajar era that has been unknown, and needs to be introduced and analyzed. The results of this study show that Abu Turab Husseini follows the founders of the Sheikh sect Ahmad Ehsaei and Muhammad Karim Ibn Ibrahim in the tradition of farzand-nameh-nevisi (writing for one’s child). He uses rhetorical tools such as the title of the book; keeping the attention of the readers; being proud of their religious ancestors; benefiting from anecdotes, allegories, and similes; and using a sincere, fatherly and critical tone to teach his son lessons in the field of theology, prophecy, Imamology, Shiism, and moral principles.

Fotovatnamehs (letters of chivalry) are one of the influential written legacies in the culture and civilization of Iran and Islam. The breadth of themes and contents of fotovatnamehs has made researchers in various fields interested in them. The purpose of this study is to analyze and evaluate the potential of fotovatnamehs from the perspective of being a type of ritual literature. This paper tries to study and reflect on the ritual characteristics of these texts by adopting a descriptive-analytical method and using the criteria of religiosity based on Glock and Stark’s theory. The findings show that among the dimensions of religiosity, the ritual dimension and consequences dimension indicate the ritual content of fotovatnamehs more than other measures of religiosity.

Style is the expression of a writer or poet. The term is currently used to refer to methods studying literature analytically through the use of linguistic techniques and concepts. It also determines the angle of view, linguistic issues, how to characterize and how to orient thetheme. Ritual poetry is a form of committed poetry that has a completely religious nature in terms of meaning and content and originates from the revelatory teachings, the culture of Etrat and Wilayah and the history of Islam. Religious ceremonies, praise of religious figures, attention to sacred and heavenly categories, and human self-cultivation and self-purification are at the core of religious poetry.Since stylistics is a tool for recognizing the poet"s human, scientific, literary and ideological identity, this paper uses a descriptive-analytical procedure to investigate obvious stylistic features of Post-Revolutionary Poets such as Kaiser Aminpour,SamanHarati, Ali MoallemDamghani,Ali MousaviGarmaroodi, Seyed Hassan Hosseini and Alireza Qazveh.

This paper has been written based on library studies in a descriptive-analytical manner.

Paying attention to internal music, giving prominence to ideas and concepts, using the marked vocabularies, fluency and simplicity, eloquent elements artistically, making pictures of imagination and emotion, paying attention to addressee-centered and meanings, emphasizing on religious, revolutionary, humane and ideal concepts are among the stylistic features ofRevolutionary Poets.

The results show that these poetshave used all the possibilities of poetry to explain their religious ideas and based on these ideas and the Alavi, Hosseini and Ashurathemes, they can be called conceptualist poets. A look at the literary and linguistic aspects of their poetry shows these poets know the literary and linguistic standards of the past and present and wherever they deem appropriate, they use them to increase their wordinfluence.

The composite poem "With Neizeh Caravan" by AlirezaGhazveh is one of the most famous poems in contemporary religious literature. While creating an epic poem, the poet describes mostly the goals and consequences of the event and talks about the factors leading to its occurrence, making it a platform for expressing the concepts of freedom, defending rights, and resisting tyranny. At the structurelevel, its rhymes, rows, and word choice are all chosen for that purpose. The themes of his poetry also refer to this event as a great revolution.Paying attention to internal music, giving prominence to ideas and concepts, using the marked vocabularies, fluency and simplicity, eloquent elements artistically, making pictures of imagination and emotion, paying attention to addressee -centered and meanings, emphasizing on religious, revolutionary , humane and ideal concepts are among the features of his poetry style.Since stylistics is a tool for recognizing the poet's human, scientific, literary and ideological identity, this paper uses a descriptive-analytical procedure to investigate obvious stylistic features of the poet's Ashoraee composite based on layering stylistics. The results show the poet uses all the possibilities of poetry to explain his religious ideas and based on these ideas and Alavi, Hosseini and Ashurathemes, he can be called a conceptualist poet. A look at the literary and linguistic aspects of Ghazveh's poetry shows the poet knows the literary and linguistic standards of the past and present and wherever he deems appropriate, heuses them to add to his wordinfluence.