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

Conceptual metaphor in the context of cognitive semantics emphasizes the role of experiences in structuring categories of the mind and perceiving concepts. The elements of nature are one of the most experimental fields for explaining the mystical worldview. Since the sea and the sun are two great and majestic phenomena, they have attracted the attention of Rumi in depiction; Therefore, in this research, we have aimed to examine the conceptual metaphor of the perfect man, relying on the two elements of the sea and the sun, in order to explain the attributes and role of the perfect man. statistical society is the first office of Maulana's masnavi.The data analysis method is descriptive with analytical content. This research shows that "Sun" and "Sea" in the first book of Rumi's Masnavi, as two colorful elements, serve to explain Rumi's worldview towards the perfect human being, with all their manifestations, and clarify concepts such as " Survival is "unity", "destruction" and "the need to work with the old". The results of this research show that Rumi created a network of metaphors by using the metaphorical aspects of the sun and the sea and related and contrasting image clusters, all of which represent the macro metaphor of "Man is the perfect light" and "the perfect man is the sea". These sub-metaphors are: sun, moon, star, lamp, oyster, fish and pearl, all of which explain the position and role of a perfect human being. The roles of a perfect human are: guidance, therapy and improvement.

Myths are usually a different form of human belief and thought system, which instead of being worn out over many years, are always being renewed and transformed. In this transformation, the symbolic and mythological essence of every object and concept is preserved alongside its old function; But according to today"s life and the different understanding and acceptance of each nation, culture and era, a new dress can be seen on the status of mythological concepts. Writers of fictional works, especially contemporary novels, have tried to strengthen this literary genre by using rich ancient culture and mythological components. The connection of today"s modern world with pristine ancient concepts, especially mythology, guarantees the originality of the work even more. This link and influence from the unlimited world of mythology sometimes appears consciously and sometimes unconsciously in literary works. In this research, the symbols, archetypes and local myths in the novel "Ahl Ghareq" by Muniro Ravipour have been investigated and analyzed.

This research is a report of a fundamental, theoretical and documentary research with a descriptive-analytical method. Also, data collection has been done through library activity.

In the field of using symbols, archetypes and myths in the novel Ahl Ghareq, Rowanipour has a symbolic language and by using these three components, he has been able to display the concerns and problems of his target society. In this novel, the existence of archetypes and myths is derived from natural elements, local mythical creatures and characters such as Boslem, and mermaids. The most important theme of this novel is the display of native beliefs and beliefs of the people of the southern region. In this novel, fantasy and reality are mixed together.

The results of the research show that in "Drowning People" Ravipour has used myth-breaking and using symbols, and in this way, the author of the work has paid attention to the importance of the role of mythology in representing the life and history of Iranian society. has placed

If today's themes are helped by ancient myths, we have a kind of mythical experience. The sea and its similarities are no exception. The sea represents infinity, life, breadth, depth, saltiness, movement, and the like. Contemporary poetry (especially Nima, Shamlou, Akhavan, Sohrab, and Forough) has referred to this phenomenon and its similarities symbolically. The sea in Persian poetry has a symbolic, mythical, religious, literary, romantic and mystical meaning that its understanding is important to realize the infrastructure of poet's thought. Nima separates the two vulnerable and affluent strata of society by the shoreline of the secrets sea. In Shamlou's Animism, the negative myth of the reincarnation of the evil spirit in human existence is mentioned as the breaking and conquest of the sea. Shamlou mentions the self-knowledge myth of the first human as diving at sea. Akhavan's poetry has been expressed in a magnificent, mythical, traditionalist, symbolic way and with a bitter and negative view on the contemporary society. Sohrab is more involved in the mythical symbolism of water and sea than the other poets mentioned above. Forough's new interpretations of the mythical expression of sea are expressed in a surreal tone

When the elements and components of a literary work are examined and how they are related to each other and their relation to the general structure of the work is retrieved, a basic (formalist) form reading is performed. It is with such a reading that we can talk about the degree of bonding of the components of the work (horizontal and vertical bonds). In this article, the form and structure of a lyric by Rumi has been read with the following information (with the help of in-text symbols): A word that rises from the soul of the soul to veil the gem and the lips of the sea, the tongue of the veil

It is a descriptive-analytical research method that examines Ghazal No. 921 from Shams Tabrizi's KOliat, edited by Badi ol-Zaman Farozanfar.

The feature of this sonnet in all verses is that the face is a veil and at the same time a means of expressing meaning. The world of existence is the world of forms and meanings, and forms are veils of meanings, and at the same time meaning manifests itself in the face. To reach the meaning, you have to go beyond the surface. Of course, the absolute meaning cannot be understood and there is always one curtain behind another curtain, and it is only in death and silence that we understand the meaning. The theme of the contrast between form and meaning and the contrast between pairs of their synonymous words can be seen in all the verses of Ghazal.

The link that can be seen between the verses of this ghazal has created an organ-like structure and the overall structure of this ghazal evokes one of the key oppositions of form and meaning in Rumi's thought, "wave and sea". For Rumi, the content is the tool for the evolution of the form, and the form is the material for the emergence of the truth of meaning. Rumi's poetry boils from inside him and finds its shape and form according to the type of boiling. However, due to the reliance on form, the new critique cannot be a suitable critique for mystics who are free from form.

Parallel imagery is one of the lesser-known artistic tricks in the world of fiction, in which the author uses some of the important mental and intellectual concepts in the plot in the form of objective and tangible images without showing the direct relation between them once or more time. It directly embeds these concepts in the text of the story, and these objective images are, in a way, confirming and embodying those abstract concepts. This artistic trick is formed in such a way that usually one or more sub-stories run parallel to the main story, which are, in fact, another form of the main story; Or the main and sub-characters of the story are embodied and reproduced in the form of several other characters. The sum of these characters and parallel narrative actions, which are not very visible in the first reading, makes the plot more powerful and effective. Obviously, such sub-stories should not be confused with the ancient artistic technique of "story in story". It seems that the function of visual parallelism in fictional literature has many similarities with the function of equation style in Persian poetry tradition which is a kind of compound simile. In some contemporary Iranian short stories, this artistic trick has been used well. In the equation style, the poet, in one hemistich, presents a statement or a mental and rational proposition, and in another hemistich, to confirm it, he/ she presents an objective and tangible image of the world around him. This paper, while showing and analyzing examples of this artistic and literary technique in “The Old Man and The Sea” by Ernest Hemingway, and two Iranian stories “Owsane ye Baba Sobhan” by Mahmud Dowlat Abadi and “Jayi digar” by Goli Taraghi, considers the parallel imagery as an extended form of Persian poetry equation style in fiction and shows that parallel imagery has a wider and more obscure range of art than the equation style.

Mystical poets have used allegorical and symbolic language in their poetry to express transcendent mystical concepts. The image of the sea is one of the most frequent images in the spiritual Masnavi and one of the keywords of Rumi's mind. In the spiritual Masnavi, the word sea and its accessories such as drops, dew, waves, fish, gems, etc. are very prominent. In contrast to each of the above, the sea finds a different meaning. Rumi has used these symbolic allegorical words in the service of expressing his subconscious emotions and his divine and mystical thoughts, and has expressed numerous and numerous concepts in this way. The relationship between the Creator and beings, annihilation, monotheism, the manifestation of love and creation, etc., are among the concepts that Rumi has used to express and explain the sea and its belongings. In this study, the allegorical and symbolic use of the sea and its manifestations in spiritual Masnavi were examined and analyzed. This research is descriptive-analytical. The results showed that the sea and its manifestations and affiliations are one of the most frequent elements of nature among Rumi's allegories and symbols. In Rumi's view, the sea is an allegory of truth, infinite divine essence, knowledge and human life. The sea is also associated with other symbols, such as: drops, rain, storms, ships, and dew, whose ultimate destination is to reach its origin, the sea.

The cultures and beliefs of each region are formed based on the specific geographical and climatic conditions of that region. The sea has long been perceived as an important myth by the people of The South, including Bushehr( the people of Bushehr). In the works of the storytellers of Bushehr, this element, as a pivotal character, has played a major role in the formation of some stories. The fictional function of the sea in these stories originates from the ancient mythology of The Region and in more general way, from Persia. This descriptive- analytical research examines the following works: Ahl-e Gharq,Siria Siria(short stories),Di Jacob and Abi, the novels written by Moniroo Ravanipour; "a sea that was always stormy", the novel that was written by Sadeq Chubak ; Ac-e Nahs, a novel written by Mohsen Sharif, Jasad Ghotevar(the float corpse) and Asal the daughter of Mokhtar, the novels written by Ahmad Aram. Also, we have attempted to provide some evidence regarding the human-like functions of the sea (some evidence that exist in mythological texts).

Cesare Pavese is one of the figures of Italian modern literature. He in fact belongs to literary and artistic movement of Realism, and lives two world war’s tragic experience. His works are also influenced by Symbolism and sealed by shadows of Neorealism. In most of his works many natural elements are usually used by the poet to mean existential concepts of human life. One of this natural elements is “sea” that so many times, in some of his works in prose and in poetry, takes on several different values and meanings as if to show contradictions that exist in poet and writer’s soul and also in his private life. In the other hand, sometimes word “sea” means death, nothingness, no way and on the other times it means as a pure and primitive curiosity that gives man a very deep energy to hold on and continue to live. In this paper we focus on a critical analysis of the word “sea”‘s different meanings that we can find in Pavese’s works.

Nowadays the discussions about nature and environments are significant particularly in humanities. The place of intersection between humanities and experimental sciences comes from the relationship between man and nature, and the fact that how these two issues are related and interacted. This critical approach plays a pretty important role in modern literature so that it can investigate the various dimensions of nature as the setting of literary works. In this regard, this paper, focusing on The Hungry Tide (2004) by Amitav Ghosh (1956- ) as an Indian Bengali writer, analyzes it based on ecocritical approach. Ecocriticism is an approach which relates humanities, experimental and environmental sciences to each other. Therefore, the writers, particularly the novelists, are concerned with nature, from forests to seas, and from domestic to wild animals. The Hungry Tide, as far as the title suggests, very significantly represents the sea, and the role of the waves as well as the marine animals. Besides the sea, the surrounding Islands are wonderful spaces, portrayed by Ghosh, which create a proper place for wild animals, particularly Bengali Tigers. The main character of the novel, Piya, is a young female cetologist, who studies a very rare kind of fish, with the help of a native fisherman, Fokir, who is innately an ecologist. While studying and following Dolphins, Piya is confronted with wild tigers. The nature-centred adventures of the novel are arranged based on what happens to the major characters. Besides portraying the natural events and accidents, The Hungry Tide surveys the history of creation of species of some plants and animals in a real or imaginary region and indicates the impact of man on environment and vice versa. In this paper, the ecocritical theories of Cheryll Glotfelty and Harold Fromm (1996) are used for analytical discussion of the novel; moreover, in conclusion the postcolonial ecocriticism of Graham Huggan and Helen Tiffin (2010) are used to lead the discussion to a new discourse of othering nature. Eventually, the paper comes to this conclusion that when one ring or member of ecosystem is omitted or destroyed, the whole system will be influenced and all the natural phenomena will experience critical changes or transformations.

Sea has a special place in the myths of nations. Mythical seas can be nominally compared with real seas, but geographically they have different situation. Bundahishn,as one the great books of middle Persian language, contains many names of the mythical seas. The aim of the present article is to study them in Bundahishn. By using descriptive and analytic method, the goal is to examine the names of the mythical seas from etymological and mythical points of view, and to compare them with real seas. As a result, the mythical seas are located in the south and behind Vourukasha (Frāxkard Sea). The correspondence of the mythological names with the natural geography is done. Sometimes they can be adapted with the location of real seas.

The Shahnameh of Ferdowsi is a dynamic and living epic: everything is in action and circulation; there are diverse, strange, and paradoxical phenomena. The battles and wars are so beautifully visualized that the reader easily identifies with them as if he could hear the sirens and horns and the clinking of the swords and shields. This magic, enchanting atmosphere takes the reader away like a wave in a way that he does not have the chance to see the bubbles of the waves being pushed to the shore. The present article is a quick reflection by somebody mounting the high waves of Shahnameh upon the bubbles being pushed to the shore.

Mystic language as a means of public communication outside And in terms of talent and potential and gives a new spiritual culture goes beyond the scope of their spiritual. Generally in the form of his poetry and mystery symbol appears: In terms of the structure of the poem, which in this context means the only words in their true cross used; For example, hair, lines, dots, drops, sea, and sometimes a little ode to symbolically express the truths and doctrines deals. Investigation shows that many of the poems of Rumi's poems are based on the use of symbols and codes And password and sign in the expression of concepts, doctrine and the more mystical poet's thoughts. Symbol sea contrasted with terms such as drip, flood, frost, waves, fish, nature and the meaning is different. Maulana symbols to explain the implications of this are numerous and varied as the relationship between Creator and creature, mortal, unity, love and creative expression, and youre not using. Most used words to express their thought and freedom from reaching the top and achieve true unity can be seen.

In this paper which has been organized based on an explanation of analogy works of Jaami’s Rubaiyat - a treatise on explanation of pantheism and ideas of Ebne Arabi school – a brief explanation is given about the allegory, pantheism and manifestation. At the beginning, allegories of the text are categorized, described and explained in 8 separate sections comprising: “light and sun”, “fire”, “mirror”, “glass”, “ water flow”, “sea”, “ words & numbers” in order to help interpreting and analyzing “pantheism and manifestation” which is the main topic of “explanation of Jami’s Rubaiyat on pantheism” and also the common subject of conceptual mysticism in Ebne Arabi school. Jaami, with the help of these analogies, has tried to explain the theory of pantheism through manifestation in cosmology. In mystics’ cosmological viewpoint about existence unity, the real existence is unique both in nature and predication, and it is elusive, intangible and incomprehensible by its names and numerous adjectives; However, it is by manifestation in eye-catching world that the real existence becomes understandable.

One of the main achievements of Persian poetry is the use of subjectivity in literary creation. In other words,contemporary Iranian poets try to speak in their poetry of those concepts and images that they have experienced in their life, such as nature, environment and culture. Bahmaniis one of these subjective poets who employs his experiences in his poetry and speaks of the climate, environment and culture of the South. The sea has a special place in the poetry of Bahmani and is used in its different forms and contexts. This article is an attempt to show the reflection of the sea in the poetry of Bahmani and also investigates its role in the development of his poetry.

The sea was the principal means of subsistence for people in Kwait in the past. It provided them both pearls and fish, people also used it as a route to export and import goods. It was very difficult to work in the sea and sailors often lost their lives there. The first part of this article concerns one of the longest Kwaiti poems written by the contemporary Kwaiti poet, Muhammad al-Fayez, who travelled along with sailors and returned home to find his family in dire misery. The second part of the article is a critical analysis of the poem asserting these features about the poem: · This poem is the first attempt at recording Kwaiti marine history by a poet who was himself a seafarer. · We can notice obvious traces of asSayyab and alBayati in the Muthakkarat al-Bahhar. · Al-Fayez successfully painted a vivid picture of divers and voyages. · Universal human feelings are expressed in specific experiences with the poet directly involved in them.

Poets & poetry have always been affected by Social & Natural environment of their times since they have always been considered as a part of the environment in which they existed.Poets have been the speakers of their tribes and thus have had the status of the head of the tribe during the darkness era.