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

Irony as a word means mockery, ridicule, derision, and the like. In Persian literature, there have been many names for all kinds of jokes, with different credits. In contemporary research in this field, irony is used as a word for all texts that are characterized by laughter. In fact, irony is a type of literature that magnifies evil and ugliness. In this descriptive-analytical research, the general and expanded meaning of irony, which includes concepts such as lampoon and facetiae, is used, and after examining the definition and scope of the concept of irony and specifically, situational irony, we will analyze this genre in the sixth chapter of Jami’s prose work called Baharestan in order to identify the various statuses that create irony in this text; Finally, we try to analyze why certain statuses are used more frequently. So, in this research, at the theoretical level, the most frequent statuses used to create the situational irony in the classical Persian literature have been discussed and then, at the applied level, the situational irony in a specific literary work has been analyzed using those theoretical tools. On one hand, the descriptive dimension of this paper is based on the explanations about irony, in general, and the situational irony and the statuses which make it, in particular. On the other hand, the analytical aspect of this research is based on the implementation of the aforesaid analysis in the sixth chapter of Jami’s Baharestan. The findings of this research show that Jami has used situational irony in more than half of the passages of the sixth chapter of Baharestan, and his most frequent use in creating situational irony has been the status of disagreeable characteristics. In this way, he has ironized both external undesirable traits, such as ugliness, and inner unsavory characteristics, such as oppression. In addition, Jami’s use of eight different situations out of the ten most frequent situations that create situational irony in classical Persian literature has displayed a high diversity in the aforementioned book.

As much as poets have tried to elevate their words, prose writers have also tried to elevate their works by using various rhetorical aspects.The simile has been the first imagery since the beginning of the development of Persian language and literature. Every poet wanted to make his words more imaginative, sublime and fresh than predecessors, and in order to achieve such a thing, he had to redefy trite similes. Metaphor in every poet's poetry is the result of exaltation and perfect simile of poets before him. Considering the passage of several centuries in the literary life of the Persian language and literature and passing through the stage of growth and development, Saadi and Jami should have either used new similes or changed the similes of the predecessors to create a fresh and new image in order to elevate their literary works. and accompanied by metamorphosis. Considering the fact that Saadi's words for commoners and elites have often been far from ambiguity, it is expected that he and his followers have tried more to change the words of the predecessors and less to create fresh similes. In this research, we have tried to answer the question that what devices did Saadi use in the fifth chapter of Golestan and Jami in the sixth shrine of Baharestan to redefy their similes? For this purpose, by analytical-descriptive method and based on the obtained evidence, we have shown that Saadi and Jami use the devices of conditional simile, preferential simile and conditional simile, conceit simile, metonymical simile, allegorical simile, equivalent simile and asymmetrical simile, similes and additional imagery, negleational similes, the use of vehicle, and rare words of comparison have been used to redefy similes and eliminate trite. equivalent simile, especially in rhythmic prose, can be used as a device with which the poet, like the asymmetrical simile, can redefy the simile and provide an opportunity for homophony. Although Jami intended to follow Saadi's style, he was not always successful. When sensitive simile becomes rational simile, or vehicle becomes unusual, Saadi's words are always firm and unambiguous ; But Jami's words become ambiguous. Saadi is also sometimes helpless in finding a clear point of resemblance for allegorical simile or preferential simile of reference type. The process of forming  imagery usually begins with simile and the poet has to leave one of Sides of comparison in order to defamiliarization. Metaphor is the result of defamiliarization, de-familiarity with trite metaphor. negleational simile is a metaphor for familiarity, de-familiarization and a platform for creating metaphors. The negleational simile is a vehicle for defamiliarization  and a platform for the creation of metaphor. In order to keep their words out of ambiguity, Saadi and Jami have tried not to use often far-fetched or pristine metaphors, and instead have become for defamiliarization with the metaphors of the predecessors.

Jami has composed Baharestan according to the characteristics of Golestan. Despite the greater tendency of both works to use the pole of "selection" instead of "combination", the problem arises that despite the fact that the two works that are close to each other in terms of style, what characteristics they have in terms of language and what are the linguistic similarities or differences between the two. In this research, the structure of the nominal group (NP) as one of the important structures of the language in a corpus taken from examples from Golestan and Baharestan has been investigated in a descriptive-analytical way. The findings of the research show that the frequency of NPs in Golestan is more than that of Baharestan. Also, the frequency and relative frequency of NPs without dependents is more in Golestan than that of Baharestan. Examining dependents in NPs shows two results that the constructions "head+noun", "head+adjective" and "head+noun group" are the dominant constructions of single dependent NPs and "relative clause" is as the dominant posterior dependent of NPs in Golestan and Baharestan. On the other hand, the constructions "quantifier + head", "head+ noun", "head + adjective" and "head + noun group" are the dominant constructions of single dependent NPs in Golestan and the constructions of "indefinite adjective + head", "head + noun", "head + adjective", "head + relative clause", "head + NP" and "head + prepositional group” are the dominant constructions in Baharestan.

A story is an allegory made to give meaning to a collective experience with the aim of extending its generalization as a comprehensive understanding of that experience. The question of the current research is, what cognitive consequences does the application of the story with its comprehensive generalization ability and practical capabilities have? Examining the causes of generalizability in language and narrative elements in Kalileh and Damneh, Marzbannameh, Golestan and Baharestan show; the language is made up of: commonly used, simple and general meaning words, small noun groups and short sentences. The narrative structure of the story is small and simple and complete, character types are processed by using common nouns and adjectives. Events and few incidents that are included in the verbs of very short sentences. The scene is often processed with general and vague adverbs of time and place. The omniscient narrator includes the general theme of the story at the peak of the narration; therefore, due to its language and structure, the story has become so generalizable that its examples can be generalized to all people in all times and all places. In addition, the generalizable narrative and linguistic features have given practical capabilities to the story. Including; meaningful ability, oral transmission ability, conceptualization ability, ability to apply metaphorical elements of narrative, ability to accept broad implicit meanings, ability to give meaning to experience, ability to imagine creatively, ability to persuade, role play The adaptability and capabilities that have provided the grounds for its widespread use, and its widespread use has some cognitive consequences. Including; Holism, homogenous identity, persistence of beliefs, reductionism in cognition, one-dimensional view of phenomena, absolutism and mental prejudices.

Some literary texts are formed in relation to other texts, and in this sense, texts in their world have various intra-textual and intertextual relations. In the meantime, usually one of the texts is ahead of the others in terms of time. After Saadi, Golestan and his style of expression, themes, compositions and images were given general and special attention, and his simplicity, clarity of expression and kindness of speech caused him to become a role model among writers and various works based on It is created as Baharestan Jami in the ninth century, Parishan Qaani in the twelfth century and the poor ruins of Shirazi in the thirteenth century are examples of such examples. The present study, in a descriptive-analytical and statistical manner and based on library studies, seeks to study Golestan, Baharestan, Parishan and Kharabat from the rhetorical point of view and from the perspective of spiritual industries (simile, metaphor, metaphor and irony) and show that What is the basis of Golestan in terms of judging the use of the spiritual industries of the other three? Findings show that some features were applicable in all four works, including the predominance of sensory similes compared to the rational and less permissible existence, but some features are considered a special feature between Golestan and others, such as Baharestan in balanced image resolution and volume And disturbances in shared images.

For the analysis of any text based on Systemic Functional Grammar (SFG), three matafunctions are considered: textual, interpersonal, and ideational. The ideational matafunction is divided into experiential and logical functions. In experiential function, language expresses the experiences of the outside world. The product of this function is transitivity that is used to specify different types of processes found in the verb. In the present study, after analyzing randomly selected anecdotes and wisdoms in Golestan and Baharestan, the differences between the applications of verbs in the two texts were analyzed using experiential function. Despite the significant differences in Sa’di and Jami’s writing style, the results of comparing selected parts indicated less application of behavioral and existential processes, and more frequency of relational and material processes. As a result, it may be concluded that although Sa’di and Jami have not discussed the origins of the issues in the two works, they have given greater consideration to the actors’ behavior as well as their account of events. It suggests that the use of different types of processes depends more on the content of the two works than on their writing style and linguistic characteristics.

Baharestan Jami (817-898 AH) is a book of ethics and moral advice with simple prose mixed with peotry written in 892 AH. Jami has written this instructions and allegorical work in imitation of Saadi's Gulestan. The fourth vow of Jami’s Baharestan is about love and lovers. Muhiuddin ibn Arabi (638-660 AH) is a great Andalusian mystic whose mysticism is based on love. Love is considered by Jami and Ibn Arabi to have many similarities. This paper is a descriptive-analytic and library research that aims to answer the question of what love is to Ibn al-Arabi and Jami. Based on the research findings, Jami seems to have been influenced by Ibn Arabi in explaining love, and both consider love to be innate and the basis of creation. For Ibn al-Arabi and Jami, the principle of mysticism, love, and unity of existence is that the centrality of the being and the truth of existence is the right of transcendence, and there is no other truth apart form that.

Minimalism is a literary style or origin in literature which is based on an extreme stress, excessive briefness and a work content simplicity. If, by definition, briefness and simplicity are considered as the most important features of minimalism, in Persian prose classic works; we face with a variety and frequency of minimalism examples, which have been considered by a group of Persian language poets and writers of since the beginning of the formation of Farsi Dari language.
Baharestsn by Abd-ol-rahman Jami is a work that is considered from a minimalist point of view. This paper by reviewing components and principles of minimalist stories seeks to find a trace of this literary style in Persian stories of Baharestan dissertation by Jami. The author of this paper considered this work qualified for minimalist features by reviewing short short story components and adapting it to some Persian stories of Baharestan.

Jami’s Baharestan is one of the most valuable Persian literary works; it embodies a lot of fruitful stories and discourses, whose most sources are Arabic. Though one may find out from Jami’s words that he has not used the literary works of his predecessors, an investigation on Arabic sources may lead one to lots of background works of the stories of this book. In this paper, we have identified the Arabic background works of twenty three anecdotes and the Persian sources of thirty three anecdotes out of thirty six ones of the first chapter of Baharestan. We have also shown that at least twelve anecdotes from them have come in the sources prior to Jami himself. Another finding of this study is that Jami has taken this part of Baharestan from another book namely Nafahat al-Uns (Breaths of Fellowship). In this study, we have found thirty one anecdotes from the first chapter of Baharestan in the book Nafahat al-Uns (Breaths of Fellowship).

Baharestan is a Persian prose text which was written by Jami in 892 (A. H., lunar calendar) on the style of Golestan. It includes tales and anecdotes which the author has compiled and put together with respect to the subject of each of the 8 chapters of his work. The present article intends to answer 2 questions connected with this document. One question is if Jami has originally created his tales and anecdotes depending on his own muse, or if his work is an adaptation of the texts before him. Another question is if the writers after Jami have used the tales and anecdotes in Baharestan. To provide due answers to these questions, a number of stories in Jami's work were extracted and analytically compared with some texts before and after it. This study shows that, in agreement with Persian story-writing conventions of the ancient times, Jami has taken many of his tales and anecdotes from the texts before him without citing their bibliographies, and that the story-writers after Jami have also benefitted from the stories in his work.

Jami, the well-known poet, author and mystic has various poetry and prose works in Persian. One of his valuable books in prose is Bahārestān which is written in a similar style with Sadi’s Gulistān. Though Jami claims that he did not imitate anyone in writing the anecdotes or at least the poetic anecdotes in Bahārestān, a research into the works of previous authors, especially Arabic sources, reveal the origins of Bahārestān anecdotes. The main issue of this paper is whether Jami is inspired by previous works or not. For this purpose, one rowzeh ('garden') of the octad rowzehs ('gardens') of Bahārestān is selected and the source of its anecdotes is looked up in Arabic texts written before Jami. As a result, the root of 21 stories of 43 anecdotes that is half the stories of this garden is found to be previous sources. In other words, it can be asserted that just as it was the literary tradition of that period, Jami too has considered anecdotes written in previous works and many of his stories are rooted in Arabic sources written before him.