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

Imagination creates an infinite atmosphere in the poet's mind that leads to his creativity and artistic expression. The core of poetic thinking is rooted in the poet's imagination; Because it shows the poet's attitude towards the world and its surroundings. This element is considered to be the main building block of lyrical and epic literature. The lyrical-epic poem of Vargheh and Galshah Ayouqi has been written following the structure and story of Arwa and Afra in Arabic, and according to its Arabic origin, it has revealed many cultural and social elements of the mentioned society. On the other hand, in the illustrations of this work, the system of imagination has been used in the form of nested systems and by using symbols with positive and negative evaluations. The main purpose of this research, which has been done by descriptive-analytical method, is to study and discover the imaginary system of Vargheh and Galshah systems based on Gilbert Durand's model. The results show that the system of imagination in this system, both in terms of positively valued symbols (ascending, spectacular and separating) and in terms of negatively valued symbols (falling, darkness and animal) indicates that an accident story is made and told in a completely primitive land with a special Arab cultural and social structure; Therefore, from this perspective, the system of imagination and the events of the story are in perfect harmony with each other.

 Jacques Fontaine, a sign - semantics famous French, in the sign – semanticsand the theory of literaturedeclared his views. According to Fontaine, with challenging personal characteristics, provided a new definition of the concept of point of view. In this regard, the pattern exhibits, a model based on the two basic actionermeans. In this research we try to study Fontaine’s pattern    Vargheh va Golshah–one of the oldest lyrics poems in Persian Literature. The aim is determine the role and importance of point of view in this poem . The result showed that poem of Ayyuqi’s Vargheh va Golshah to convey a different meaning to your audience as a combination in different parts of the discourse of the angle views worldwide, regress, selective, partial (specific) parallel and competitive advantage. The results suggest that the composer of six points of view to create knowledge has benefited: the frequency of serial points of view 36 times, universal 8 bar, fragmental 13 times, Parallel 40, competitive 3 Bar. Since poem of Vargheh va Golshah is an epic poem ,the use of parallel point of view is more; because the most important influential factor in epic tale sis character dialogue.

Jacques Fontaine, a famous French semantics marker in recent decades, has raised his views on the concept of angular vision in the Book of Semiotics and Literature. He believes that the angle of vision leads to discourse transformations and multi-voice approaches. Regarding the angle of view, at first, comments by Michail Bakhtin were used to describe the characteristics of Dostoevsky's novels, and later on, the angle of view was found in many applications, especially in the field of linguistics and multi-voice discourses. Jacques Fontaine, as well as other theorists of the analysis of elemental elements, is a special place for the role of the angle of vision in discourse. The angle of vision is definitely a decisive factor in the discourse, and as a result, it becomes a semantic action. In Fontaine's opinion, he must present a new definition of the angle of vision by challenging personal characteristics. In this regard, he manages his model, a model based on the selection of two basic actors in the angles of vision, that is, positional factors that determine The source and destination are the angles of sight, so the theorist of storytelling believes that the angle of view is the most important narrative narrative that affects the structure of the whole story and plot. From the point where the semantic-semantic view is believed to constitute meanings, they formulate linguistic forms. The fundamental question is whether the choice of the angles of the different viewers in a narration by the speaker, on the induction of different meanings to the audience, and the highlighting of different dimensions one version of the story is impressive. The version of its model is designed from the angle of view, based on the choice of two basic actors in the angle of view, that is, positional activators that determine the source and destination of the angle of view. What makes these two actors in relation to each other is a special mark. The action between the actual marking and the potential reception of the carrier is twice semantic: the setting of the viewpoint - the regulation of the relationship between the source and the destination and the movement of the actors, that is, the transformation of situational activists into actors for the semiotic orientation.

  In this research, the method of collecting information from the method of the library, the method of reasoning research, the method of inductive method (except for the whole) and the method of data analysis is a qualitative method. In this research, we have tried to use the Jacques Fontaine model in the "Vargheh and Golshah" system, which is one of the oldest languages ​​of Ghana Farsi is to be studied in order to determine the role and importance of the angle of view and its functions in this system because the selection of the angle of view by the narrator in the discourse plays an important role.

In the poetry of Vargheh and Golshah, the narrator used a combination of different meanings to his audience, combined with different sections of the discourse, from the angle of universal, sequential, selective, and competitive component, each of which is the aesthetic dimension Emphasize different signs in the narrative. Signs and meanings that only form the basis of the interaction between the language and the experience of actors from the outside world. The universal viewpoints have common features with a whole wider angle. "This approach comes from a very wide range of visual species, or the principle of generalization, and a list of views. Therefore, in such a gesture, the principle is based on the rule of the external species that are valued according to their unity and integrity . The verbs, such as satiating, look at the flow, look, and such examples in this way belong. The cavity of viewing angles is "a kind of cognition that has different aspects of one thing or a position one after the other behind they let. In this way, this angle of vision can also be called comprehensive. This comprehensiveism is based on a sort of sequencing and sequencing of the look which is achieved by putting together or combining several angles of sight "In this angle of view, the writer or multiplier speaks of one thing or one position one after the other in the form of a sequence or a sequence of views by putting together and combining several angles of vision. In the angle of view, the basic element is the choice the best example is possible. Achieving such an example: It causes the search to be stopped, because the selection sample is somehow representative of all other aspects. "Choosing the names of characters by the narrator can be seen from this angle of view, because selection is the result of a qualitative development based on the best example of the funds of something or a situation that stops with the selection of the best possible sample”.

The result of the research shows that in the poetry of Vargheh and Golshah, which, like the ancient diaspora, has a simple and primitive design and is lacking in particular complexity and is the true cause of the events of this beautiful story of Golsha, the poet, in order to induce semantic meaning for his audience, combined in different parts The discourse uses universal, rectilinear, selective, parallel, and parabolic visual features that each highlight a different aesthetic dimension of the signs in the narrative. Signs and meanings that are based only on the interaction between the language and the experience of activists from the outside world. The genre of Vargheh and Golshah is more widely used in universal narratives, sequels, selective, parallel, and paraphrase, which highlight each different aesthetic aspect of the signs in the narrative. From the angle of the constellation, often to describe the scenes and events in the narrative, from the angle of parallel vision more in the debate between the narrative factors or characters such as the debate between " Vargheh and Golshah" or speaking between "the sheet and his father", more than the angle of view is more competitive To capture non-emotional or emotional types-perceptions that affect the emotions and inner feelings of a person.

Ayyughi, a poet of the first period Ghaznavi (first half of the fifth century AD) wasin ghazne and the Sultan Mahmoud contemporary. Ayyughi,s Vargheh - O – Golshah in the form of Masnavi and Converging written Then, Lockers system and its stylistic features in detail discussed. Speech style Ayyughi in the constellation of terms and ingredients have seemed old. Some of the grammar in the book of the antiquity Which is remarkable. Do not pay attention to issues related to the poem stylistic, linguistic analysis is helpful and useful? This paper explores the style poem and learn more about the features of Ayyughi's poem in three parts, intellectual, language and literature and some prosodic's coordinates.

Division of literary texts is one of the important issues in literary theories. Literary texts are divided into different genres from form and content perspective. Lyric, epic, didactic and dramatic literatures are four accepted literary genres which their examples can be found in the world literature. Lyric, didactic and epic literatures have broad scopes in Persian literature. However, it is obvious that exact division of these genres is impossible; the dominated element is the only distinguishing criterion. The traces of lyric and didactic can be found in the Persian epics and the elements of other literary genres can be traced in the literary texts. Varegeh and Golshah written by Oughi is one of the Persian literature love stories. The love story that has signs of epic because of encountering hostile forces for wining of love and the epic and lyric elements have not deviated integrity and coherence of the text along with the distinction in artistic compilation. This question is arisen that: what literary and artistic components have been used by the poet for integration of the text and confiscating of epic aspect for the sake of lyric aspect? To what extent he has succeeded? Analysis of the epic and lyric elements of this verse shows that although the external music in the poetry demands epic atmosphere and lyric infrastructure of other works, the poet could guide this contradiction artistically toward sublimation of the poem and fix the text in its lyric form.

Gérard Genette is a French structuralist theorist and critic. In this paper we have investigated the speed and time technique of narration in the story of Varqa and Golshah by Ayyuqi from the viewpoint of Genette. The result of the structural study of Varqa and Golshah indicates that for the normal progress of the story and to avoid any ambiguity the writer has chosen the present time as the base and main time. Internal retrospective anachronism in the context of the story is used to inform the audience or restating the memories, and anticipative anachronism is only used to express the ambitions of the characters of the story. The study of duration shows that the story has been narrated with negative acceleration. By using this element, the writer has built the desired form of his story and has been able to increase the epic aspect of the story more than its lyric aspect. The element of frequency has been investigated from the singular, repetition, and frequent aspects. The results show that these elements have caused the text to progress fast and have led to meaningful repetition of events and emphasis on them.

The love story of Waraqah and Golshah is one of the first love stories of sela poetry in Persian in the fourth century and early fifth century AH. It contain contents the emotional life between the two beloved in simple language. The love themes in this story are indicative of its emotional power. Even though, Alaiouki has taken the source story from transmitted Arabic books and news, but he has increased its enthusiastic content, so distinguishes itself from the original. Therefore, the subject of this essay is to extract and make a comparative study of the love contents in this story with Arab origins (Orwa and Afra) on the basis of the properties of Othri love (virtuous). The results obtained. Indicated the attendance of thought and awareness-that return to Iran's culture and ancient civilization-which have had a significant impact in the selection of characters and their positions as well as the way the transfer of events. For example, in the sela poetry of Persian, love between two beloved person begins at school (Koranic schools) indicative of culture and civilization, the event that is not found in Arabic novels. In other words, meeting at Koranic schools is addition of the narrator of Iran. On this basis, we studied other the contents of the two stories using a descriptive-analytical approach. The results of the comparative study of the contents extracted in love in the two stories were shown in a table in terms of sharacters, time, place and things.

'Khajoo', a famous poet of 8th century, is one of the men of distinction from Kerman and his pen name 'Khajo' refers to this association. From the young age, he was familiar with some arts such as painting and music. His connection with Sheikhs of Kazeroon should be studied in conjunction with the relationship of the Injo family with them. His mystic poerty has little of mysticism. His 'Homay and Homayoon' in addition to its common elements with Nezami's 'Khosro and Shirin' and Fakhredin Asad Gorgani's 'Veis and Ramin', has also common elements with Ayyoghi's 'Varaghe and Golshah'. Khajoo is one of the most famous followers of Nezami and his last Divan – 'Gooharnameh' – shows that he was familiar with Amir Khosro Dehlavi's works.