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

Mankind has long tried to build his society on the basis of his culture, literature and ideals. In this effort, literature has continuously surpassed other subjects and has found a special place in society and politics. As a result of the constitutional movement, the victory of the Iranian Islamic Revolution, the imposed war between Iran and Iraq, and similar events and issues, contemporary Persian poetry moved towards social and political poetry. To the extent that a branch called "social ghazal" was formed in contemporary Persian literature. In these sonnets, social themes and events of the era of poets are mostly mentioned. These sonnets are prominent in the ideological layer, which is related to the inner language, and the element of ideology is constantly repeated in them. The purpose of this article is to investigate the intellectual style of social sonnets after the revolution in the poems of Qaisar Aminpour, Abdul Jabbar Kakaei, and Saed Bagheri.

This research was conducted with a descriptive-analytical method.

After the Islamic revolution, the themes of this sonnet became more national-religious and issues such as martyrdom and stability were raised more. The most important themes in social sonnets after the revolution are freedom, patriotism, stability, martyrdom, peace and friendship, protest against the transformation of values, and the culture of expectation and Mahdism.

In general, Qaisar Aminpour should be considered a more serious and prolific poet than Saed Bagheri and Abdul Jabbar Kakaei in the field of revolutionary poetry. Even though Aminpour has many new poems in this field, his social sonnets about war, homeland and the value of martyrdom remain worthy of attention. Saed Bagheri has been martyred more than any other issue and has repeatedly expressed his regret and longing for his martyrdom and comrades. Abdul Jabbar Kakaei, but more than two other poets, has dealt with the subject of Mahdism and waiting for the promised. He equates his long waiting time with the loss of his dreams to reach the ideal society.

Every speaker seeks influence and influence on her audience and chooses a method in this direction. As one of the most capable Persian speakers, Sa’adi's works contain various instructions for expressing the meaning. In the present study, the subject of the use of directive sentences and how to combine them with predicate sentences in Sa’adi's ghazal is discussed based on Searle's speech act theory.

This research is based on descriptive – analytical method. For this purpose, we first explain the theoretical foundations of Searle's speech act based on the five acts of assertive, commissive, expressive, declarative and directive with appropriate examples from Sa’adi's ghazal, then we focus on the directive act and show that Sa’adi's special style in expressing directive and frequency sentences and what is their audience like.

We found that there are 146 directive sentences in 126 verses in 100 ghazals that were chosen randomly. The audience of these verses were divided into five groups. Of the set of directive sentences, 101 sentences have compound construction. Out of 101 compound sentences, 65 sentences with the conjunction express the reason or in the sense of expressing the reason Also, from the point of view of audience, these sentences are addressed to five categories of audience.

Searle's speech act theory about sentences is consistent with what Sa’adi said in his sonnet sentences. He has achieved his own style by using the structure of "base clause plus Conjunction plus follower clause" with high frequency.

Ghazal is one of the most common formats in Persian literature and it is rare to find a poet who has written a ghazal. Esmat Bukharai is a poet of the Timurid period and one of the lyricists of this period who wrote beautiful romantic and mystical lyrics. In this article, we have analyzed two hundred sonnets of Esmat Bukharai from the three perspectives of linguistic, literary and intellectual style.

Considering its theoretical nature, the current research has been conducted based on library and electronic studies and in a descriptive-analytical style, and the target society and scope is Diwan Asmat Bukharai by Ahmad Karmi.

Based on the findings of this research, Esmat Bukharai's poetry, compared to other poets of his time, does not have thin imaginations and complex and slow-to-understand themes. His poetic language is simple and fluent and there are no significant slang terms and interpretations in it. In his sonnets, he has used mystic and Qalandran themes.

The poet has used calm and heavy weights and brook like (Raml and Hazaj) which are suitable for pleasant romantic themes and express the feelings of the poet in sadness. He has shown special attention to rhyme and lines, and his sonnets are almost free of rhyme defects. He has refrained from bringing heavy and abandoned Arabic expressions. Ismat Bukharai has used sensory to sensory and intellectual to sensory similes a lot. Metaphors of innocence are not far from the mind and can be seen in ancient poems. Hints also have a special place in his poems, but innovation is not seen in them and it is repetitive. The main theme of his poems is love and the separation of the beloved, and the burning and burning caused by this love. It also contains lyrical and mystical themes and it is like the predecessors in war and controversy with Zahad the hypocrite.

Iranian contemporary ghazal has its own stylistic distinctions, and contemporary modernist ghazal writers have modernized in different linguistic, rhetorical, literary and thematic dimensions. Knowing the stylistic aspectes of these poets is the result of studying and examining the aforementioned dimensions. The aim of the current research is to study and understand the stylistice aspectes of Gholamreza Tarighi's ghazals as one of the contemporary poets. Studying the linguistic, literary and thought dimensions of this ghazals has clarified his stylistic dimensions and tendencies for the audience and has determined the aspects of his modernity in these dimensions.

This research was done based on library sources and descriptiveanalytical method.

The study of the style of Targhi's ghazal reveals that he is a modernist ghazal writer and has innovated in different aspects of language, imagery, thought and theme. The language is close to colloquial language and elements of modern and contemporary language, contemporary allusions can be seen in his poetry, and his similes are urban.

Tarighi wrote a ghazal in the language of the time, and every kind of word has found a place in his poetry, and he did not divide the words into permissible and non-permissible ones. He mostly uses similes and his similes have an urban root. The ambiguity and illusion is more used in his poetry, and in lexical rhetoric pun are the most used in his poetry. He likes human love and does not consider divine or virtual love.

Language has never been free of metaphor at any time and at any level, whether in everyday and automatic language or in literary or scientific language. The fusion of metaphor with experience is such that it is thought that a metaphor can never be understood independently of its empirical basis, or even possible to represent it in an appropriate way. Conceptual The systematic dependence of metaphorical expressions on metaphorical concepts allows us to study metaphorical linguistic expressions to understand and understand the nature of metaphorical concepts of our activities. Because of this systematicity, it is possible to understand one aspect of a concept in terms of another aspect. This article examines this type of metaphor in Saadi's ghazals by basing its research method on the conceptual metaphor theory of Likoff and Johnson. . The most cognitive concepts in Saadi's sonnets belong to natural elements and spheres of power. The high frequency of a name map means that this concept has a high dominance in the poet's mind and Saadi is either in conflict with these concepts or in association with them.

Sa’di is a prominent ghazal-writer whose poetry has unique and distinctive stylistic characteristics. He is one of the outstanding poets in writing love ghazals. Sa’di writes his poems with absolute simplicity and distinctive eloquence. These characteristics have made him a pre-eminent poet in Persian literature. Also, he has influenced many poets such as Nasser Bokharaei, Khajouy-e Kermani, and Homam-e Tabrizi. The present study uses a descriptive-analytical method to demonstrate how Bokharaei is influenced by Sa’di by the use of similar aspects in axes such as external and marginal music, language, literary devices, literary aspects and content.

This study uses descriptive-analytical methodology and library research to analyze and interpret Sa’di’s influences on Bokharaei in the above-stated axes.

The findings of this research show that Sa’di’s and Bokharaei’s ghazals have common and similar aspects in four axes of external and marginal music, language and literary devices, literary aspects and content: in the first axis, elements such as rhythm and rhyme (in sixteen ghazals); in the second axis, the similarity of descriptive combinations and their relationship with the common love theme; in the third, literary axis, the similarity between similes and metaphors; and in the fourth, thematic axis, the similar love themes (specially the beauty of the beloved), and mystical themes and Saqi-nameh. These similarities attest to the influences of Sa’di on Bokharaei.

Bokharaei not only follows Sa’di in writing ghazals, but also regards Sa’di’s simplicity and fluency in his ghazals as a model for writing his own ghazals. It should be noted that Sa’di’s ghazals are sweeter and subtler compared to Bokharaei’s; however, the simplicity and fluency of Bokharaei’s ghazals reminds one of Sa’di’s ghazals. As a consequence, Bokharaei has managed to make his poetry enduring and eternal.

The Holy Quran is a miracle that appeared in the form of words and was finally revealed with eloquence and eloquence. For this reason, many creators of poetry and prose works in Persian literature have used it in different ways in creating their works. The manifestation of the eloquent words of the Qur'an in Hafez's sonnets is also impressive. In this research, it has been tried to investigate the various methods and techniques of Hafez's effectiveness in sonnets from the verses of the Word of Revelation.

The study method in the current research is documentary-analytical. This research deals with the methodology of the effectiveness of Hafez's sonnets from the Holy Qur'an and by dividing the methods of use and presenting examples of verses from the Holy Qur'an and verses from Hafez's sonnets, it has consolidated its hypothesis.

The presence of Quranic words, verses, interpretations, themes and styles in Hafez's sonnets shows his deep and comprehensive familiarity with the Holy Quran, Quranic sciences and topics - such as strong and similar, abrogated and abrogated, and jurisprudence of the verses - along with familiarity with interpretations. This is a heavenly book. Studies show that Hafez not only understood the meanings of the verses, but also knew about the relationship between the verses.

The most important and main areas of influence and modeling of Hafez's ghazal from the Holy Quran are included in these cases: influence of the measured connection of words and meaning in the Quran; Effectiveness of the pattern of verbal and semantic harmony of the Quran; Using Quranic compounds and words to create imaginary images; Effectiveness of the pattern of minimal pairs in the Qur'an; Effectiveness in the knowledge of Ghazals from Quranic techniques; Effectiveness of the Quranic declaration; getting inspiration from Quranic ideas; Effectiveness of the phonetic-semantic method of the Qur'an; Inferring a taste from the verses of the Qur'an; and helping to complete the rhymes of the poem.

The study of Rumi's storytelling in the form of Masnavi has neglected the study of his narratives in other forms of poetry. In this article, through a descriptive-analytic method, we study the capacity of Rumi's storytelling in poems of Ghazal, Ruba'i, and Stanza. We found that although Persian poets had the most constraints in the field of poetry, a creative poet like Rumi could have been in the same number of Persian poems, depending on the circumstances in which the narrative was viewed as a whole, to formulate the narrative from an artistic form appropriate to get help. On this basis, he chose the ghazal to represent the events that were followed by the emotional effects of his emotional revelations. With a cohesive, unique structure, he has adapted his wisdom and mystical wisdom. From the narrative of his storytelling in the form of Stanza that consists of 17 Stanza of his poem, 15 pieces in the expression of the narrative stories, the unity of the theme in these pieces, is the cause of unity in the totality of his spiritual experiences. Therefore, the specific structure and style of his stories have revealed the manner in which these stories appeared in particular story forms. Also, in comparison to 2.84%, his storytelling is in a ghazal, while he has 10.27% of the quatrains and 7.05% of the story, and this shows that after the Masnavi, Maulana has said more than any figure in the Ruba'i.

Semiotics has a prominent effect in analyzing the unaddressed dimensions of literary texts. In the signs system, codes are of particular importance. In this regard, Roland Barthes' views are more credible. He divides codes into five types: action, hermeneutic, symbolic, semantic, and referential. This allows for a solid analysis of the underlying and secondary layers of the text. In the present article, using Barth's cryptographic theory, the sonnets of Qaisar Aminpour in the Dastoor -e- Zaban -e- Eshgh have been studied and analyzed to show how much the narrative has a direct effect on the reproduction of different meanings. The results of the research show that the reflection of cultural codes in these sonnets indicates the widespread manifestation of ideological, religious, mystical, literary and romantic discourse to advance the narratives. Hermeneutic codes are used to involve the audience in discovering the ambiguous dimensions of the narrative. By giving subjectivity at the beginning of the sonnets, while pausing to provide answers, the poet finally reveals and expands the scope of the target group. The dual contrasts in the symbolic codes are a desirable ground for objectifying the narrator's inner selves and making his mentalities tangible. Part of the quality of semantic codes in Aminpour’s  sonnets shows that he described his intended system of signification using religious and emotional words and phrases. Also, the codes of action have had a positive effect on the credibility and explanation of the abstractions and intangible circumstances of the narrator.

There are a group of poets, who have indulged in the use of strange and far-fetched similes and metaphors in the Indian style to such an extent that the meanings of their words have sometimes become close to a riddle. Hence, they are known as imaginary poets. Asir Shahrestāni is one of the followers of this style. He has been considered the founder of this style in some biographies of poets. It must be said that he has employed similes more than any other imageries to convey his desired meanings. Using a descriptive-analytical method, the current research was to investigate the effects of various similes on the ambiguity of the meanings and themes of Asir's ghazalz. Based on the findings of this study, Asir Shahrestāni uses some approaches in using similes that have a great impact on the ambiguity and complexity of his speech. Among these approaches, we could mention his skillful use of abstract elements, use of topics and images with numerous additions, and integration of the two sides of comparison with symmetries. In addition, the density of similes in the horizontal axis of his poems was effective in the perpetuality of the themes in his poetry. On the other hand, it could be said that the creation of novel similes had in many cases made the themes and subjects of his poetry outstanding and strange. Moreover, some linguistic and expressive slips could sometimes be observed in his similes.

Hafez Shirazi (727 AH/1325 AD - 792 AH/1390 AD) is one of the great poets whose lyrical poems are full of various socially-significant words with many expressive, relational and experimental meanings and values. These words have meanings beyond the normal and denotational level and are a way to a better understanding of Hafez's thoughts and ideas, and the phenomena and realities that took place in his time. By using direct and indirect methods and numerous rhetorical devices such as ambiguity and multi-layered metaphors, especially irony and paradox and with the help of the emotional load of marked words, Hafez deals with social criticism and reform. taking into account the social-historical situation of Hafez's era and relying on the analysis of Fairclough’s critical discourse analysis , this research, with the descriptive-analytical method, , the most frequent socially significant words in the ghazals of "Lisan al-Ghayb" in the three levels of "description", "interpretation" and "explanation" are analyzed. Then, critical action of Hafez against the most important institutions of society; that is, politics, Sufism and Sharia are examined. Based on the results of this study, Hafez's language and expression is a "social action" that is both acted on" by and actively influence the thoughts, emotions, behaviors and socio-political relations of his time, and "active" in levels, fields and formats leaving a deep and lasting effect on them and has left its own role on people's life, worldview and values.

In this article, the authors' efforts are a comparative study of the intellectual level of Hafez and Sanai's sonnets with an emphasis on Lucien Goldmann's theory of formative constructionism. In his own way, Goldmann tries to reveal the connection between the inner structure of the work and the intellectual construction (worldview) of the author's social class, and in his opinion, the stronger this relationship is, the greater its artistic validity. The mental structure of Sana'i society made his sonnets in terms of intellectual level fall into three categories: romantic, mystical, and intellectual, and the social structure of Hafez's time made his sonnets appear to the level of a reformist critical thinker. The results of research, by using the comparative method, indicate that the dominant intellectual level of Hafez's poems is to change the structure of the existing situation and realize justice, and the intellectual level of Sana'i poems, due to the inclusion of epistemic, situational and especially normative implications, is of dimensions and ability. It has important civil and political functions.

Nostalgic poetry is a type of autobiography mostly rooted in the important events in the life of the poet. The poet’s reaction to these events is mostly sharp and effusive, being formed in morose moods. Poems with the theme of separation and love failure are a type of autobiography that contains especial idioms with higher frequency. Heyran Donboli, a female poet of Qajar era, composed nostalgic poems fed by a separation from her love as reflected in her loving self. Phrases such as -“I” the feeble, “”I” the sad, “I” the oppressed, “I” the afflicted, “I” the helpless, “I” the unlucky and broken- are instances of sadness phrases used by the poet that represent her wistful “oppressed self”. The representation of love in her sentimental discourse appears to be a reflection of her pathological needs and dependence. Among other particularities of Heyran Donboli’s poems is reproach of separation, fate, evil eye and love rival, self-judgement, begging for affection and asking for mercy. Heyran can be considered a love-seeking poet who has displayed her inferiority complex with high frequency arising from a lopsided relationship. It can be argued that the feverous emotional eruptions of feebleness in Heyran’s poetry are a clear mirror reflecting the history-long oppressions of a male-chauvinistic and religious society. It can also be argued that Heyran’s poetry reflect the status of women in Qajar era and further claim that the feminine love literature was defeated by the literature of masculine power. Keywords: Heyran Donboli, Ghazal, the loving self, the oppressed self, nostalgia

Moznab Badayouni is one of the unknown poets of Qajar era lyricists. This research tries to express the stylistic features, the theme of his poetry as well as its literary beauty. The goal of the researcher is not to determine the frequency and extent of imitation of Moznab from the ancient style, but to determine and examine the poet's style, at the linguistic, literary and intellectual levels, to answer these questions: 1- Which of the styles of Persian poetry is Moznab influenced by, and which poet or poets has had the greatest impact on him? 2- What are the manifestations of the school of occurrence and burning in Moznab Badayouni's sonnets?

Study

This research was done by content analysis and library method. The study method is in-text and with a critical view. The scope and community under study is Diwan Ghazliat Mozab.

Moznab has managed to bring his language and thought axis closer to the Iraqi style poets. In some of this poet's poems, the color of "School of Occurrence" and "Vasukht" can also be seen, which shows the change of his attitude during his life.

Moznab especially followed Saadi and Hafez in composing ghazals. On the linguistic level, his poetry is far from any complexity. He has used vernacular language as one of the main materials of artistic language and he tries to musicalize his words with the artistic use of vowels, an anthology of words and their arrangement together. At the literary level, expressive elements such as simile, metaphor, and original elements such as repetition, observance of analogy (more than 95 percent), contrast, and allusion have the highest frequency. At the intellectual level, the focus of his thoughts and the basis of his lyrical poetry is "love and its related topics". People's beliefs, customs, religious beliefs, proverbs, as well as many themes, including the political and social situation of the country (during the constitutional period), can be seen in his poetry.

Some classical texts are considered as supertexts and mother texts in Persian poetry, which more or less spread their shadow over other texts in all or most literary periods. Hakim Abulqasem Ferdowsi's Shahnameh is one of these hypertexts whose signs of its presence can be traced in many subsequent texts, both epic and non-epic. In modern times, poets have been influenced by stories, characters, myths and other aspects of Shahnameh on various occasions.Simin Behbahani is one of the poets who, with a relatively good knowledge of the Shahnameh and its fictional world, has been able to create extensive intertextual interactions with the Shahnameh. In this research, with analytical-descriptive method, we have sought to analyze and examine the fields of familiarity and the amount of use of Simin and the quality and manner of these uses of the Shahnameh. The findings of this research show that Simin Behbahani, due to growing up in a scientific family and personal studies, had a relatively broad knowledge of the stories and influential characters of the Shahnameh, and was able to use the stories of the Shahnameh in various positions to arouse people's sense of love for Iran and also to remember the heroes. Taking refuge in the Shahnameh and its heroes in search of a savior, using lyrical dimensions and drawing the political-social atmosphere of the contemporary era are other factors that have led Simin to use the mythological stories of the Shahnameh.

Stylistics is a layer that indicates the depth of poetic meanings from the external and internal perspectives of poetry, according to the poet's intellectual background. In this article, with the stylistic layer of the sonnets of the three seventh century poets "Saadi, Majd Hamgar and Emami Heravi", the five phonetic, lexical, syntactic, rhetorical and ideological layers have been evaluated.

The present study was conducted in a descriptive-analytical manner and in order for the results to be natural, the studied sonnets were randomly selected.

Saadi's attitude towards love, as an ontological matter, causes the development of this concept in individual behavior (the concept of love in the Iraqi style), social behavior (attention to the social dimensions of virtues and vices) and the behavior of existence towards good. Magdaldin Hamgar's attitude is a purely individual one about love, and lyricalness is the basis of other layers of his poetry. According to Imami Heravi, mystical thoughts and Sufism are the principle and other layers of poetry are based on the expression of mystical thoughts.

The ideological layer in the attitude of these poets has influenced the other four layers of their poetry. Also, there are many commonalities in different levels of speech, unique features, artistic aberrations and stylistic characteristics of these three poets.

Finding similarities and differences between lover and beloved, helps to better understand the worldview and aesthetic criteria of poets. In this article, various characteristics of lover and beloved have been extracted from fifty Ghazals of Saadi and Rumi; then, according to characteristics, different types of lover and beloved are categorized .Finally, the similarities and differences are studied. By this, it has been determined that the characteristics in the poetry of a poet are more similar to each other than their corresponding types in another one. The findings, which are accompanied by frequency of some of the keywords, are new proof or reject of some of already existed assumptions, proof of the unattainability of Saadi's beloved, his more personalized love, his worship of beauty and Rumi’s more steadfast submergence in love. All these confirm the fundamental difference between these poets and are rooted in Rumi's mystical and Saadi's aesthetics. We have also proved that Beauty is the condition of love for Saadi, but for Rumi it is the result. Among the differences are the discrepancy between the viewpoints of poets toward true and virtual love, how a lover describes his beloved, the strength of the lover, and the feelings of the lover.

Using allegories in poetry and utilizing them in literary texts is among the factors that boost the aesthetics of literary works and the quality of literary originality in texts. Due to the literary position and influence of Hossain Monzavi on contemporary ghazals and poets, the need to investigate his poetry seemed pressing. The present study aimed to investigate how various types of allegories were utilized in Monzavi’s ghazals, and, based on the obtained evidence, it was shown that the literary figures of speech occupied a special position in his poetry. As the nature of the figure of speech depends on previously-known texts, tales, and poems, it, consequently, does not have much space for creativity and innovation. Thus, Monzavi has just been able to be innovative on rare occasions, including the manner of conceptually utilizing the allegories. A number of articles were found on Hossain Monzavi’s poetry and thought, but no study was conducted to focus on “allegories in Monzavi’s ghazals”. The present study used a descriptive-analytical methodology to investigate the following questions: “How much did Monzavi pay attention to and utilize various types of allegories, and how much was his creativity in utilizing poetic allegories?”

The great master and poet of Qahestan region, Hakim Nazari, with the help of his gentle soul, powerful thought, thoughtful mind and inspired by the spiritual worlds and the inner world, reflected his tender and subtle feelings in the form of sonnets. In addition to creating lofty and deep themes, the poet has achieved all kinds of literary tricks and tricks due to the need of the listener and embellishing the words. One of the aspects of Nizari's rhetoric and depictions is allegory and its sub-branches. The aim of the upcoming research is to investigate love, one of the most central mystical experiences of the poet with an allegorical approach, which the writer has analyzed in a documentary and library way and in a descriptive and analytical way. The main question is, what purpose did the poet of Qahestan follow from the use of allegory and its sub-branches? The findings of the research indicate that the poet used allegory as the most efficient way of similes to reveal complex meanings, especially his mystical experiences, and sometimes mentioned multiple allegories for the same meaning, and the purpose of that was to clarify the various dimensions of that meaning. . In his allegories in the realm of love, Nazari used more tangible and sensual personalities and images and created novel themes.Keywords: Nizari Qahestani, Ghazal, image creation, allegory, love