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

Humor has been a consistent presence in Persian literature since its inception, serving as a literary device for political and social critique, as well as a means to imbue works with a lighter tone. Nezami Ganjavi, a pioneer of satirical writing in the 6th century, utilized satirical techniques to not only critique the social, cultural, and moral milieu of his era, but also to infuse his narratives with an element of amusement. In his poem "Leyli and Majnun," the incorporation of humorous verses serves to alleviate the somber narrative and engage the audience. The rhetorical framework governing the work has provided a platform for humorous discourse and expression. Utilization of identification and simile as prevalent literary techniques within this framework has given rise to situational humor. Additionally, wordplay, a hallmark of the 6th-century (Arrani) style, has been extensively employed, contributing to verbal humor. Etiology and paradox, two other devices, have frequently contributed to tempering the story's solemn atmosphere. The humor in Nezami's works has been subtly interwoven within the layers of language, often evading immediate recognition, thus adding a touch of subtle irony to his verses. 

Knowing mythological characters in general and mythological women in particular in contemporary Persian poetry is a way to know women in contemporary times as well as knowing poetry, its semantic layers and analysis. Among women, Leyli's face is an important figure in Persian poetry, both classical and contemporary. One of the most prominent and important symbols of the lover in Persian poetry, Leyli, the reflection of her face in contemporary poetry is examined in this research by focusing on the poems of Hossein Manzavi, Nusrat Rahmani and Forough Farrokhzad. The main question of the research is how Leyli, as the most important mythical female character in Persian literature, is reflected in contemporary poetry and what her relationship with the real face of women is in our times.In so doing, after reading the most important poems in which the character of Leyli is present, the poems will be analyzed from the point of view of myth analysis. Myth analysis is an approach in which the influence of the author's personal life is examined along with contextual-textual research in the sense of historical and social influences in the creation of the work. The findings of the research show that all three poets selected in this research have had a different look at the myth of Leyli and the function of myths in contemporary poetry is different from the function of myth in traditional poetry.

The currnt srudy aims at utilizing Seligman's theory of optimism so as to analyze "Leyli and Majnun" by Nezami in a descriptive-analytical method. The actions and behavioral features of each character in this book of this book and the included concepts provided in the poems are matched with the virtues and components of optimism presented in the mentioned theory. Having collected the data in the ofrm of graphs, the results indicated that Nezami Ganjavi, who is known as a figurehead of sciences back in his time, has paid special attention to nurturing the good human virtues nd spiritual and psychological excellence of the characters (Leyli and Majnun) in his poetry. Also, The results have depicted that the characters are adorned with six virtues that are provided by Seligman's theory of optimism and these evirtues are frequently narrated in this verse as well. The so called virtues comprise Wise love, humanity and compassion for fellow human beings and even beasts, courage in loyalty between the lover and the beloved, the transcendence of existing pure love, justly ethics between the two, and the maintenance of moderation in their thoughts, actions, and behavior of Leyli and Majnun, who are the main characters of this work. It is worth-mentioning that these virtues are also applied to other people in this book.

In narrative poems, poets use the structure and elements of narration in order to create an attractive and attractive narrative. A narrative can be considered as a representation of an event or a series of events. Narratology as a science that analyzes the narrative structures of a narrative as a report of facts in an artistic form. The study of narratology of classical texts, especially narrative and story poems, is a new horizon in front of the audience. Based on this, the main goal of the upcoming article is to use Roland Barthes' narratology theories to analyze and analyze Nezami’s works as one of the story treasures of Persian language and literature.

The research method in this thesis is descriptive-analytical with the main narratological approach.

In the narrative pattern in the story structure of Khosrow and Shirin, Leyli and Majnoon, and Haft peykar from a balanced to an unbalanced situation, we are faced with various main and secondary developments, mutual actors, and many mediating profiles and functions. In all the stories, a complete transformation has occurred in the narrative and the main and secondary achievements of the story have appeared in the way of internalization and chain.

The research results indicate that the structural pattern of Khosrow and Shirin's narrative begins with the change of balanced to unbalanced conditions with a complete follow-up. The main story of Khosrow's and Shirin's love for each other, which includes the secondary stories of Khosrow's love for Maryam, sugar, royalty, and Farhad's love for Shirin. The mutual actors of the story, including the confrontation between Farhad and Khosrow, and Maryam and Shirin, in the end, the final whirlwind of developments, namely the death of Khosrow, the loss of the monarchy, and the death of Shirin, ends. The main development of the story of Leyli and Majnoon is the love of these two lovers for each other, which, along with secondary developments such as the beginning of the madness and madness of "Qais", the marriage of Laili with Ibn Salam, the death of Ebn-esalam, the proposal of the father of Qais to Leyli is the main core of the death of the two characters and the main actor. ends The contrast between Lili's love for Majnoon and her indifference towards Ibn Salam is one of the main action levels of this story. In the Haft Peykar series, the main achievements such as Bahram's accession to the throne, finding a room with seven figures of beauties, and bringing seven princesses from the seven regions of the world to Iran are depicted.

A large part of artistic creativity, especially in classical texts, is merely the creation of poems that shows the power of creation, imagination, and storytelling of poets. In the present study, considering Seven Bodies, Eight Heavens by  Khosroudhalvi, Yusof and Zoleykha and Leyli and Majnoon of Jami.  The results show that confirmation of acceptance, cause and effect relationships, story-by-story creation, and surprise a ending  are the characteristics of the plot in the Seven Bodies. Conversely, the stories of the Eight Heavens have strong causal and effect relationships, and the plot of the stories is to plot something and ultimately decipher it. There is no insistence on creating a knot in the plot of Jami's stories. The central characters of these poems are women, among whom the women of the week are very witty, fearless and thoughtful, and in contrast, the women of the eight heavens are lustful, cunning and treacherous. Women in Jami Collection are also passive and obedient to the power of men (kings, ministers, fathers, etc.). The Collection is given to describe the nature and setting of a special story in a picture in which Amir Khosrow pays more attention to the description of women and their betrayals. Jami's poems are the boundary between these two poets, and Jami's setting is proportionate and very effective in inducing the concepts desired by the poet.

In Persian literature, to express lyrical and romantic themes, along with the form of sonnet, it is also common to use romantic verses. Storytelling is one of the types that was noticed very early in Persian poetry. At the end of the 6th century, the order of romantic stories reached its perfection by Nizami Ganjavi. He arranged some famous stories of his time and the performances of this poet were so skillful that most of the composers of romantic verses, knowingly or not, have been influenced by his style and manner of storytelling. One of his brilliant poems is Leyli and Majnun, whose origin should be sought in Arab literature. This story has been imitated many times by poets in different languages. The Eastern world has known the tragic story of Leyli and Majnoon in its literature since ancient times. Over the years, this story has inspired dozens of great poets in the creation of fantastic poems, and it is still reflected in the works of poets, writers, playwrights and musicians of different nations of the East. Undoubtedly, the origin of this story belongs to the Arabs and its history goes back to the end of the 7th century AD.

Leyli and Majnoon are among Ganjavi's nizami poems that have had a great impact on the storytelling of Persian literature and have been imitated many times. In this research, using analytical descriptive method, Ganjavi's nizami narrative models in Leyli and Majnoon's narration have been studied. The results show that the main confrontation in this work is the confrontation that arose from the society of the age, a confrontation that is rooted in ethnic nervousness. The actions of the actors in this story are also significant based on this confrontation. Madman is a dynamic character who changes and transforms, but Leyli has a static personality. The protagonist of the story is insane, and those around him also play a supporting role. The main deterrent to this story is Leyli's father, and the value object is love, and for this reason the story has found a mystical color and smell.

The structuralism is the most important of literary theories that investigate and analyze the general structure in significant systems like language, literature, myth and etc. The structural analysis of story and narrates is counted as the most beautiful literary analysis in contemporary literary criticism. Leyli and Majnoon being considered the ancient texts that counted as mythic narratives. The best structural analysis on Leyli and Majnoon, due to its narrative structure that formed from epic and lyrical stories, is structural method in analysis of mythic stories. In this article that is part of a widespread research in link with structural analysis of Leyli and Majnoon, we tried to investigate how to applied sequence in this great work. Firstly, each story diminishes to a sequence that each sequence formed some function and special roles. It is necessary that the function of each sequence cover the validity of acts and perform an important role in sequences advance of the story.

Love is one of the most important conceptsin exploring the human condition in literature. Nezamis“Leyli-Va-Majnoon” is one of the most prominent literary examples in which the presence of this humanistic concept has been demonstrated intelligently. Everyone has attempted to interpret the meanings and reasons ofthis concept, regardinghis or herown notion, either deep or shallow. Modern thought, including psychoanalysis, presents strategies to avoid generalization and choose a clear way to proceed with our quest. This study aims to investigate hidden dimensions of anabnormal love that are linked together like a chain. This kind of love begins with narcissism and continues with hypochondria and self-abuse and will lead to mortal thought orientation. In addition, concepts such as” The lost ideal“,in which the inaccessibility of“Object” (the exterior beloved) is accentuated and also is one of the other aspects of narcissism, will be considered. As a result, many of the love patterns, which seem to be perfect, are not so in practice and they are accompanied by some types of psychosis and anti-social behaviors.

Leyli & Majnoon are from the famous lovers in Arab and even world literature whose love story reflects in most of the nations’ literature. Kurdish literature is not an exception and the poets around the world paid special attention to love stories and depict it in their poetries especially in the odes since ancient years. The present article tries to study Kurdish contemporary poetry and survey the poets’ knowledge qualitatively and quantitative.

In the vast world of narrative literature, the lyrical poems of Nezami Ganjavi with their unique narrative aspects, structures and origins are the type of Persian literature classic works that can be considered and criticized in accordance with principles of structuralism. In this research, "Khosrow and shirin " and "leyli and majnun" romances have been analyzed structurally as samples of the most pleasing ones. So, firstly, it has been mentioned some points about narration and its elements and units. secondly,,by explaining characters, or, in another word motifs and their functions, the narrative elements of considered romances have been compared according to structural narration point of view which is the base of Russian theorist Vladimir Propp, s work in morphological analysis of fairy tales.In order to fulfill this, categories like plot, character, narration timing, order and pedagogy, continuity, narrator, have been considered to conclude that how these elements with their own syntactic combination change the story from raw form (fabiola) to narrative form and with this method of expressing, what the effect of lyrical content of story on the narrative elements is.

With the aid of his genuine poetic imagination, Nizami Ganjavi created an everlasting masterpiece in Persian literature through a local story named ‘Leyli-va-Majnoon’. His fantastic achievement inspired many poets to follow his model. On the other hand, William Shakespeare picked the story of “Romeo and Juliet”, which was well-known in Elizabethan England, transforming it to a celebrated romantic tragedy. The assumption of the present paper is that by taking a naratological approach especially Griema's actantial model of narratology into account, the narratives of Nizami's Leyli-va-Majnoon and Shakespeare's Romeo and Juliet can be compared. It may be prudent to first intoduce the two narratives before specifying their narratological similarities along the axes of Griema's model. Simultaneously, the attitudes of the two works toward the woman will be discussed.