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

oppression and justice have always been together in history and have been reflected not only in the context of human life, but also in literary and artistic works. Not only the epic, mythological, admonitional, moral and sustainable literature is full of stories of oppression and justice, but Persian lyrical and romantic literature is also not devoid of these themes and it is only the oppressor who turns his face and turns into an indifferent and intolerant lover. Parvin Etisami is one of the leading poets of the contemporary era, who is in the transition from the constitutional era to the new era of Iranian history. He saw the rapid changes in Iran and the shortcomings and imperfections of the Iranian society, some of which were specific to his era, while others were ancient and common throughout the ages and inherent in human life, and he reflected them in his poetry. In order to reflect insurances and hopes, oppression and justice in his poetry, he chose methods that had a long history in Persian literature, but Parvin proved once again the effectiveness of these ancient methods with mastery combined with simplicity and sincerity. Clarity in criticism and ambiguity in attribution, allegory, debate, allusion, revitalization and dualization are among these methods. Parveen also added a tenderness to her expression that is unique to her and is the result of her feminine spirit. In this research, the ways of explaining oppression and justice and drawing the faces of the oppressors and the righteous in the poetry of Parvin Etisami are discussed.

The current research is descriptive and analytical and based on library studies. The basis of the research is Parvin Etisami's Diwan with an introduction by Malek Al-Shaarai Bahar, and to select examples and evidence, all the Diwans have been examined.

Contrary to the opinion of some critics, Parvin is a critical poet, although he cannot be considered a revolutionary poet. In his criticisms, he deals a lot with the subject of oppression and justice. His most important technique in explaining the duality of oppression and justice is frankness in criticism and ambiguity in attribution. Other methods he uses to explain injustice and justice are to keep the umbrella of ambiguity over his poetry. To provide and guarantee this ambiguity, he makes ample use of debate and allegory, and debate and allegory in his poetry, when one side is inhuman, inevitably leads to recognition. Also, in order to provide ambiguity in attribution, Parvin uses allusions and attributes his frank criticisms to historical figures. Sharp dichotomy is a lot to highlight the duality of injustice and justice in his poetry.

Parvin Etisami's poetry is a mixture of morals, emotions and imagery, which he created with mastery while following the poetic style of the ancients, creating a modern poetic product suitable for today's conditions. Relying on allegory and debate and choosing the format of the poem as the most important form of his poetry, he has reflected on the present and the day of the Iranian people in one of the most dangerous periods in the history of Iran. Parveen Etisami, as a woman and following the tradition of veiling in classical Persian poetry, speaks in a veil in many debates. Also, in his view, oppression is not necessarily human and may be cosmic.

Some verses of the Holy Quran have been reflected more than other verses in the works of writers, poets and commentators due to their specific and deep content and message. The honorable verse 72 of Soreh Ahzab is one of the verses whose meaning and meaning there are many differences between the commentators of the Holy Qur"an and mystics. Therefore, according to the wide influence of this verse in the interpretation and mystical books, he examined the opinions and documents of four commentators and mystics about the meaning of trust and how it is carried in the world and the reason why creatures are afraid of accepting it and how it is accepted by humans. The reason why man is described as cruelty and ignorance has been investigated.

In this article, the descriptive-analytical method and the study of library resources have been done. At first, the works and sources related to the subject have been carefully studied and examined, then the relevant verse and the views of four commentators and mystics have been exami

According to the studied commentators and mystics, man is the only being who has the authority and dignity to carry trust, and this acceptance by man was accompanied by free will. The studied interpretive books interpret trust as various matters, but the studied mystical books interpret trust as "love and knowledge" and consider love as the result of divine knowledge.

The commentators under study consider man to be oppressive and ignorant because of the withdrawal of trust, but the mystics in question consider these two words to be positive words and cause the praise of man, not to blame him, due to God"s praise of his beloved and the creation of a two-way romantic relationship.

What is the relationship between democracy and literary theories? Some individuals have considered this relationship as cause and effect, they have said that the relationship between the two is direct; Cause and effect in the sense that one (democracy) is the cause of another (criticism/literary theory) and direct as there is no intermediary/variable between them. But it seems that the relationship between these two is more complicated than it appears primarily, because not only the relationship between literary theory and democracy is complex and multifaceted, but mediators such as minorities also play a role in it. Democracy as a political system has a long history. Despite this fact and its continuous evolution throughout history, many of its issues still remain unsolved and no definitive solution has been found. One of these issues is "minorities". The ideal of democracy is the management of society by all people, but the existence of minorities - who usually do not participate in society due to oppression - has made the realization of this ideal far from reach and difficult. Solving this difficult issue has been the concern of many theorists, especially democracy theorists. Establishing laws to protect minorities and so on has been one of these solutions. Literary theories are also one of these solutions to solve the problem of minorities. Literary theories - each of which deals with one or more groups of minorities such as women, immigrants, natives, etc. - attempt to free the minorities from the subjugation of others and provide the basis for their participation in the society. In this way, democracy will be exalted.

Īhām is among the most pleasant literary devices and the best way to express social woes and a medium through which to express discontent, albeit conservatively, in societies under authoritarian rule. Hafiz extensively employed this rhetorical embellishment to criticize the tumultuous situation, not least in his Ghazals. Relying on the descriptive-analytical method, this inquiry delves into the īhām-loaded poetry of Hafiz aimed at social and political issues. It will shed light on the influence of Mongol invasion of Persia and the dominance of Genghis Khan’s successors in the Hafiz’s poetry. It also identifies the most prominent instances of īhām with socio-political function in his poetry. The results suggest that the best part of social and political īhāms is aimed at the corrupt establishment, principal among them the hypocrite Mongol rulers. As well, two types of īhām were used more frequently than the other ones: tanāsub and mujarrad.

In the dark seventh and eighth centuries AH, which was the period of domination of the Tatar bloodthirsty and the governance of the unworthy cruel rulers over the cultural Iran, critical poems emerged in ways deeper than the protesting literature in the sixth century. In this period, Saadi and Saif Farghani were two liberals who each addressed the issues of the disintegrated society of that time. Since the arbitrariness of anti-people governments had captured the pen and speech in the labyrinth of tyranny, these poets inevitably turned to cryptic novelties, especially equivoque , to criticize the turbulent situation of the time. Based on a descriptive-analytical and comparative method, this study aims to investigate and compare the function of equivoque in raising political and social issues in the Ghazal of the mentioned poets in order to firstly explain the impact of Genghis Khan invasion and Mongol rule in this period on the common theme in their Ghazal and secondly, the most equivoques of the Ghazal of the mentioned poets is known by their political and social functions and their similarities and differences, as well. The final result of this research shows that the application of "Equivoque " method in raising political and social issues in Saadi's Ghazal is more frequent than Saif’s. Most of the equivoques criticisms of these two poets are directed at those in power. Among the types of equivoque , abstract equivoque and equivoque of proportion are more prominent in Saadi's Ghazal and equivoque of proportion and contradiction in Saif's Ghazal, respectively.

Parvin Etesami is one of the famous poets of contemporary Persian poetry whose opposition to oppression and oppressors and sympathy for the deprived and oppressed are important themes of her poetry. Ahmad Abdolmoati Hejazi is also one of the pioneers of contemporary Arabic poetry and one of the most committed Egyptian poets whose poems depict the pain and sorrow of the people of his community, including their struggle against oppression. The present study attempts to research and analyze the common manifestations of oppression theme between these two poets, relying on a descriptive – analytical method. The results show that issues such as the search for a utopia free of tyranny, protesting against injustice in income distribution and heavy taxes, and criticizing homelessness in dealing with orphans and orphaned children are among the common manifestations of anti-oppression. Nevertheless, Parvin uses allegorical language, fables and ironic expressions to express her criticisms, while in Hejazi's poetry, there is no mention of far-fetched allegories and he criticizes the political and social governing situation boldly and explicitly.

Contemporary poetry in the field of words and content has experienced fundamental changes compared to the classical period. In terms of content, poets have avoided referring directly to ethics and have used it as a tool to represent political and social issues, which has added to the complexity and complexity of the poems. Hamid Mosaddegh, as one of the prominent representatives of the poetry of social symbolism in the contemporary era, has benefited from this method and in the poem "Derafsh-e-Kavian" by reflecting a set of moral teachings and its connection with political and social issues, a new step in description and The design has removed the educational themes. At the deep construction level, he has encouraged his audience to build a better world in accordance with justice-oriented standards, using the educational capacities of such things as: God-centeredness, unity of people, self-belief, intellectual and behavioral passivity, negation of determinism, etc. Examining the poetry of "Derafsh-e-Kavian" with a descriptive-analytical method and approach to the basics of John Searle's theory of speech actions shows that the use of expressive, persuasive, emotional, obligatory and declarative actions has resulted in representing the macro moral concept of "oppression" and other doctrine. Teaching methods have been used to reinforce this fundamental concept.

In Iranian culture, justice has always been emphasized and it has been reflected in pre-Islamic literature in the form of advice letters. The etiquette of the kings, such as the Siasatnāmeh, the Qāboos, and the Nasihatolmolook were written under the influence of pre-Islamic works and culture, and expressed the same themes in the form of concepts and metaphors. The present study examines the conceptual metaphors of "justice" and "oppression" from the perspective of cognitive linguistics. In this research, an attempt has been made to extract the conceptual metaphors of justice and oppression based on Lycaf and Johnson's theory of conceptual metaphor in the three mentioned literary works and to analyze them by using Fairclough method. The findings of this study show that the major origins are related to nature, ethics, wisdom and religion and these metaphors rooted in the ancient Iranian ideas that believed in two sources of good and evil. The importance of these materials in the religious thought of Iranians led them use religious and non-religious books, including letters of advice, and to the literary and moral works such as Siasatnāmeh, the Qāboos, and the Nasihatolmolook later on in the Islamic Period. The concept of justice and oppression, as one of the most significant ideas of ancient Iran, survived in the form of conceptual metaphors and the cultural and religious theme of the ancient Iranians passed on to next generations are given in this study.

Khalil Hawi is one of the contemporary Lebanese poets who have many reflections on contemporary man and his problems. His poems contain an echo of modern man and his struggles that speak of the pain, suffering and injustice they endure. He considers mankind in our time, especially the contemporary Arab man, to be a captive creature who has fallen into the current crisis, surrounded by oppression. He also addressed in his poems the grievances and crises that made the modern Arab man, especially the contemporary generation, stagnant, to the extent that his poems depict a deep crisis and tragedy, and this is the same crisis and grief that has become the basis of contemporary human existence. The contemporary poet is not ignorant of the contemporary man’s awareness of his oppression and his problems, and he seeks to explain the contemporary man with the human principle. Khalil Hawi has ideas for saving people in his poetry and uses and expresses his existential experiences. Hawi believed that, in order to save himself, modern man made freedom the title of his life and with slogans such as; Hope, waiting for a miracle, with certainty, struggle, revolution, uprising and idealism, he tries to work with these ideas, efforts and struggles in order to save humanity, especially the Arab man, and in all these circumstances he hopes to achieve the freedom he desires.

Resistance literature is considered as one of the most dynamic contemporary Arab literary currents and was formed especially in Iraq, following the increase of oppression of the Ottoman government and the colonialists in order to fight against it. These poems reflect the pains and sufferings, struggle and stability, freedom and express the problems of different strata of human societies, that poets such as Zahawi and Rasafi are the true preachers. With a great effort, they were able to compose exciting poems and provoke the dormant emotions of the people who, in addition to influencing events, also wrote lasting literary works in the interests of their homeland. This article examines the dimensions and angles of the subject using literary and historical research methods. The findings show that love for the homeland, struggle against the Osmani government and the rule of guardianship are the most important parts of the resistance literature in the poems of these two Iraqi poets. Zahawi and Rasafi were among the poets who called the people to seek right and oppression.

E. M. Forster, the great British novelist in the first half of twentieth century, achieved his worldwide fame by writing A passage to India. He is the first outstanding British novelist that criticizes in his novel British colonialism in India, and, this very factor has been the reason for the postcolonial analysis of the novel. Through a descriptive-analytic method, this paper presents the theory of postcolonial feminism, and then, investigates the position of Forster in postcolonial discourse. After, the approach of the novel’s women to colonialism is analyzed. There are three groups of women in A Passage to India: the first group are married British women who have passively accepted the colonial oppression. They follow the colonizer’s policy in their dealings with the natives. The single British women form the second group. The women of this group resist the British oppression and they intend to deliver the natives from such an oppression. From their postcolonial stance, this group fails to represent the demands of the native women with their variety of race, culture, and ethnicity. The second group of women suppress the native women through their representation. The third group of women in the novel are the native women who are triply oppressed.   Edward M. Forster was one of the most well-known British novelists in the twentieth century. Great part of his fame origins from his A Passage to India (1924). Written in a masterly style and having a coherent structure, the novel reflects the colonial experience of Britain in India. Unlike the novels that had partially dealt with the question of British colonialism, A Passage takes a critical stance to this question and this make the Forster’s work as the greatest “anti-colonial” novel in English literature (Morey, 2007: p. 254). Of course, it should be noted that the first half of twentieth century witnessed the decline and collapse of British empire and this context contributed to the formation of Forster’s thought and creation of his novel. Besides, the central role of women in the novel has made it possible to analyze the relationship between women and the colonial experience. In Passage, women show a range of reactions to colonialism, from supporting it to resisting against it. These two aspects of Forster’s novel has drawn the attention of postcolonial and feminist scholars. With an analytic-descriptive method, this article introduces the basic concepts of postcolonial feminism, and then, studies the position of Forster in postcolonial discourse to analyze Forster’s women’s approach to the colonial experience. From postcolonial feminist perspective, this paper focuses on female characters in Passage and classifies them into three categories: Anglo-Indian women, single British Women, and Indian women. After, the reaction of each category to the experience of colonialism will be investigated. Furthermore, the application of postcolonial feminist approach to the novel will uncover the interaction among the three groups. Feminist movement and postcolonialism have some common aspects. Women and the colonized find themselves similarly in a marginal status in regard to patriarchal and imperial system and they both attempt to find a resisting site in dominant space. Mohanty points out the feminist theory and criticism have always benefited from gender differences to define the identity of women. The result of such an emphasis on gender differences in relation to other non-western women has led to the formation of “third-world difference”. By creating such a difference “ the western feminists attempted to ‘colonize’ and appropriate the basic complexities and conflicts which were the characteristics of women’s life from different classes, religions, cultures, races, and social castes” (p. 260). Displaying the oppression of third world women through racial bias in western feminism, postcolonial feminism dislocates the centrality of gender in and tries to acknowledge the racial and social differences in women’s of postcolonial societies.
     The Anglo-Indian women, the first group, place themselves in the position of colonizers in their dealings with the natives. The colonial principles and standards exist in the simplest form in their thoughts and they are placed in the position of the natives when compared with the men of colonial society. Colonial binaries makes them underlie their racial differences in relation to the natives. By introducing the single British women, the second group, in his novel, Forster ponders on the topic of women in colonial discourse. A study of their representation in Passage reveals the encounter between colonial power and its internal critics, on the one hand, and the second group’s tendency to appropriate all differences among women in its challenge to colonial power. The second group of women have failed to achieve all their goals. They have been mainly successful in inspiring change in native males (Dr. Aziz) to resist the colonial system. But, they have offered a monolithic image of women generally. Racial, ethnic, cultural, social varieties and the relevant experience of each of these conditions for the non-western women is rendered trivial in western feminism and it has led to a return to former structures of dominance and colonialism (Mohanty, p. 260). Passage shows that Forster is conscious of the painful condition of native women. The image of native women here corresponds with Spivak’s notion that if the male colonized are dominated by colonial rule, women in colonial societies suffer doubly. They are dominated both by colonial rule and their patriarchal societies (1988, p. 90-91). Women in Passage can be divided into three groups. The first group includes the wives of colonial staff in India. In fact, they are female replica of male colonizers. They emphasize on colonial binaries and regard themselves superior to the natives racially and inferior to the British males because of their gender. Like the natives, they are exposed to colonial suppression and are generally passive. The second group, the single british women, are considerably active. They claim that they want to establish a bridge between themselves and the natives and criticize the colonial experience. They are more responsive to the oppression of male natives but show no interest in speaking out the oppression the native females or Anglo-females suffer. They can be regarded as representatives of white feminism that ignores racial and cultural differences particular to native women. They are responsible for the formation of a new kind of suppression within the discourse of feminism. The third group are native women in the novel. They are, similar to the first group, exposed to direct oppression but for them it is tripled. Firstly, the colonial structure oppresses them and this oppression is intensified by patriarchal dominance over them. Their painful oppression if enhanced further when they are ignored by western feminism and thereby represented by them.

Mongol invasion of Iran and its full occupation of the territory was dominated by the political and military and with any stability (resistance) treated people badly. With the death of Abu patriarch last ruler of this dynasty, chaos and insecurity gripped the Iranian territory. The crisis created after the death of patriarch Abu oppression of the Iranian people rose. The teachings of the Quran and Hal al-Bait to provide the people of Khorana, an area in front of the invaders to their stability. Therefore, in the eastern part of the Shiite movement Sarbedaran against oppression was the patriarch of the Mongols. Sarbedaran first successful resistance of the Iranian people who in the eighth century with an emphasis on stability effects such as oppression, homeland patriotism, justice came to power after winning the support of freedom of movement. In view of the above, this study tries to find an answer to the following questions: 1. How was Sarbedaran Shiite movement? 2. Which aspects of sustainability will be the victory of this movement? The findings in this study suggest that although stability effects such as oppression, justice and homeland worship at Srbdarn Shiite movement's most important role is the most important factor of stability and continuity Sarbedaran, the teachings of the Quran and Hal al-Bait Culture (a) in particular has been the culture of Ashura

After the Islamic Revolution, according to the religious beliefs of the revolution, Islamic beliefs, especially Shia beliefs were promoted in Iran. One of these beliefs is waiting for the promised savior whose reappearance and rule has been mentioned and emphasized in all divine religions. Therefore, the poets of the Islamic Revolution in picturing the future of the human being, have focused their attention on the reappearance of Imam Mahdi (ATF) and have asked him justice and help in their poems, in addition to complaining about his long absence, the occultation era, the oppression of the arrogant, and depicting the reappearance era and the abundance of justice. What is interesting about these poems is the public’s belief in the connection of the Islamic Revolution of Iran and its martyrs with the preparations for the reappearance of Imam Mahdi (ATF). Of course, the poets have not been merely satisfied with this belief, but they protest against injustice and deviations existing in society. This way, they perform their duty in paving the way for the reappearance of Imam Mahdi (ATF).

Hamid Sabzavari is one of the prominent poets whose poetry indicates the hardships and suffering of Islamic revolution era and the internal pains of holy defense time. In fact, he is a national revolutionary poet who incites people against oppression, encouraging them to fight and endure, and criticizes those who are indifferent toward the Pahlavi Regime's depravity and the oppression of Baath regime of Iraq. Illustrating a suffered nation's bravery and courage, this heroic and tireless poet blames the Pahlavi Regime and reveals Baathist's cruelty. In addition to inciting people, whenever he finds an opportunity, he criticizes laxity. The present study was conducted through a descriptive-analytical method, aiming at representing the aspects of resistance literature, so that at the end such aspects as anti-oppressionism, martyrdom, struggle and sacrifice, criticizing tyranny, revealing enemy's crime, etc. are illustrated in his revolutionary poetry.

In the history of Human-culture, story is like one who is absent while he is present, and almost all monotheistic and non-monotheistic religions have used it in their Holy Books to convey their messages and teachings, in a way that the Holy Quran, the Islam's eternal miracle, can be considered as the "storytelling" of the ages. Storytelling has been exploited in Quran, especially the tales of the prophets, to strengthen the religious beliefs, to introduce role models, to make Muslims familiar with Islamic traditions, and to encourage them to look and reflect upon the divine revelations and numerous manifestations of creation due to the diversity of its audiences. Storytelling is one of the most important tools to convey the God's invitation to accept His unity portraying the lives of earlier prophets, the day of resurrection, heaven, and hell. The main theme of The Holy Quran, and the stories of the prophets in it, is the confrontation of Wisdom vs. Idiocy (or good and evil). It has been tried, in present paper, to explore this theme or conceptual metaphor in the stories of Holy Quran. So, initially the word "oppression" is lexically studied in Quran, and then, various manifestations of this meta-narrative will be explained in it.

Persecution and oppression are from the most important subjects that Holy Quran vastly talks about it and avoids us; while doing or not doing it, can have the positive or negative effect of our social, practical and moral life. The present article attempts to express the persecution issue in Quran and its reflection in Sa’adi’s Golestan and its roots, reasons and kinds (religious, social and individual) are studied as well. Examples from Quran and narrations as well as some from Golestan are brought to prove this claim.

Since the Constitutional era is the period of transition from tradition to modernity and society is in crisis and transformation and there is contradictions in worldviews and attitudes. Therefore, there is both new and old worldviews in the minds of people of society, and that is why the traditional along with a new interpretation of images exist in the divans of poets of Constitutional era and a kind of duality has been created. The images in this study, is the expression of visual components, which are certainly for the Constitutional era, poets’ main concern and representative of the poetry of this period. Otherwise, repetitive and cliché imagery and sometimes new, could be found in the poetry of this period which in turn are great and interesting such as simile, metaphor, metonymy, image and figure of speech, and literal and spiritual rhetoric. Among the most frequently used terms which affected by political and social movements and are manifested in the poetry of the Constitution, could mention the country, Constitution, freedom, parliament and cabinet, prison, colonization and oppression, the working class and other like; by which poets talked about them sometimes explicitly, sometimes through both artistic and visual by the help of literary tools. A duality could be seen in the area of images related to describing the four seasons. Some images and interpretations are not eternal and everlasting due to integrating with the slogan and news and most of the images have been raised beyond time and space also due to the poetic imagination and admirable adornment and symbolic terms.

This study is an attempt to investigate the representation of some types of oppression in the pre-Islamic poetry and to indicate how oppression affected the pre-Islamic poets who lived a tough life of privation. They showed their feeling of resentment in many of their poems, which were full of sadness and bitterness. The images of oppression in the pre-Islamic poetry are multifarious and can be categorized according to the motives and feelings of the poets. They depict the sufferings of the human being who faces unbearable realities. These sufferings show how weak human beings are. Therefore, people find their dreams impossible to achieve and their wishes are portrayed out of reach.