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

The ghazal poetic form has always held a prominent place in Persian poetry. In the fourteenth century, alongside other forms of poetry, this poetic form grew and flourished in today's literary society. While much attention has been paid to renowned ghazal poets of previous decades, many lesserknown poets in the late fourteenth century composed ghazals that have remained neglected, with little focus on their thematic and stylistic characteristics. The main subject and goal of this research is to examine the ghazals of anonymous and lesserknown poets in this decade. In this article, we have attempted to analyze the ghazals of this period in terms of their impact on the audience and their artistic construction of language based on the two criteria of "language" and "innovation" as discussed in the article "A New Hypothesis about the Most Influential Factors on Literary Texts" by Omid Majd.

The research documents were gathered using library research tools and content analysis, a common scientific method in qualitative studies. After a thorough study of the ghazal diwans, the authors analyzed and examined them from the perspectives of language and innovation. The study population consisted of one hundred ghazal diwans published between 2017 and 2021, which were first published in various publications during this time period.

The ghazals of this period exhibit strengths and weaknesses in terms of grammar, linguistic stability, irreplaceability of words, word appropriateness, and communicative effectiveness. Innovation in these ghazals is also evident in various aspects such as thematic development, subtle and hidden use of literary devices, vocabulary usage, composition, imagery, and innovation in poetic form.

More than half of the ghazals have achieved an acceptable level of linguistic strength. However, some ghazals suffer from weaknesses and linguistic deficiencies due to numerous grammatical errors. The dimension of innovation is also highly pronounced in the ghazals of this period.

The aim of this study is to investigate different types of semantic normality such as simile,  metaphor, falsehood, permissible, anecdotal, contradiction, paradoxes in one hundred sonnets of Hooshang Ebtehaj. The ability to communicate and express words is one of the possibilities that mankind has used to the highest level of history in speech and writing. Among which the  arrangement of speech has always been the subject of speaker attentions. Therefore, there is a  sense of purity and adornment of the speech in all the elder works. Normality is one way to  understand and criticize literary issues in various aspects of the beautification of the art work in Russian Formalism School. Two ways of assimilation and succession help in the semantic normality of the poet based on the semantic rules governing the Norwegian language. Considering that the domain of meaning or semantic is more than the other levels of language in the highlighting, each poet who succeeding in terms of his talent and knowledge in this field will  have more pure poems. The poet or writer is looking for a more beautiful expression while  expressing the subject.In Persian linguistic studies and literary researches, the attitude of formalists has found a special place. This study examines the semantic abnormality and analyzes how to use the elements of semantic abnormality in Houshang Ebtehaj's poetry in different types of semantic abnormalities such as simile, metaphor, irony, metaphor, ambiguity, contradiction, paradox in one hundred of Houshang Ebtehaj's sonnets.

Majnoon (insane) is one of the words used in the Holy Quran and one of the words that the infidels of Quraysh have attributed to the Prophet of Islam (PBUH). The study of most Qur'anic commentaries shows that this word has been used in most Quranic commentaries in the meaning of “haunted”, “crazy” and also someone whose intellect has disappeared. Reflections on pre-Islamic Arabic culture and literature, Iranian culture and literature, and other nations show that the word has a different meaning from the perspective of Quranic interpretations and is equivalent to concepts such as “poet” and “priest”. This article tries to explain the true meaning of this word, its connection with the two words priest and poet, as well as the reasons of the accused, by examining some prominent Shiite and Sunni interpretations and also paying attention to the cultural and literary contexts of pre-Islamic Arabia, literature and culture of Iran and the world. Being the Prophet of Islam (PBUH) address this attribute.

Abstract What’s the Quranic view regarding poems and poets? According to Surah ash- Shu’ra verse 224 “And as for the poets- the deviators follow them”. Based on a superficial understanding of this verse, one might believe that the Holy Quran has a negative view towards poems and poets and has scolded the poets. Nevertheless, deeper understanding of this verse and the following verses as well as the way, the date and integrity of their revelation, guide and illuminate us with invaluable concepts. Results show that none of the Quranic conceptions scold the artistic essence of poems and poets. On the contrary, some Quranic verses and narratives which seem to oppose poems and poets are interpretable and justifiable in terms of various contents and situations of poems. As it is clarified in the continuation of this Surah “Except for those who believe, and do good deeds, and remember Allah frequently, … ”, the believer poets are considered as exceptions.

One of the literary debates that the emergence of new sciences has transformed the course of study is metaphor. This literary element, which for many years was considered a purely decorative tool of poetic language, was introduced with the advent of cognitive linguistics as a basis for thinking and a means of understanding abstract concepts. Given the role of metaphor in revealing the mental underpinnings, we have attempted to examine the function of metaphor in conceptualizing traits in children's works. Therefore, we selected the control poems and analyzed the metaphors involved in the conceptualization of its attributes in an analytical and descriptive way. The results show that the poet has three metaphors in conceptualizing traits: our understanding of phenomena is tasteful; there is something heartfelt and love is fire. Of the types of conceptual metaphors, the only ontological metaphor is his, and he has often used tangible and palate conceptions in his conceptualizations in the choice of origin.

Inner and mystic Hijab is one of the fundamental subjects in Attar's perspective. He considers the true way's hijabs like wisdom hijab, corporality hijab, greed hijab, honor hijab, Obedience and worship hijab and so on, as an obstacle for inner Journey and the cause of permanent pain of the soul.
Removing the hijab, on the other hand, will leads to true and permanent pleasure and reaching immortality the and also being close to God.
Since the subject of hijab is one of the major subjects in mystic, this article reviews it on Attar's books and thoughts. It is also a journey in this painful agnostic's thought provoking words about the philosophy of hijab and its existence, the source and types of it, the main hijab and the major hijab in the way to truth, the removing factors of hijab, effects of removing hijab and the fact that humans should leads themselves to light and knowledge by removing the hijab of darkness so they can gain spiritual presence and true witness. Hopefully, following Attar's noetic thoughts opens a door to salvation and redemption.

Researchers have expressed various comments on the source or sources of Ferdowsi’s Shahnameh. Some of them believe that Ferdowsi used from oral and written sources, some of them just have known Abu-Mansouri's Shahnameh as Ferdowsi’s source and the others believe that Ferdowsi’s source is tradition of oral narration. We have a narrator and a poet in Shahnameh; no doubt the poet of Shahnameh is Ferdowsi, but the narrator of Shahnameh that he was the narrator of Shahnameh's source (Abu-Mansouri's Shahnameh) is a person who has one hundred twenty years old, he was from Chach and his name was Bahram. The features of Ferdowsi’s source become clarify for us with understanding the differentiation of words of the narrator and poet. Features that show us the source of Ferdowsi’s work was only a book and Ferdowsi was committed himself to use the Dehghan’s words for keep his narration. This caused a few Arabic words entered in the Shahnameh, and in some cases the old pronunciation of the word is preserved.

&Scaronahryârnâmeh is one of comparatively voluminous epics composes after the &Scaronâhnâmeh, but its commencement and ending is lost. This is the only heroic epic that begins suddenly with no introduction and also ends abruptly without any conclusion. Amongst the verses composed after the &Scaronâhnâmehhas met little welcome in the public. It seems that the difficulty of verses, meaning detachment, between different segments of the story andnarrative lacuna, especially at the beginning and the end of the story could be one of effective factors of this work’s being abandoned among people. In Kohmarreh-Sorkhi Region there are four oral narratives of heroic verses composed laterthan the &Scaronâhnâmeh among which, Borzūnâmeh and Bânūgo&scaronasbnâmeh are rampant among some storytellersand narrators, but Farâmarznâmeh and &Scaronahryârnâmeh have been abandoned by the public’s mentality. These recent two are narrated only by the oldest storyteller of the region, Alihossein Âlinežâd. In his narration, the verses have meaningful and lucid beginning and ending and the composer of this work is known- although he is unknown according to all studies done. This essays tries to accomplish these three with an analytical approach: 1- to mention a summary of the commencement and the end of the story in the extant storytelling narrative and responding to the question of whether the narrators have had access to a complete version of the work or they have independently created a beginning and an end for it 2- to point out the differences and the resemblances between the storytellers’ narrative and the versified one 3- to mention the story of how the versified work was created and to answer the question of how much one can trust the integrity of this story.

As called archetypal criticism interchangeably, mythological criticism focuses on the common, recurrent, and conventional elements in literature that cannot be explained in terms of tradition or historical influences. This kind of criticism studies every literary work as a part of the whole of literature. According to this type of criticism, the archetypes – including images, characters, plot, and theme – are present in all literary works; thus, providing a ground for studying the mutual interactions of the works. By choosing the snail as a linguistic sign, the poet identifies with snails; therefore, they are both unified within a metaphorical monism as the essence of his poetry. By choosing the snail as unified with his being, the poet creates diverse images in his poetry that draw the reader into the depths of text. On the other hand, he describes the snail in his poetry with a narrative tone like a fictional character and makes the reader undecided. The tone of the narrative puts the snail as a fictional character that transcends the poet's work and opens the horizon of the text into a hyperreal and mythical reading. For this reason, the snail as a sign of the poet himself makes this work a proper subject to the archetypal criticism.

In this paper, I have explored the social and historical events in Farrukhi Sistani's divan. Therefore, the paper relies on historical and social issues during Ghaznavid period, which are mentioned by Farrukhi in his poems. Then, I compared these subjects and points mentioned in eulogies with the following six works: Mujmal al-Tavarikh and al-Qisas, Zayn al-Akhbar of Gardizi, the Selected History, Tarikh-e Beyhaqi (‘Beyhaqi’s History’), the Translation of Tarikh-e Yamini (‘Yamini’s History’), and Tabaqat-e Nasseri. It can be seen that Farrukhi was not only a eulogy poet, and his odes are not only eulogies, but his eulogies also talk about the political conditions such as wars, ceasefires, and ministers, as well as social issues like behavior towards prisoners of war, hunting, and witnesses during the Ghaznavid period. It can be said that his divan was in fact complementary to the above-said history books. In some cases, due to recording details, it shows that it is superior to it. I suppose that not only did he not hail and praise Ghaznavids, but he might have criticized them.

In some critical and literary associations, it is believed that a poet's poetic taste necessarily reveals his wide knowledge and deep understanding of the world around him. Such judgment of the poet prevents critical views on his poetries. However, if the poet has great ambitions and imaginations, this does not mean that he possesses higher perception and understandings than others in exploring the truth and its interpretations; or he has associations with the unseen world. Since the poet holds a different perspective towards the phenomena of his surroundings, he expresses his internal understandings in the form of new and stimulating words and phrases. Meanwhile, if the poet has a broader treasure of science and religion within him and has reached higher thoughts, higher concepts and themes can be traced in his poetry. Thus, the talent of processing poetry, catharsis of the spirit and the development of his personality provide the grounds to reach the truth. The deep and stable effect of the poet's system of thoughts on language and culture should not be taken as a compulsive effect on his thoughts and place in the society. When the poet's thoughts and approach taken from his theological and social ideas, becomes richer, and wider, the greater effect it will have on the mental development of literary and popular culture; this is followed by the growth of the public cultural awareness. According to the results of this comparative - analytical approach, it can be understood that Western literary Schools advocate mainly advocate the neutrality of the poems and focus on its artistic structure. This leads to depletion of poetry of human and religious concepts. However, in the Arab literary society, despite the impression of these Schools, we can see the spirit of sublime concepts which is the result of the poet's deep relation with the Universe; this can be seen while maintaining the identity and thought-provoking aspects of their poems.

Sabāhi Bidgoli is considered to be one of the famous pioneers and poets of literary return period. Among poets of this style، Bidgoli appears to have a high status. He illustrated his abilities by composing such various kinds of poems as Ghazal، Qasida، Masnavi، etc. The works indicate that he was an efficient poet in different poetic forms. While Sabāhi attends to Hāfez in his elegant Ghazals، he follows great poets in fifth and sixth century when composing his Qasidas. Applying various tupes of figures of speech and literary techniques، he seems to be able to produce more beautiful، effective and delicate poems so that his contemporary readers and poets along with subsequent researchers admired some of his poems. The current study sought to analyze literary and artistic aspects of Sabāhi’s poems. The study also attempts to show his abilities and knowledge about figures of speech beside the literary and spiritual values of his poems. Sabhāi appears to mostly employ simile among figures of speech، pun among Formal rhetoric devices and allusion among logical rhetoric tools. Another characteristic of his poem، pointed in the present article، is producing novel compounds of words and artistic use of them. Overall، it can be said that Sabahi mostly employed typical figures of Khorsani Style. It may be assumed that some figures of Araghi or Hindi style such as paradox، allegory، cannot be found in Sabahi’s poems.

The lampoon of caricature characters as part of a lampoon in Arabic literature has so far not been will paid to it seems، however، opportunity، that during Abbasids، Ibn al-Rumi، a professional poet، has involved it in his works greatly. It can be dare said that he ranks first in incorporating both lampoon and caricature characters in his works، that is، he has done it better than anyone ever did. Ibn al-Rumi has incorporated in various ways. One can easily notice how he employed lampoon in two ways: in depicting physical detects including long beard، short height and long nose! And personality disorders such as betrayal، jealousy، lie، etc. what is of utter amazement is the poet''s ability in depicting caricature characters. Since the poet has excelled by means of his unique initiative and the use of such masterly phenomenon in a way no other poets ever did، the researchers convinced to examine this aspect of this works and unveil the interval delicacies. It is hoped that this research establishes an influential attempt in shedding light on some aspects of Arabic literature and provides insights for young researchers and science lovers.

Khajeh Shamsoddin Mohammad، known as Hafiz Shirazi، is one of the unparalleled poets in Persian literature، whose poetry has been the focus of people of common and high rank for so many years. It is said that in the course of history no Persian poet''s work has been so widely circulated and popularized. Hafiz has developed and mastered a unique and sublime diction. By virtue of his wit and originality، Hafiz has not only given distinctive color to his diction، but has coined such original poetic vocabulary that impresses all his audience and encourages them to emulate the eloquent style to enrich their works. Among the most frequent terms in Hafiz are certain compound words based on ‘pir or old’، in such terms as Pire Kharabat، Pire Moghan، Pire Meykhane، and Pire Meykade، which literally mean an old wine-seller or tavern-keeper. This article compares the use of these terms and their stylistic and thematic function in the works of Hafiz and Kurd poets.

An important part of making a film is decoupage, which the director is responsible for. Inasmuch as a poem is a set of images and this set may sometimes narrate a story, the poet may also seem to have a kind of decoupage in his mind. This poetic decoupage is in many respects similar to cinematic decoupage. Hence, long-lasting, effective, and grand poems have been composed by artists who, like directors, enjoyed high visual literacy and scholarly insight and were well aware of aesthetics. The aim of this comparison is to achieve a kind of unity in visual arts so that students of these two fields can study and understand the techniques more tangibly.

One of the bases to evaluate the syncretism of scholars who used their own initiative and innate talent to particular expansion and innovation in the style of Persian poetry is considering the views and opinions of such scholars in the subject of the dignity and venerability of speech and eloquence. Such scholars present their views and opinions in their syncretism and works in the subject. This can provide new view and more and better understanding with their thoughts and works based on the literary criticism in their era. It is because the scholar descriptions about poesy and perfect speech and the definitions introduced for the compare the speech and eloquence along with their recommendations and guidance declares the criteria to make comparison between perfect speech and poor one and also to recognize capable poet. In fact, this actuality indicates the principal norms of criticism in Persian literary and approves that in spite of some claims; literary criticism has primeval background and Persian poems used to criticism long ago and this was an advantage of Persian literary. Hakim Nasir Khusraw Qbadyany is one of the well-known orators with a individual style of Persian poetry who has been able to create a new movement and a great development of Persian poetry, by relying on the strength of his poetic and authoritative talent and based on a new view at the subject of language and its relation to human and existence, achieved foremost changes in cognitive and literary structure to create poets and orators. He created a special style of poetry to look at poetry altitude and the objective of eloquence that famous poets such as Sanai, Nizami, Rumi and Attar continued his style to make progress on the status of oratory. This study aimed to evaluate the ideas and beliefs of Nasir Khusraw at the subjects of poet, speech, poesy and eloquence in term of explanations, descriptions and his recommendations in these regards in different point of views and to introduce the principal norms of literary criticism in his opinion.

Mostafa Sadeg Rafaie is one of the intellectuals and great authors who has been renowned for his writings about Islamic and social matters. He is also an accomplished literary critic. While his points of view about literature, poem, and poet have been very novel, some of the researchers believe that Rafaie’s literary critiques are at the lexical level. These points of view originate from his wide understanding of literary subjects and are based on his great knowledge of literary heritages of Arab countries. In this paper, Rafaie’s points of view have been studied in order to show their novelty and the changes which occurred in them throughout his life.

The 224 to 226 verses of the Poets Chapter discuss those poets who are described as being followed by astray people، rambling here and there، and talking without doing. These holy verses have caused some people to dubiously think that Quran criticizes the poets and is against poetry. The present study aims to examinatie and answer this dubiousness، and wants to provide the true attitude of Quran toward poets. In order to shed a light on the problem at hand، the present writer has discussed different points، which includes how the last verse of the Poets Chapter is allotted، the dark milieu of the poetry at the time these verses were revealed، poetry as a kind of speech، the respect toward poets in the Holy Prophet and infallible Imams’ narrations، and suggestion of the true exegesis of the aforementioned verses. In brief، not only Quran does not criticize the poets in a universal affirmative way، but also it enumerates important divine mission for them، mainly composing poems with themes regarding theism، sermons، and invitation of people to the right path.

The two important schools of comparative literature are the schools of France and America. In the 6th decade of the 20th century, The Eastern Europe Comparative School was born under the influence of the Marxism Philosophy which, in terms of the comparison style, believed that the infrastructure of the society, that is political, economic, and social grounds, caused the cultural superstructure of the societies as well as literature and art.In order to illustrate the social commitment of the two Iraqi and Iranian poets, Mohammad Mehdi Javaheri and Mohammad Farrokhi Yazdi, whose societies bore similar economic, social, and political situations, the present research, first, attempts to explain the theoretical fundamentals of the Eastern Europe School and investigate the proper infrastructural beds of the two societies. Then, through content analysis of the poems of these two poets points out to the unpleasant realities mentioned by them which is suggestive of their social mission.The research showed that the common economic, social, and political infrastructures of Iran and Iraq at the time of these committed poets caused them to have the same approach in expressing the social realities, and created a literature which is suggestive of their protest, criticism, and their silent cry against people’s pain and suffering, as well as the deficiencies of their societies even though they had not seen each other and had not been aware of each other’s existence.