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

This research has tried to examine the narrative of Arash Kamangir to analyze his activism in throwing arrows to save the environment and to show how this action has shaped the world's reparation system. Action - the myth that manifests in this discourse is the result of the combination of action and wisdom, which shows the permanence of action. Arash's action is an action with the characteristic of infinity, which has become a transaction, has no limits and boundaries, time and space, and is ongoing forever and is still being formed in the span of time. The wisdom formed in this action is also the product of interaction with the phenomena of the universe, which should be called its existence, that is, fallow along with existence in the direction of re-creation, which confirms the belief that the evolution of the narrative owes its heroic power and wisdom, which is manifested in its existence and The collection of this phenomenon has established the narrative of action-myth, which finally caused the emergence of a process with all the existentialist or infinite characteristics, the effect of which remains until today.

The theoretical structure of conceptual blending is based on the idea that the process of meaning construction arises from the combination and fusion of conceptual structures. In this process, inner mental spaces are formed, mappings between these spaces occur, and as a result of selective blending between these spaces, a new space called blended space emerges, which is more than the sum of its constituent parts. This article examines the mental spaces related to the term "rend" in Hafez's poetry. The main goal of this article is to clarify how the character of "rend" in Hafez's poetry transforms into an elevated and perfect human being with all the negative characteristics associated with it in the external world, deserving of authority and leadership. The research findings indicate that Hafez has created a character by using mental spaces and blending them regarding "rend", which, despite possessing the real qualities of a "rend

 William Blake's long-lasting connection with Swedenborg has long been reflected by many researchers and it is impossible to examine the poet's works within the scope of ecological criticism without considering the importance of the Swedish philosopher in the formation of the poet's mentality. With infrequent exception, every foremost revision of William Blake's works embraces reference of the inspirations of Emanuel Swedenborg's theological books.

Background of the Study:

 There are some of the leaders of Eco-Romanticism such as Jonathan Bate and Karl Kroeber who fundamentally evade considering Blake an eco-conscious poet in the Romantic era. At the same time there are other critics who try to manipulate and ignore some of Blake`s negative representations of nature and show that he can be enlisted in Eco Critical readings of the present era. One of them is James McKusick who reads Blake`s Golgonooza as an “Ecotopia” of “human scale technology”; he advises the interested reader to read Jerusalem plates 18 and 19 as a caution against one of the most important ecological problems of the current era, the pollution (McKusick 102-05). There have also been some Blakean supporters who have tried to enter Blake into the ecological discussions of the present era and have attempted to raise Blake`s ecological concerns against those vast conventions that simply recognize him as a poet who sacrifices nature in favor of systematic imagination. Imagining Nature by Kevin Hutchings is an astonishing example which hopefully strives “to delineate an alternative, distinctively Blakean view of the relationship between humanity and nature” (Hutchings 3). Based on the aforementioned points, an Eco Critical reading of Blake’s selected poems has been done in this article considering Swedenborg`s “Correspondence” and “Influx”. Selected poems include The Hymn Jerusalem, parts of Jerusalem, The Emanation of the Giant Albion and parts of Milton.

The art practitioner in the Romantic realm wishes to design all surrounding phenomena to pass through whole. It is widely believed that nature possesses its own self-governing language and all its features function regularly and it also has got a symbolic value, which makes it closer to the structures and peculiarities of unwritten language.  Swedenborg`s two conceptions of 'Influx' and 'Correspondence' have been believed to generate an accord between the surrounding natural world and the Man and he thought that there must be a genuine action of mind on our brain. The idea of ‘Correspondence’ seems to have a long history and it becomes an essential means to comprehend the cosmos and the essence of Man`s creation in Swedenborg`s thought. The reason that they are called correspondences is that they are entirely reactive and represent what they portray. There is an independent language spoken by natural elements and this conveys a symbolic asset which makes Man keep a closer contact to the structures and peculiarities of their surrounding environment. As was mentioned before ‘Correspondence’ acts as a universal principle and it is definitely dynamic so it involves causality. The true indication of this causal relation is named as ‘Influx’.

The author of this article concludes that the traditional eco-friendly metaphysics affirms the spiritual experience of plants and animals in nature after the environmental critical reading of selected parts of Blake's poems and suggests that it is possible to use nature itself to restore the consciousness of humans in the face of nature and all creatures and as a result, it is applicable to explore the deep ecological thought in Swedenborg's ancient concepts as well as Blake`s selected poetry.

Zinwe Betem is a historical novel that narrates the events of a specific historical period of Kurdish society. The purpose of this research is to present a  Lukacsian reading of this work to understand that historical period through the lens of how hegemonic forces intervened in the life-world of the Kurdish subjects. The theoretical foundations are based on Lukacs' themes of dialectics, totality, mediation, and realism. The applied method is Lukacsian reading, and Zinwe Betem was selected with a purposeful sampling criterion, which means that this novel contains rich images and narratives of an epoch in which the three aspects of "master-servant relations", "royalty-centered authoritarian modernism" and "left-wing idealism" play fundamental roles in shaping the life of ordinary people in a dialectic of complicity and opposition. The results show that this novel, relying on some thematic arrangements (such as fatalism, myth-making, romantic naturalism, and symbolism) taken from the life-world of ordinary people in that historical epoch, tries to provide a critical understanding of the role of dominant structures in the construction of the Kurdish subjects’ life-world. However, due to non-adherence to the realist rules governing the historical novel genre, it sometimes falls into the trap of reductionism, and by simplifying social antagonisms in the form of the dualism of good and evil, it becomes a captive of the same myths that it seeks to criticize. The novel helps to reproduce the myths that cover up the contradictory historical situation.

The main purpose of current study, which is conducted through a descriptive-analytic method, is representation of belief and epistemic sub-world in Emam Ali’s khotbe-ye- 108(108th Peech) Based on Paul Werth’s Text worlds theory. It consider text in three dimensions; Text worlds, Discourse worlds, Sub-worlds. Author and reader intract In Text worlds through of text. Discourse worlds deal with situation and sub-worlds determine producer’s believes and approachs. Sub-worlds be devided to Diectic sub-worlds, Attitudinal sub-worlds and Epistemic sub-worlds. Current study want to answer these questions:Which kind of text use in this text, which Sub- worlds is predominate in text, how does is combined together three worlds. Achievements demonstrate usage of descriptive- discoursive and Instructive text that are suitable for interaction in ceremony. All of sub-worlds has used in speech, but Epistemic sub-worlds are outstanding. They are represented by a metaphoric system through of Incrementation. Incrementation reveal main Mapping in which relationship between the government and the people is encounter Emam and people’s one. Government-people’s relationship is represented by a binary oppositions; Wolf-sheep and Emam- people’s frindship is showed by doctor- sick’s one.

Jain religion is one of the ancient religions of India which has had an atheistic view among Indian schools and beliefs and has been able to occupy a special place in the land of India. One of the important beliefs of this religion is the belief in the Tirtankara which suggests that worship and submission to their teachings is effective in saving the soul from the bondage of Samsara. Tirtankaras can appear in the Middle World Based on a cosmic order and norm without beginning and end, and based on their special Karma compositions and special spiritual knowledge in their previous lives in this rate: And after a period of austerity and spiritual purification in their last material body, they reach this position and, in the end, with their death, they reach absolute liberation from the bondage of Samsara. In the present study, by analyzing the sources, the emergence of Tirtankara in the universe (Earth and including other worlds) has been studied and psychological study of the past and present bodies of Tirtankara and how they achieve liberation from other parts of the research. The present study shows that a kind of deterministic view has overshadowed the whole world history of Jain in connection with the emergence of certain spirits in the body of Tirtankara.

The reading of ancient Persian heritage, and especially historical narratives based on cognitive theories such as Text World Theory is necessary, because new scientific approaches provide space for accurate identification and discovery of the hidden layers of texts. In this study, with the analytic-descriptive method, we applied the Text World Theory in the analysis and study of the narrative construction of the first volume of the Tarikh Jahangooshay-e- Jowayni and figured out that the propositions related to Character descriptions are more than preposition related to scenes description also because the Deictic sub-worlds are less, so the reader does not travel much in the different, temporal and spatial spaces in a narrative, and thus does not experience and conceptualize the text worlds that differ from the original text world in terms of temporal and spatial variables. Temporal pointers are no more accurate than space pointers. The Attitudinal sub-worlds and epistemic sub-worlds are scarce, and one of the reasons for this is the narrator's unchanging viewpoint. Jowayni reports narrations more than characters.

Richards believes that the phoenix in Attar's poetry is a guide for the soul's return to God. The present study discusses how accurate Richard’s words about Shakespeare's poetry are. Shakespeare's poem is about a mourning gathering where birds have prepared for two lovers and their beloved, turtle-dove and the phoenix, which have recently passed away. What connects Shakespeare's poetry to the tradition of Persian mysticism is a type of mystical knowledge that comes through discovery and intuition, not through conscious awareness and logical reasoning. The most important similarity between the two works is the merging of the phoenix in Attar's poem and the turtle with the phoenix in Shakespeare's poetry. The most important difference is that in Attar's poem, the birds embark on a mystical journey to unite with the phoenix, but in Shakespeare's poetry, it is not a journey or spiritual practice, but rather pure and platonic love between the phoenix and turtle. Another point is that both works pay attention to the concept of reason: reason is amazed by this mystical journey and the unity and indescribability of the lover and the beloved. However, the most common point is that both the phoenix and turtle and the Simurgh must perish in order to achieve immortality. The turtle and the phoenix see their survival in the newly-born phoenix. In the end, the unity of existence in Islamic mysticism corresponds and resembles Platonic love: both transcend the sensory world and enter the ideal world.

Today's poetry has undergone extensive changes due to the huge transformations of the last three decades. Even though the sonnet has found its own way through changing its nature and has, hence, been able to experience new worlds to the extent that the contemporary sonnet shines brilliantly as the most prominent form of poetry, Nima's goal was to break away from the prosody systems and change the linguistic and contextual identity of the poem. Indeed, the contemporary ghazal has only been successful in applying some of Nima's desired changes, such as breaking the narrative (lack of linear and narrative structure of the ghazal). Using a descriptive-analytical method based on interdisciplinary library studies of literature and philosophy, authors of this article have reached the conclusion that attributes like having contemporary poetic concerns, using a simple and intimate language, benefitting from vast vocabulary and introducing familiar elements are not enough to call ghazal “modern”. In other words, traditional poetry forms are not suitable for modern poetry because they are limited, predictable and universal. On the contrary, modern poetry is unlimited, unpredictable and subjective. So, a ghazal can be said to be modern (modern) if it completely loses interest in the past. A sonnet which is even remotely connected to the past and simultaneously introduces modernistic concerns, should not be considered as a modern sonnet; it should, rather, be discussed as innovative.

The main issue of this study, which was conducted with a descriptive-analytical method, was the critique and analysis of Naser Khosrow's cosmological ideas and the search for its origins. In Naser Khosrow’s view, the world, which consists of top-down levels, is divided into two main parts: the spiritual world and the physical world. The levels of innovation, general intellect, and general soul are located in the spiritual world, while the physical world is comprised of the six levels of hyle, general nature, body, planets, the fourfold natures, and the birth. The creation is purposeful and occurs through innovation. From the matter of truth arises the general intellect and from the general intellect arises the general soul, which is the mastermind of the universe and mediator of the transmission of the benefits of the general intellect to the lower levels. The hyle is the shadow of the general soul and from the view point of the general soul, in its shadow, the general nature emerges. The body is a substance, which has length, width, and depth. The planets and the celestial bodies are also the instruments of the general soul in the creation of the lower level universe and its governance. The fourfold elements of soil, water, wind, and fire establish the pillars and from their composition with the fourfold natures emerges the ternate of births. Human being is the last stage of existence and the aid of the general soul in reaching to the world of intellect and his (man’s) contentment is dependent on the teachings of Nātiq and Imam with the efforts of other levels of the Ismaili religion, which has a high position in the world system. The roots of some of Naser Khosrow's cosmological beliefs can be traced to the Greek scholars’ views and the works of Ismaili thinkers, such as Abu Ya'qub Sajestani and Hamid al-Din Kermani.

This research aimed to demonstrate that Ali, a Muslim Volga Bulgar poet, drew inspiration from Bahr al-Mahabbah fi Asrar al-Mavaddah and al-Settin al-Jame' le-Lataif al-Basatin (or Qissa-I Yusuf) in composing Qissa’i Yusuf (The Story of Joseph). Then, the author's writing style and method of adaptation of the two works were analyzed. In so doing, the French School of Comparative Literature, which is based on direct effect, was utilized. This study asserts that Ali's Qissa’i Yusuf has many similarities with and few differences from Bahr al-Mahabbah and al-Settin al-Jame' in the plot narrative (and even sub-narratives). Moreover, some parts are entirely similar to the two said works in expression and the arrangement of story details. In some non-fictional aspects, he has also adapted the two works. In some instances, in addition to similarity with al-Settin al-Jame' in expression, Ali has used its Persian words in his book. Ali has also pointed out that he was proficient in Persian and Arabic. In general, it seems that Ali has considered the two works and, in disagreements, has gathered and versified the narratives of the two works together, and at times has selected a more detailed narrative, and wherever appropriate, he has elaborated on emotional dialogues and descriptions.

In the Avesta, two worlds can be distinguished, material and spiritual. The spiritual world includes sacred beings, Ahuramazda, Amshaspands and Yazatas. Ahuramazda is at the top and obviously more powerful than the others. Just after Ahuramazda, Spǝnta mainiiu appears very close to Ahuramazda. Angra mainiiu is also related but opposite to Spǝnta mainiiu. On the other hand, the material world also includes characters that Zoroaster is at the head. Zoroaster is the highest material personality. Jam and Aži Dahāka are the well-known Avestan figures among the material world. It seems that a heavenly pattern can be seen in Zoroaster's character which has made based on Ahuramazda's character And the same issue can be seen in the case of Spǝnta mainiiu and Angra mainiiu with Jam and Aži Dahāka. The purpose of this article is to study these characters and find their similarities to prove the existence of a spiritual pattern in their material characters. For this purpose, first, the characteristics of Ahuramazda, Zoroaster, Spǝnta mainiiu and Angra mainiiu, Jam and Aži Dahāka are examined , then their similarities are extracted. In the end, we will see that these material characters follow a heavenly and spiritual pattern in the Avesta. Descriptive-analytical method has been used for analysis and conclusion in this research. This research is based on Avestan evidence but help has also been taken from the Shahnameh in the case of Jam and Aji Dahāka.

Conditional sentences are recognized as one of the Universals of Language and have been studied according to the language typologies. This article reviews grammatical tenses applied in the formation of Pahlavi conditional sentences, derived from Zand-ī Vohuman Yasn, Zātsparam, and Rivāyat-ī Pahlavi. This descriptive-quantitative analysis intends to prove the tendency between the possible world of conditional sentences with their applied grammatical tenses. 13 conditional sentences were located in the two first mentioned books and were suitable for the verb structure study. 160 sentences out of the 250 conditional sentences in Rivāyat-ī Pahlavi were chosen for the statistical survey.  85% of the subordinated clauses had verbs from the present system and 15% from the past system. The semantical analysis showed that in the Pahlavi language if the grammatical tenses in both clauses were made on the past system, the possible world would be factual in most cases. This result accords with Baqayi and Naqzgoo-Kohan's research outcome (2019), which was based on Declerck and Reed’s typology for New Persian conditional sentences. This study showed an abundant variety in the formation of conditional sentences aided by present and past tenses, nominal and, gerund forms. The Pahlavi unfulfilled conditional past tense was observed in the formation of other complex sentences, with indicative moods.

Mimesis, as one of the fundamental views on the nature of art and literature, has always been a dominant theory in the philosophy of art from ancient Greece to the eighteenth century. In the contemporary period, thinkers such as Auerbach, Gerard, and followers of the Chicago School - each from a particular perspective - have given a new reading of it. However, mimesis is essentially an anti-formalist theory that focuses on the state of affairs in the real world due to its adherence to the principle of reference. Accordingly, the theory of imitation implies the examination of the truth and falsity of works of art based on the principle of conformity and attention to the referential function of language. This is why mimesis in Plato's system of thought leads to his anti-artistic stance. However, the present study has emerged from the heart of the tradition of imitation in the philosophy of art. Relying on the principles of the theory of mimesis, it has tried to examine the origins of this view and make arguments according to which mimesis, in case it addresses the form and not the subject of mimesis, has the potential to become, in a new reading, an introduction to formalist theory and not necessarily an alternative or competing theory. In this research, it becomes clear that mimesis in its specific meaning, in the first place, requires the abstraction of the form of affairs. In the second place, the abstracted form is reconfigured and takes on a new form based on the artistic matter (which, in verbal art, is language and its signs). In this way, the truth and falsity of the work of art in this case is possible not by referring the extra-text or the outside world but by examining the internal system of the work. This entails the self-sufficiency of the work of art, which is one of the fundamental traits of formalism.

Introducing the literary world as a possible world, while emphasizing its self-sufficiency, the present study aims to provide an alternative to those theories that consider the literary work as a reflection of the state of the affairs in the real world. Accordingly, having discussied the self-sufficiency of a literary work configured through its internal forces, the research explores the subject of contextualism from a macro-cultural, phenomenological, and linguistic point of view. This research methodologically uses a combination of phenomenological and linguistic approaches in the study of literary context to apply the principles of the possible literary world in the light of topics such as symbolic forms, wholeness, semantic heterogeneity, probable impossibility, internal logic of the work and semiotic reading. In this study, it is found that in the semantics of the possible literary world, the theory of coherence of truth is more effective than the theory of conformity of truth, and the literary world, while suspending the referential function of the text, is better understood based on its internal ordering.

The archetype of "the World" is one of the oldest images existed in the poetry of some poets since the beginning of Persian poetry and it has been reflected until the end of the eighth century AH. The image that Naser Khosrow has depicted in his relationship with the world contained unappealing traits such as incompatibility, enmity, hatred, and so on. Naser Khosro is amongst the poets having a didactic viewpoint with the aim of warning man's attachment to the universe, its pests and dangers. He has frequently used this archetype in his poetry and focused on "commanding to the virtues" and "Prohibition the vices." He has also indicated the negative traits of the world and in shaping the structure of one's imagination and educational thinking system. This article aims at applying Gilbert Doran’s theoretical views (the famous French theorist and anthropologist) of the imaginative structure in Naser Khosro's Divan. The research intends to indicate that there is a direct and close relationship among issues such as the concept of time, death, and the poet’s reaction to controlling time. The creation of didactic images by the poet is basically a struggle to control time and get rid of death and its resulting fear. The frequency of such images in Naser Khosro’s Divan approve that fear of time passage has penetrated the poet's mind, led him to create images which have often been in the form of advice; the point that has been overlooked in the theory of the age. This article intends to explain and analyze the female gender in the formation of archetype of "the world" the universe.

The present study aims to study the elements of the worlds of text in the story The ancient story or historical novel by Hedayat. This study was conducted using Text World Theory (1999) to identify the elements of the worlds of text based on three semantic layers of the discourse world, text world, and sub worlds. The results revealed that the writer has used the element of "time" to create suspension and narrates the story at different times so as to keep the audience in suspension, despite the fact that characters, places, and objects are completely clear and no suspension is observed; also demonstrated that role-advancing propositions used in the text world of this story are mainly descriptive since the writer must describe in order to induce the image and the addressee must illustrate for the purpose of communication. Also, in terms of the sub worlds, the locative hint is not so bold; instead, the writer focuses on the time. Findings showed that we can analyze hidden aspects and layers using the model of the worlds of a text.