جستجوی مقالات مرتبط با کلیدواژه "خاقانی" در نشریات گروه "علوم اجتماعی"

Two Controversial Phrases in Dīwān of Ḫāqānī Širvānī
This note discusses briefly two controversial phrases in two odes by Ḫāqānī Širvānī (c.a. 12th century), namely "ḫaṭṭ-e tarsā" 'Christian script' and "setāre-bastan" 'to set a curtain' (or alternatively, "setār-bastan" 'to play Setār (a musical instrument)'. Firstly I discuss the phrase "Christian Script"; this phrase has traditionally been defined as "an alphabet used by Christians",  the precise concept it denotes however, has been disputed among the modern scholars. Thus, various alphabets such as Greek, Latin, Armenian and Syriac have been suggested as the possible answers. I discuss the shortcomings of these suggestions and argue that the "Christian Script" denotes the Georgian alphabet. Finally, I discuss the phrase "Setāre-bastan". Challenging the common reading of the phrase as "setār-bastan" 'playing Setār' I argue that the accurate reading is "setāre-bastan" meaning 'to set a curtain'.

Divan Khaqani is one of the texts that requires mental effort to understand; the difficulty of Khaqani's poetry on the one hand and its teaching in different courses of Persian language and literature on the other hand has made commentators interested in its description, and several descriptions and excerpts have been published. One of these books is a book called "Saghar-e Bolourin". This book was written by Mr. Ahmed Ghanipour Malik Shah and Tirgan Publishing published it for the first time in 2019. In addition to the good aspects of this book, there are some problems, and a detailed and complete review of all of them does not fit in one article. Therefore, the most important items have been selected and reviewed here. Semantic problems of some verses, numerous uses of other people's works without referring to them, writing problems, incorrect references, unjustified changes in the text of poems, not following the precise and scientific method in writing and documenting and introducing the list of sources, not introducing the description method, and other requirements of writing a book are among the things that are included in the list of the book shortcomings. While carefully examining the mentioned problems, finally, by showing many inaccuracies in the book, we come to the conclusion that the book needs serious editing and these problems noticeably cast a shadow on the scientific position of the book.

Divan of Kaqani has been famous among researchers and litterateurs for being difficult and rare since long ago; hence it has been noticed more by researchers and exegetes with respect to other classic Persian poets’ literature. Also, numerous exegeses have been written to the entire divan or to a portion of it. One of those exegeses interpreting a portion of this divan is a book named “ATASH ANDAR CHANG”. This book is written by Mahdi Mahouzi and is published by Zavvar publications in 340 pages. In this article, we are going to criticize this book in a scientific and critical way. Moreover, we will discuss subjects such as the haste in preparing and publishing this book, incorrect extracting, the introduction of irrelevant subjects, and the use of others’ works without making reference to them. In conclusion, we get the result that the book under debate is one of the weak and unscientific works and it is necessary to take action to amend the mentioned items.

Justice, as one of the highest human and moral goals of human beings, means the realization of the rights of others on the basis of equality. The purpose of this study is to explain the place of justice in Khaghani's poems and the importance of this virtue in depicting the utopia of this poet. Therefore, in this research, the question is answered descriptively-analytically from what dimensions can justice be read in Khaghani's poems? According to the result of this research, justice in Khaghani's poems can be studied from political, divine and religious dimensions. In the political dimension, justice is one of the most important factors in the stability of the monarchy structure, which is compatible with the political thought of urban Iran; According to this theory, one of the most important features of sovereign idealistic in the court and the gift of the Iraqi Khaghani is the protection of justice. In Divine Justice, Khaghani has used the meaning of justice in the world with the concept of balance and equilibrium in the creation of the world. In addition to praising Mamdouh, he also pointed to its theological meaning from the point of view of the Ash'arites. In the religious dimension, he considers justice as the key to the eighth degree of paradise and God's trust. In his view, religion finds meaning with justice, and justice in a society is a sign of the religiosity that governs that society.

The great cultural background and the amazing power of speech are the two basic elements of Khāghani’s methodology in poetry. The combination of these two magnificent features has created new themes, images, and innovative subjects in his poems. Extensiveness and diversity are prominent features of Khāghani’s cultural background. He has considerable knowledge of sciences such as medicine, astronomy, exegesis, history, zoology, mineralogy, etc., and has used them in various places in his literary creations. The stories of the prophets, with their prominence in interpretations and histories, have been highly regarded by Khāghani. The story of Prophet Ibrahim (AS) has had several attractions for Khāghani, which we have explained and analyzed in this article.

Difficulty is a feature that has always been attributed to Khaghani's poems, and since old times, various commentaries have been written for their analysis. One of the ancient commentaries of this divan is the one by Shadiabadi, which also has a remarkable scientific value. Recently, for the first time, this commentary has been edited and published by Khosrow Shahabi. Despite the efforts of the editor, due to the lack of observing the principles and standards of scientific and critical editing, various shortcomings and flaws can be seen in the text. In this article, we will explain these problems.

There are certain relationship among the symbols of power and the power concept as well as political myths. The symbols of power and their mythical meaning are coneptualized through political believes. The common functions of all symbols and myths of power revise in their structural coherence. This essay tries to research and analyze the symbols of power in the Khaghani’s poems according to structural functional theory in order to show the structural coherence of power symbols, their meaning and their common function. In this regard through the analysis of his poems, we will try to provide a clear image of the structure of political sphere and power structure in the poet’s period.

Khaqani Shervani is one of the renowned poets of the sixth century، who outstripped many other poets in saying complicated poems by using an intricate technical style as well as citing many scientific، religious، historical، mythological terms and folk beliefs in his poems. That is why many of Khaqanischolars have attempted to reveal some hidden mysteries of his poems in addition to editing his Divan. By explaining full verses or a selection of them، they have tried to help researcherswith Khaqani’s poems. Exegesis of Khaqani''s Divan by Dr. Mohammadreza Barzegar Khaleqi is one of the mentioned efforts. In his work، Dr. Barzegar Khaleqi، with an access to a huge collection of scholarly works on Khaqaniincluding descriptions، books، excerpts، and essays، has described 50 odes of Khaqani’s Divan. Despite all the admirable attempts of the exegete، this exegesis is not free of errors and defects. The present paper aims to briefly study some of these flaws.

Khāghāni is among the great Iranian poets who, in certain respects, is unique in the history of Persian literature. These dimensions may not be compatible with our modern aesthetic bases and poetic tastes, but it is an emphasis on what he himself calls “the new method” and “the odd technique”. Studying women in his poetry and comparing it to the image of women in the poems of other poets is a starting point which can familiarize us with that odd technique and its position in the contemporary Iranian literary treasure. To achieve this goal, the first part of the present paper studied the women who actually lived in Khāghāni’s family and community and this part of the paper studies the fictitious women in his poetry.