جستجوی مقالات مرتبط با کلیدواژه "persian poetry" در نشریات گروه "علوم اجتماعی"

Shahin Torah, a rhymed translation of the Torah composed in the 8th century AH, remains largely unknown, particularly due to the lack of historical information about its poet. Written in the Persian-Hebrew style (Persian texts using the Hebrew alphabet), the work has not received much attention until recently, when it was transcribed into the Persian alphabet and began to attract scholarly interest. The first part of this article explores the unique features of this work. The second part highlights eight main points where Islamic elements and concepts are reflected in the translation. The discussion moves towards viewing Shahin Torah as a shared religious heritage, suggesting that it can serve as a fertile ground for comparative studies. In the conclusion, the article offers some recommendations for further research.

In Persian poetry, some poets' divans are incomplete, and some of their poems are scattered across various sources and documents that, for various reasons, have not been included in their divans. This issue is particularly evident in the literature of the Mashruteh (Constitutional) period. However, fortunately, due to the abundance of periodicals during the Constitutional era and the recording of some poems in them, a significant portion of the works of several poets from that period, which were not included in their divans, has been recovered. Based on this premise, the author has undertaken a series of articles aiming to explore the reasons behind the incomplete nature of divans from the Constitutional period and to present newly discovered poems by some poets of that era, referencing the periodicals of that time. The first article in this series is dedicated to the newly found poems of Mohammad-Taqi Bahar and Hasan Vahid Dastgerdi.

Though females are not presented positively Persian literature, and poets usually ignore them, but when they get the role of a wife they are somehow praised, even in classical literature that again their presence is not so clear. Women in contemporary sonnets have a lofty place. They are constantly praised by poets. Men usually do not appear in Persian sonnets, whether classic or contemporary, but when they appear, they usually are not praised but criticized by women. The study tried to investigate and analyze the praise and criticism of spouse (male-female) in Persian poetry and literature. Library resources were used and a descriptive-analytical method was applied. The results showed that in classical poetry, poets do not usually speak about their spouses and even if they praised them, the poems are so limited and mostly briefly praise them in the mourning of their deaths. Men even do not appear in these poems. In contemporary Persian sonnets, however, patriarchal or man oriented thoughts have been greatly reduced, so that poets’ wives are praised and even men are sometimes praised and sometimes criticized for just being spouse. Contemporarily, poets’ lyrical thoughts has changed as not only they praise their wives, they even mention their names in sonnets. This is not seen at all in Persian classical poetry. This issue is so tangible in contemporary poetry. Spouses get sometimes the position of the poets' lovers. No more do they praise an imaginary lover. Spouses only are praised by poets.

The word Tazi is one of the words that has acquired another meaning over time, a meaning that is completely opposite to its first meaning. This word, which at the beginning and during its life of 1300 years or more, had a positive meaning and was in fact a literary word used by most poets and writers, in the last hundred years and especially in the last seventy years, along with the growth of nationalist tendencies, has been used by nationalist writers and poets for humiliation and insult, and its semantic burden has become negative. Since this negative connotation, has caused resentment and annoyance to many Khuzestani compatriots, in this article, we will discuss the origin of this word and show where this word originated. We will also show in which meaning this word was used by Persian-speaking poets from Rūdakī to Malek al-Shu’arā Bahār and prose writers from Beyhaqī to before Mirzā Fath Ali Akhūndzādeh, and how its semantic burden has changed in the last one hundred years?

Throughout the centuries of Persian poetry, there have been many poets without a written work who have played a role in the development of Persian literature in their time and due to the lack of recording their poems, or because of the brilliance of their contemporary great poets of Persian literature, their part in developing Iranian art was soon forgotten.  "Khajeh Amid Shaneband" is one of these unlucky poets whose name has not found its way into the memoirs of poetry and literary histories. Even the late Saeed Nafisi, who has not ignored mentioning the most anonymous Persian poets in his book on the history of poetry and prose in Iran, has not mentioned his name among the poets. Amid Shanehband is one of the great lyricists of the eighth century and in the middle years of this century, his works were published and quoted in some Safinahs of poetry. In this article, 25 of his sonnets, which have been obtained from ancient sources, are presented for the first time.

Shahr-Ᾱshūb is one type of the Persian poems in which poet describes and praises, or dispraises the townspeople, the craftsman, and different kinds of profession in the city. This kind of poem, in addition to its general artistic and literal values, is very beneficial from the perspective of historical sociology, the introduction of the words and terminology of the common crafts and industry in past eras, various techniques that were prevalent in that time, and also recognition of the materials and tools used in various professions and industries. Vahid Qazvini’s Shahr- Ᾱshūb , like all the other ones and from some aspects more than many of them, is useful for knowing about the history of jobs and guilds, as well as many other civil issues of ancient Iran. Through Rasool Ja’faryiān’s efforts, this book has recently been published with letter printing by Movarekh publishing house in 2019. The author in the present article, refering to one of the guilds mentionedin Qazvini’s Shahr-ashub, gun maker, studies the recording of the word ‘tofak’ and ‘tofang’ in this book. He prefers the reading “tofak” to Jafarian’s record “Tofang”. The author continues his study with a critical look and mentions thecorrect meanings of some other words in the text.

After the Islamic Revolution, great political, cultural and social evolutions lead to the formation of different discourses in Iran.
Iran,s conditions after the Islamic revelution lead iran society to the new direction and this conditions naturally search their owns literature. So the conditions beagan to change quickly.
The aim of this study was to investigate the sociological developments in the early years after the revolution and also how they are reflected in the poetry of mentioned period. On the political-social discourse can be divided into three. 1. Liberal Democrats 2. Marxist and socialist 3. Islamist religious. Although similarities such as revolution and Emam praised , criticized the government side, cite the martyrs, hope and … exist in poetry of these discourses. But there are also differences. For instance, in the liberal discourse, national and patriotic symbols are used. And Imam Khomeini is remembered as a national leader. But in the Marxist and socialist discourse, more issues of livelihoods, poverty and discrimination is expressed. And the Imam is remembered as the leader of people. While in Islamic discourse too much thought to religion, anti west, anti aristocratic cast, undermining national symbols and etc. And the Emam is remembered as mystical and spiritual leader

Bāng-e Ney (Ney Crying) contains a long masnavi by Amīr Hooshang Ibtihāj (Sāye) composed in Moulavi’s Masnavi-e Ma’navi meter. The poet has also taken the symbol of Ney from Moulavi, and in a new coding has connected it with the modern conceptions. Using a refined and elegant language in his book, Sāye has been able to restate modern man’s beliefs, pains, and aspirations in an ancient form. His artistic rhyming and extensive using of figure of speech which is quite obvious in the music of the poem is interwoven with the context and do not seem to be fake at all. The author of the present paper is going to study the similar yet different foundation of Bāng-e Ney in comparison with ancient poem, particularly Masnavi-e Ma’navi, and point out part of the beliefs reflected in it. Besides, he provides an aesthetic report of some of the verses.

Among Sanayi’s works, Haghighat al haghigha is of significant importance and has been traditionally noticed and admired by many poets and scholars. In this long verse, there are a lot of social- cultural- religious information expressed in an artistic language with an extended vocabulary of which its true understanding is not so simple to everybody. Some difficulties, however, does not lie in the complexities of the work itself, rather in the text corruptions occurred by the scribers and editors faults and misreading. This article is dealt with some of those faults and is an attempt to correct them.

The number of the Persian verses which have been left from Abu-Taieb Mus’abi is very few. However, even these few remaining verses have been so distorted that it is really hard to understand them, and so their recording and explaining has turned into a matter of controversy. Abu al-Taieb Mus’abi’s main Persian poem is his ode which starts with“Jahānā hamānā fosusi wa bāzi / ke bar kas napāie wa bā kas nasāzi” (the world is really full of tricks, deceptions and games / it does not last for anyone and it does not get along with anyone) which is in Beyhaqi History. One of the verses of Mus’abi’s ode which requires contemplation is its second verse that depicts the world in this way: “Cho māh az nemūdan, cho khār az pasūdan / be gāh-e robūdan cho shāhin wa bāzi” (you are like a moon in appearance, but when you are touched, you are as sharp as spur/ and when it’s time to get something away, you are as fast as hawk and eagle). This is a famous recording of this verse, or to put it more correctly, is a recording which has become famous because of being in the most common correction of Beyhaqi History (done by the late Dr. Fayāz); however, this is not its only recording. There are other recordings which are in other editions of Beyhaqi History or in other books which in one way or another have taken it from Beyhaqi History. In this paper, the author is going to scrutinize alterations in this verse. Finally. Finally, he argues that the reading “cho mār az pasudan” (when you are touched, you sting like a snake) is more compatible with Mus’abi’s word than “cho khār az pasudan (when you are touched, you are as sharp as spur).

We have now at hand two editions of Onsori’s Divan , none of them is ideal. This is clauesd, first of all by the corruption of the manuscripts.
This article attempts to examine and rectify a number of verses of Onsori’s Divan which have not been correctly recorded by the editors of the Divan in any of its two main editions; the 1st by Yahya Gharib, edited in 1341 S.H., and the 2nd by Mohammad Dabirsiaghi, edited in 1363 S.H. The basis of this study is the same manuscripts used by the mentioned editors. In addition, an older manuscript to which they had not access is used to find the correct forms of some of the verses. In this study most of the emendations were made upon grammatical and semantic criteria, especially regarding to the ancient Persian poetry conventions and figures of speech, as well as its literary traditions and style principals.

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.

Khāghāni is among the few poets who, in the fictitious world of poetry, presents to his readers and critics some noteworthy and real information about his attitude towards women, especially in his family domain. In order to introduce another piece of the valuable Persian literature dealing with women, the present paper is to take this information out of his not much simple poems for analysis. Thus, the paper elaborates on the status of women in family, society, history, and religion as reflected in Khāghāni’s poetry.

Abu-Moeen Hamid-od-Din Naser-KhosroNasser-Khosro Ghobadiani is the most indifferent poet to women in Persian literature, whose book of poems looks empty of women at the first glance. Nevertheless, in the layers of his mind and in the midst of his poems one can find an invisible shadow of woman. The present paper searches for this invisible shadow. In addition to Nasser-Khosro's book of poems and his Mathnavis, has investigated all his prose works, which are among the most fruitful works literary works of Persian literature, to shed light on the dark sides of the poet's mind and find out the hidden. Some of the basic features of the paper are the role of poet's Shiite beliefs in his social fate, and its effect on his view on woman, the sociology of the time according to his poems, the presence of women in symbolization by the wise, and its reflection on the mind and thought of the poet.

Fakhr-o-ddin As’ad Gorgani is a fifth century (H.) poet whose only work is a versified translation of "Veys va Rameen" love story going back to pre-Islamic civilizations. Exposing the characters of the story to numerous inevitable circumstances, this work, on the one hand, depicts the struggle for fate and, on the other hand, represents the social corruptions of the time and man's sensual desires which form the general setting of the circumstances of the story. Veys is the heroine of the story, admired by some for her bravery and womanly recklessness and reprimanded by others for her immodesty in the court of ethics. Based on a new approach, this paper is not to declare her innocent but to present a fair characterization of hers and study role of the others, especially men, in luring her to circumstances which led to her conviction in Persian poetry.

Mowlana’s positive and negative approaches to women being studied in the previous two parts of the article, the symbolic representation of women in his works is elaborated in this issue. Woman in Mowlana’s poetry is symbolized as divine love, spirituality, earth, and fertility, on the one hand, and corporeality, sensuality, worldliness, and cupidity, on the other hand. This contrastive symbolization of women is due to the duality of Mowlana’s views on women, which is rooted in the historical culture of the Muslims’. The next section of the article deals with Mowlana’s conduct towards women in his private life and social relations. This section best represents Mowlana’s conception of women, which is unique among mystics and poets.