نشریه ادبیات دفاع مقدس
پیاپی 6 (بهار و تابستان 1399)

Self-glorification is a common and ancient theme and subject in Persian poetry in which the poet describes his advantages, characteristics and honors with an exaggerated expression. Although the spread of the culture of self-sacrifice and martyrdom and the teachings of humility and modesty has had a high frequency in the poetry of the Islamic Revolution and at first glance does not seem to leave any room for self-glorification, this poetic subject has shown itself in this poetry with new goals and new approaches. The aim of this article is to compare the manifestations of self-glorification in the poetry of Mousavi Garmaroodi and Qeysar Aminpour and to show its goals and functions as well as its common and diverse aspects. Self-glorification appears in their poetry in both personal and collective spheres. In the first place, Garmaroodi has expressed self-glorification in terms of the status of his poetry, his actions and behavior, and the like, while Aminpour has assumed a very humble tone in this area. The existence of and the emphasis on themes of humility and emphasis show that self-glorification has been the subject of Garmaroodi’s poetry in the personal sphere rather than a motif and a part of the poetic tradition. In the second place, both poets, emphasizing the concept of homeland, Iran and beliefs, have pointed out past myths and honors, great religious, political and social personalities, and national superiority, which are more applied for didactic functions, implementation of unity and invitation of people to resistance, giving a new atmosphere to self-glorifications.

Poetry is a prominent status in which the author expresses the feelings of his nation. Poets in different periods of human history have sought to portray the true faces of colonialists and tyrants. With the arrival of Israel in Palestine, the  difficulties of this Muslim country increased, leading to the formation of resistance literature in it. Palestinian poets fought side by side with people against this   usurping regime and helped the people with their hands and tongues. Saleh Mahmoud Howari is one of these poets who, despite being far from his country, has considered the situation of his country and has expressed the crimes of the occupying regime. The present article has tried to explain the manifestations of   resistance literature in his poetry by examining three Diwans of him. By examining Saleh Hawari's poems, it was determined that the poet pointed to various manifestations of resistance literature such as patriotism, oppression and lack of freedom, condemnation of oppression, etc. In his poetry, he has used the method of cryptography to express his goals. The poet mentions symbols such as mosquitoes, guards and pirates for Israel and also uses other symbols such as olives, figs,almonds, palms, etc.

Despite any definition resistance poetry might have, its theme is influenced by   popular freedom movements. The Jungle Movement of Guilan led by Mirza Kuchak Khan Jangali is one of such movements that began at the end of the 20th century. Due to its popular foundation and humanitarian goals, the Jungle Movement has been praised by critics and artists and also found its way into the realm of poetry. Ismail Dehghan should be known as the poet of the Jungle Movement who, in addition to having organizational affiliation with this movement, had obvious emotional attachment to it. Using descriptive analytical method and aiming at  representing the place of the Jungle Movement from the outlook of men of letters, the present article seeks to study the reflection of this movement in the poetry of Ismail Dehghan. Based on the findings of this study, the noblest and deepest components of resistance that are considered as the charter of the Jungle Movement is detectable in Ismail Dehghan’s poetry. Furthermore, as a devotee of the movement, he occasionally advices and warns leaders of movements, in particular he invites them to unity and integrity and warns them against infiltrators.

The proportion of Quranic verses to each other is one of the most valuable topics in Quranic sciences that has long been considered by scholars of the Islamic world; In the modern era, the principle of purposeful and proportional structure based on the wisdom of the verses in the suras has found its place in the intellectual system of many prominent contemporary commentators such as Ayatollah Javadi Amoli. The subjects of epic and martyrdom are also among necessary and valuable topics for all societies. Accordingly, the present article, applying documentary-analytical method and using library resources, seeks to answer this question: “How is proportionality and its types in the verses related to martyrdom and epic in Tafsir Tasnim?” It is concluded that despite the dispersion of verses in different surahs, there is a strong relationship and one can see different types of proportions in it. However, the proportion among them is mostly verbal (hidden).

Patriotism is one of the most important issues that contemporary Afghan poets have spoken about on various pretexts. Khalilullah Khalili is a patriotic poet and the leader of contemporary resistance poetry in Afghanistan whose patriotic themes make up a significant portion of his poetry. The published researches on Khalili’s patriotic poetry so far do not seem sufficient; the present article,  following a brief introduction of Khalilullah Khalili and a brief review of the  history of resistance literature in Afghanistan, uses a descriptive-analytic method to examine the concepts of patriotism and resistance in Khalili’s Diwan. The present study identifies concepts such as love for the homeland, awakening, freedom seeking, colonialism, invitation of Muslims to unite against foreigners,  rejection of despotism, praise of the Mujahideen and warriors, description of the woes and problems of society caused by war, depiction of displacement of people and the country’s chaotic situation, expression of the difficulties of migration and the suffering of the diaspora are the most important themes of Khalilullah Khalili’s resistance poetry.

Anti-colonialism and the struggle against domination are one of the major themes of world literature and one of the major contemporary political discourses. Thinkers of colonized societies as victims of this ominous phenomenon, while understanding the necessity of defending their human, national and religious identity, have confronted it in various ways. Poetry has been one of the most effective tools of this struggle. This research, taking into account the discourse on the struggle against domination and examining this issue in the works of Mohammad Kazem Kazemi and Qahar Asi, investigates the most prominent elements of protest in the writings of these two poets and tries to answer the question of what the position of these poets is in the struggle against domination. Using descriptive-analytical method, this research has come to the conclusion that these poets relied on consciousness raising to define and distinguish the cultural boundaries of the Islamic society from colonialism and domination, and with a trans-geographical outlook, to invite the Islamic community to fight comprehensively for the realization of peace and the formation of Ummah.

Motifs are among important structural-semantic elements in stories, which due to having the feature of repetition in types (characters, themes and concepts, events, etc.) can be a guide for readers to know the atmosphere of the stories and separate the motifs thematically in order to achieve the author’s intended goals as to why the motifs are applied. Given that the works of holy defense literature have a significant amount of common themes, we chose the memoir, Da as an example so that we can examine this type of narrative element specifically with an analytical-descriptive method. The results of the research show that such concepts and themes as cooperation, fatigue and hunger, injuries, etc. constitute the most important and most frequent motifs of Da. In addition, motifs of personages such as martyrs, the wounded, guards, etc. as well as the motifs of events such as defending, martyrdom, fighting, etc. are responsible for completing and developing the atmosphere centered on war and people’s defense. In fact, it can be argued that the motifs in Da are useful contributors to convey valuable meanings and concepts such as self-sacrifice, defense and altruism, which in their own way increase the reader’s sense of aestheticism and help them better understand the work.

Abdul Karim al-Karami, known as Abu Salmi, is one of the most committed Palestinian poets who has expressed whispers of resistance in various ways in his Diwan. This unknown contemporary poet, who dedicated the language of his poems to his lofty ideals and his country, has played the most beautiful songs in defense of his homeland in his poems. The love for Palestine is so ingrained in the poet’s existence that it makes him look like a lover. In Abu Salami’s political doctrine, struggle is the only way to victory, and the blood of the Palestinian martyrs is the price of the nation’s lofty ideals. He bravely attacks the compromising Arab rulers and uses his poems as a means of severely criticizing them. Encouragement to the relentless struggle against the enemy, praise for the  altruism, praise of the martyrs of the motherland and hope for a bright future are other dominant motifs in his poems. This research examines the themes of  resistance in the poems of Abu Salami through text-based analysis.

The presence of foreign countries in some countries of the Indo-Iranian continent made different strata of people take a stand against their oppressive behavior. Committed poets also fought against the colonialists in their poems with the   weapon of the pen. Meanwhile, the role of free-thinking poets such as Iqbal Lahori and Farrokhi Yazdi was remarkable. Both poets faced political and social changes in their country and protested in their poems to wake people up. Using people’s national emotions and feelings, they began a fierce struggle against colonialism and, by composing poems of protest, they showed their hatred of foreign  interference and presence. In this article, using a descriptive-analytical approach, an attempt is made to comparatively study the anti-colonial poems of Iqbal Lahori and Farrokhi Yazdi and to express their common views about colonialists. The findings of the research indicate that both poets have used similar themes to express the political and social situation of their time.

The Iranian eight-year war was the most erosive war of the twentieth century. Iranian film makers had no experience about the production of war documentary films before the Ravayat-e Fath documentary. Prior to this collection, Martyr Avini had not had any experience of filmmaking and had not directed any film. Directors, who are always responsible for the leadership of productions, may employ managerial characteristics of their own spiritual intelligence in producing films in order to guide the cinema. With reliance on his own spiritual leadership and intelligence, Martyr Avini recorded some unrepeatable moments of Iranian history within the frame of documentary cinematography. Today, not only Iranian cinema, but also history, culture, and identity of Iranian community owe to his experiences, and this collection may be used as an educational paradigm in praxeology based on spiritual intelligence. The present research aims to explore the effect of components of spiritual intelligence in film directing, using descriptive methodology. The main concern of this study is to consider the impact of spiritual components of years of warfare epics and the spiritual leadership of Martyr Avini in Ravayat-e Fath documentary. Results of the study indicate the confirmation of a significant relationship between the components of spiritual intelligence and the spiritual leadership of Martyr Avini.

The aim of this study was to investigate the pathology of the camps of Rahian-e Noor province through a quantitative and qualitative methodology. Regarding the aim, the method of present research is practical with a combined research approach (quantitative and qualitative). In the quantitative stage, the statistical population of the research included students and instructors participating in the camps and those in charge of holding the camps in the three cities of Andimeshk, Shoush and Dezful in 95-97, numbering 1300 and 44 people. The sample size of students and teachers was 318 and 17 respectively. In the qualitative stage, the statistical population included the officials and trainers who organize the camps. The sample size in the qualitative stage included 10 students and five officials. Officials were purposefully selected according to the extent of their experiences. The sampling method of students and educators was proportional stratified random sampling according to their number in the three cities. The research tools included semi-structured interviews and two questionnaires for educators and students. The results of the quantitative study showed that students had relatively little satisfaction with the input factors of Rahian-e Noor such as the quality of medical equipment, nutrition, location, welfare facilities, and so on. Instructors, like students, were relatively satisfied with the quality of the venue, medical equipment, cultural packages, and the selection of instructors based on age and gender. Based on the qualitative results, the most important strategies for the development of Rahian-e Noor camps included paying attention to the indicators of value competencies in human resource employment, adapting organizational structure design to content dimensions, participatory management, service management and support, and comprehensive attention to educational goals.

The use of ecstatic expressions (šaṭaḥāt) in the poetry of the Holy Defense evokes the mystical atmosphere that prevailed on the fronts and shows the knowledge and insight of the warriors. Poets, in order to make the presence of God on battlefields more palpable, have given him color, smell and light, and with the aim of expressing God's closeness to the brave men of the battlefields, they have imagined a place for God. They have also used expressions reminiscent of the incarnation of God in warriors in order to express the tangible presence of God. They have called the warriors of Islam the same as God in order to better express mortality in God and to evacuate human attributes and evoke divine attributes. The research methodology of the present article is descriptive-analytical. The data were analyzed by library and document analysis using content analysis method. The result shows that the main purpose of the poets in using ecstatic expressions is simply to express the divinity of the warriors, the sanctity of the nature of defense and martyrs’ association with the Almighty, the tangibility of God in the fronts and His closeness to the warriors. In order to show that God is perceptible in battlefields, they have used themes such as saying “I am the Truth,” seeing God, and believing in human actions and attributes as the basis for their poetic images, in such a way that the audience can feel the presence of God in the battle scenes and their prayers and testimonies.