|
|
|
 |
Search published articles |
 |
|
Arman Fateh Dowlatabadi, Qolam-Ali Fallah, Hamid Abdollahian,
year 30, Issue 92 (5-2022)
Abstract
Ferdowsi’s Shahnameh is full of stories which are rooted in myths. The characters of stories can be analyzed from different viewpoints. Keykhosrow is one of the eminent characters of myths. In this paper, relying on desk study, document and content analysis, and the adoption of Marcel Mauss’ anthropological approach and Eliade’s theory about magic doctors we have analyzed Keykhosrow and his magical actions. The findings of this paper show that the Iranian-Turanian Keykhosrow is a potential witch. He also has characteristics and actions which can be found in witches. Keykhosrow, like a king-priest who dominated Classical Elements and adept in witchcraft, conquers Afrasiab with unusual magical tricks and ends the Great War.
Asad Abshirini,
year 30, Issue 92 (5-2022)
Abstract
The narrative of The Blind Owl (Buf-e Kur) goes through scattered “writings” in which the “painter” narrator, in captivity from the burden of his “wall of the house” shoulders through the entire story and tells the “swallowing shadow” of himself. It is only in the first part of The Blind Owl that the “ethereal girl” “manifests” through the “ventilation hole” of the closet of the same “house” which is located “on the other side of the ditch”. In the present study, the psychoanalytic theories of the French Jacques Lacan, of which language-centeredness is also one of the basic premises, are effective tools that pave the way for reflection on the linguistic aspects and related symbols in The Blind Owl. What explanation Lacan’s “The Real” provides for the progress of the plot of this modern story as well as how the result of such a view sheds light on the interpretive nature of The Blind Owl and its prosaic aspects constitute the author’s concerns.
Shiva Kamali-Asl, Abdollah Zabeti,
year 30, Issue 92 (5-2022)
Abstract
Despite the marginalization of women throughout history, their influence remains in ancient texts. The purpose of this article is to represent the role of women and their signs of activism in three anecdotes of Marzban-Nama based on Fairclough’s approach to critical discourse analysis, and to find the answer to this question: did women, given the patriarchal rule in society, accept the status quo, or change it in their favor? If so, how did they do it and what were the components of this activism? In this study, Marzban-Nama has been examined at three levels of description, interpretation, and explanation, and the signs of women’s power and how they exerted their agency have been represented. Considering the cultural and social situation in Iran at the time of writing the book, the results indicated that women had access to a kind of latent power in these anecdotes and played an active role in the development of the anecdote process. In Marzban-Nama, women often played an active role by symbolizing prudence, wisdom, and morality. Based on the social situation at the time of writing or rewriting this work, while power inequality between men and women was evident, women had access to power as silent rulers and their active role in shaping the process of the story was manifest. In sum, many signs of women’s power and agency were found in these anecdotes, such as having the right to choose, tact and decision-making power.
Batul Vaez, Mohammad Reza Haji Aqa Babaie,
year 30, Issue 92 (5-2022)
Abstract
One of the areas in literary studies whose definition and principles have been subject of considerable disagreements among philosophers, writers, and linguists is poetry and its nature. Differences of perspectives in defining poetry are a result of differences in methodologies, intellectual fields, and elaboration of poetry function. The present research takes a descriptive–analytic approach to reviewing the existing definitions of poetry, and through studying different types of poetry in Persian literature and, by basing the discussion on indicators such as the speaker’s mentality, listener’s mentality, language, genre studies, various discourses of each era, the prominent literary element, and critiquing the masterpiece-oriented perspective, attempts to question the perspective which considers poetics to be a definite and non-historical phenomenon, and introduces poetics as a fluid, relative, and history-dependent phenomenon which requires a different definition in various eras based on the abovementioned indicators. Through such an approach to poetics, demarcating verse and poetry based on similar indicators and in all eras will not enjoy scientific rigor and credit. Based on the perspectives elaborated in the present research, a new poetics must be proposed in each era to be able to provide a definition of poetry in that era.
Hossain Ettehadi,
year 30, Issue 92 (5-2022)
Abstract
Ghalib Dehlavi is among the most famous poets of Indian style in the 13th century. As noted by some critics, he belongs to the group of poets whose speech is often ambiguous and complicated. Using a descriptive-analytical method, the present study attempts to clarify the causes of such linguistic ambiguity through analyzing the most important part of Ghalib’s works, his collection of Ghazals. The results show that creating various descriptive compounds, omitting a part of a sentence, and some lexical and syntactic inaccuracies, and specifically, creating conflict among words are the most significant components which have led to his speech ambiguity. Meanwhile, in terms of their high frequency, using innovative compounds and creating conflicts are regarded as features of Ghalib’s style. On the other hand, the great desire of the poet to present new and complex themes has led him to invent many new nominal, adverbial, and especially descriptive compounds.
Soraya Karimi, Ramin Moharrami, Mahin Panahi,
year 30, Issue 92 (5-2022)
Abstract
Manaqib al-Arefin, authored by Shams al-Din Ahmad Aflaki, describes the life of Mawlawi family and the elders of Mawlawiyya Order. In this book, Aflaki portrayed mythological and surreal characters of the predecessors and contemporaries. Many mystical issues of Manaqib al-Arefin are consistent with mythological concepts; and mythological beliefs play a role in the formation of the contents of this mystical biography. This research has raised the question of which components of mystical themes of Manaqib al-Arefin are proportional to the mythological themes of Eliade. In this paper, Manaqib al-Arefin has been analyzed using a descriptive-analytical method and a mythological approach based on Eliade’s perspective to explain the extent of conformity between mysticism and myth. The results show that in this work, the hero has already been designated as a savior according to the archetypes. In Mawlawi’s life cycle, one can clearly see the stages of purification, renewal of life and manifestation; he performs the ritual of holy washing before entering his subconscious domain and prepares himself to join the assembly of holiness, and on his inner journey, he transcends the human requirements and attains the witnessing of God Exalted, the angels, prophets, and spirits. Moreover, in Manaqib al-Arefin, the roof of school and the bath pool are exemplary types of the center of the world where the earthly world and spiritual world join.
Seyed Saeid Ahmadpour Moghaddam, Naser Nikoubakht,
year 30, Issue 92 (5-2022)
Abstract
While Nizami’s adroitness and expertise in detailed illustration and description have always been the focus of attention of the analysts of his works, so far there has been no due analysis of his artistic techniques and the various patterns he has used in description and image-creating. Choosing Haft Peykar as one of the most prominent works of Nizami and using a descriptive-analytical method, this study aims to answer the two fundamental questions of what aesthetic, rhetorical, narrative, etc. functions, Nizami’s skillful illustrations and detailed descriptions in the text are and whether it is possible to determine cogent and verifiable patterns in Nizami’s descriptions and illustrations. As a result of this research, it became clear that Nizami made his work tangible and realistic for the audience by objectifying and reifying what was described. This objective entity itself has secondary functions that can be investigated in the areas of rhetoric, aesthetics, or narrative logic in the text of Haft Peykar. Most of the descriptions and illustrations of this work can be classified under specific patterns.
Mojtaba Doroudi, Hamid Fadayi,
year 30, Issue 92 (5-2022)
Abstract
The present article is an analysis of a couplet from Ferdowsi’s Shahnameh, about which scholars have expressed various opinions so far. This couplet, which was also recorded by Saadi in Bustan, begins with the hemistich “mayazar muri ke danekesh ast” (Don’t harm an ant that is seed-carrying). Later, according to the recorded form of this couplet in the Florence version and two other versions containing the hemistich “makosh muraki ra ke ruzikesh ast” (Don’t kill a small ant that is daily-bread-carrying), Khaleghi Motlagh based his revised version of Shahnameh and stated that it was the closest version to the original Shahnameh. The researchers have since expressed their opinions on rejection or acceptance of this revision. While investigating other views, this study focused on Avestan and Middle Persian texts and considered the frequency of some words of this hemistich and concluded that the phrase “mure danekesh” (seed-carrying ant) is an ancient and descriptive compound that has its roots in Old and Middle Persian texts and its domain is extended into New Persian. The two other phrases “makosh” (Don’t kill) compared with “mayazar” (Don’t harm) and “muri” (an ant) compared with “muraki” (a small ant) have superiority, which correspond with one another in each hemistich. However, the phrase “mayazar” can be regarded as one of Ferdowsi’s poetic innovations.
Ashraf Seraj,
year 30, Issue 92 (5-2022)
Abstract
Dād (justice) is one of the abstract concepts that is not tangible in the world outside the mind and thinkers have dealt with it from various perspectives throughout history. Ferdowsi paid special attention to justice and mentioned it as one of the most important and required attributes of the kings. From the perspective of cognitive linguists, the human mind, using the metaphor mechanism, understands the abstract concepts through objective concepts. For an abstract concept, several different source domains may be used. Physical experiences, physical environment, social and cultural environment, and personal and social background are among the factors involved in the diversity of metaphors. The current research is an attempt to investigate Ferdowsi’s views about justice by studying conceptual metaphors used in six stories of Shahnameh and to identify the factors influencing the diversity of the source domains by analyzing the relationship between metaphor and types of context. The results of the research indicate that, in Shahnameh, justice, depicted as a priceless object and everlasting wealth, is spread by the king among the people and in the world. Justice leads the kingdom and state towards order and development, and it is a guardian that keeps the realm of government safe, and like water, the progress and renewal of the world and the happiness of the people depends on it.
Mostafa Alipour, Habib-Allah Abbasi,
year 30, Issue 92 (5-2022)
Abstract
There is a difference between a historical event and the historical narrative of that event, whether it is oral or written. That is why an event is something that happened once in a specific time and place, but the historical narrative is multiple and numerous and does not completely agree with the historical event and is an interpretation of the original incident. Using the descriptive-analytical method and the intertextual approach (based on the three intertextual axes of Genette) in this article, the repetition, reconstruction, and reproduction of the past have been analyzed in two historical narratives of Zahiri Nishaburi and Rawandi about the incident of Ghoz riot, two narratives which are temporally and expressively different. Moreover, it has been shown that these two texts, which have a common theme and are related to each other have been influenced by each other and much communication has taken place between them. In addition to relying and emphasizing on the linguistic features of Rahat al-Sudur, especially its syntactic system, the intertextual relationship of the two works, similarities, and differences in the way of their reporting and narrating of Ghoz riot have been discussed. The result of the research highlights the influence of Seljuq Nameh on Rahat al-Sudur in the historical report, which accuses its author of plagiarism.
Shokr-Allah Pour-Alkhas, Leila Azarnivar, Ahmad Reza Kiani,
year 30, Issue 92 (5-2022)
Abstract
Death is the most definite end that can happen at any moment and at any point in life, a horrible truth that humans respond to with horror of death. Many psychotherapists, including Yalom, consider it to be the main source of anxiety, which greatly affects a person’s behavior and psyche. History has shown that poets and writers have thought deeply about death and spoken about it. Saadi, an Iranian thinker who has gained world fame by expressing his moral and philosophical wisdom, in addition to telling anecdotes in his works “Bustan” and “Gulistan” and even in his “Ghazaliat”, has discussed the meaning of death and the anxiety caused by it. Due to the importance of the subject of death, its certainty and inevitability, the current study used Saadi’s works, along with a descriptive-analytical method based on interdisciplinary studies to investigate how Saadi and Yalom help human beings to overcome the horror of death and to live happily or save themselves from its fear despite knowing about death and to face the crises and their mental and psychological problems. The findings show that facing and remembering death not only reduce death anxiety but also make life meaningful, more precious, and valuable. As a result, with such a perception, one can make death enjoyable not only for oneself, but also for others.
Mohammad Khosravi Shakib,
year 30, Issue 92 (5-2022)
Abstract
“Collective mobilization” is one of the most widely used models in the field of contemporary political sociology, which makes it possible to study and analyze the internal mechanisms governing social movements, revolutions, and political unrest. In the present study, the narrative of “Birds of the World” in Manṭeq-al-Tayr as well as the story of “Torquate Pigeon” in Kalile-va-Demneh are successful instances of collective action and mobilization in classical Persian literature aimed at restructuring the status quo. Therefore, it is necessary to study the quantitative and qualitative variables governing their internal organization. The application of indicators such as the principle of wise actor, the principle of public relations, the principle of structure of collective action, the principle of quantitative and qualitative coherence, and the principle of motivations and behavioral patterns, etc. reveal the structural complexity of such collective actions. In this article, an attempt is made to study the internal mechanisms governing the two narratives using qualitative comparative analysis to assess the degree of coherence as well as the explanatory and interpretive capacities of each story.
Dr Milad Jafarpour,
year 30, Issue 93 (1-2023)
Abstract
Jamshid-nāmah is one of the unexplored epics of Persian literature in Central Asia which has presented a detailed independent and completely different account of the events of the life and reign of one of the most important mythological characters of Iran i.e., Jamshid Pishdādi. Whereas the original version of Jamshid-nāmah was written in Persian and its Turkish and Urdu translations were common and published in other regions for some time, most of the epic scholars are not even familiar with it and no mention or explanation of Jamshid-nāmah has been provided in the previous studies. To bridge this gap and using the inductive method the present paper has first introduced the textual features of the narrative in two parts, and then evaluated the elements and motifs of Jamshid-nāmah.
Mostafa Mirdar Rezaei, Farzad Balou,
year 30, Issue 93 (1-2023)
Abstract
Most of the research conducted on the subject of “language” and its role in the field of mystical texts, has focused on the objective reflection of language (the investigation of language in speech and writing), an area that is actually regarded as second-order knowledge. It is very important to pay attention to the first-order knowledge, which is defined as knowing the nature of the language itself and every individual (mystic’s) interpretation of what it is – which is mostly neglected. That is why before the stage of proof and realization of language; the position of proof and interpretation of the language is a principle, and before the language reaches the level of realization and emergence, the manner of its interpretation and determination is formed. One of the thoughtful mystics who contemplated about the nature of language and wrote about it in his works is Imam Mohammad Ghazali. This study, based on a descriptive-analytical method, tries to investigate Imam Muhammad Ghazali’s thoughts on the field of language and its nature (first-order knowledge) in the light of some of Saussure’s linguistic ideas. The emergence and realization of language in the form of terminology and universals (second-order knowledge) is another aim of this research. The results indicated that, in explaining the subject of language, as a philosopher, Ghazali discussed the makeup and nature of language and from the point of view of a linguist, he looked into the process of language development in spoken and written forms.
Nasergholi Sarli, Akram Ghorbani Cheraghtappeh,
year 31, Issue 94 (6-2023)
Abstract
The researchers of mysticism and Islamic Sufism have considered the making of the language of Sufism and mystical discourse as one of the most important aspects of the history of Sufism. Especially the gradual differentiation of the language of Sufism from the language of religion and its transformation into an independent discourse has been the subject of valuable researches. The researchers have demonstrated that mystical experience and Qur'anic interpretation are inseparable at first and the language of mystical experience merely uses Quranic words, but gradually, mystical experience becomes independent and adopts the Qur'anic language/language of religion and acquires its very own language. One of the lexical features of the language of Qur'an/religion is the use of binary opposition. Binary oppositions such as Paradise/Hell, Good/Evil, this world/the Hereafter among the basic religious and Quranic teachings and are used with high frequency in Sufi texts. The use of binary oppositions in Sufi texts goes far beyond religious binary opposition, and especially in Sufi textbooks, many new terms are formed based on binary opposition.One of the distinguishing aspects of the language of Sufism is the deconstruction of binary oppositions. The deconstruction is applied both in the binary oppositions of religion and in the oppositions formed in the language of Sufism. It has various and different forms and aspects, and its analysis may provide us with the most creative and innovative aspects of Sufis' worldview and mystical experience. This linguistic invention, which is rooted in the novelty and uniqueness of mystical experience, is a sign of the authenticity of that experience. In this research, we have investigated the deconstruction and departure from binary opposition in a corpus including the most creative words of the Sufis in Persian prose texts. By analyzing and classifying the different forms of the deconstruction and going beyond the binary opposition, the article shows how this feature grants the language of Sufism a special artistic and poetic characteristic, and places it in a completely different level compared to religious texts and the language of Shariat. Going far beyond the binary oppositions is closely related to the paradoxical feature of the language of Sufism and provides the possibility of expressing more complex experiences for Sufis.
Ensiyeh Darzinejad, Ms Kosar Darzinejad,
year 31, Issue 94 (6-2023)
Abstract
Nefrin-e-Zamin (The Curse of the Land) is a novel by Jalal Al-e-Ahmad about a teacher who narrates his presence in a nameless village. The novel displays the transition from tradition to modernity. It takes place during land reforms of the then government. The present article is an analysis of the novel from the perspective of Henri Lefebvre. Lefebvre challenges the alleged static features of space and introduces it as vibrant and multi-layered. From this stance, the village is an active and dynamic space redefined in the course of the story. The teacher’s entry into the village, as a stranger, becomes a means to depict the multifaceted nature of the village. Lefebvre’s three-part dialectic, comprising the teacher’s perceived, conceived, and lived experiences in the village – represented in spatial practice, representations of space, and representational spaces – are investigated in this study. The teacher’s visual, auditory, olfactory, gustatory, and tactile perceptions of the village space are studied in detail. The correspondence or discrepancy of the teacher’s mental conception and his lived social experience in the village are discussed next in this paper. The fragmentation of the homogeneous space of the village and its hierarchization to exercise the power of the ruling class of the village are also investigated. Finally, the paper looks into the right of the villagers and strangers to the city and its two subcategories – the right to participate and the right to occupy. The teacher, the steward, and the painter from Shurab are the strangers in the village whose right to the city is important. From Lefebvre’s viewpoint, the village is not a neutral and passive space; rather a dynamic and multifaceted space that has significance and undergoes change and reinterpretations.
Zahra Jamshidi, Daryoush Ghalehghobadi,
year 31, Issue 94 (6-2023)
Abstract
Kalila and Dimnah is one of the common literary and cultural works of India and Iran and many of its contents were written based on the Aryan thought of these two peoples. In the present article, the issue of social stratification in the chapters “The Lion and the Bull” and “Investigation of the Conduct of Dimnah” has been analyzed with a mytho-sociological approach and with a descriptive-analytical method. The mytho-sociological analysis is a method that can reveal the mythological roots of some sociological concepts. The ideas of Georges Dumézil show that classification among Indo-European peoples was one of the main structures of creating social order. Kingsley Davis and Wilbert Moore also hold such beliefs in their sociological studies. The analysis of the aforementioned chapters of Kalila and Dimnah with these two mythological and sociological theories shows that the structure of the story of “The Lion and the Bull” is consistent with the class structure of Indo-European societies; a class structure that does not tolerate class mobility in any way and as it is clear in the “Investigation of the Conduct of Dimnah” chapter, those who engage in class mobility will have no end but destitution and destruction. In the studied chapters, Dimnah is the agent of failed class mobility, Kalila is the defender and acceptor of stratification as an undeniable reality; and the lion, lion’s mother, and the panther, who belong to the elite class, are the protectors and maintainers of stratification as a regulatory structure. The stratification in these chapters is another form of the mythical tripartite functions of Indo-European societies, which itself has become the cause of the formation of social classes in these societies.
Amir Afshin Farhadian, Dr Mohamad Taheri,
year 31, Issue 95 (11-2023)
Abstract
Music, with a history of thousands of years among Iranians, both as one of the fine arts and as a practical art, has been present in various aspects of individual and social life. In addition to reflecting this presence, the long and close relationship between music and poetry has filled the collections of Persian poetry with musical terms, names of melodies, tunes, instruments, and composers. It is clear that over time, some new words and terms have become popular in this field, while some have remained obscure and eventually forgotten, and some others have undergone verbal or semantic transformation or fluctuation in their scope. On the other hand, a true understanding of the meanings and even receiving many artistic aspects of texts depends on mastering the different semantic features of words and the implications of terms. Undoubtedly, one of the important functions of writing commentaries on the works of the past is to explain the meaning of obscure words or the transformed meaning of a still-common word, and also to inform the audience of the idiomatic meaning of words and combinations that without mastery of them, the reader's understanding of the text is not possible or at least incomplete. Researchers have identified and introduced a large number of forgotten musical terms in the texts, but it seems that some of these terms are still overlooked. "Afsane" is one of these terms. In this study, using content analysis and descriptive-analytical method, the musical aspect of this term has been investigated and the artistic subtleties of a number of verses, which were hidden in the shadow of the forgotten idiomatic meaning of the word, have been revealed.
Saeed Karimi Qare Baba,
year 32, Issue 97 (1-2025)
Abstract
In the play Farhad and Shirin, the Azerbaijani poet and writer Samad Vurgun has recounted the poem of Khosrow and Shirin in a way contrary to Nizami Ganjavi's intentions. In his work, he tried to create a self and the other divide. Iranians are portrayed as a threatening enemy of the lands beyond Aras and an intractable enmity between the two sides is imagined. In agreement with the communist politicians, Vurgun sought to prepare an independent identity for the newly established Republic of Azerbaijan; in a way that did not overlap with Iranian and Ottoman cultural commonalities. The current research, which is carried out in a descriptive-analytical way, tries to answer the question, how did Vurgun describe the self and the other and what methods did he employ to determine and embody the cultural identity of the Caucasus? The author of this play described Iranians as people with negative aspects such as raping, kidnapping, killing parents, lying, etc. and instead, attributed all the positive qualities to the people of Barda District. On the other hand, the introduction of Shirin and Farhad as lovers from Azerbaijan and the creation of a character named Azarbaba have been part of the strategies to promote the new identity of the Caucasus.
Dr Ebrahim Vasheghani Farahani,
year 32, Issue 97 (1-2025)
Abstract
The numbering system is one of the most important and challenging components of inline systems. This challenge is two-dimensional and is not simply written in numbers. The challenge of number writing, on the one hand, comes back to the nature of numbers and their existence in each language, which itself is the result of the different attitude of each lineage to existence, and the second dimension of the challenge of number writing is related to the way of writing numerical entities in each language. Therefore, even though numerology is a phenomenon in the field of writing or writing, it cannot be considered a purely linear phenomenon, but to describe the numerology system, it is necessary to pay attention to the type of attitude and vision of people and nations towards existence and especially the mythological foundations of the vision of each nation. to be Middle Persian is no exception to this approach, and one of the neglected requirements to answer the ambiguities of the Middle Persian numeration system is the same attention to qualitative matters, especially the mythological beliefs of Iranians. In this article, in continuation of the valuable efforts that have been made so far to compile and describe the Middle Persian numeral system, other considerations about this system are proposed, and the answers to some uncertainties still existing in the Middle Persian numeral system are discussed during these considerations. Also, some of the remnants and reflections of this system are tracked in the New Persian language and script, which on the one hand helps to compile the Middle Persian numeral system and on the other hand, facilitates the understanding of New Persian words and texts. The findings of the article show that it is possible to describe the Middle Persian numerology system, and in this work, taking help from the mythological foundations of Iranian thought is a way-opener and important, of course, this article ultimately does not mean the formulation of the Middle Persian numerology system, and further, considerations and There are suggestions for developing this system.
|
|
