Faezeh Arab Yousefabadi; Abdolbaset Arab Yousefabadi
Abstract
Human personality is composed of three parts: id, ego, and superego. The relationship between these three parts creates the individual’s complex behaviors. The concept of “ego” represents a specific pattern of behavior and how one adapts and interacts with the environment. Sometimes, ...
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Human personality is composed of three parts: id, ego, and superego. The relationship between these three parts creates the individual’s complex behaviors. The concept of “ego” represents a specific pattern of behavior and how one adapts and interacts with the environment. Sometimes, the “ego” suffers from a narcissistic personality disorder, resulting in the excessive increase of the person's attention and interest in himself. Therefore, he sees himself as a superior being and intensively focuses on his value in the eyes of others to the extent that this excessive narcissism leaves no room for loving others. Abu Firas al-Hamdani and Afzal al-Din Khaqani are two prominent Arab and Iranian poets whose poetry reveals manifestations of the narcissism phenomenon. This study aimed to explain the essential psychological features related to narcissism in the poetry of Abu Firas and Khaqani by relying on the descriptive-analytical method and referring to Christopher Lasch's model. According to Christopher Lasch's behavioral psychology, the standard features of narcissism in the poetry of Abu Firas and Khaqani are superiority complex (megalomania), devaluation of others, illusions of omnipotence, alienation from others, and complaint. Accordingly, these two poets present an exaggerated self-image in their poetry, ignore the values of others, and are very sensitive to criticism or failure. Abu Firas and Khaqani rarely communicate with others, and their communication is in line with meeting their personal needs. They consider themselves supermen who can do everything and attribute the positive events around them to themselves. These two poets are alienated from others, so they constantly complain about the people, the life, and the situation around them.
Abdolbaset Arab; Faeze Arab Yousofabadi; Seyed Bagher Hossini
Abstract
Extended Abstract
Introduction
Comparative literature is an academic field dealing with the study of literature and cultural expression across linguistic, national, and disciplinary boundaries. Comparative literature performs a role similar to that of the study of international relations, but works ...
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Extended Abstract
Introduction
Comparative literature is an academic field dealing with the study of literature and cultural expression across linguistic, national, and disciplinary boundaries. Comparative literature performs a role similar to that of the study of international relations, but works with languages and artistic traditions, so as to understand cultures from the inside. While most frequently practiced with works of different languages, comparative literature may also be performed on works of the same language if the works originate from different nations or cultures among which that language is spoken. The characteristically intercultural and transnational field of comparative literature concerns itself with the relation between literature, broadly defined, and other spheres of human activity, including history, politics, philosophy, art, and science.
Psychology is the scientific study of the mind and behavior. Psychology is a multifaceted discipline and includes many sub-fields of study such areas as human development, sports, health, clinical, social behavior and cognitive processes. Psychology is really a very new science, with most advances happening over the past 150 years or so. However, its origins can be traced back to ancient Greece, 400 – 500 years BC. In the early days of psychology there were two dominant theoretical perspectives regarding how the brain worked, structuralism and functionalism. Structuralism and functionalism have since been replaced by several dominant and influential approaches to psychology, each one underpinned by a shared set of assumptions of what people are like, what is important to study and how to study it.
Theoretical Framework
An interest of psychology, and particularly applied psychology in the impact of color on human functioning has a long history; however, it has fairly limited research achievements. Some more systematic empirical studies in the field appeared at the end of the last century; however, many of them suffer from methodological shortcomings and fail to encompass a correlational analysis which is a norm in modern psychology. Therefore, it seems particularly worthwhile for us to present a comprehensive review of research to date in applied psychology dealing with the issue of color.
The past decade has seen enhanced interest in research in the area of color and psychological functioning. Progress has been made on both theoretical and empirical fronts, but there are also weaknesses on both of these fronts that must be attended to for this research area to continue to make progress. In the following, I briefly review both advances and weaknesses in the literature on color and psychological functioning. Despite many methodological problems, colors have long been used in psychological diagnoses. Many instruments have been developed, such as the Max Lüscher color test (1971).
It's common for a sighted person to wonder what blind people see or for a blind person to wonder whether the experience is the same for others without sight. There is no single answer to the question, "What do blind people see?" because there are different degrees of blindness. Also, since it's the brain that "sees" information, it matters whether a person ever had sight. A person who has never had sight doesn't see. People who have lost their sight have different experiences. Some describe seeing complete darkness, like being in a cave. Some people see sparks or experience vivid visual hallucinations that may take the form of recognizable shapes, random shapes, and colors, or flashes of light.
A person who is born blind has dreams but doesn't see images. Dreams could include sounds, tactile information, odors, flavors, and feelings. On the other hand, if a person has sight and then loses it, dreams may include images. People who have impaired vision (legally blind) do see in their dreams. The appearance of objects in dreams depends on the type and history of blindness. Someone who is blind yet perceives flashes of light and color from Charles Bonnet syndrome may incorporate these experiences into dreams.
Method
The Lüscher Color Test, despite the remarkable ease and speed with which it can be administered, is a "deep" psychological test, developed for the use of psychiatrists, psychologists, physicians and those who are professionally involved with the conscious and unconscious characteristics and motivations of others. It is NOT a parlor game, and most emphatically it is not a weapon to be used in a general contest of “one-upmanship.”
The Lüscher-Color-Diagnostic measures a person's psycho-physical state, his or her ability to withstand stress, to perform, and to communicate. It uncovers the cause of psychological stress, which can lead to physical symptoms. Using 5015 precise definitions, the selections from among these pre-determined test colors measure the state of 34 personality traits, some of which lie outside the realm of the conscious. Because the color selections are guided in an unconscious manner, they reveal the person as he or she really is, and not as he or she perceives him - or herself, or as he, or she would like to be perceived, which occurs when questions are asked directly or by questionnaires. The test colors from the Lüscher Color-Diagnosis chosen based on favoritism. The test-taker chooses the card color they like best and then orders the rest from most-preferred to lease-preferred. Numbers are printed on the backside of each card, and after the test-taker orders them, the examiner turns them over and references an accompanying book that contains all of the different number combinations and their meaning. Lüscher argues that the subject's choice of color shows the state of their psychosomatic and emotional status and how they feel about themselves.
Lüscher relates to his four fundamental colors to the following fundamental categories:
Blue: Contentmen
Feeling of belonging, the inner connection and the relationship to one’s partner.
"How I feel towards a person that is close to me"
Green: Self-respect
Inner control of willpower and the capacity to enjoy.
"The way I want to be"
Red: Self confidence
Activity, drive and the reaction to challenges.
"How I react to challenges"
Yellow: Development
Attitude of anticipation, attitude towards future development and towards new encounters.
"What I expect for the future"
A 1984 comparison of the Lüscher color test and the Minnesota Multiphasic Personality Inventory found little agreement between the two tests, prompting the authors to urge cautious use of the former
Results and Discussion
So the two most important observations of these two are:
Desired Objectives, or Behavior Dictated by Desired Objectives.
Suffering from pent-up over-stimulation which threatens to discharge itself in an outburst of impulsive and impassioned behavior.
The Existing Situation, or Behavior Appropriate to the Existing Situation.
1st selection: Hopes to obtain an improved position and greater prestige, so that he can procure for himself more of the things he has had to do without.
2st selection: Hopes to obtain an improved position and greater prestige, so that he can procure for himself more of the things he has had to do without.
Characteristics under Restraint, or Behavior Inappropriate to the Existing Situation.
3st selection: Has high emotional demands and is willing to involve himself in a close relationship, but not with any great depth of feeling.
Conclusion
The results showed that among four Lüscher's Color Groups, the first and second in both poets are approximately similar. Accordingly, Ma'arri and Rudaki both were suffering from extreme provocations that had led them to separate from their society and they hoped to overcome a lot of their limitations, but Abol Ala despite of inner desires to intimate relationship, controls tightly his emotional relationships and only allows some people in his private domain that have perspective similar to him and think similar like him. And Rudaki tends to build social relationship and reveal his emotional relationship easily. He shows his unease because there are not enough responses to his needs of loving and understandings of mutual affections too.
Javad Gholamalizadeh; Faezeh Arab Yousefabadi
Abstract
Extended Abstract
1- Introduction
Shamseddin Mohammad Shirazi known as Hafez is one of the famous poets of Iran and the world, and a well-known figure in the Persian poetry. Hafez's sonnets have romantic aspects, like Saadi's sonnets, as well as some mystical aspects, like the sonnets of Attar, Maulana, ...
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Extended Abstract
1- Introduction
Shamseddin Mohammad Shirazi known as Hafez is one of the famous poets of Iran and the world, and a well-known figure in the Persian poetry. Hafez's sonnets have romantic aspects, like Saadi's sonnets, as well as some mystical aspects, like the sonnets of Attar, Maulana, and Iraqi. Wisdom and ethics in Hafez's poetry have a special place. Although the main source of Hafiz's psyche is mysticism, in these poems, moral recommendations have a special effect. In addition to illustrating the role of deep and original mystical concepts, he portrays the effects of social ethics and ethical imperatives, in which morality has come to the service of mysticism in order to reinforce human relationships, and provide a suitable platform for the plentiful journey of earthly humans. The main reason for Hafez's attention to these poetic themes is that he is a Muslim poet and believer, and his life has grown specifically with the Quran. He is a faithful believer who, with a particular mindset, sets aside the superficial layers of things and uses deep Quranic concepts and teachings.
Abu Al-Fattah Ali bin Mohammad-bin-Husaynbn-Yousef-bin-Mohammad-bin-e Abdul Aziz Al-Bosti is also one of the scholars and poets of Zhulassinin, the beginning of the Ghaznavid era, and the late 4th century AH. He was born in Bost, a city in Afghanistan, in 330 AH. After receiving basic education in literature and hadith, he was engaged in teaching in that city. He wrote poetry in both Arabic and Farsi and is the owner of a poetry book. Bosti is a well-known scholar adorned with ethical attributes such as contentment, freedom, and temperament. In his poems, he expresses moral and didactic meanings. The main reason for the plurality of these poetic themes in Bosti poetry is that he was a member of scholars, jurists, and hadith experts, and was familiar with Islamic concepts, especially the Qur'an, and used this knowledge to advance his poetry. Therefore, the ethical and didactic poems of the two poets, albeit formally different in appearance, share the same fundaments, which is the result of the common thoughts of both poets as a source of belief.
2- Theoretical Framework
In this research, the intertextual and transtextual relationship between Hafez and Bosti are discussed, based on the theory of the Gerard Genet.
3- Method
The method applied in this study is content analysis.
4- Results and Discussion
The main purpose of this article is to discover the common didactic and ethical aspects of Bosti and Hafez poetry and to show the various types of theoretical relations of these poems with the Holy Qur'an. The results show that the poems of Hafez Shirazi and Abu Al-Fathh are good examples of the texts born and specialized in the background of ancient Islamic literature, with a variety of dimensions in which various types of didactic and ethical concepts are derived from Quranic commands.
5- Conclusions and Suggestions
From the sum of what was said about the common didactic and ethical axes of Bosti and Hafez poetry, and the various types of relations of these poems with the Holy Qur'an, the results showed that both poets shared the same stance in the issues such as retribution, invitation to trust God, avoiding attachment to happiness, the instability of the world, the avoidance of superficiality and judgment, the avoidance of socializing with human beings, the invitation to thank the blessings of God, the commitment to patience and tolerance, etc.
In addition, the most important text which make the poems of Hafez and Bosti related directly or indirectly is the Holy Quran. In these poems, a variety of Quranic discourses have been re-envisioned, indicating their polyvocality, which also affirms the transtextual affairs. This connection is aimed at creating a semantic system of these poems, including interpersonal relations and genericity in the theory of Gartner's Gramont.
Based on the intertextual relationship, we find that Hafez and Bosti, due to deep acquaintance with the Islamic teachings and the Qur'an, adorned some of their expressions, phrases, and arguments by presenting the verses of this holy book. The interconnected nature of the texts in this section of Hafez and Bosti poems is based on the Quranic verses. The presence of these Quranic words, in addition to reflecting the content of poetry, showed the structure of the poets' beliefs.
Based on the transtextual relationship, which is based on the interpretive relations of the texts, the transtextual relationship between the didactic and ethical poems of Hafez and Bosti was confirmed. The presence of concepts related to the practical commandments of the Qur'an in Hafez and Bosti's poems, in addition to reflecting the supremacy of the confirmation of foundation and origin of the Qur'an, shows the commitment of both poets to the Islamic beliefs and reveals this fact that The Holy Quran is a hypertext. The full understanding of a significant part of the didactic poems of Hafez and Abu Al-Fath is dependant on understanding the references to the Quran verses.
faezeh arab yousefabadi
Abstract
Extended abstract
1. Introduction
Maghame is a kind of narrative which focuses on the poor and beggars’ wants and tricky literary men with an ornate prose. Also, Picaresque is a kind of episodic narrative which explains events happening for low class people of society or criminals, or the roguish ...
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Extended abstract
1. Introduction
Maghame is a kind of narrative which focuses on the poor and beggars’ wants and tricky literary men with an ornate prose. Also, Picaresque is a kind of episodic narrative which explains events happening for low class people of society or criminals, or the roguish central character fighting for survival of fittest permanantly. These involvements may take place at all social levels and typically present a humorous and wide-ranging satire of a given society.
2. Theoretical framework
The purpose of this article is to distinguish and discover common characteristics of Maghame and Picaresque which leads to prove that Picaresque is under influence of Maghame.
3. Methodology
Through descriptive and comparative method, the data is gathered and analyzed. Also, narratology is the most important method by which narrative elements in two genres were compared.
4. Results and Discussion
It can be concluded that both of them are episodic, that isthey are the narrations of independent events (episodic fiction which are rendered together due to the occurrence for one central person). Furthermore, it is illusterated that the plot which is on the basis of a journey has a significant role in the structure of Picaresque and Maghame. On the basis of narrative perspectives or focalized criteria, it is distinguished that narrator and focalisor are the same but focalization and narrativity are different in Maghame’s narrations. In this kind of narratin character, focalizor is the narrator who concepts all theevents consistent with his or her beliefs and perceptions related to his or her age, whereas narrator- focalizor retolds events which had seen, conceptualized and believed in the past. Besides, both genres are the first person narratives, and consequently there is a dichotomy and gap between “experiencing me” and “narrating I” in them leading to two levels: action level and narrative level. The difference between these two levels is called narrative distance; therefore, the process of narrativity is an important part of story in itself. It brings about an irony between the quality of events narrated and the way of hero’s narration in both genres. The analysis of Maghame’s protagonist shows that protagonist is a tricky man pretending misery, poverty and need who wanders in streets alone or accompanied by feeble and naked children. In order to get a little money, with an eloquent speech he attempts to make people take pity on him. Exactly in Picaresque stories, this feature is highlighted. Picaro is Spanish for “rouge”. The Picaresque’s hero is commonly a low-born, but a clever individual who wanders into and out of various affairs of love, danger, and farcical intrigue. Under the influence of life’s special circumstances, Picaro believes in epicurism (i.e. the enchantment of mortal pleasures of the world). Thus, the themes of immoral issues and various tricks play a key role in Picaro’s world and his stand in this universe.
As for the part ofthe story’s mode, it is concluded that Maghame’s protagonist criticizes hypocricy in society, which he himself is its victim. He exaggerates other’s sins to justify himself and suggests that although he is not better than others, he is not worse than them definitely. Hence, the satire and critical viewpoint is a main feature of Maghame stories. The emphasis on satire reflects on the historical and social context of Islamic countries in the 4th century Hejri, which equals to the 10th AD; the period during which slaves not caliphs ruled over the government. Moreover, there is satire in Picaresque. Not only Picaro itself is satirized by the author, but also he himself satirizes others. This point enables Picaro to observe his negative characteristics in the mirror of others obviously. Satire in Picaresque’s stories signifies the historical and social context of Spain in the16th century. During this period, people believed in the hierarchy system as an undeniable fact. Hapsborg kings’ goal was the development of a great emperor. In order to conquere on these wars, they had to select troops among the roguishs. It was one of the reasons for increasing disorder and riot so that troops behaved like Picaros; some behaviorswere distributed in Europe in the late16th century, including idleness, barbarization, gambling, forgery, and cheating. Hence, under the influence of satire in these two genres, the story of the world is illustrated worse than our real world. In addition, the use of poetic and figurative prose and word plays are seen in these genres.
5. Conclusion and Suggestions
Thus, it is concluded that Picaresque in Spain is the revised, modified and evolutionary genre of Arabic Maghame. In fact, after Spain, it is distributed in the other nations. This result can be inferred from the common characteristics of these two genres, including plots, narrative focalization, an unheroic protagonist, mode and a prose which is full of poetic dictions, scientific and literary terms and lingual plays.
