Hossein Imanian
Abstract
Abu Mansoor Thaalabi refers to three royal courts of his era in his book “Yatimat Al-Dahr”: Harun-al-Rashid in Baghdad, Sayf-al-Dawla al-Hamadani in Aleppo, and Sahib-ibn Abbad in Rey. The first was a caliph, the second a king, and the third a vizier. The charisma and generosity of these three figures ...
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Abu Mansoor Thaalabi refers to three royal courts of his era in his book “Yatimat Al-Dahr”: Harun-al-Rashid in Baghdad, Sayf-al-Dawla al-Hamadani in Aleppo, and Sahib-ibn Abbad in Rey. The first was a caliph, the second a king, and the third a vizier. The charisma and generosity of these three figures attracted a huge number of scholars, poets, writers and artists, which led to cultural and scientific developments. There are several Islamic–Arabic folklore stories referring to the heroic, superhuman and mythical characteristics of these figures. In this article, after providing a short biography, we would look at the sources of the charisma recorded in history. Among the sources, we can mention religiosity, knowledge, political skills, intellectual and religious tolerance, bravery in the battle fields, and having a good sense of literature. In spite of some negative characteristics attributed to them, they could benefit from the duality as another source of their charisma to influence the scholars. In fact, they could make best use of the power sources they enjoyed.
raziehsadat sadatolhosseini
Abstract
The novel has the capacity and potential of the thoughts, feelings and human noble ideals portrayed in the best way and with its own language and as a tool in the hands of its author expresses the concerns, hopes and treatinginjuries him.
The novel "Hina tarakna al-jisr” Rahman Munif of novels that ...
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The novel has the capacity and potential of the thoughts, feelings and human noble ideals portrayed in the best way and with its own language and as a tool in the hands of its author expresses the concerns, hopes and treatinginjuries him.
The novel "Hina tarakna al-jisr” Rahman Munif of novels that after successive defeats against Arabs in Israel, written and illustrated sufferings and aspirations of a people for freedom and truth seekers in this direction has been defeated and frustrated.
Munif in “Hina tarakna al-jisr”in an artistic manner of instruments "description" is the most important tool used in every story and characters, time and place described in such a way that space in order to defeat and despair reigns Brrmansh necessary.
Dygrtvsyfat hand in this novel because it interferes with subtle narrative description is simple, and it saves words on one side and on the other hand, Weber speed adds to the story is reader boring.
We can say that an element described in "during Trkna Aljsr" Shnasyk is the functional beauty, the comment function at the same time contribute to the likelihood of events winners will play a good fight.
ali akbar ahmadi
Abstract
Abstract
the character element, as the main construction fund of every story, plays a significant role in the procedure of processing the plot, shaping the events and moving forward in any narrative text. The book of “Al-avasef” written by Gibran contains some short stories in which the author considers ...
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Abstract
the character element, as the main construction fund of every story, plays a significant role in the procedure of processing the plot, shaping the events and moving forward in any narrative text. The book of “Al-avasef” written by Gibran contains some short stories in which the author considers and cares about character element and methods of its processing. In the present study, with the aim of identifying the ability of Gibran in processing of fictional characters and on the basis of descriptive–analytical method, the definitions and classifications of character have firstly been presented and in the following, stories of this collection have been analyzed in the two realm of character types (static, dynamic, comprehensive and simple) and characterization methods (direct and indirect description: act, action, dialogue and name). The results of this research indicate that the most of the characters in this collection are of static and simple type, and among the charact
erization methods, the dialogue and direct description have the most frequency in comparison with the other methods.
hesam hajmomen
Abstract
Extended Abstract
1. Introduction
The present article is an attempt to analyze the emotional signification of poems; 1) does a poem exert emotional signification by itself just like a text produced within the language network, independent of the poet’s emotional experiences and audience’s comprehension? ...
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Extended Abstract
1. Introduction
The present article is an attempt to analyze the emotional signification of poems; 1) does a poem exert emotional signification by itself just like a text produced within the language network, independent of the poet’s emotional experiences and audience’s comprehension? 2) does it reflect the signification of the poet’s emotions?, or 3) does it find emotional signification with respect to the emotional state of audience?
2. Theoretical Framework
The theory through which the analysis is conducted is ‘expression theory’, which among aesthetic theories, stresses emotion and expression thereof in artworks and holds that anything expressing emotion is art. Of all the different interpretations of the theory, its basic one defined by Tolstoy (2009) has been chosen for the purpose of the study. This version considers art as a human action in which the individual consciously and with the help of external clues transmits the emotions they have experienced. The audience is thereby affected by these emotions and undergoes the same emotional experiences. The three main elements of this theory, including external clues, transmission of emotion by the artist, and reception of the emotion by the audience directly deal with the three questions posed above and provide positive answers to them.
3. Methodology
An analysis of the role and influence of these three elements opens a semantic horizon to the poem and gives an account of how a poem gains emotional characteristics in its signification on the basis of these elements. From this perspective, viewing the poem as a linguistic work from the intralingual and extralingual significations respectively proves the signification of the poem within and outside the language network and confirms its relations with the poet’s and the audience’s experiences.
The intralinguistic signification is emotionally analyzed by its poetic elements, that is, the words in the poem signify within the language network and in relation to the other words. Given the relations between the words within the language network, it could be expected that the closeness of the words used in the poem to those bearing emotional significations makes these words capable of becoming emotionally loaded. This closeness of the words within the language network could be semantically analyzed through ‘collocations’. So, any of the words used in the poem could be analyzed to see which of the words emotionally loaded is more frequently used within the language network. This frequency could be used to see that a particular word as used within a linguistic community commonly signifies a special word which designates a particular emotion.
The extralinguistic signification of a poem from an emotional perspective is analyzed with respect to the emotional experiences of the poet in his past on the one hand, and those of the audiences based on their mental atmospheres on the other. A review of the biography of the poet sheds light on how his/her life events direct the emotional significations of the words and how the verses gain emotional load based on these events. A study of the mental and cultural space of the audience shows how the diversity and variety of the spaces allow for various emotional effects they experience or how they fail to feel a particular emotional effect for not grasping the mental and cultural background of the poem.
4. Results and Discussion
The theory has been used to analyze 45 lines of a qasida titled “Taeiah” by Da’balKhazaei (148-264 AD), the great Shiite poet who lived in Imam Reza’s period (the 8th Shiite Imam).
The emotional significations of these lines are viewed with regard to eight emotions, including devotion, fear, happiness, anger, and their opposite namely, hatred, bravery, sadness, and kindness. To analyze the emotional significations of Taeiah along the intratlinguistic axis, these eight emotions are treated as eight words. Then, the denotative or connotative meaning of each word is viewed given its collocation in the line and each meaning is treated as a word again. Then it will be clear that the meaning reached for each line collocate with which of the eight emotions in the intralinguistic network. The results of the analysis show the following frequencies: devotion (25), fear (2), happiness (11), anger (5) hatred (6), bravery (2), sadness (25), and kindness (1).
Then the extralinguistic signification of Taeiah is analyzed on two axes: emotion transmission by the poet and emotion reception by the audience. Firstly, reference to Da’bal’s biological space shows that the emotional experiences of the poet in the context in which the poem was composed unites the emotional significations of the linguistic elements in the poem. Secondly, with respect to Da’bal’s emotional experiences in his life, these elements find extralinguistic significations, which are not explicated by mere focus on intralinguistic significations of the poem. Thirdly, Da’bal’s experiences direct the emotional signification of the poem, forming a dominant emotional state. Fourthly, the signification of Taeiah within the context of its formation can load the poem with emotional significations.
In the second axis, it is shown that the significations of the poem are interpreted based on the audience’s viewpoints on the external context of Taeiah. Therefore, if the audience has a similar conception of the external contexts with the poet, his/her emotional experience of the extralinguistic significations of the poem can be expected to be in line with the emotional experiences of the poet. On the other hand, it is possible for the audience to find the poem with particular expressions, but does not sympathize with them, or else he/she may have a different emotional experience than the poet as for the different approach he or she adopts to the external context in comparison to the poet.
5. Conclusions and Suggestions
In this way, the sense signification of the poem is the outlet of the manifestation of emotions in the poem, independent of the poet and the audience. On the other hand, the reference signification of the poem is the outlet of the manifestation of emotion in the line of transmission of emotion on the poet’s side as well as the line of receiving the emotion on the audience’s side.
Key Words:Da’balKhazaei , Expression Theory, Poetic Emotion, Taeiah.
References (in Persian)
Carroll, N. (2008). Philosophy of art: A contemporary introduction (S.Tabatabaee, Trans.).
Tehran: Artifice Center.
Croce, B. (2009). The essence of aesthetic (F.Jafary, Trans.). Tehran: Negah.
DoodmanKooshki, A. (2009). Literary courage of Da’balKhazaeito support the sanctum of Imam Reza: Imam Reza article collection, concerning Quran and Shia Imams. Kermanshah: Kermanshah Publication.
Frank, R. P. (2008). Semantics: A new outline (K. Safavi, Trans.). Tehran: Markaz.
Gholizadeh, M. (2009). Da’bali: A poet who carries his gallows on his shoulder. Tehran: Islamic Propagation Organization.
Gordon, G. (2010). Expressivism: Croce and Collingwood. In B. Gaut, & D. McIver Lopes (Eds.), Core text Routledge companion to aesthetics (M. Saneyi, Trans.) (pp. 91- 98). Tehran: Artifice Center.
Majlesi, M. (1990). Explanation of “Taeiah” by Da’balKhazaei. Tehran: Religious Criticism and Discussion Club.
Matravers, D. (2010). Art, expression and emotion. In B. Gaut, & D. McIver Lopes (Eds.), Core text Routledge companion to aesthetics (B. Mohaghegh& M. Ghasemian, Trans.) (pp. 261- 268). Tehran: Artifice Center.
Palmer, F. R. (2008). Semantics: A new outline (5th ed., K. Safavi, Trans.). Cambridge: Cambridge University Press. (Original work published 1997).
Safavi, K. (2011). Introduction to semantics. Tehran: Sooreye Mehr.
Sayyid Hosayni, R. (2010). Literary schools. Tehran: Agah.
Shafieikadkani, M. (1996). Imaginary features in Persian poetry.Tehran: Agah.
Tolstoy, L. (2009). What is art? (K. Dehghan, Trans.). Tehran: Amirkabeer.
Wilkinson, R. (2006). Art, emotion andexpression (A. Maziyar, Trans.). Tehran: Artifice Center.
Zeymaran, M. (2003). Semiotics of art. Tehran: Gheseh.
References (in Arabic)
Abu al-Faraj al-Isfahani, A. (1994). Al-aghani. Beyrouth: Dar Al-fekr.
Al-Bustani, B. (1979). Arab authors. Beyrouth: Dar Maroon Abood.
Bastan, K. (2011). Critical research on Islamic literature. Tehran: Humanism Research Center.
Brockelmann, C. (1977). History of Arabic literature. Egypt: Dar al-Ma'arif.
Cheykho, L. (1998). Majanial-adab. Tehran: Zavel-ghorba.
Hasri Ghirvani, A. (1931). Zahr al-adab and samar al-albab. Egypt: Al-matba'at al-rahmanie.
Ibn al-Mu'tazz, A. (1976). Categories of poets.Egypt: Dar al-Ma'arif.
Ibn Rashigh, A. (1972). Al-'omda.Beyrouth: Dar Al- Jail.
Izz ad-Din, E. (1975). Narrative and art in Abbasid literature.Beyrouth: Dar Al-Nahzat Al-arabiyya.
Moghnieh, M. (1983). Regnant and Shia. Beyrouth: Maktabat Al-hilal.
Sayyahi, S. (2003). Committed literature toloving Ahl al-bayt. Tehran: Samt.
Hossein Abvisani; laila hoseini
Abstract
Extended Abstract
1. Introduction
Mustafa Wahbi al-Tal known as Arar was a Jordanian poet and intellectual whose works consist of themes such as love, wine and drunkenness, being and nothingness, life and death, debauchery and pleasures. Defamiliarization, a significant feature of his poetry, has been ...
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Extended Abstract
1. Introduction
Mustafa Wahbi al-Tal known as Arar was a Jordanian poet and intellectual whose works consist of themes such as love, wine and drunkenness, being and nothingness, life and death, debauchery and pleasures. Defamiliarization, a significant feature of his poetry, has been done in a variety of ways, including the addition of rules, transgressions in rhymes, elegant imagery and new combinations, cohesion and harmony. Considering the theories of formalists and presenting a brief introduction on criticism of formalism and its principles, the present study attempts to explore the defamiliarization approaches applied to five selected odes of Arar in an analytical-descriptive manner. Furthermore, the study aims to answer the following question: Which type of defamiliarization approach is common in these odes and what purpose the poet have considered in choosing such literary style? And as a result of such inquiry, defamiliarization consisting of the addition of rules, phonetic harmony, transgressions in rhyme, innovation and revival in a number of Khalili rhythms of prosody can be observed.
2.Theoretical framework
Formalist criticism maintains a structural perspective towards literary works and attempts to analyze, interpret and assess their internal features. These features are not exclusively related to grammar, yet they involve cadence in poetry and its instances as well (Abbaslou, 1987, p. 95).
Formalists often regard literary works as merely a type of form. They believe that investigation of such works must be based upon form, not the content. Defamiliarization is a vast, extensive category which entails both spiritual and verbal aspects, yet it majorly deals with linguistic issues (Shamisa, 2010 ). Russian formalists consider “linguistic peculiarities” and unconventional methods of expression in a work as one of the important levels of defamiliarization. In poetry, one may notice such argument in a variety of aspects, one of which is the application of “unconventional” expressions, vocabulary and language. This sort of “breaking the habit” and opposition towards artistic rules is regarded as the main sustainable essence of poetry (Ahmadi, 2011, p. 49). Indeed, Nazik Al-Malaikia, the female contemporary Arab poet and critic, believes that “irregularities in poetry is the golden rule” (Al-Malaikia, 1997, p. 72), which can be clearly interpreted clearly at this point.
3. Review of Literature
Upon exploring the history of the study, no essays regarding the criticism of Arar’s poetry were discovered; however, a number of essays about the poet himself have been found including:
1. “عَرار:شِعریَّةَ التَجرِبَة لا شِعریَّةَ الذاکِرَة” by Ibrahim Khalil,
2. “Epistemological origins of Arar” by Ziyad al-Zaabi,
3. “The efforts of Arar, the great Jordanian poet, within the realm of Persian literature” by Bassam Ali Rababe’e,
4. “The influences of the Sage of Neyshabur upon Arar, the great poet of Jordan” by Bassam Ali Rababe’e,
5. “الُّلغَة وَ الأُسلُوب فی شِعرِ عَرار” published by Mahmoud al-Sammarah
The focus of these studies is different from the aim of this research. As a result, the present study is the first literary research on formalist criticism and defamiliarization with regard to the aforementioned poet.
4. Methodology
This study explores a number of approaches regarding defamiliarization based on the theories of formalism in an analytical-descriptive manner.
5. Discussion & Conclusion
Phonetic-lexical harmony, one of the most essential aspects of the addition of rules, is among the most influential factors resulting in increasing the musicality of Wahbi al-Tel’s poetry. Repetition of phonemes, words and especially sentences can be seen frequently in his works. Considering the concordance between “meter and content” and “meter and terms” in his poetry, one could observe that the poet has been clearly interested in modernism in meter and format. In his transgressions in rhymes, one may notice the application of quintets in his poetry which similarly is filled with cohesion and unity in subjects and odes. The introduction of quintets in his poetry, in fact, may be regarded as a type of transgression in rhymes. Given that defamiliarization is one of the partial approaches of distinguishing creating works of art, and the application of such an artistic technique is the reason why Arar’s poetry is so distinguished, it can be suggested that linguistic peculiarities and distinct modes of expression in his poetry, defamiliarization of grammar, sentence structure, and meaning can be investigated by focusing on his use of imagery, especially paradox and parody, simile, metaphor, signs, symbolism, and archaism in his poetry.
faroogh nemati
Abstract
Extended Abstract
1- Introduction
The government which was empowered after Ayubians in Egypt and Levant was called Mamloukians approximately 656 AH (Anno Hegirae). Mamloukians were originally those slaves who were captured in wars by Ayubians. Inasmuch as they had physical strengths and were great ...
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Extended Abstract
1- Introduction
The government which was empowered after Ayubians in Egypt and Levant was called Mamloukians approximately 656 AH (Anno Hegirae). Mamloukians were originally those slaves who were captured in wars by Ayubians. Inasmuch as they had physical strengths and were great warriors, Ayubians could take the advantage of them in army and military affairs. After a while, Mamloukians seized power and Ayubian`s government gradually dropped out of sight. Then they established a government called Mamlouki. Although their language was Turkish, there wasn`t any desire and tendency to poem and poetry. Hence, poetry in that era were recessed and weakened. Poets, unlike previous periods, inevitably were made to do various jobs and professions to make ends meet. Therefore, each of them was known by the job that holds such as Kahal, Jazar, Varragh, Dahan, Hamami, etc. Not only unsupportive Mamloukians made their lives misery, but also Mamloukians` successive wars with Mangols, who had greedy eyes on Egypt and Levant, and also Crusaders who were looking to reclaim the land of Bayt al-Maqdis, had made people’s lives specially poets in poverty and left them destitute.
Since social situations were appalling and intolerable, Poets started creating the image of themselves and people`s pain and suffering. The other factor that poets were agonized was ruler`s, brokers` and governors` corruption, judges` bribery, worldliness of jurists, stinginess of the new rich (called upstarts). Those who had made the aspects of the society dark and hideous. Thus, poets complained about bribery, corruption and deviation of authorities that more than ever, thrived type of blame and complaint poetry. Consequently, they turned out to be two of the most noteworthy poetry techniques.
2- Theoretical Framework
As aforementioned, the most prominent subjects that comprise blame and complaint poetry in Mamlouki`s era are: poverty, indigence, cruelty, rulers` corruption, brokers` corruption, injustice, judges` bribery , impiety of scholars and jurists, the negligence of the rich to the poor community. Both their poems expressed on solving social problems, making depressed and grief-stricken people smile, and also make poets hidden from rulers` wrath and anger. They mingled the poems with humorous and satirical elements. Ultimately, a type of poetry was created which had complaint and comedy features that nowadays is called Black Comedy.
Direct description of personal traits: Whereas poets made political and social issue as central factor in Mamlouki`s era, their poems totally laced with political and social nature. It can be said that this feature is exclusively for Mamlouki poems and it has been unprecedented in previous periods. The most significant questions in this research are: 1- What is the most important structural and conceptual feature of blame and complaint poem? 2-What are the most prominent political and social issues that had impacts on blame and complaint poetry techniques? 3-What are the most important themes of blame and complaint poetry in Mamlouki`s era?
Indirect Description: The main hypothesis in this research is that the complaint poem affected by political and social situations, entered new level of existence and obtained social and political function while it used to be for personal intentions. Subsequently can be stated that generally Mamlouki poetry and specifically blame and complaint poem are appropriate source for studying the political and social situation of Mamlouki`s era.
3- Method
Research method is descriptive-analytic based on poets` Diwans (Poetical Wokrs) in Mamlouki`s era.
4- Conclusion
Key results of this research are: 1-Successive wars and natural disasters such as diseases, earthquakes and droughts had made the people`s lives tightened. 2- Based on the impacts of overwhelming and appalling situation of those days, the majority of poets and people had lived in poverty and deprivation that led to have unbearable jobs in contrast with Abassid`s era that they were in great comfort and contentment. 3- Since the poets illustrate the truth of social and political aspect such as: poverty, war, natural disasters, governors` corruption, brokers` and judges` bribery in poetry format, their poems laced with political and social nature. 4- Poets of blame and complaint poetry made their verses with satirical elements and can be considered as one of the most vitally technical and structural feature of blame and complaint poetry in Mamlouki`s era. 5- On the account of blame and complaint poetry technique in Mamlouki`s era, political and social events were illustrated. It is a proper source to be accustomed to state and condition of Mamlouki`s era.
Mohammad Ali Azarshab; Abolhassan Amin Moghadasi; Shahriar Niazee
Abstract
Extended Abstract
1- Statement of the Problem
Contemporary critical studies are largely interested in the title as it is a prominent gateway to the original text the reader may pass through to enter the text. The title is the key to the text and the mechanism through which the reader reads the text, ...
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Extended Abstract
1- Statement of the Problem
Contemporary critical studies are largely interested in the title as it is a prominent gateway to the original text the reader may pass through to enter the text. The title is the key to the text and the mechanism through which the reader reads the text, uncovers hidden layers and unpacks it. Therefore, if the reader, in the contemporary text reading enters the original text ignoring the title, a great amount of text knowledge is lost. Since contemporary poetry is not readily available to the reader, it requires mechanisms that the title is the most important of which. Hence, the present research intended to analyze semiotics of the title of the ode “Hoffaron Alla Yaghut e al-Arsh” focusing on Quran intertextuality.
2- Theoretical Framework
Title semiotics in a poetic text consists of some concepts that theoretical literature makes this method. The concepts include:
a. Sign and Semiotics: Everything that implies and indicates something else is called a sign. Semiology deals with three concepts of signifier, signified (referent), and signification. The signifier is a sound representing a word; the signified is the meaning passed along by the signifier; and finally, the relationship between signifier and the signified is signification.
Ferdinand de Saussure asserts that there may be a knowledge pondering signs contribution in the life of the society; this knowledge is part of social psychology, and consequently, a part of general psychology. It is called semiotics.
Roland Barth, the structuralist and post-structuralist semiotician, claims that linguistics embraces semiotics; although, he has been largely touched by Saussure. He adds that the signs enjoy language and speech patterns even in a non-linguistic context.
b) Title: It is a linguistic sign placed the work by which the work is named. In other words, it specifies the work contextuality. The title is a fundamental means an analyst is equipped with to discover and paraphrase (interpret) the text for diving into the underlying layers. It may clarify text ambiguities through uncovering semantic and coded structures.
c) Intertextuality: Each text is an intertextual one as no text is created in vacuum. A reader interprets a text by the aid of intertextuality. Consider a text is generated in vacuum, if any possible, the reader is disconnected of the text such that it would have never found the opportunity of being read.
3- Research Methodology
This is a descriptive-analytical study focused on title semiotics. In semiology analysis of the intended ode title, some mechanisms including collocation and substitution, the relationship between signifier and signified, lexical (descriptive) systems, differential relationships, as well as functions like intertextuality, have been used in the ode as means of meaningfulness. In the ode title analysis, the title morphological, syntactic, and lexical implications were initially specified; next, the findings were essentially considered as the foundation for title analysis respecting text. In semiotics analysis of text and title, also concentrated on the prior findings, the implications, various functions, and poet meaningfulness tactics were determined.
4- Research Results
• The title (Hoffaron alla yaghut e al-arsh) is not only an independent text parallel to the original text, but also, original text reading is impossible without understanding the title and the implications.
• The Qur'anic intertextuality in the title has conveyed the poet dedication to his late friend to addressee from the onset. In addition, the Qur'anic semantic signification in the title as a set of "present" concepts calls for a set of "absent" concepts contrasting the title implications such that the text is basically founded on such contrast. Morphological, syntactical, descriptive, and motivational functions in addition to intertextuality are of the most important title functions in the ode studied here.
• The relationship between the title and the original text, lexical contrast between the great universe (as described in the title) and the earth, intertextuality, selecting signed words and putting them together based on collocation and substitution are the remarkable mechanisms of Shams al-Din in meaning production.
•
Mojtaba Behroozi; Ali Asghar Habibi
Abstract
this article aims to compare the characterization style of "A Sparrow from the East" and "The Beggar" based on statistical method. Statistical method is a style that Bouzyman has established to recognize and compare methods. Bouzyman assumes the existence of morphological variables which increase or ...
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this article aims to compare the characterization style of "A Sparrow from the East" and "The Beggar" based on statistical method. Statistical method is a style that Bouzyman has established to recognize and compare methods. Bouzyman assumes the existence of morphological variables which increase or decrease with connotative lines. This theory using statistics attempts to avoid the origins of conjecture, taste and subjective judgments in method identification and recognize the methodological features such as dynamism, emotionalism, passivity, rationality, etc, in order to achieve a reasonable analysis. This research aims to analyze the morphological variables of the two works and their statistical data, and to draw tables that can help us to express the typical signs of the different styles of the authors in the scientific or literary atmosphere of the works. It also attempts to specify the level of dynamism, emotionalism, passivity and rationality of the two novels. The results of the study demonstrates that the characterization method of the two writers are quite different and that whenever writers take advantage of dynamism, emotions and dialogue in their method their value( R V A) has increased and when they have receded, it has been decreased.
Arezoo Ebrahimi Dinani; Ahmad Razi Razi
Abstract
Extended Abstract
1. Introduction
Adonis in Arabic literature is one of the most remarkable poets who created a new poetic style with the special features in poetry in terms of form and conception. His thoughts about poetry have been affected by a strong background of mystical views and also surrealistic ...
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Extended Abstract
1. Introduction
Adonis in Arabic literature is one of the most remarkable poets who created a new poetic style with the special features in poetry in terms of form and conception. His thoughts about poetry have been affected by a strong background of mystical views and also surrealistic thoughts. That is why he defines the origin of true poetry as mystical or surreal believes. His poetic ideas can be seen in his poems clearly. In addition, Adonis's impression of mysticism texts is an important topic which correlates his opinions to Surrealism school in the contemporary century. However, Mavaqef and Mokhatebat’s effect, written by Mohammad M. Abdol Jabbar Neffary, on Adonis’s critical ideas about the poem makes close his poetic approach to Neffary’s mystical attitudes. Mavaqef va Mokhatebat has been effective on his ideas generally and his points of view on poetry and position of poets specifically more than every other text.
2. Review of Literature
The researches that has been done so far about Adonis has been mainly focused on the study of his views and poems, either in the context of research books on Arabic poetry or in independent work such as “Poetic Development of Adonis” (Ahmad Yusuf Davud); In addition to his poetic thoughts and views, Adonis has been the subject of researches that compare him with other poets which attempt to express his ideas by establishing similarities or differences between their views. For example: "Adaptation of Sohrab and Adonis Sufis" by Mohammad Sadiq Sepehrinia, "Myth in Adonis and Shamlou's Poetry" by Sayed Babak Farzaneh, and "Comparative Study of Myths in Shamlou and Adonis's Poetry" by Seyed Fazlullah Mirqaderi. Also "Adonis in the Field of Contemporary Arab Poetry and Criticism" by Abbas Arab is one of the works written about his position in poetry. But a reviewing all the researches done so far on Adonis, shows no independent research has yet been published on the impact of the "Mavaqef" on Adonis's language, thought and method.
By scrutinizing and carefully reviewing Adonis' views and his attitude towards the poetry and poets, not only is it possible to explain his poetry in depth and doctrine, but also his poetic views can be generalized to contemporary poetry and, in general, to true poetry and be a poetic criterion for poems. This paper has tried to show Adonis's impression of “Mavaqef” in his poetic ideas by using a descriptive- analytic method. Some of the indications of Adonis’s impression of Neffary are establishing “magazine of Mavaqef” by him and citations taken from Mavaqef in his works. But that is not all; we can see more important influences from Neffary’s thoughts on Adonis’s view about poetry, regarding closeness between poetry and mysticisms in some basic aspects. Language, theme, and method are the basic aspects which based on, Adonis’s impression of Neffary in mystical views will be examined. Since interpretation and explanation of poetry is based on not only its conception but also poet’s ideas about poetry, understanding the Adonis’s poetry themes somehow is possible through understanding his points of view about the poetry.
3. Method
This is a descriptive-analytical research. First, the related ideas of Adonis are descripted and then, their roots in Mavaqef va Mokhatebat, followed by the analysis of the examples, will be analyzed.
4. Results and Discussion
This paper shows that there are three items (language, theme, and method) which correlate Neffary and Adonis’s opinions together. Adonis has been influenced by Neffary's attitude towards language and what we call Shat’h in Neffary’s language can be called Ebda’a in Adonis’s language. Adonis has been influenced by Mavaqef in some important mystical themes such as unification, dynamism and cognition. His own poetry was influenced by powerful effect from both Neffary's Mavaqef and western schools views.
5. Conclusion
For Adonis, Mavaqef is the most significant representation of true mysticism and mysticism is the most important presentation of tradition. Adonis combines the tradition of mysticism with his modern ideas about poem and creates a new poetic style in his poetries. For language, he follows a kind of ambiguity which has already been used in Mavaqef. Regarding theme, Adonis tends to link poetry to universe with a mystical view in the way Abdol Jabbar Naferri particularly had done in Mavaqef. Regarding method, he tries to follow Abdol Jabbar Neffary as a mystic has already gone with the special individual experiences during the composing a new poem. Adonis, by establishing a strong link between tradition and modernity, places particular attention on the approach of the traditional mysticism to the universe, and places Mavaqef as the main representative of his tradition in connection with modernism. Adonis's poetic view can be a blend of tradition and modernity.
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.
samaneh nowrouzi; Yahya Maarouf
Bahar seddighi; Seyed Mohamad Bagher Hoseini
Abstract
What may raise the question at the outset as to what connection there may be between the Ferdinand de Saussure, a twentieth-century Swiss linguist, and Ibn Khaldun, an eighth- and ninth-century Tunisian ideologue and theorist, which led to this Writing, should the idea of comparing their views ...
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What may raise the question at the outset as to what connection there may be between the Ferdinand de Saussure, a twentieth-century Swiss linguist, and Ibn Khaldun, an eighth- and ninth-century Tunisian ideologue and theorist, which led to this Writing, should the idea of comparing their views on language come to the writer. Louis Ferdinand de Saussure was the first to examine language as a grammatical and lexical element of syntax and vocabulary. In his view, linguistic constructivism is based on the duality of the signifier and signified in language; In other words, the structure of language has dual aspects in his view; One is the language that he considers to be a general mental system, and the other is speech that has a physical and objective aspect. Ferdinand de Saussure was a Swiss linguist who propounded language as a social structure or, in other words, "The Public Knowledge of language" and discussion about it as a system with two separate elements; language and speech and also two methods Diachronism and Synchronism approach; Louis Ferdinand Sosor for the first time in the contemporary age and considered as a unique theory. However, this theory, to some extent similar, was formed by "Abdurrahman ibn Khaldun" a Muslim luminary theorist who propounded "The theory of mechanic and organic versatility in sociology and the philosophy of society about developed and undeveloped societies before Emile Durkheim. First, this article wants to briefly propound some outstanding ideas in Sosor's theory and then assess their value according to Ibn Khaldun's words.
Fatemeh Jamshidi; Vesal Meymandi; Fateme Ghaderi; Reza Afkhami Aaghda
Abstract
Literary style reflects the individual characteristics such as taste, mood, personal, and literary convictions. One of the approaches of literary style is known as individual stylistic that is considers the relationship between text and feedback among the audience, explores the psychological, social ...
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Literary style reflects the individual characteristics such as taste, mood, personal, and literary convictions. One of the approaches of literary style is known as individual stylistic that is considers the relationship between text and feedback among the audience, explores the psychological, social and linguistic reasons and motivations that is effective in selecting and exposing linguistic structures in text. This research analyzed and described personal style in "Bilal Habashi" by "Ali Foda". The importance of this study lies in the study of the role of the internal and external factors of the poet's life in determining his literary style as well as its manifestation in his language structures. The study aimed to pave the way for other researchers of individual style. The results showed that Ali Foda in this poem imagines himself as suffering character Bilal Habashi. In this field, by relying on practical components in determining the individual style, he made poem heavy musical by using a lot of nasal consonants, selecting rhymes ending in the long vowels, and alignments that according to their internal states. Applying present verb indicates his dramatic revolutionary and reformist goals. His individual style is highlighted by adapting ideological vocabulary and interpretation that fits into the concept of sadness, frustration, rebellion, and resistance. His style is implicit and through beautiful metaphors in this poem, except one, the rest of implicit metaphors and sarcastic kennings stated.
Mohammad Javad Pourabed; Ahmad Adel Saki
Abstract
Irony is not limited to poetry alone, but is used in all literary forms, especially in short story and novel. In Arab countries, we find narrators and novelists who have mastered this method and excelled at it, treating the suffering of their people and portraying it in a photographic illustrations. ...
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Irony is not limited to poetry alone, but is used in all literary forms, especially in short story and novel. In Arab countries, we find narrators and novelists who have mastered this method and excelled at it, treating the suffering of their people and portraying it in a photographic illustrations. Mahmoud Choucair is one of the most prominent contemporary Palestinian writers and storytellers who wrote satirical stories. He used in his fictional works the satirical method to highlight the political and social facts in Palestine. The artistic creativity of the stories of Mahmoud Choucair is in his use of both easy and difficult styles simultaneously. Moreover, he uses the photographic elements in the narration, which makes his novels have a harmonious narration. He used well-known international personalities including the American ones, which led to his being marked by artistic creativity, as he succeeded in implanting the contents of these satirical stories in the minds of the readers. The necessity of research lies in the growing interest in the Palestinian cause, because it contributed to the production of a large number of literature of resistance in its various forms, including the satirical discourse. This made researchers to pay attention to his collection of stories to reveal the new and diverse visions, opinions, and methods of it. Accordingly, the study examined the Shakira's Portrait, a stylistic study, using the descriptive-analytical method, in order to reveal the levels of satirical style and its artistic value in the Shakira's Portrait and understand the methods used in its narrative structure. The results of the research indicate that the writer used various methods such as using a colloquial dialect, manipulating letters, exaggeration or caricature, and dramatic irony. The writer also relies on the blatant paradox that aims at revealing the scandal and works as a harsh criticism to correct the defect. Mahmoud Choucair made his sarcastic criticism of the authorities because they were the reason for his backwardness. He also ridiculed the hateful occupation and outdated traditions, because both are the two sides of the same coin.
Shadi Dogani; Azam Estaji; Hosein Seyedi
Abstract
The purpose of this study is to examine the arguments used in Tahaddy verses based on Douglas Walton’s (2008) framework. In this study, we contrast the arguments presented by Tahaddy verses with Douglas Walton's (2008) arguments, and then examine each argument in turn. Muslims believe that God, ...
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The purpose of this study is to examine the arguments used in Tahaddy verses based on Douglas Walton’s (2008) framework. In this study, we contrast the arguments presented by Tahaddy verses with Douglas Walton's (2008) arguments, and then examine each argument in turn. Muslims believe that God, as the creator of man and the absolute universe, provides the best argument for convincing people, so it seems crucial to examine the arguments in the Qur'an and make them known for their own benefit. Therefore, it is necessary to examine these arguments, since the results of this research might lead to a deeper and more accurate understanding of human logic based on God's knowledge of man. It is known that God asks the polytheists in five verses if they claim this Qur'an is a human word (and the word of the Prophet himself), then bring even one verse like them. These verses are called Tahaddy in the Qur'an. This type of argument seems to be a unique and exclusive type of argument that does not fit into Walton's context due to its idiomatic meaning. Following our review of the Tahaddy verses and comparison with Walton's argument schemas, the study came to the conclusion that the argument used in the Tahaddy did not correspond to any of the sixty cases Walton introduced. Therefore, we introduced Tahaddy as a new argument to this model with a new scheme.
Seyed Abbas Hoseini; Marziyeh Abad; Amir Moghaddam Mottaghi
Abstract
. If a poet or a writer seeks a mission in the creation of a work of art, the most important thing that must be considered is ethics. Due to the special ideological and political approach that Da'bal has, throughout history, his personality and poems have been criticized by various groups. A group, ...
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. If a poet or a writer seeks a mission in the creation of a work of art, the most important thing that must be considered is ethics. Due to the special ideological and political approach that Da'bal has, throughout history, his personality and poems have been criticized by various groups. A group, more and more intentionally, have ignored all his moral virtues and introduced him as a sinful personality. On the other hand, his proponents, by exaggerating and creating an ideal and prophetic character, have destroyed the character of the poet in another way. This duality in explaining the poet's personality has introduced the preconditions for the audience's confusion and has made them face a kind of doubt in recognizing different aspects of his personality. So the study, rather than focusing on the opinions of other researchers, who often mixed their research with bias, tried to focus on his Diwan, in order to study and analyze the most important components of ethics in both positive and negative aspects and to present a real picture of the poet's personality. The results of the research, which is derived from studying the poet's works, show that courage as a superior moral virtue is beautifully manifested in his poems. The poet has presented the manifestations of his courage by allocating a relatively large volume of verses. On the other hand, using the inappropriate language and words has caused degradation of the poet's personality.
Hojjat Rasouli; Abolfazl Rezaei; Seyyedeh Firouzeh Hosseini
Abstract
The effort of poets to present a magnificent literary text, both in terms of language and content, is valuable. Many poets, using a variety of aesthetic methods, have differentiated their poetic language and thus have left the greatest impact on the audience. Mohammad Mehdi Javaheri is one of the poets ...
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The effort of poets to present a magnificent literary text, both in terms of language and content, is valuable. Many poets, using a variety of aesthetic methods, have differentiated their poetic language and thus have left the greatest impact on the audience. Mohammad Mehdi Javaheri is one of the poets whose poems are of great importance both in terms of content and structure.Although he has used most of his poems in the service of the political and social purposes of the homeland; but he did not neglect the formal beauties of the text. But the question is, what tricks has Javaheri used to highlight and perpetuate his poems? The present study has tried to provide evidence of lexical, syntactic abnormalities in the poem “Atbeg Doja"" based on the theory of de-familiarization and analytical-descriptive method. Jawaheri’s innate desire to use his aesthetic style and sensitivity in choosing words is an important factor in his poetic style. With his skill, he establishes coherence between the word and the content, and finally between all the components of the sentence, and finally, he presents a melodic poem in a beautiful style to the reader. The results show that a variety of linguistic techniques including phonetic, lexical and syntactic de-familiarity can be seen in this poem. The results show that many factors such as the rich culture of Jawaheri, his mastery of Qur'anic and religious texts, his familiarity with ancient literature and study of the works of the past and his extensive vocabulary allowed him to use techniques such as vocabulary, use the methods of repetition, presentation and delay, making new compositions, in order to highlight and differentiate his poetic language. By presenting such a style,
Stylistics
Ali Javadi; Hojjatollah Fasanghari; Abbas Ganjali; Seyyed mahdi Nuri Keyzeghani
Abstract
Music is one of the most important elements of poetry, as it brings words to life and gives them meaning. Hafez Rajab Borsi Helli (744-813 AH) was a poet from the Mamluk era who wrote eloquent and touching poems in praise and mourning of Ahl al-Bayt (AS), and music played a special role in his work. ...
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Music is one of the most important elements of poetry, as it brings words to life and gives them meaning. Hafez Rajab Borsi Helli (744-813 AH) was a poet from the Mamluk era who wrote eloquent and touching poems in praise and mourning of Ahl al-Bayt (AS), and music played a special role in his work. The purpose of this research is to explain the semantic function of different types of music in poetry, and to explore Borsi Helli's position as a Shiite poet whose work is characterized by both verbal and structural beauty in service of meaning. Using a descriptive-analytical method, this article analyzes the semantic and aesthetic function of music in visual imagery. The findings show that Borsi was successful in using both external and internal music to enhance his poetry. In terms of external music, he established harmony between his poetic themes and the chosen weight, creating a strong bond between his poetry and its music. He also used rhymes effectively to create different effects on readers. In terms of internal music, Borsi used both the music of sounds (such as repetition and puns) and spiritual music (such as Moraat al-Nazir, hint, and other innovative musical arrays) to create coherence and harmony within his work. He incorporated special musical elements into his poetry that added enchantment to songs and voices, helping audiences experience spiritual pleasure while conveying meaning effectively. Overall, this research highlights the importance of music in poetry, particularly within the context of Borsi Helli's work.
Abstract
Recovering a part of the lost identity of Iranian language and culture, the Abbasid period is considered to have played an important role in Persian language and history. The Nationalist movement came to its maximum power in this period. The Nationalists tried to prove the Iranian talent the ancient ...
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Recovering a part of the lost identity of Iranian language and culture, the Abbasid period is considered to have played an important role in Persian language and history. The Nationalist movement came to its maximum power in this period. The Nationalists tried to prove the Iranian talent the ancient Persian civilization through a direct conflict by sword or pen. Although both politics faced a systematic failing, they had a massive influence on the recreation and maturity of ancient Persian language and culture.
Abban Ibn Abd al-Hamid Laheqi ,originally from an Iranian stock, and Arabic speaking , among all, played a substantial role in this course, versifying many important Arabic works of history, epic, ethics and education related to Pre-Islamic Iran like Kalila wa Dimna, Anoshirvan ‘s Biography , karnameh e Ardeshir, Book of Mazdak(mardak), Sandbadnameh and Bloher wa boozasf.
The present study seeks to understand Abban’s basic motives to versify the books belonging to ancient Iran, having a glance at his biography and artistic background.
Abban seems to have intended, like Ibn al-Muqaffa’ and many other Abbasid period Persian patriots, to renew the ancient Persian dogma and culture through Arabic Language.
Hossein Abavisani
Abstract
Postmodernism is of the third period of human’s thought eras. During this era which spans the end of the nineteenth century to the present time , “creation “of the real replaces its “ discovery”. This stream is the extremist form of modernism. It has some specific qualities such as irony and ...
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Postmodernism is of the third period of human’s thought eras. During this era which spans the end of the nineteenth century to the present time , “creation “of the real replaces its “ discovery”. This stream is the extremist form of modernism. It has some specific qualities such as irony and mixture of popular art and formal art. This essay aims to analyze one of Arabic modern texts named “Collage” by Samih al-Qasim the Palestinian poet, and to display the characteristics of postmodernism in its form and content. This text ,however, like any other postmodern text cannot be easily understood and the characters of time and place and other elements described in it are not prone to an exact understanding . “College” is an ambiguous text, since it utilizes several literary genres and blends heterogeneous texts and far distant places and times . Furthermore the formal features of postmodernism make the ode “Collage” more difficult to grasping and apprehension. Instead, it is qualified for multiple readings.
Mousa Parnyan; Hadis darabi Darabi
Abstract
Extended Abstract
1- Introduction
An examination of the literature of every era requires familiarization with the conditions and circumstances of the societies in which literary and poetry lived. Given the political, geographic and religious situation of Iran and Egypt, the two countries have had ...
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Extended Abstract
1- Introduction
An examination of the literature of every era requires familiarization with the conditions and circumstances of the societies in which literary and poetry lived. Given the political, geographic and religious situation of Iran and Egypt, the two countries have had a destiny
destiny, and foreigners and Western countries have always been proud of these two countries. Over the course of the past century, as the unprecedented developments in the global arena began to take place, the intelligentsia of these societies sought to criticize the political situation in these countries and the social conditions of the people and They chose the field of literature as their gateway and showed anger result suppression national anger by protesting the situation of society in the form of literature and It was used as a dynamic and influential motive in community activity and, as a result, influenced by political, social, cultural and economic trends.
Among them is Amal Dunqal and Farrokhi Yazdi, whose "protest poetry" was featured in the form of their lyric poems.
Protest poetry
Protest poetry, defiance and rebellion against fuss and grumbling, having this deep sense of consciousness that remains unnecessary and necessary in the continuation of this situation, and with the certainty of the possibility of a change. This kind of poem often expresses suffering and oppression and then protest, anger and rebellion, but to be effective, efforts must be transformative and armed with a revolutionary theory with social content. In this case, he will find himself a popular poem. This poem can help by motivating, mobilizing, creating ethnic and patriotic consciousness, and the general tendency of the general thought to rise to the question of struggle, and consequently, reforming the regime or the victory of the revolution.
2- Theoretical Framework and research questions
Amal Dungal and Farokhi Yazdi are prominent Egyptian and Iranian contemporary poets
Both as committed and committed poets, they put their poems in the service of expressing the suffering of the people of their community. They used the same themes to protest themselves against the political and social situation, such as protesting the lack of freedom, criticizing the lack of protection of rulers, inviting insurrection, and the fight against tyranny.
This article seeks to answer these questions: 1. What is the reflection of the social and political situation in the poetry of the two poets? 2. What is the phenomenon of defeat in its poetry? 3. What topics and concepts do people use to awaken people?
Importance and necessity of research
Since this research is in the field of comparative literature, it leads to audience acquaintance with the thoughts and other literatures of nations and The beauty of the various literatures of different societies is manifested. Familiarity with contemporary literature and comparative
research is the necessity of such an inquiry.
3- Method
In this article, we have tried to investigate the existing commonalities and the method of reaction of two prominent poets in the field of "protest poetry" through the descriptive-analytical method
4- Conclusion
1. Amal Dunqal and Farrokhi Yazdi, both of which do not regard all problems of the society solely by the ruling system, but by the critical analysis of social conditions, believe that people also contribute to the creation of these problems; therefore, instead of their poems and Different faces point to this issue.
2. Both poets have used various aspects of rhetoric to express issues, which has been affecting the reader more than before.
3. The poetry of the two poets in the field of political and social issues is very abundant And at the very core of such themes as freedom, calling for people to freedom, protesting ignorance and neglect of the people and their silence, criticizing the lack of opportunity of rulers of the time, oppression, invoking the uprising and fighting autocracy, ... takes up.
4. Love in the homeland in the poems of the world has become the color of wrath and wrath, while Frokhi honors his past life and loves the mythical characters of Iran as a symbol in his homeland poetry.
5. In his poems, Amal Danzah refers to the looting and looting of the national wealth of the country by the colonialists and the indigenous peoples. Farrokhi's goal was to oppose the United Kingdom and to expel this colonial state from the country, and in the second phase, to overthrow the governments of the United Kingdom in Iran.
6. Both poets, as well-known and fighting poets, always considered rulers of time and their agents responsible for the misery and backwardness of their countries.
Ali Akbar Ahmadi Chenari
Abstract
Death is one of the most inspiring concepts in most of well-known contemporary Western and Arab poets’works,including T.S. Eliot and Badr Shakir al-Sayyab’s. It plays a unique role in shaping the modern poetry. This paper contains a comparative archetypal-based analysis of symbolic aspects of death ...
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Death is one of the most inspiring concepts in most of well-known contemporary Western and Arab poets’works,including T.S. Eliot and Badr Shakir al-Sayyab’s. It plays a unique role in shaping the modern poetry. This paper contains a comparative archetypal-based analysis of symbolic aspects of death in “The Waste Land”, the most famous literary work by T.S.Eliot whose impression on al-Sayyab was extensive. The basis of the literary analysis in the field of psychoanalytic criticism is Jung's theory of archetypes. According to him, archetypes model human behavior and are primordial concepts and images accumulated during time as collective unconsciousness, and human is inspired by them to evolve instinctively his own character. Poetic inspiration is one important field through which Jungian archetypes display themselves. This paper studies these symbolic features common in “The Waste Land” and al-Sayyab’s poetry.
rouhollah saiiady
Abstract
A social issue“criticism” was developed ina mannermore consistent andmore scientific with theemergence ofthe Frankfurt School, in the sociologyof literature. Asfouro Al-sharghnovel,which based oncriticalrealism, has been written due toreflectingcommunityconditionsto be targetedand to motivatingto ...
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A social issue“criticism” was developed ina mannermore consistent andmore scientific with theemergence ofthe Frankfurt School, in the sociologyof literature. Asfouro Al-sharghnovel,which based oncriticalrealism, has been written due toreflectingcommunityconditionsto be targetedand to motivatingto warnabout global changeand“capitalismentry”, too.
The studyaimed to explaincommittedauthors’approach “Tawfiqal-Hakim”encounter withtheevolutionof the society;soit becomesspecial significant how toexplain theauthor'sconcernswith respect tochanges inthe society’s advances,as well ashow processingthese concernswith the use oftechniquesto novelize. Thispaperhas used the descriptiveand analytical methodsbased onhistoricalmaterialismand psychology. Overall, this study showed thatTawfiqal-Hakim, who hasbeenwritingnovelsusingelements of, could predict crisisoriginating from capitalismand he introduced that thewayisa return to theEastauthenticidentity, to get rid of.
seyyed mehdi masboogh
Abstract
Shoshtari is one of the famous poets at 7 th centuty in andolucia. His poem has different language and structure among other poems. also his poems have mystical meaning he told these mystical meaning in Zajal and Movashah with different structure and popular way wich people liked them.
He told these ...
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Shoshtari is one of the famous poets at 7 th centuty in andolucia. His poem has different language and structure among other poems. also his poems have mystical meaning he told these mystical meaning in Zajal and Movashah with different structure and popular way wich people liked them.
He told these poems to people not to mystic people and gnosises. The main goal of this research is showing the innovations in mystical poem. Since first of all we show the Shoshtari,s location in arabic literature and then after telling his innovations in telling mystical meaning with popular and friendly way we will present the meaning of “Movashah” and “ Zajal” wich Shoshtari was one of their innovator and we will see the reflection of some samples in Movashahat and Zajals.
Keywords: Shoshtari, Mystical poetry, Innovation, Movashah, Zajal.
Zahra Rahchamani; Abbas Arab
Abstract
Extended Abstract
1. Introduction
Archetypal criticism, known as a branch of psychological criticism, can be considered as a good criterion for analyzing literary texts. In this respect, the well-known "mother archetype" is regarded as one of the most significant and critical archetypes. Regarding ...
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Extended Abstract
1. Introduction
Archetypal criticism, known as a branch of psychological criticism, can be considered as a good criterion for analyzing literary texts. In this respect, the well-known "mother archetype" is regarded as one of the most significant and critical archetypes. Regarding the fact that this archetype has profound effects on not only artistic creations and creative areas in human mind but also, even more, on one’s personality; nobody can be excluded from its effects (all individuals are influenced by this archetype). This archetype has arisen, like other archetypes, in both positive and negative aspects. In this article, its positive aspects in Badr Shakir al-Sayyab’s poetry, one of the greatest poets in modern Arabic poetry and free verse movement, is investigated. Mother archetypal in al-Sayyab’s poetry has arisen in such forms like mother, grandmother, earth and tree and all of these concepts show a passion for the mother and return to the original.
2. Theoretical Framework
The most important theory of Jung, Swiss psychologist, is about the unconsciousness of human mind. Jung divides the psyche into two categories, self-consciousness and unconsciousness, and calls the contents of the collective unconsciousness “Archetype". Archetypes are ancient concepts that have always influenced human mind, and they usually have common and identical meanings among various nations. One of the most important archetypes is “Mother” archetype. The mother's face is a mystical and sacred face in the unconsciousness of human mind. Mother Archetype can be considered as a very important and vital archetype. It has two positive and negative aspects and this is the property of the archetype, because the archetype is a symbol and the symbol also has a bipolar property. One of the manifestations of Mother Archetype is the earth, water, sea, rain, mountain, etc., or anything else that brings about the sense of sacrifice. These are all positive aspects of Mother Archetype. Among the human forms in which the real mother appears, is “real mother, grandmother, Stepmother, and any woman who has a relationship with her, such as a nurse”. Mother in the world of nature has manifested itself in various aspects. Many of the things that inspire the feeling of sacrifice, service, compassion, and kindness can be seen as mothers' manifestations, such as university, city, earth, forest, sea, and etc. If the positive content of the archetype is not revealed consciously and is suppressed, their energy will be transferred to negative aspects. In this case, the Mother archetype will not be excluded.
3. Methodology
Considering the necessity of scientific approaches to the study of literary texts, especially using the old approach of Jung's model in analyzing works with outstanding psychological dimensions, we use a descriptive-analytical method and Yung's ideas in studying the “Mother Archetype” in Badr Shakir al-Sayyib’s poetry.
4. Discussion & Conclusion
Mother Archetype has the same feature as two-way (bipolar) symbols (positive and negative) due to its archetypal nature. In its positive aspect, it is a diagram of all emotions and maternal tendencies, such as fertility, breeding, and vegetable. Undoubtedly, this Archetype is one of the main attributes of Sayyab's poetry which is reflected in his poems. Perhaps it is due to the loss of his mother at an early age, and later the loss of his grandmother, the bitter Arab political events, that this archetype has always been alive in his mind and is manifested in his poetry in the form of special symbols. In the poem of Sayyab, the Mother Archetype appeared in reality in two aspects of "mother" and "grandmother." The poet, who has been deprived of maternal affections at childhood, always spoke about his mother and after his mother, the only source of affection was his grandmother. Mother Archetype in its natural form is found in the "earth", "water" and "tree". Earth is the most important symbol of Mother Archetype due to its fertility and reproduction. Earth in general and Jikor in particular are the aspects of Mother Archetype in Sayyab's poetry. By establishing a relationship between Mother Archetype and the earth in his expression of fertility, Sayyab sees verdurous and fertile Jikor as a mother hugging her children. Water is an example of the positive symbol of mother because of its inherent fertility and birth in nature. Boveyeb River is considered as one of symbols that refer to fertility and vegetation in Sayyab's poetry. Rain in his poem also means the end of darkness, drought and famine, and the beginning of the brightness, fertility, and birth. The water, the rain and the river in his poem are the beginning of birth and fertility. The orange trees, berries and wheat clusters are aspects of reproduction and Mother Archetype.
