research article
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.
research article
ahmadreza heidaryan shahri
Abstract
Extended Abstract
1. Introduction
The story of a hero’s journey and weathering arduous stages for the purpose of accomplishing a specific objective and subsequently bestowing the gifts of that tortuous journey on companions is an archetype which instigated Joseph Campbell (1904-1987), an American ...
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Extended Abstract
1. Introduction
The story of a hero’s journey and weathering arduous stages for the purpose of accomplishing a specific objective and subsequently bestowing the gifts of that tortuous journey on companions is an archetype which instigated Joseph Campbell (1904-1987), an American mythologist, to propound a comprehensive outline to portray an archetype of a heroes’ journey, with regard to numerous evidences in varied stories and myths.
The writers of the present study aim, using a descriptive-analytical methodology, to identify the structural similarities and differences of related patterns, from an archetypal literary criticism point of view, in the journeys of heroes in “the seven labors of Rostam” of Shahname [the epic of kings] written by the Persian master poet Ferdowsi and “Mu’allaqat” written by Antarah Ibn Shaddad, one of Jahiliyyah [ignorance] period’s poets.
2. Theoretical Framework
Among the studies conducted on the Arabic literature, [to the best of author’s knowledge] no research has been undertaken investigating Antarah’s Muallaqeh utilizing the same approach and methodology as the present paper. Similarly, within the domain of contrastive literature, no research has investigated the two poems from the perspective of their heroes’ pattern of journeys, contrasting their structures. Thus, the authors in the present study, in the light of mutual interactions, through presenting epic sings and re-reading heroic signs in both Antarah's poetry and Ferdowsi’s The Seven Labors of Rostam, will look into their commonalities apropos the hero’s journeys ( as proposed by Campbell's Monomyth); to this end, the authors try to depict that regardless of some points of divergence, literary works in Arabic and Persian, based on the pattern of hero’s journey propounded by Campbell, can be studied comparatively.
3. Research Method
In the present study, texts and library documents were reviewed using a descriptive-analytical methodology. Content pertaining to the issue at was obtained from credible sources and formed the basis for the background of the study and its literature while serving as a yardstick for describing, analyzing and comparing the archetypal criticism of the two works' structure.
The fundamental questions of the research, given that investigating with and adapting Campbell's structural pattern to the stories of various nations will undoubtedly yield similarities and differences in structural flow, are as follows: Considering the previously mentioned pattern, can Antarah’s poetry be regarded as an epic like Ferdowsi’s The Seven Labors of Rostam and does Antarah boast the sings of an epic hero like Rostam? Can points of convergence and divergence during the processes of heroes’ monomyths in the works of the two authors be traced using mythological criticism and archetypal fundamentals, based on the mentioned theory? To what degree can the pattern proposed by Campbell account for the entirety of the stages of heroes’ journey in this study?
4. Research Findings and Discussion
The findings of the present research concerning comparative reading of heroes’ journeys in The Seven Labors of Rostam by Ferdowsi and Mu’allaqah by Antarah Ibn Shaddad al-َAbsi, based on Campbell's structural pattern, are illustrative of struggles governing Antarah's poetry which is a combination of struggles with inner anomalies together with ethnic and national struggles; issues which have been the subject matter of narratives and myths. In a way that through having a main event, war, defending the tribe's honor and sacrificing selfhood to social demands and other extraneous stories, the hero is capable of surmounting his individual limits, undergoing tests in formidable stages, weathering all of that and eventually offering the outcome of his journey to his people, bringing about complete unity in the myth.
5. Conclusion
The conclusion which was reached following a comparative re-reading of the two works based on the Campbell's pattern reveals that points of divergence, refusal of invitation at the departure or separation in The Seven Labors of Rostam don't have any equivalent in Antarah’s work, but the latter is s.th that in Antarah’s poem the protagonist first refrains from accepting. Type and the number of hardships used as tests in the two poems constitutes another point of divergence. A third difference is the phases of answering the call and deification which are amalgamated in Antarah’s poem but in The Seven Labours of Rostam they correspond separately.
During the stage of reunion with father, both heroes are freed from father/king’s servitude and gain power and high status and present the outcome of their journey to the tribe / countrymen. During the return stage, which in the two poems is only comparable to “magic flight “or “rescue from without” in Campbell’s stages, both heroes are the very supernatural aides which have come to assist the father/king, bestowing on them a prominent, epic status.
Keywords: archetype; hero’s journey, the Seven Labors of Rostam, Antarah’s Muallaqah.
References (in Persian)
Ahmadi, B. (1999). Creation and freedom. Tehran, Iran: Nashre Markaz.
Campbell, J. (1999). The hero with a thousand faces (S. Khosrowpanah, Trans.). Tehran, Iran: Gole Aftab.
Campblell, J. (1999). The power of myth. Tehran, Iran: Nashre Markaz.
Eliade, M. (1983). The aspects of myth (J. Sattari, Trans.). Tehran, Iran: Toos.
Mortāz, A. (2007). A semiotic study of al-Mu‘allaqāt al-Sab‘a (S. H. Seydi, Trans.). Mashhad, Iran: Ferdowsi University Press.
Zarrinkoub, A. (1990). Aristotle and poetics. Tehran, Iran: Amirkabir.
References (in Arabic)
Ibn Manzour, A. J.-a. D. M.-b.-M. (1986). Lisan al-Arab. Beirut, Lebanon: Dar al-Haya al-Arabi.
Zouzani, A. H. b. A. (1993). Sharhi al-Mu‘allaqāt al-Sab‘a. Beirut, Lebanon: Al-Dar al-Alimiyyah.
research article
Amirhossein Rasoulnia
Abstract
Extended abstract
1. Introduction
In Arabic, words or letters that are considered to be Jazm particles affecting a present tense are divided into two general categories: Jazm particles affecting a single verb and those affecting two verbs. Abbas Hassan introduces particles such as Iza, Kayfa, lou, ...
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Extended abstract
1. Introduction
In Arabic, words or letters that are considered to be Jazm particles affecting a present tense are divided into two general categories: Jazm particles affecting a single verb and those affecting two verbs. Abbas Hassan introduces particles such as Iza, Kayfa, lou, etc., which bear a conditional connotation, as a third factor for occurrence of Jazm (Al-nahv Al-wafi, 4th volume, page 331). However, other grammarians do not consider particles bearing a conditional connotation, which as can be understood from their title, guarantee a conditional connotation as Jazm particles and just mention them under either conditional category or as diacritics of verbs in the present tense. Following Jazm particle, conditional verb and response statements are mentioned which can be of the following categories:
1. Both the conditional verb and the response statement are in the past tense.
2. Both the conditional verb and the response statement are in the present tense.
3. Conditional verb is in the past and the response statement is in the present tense.
4. Conditional verb is in the present and the response statement is in the past tense.
1.1. Statement of the Problem
In Grammar books, Jazm particles are divided into two categories, but in Arabic one can see sentences where a verb which is majzum, does not follow Jazm particles which affect either a single verb or double verbs, but is placed after a demand (the author is referring to the Holy Quran). In such cases, and similar ones, grammarians and even rhetoric scholars have professed that when a verb is placed after a demand, it carries a conditional connotation, after which Jazm can occur (Sharh Shuzur Alzahab, p. 307; Sharhalrazi, p265; Mukhtasarul Maani pp. 141, 142). Among the sources that are available, only Ibn Aqil has propounded four theories in this regard, without explicating any of them. According to him, a majority are of the opinion that occurrence of Jazm after a demand is due to its conditional connotation while some believe it is caused by the sentence before the verb affected by Jazm. The latter group is divided into two camps: the first believe that the demand sentence itself bears the conditional connotation, acting as a pseudo-verb. The second camp attributes it to the sentence before the verb affected by Jazm, which acts as a conditional particle. The fourth group believes that Jazm is caused by imperative “L” (Sharh Ibn Aqil, 2nd volume, p. 15, footnote).
Nonetheless, it seems that those in charge of adding diacritical marks of the Quran bore this point in mind; however, they have not offered any explanations either in this matter. In the present study, we aim to investigate whether a demand verb can, directly, make its following verb majzum or a connotative conditional verb causes such a change.
2. Methodology
The methodology adopted in the study is an analytical one meaning that at first the collected samples are presented and then analyzed accompanied by the analysis and discussion of experts’ opinions. To this end, in addition to grammar, linguistics has also been used to prove the hypothesis.
3. Discussion
The present study investigates the issue at hand from two perspectives: grammar and meaning.
3.1. Grammar
Both the conditional verb and the response statement are affected by Jazm. At times when response statement cannot be affected by Jazm, fā’ is used in its place. In other words, fā’ as a Jazm particle is used when a statement response does not qualify to be affected by Jazm (Hame al-Hawame , 2nd volume, p.457; SharhIbnAqil, 2nd volume, 4th volume, p.31) and in case fā’, as a causative prefix, is used at the beginning of a present verb, the present verb becomes Mansub , given it is used before fā’ as negative or demand prefix. If a demand verb is present, conditional particles and conditional verb take a connotative meaning which undergoes ellipsis.
If the above mentioned rule is accepted, fā’, which is used as a prefix for response statement should adhere to fā’ which is used as a particle for response statement, whereas, fā’ used as demand response is causative and invalidates the case of connotative conditional; hence, it is not a response to the connotative conditional but a third factor for creating Jazm, which is demand and affects the verb. This issue can also be investigated in terms of syntagmatic and paradigmatic relations.
4. Meaning
The second case for proving that demand itself is a cause of Jazm, is that of meaning. When a sentence is uttered in conditional form, it conveys optionality in essence; however, in the case of specific demands issued by the God for his servants there is no optionality.
Another reason for proving, through meaning, that demand is a cause of Jazm, is the case of final result. In a conditional sentence, the result is not obligatory; that is if a conditional verb is present, the response statement which follows, semantically, is not the result of the condition while if we accept that demand itself is a cause for Jazm, there is no need to consider connotative conditional since a cause and effect relationship exists between the demand verb and its following verb which is affected by Jazm. Another proof to corroborate the mentioned issue can also be mentioned as follows.
What is affected by Jazm in response to a demand cannot always be considered as a connotative conditional, as the meaning, taking into account the connotative conditional, will not be correct. Connotative conditional holds true in some cases, not in all, and since a rule must always apply, there can be another reason to prove that a verb in response to a demand is directly affected by Jazm without taking connotative conditional into account; therefore, demand is the third case for Jazm.
5. Conclusion
What is at our disposal from grammarians’ assertions is the culmination of years of selfless efforts made by previous grammarians; however, since the totality of science is known only to God, every effort and attempt made to answer scientific questions through reasoning would be valuable and it would even be much better if such reasoning is done with reference to His assertions. The present study, via dealing with a grammatical issue or more specifically causes of Jazm, tried, through using verses of Quran as a refrenece, proffer a third, independent case for Jazm in present verbs, i.e. being situated after a demand verb, which can be validated either linguistically or through grammatical rules and meaning.
Keywords: Demand, Jazm particle affecting a single verb, Jazm particle affecting two verbs, third case for Jazm, Present verb.
References (in Persian)
Bagheri, M. (1999). An introduction to linguistics. Tehran, Iran: Qatreh.
MakaremShirazi, N. (1995). The ideal commentary.Tehran, Iran: Dar Al Kotob Al Ilmiyah.
References (in Arabic)
Abbas, H. (n.d.). Syntax. Cairo, Egypt: Dar El Maaref.
Al-Shertouni, R. (2004). Principles of Arabic grammar. Tehran, Iran: Asatir.
Al-Suyuti, Abolfazl. (2006). The clearest commentary on the comprehensive coverage of issues in Arabic syntax (A. Şemseddin, Ed.). Beirut, Lebanon: Dar Al Kotob al Ilmiyah.
Al-Taftazani, Saad aldin. (2004). An overview of seman tics. Qom, Iran: Darolfekr.
Al-Tai, I. M., & Mohammad, J. A. (2001). An easy explanation (To simplify points and to complete aims) (M. A. A. Atta, & F. S. Tarek, Eds.). Beirut, Lebanon: Dar Al Kotob Al Ilmiyah.
Astarabadi, R. A. (1978). Al-Razi's explanation of Al-Kafi's book (Y. H. Omar, Trans.). Benghazi, Libya: University of Benghazi Press.
Darwish, Mohye aldin. (1995). Presenting syntactic and rhetorical points in the Quran's verses. Damascus, Syria: Dar Elershad.
Doas, Q. H. (2004). Presenting syntactic points in the Quran's verses. Damascus, Syria: Dār al-Munīr.
IbnHishām, Jamal aldin. (1996). An explanation of golden sections. Beirut, Lebanon: Dar Al-Kotob Al-Ilmiyah.
Ibrahim Azim-al Abd, M. (2009). Rhetorical features of the Quran (S. H. Seyedi, Ed.). Tehran, Iran: Sokhan.
Majlesi, M. B. (1985). Seas of lights. Tehran, Iran: Maktab Al-Islamieh.
Sibawayh, Abo Bashar. (n.d.).Book (ʿ. a.-S. M. Hārūn, Ed., 6th ed.). Beirut, Lebanon: Daroltarikh.
Tabarsi, Abo Ali. (1993). A comprehensive presentation in the interpretation of the Quran. Tehran, Iran: Naserkhosrou.
research article
hosein seyedi
Abstract
Extended Abstract
1. Introduction
Modernism is among the most important cultural, political, economic and social issues of our time, the most important constituent of which is change. Thus, it is quite natural that this concept confronts that of tradition, whose essence is intertwined with stagnation. ...
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Extended Abstract
1. Introduction
Modernism is among the most important cultural, political, economic and social issues of our time, the most important constituent of which is change. Thus, it is quite natural that this concept confronts that of tradition, whose essence is intertwined with stagnation. Tradition has been used in three senses: 1) what is called Islamic and Shite Tradition? (Sunnah), 2) the entirety of a society’s traditions and customs, and 3) an inclusive general tradition. Modernism, a derivative of modo, means “of today” and is used to distinguish something from previous periods. In Arabic language, terms such as Al-Asriyyah (العصریه), Al-Moasir (المعاصر), Asraniah (عصرانیه), and Al-Hidasah (الحداثه) are used for it. In literature, within the field of contemporary poetry, it has also been prevalent for not only is poetry a universal issue, but eschews repetition, too. Therefore, in the contemporary Arabic poetry, two movements regarding literary modernism are created. The first movement which is under the influence of the French revolution believes in The Open Door Policy and the second one is a conservative and tradition-oriented movement which aimed to elucidate and explicate heritages of the past. Thus, tradition and modernism, in contemporary Arabic poetry, confront with one another. One of the major characters who has called for modernism in poetry is the modernist poet, Ahmed Abdel MutiHijazi . Hijazi can be regarded as one of the major figures of modernism in contemporary Arabic poetry. Modernism in Hijazi’s viewpoint means having a new projection of world’s phenomena, so, it can be said that modern poetry is the expression of life experiences, as they are felt by the poet’s entire being, heart, and soul.
2. Statement of the Problem
Hijazi is of the opinion that a poet is in dispute at three levels of language, thought and artistic tradition and that modernism happens in all three of these levels. In Hijazi’s view point, modernism in Arabic poetry is the corollary of the three Mahjar, Apollo and Diwan poetic schools which have three things in common: rebelling against language, rhythm, and the theme. From Hijazi’s point of view, modernism is a new necessity and reality of life which is manifest at three levels of language, structure, and theme.
From Hijazi’s viewpoint, what constitutes a poem is its poetic language and for him poetry means utilizing image, language, figurative expression, and music. However, he adds another element which is innovation and beauty; because, in his point of view, the end in science is the truth and the aim in poetry is beauty. Poetic modernism, in Hijazi’s view, is not confined to breaking down the unity of couplets, or multiplicity of rhymes or an exercise in new rhythms, but a rational expression of new logic, observed anew.
From Hijazi’s point of view, poem is a langue which is different from owing to its nature, before even rhythm sets it apart and thus he makes a fundamental distinction between poem and prose. But in connection with traditional language, he believes contemporary poets, without depriving the poetic language from its originality, through bestowing a new meaning to the terms of a language or changing the classic ones, should make the language more productive. From his point of view, we should divest language terms of their traditional senses, or lighten the load of their fixed and defunct connotations, spruce them up and refine them to carry unprecedented ones.
3. Research Findings
Hijazi, concerning amalgamation or separation of tradition and modernism, neither neglects the tradition, as some poets do, nor is outright loyal to it. In his view, a poet, without drowning in tradition, should utilize it. Hijazi believes in restructuring and reconstructing tradition and says that there are those among contemporaries who write the same as the past and feel like them just as back, then, there were those who wrote in a language close to our own and had the same concerns as ours.
The present study, using an analytical methodology, aims to unearth Hijazi’s viewpoints from his oeuvre. The findings can be summarized as follow:
1. Hijazi believes in amalgamation of tradition and modernity.
2. From his point of view, modern poetry is the revival of tradition.
Hijazi, with respect to tradition and modernism, on one hand, regarding the relation between tradition and modernism, and on the other, through mentioning the precedents of poetic patterns in the history of Arabic poetry and the prevailing circumstances then, contends that modernism, from a figurative perspective, is the result of a new perception of the world by the poet. Modernism, in his view, means to answer the raised questions which are not posed only from within the poet, but are answered through the realities in the environment.
Key words: Modernism, Ahmed Abdel Muti Hijazi.
References (in Persian)
Alaegh, F. (2007). The concept of poetry from Arab pioneering poets' perspectives. Mashhad, Iran: Ferdowsi University of Mashhad Press.
Azaldin, I. (2012). Investigating the artistic and meaningful aspects of modern Arabic poetry (S. H. Seyedi, Trans.). Mashhad, Iran: Taraneh.
Childs, P. (2007). Modernism (R. Rezai, Trans.). Tehran, Iran: Mahi.
Nasr, S. H. (2001). Insights and intellectuality (E. Rahmati, Trans.). Tehran, Iran: Suhrawardi Research and Publication Center.
Seyedi, S. H. (2011). A comparative study of the literary theory of Nima and Nazik Al-Malaika. Mashhad, Iran: Taraneh.
Tabatabai, J. (2003). New and old struggles. Tehran, Iran: Negah Moaser.
References (in Arabic)
Al-Jabari, M. A. (1991). Tradition and modernity. Beirut, Lebanon: Center for Arab Unity Studies.
Al-Malaika, N. (1981). Issues of contemporary poetry. Beirut, Lebanon: Dar Al Malayin.
Al-Nahawi, A. (1992). The calendar of the theory of modernity. ( n. p. )Dar Nahvi Publishng and Distribution.
Arkoun, M. (1996). Islamic thought, scientific reading (H. Saleh, Trans.). Beirut, Lebanon: Arab Cultural Center.
Cahoone, L. (2008). From modernism to postmodernism (A. Rashidian, Trans.). Tehran, Iran: Ney.
Hejazi, A. A. (1986). New story and illusions of modernity. Ibdda, 3(9), 5-13.
Hejazi, A. A. (1988). Poetry of friends. Riyadh, Saudi Arabia: Dar Al-Merikh.
Hejazi, A. A. (1992). The question of poetry. Jeddah, Saudi Arabia: Khazandar Publication.
Jusi, S. (2007). Trends and movements in modern Arabic poetry. Beirut, Lebanon: Center for Arab Unity Studies.
Kheirbek, K. (1986). The movement of modernity in modern Arabic poetry. Dar Al Fikr: Beirut, Lebanon.
Matough, F. (2010). Sociology of heritage. Beirut, Lebanon: Almaref.
Said Esber (Adunis), A. A. (1986). Time of poetry. Beirut, Lebanon: Dar Al Fikr.
research article
Mohammad Sheikh
Abstract
Extended Abstract
1. Introduction
Nazek Al-Malaike (1923-2007) is among the contemporary poets in whose works the themes of romanticism such as loneliness, grief, despair, traveling to a fantasy world, and love can be seen. She is an emotional poet with breadth of imagination who under the influence ...
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Extended Abstract
1. Introduction
Nazek Al-Malaike (1923-2007) is among the contemporary poets in whose works the themes of romanticism such as loneliness, grief, despair, traveling to a fantasy world, and love can be seen. She is an emotional poet with breadth of imagination who under the influence of romanticism, at times through digressing toward the past and remembering memories and at others riding on the wings of fantasy steps into a world of which she is the creator, and expresses nostalgia. In fact, this imaginative world is a haven under whose shelter she achieves solace, whenever the world and its ado takes her to the end of her rope.
Similarly, Sohrab Sepehri (1928-1980) is another contemporary poet influenced by romanticism and some of its themes such as love, nature, fantasy, dream, escaping and traveling, grief, etc. are present in his poems. Remembering memories and digressing toward the past and the future have made nostalgia along with recollection of memories salient and conspicuous in his poems.
Commonalities in content and theme together with Nazek Al-Malaike’s and Sohrab Sepehri’s ways of looking at psychological issues environing them have made their poems, from various aspects, have similar perspectives on various issues. Romanticism is among the literary schools presenting viable solutions for realizing desirable sentimental, emotional matters. It seems that these two poets, directly or under the influence of this school, have embraced similar methods in dealing with emotional and sentimental matters. Through searching the themes utilized by Nazek Al-Malaike and Sohrab Sepehri, the present study aims to unravel their similar, or probably disparate, viewpoints, hidden in their layers of thinking, but manifested in their poetic imagery.
2. Research Questions
The present research aims to find the answers to the following questions:
1. What are the methods employed by the aforementioned poets to deal with parting pain?
2. What are the shared and disparate themes of parting pain from these poet’s viewpoints?
3. Research hypotheses
1. Both poets’ overcoming of the emotional influence lies in their desirable, real pasts.
2. Paying attention to nature and metaphysical matters along with introversion constitutes the major intellectual characteristic of these two poets.
3.1. Research Background and Methodology
Several books and papers has been written about Nazek Al-Malaike and Sohrab Sepehri.we pointing some of them here:
1-Sharifian (2007) published a paper titled “Examining the procedure of nostalgia in the poems of Sohrba Sepehri” in the fifth volume, eighth issue of winter, 2007 in Journal of Lyrical Literature Researches of University of Sistan and Baluchestan. 2- With regards to Nazek Al-Malaike, “alienation in contemporary Iraqi poetry in pioneering era” authored by Jafar Mohammad Razi and published by the Arab Writers Union in 1999 can be named; however, no independent study concerning the treatment of parting pain in the poems of these two poets has been undertaken.
The present study, using a descriptive methodology and through analyzing the works of these poets, in accordance with the American school of comparative literature which deemphasizes language commonalities and the necessity of historical relations in comparative studies, comparatively investigates the ways of alleviating and soothing parting pain in the works of these poets.
4. Collation of Ideas and Research Findings
The main types of pain for which these poets try to find an answer are despair and grief, past memories, lamenting childhood, and thinking about death. Since Nazek Al-Malaike and Sohrab Sepehri are emotional and humane poets, the terms despair and grief are quite salient in their intellectual lexicon. Humans’ reaction in the face of homesickness and loneliness is also of paramount importance. These poets, in the face of homesickness and loneliness have presented their own solutions. Remembering the bitter sweet memories of the past, which are unrepeatable, induces a kind of grief that envenoms the reader. Going back to childhood and remembering its memories together with the truth of death and the apprehension caused by it are among the nostalgic concerns of these two poets.
The findings of the study reveal that both Nazek Al-Malaike and Sohrab Sepehri, in order to escape from the mentioned nostalgias, have utilized similar solutions in their poems such as seizing and living in the moment, resorting to nature, accepting the fate, crawling in the shadows, and faith in and remembering God.
In Nazek Al-Malike’s point of view, the treatment of nostalgic despair and grief lies in faith in God, dreaming, reappearance of the savior, and utopia. She mentions the silence within, adoring the night and the sun as the cures of homesickness and loneliness. In order to stop lamenting the childhood she propounds realism, dreaming and fantasy and to stop remembering past memories, she suggests cremating the diary and puts forward humor, fantasy, accepting the fate, and fantasy as ways for soothing the aging pain and thinking about death.
Sohrab Sepehri, in the face of despair and grief, suggests remembering God, being optimistic, changing one’s viewpoint, seizing the moment and emancipating oneself from the material world. To cure homesickness, he prescribes paying attention to the nature, peace, calmness, and being buoyed by joys of life. For treating the remembrance of past memories, he is not seeking the “whys” of events, and considers submission to divine destiny as the treatment for thinking about death.
Collation of the thoughts of the two poets reveals that cures proposed by Sohrab are more psychological, mystical, and wise whereas Nazek Al-Malaike cures are more imaginary, temporary, and at times accompanied by rage.
Keywords: Curing the parting pain, Nazek Al-Malaike, Nostalgia, Sohrab Sepehri.
References (in Persian)
Asvar, M. (2002). From the song of rain to the psalter of red rose: Pioneers of contemporary Arabic poetry. Tehran, Iran: Sokhan.
Parvini, Kh., & Esmailie, S. (2011). A comparative study of nostalgia in Ahmad Abd-Almo’ti Hejazi and Nader Naderpour poetry. Journal of Criticism and Comparative Literature, 1(2), 41-71.
Ricœur, P. (1995). Memory, history, forgetting. Journal of Conversation, 8, 47-60.
Salimi, A., & Merati, M. (2010). A comparative analysis of the word night in Nima Yooshij and Nazek al Malaeke poetry. Journal of Comparative Literature, 2(3), 157-178.
Sepehri, S. (2002). Eight books. Tehran, Iran: Tahouri.
Sharifian, M. (2010). The psychology of pain. Hamedan, Iran: Bu-Ali SinaUniversityPress.
Taghizadeh, S. (2002). Nostalgia. Bukhara Magazine of Culture and Art, 24, 201-205.
References (in Arabic)
AL Abarghoveghi, A. R. (1987). A description of Al-Mutanabbi'sdiwan. Beirut, Lebanon: Dar AlketabAlarabi.
Al Malaeka, N. (1997). Diwan. Beirut, Lebanon: Dār-ol'awda.
Khalil Joha, M. (1999). Modern Arabic poetry from Ahmad Shawqi to Mahmoud Darwish. Beirut, Lebanon: Dār-ol'awda.
research article
abdolbaset arab
Abstract
Extended Abstract
1. Introduction
Abbasid period can be regarded as an epoch in which poetry and eulogy in Persia reached maturity, i.e., in which poetry has become a means of praise and admiration (Dayf, 2006, p. 565). The kings of this dynasty gathered a group of flattered eulogists and used them ...
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Extended Abstract
1. Introduction
Abbasid period can be regarded as an epoch in which poetry and eulogy in Persia reached maturity, i.e., in which poetry has become a means of praise and admiration (Dayf, 2006, p. 565). The kings of this dynasty gathered a group of flattered eulogists and used them for political announcements (Alebadi, 2006, p. 13), by allocating precious gifts of war booty to poetry, they justified their reign and suppressed their oppositions ((Dayf, 2006, p. 566). Being greedy for money and lacking self-esteem made eulogists to increase their competition for being a better eulogist in the court (Nicholson, 2001, p. 303), and also their envious characteristics and their constant need for presents impelled them to use different themes in their poetry, eulogy and lampoon (Zarkoob, 2004, p. 82), thus formed literary discussions. Discussions between Al-Al-Khwarizmi (944-1004, AH) and Badi _al-Zaman_ al-Hamadani (969-1007) is an example of literay discussions. On one side, there was Al-Al-Khwarizmi one of the popular authors of 4th century (Al-Sam'ani, 1384, p. 213/5), and on the other side, there was Badi_al-Zaman a prideful young man who was eager for title and higher scientific statues (Abboud, 1954, p. 11).
2. Theoretical Framework
In the period when rulers of Samani reigned in a good neighborliness with Aal e Booye, their attitude toward Shiites was peaceful and did not oppose their religious activities, so that gave Shiites greater freedom (Foroozani, 2002, p .23). In this condition, Al-Khwarizmi, the firmly, young Shiite believers could gain a victory over his rivals through his excellent talent, power of the word and his deep knowledge (Al-Thaalbi, 1957, p. 207/4). His explicit speech in expressing his ideas distressed lots of scholars and politicians. Those who sought safety from sharp language of Al-Khwarizmi, used Badi_al-Zaman against his power of words to save themselves. Victory of Badi_al-Zaman over Al-Khwarizmi was similar to the triumph of swearing, arguing, and cursing, as a result Al-Khwarizmi decided to live in isolation and solitude and died after a while (ibid, p. 209/4). Therefore, a bitter event recorded in history of Arab literature and led to investigation of new results in literature and politics of that time.
3. Method
Focusing on descriptive-analytical method, the recent study based on various narrations of discussions tries to answer the question why celebrated and great scholar like Al-Khwarizmi was putted aside and forced to choose isolation and silence?
It should be mentioned that causes of silence of great scholars such as Al-Khwarizmi by opponents shows the importance of this study. Not only the literary community of that era needed this scholar but also after his death, they felt his loss. Investigating the reasons of holding discussion meetings between Al-Khwarizmi and Al-Hamadani makes the literary history of that period clearer.
4. Results and Discussion
Based on what mentioned above, the following cases are the most significant reasons of starting discussions between Al-Khwarizmi and Badi_al-Zaman:
a) The innate reasons of these discussions include prevalence of unmoral characteristics such as insultation, swearing, profanity, and aggression in Nishapur, expressing chaotic situation of society and objecting to heterogeneities of the community through explicit language of Al-Khwarizmi. Other factors include making irony of the chaotic classes of society especially wealthy people, ridiculing the rulers and administrators who acted against him, and insisting on his goals. Al-Khwarizmi's aggression against harsh situations, efforts of Badi_al-Zaman for residing in Nishapur, audacity of Badi_al-Zaman toward a great scholar like Al-Khwarizmi, crudity and pride of Badi_al-Zaman, and stimulation of Badi_al-Zaman by opponents of Al-Khwarizmi are the other reasons.
b) Ideological and religious differences between these two great scholars and fearless behavior of Al-Khwarizmi toward Sunni's leaders and insulting them intensified religious aspects of these discussions.
c) High literary position of Al-Khwarizmi and increasing number of his students beside the anonymity of Badi_al-Zaman in field of literature because of his young age and attempt for achieving high level in society influenced holding these discussions.
d) Contention of Al-Khwarizmi with politicians, making parody of them, and jealousy of those politicians with him boosted the political aspect of discussions.
e) Holding discussions between a novice and an aged man, choosing Nishapur as a place for discussions, inviting the wise people as audience, and directing meeting toward the weak aspect of Al-Khwarizmi's characteristic, which was his Alzheimer, all shows deliberate intention of holding these sessions.
5. Conclusion
The results show that whenever a person talks ironically about the principal believe of religion doesn’t have a good end and must choose silence and death. So by putting internal and external causes, goal and intention of debaters and under the curtain politics of this plot together we can find that in this literary debate, although corrupting the personality of Al-Khwarizmi, but he was actually an antagonist of debates. Therefore, his name is alive in the history of literature.
Keywords: Nishapur, debates, Aboubakr Al-Khwarizmi, Badi_al-Zaman_al-Hamadani.
References [in Persian]
Bahmanyar, A. (1965). Sahib Ibn Abbad (Biography and literature). research: Bastani, Mohammad Ibrahim. Tehran, Iran: Tehran University.
Faghihi, A.A. (1986). Buwayhid and their time. Tehran, Iran: Saba.
Foroozani, A. (2002). History of political and social and economic and cultural Samanid period. Tehran, Iran: Samt.
Frye, R.N. (1993). History of Iran. Translation: Anoosheh. Hassan. Tehran, Iran: Amir Kabir.
Hosseini, M.B (2003). Jaheze Nishapur. Mashhad, Iran: Ferdowsi University.
Ishpoler, B. (1998). History of Iran in the early centuries of Islamic. translation: Falatury, J. Tehran, Iran: Cultural and Scientific Publications.
Jafarian, R. (1992). Historical and human geography of the Shia in the Muslim world. Qom: Ansarian.
Nicholson, R (2001). Arab literary history. translation: Kaiwani, Kaiwandokht.. Tehran, Iran: Wistar.
References (in Arabic)
Abboud, Maroun (1954). Badi 'al-Zaman al-Hamadani. Egypt, Cairo: Dar al-amaref.
Aboo al-Fda, I (1956). Summary of human history. Beirut, Lebanon: Dar Al-Fikr.
Al-Hamawi, Y (1906). Encyclopedia of lands. Egypt, Cairo: Al-saaadah..
Al-Hamawi, Y (1938). Encyclopedia of scholars. Egypt, Cairo: Dar al-amomon.
Al-Hamdani, B (1903). Diwan. research: Juma Abdul Ghani. Beirut, Lebanon: Dar al-kotob al-elmiiah.
Al-Ibadi, A.M (2006). In the history of the Abbasid and Fatimid. Beirut, Lebanon: Dar al-nahzah al-arabi.
Al-Ifandi, I (1890). Analysis of rhetoric in letters Badi_al-Zaman_al-Hamadani.Egypt, Cairo: Maaref Al-welaiah.
Al-Khwarizmi, A (1894). Messages. Egypt, Cairo: Al-matbaah Al- Uthman.
Al-Razi, I..M (2001). The experience of nations. Tehran, Iran: Soroush.
Al-Safadi, S (1990). Completing the death of celebrities. Editing: S. Didighrin.. Egypt, Cairo: Dar al-nathr.
Al-Sam'ani, M.B.M (1956). Genealogys. Heydarabad: Encyclopedia of the Ottoman.
Al-Shafi‘i, I (1954). Classification of linguists and grammarians. research: GHias, Mohsen. Iraq, Baghdad: Al-Nuʿmān printer .
Al-Suyuti, J (1964). Scholars question in the classification of linguists and grammarians. Egypt, Cairo: Issa al-Halabi.
Al-tabari, M.B.J (1966). The History of Prophets and Kings. research: Abraham, Abolfazl Mohammad. Beirut, Lebanon: Dar ihia al-torath al-arabi.
Al-Thaalbi, A (1957). One of the good things of the people of this time period. research: Abdul Hamid, Mohammad Mohiuddin. Egypt, Cairo: Dar Ihia.
Al-Towhidi, A (1965). Morality of the two ministers. research: Tunja, Mohammed bin Tawit. Syria, Damascus: The Arab Academy of Science.
Amin, A (1956). Appearance of islam. Egypt, Cairo: KHalaf.
Atawi, A.N (1993). The poems in the Abbasid era. Beirut, Lebanon: Ezzedine Foundation.
Dayf, SH (2006). The first Abbasid period. Qom: Zavi al-ghorba.
Dayf, SH (2007). The period of States and emirates (Arabian Peninsula, Iraq, Iran). Qom: Zavi al-ghorba..
Ibn al-Athir (1986). Full narration of history. Beirut, Lebanon: Dar al kotob Al elmiiah.
Ibn KHallakan, A.B.M (1977). The history of death of celebrities and ordinary people. research: Abbas, Ihsan. Beirut, Lebanon: Dar Sader.
Jahiz, A.U (1964). Messages. research: Haron, Abdul Salam. Egypt, Cairo: Khanji library.
Taiiareh, M.A (2005). Abu AlIbar Stupid leader of the Abbasids. Damascus: Riad Aliomiah magazine. N13167. Pp 44-56.
Zarkoob, M (2004). Praise in poetry of Mutanabi. Journal of Al-Zahra University. Y 14. N52. Pp 77-109.
research article
reza mohammadi
Abstract
Extended Abstract
1. Introduction
Eliot and Adonis believe that tradition and the individual talent are indicative of two fundamental concepts; i.e., mind and language. Mind as the subject perceives phenomena and represents them in the form of language. From their viewpoint, mind and language are so ...
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Extended Abstract
1. Introduction
Eliot and Adonis believe that tradition and the individual talent are indicative of two fundamental concepts; i.e., mind and language. Mind as the subject perceives phenomena and represents them in the form of language. From their viewpoint, mind and language are so interwoven that language equals existence .From Heidegger's point of view, these two concepts are closely related to the concept of "time"in philosophy. This relationship was investigated under the name of "tradition" in the present study. On the other hand, there is the concept of "the individual talent" which can be investigated as "psychoanalytic criticism" from Freud's point of view. The present study was aimed at investigating the concepts of mind, language, and time from the viewpoint of Eliot and Adonis. Taking into account a poetic view of existence, it finally presents a general overview of the ideas of these two Arab and English poets.
2.The relationship between mind, language, and time from Adonis's viewpoint
Taking into account Adonis's theories of existence and phenomena, we find out that he was also influenced by noumenon and phenomenon. Adonis considers literature as a literary man's perception of nature. His viewpoints regarding the perception of literature are completely obvious in his books Zaman al-Shir, Siyasat al-Shi'r, and Arab Poetics .Literature is a ubiquitous feeling of our being that creates phenomena anew, exposing them to eternal questioning. This feeling emanates from the metaphysic or the mind that has heuristic view of things; one can say, therefore, that the new literature is the metaphysicality of human.
(Zaman al-Shiʻr, p.10). This definition includes some key concepts that need to be explained. The first concept is that of emotion, which is a part of brain function. The second one is that of existence. Since Adonis has used "our being "in his definition, it is evident that his view is subjective/objective. It means that human being defines the world and existence in connection with self in this perception and does not define self in connection with God. The third concept is that of noumenon which is deduced from "appearance" and means the constitution of objects in themselves . The fourth one is that of phenomenon meaning manifestation of objects which is included in the key word " heuristic " and the last concept is that of "metaphysics" which is the same as the concept of "mind" in Western philosophy which influenced Adonis as well. Therefore, Adonis considers literature as manifestation of nature constituted in human mind .Like the Western philosophers and literary men, Adonis as a literary man and an ontological critic pays attention to "existence" and how to define its relationship to human being which is the same as what we see in noumenal/phenomenal or objective/subjective viewpoints.
3. Writing and speech from Adonis's point of view (Interpretation based on Eliot's theory of new criticism)
From among the approaches of the science of interpretation, what is of significance in this study is hermeneutics with regard to new criticism. Paying too much attention to a text is the obvious characteristic of this viewpoint. From Eliot and Adonis's viewpoint, the theory of new criticism is a kind of secondary revision of a literary text which fills the gaps and diminishes the contradictions in order to attain coherence, deep structure or original meaning. The aim is to make the text more comprehensible to the readers so that it paves the way for the reader who doesn’t want to deal with unjustifiable irregularities (Eagleton,1996, p248). Therefore, like Husser land other phenomenologists, the followers of this school such as Adonis and Eliot are in quest of the original meaning in literary texts. Therefore, literary works are representative of human values and new criticism of a text is an objective, practical, and impartial one.
4. Language and Time in Adonis's Poetry
Adonis believes that not only human but also the universe is limited to the concept of language. This concept is in close connection with the concept of time. From Gadamer's point of view, the content of a literary work is by no means limited to the author's intentions. When there is a change in the historical and cultural context of a literary work, new meanings might be found in it which have by no means been already predicted either by the author or the contemporary audience. In his opinion, any interpretation of a literary work which belongs to the past includes a dialogue between the past and the present. This attitude toward literature is completely evident in Eliot and Adonis's works: As a result, Adonis like Heidegger believes in the existence of human nature and like Gadamer he believes that everyone's capacity of knowledge can be displaced.
5. Overall Conclusion
From the Western intellectuals' point of view, metaphysics is in the mind and language and it is considered to be an absolutely mental and lingual issue in ontology of literature and is categorized under the heading of "the science of linguistics and semiology". Adonis who was excessively influenced by the western philosophers and linguists such as Martin Heidegger and Hans-Georg Gadamer considers literature as a merely mental and lingual issue which is mainly concerned with the concepts of existence and time. As a result, Adonis like western intellectuals believes that language is considered as the foundation of metaphysics and any occult phenomenon like spirit and the concept of presence is considered to belong to the areas of the mind and language. This group of poets attempt to reproduce nature and the universe in their poetic and mental world. In Adonis's opinion, subject and not object is of originality. Language is considered as the universe in this approach which has taken a very high position in Adonis's literature. In his book entitled Sufism and Surrealism, Adonis attempts to make a connection between Islamic sufism and surrealism. However, this book is also indicative of the fact that he couldn't free himself of subjectivism and mentalism and his viewpoint is the same as that of Noumenon and Phenomenon from the point of view of Kant and Husserl.
Key words: Tradition, Individual Talent, Mind, Language, Time, Eliot, Adonis.
References (in Persian)
Eagelton, T.(1996).Literary Theory an Introduction (1sted.). Iran: Markaz Press.
Selden ,Raman .(2005). A reader's guide to contemporary literary (A. Mokhber, Trans.).Tehran: Tarhe Now Press.
Richard, H. (2007). History introductory: An Barthes to Plato from theory Literary(B. Sjokat, Trans.). Tehran: Gilan University press.
Abjadian, A. (2008). A History of England Twentieth Century Poetry and Literary Criticism (1sted.). Iran: Shiraz University press.
MoqaddamAlavi, M. (1998).Structuralism and formalism.Criticism Literary of Theories Contemporary. Tehran: Samt press.
Bressler, Ch. (2007). Literary Criticism (An Introduction to Theory and Practice) (1sted.) (M. Abedinifard, Trans.) Iran: Niloofar Press.
Davis, R. (2011). Modern literary criticism (A collection of Articles) (3rded.) (H. Lajavardi, et al. Trans.). Iran: Press and Publications Organization.
Hall, V. (2000). A Short History of Literary Criticism (1sted.) (A. Hemmati, Trans.). Iran: Rowzaneh Press.
References (in Arabic)
Adonis, (1985).Al-Sheriah Al-Arabiah. Beirut: Dar Al-Aadaab.
Adonis, (1981).Siasat Al-Shear. Beirut: Dar Al-Aadaab.
Adonis, (1983).Zaman Al-Shear. Beirut: Dar Al-Owdah.
Adonis , (1990).Kalam Al-Bedayat. Beirut: Dar Al -Aadaab.
Adonis, (1980). Fatehat L- Nehayat Al-Garn. Beirut: Dar Al-Owdah.
Adonis , (1992). Al-SoofiahVa Al-Sorealiah. Beirut: Dar Al-Sagi.
research article
rasol balawi
Abstract
Extended Abstract
1. Introduction
Khuzestan province, as the gate way for the entrance of Shia faith into Iran, in addition to boasting indigenous people and sub-cultures, has been a huge embodiment of the unity, sympathy and patriotism of various people, languages and dialects. In this respect, Arabic ...
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Extended Abstract
1. Introduction
Khuzestan province, as the gate way for the entrance of Shia faith into Iran, in addition to boasting indigenous people and sub-cultures, has been a huge embodiment of the unity, sympathy and patriotism of various people, languages and dialects. In this respect, Arabic poetry of Khuzestan is among the original forms of poetry among Arab people in Iran and has always played an important role in creation of social streams, specifically in the expression of love and devotion to Islamic culture, Ahlul Bayt, country and the province among Arabs of Khuzestan. Folklore constitutes the most important part and the majority of oral literature among the Arabs of Khuzestan and its value and credibility lies in its closeness to the local dialect, leading to its enjoyment of a special status. Among the characteristics of Khuzestan folklore elegant interpretations, poetic language and appealing themes can be named. “Praise poetry” is among the most frequently used types of poetry in Khuzestani poet’s oeuvre. The majority of applied words in praise poetry stems from the eloquent Arabic language and deals with such varied themes as praising and exalting Ahlul Bayt.
2. Theoretical Framework
The oldest Khuzestani Folklore dates back to 17th century, that is to the time that it was reigned by the Musha'sha'iyyah. The poets of this era, known as the golden era of Arabic literature in Khuzestan, in addition to eloquent poetry, have paid a special attention to folklore as well. “Praise poetry” is a type of folklore which, from ancient times, has been enjoying a remarkable spread, engaging folklore and eloquent poets. It seems that “praise poetry” can be situated somewhere in the middle of the spectrum whose two extremes are folklore and eloquent poetry. There exists some disagreement as to the creation of folklore poetry. Some believe that it was created in the city of “Wasit” and refined in Baghdad. Others, however, impute it to Barama kids era, asserting that after the massacre of Barmakids, their followers continued praising them, repeating “Ya Mavalia” at the end of each stanza in the poem. Although nowadays the majority of folklore poems do not adhere to Frahidi prosody, praise poetry, the most famous type of which is known as Na’mani, conforms to Basit meter. It comprises of seven lines, with each line having a pun (same words but different meanings) and the one in the seventh line the same as the first three lines. In other words, the first three lines have the same pun as the seventh line and lines four, five and six create another pun. Ever since its advent,” praise poetry” has dealt with such themes as praise, exalt, satire, sonnet and description and Khuzestani poets have utilized this type of poems to express their feelings and thoughts, to praise and exalt Alhul Bayt, religious scholars, martyrs’ sacrifices, national occasions, to defend Palestine and etc.
3. Methodology
The method used in this research is field study, based on the research done throughout Khuzestan province, during which poems written in the local dialect of Arab people of the region were studied. This study tries to focus on the most ancient type of folklore poetry, “praise poetry”, critiquing and analyzing it using a descriptive-analytical approach.
4. Results and Discussion
“Praise poetry”, in terms of music, is a very melancholic and mournful and, more than the tone of the instruments is based on the singer’s voice. It follows Basit prosody ((مستفعلن فاعلن مستفعلن فاعلن and has various types such as “Al-robai”, “Al-Eraj”, and “Al-Namani”. Usually, the most important themes of “praise poetry” include praising and exalting Ahlul Bayt, boasting, sonnets, instruction and advice, worldly desires, ephemeral nature of the world, and people’s disloyalty. Among the more experienced and skillful poets of “praise poetry” Habib Amouri, Ibrhim Deyravi, Fazil Sakrani, Seyyed Hassan Sharifi, and Abbas Hezbavi can be named.
5. Conclusion
Folklore reflects a major section of each nation’s cultural and literary heritage and can never be separated from literature for it boasts numerous linguistic, literary and cultural treasures. Nowadays, scholars in most countries, for the purpose of learning more and gaining a deeper understanding of a nation’s culture and literature, study and investigate the contents of folklore, an undertaking which has laid bare important issues to researches. Khuzestan folklore, and “praise poetry” in particular, has the potential to be studied from a myriad of aspects. This type of poetry forms the most important and the majority of the oral literature among the Arabs of Khuzestan. The majority of the words applied in this type of poetry stem from the eloquent language of Arabic. “Praise poetry” is the oldest type of folklore and can play an important role in the continuation and protection of Arabic language, and the transfer of socio-political concepts in Khuzestan. This type of poetry, in terms of quality and theme, is very rich and proliferous and due to its incorporation of everyday language is easily comprehensible and captures hearts effortlessly. “Praise poetry”, due to its closeness to the dialect of the local people along with its close association of rhymes, as an ancient tradition, is highly prevalent among Arab poets and in spite of adhering to traditional poetry, has experienced some changes and innovation in its poetic forms, poetic intentions together with its style and method.
Keywords: Dialect, Folklore, Khuzestan, Mawwal.
References (in Persian)
Afzali, A., & Abbasi Montazari, L. (2012). The structure and form of local Arabic poetry in Khuzestan. Journal of Literature and Iranian Local Languages, 2(1), 1-18.
Ghazi, A. (1925). The encyclopedia of Arabic poetry. Ahvaz, Iran: Katibe Sabz
Azizi Bani Taraf, Y. (1994). Breeze of Karun. Tehran, Iran: Anzan Institute.
Bavi, A. H. (2013). Local poetry: Different types and meter. Abadan, Iran: Hermeneutic.
Bourkazem, K. (1999). A look at scholars of literature and science (Vol. 2). Susangerd, Iran: Sarzamin Khoz.
Al Khaqani, A. (1997). Arts of local literature. Qom, Iran: Ketabforushi Heidariye.
Khanifiri, I. (2008). Heart wounds. Qom, Iran: Ikram.
Sakrani, F. A. Y. (2009). Diwan of Sakrani. Shadegan, Iran: Heidari.
Zaif, Sh. (2007). The history of Arabic literature, the age of governments and emirates (The Arabic- Iraq- Iran) Qom, Iran: Zoi Al-Qarabi.
Tarafi, S. (2001). Gap and its reflection. Qom, Iran: Zoi Al-Qarabi.
Amouri, H. (2006). Amouri's diwan. Ahvaz, Iran: Habl Al-Matin.
References (in Arabic)
Alheli, S. A. (1981). The beauty with no jewels and the cheap valued. Cairo, Egypt: General Egyptian Book Organization.
Ameli, M. A. (n. d.). The notable of Shia (Vol. 36). Sidon, Lebanon: Al-Erfan.
Dajili, A. (1995). Strophe in Arabic literature. Baghdad, Iraq: Al-Maaref.
Ibn Khaldūn, A. a.-R. (1998). Introduction. Beirut, Lebanon: Dar Al-Fikr.
Khatib, B. M. A. (1977). Elegy in the pre-Islamic and Islamic periods. Baghdad, Iraq: Loca Office Publication.
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research article
heidar far shirazi
Abstract
Extended Abstract
1.Introduction
Kumayt was a committed poet and a follower of Shia Imams who lived during Bani Umayyad reign. He was a skillful poet and orator, and knew the Holy Quran by heart. He was a famous scientist and an intellectual person before being a political character. He was the first ...
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Extended Abstract
1.Introduction
Kumayt was a committed poet and a follower of Shia Imams who lived during Bani Umayyad reign. He was a skillful poet and orator, and knew the Holy Quran by heart. He was a famous scientist and an intellectual person before being a political character. He was the first poet who introduced reasoning and argument into poetry, but he was more famous for being a literary figure and a learned artist. He was accused of plagiarising Quran but the Quranic verse was mixed with his thoughts and words. Kumayt’s literary personality has not been introduced as it should have been, especially, as a long term political activist because of jealousy or personal grudges against him; on the contrary, he was accused of political bias and prejudice. His enemies did not admit his poetic skill; they would only call him an orator and would not consider his last poems (known as Hashemiyat) to be worth reading and alluding to in literary texts. His poems dealt with politics and religious conviction. Fear of publishing political and religious thoughts made his enemies destroy his poetic works in that time. For this reason and other factors, a large part of Kumayt’s poems has been missing including parts of his Hashemiyat.
2.Methodology
The method used in this study is based on descriptive and library resources. First, the poet's poem (ode “Baeeya”) has been studied. Then, there is a reference to various readings and literary interpretations of the poem; besides, their allusions to or citations from this ode are collected and analyzed. In addition to collecting the missing lines of this ode, statistical methods are also deployed.
3.Discussion
Given the importance of this ode, there is an attempt to show how others in their literary texts have alluded to this ode. Are these allusions only in terms of mere borrowing some lines or words from the ode or do they imitate it for its rhetoric and syntax? These quetsions and other similar ones have been our concern. The symbols in this ode known in the fields other than literature are also considered as helpful to this study’s main objective. Given that this ode is the longest ode of Hashemiyat, the question then remains to ask is this: are the lines of this ode more than the number of lines that researchers have proposed in their studies? The hypothesis is that many writers have emphasized this ode’s literary status and it has been cited in various fields of literature. It contains several symbols and has a great scope in the fields of literature, sociology, and religion.
4.Conclusion and Suggestions
The results of this study can be summarized as following. Kumayt has a famous ode named “Baeeya” (the last letter of the rhyme ends with the letter “B,”; hence, it is called “Baeeya”), which seems to be composed of more than 137 or 140 lines, the number that some researchers have reached, too. This ode has been the first poem in Kumayt’s Hashemiyat, and compared to his other odes, it has the greatest number of lines. It also has the highest number of literary allusions or citations. In terms of argumentation and reasoning inspired by the author’s delving into the Holy Quran, this ode is the most important and the most complete.
This ode, of all Kumat’s odes, also contains the highest Quranic themes and has been cited by the past and present theologians and interpreters to help explain Quranic verses. It has been cited 35 times by the interpreters for its lexical, grammatical, and phonological purposes. Some of Shia leaders such as Sheikh Mufid emphasized the ode’s validity and reliability for the interpretation of the Quranic verses. Shia and Sunni commentators like Tabari, Thalabi, Tusi, Tabarsi, Zamakhshari, Al-Qurtubi, Alusi, Abu Hayyan, and others have also refered to this poem.
Fifty lines of this ode contain more than 60 literary citations, with some lines including up to seven citations. In the field of syntactics, about 15 of these lines were cited but in terms of rhetoric, literary citations have been scarce and are merely limited to three areas, "metonymy"," eloquent simile", and "metaphor". Another important point is that he is famous for his rhetoric among philologists to the extent that references to the semantics in this ode has been the highest and the number of references cited only in this ode reaches 30 times.
This ode from the perspective of history or theology has also been examplary. Some literary parables of the ode are mentioned in some classiccal sources. As an example, one can refer to its use in the field of Qra’at (recitation of the Quran), and more specifically, its important role in the different forms of reciting the word "hamim".
We may also refer to the Islamic and cultural features of this ode which signal Kumayt’s Shia belief, for which he and his people have been blessed. More importantly, and thanks to this ode, Kumayt has received the divine Mercy and Forgiveness of Allah.
Kumayt did not accept the false pre-Islamic Arab traditons in poetry. His Hashemiyat, including the putative ode, can be considered as a symbol of liberation from the mere lyricism in poetry. The most beautiful expressions of knowledge of the Quran are shown in this ode which is an aspect of his intellectual maturity. In fine, he should be identified by and with his poetry. His poems bespeak of his great knowledge.
Key Words: Kumayt, Ode of “Baeeya”, Literary References, Holy Quran.
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