research article
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.
research article
Mohammad Javad Salmani; Hasan Abdollahi; Hossein Nazeri
Abstract
Extended Abstract
1. Introduction
In order to prove and confirm the rules of syntax, the grammarians paid great attention to the evidences taken from the Holy Qur'an and Arabic poetry and prose. The classic Arabic poems especially the poems of Jahili period are among the most important references ...
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Extended Abstract
1. Introduction
In order to prove and confirm the rules of syntax, the grammarians paid great attention to the evidences taken from the Holy Qur'an and Arabic poetry and prose. The classic Arabic poems especially the poems of Jahili period are among the most important references used by grammarians to justify and edit morphological and syntactic rules. There are some doubts about the authenticity of the poems in Jahili period but they do not endanger the reputation of these poems. Syntactic rule-making has always required one or more examples from poems and proses, so that the syntactic theory could be transformed into a grammatical or generalizable rule. Otherwise, the belief and syntactic theory were rejected and they were no longer used by grammarians. Linguists, especially grammarians, collect poetry and prose from the early syntactic books so as to confirm their statements about Arabic grammar and theorize about syntactical schools. This poetical heritage has been transferred by the narrators from one generation to another and there have been some narrators who used to forge the poems; however, there have always been some creditable narrators who have been familiar with the style of the poems and were able to distinguish authentic poems from inauthentic ones.The aforementioned poems were later regarded as poetic evidences in Arabic terms. The scholars' concern for syntax in different eras of history and their pursuit of poetic evidences led to the poetic reference in the process their studies for collection, categorization, and analyses of the findings. That is why the early grammarians referred not only to poems, but also to the verses of the Qur'an and the eloquent Arabic words for the foundations of syntactic principles
2. Methodology
The present study is descriptive-analytical and the data is obtained through a library study. The methodology begins with mentioning the most important sources of citation; further, some criteria for verifying the authenticity of the poems by grammarians will be proposed, and in the last part, these criteria are applied to Jahilian poems in order to recognize to what extent these poems meet the above-mentioned criteria.
3. Discussion
Referring to classic Arabic poetry and the words used in all primitive Arab tribes was common for about several centuries, to the extent that the grammarians paid such great attention to the primitive Arabs' eloquent language, poems and the study of the Arabic language as though the Bedouins' poetry and remarks were the only valid and reliable resources to verify syntactic rules. Therefore, thanks to these efforts, they were able to correct the urban Arabs' verbal slips of tongue, including the urban jurists, linguists, authors and poets.
The poetic evidence gradually attracted considerable attention and found an outstanding position in the early writings of linguists and syntactic Arabic books.
Soon, these poetic evidences turned into an integral part of syntax. The major achievement of this study is to show that poetic evidences are regarded as the basis of the grammatical rules and they have had a fundamental impact on syntactical rule-making.
In this regard, Jahilian Poetry, according to its historical background, is one of the most important determinants for the grammarians and is of particular importance.
4. Results & Conclusion
The present research has tried to impartially examine the validity of citations taken from Jahilian poems, and to express the position of the grammarians against this concept.
The scientific achievements of this research are as follows: By determining the temporal range of the citations, it is found that, from the grammarians' point of view, the more we approach the contemporary era, the less credibility and attention the poems have gained and the older the poems, the more credible they are. The grammarians have always tried to refer to a poem of known poets so that their theories about syntactic rules would not be questioned for such reasons as anonymity of the poets. The grammarians have always emphasized the importance of the poet's originality whose poems they refer to and have been mostly looking for noble Bedouin poets. Arabic syntactic rules are not only proved by poetic evidences, but also confirmed by verses of Qur'an. If the grammatical principles of Arabic poems and proses are based on Qur'anic structures, they will gain more credibility and value.
Doubts about the authenticity of Jahilian poetry which were pinpointed by Arab critics or orientalists do not diminish the creditability and historical value of these poems. The existence of these narrators and lots of other proofs insure the validity of these poems. However, some rules like Eghva and Tashif in some of these poems disparage the poems of this period. If they did not have such imperfections, they would have become more valid.
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research article
Ali Ahmadzadeh; Khalil Parvini
Abstract
Extended Abstract
1. Introduction
Carl Gustave Jung’s analytical psychology school does not limit itself to past experiences especially the suppressed ones in studying the causes of one’s behavior, but the range of this school is rather wider than one’s personal life history and suppressed desires. ...
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Extended Abstract
1. Introduction
Carl Gustave Jung’s analytical psychology school does not limit itself to past experiences especially the suppressed ones in studying the causes of one’s behavior, but the range of this school is rather wider than one’s personal life history and suppressed desires. Yung believes that some behaviors are caused by the experiences inherited from the very first human antecedents.
From the viewpoint of Yung, anima, shadow and self are three archetypes that show the growth stages of one’s individuality, and that is why he calls them growth beliefs.
By relying on the poetry of a Sufi poet such as Ibn al-Farid, the author seeks to analyze the impact of archetypes of growth on his personality. Hence, first the growth beliefs and the quality of their emergence in Ta'ei Kobra are introduced and explained, and then these poetic data are analyzed relying on Jung’s school.
To the author’s best knowledge, no comparative studies have been conducted between Ibn al-Farid's poetry and Yong's school so far. Of course, in Iran, there are some questions about mysticism and Jung’s school, which are briefly cited in several examples:
1-"Dignity from the Point of View of Islamic Mysticism and Jung's Psychological Theory". This has been limited to a few examples from the unlimited number of articles written by Jung and has focused more on self-knowledge and unconsciously on Jung's theoretical debates.
2-"Comparative Comparison of the Perfectionary Course in Jung's Mysticism and Psychology". The author has used individuality process and a handful of "Jung's" works.
2. Theoretical Framework
The collective subconscious is a layer of psyche whose content is outside of the limited history of personal life and is rooted in the experiences of all humanity.
Archetype is the same collective subconscious and it is as a great resource whose content is manifested in the form of different beliefs. Just like instinct, archetype is functional and seeks to fulfill human needs symbolically.
Growth beliefs are also counted as positive instinctive patterns, and their emergence in Ibn al-Farid poems is a sign of summoning personal growth and reaching the highest stage of self-cultivation called self. However, since they are under the control of subconscious and they function like instinct, they will have unpleasant impacts on the person if they are left on their own.
The themes related to growth beliefs have emerged in the form of different symbols in his poetry.
3. Methodology
The current research uses descriptive-analytical method and Yung’s psychology school to make a psychoanalysis of Ibn al-Farid according to the function of archetypes.
4. Findings and Discussions
In Ta'ei Kobra, shadow has been manifested as “wicked self”. Following self is a source of animosity and that is why human beings are told to abstain from in order to get close to God.
Anima archetype in Ta'ei Kobra is the reason for the formation of a romance between the poet and God which is known as a divine love in mystical texts.
“Self” in this story is emerged as the personality of prophets since prophets are good symbols for expressing the unspeakable experiences of collective subconscious including “self” or “perfect human” due to their complete and perfect characters.
Defamation process in Ta'ei Kobra could be psychoanalytically criticized in the two-sided manifestation of shadow and anima.
Since the manifestation of self is deeper compared to the other two manifestations of shadow and anima, and there is also the manifestation of power and totality, self has had a deep impact on the personality of Ibn al-Farid among which assimilation has a great role.
Homogenization with non-personal contents and self-symbols with perfection is a type of positive force created in Ibn al-Farid which causes psychological comfort in the port.
The process of individuality in the personality of Ibn al-Farid is formed through the formulation of the values and abilities of the ideas of growth. Ibn al-Farid should stop the defamation of the values of these symbols which empty the inside and homogenization with these symbols followed by psychological greatness to step in the path of individuality. It should be noted that symbols are the inner value of his self, and he shall not seek these values in others. After restraining and attracting the subconscious independent characters by ego, Ibn al-Farid reaches the last stage of growth, and becomes what Yung calls self through possessing inner talents and values.
When this poet passed the stage of“ego” and reached the stage of “self” and got united with his total personality, he also united with God, and joined him in the depth of his self.
5. Conclusion
The emergence of growth beliefs in Ta'ei Kobra is a sign of summoning the personality growth of Ibn al-Farid and reaching totality and self-cultivation. Since these beliefs are hidden from the consciousness of the poet, they have influenced his behavior unconsciously and in different ways.
Ibn al-Farid could not use the values of shadow and anima beliefs because of their defamation.
In addition, this poet has swelled psychologically because of homogenization of uncontrolled forces of human archetypes.
However, Ibn al-Farid could consciously understand the values of archetypes and attract them in his personality through an individuality process to partly control his subconscious and psychological part and to use the archetypes to grow his personality. After this stage and formation of a united personality, he steps in the path of self.
In this stage, this poet does not defame the vital psychological forces in the environment, but he possesses these forces and reflects them to the deepest levels of his mind to attain the experience of reaching God; an experience that has emerged in his poems in the form of a metamorphosis of God and his existence in all religions and the universe.
research article
Abbas Eghbali; Ali Najafi Ayouki; Razieh Nazari
Abstract
Extended Abstract
1. Introduction
Shiite literature is a combination of Islamic thought and ideology which involves a purposeful and coherent discourse. Shiite poetry moderately incorporates literary devices and elements of fantasy whilst adorned with poetic precepts, the most significant of which ...
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Extended Abstract
1. Introduction
Shiite literature is a combination of Islamic thought and ideology which involves a purposeful and coherent discourse. Shiite poetry moderately incorporates literary devices and elements of fantasy whilst adorned with poetic precepts, the most significant of which is considered the eulogies. Within the contents of such poetry, the foundation of Shiite eulogy discourse is formed by the subject of “guidance”; as a result, realism is known as one of the outstanding properties of Shiite eulogy.
In the present inquiry, the authors have attempted to lay out a discourse analysis of eulogies within two poems written by famous Shiite poets, “Musaab Abdi Koufi” and “Abu Firas al-Hamdani”. These poets lived in two different historical periods; Musaab at the late Umayyad Caliphate during which, Shias were subject to severe suppression. On the other hand, Abu-Firas lived in the 4th century, a period in which Shias enjoyed more freedom. Undoubtedly, such a difference have had significant effects on their points of view in eulogies regarding the main subject of Shiism, i.e. Imamah.
2. Theoretical Framework
The theoretical foundation of this study is based upon the theory of speech acts in discourse. “Discourse” is considered as a fairly new term in linguistics which incorporates a set of texts that are linked together. As any text entails the information put forth by humans, the world of discourse mainly involves the entire events that are linked together in a social or lingual group. Given the discussion of eulogies in the present study, it can be pointed out that the discourse of the study is literary, with a distinctive feature of creativity in imparting poetic messages.
Similar to any human action, the position of language in analyses based on the speech acts theory is examined through the types of human actions realized by words and sentences. This theory was put forth by the prominent figure of language philosophy, John Austin. In his view, verbs are divided into two categories of “propositional” and “performative”. Then, John Searle expanded the theory offering a more diverse categorization for utterances which included: declarative, persuasive, accrual, emotional and statement.
3. Methodology
In general, by using the descriptive-analytical method within the framework of speech acts theory, the present study seeks to answer the following questions: What concepts constitute the speech acts present in these poems? In which of these poets’ speech acts, details are of more importance? Which of these poets’ speech acts involve more distinguished frankness of expression?
4. Discussion and Findings
In the poems examined in this study, poets have employed four speech acts; first are the declarative speech acts which include the poets’ own beliefs regarding the accuracy of their propositions. Through persuasive speech acts, the poets have attempted to influence the audience, persuading them to do something or vice versa, using imperative verbs, commendations, or questions. Using accrual speech acts, they have tried to demonstrate and highlight the certain promises concerning the fate of the ones who do not believe in the legitimacy of Imamah. The emotional speech acts of the poets in these eulogies are full of their diverse affections toward Imams. Therefore in the poems of “Musaab Abdi” and “Abu Firas al-Hamdani”, there are a myriad of verbs based on attention and intercession.
5. Conclusion
• The Concepts of “waiting and confidence” constitute the main theme of the speech acts used in both poems.
• In his declarative speech act, “Musaab Abdi” have used a set of literary devices to illustrate concepts such as taking precautions, longing for union, and failure; while the environment of Abu Firas’s declarative speech acts were filled with comfort and confidence.
• In his persuasive speech acts, “Musaab” highlights the concept of waiting once more as well as reminding the legitimacy of Imamah using historical intertextuality. Abu Firas on the other hand, chose to have a direct dialogue with the obstinate and attempts to highlight the inaccuracy of their beliefs and persuade them to accept the truth using verbs which entail notions such as humiliation and reprimand.
• The accrual speech acts in both examined poems attempt to confirm and assure the certainty in the occurrence of the divine torment to the obstinate.
• The emotional speech acts of Musaab and Abu Firas are divided into two parts; the first is concerned with immortality which is shown as the symbol of quenching one’s thirst. In the second part, Musaab asserts the aspects of hope and submission to revenge, while Abu Firas have attempted to introduce himself as one of the guided.
• In comparing the speech acts in the examined poems, the privacy of expression in Musaab’s various speech acts demonstrate the stifle space of Umayyad Caliphate whereas the frankness of expression in Abu Firas’s work shows the free political environment of his period.
research article
Sayyed Hossain Sayyed Mosavi
Abstract
Extended Abstract
1. Introduction
Allah Allah syntax has many uses in Arabic and Persian literature. Although its appearance is the same in all cases, but its meaning is different in various situations. Its semantics recognition helps significantly to understand the contexts that this syntax has been ...
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Extended Abstract
1. Introduction
Allah Allah syntax has many uses in Arabic and Persian literature. Although its appearance is the same in all cases, but its meaning is different in various situations. Its semantics recognition helps significantly to understand the contexts that this syntax has been used in them. Does this syntax have only one meaning or are there different meanings for it? How can different meanings be achieved? Its various meanings can be achieved by analytical and citation / referential investigation and with the induction of its application.
Allah is driven from the root of the word Elah means the God and the object that is worshiped. Some people believe that Allah has been driven from Aleh in the form that it's Hamzeh (the Arabic consonant Alef marked) has been removed, and Alef and Lam have been used on it and has been special to God. Some also know it has been driven from Aleh means distraction and wandering/ astonishment, therefore, Allah is referred to a creature that mankind is wandering and astonished in his cognition. Some people also believe that Allah has been driven from Valeh that his creations are passionate, astonished and enthusiastic in his way. Some also believe that it has been driven from the Lalah term in the meaning covered by the sights/eyes. Because it is covered by the sights of the beings, it is both first and last, both conscience and apparent.
2. Methodology
The Allah term is called for God as the Glory/ dignity term because the greatness / supreme majesty of God is superior to that which cannot be described. The literal term is an intrinsic subject that contains all the attributes of beauty and glory.
Allah is one of the common invocations of God used by all people, including mystics and scholars; the first and the most common invocation of God is Allahu Akbar (God is big) which is mentioned 34 times after completing the prayers in the Tasbihat ( praises) of Hazrat Fatima (AS) .
Discussion 3.
The mystics, the devotees and the eremitic usually tell repeatedly this invocation of God since it is the best and the most comprehensive name among all the names of God; although reciting the term Allah is not the only way of praising God and but includes also the feeling of God's presence in all aspects of human life ranging from thought, speech, and deed. In the Qur'an, God says to Hajjiān: Faeza Ghozatkom Manaskakom Fazkoro Allah Kazekrekom Abaakom Av Ashada Zekran (Baqarah 200)
He has the same interpretation about Friday prayers that: Faeza Ghoziyat Alsalato Fantashero Fi Alarz va Abtagho Men Fazl Allahe Va Azkaro Allah Kashiran Laalakom Toflehona (Jomeh: 10( And when the prayer has been concluded, disperse within the land and seek from the bounty of Allah, and remember Allah often that you may succeed.
Results & Conclusion 4.
Allah Allah syntax comes in different states with regard to the disquisition and research that have been conducted in Persian and Arabic contexts and its meaning can be summarized in the following cases by research and disquisition of various uses/applications in the Hadiths, Arabic, literary and mystical contexts:
1. Warning and alert like: Abraham Adham: Allah Allah Fi Hazeh Alarvah Va Albadan Alzaief Fear God's punishment of these weak spirits and souls and weak bodies.
Allah Allah Ya Omr Fi Zaleka Faenak Toshak En Ajtarat Ala Zaleka En Yoti Beka Saghiran Zalalialn Eulogization like: Zubair's son in the sermon of Hajj: Allah Allah Fi Ayamekom Haze Fanaha Ayam Taghfar Fiha Al Zonob In God’s name, in God’s name,Sell and buy at once, give a drop and take a sea which is full of pearls.
Faalh Allah Fi Elm va Allah Allah Fi Alaghl Truly, the light of intellect and reason is not extinguished by any objections and nobody is permitted to decrease science and knowledge
2. Swear: Allah Allah Adaa Allah Taali Li , I swear you to God to pray for me. Allah, Allah, In God’s name, a poor person after me Do not use/employ him with his own greed.
3. Warning: A king advises his children: ... But Allah Allah, do not go that cast and do not gather round it up. Allah Allah, do not look at the sun directly because it makes your eyes and insight dark and then you cannot see anything. It has been narrated that a man told Ma'moun.
4. Allah Allah Fi Ashabe Alakhbar Faenahom Ghom An Otoa Kazebo va Hermova Kazeboa ". Oh Amir Momenan, fear the informers, because they are a group of people who lie if they are forgiven and again lie, if they are not, because if they are donated something, they will praise it. While they say lie, and if they become deprived, they blame while they say lie.
5. Surprise and wonder like: Abu al-Hossein Nouri -Allah Allah From the word of Mighty God va En Man Shaye Ala Yasbaho Behamdeh Va Laken La Tofaghhona Tasbihom .
6. Allah Allah, that nowadays walking in the right direction is so hard. No tears, no yellow faces, Allah Allah, what a painlessness person you are.
7. Exclamation, emphasis, etc.: Allah Allah Fi Bayt Rabokom , use Allah Allah for the house of Your God.Allah Allah Fi Zariyah Nabikom , consider Allah Allah for the children of your prophet Ayohal Nas Allah Allah Fi Ahle Bayti .... O ‘people consider the God, about my five Holy Ones Azkorkom Allah Fi Ahle Beyt .The Holy Prophet (PBUH) is like a kind father who advises his children: Allah, Allah,Fi Haghe Aoladi . Ibn Meymon has considered Allah Allah in terms of call and Allah as proclaimed like Moses Moses, Ibrahim Ibrahim.
research article
Malek Abdi; Yosef Taheri; Najme Mahyaii
Abstract
Extended Abstract
1. Introduction
Story-telling (narration) is regarded as one of the major literary tools by the divine religions, especially Islam to the extent that one of the most important Quranic literature features is its narrative structure. The most elaborate story of the Quran, which is presented ...
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Extended Abstract
1. Introduction
Story-telling (narration) is regarded as one of the major literary tools by the divine religions, especially Islam to the extent that one of the most important Quranic literature features is its narrative structure. The most elaborate story of the Quran, which is presented in an artistic style along with a unique structure, is the story of Prophet Abraham. One of the most prominent features of Prophet Abraham story is its coherent plot and elements’ strong linkage together. Therefore, in the present study, based on the Larry Wise plot pattern and descriptive-analytical method, we have studied the story of Prophet Abraham in the Holy Quran in order to illustrate some artistic aspects of the story.
2. Theoretical framework
To form a narrative, a number of elements are required as its constituent components so that these elements blend together to form the narrative structure. The elements include characters, point of view (POV), setting, theme, dialogue, narrative mode, tone, atmosphere, etc. it should be mentioned that any changes in the elements would lead in changes in the overall narrative structure. Therefore, each and every narrative is necessarily composed of interconnected elements and rules (Mirsadeghi, 2001: 76).
What determines the relations (causal relations) among the elements of a narrative is called theme. Theme is one of the most significant elements of narration and an important criteria for evaluating a narrative work aesthetically.
The celestial book of Muslims, Quran has its own narrative style and its stories due to their high literary-narrative capacity have a good foundation for being compared against the criteria of themeology. But so far they have not been considered seriously in terms of themeology. Therefore, in this essay, we have studied and analyzed the story of Prophet Abraham based on the theory of Larry Wise in terms of themeology.
Therefore, at first the scholars briefly introduced the story, plot, plot theories and general introduction of the story of Prophet Abraham in the Holy Quran; then, based on the plot theory of Larry Wise, the theme and framework of this story was analyzed and the following questions were answered:
1. How have the features of the plot and theme in the story of Prophet Abraham in the Holy Quran emerged?
2. How is the plot and theme of the story of Prophet Abraham in the Holy Quran compatible with Larry Wise theory?
3. Methodology
The method of this research is descriptive-analytic and based on structuralism approach. The results of this analysis are based on Larry Wise's theory of structuralism; its criteria and elements are the structure of narrative and elemental analysis.
4. Conclusion
The story of Prophet Abraham is one of the long stories of the Holy Quran, which is mentioned in 25 surahs. This story has a simple plot and simple events happen in the story as well. In this essay, the theme of the narrative has been studied from five aspects of the activities related to Abraham, Hajar, Ismail, and the others. Based on what we mentioned before, this narrative has five major and two minor themes. By studying the main actions of the themes of each narrative and the role and position of each action in the general theme (super-structure), we found that the story has a natural and appropriate theme in which each partial theme is a logical consequence of the previous one and an appropriate introduction to the next one. Another point that should be mentioned about the narrative's theme and its actions is proper selection of the most important events and the avoidance of being long-winded. Sometimes a very complicated situation is expressed in shortest possible sentences. The plot of the narrative follows causal rules. The events of this story happen one after the other and come to a definitive ending. This story is composed of sequences linked together and thus the actions and reactions of the characters sequentially continue. In summary, the specific features of the theme in the story of Prophet Abraham include the followings: accurate management and proper selection of information, the creation of dilemma and the subsequent suspension in the least amount of text and action, the alignment of actions and the unity of events and the congruence of narrative in the whole The story.
research article
Hojatollah Fosonghori; Razieh Karamad
Abstract
Extended Abstract
1. Introduction
In Muslim communities, prayers and religious supplications are of significant importance; therefore, a literary view of such texts would reflect their unknown, yet exciting dimensions. The supplication of Abu Hamza al-Thumali is one of these prayers in which Imam Sajjad ...
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Extended Abstract
1. Introduction
In Muslim communities, prayers and religious supplications are of significant importance; therefore, a literary view of such texts would reflect their unknown, yet exciting dimensions. The supplication of Abu Hamza al-Thumali is one of these prayers in which Imam Sajjad has applied the entire prominent points of the belief principles along with presenting an instruction of monotheism, justice, and resurrection according to the concepts of Quran. The entire contents of the prayer involve the sanctification of God Almighty, confession to sins, seeking forgiveness, blessings, and goodness in the world, as well as stating a number of attributes to God.
2. Theoretical Framework
Words and sentences reflect the person who has spoken or written them; albeit, everyone would choose a certain style and fashion which in turn, would determine the influence and beauty of his/her work. One of the important indicators of the style is the purposeful iteration and consistency of certain lingual behaviors in a work or some methods of thought expression employed by the speakers or authors in their utterances. The science of stylistics is the discipline that focuses on this subject; the aim of stylistic studies is to investigate literary texts as well as discovering and explaining their characteristics through the analysis of style-making elements including lingual and lexical structures of the work, ideas and emotions of the speaker, and the function of literary and rhetorical devices in order to indicate the personal style of the writer. Through a literary approach to text analysis, layered stylistics would divide the text into five layers including vocal, lexical, grammatical, rhetorical, and ideological, along with explaining the prominent features and effective characteristics in the emergence of a personal style.
The present study attempts to examine the supplication of Abu Hamza al-Thumali in both of its rhetorical and grammatical layers; “the grammatical and rhetorical layers are two aspects of language examination in stylistics; what is meant by the grammatical level is word association in which, the words are placed beside each other in a certain fashion, with strong verbal and semantic bonds among them. The investigation of the grammatical level would contribute to the discovery of lingual secrets, interpretation of the structural system of the text, the arrangement of words and sentences and understanding the relationships among them” (Shamisa, 1994, p. 156).
In the rhetorical layer, expressive arrays such as similes, metaphors, allusions, and exquisite arrays along with their functions and particular features (which are indicative of the writer’s style) are investigated.
In this prayer, Imam skillfully and creatively applies subjects such as the science of expression and pure Islamic and mystical thoughts and present them to the audience in the best possible way. In addition to gaining awareness of the instructions put forth by Imam in the language of the prayer, the reader would also understand the aesthetics of the prayer in terms of rhetorical and grammatical aspects. The present study strives to answer the following questions: What are the features of the style of Imam Sajjad in this prayer in terms of its grammatical layer? How did Imam incorporate subjects such as the science of expression in this prayer and what are the features of its rhetorical layers?
3. Methodology
This study investigates the supplication of Abu Hamza al-Thumali in both of its grammatical and rhetorical layers using the descriptive-analytical method based upon layered stylistics.
4. Results and Discussion
The sentences in this prayer are tantamount, linked together by the word “and” which contributes to the dynamism of the text as well as its acceleration in forming an affectionate environment. These sentences are formed according to the common Arabic grammar, and the occasionally observed distances between the text and such grammatical principles have been due to an emphasis on presenting a certain meaning. There are numerous essay-like sentences in this prayer which are relative to the prayer’s fashion. Summons can be seen throughout the prayer and in some parts, it seems as if the speaker senses such a closeness to God that he utters the interjection “ای”, usually used as close interjection. The essay-like sentences were applied intentionally and elegantly, in a way that in one part of the prayer, the use of imperative verbs are avoided and the supplications are made through phrasing sentences.
By investigating and analyzing the rhetorical layer, one can see the elegance and punctiliousness of Imam Sajjad in his use of various rhetorical devices; the type of similes used in the context of Imam’s speech is “reasonable to sensible”. He uses metaphors and similes to explain abstract and mystical subjects and transfer them in a tangible, understandable way to the reader, using sensory illustration. Given the environment of the prayer as well as the requirements of speech, Imam uses the opposition device beautifully in order to show the evils of sinners against God and illustrate the confrontation of his attributes with the actions of humans which is very effective in terms of the spiritual musicality of speech, in addition to providing clarity in the transfer of meanings. To present a sensual illustration of meanings, offering facts alongside reason, or covering speech due to a moral, cultural necessity or a political obligation or pressure, allusions are used attractively.
5. Conclusion
The paranormal application of grammatical and rhetorical arrays have offered a unique charm to the prayer in which the sentences, analogies, metaphors, and allusions used by Imam are in line with his pure thought, ideologies, and sincere mysticism. The context of Imam’s speech throughout the prayer is literary and rhetorical. He has presented his views in the best possible frame which indicates his thorough perspective and profound thought toward the truth and nature of Godly rules and principles.
research article
Mostafa Mahdavi Ara; Hossein Shareh
Abstract
Extended Abstract
1. Introduction
Psychoanalytic criticism, as a link between the two disciplines of psychology and literature, strives to assay literary works from its point of view and provide answers to such questions as how a literary work can depict the characteristics and (personality) traits ...
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Extended Abstract
1. Introduction
Psychoanalytic criticism, as a link between the two disciplines of psychology and literature, strives to assay literary works from its point of view and provide answers to such questions as how a literary work can depict the characteristics and (personality) traits of its creator. Sigmund Freud and adherents to his school of thought believe that literary works and works of art are mental and psychological documentations of artists' characters and, through them, one can deeply analyze a scholar and his psychological status, revealing his mental illnesses.
2. Theoretical Framework
Severe depression is a neurotic phenomenon and a prevalent emotional illness which causes one not to enjoy life. In fact, the depressed person is inflicted with a type of despair which negatively affects his social and personal relations. People suffering from this illness usually feel depressed, unhappy and bored. They are pessimistic and feel hopeless about the future. They might even talk of committing suicide and report physical complaints, sleep disorders, nightmares, feebleness, exhaustion, and infirmity. They feel desolate, isolated and are self-contained. Recently, psychiatrists have been able to identify psychological and personality disorders through questionnaires such as beck and MMPI-2 tests. A high score in such tests is indicative of the mentioned disorder in the person. Since scholars occasionally show such sings in their works, their works can be analyzed in line with these questionnaires.
The literature regarding such studies dates back to nearly a century ago. For instance, Ghobadi and Houshangi (2009) critically investigated the character of Zal in Ferdowsi's Shahname based on Alfred Adler's psychological theory. In their study, Payandeh, Sanati and Farhadpour (2003) mentioned that psychoanalysis and literature have a two-way relationship and touch on one another. Nazeri and Seddighi (2011) performed a psychological analysis of the concepts of "fairy" and "love" in the poems of Khalil Hawi and Hashemi (2009) offered a psychological interpretation of Muhammad Iqbal's poems. Among the studies undertaken on the works of Abdullah al-Baradouni, "The artistic picture of Abdullah al-Baradouni" by Valid Mashouh can be named where aspects of al-Baradouni's literary creation and his poetic imagery as a blind poet are discussed. "Irony in the poems of Abdullah al-Baradouni" by Musaed bin Sad Zobiani is another work in which the author addresses the humorous language of the poet in expressing issues. The present study is different from the previous ones as the poems of this poet have never been studied from a psychological perspective and, unequivocally, such studies can help researchers better understand the poet's literature.
3. Methodology
The present research aims to study the poems of the blind, contemporary Yemeni poet, Abdullah al-Baradouni, which add up to three volumes, in a descriptive-analytical way, using MMPI-2 test. This test was first introduced by Starke Hathaway and Charles McKinley and can identify disorders such as psycho-social deviations, mental weaknesses, hypochondria, hysteria, paranoia, schizophrenia and etc. In the present study, the six factors of MMPI-2 were identified as: a) feeling of sadness and melancholy and fatigue of life b) despair and hopelessness, c) fear and anxiety d) pessimism about oneself, life and society d) distress and insomnia e) thinking about death and suicide. Through conforming the poems of this poet to these factors, we aim to answer the main research questions: a) based on MMPI-2 test, has Abdullah al-Baradouni been afflicted with clinical depression b) if yes, what elements have led to the outbreak of this phenomenon in the poet?
4. Findings
The findings of the study can be reviewed from both structural and contextual perspectives. Based on the factors of the test, all the symptoms of depression were deducted from al-Baradouni's poems. Terms such as "depression", "sorrow", "sadness", and "ordeal", etc., all of which convey negative meanings, are used with a high frequency in his works. The prosody of the poems is in congruity with the poet's mental state. The phones of the terms used in the poems are inspired by the poet's melancholy and sorrow. From a contextual perspective, the majority of the contents of his poems signify the poet's melancholy, exhaustion and hopelessness.
5. Conclusion
The findings of the study were analyzed based on the views of such psychologists as Sadock, Koraz, Maurer, and Maddal, Leahy and Bolat and it was found that the feelings of sorrow and sadness, despair and hopelessness, fear and anxiety, pessimism, thinking about death and insomnia and distress in the poet were higher than the normal threshold defined in MMPI-2 test, indicating a severe depression. Factors such as blindness, destitution and poverty, emotional relationship with mother and her untimely death along with the unwanted birth of the poet have all been major influential factors contributing to his affliction with this psychological disorder.
In the end, it is suggested that future researches analyze Abdullah al-Baradouni's poems from an existentialism perspective, illustrating, in three levels, his relationship with himself, nature and others.
research article
Sayyed Reza Mirahmadi; Maryam Aghajani
Abstract
Extended Abstract
1.Introduction
In order to recognize the prominence, quality and delicacies of literary texts or their possible flaws, various critiques have been offered so far. Perhaps among the various views and methods of criticism, linguistic criticism is the most effective and incisive one ...
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Extended Abstract
1.Introduction
In order to recognize the prominence, quality and delicacies of literary texts or their possible flaws, various critiques have been offered so far. Perhaps among the various views and methods of criticism, linguistic criticism is the most effective and incisive one in revealing the contents and senses of a text.In the contemporary era, numerous scholars and linguists such as Heliday and Hassan have cited the precious and eloquent theory of the Iranian scholar Abdul Qahir Jargon (the theory of order), which has become the main source of their linguistic theories. Although at first sight, the secondary axes they have set out appear to be very novel and innovatory, but with a more profound scrutiny, it can be understood that the Jerudian's complicated discussions have taken a more logical order and are localized in some places for Western literature.These two scholars share similar ideas with Jurjani who does not specify an independent identity for a word outside the structure of a composition or sentence. These scholars examine language as a coherent structure in which a single word cannot be considered as a criterion for beauty or ugliness, but should be examined in the structure of a sentence or text. Heliday, like Jurjani, examines the role of language as an interconnected system, which consists of grammar, role, and system as three general principles.The object of this research is to answer the following questions: What are the factors used by Motenabbi to co-ordinate his poetry? And what is the most common factor? In order to achieve these aims, in addition to study the factors causing cohesion, their distribution frequency and percentage- are also represented and compared.
2. Theoretical framework
Heliday and Hassan categorized cohesion into two groups of structural and non-structural cohesion. This research focuses on the issue of non-structural cohesion. These two scientists categorize cohesive devices into two groups: The first group includes the factors which produce grammatical consistency such as referencing, deletion (Ellipsis) and substitution; and linking devices such as conjunctions; and the second group includes lexical tools such as reiteration and collocations (Heliday and Hassan, 1976, 32). Heliday and Hassan's theory of coherence was initially used to analyze cohesive devices in English, but this theory can be used in different languages, although the cohesive patterns in these languages may differ from each other. In a systematic order, based on the theory of Jurjani's order, Heliday describes "the grammar as a system which creates meaning and describes the grammatical categories according to their meaning."(Heliday, 2004: 10). The basis of Abdul Qahir's syntactic method in syntax is revealed in semantic and textual relations. However, by syntax he means the knowledge of how to use the components of a sentence, in accordance with the mental states and the situational context, not the science of syntax in its limited sense. In his view, language is not a set of words, but a set of relationships (Shafi'i, Resurrection, 435) and this is the point that contemporary linguists say. Because of the considerable merits of this theory, the subtleties and aesthetics of the studied poetry can be viewed from this perspective.
3. Description of the study
Considering the precision of this theory and its applicability in various texts, especially poetry, it can be used as a criterion for an accurate and comprehensive evaluation of the texts. The poems discussed in this article are among the episodes that he wrote in 347 AD in which he has paid tribute to camphor. The poet has selected this concept to show the fact that Motenabbi's language is not solely originated in poetic feelings, but that he proceeded with complete knowledge of his choice of vocabulary, and this poem is an example in which the principles of cohesion can be thoroughly examined. At the beginning, the theoretical framework is fully explained, and then it is applied inBayee poem and the factors of cohesion and their frequency are examined accordingly.
4. Methodology
The present study aims to investigate the linguistic approach based on non-structural cohesion theory – which explores subjects, objects, the new and the old information in the context (theme/ rheme construction of sentences)– using a descriptive-analytic method, and to reveal the conformance of this theory to Baeyye poem and determine which factors have contributed the cohesion of his poem.
5. Findings and conclusions
The results of this article show that Motenabbi's poem is cohesive, and it is possible to examine the cases of cohesion from two perspectives of grammatical and lexical consistency. Motenabbi has tried to use references, different types of ellipsis, substitution and conjunctive factors in the grammatical consistency of his poetry. Lexical cohesion in Motenabbi's ode is also of a high frequency, which has been achieved through repetitions and collocations.
Although Motenabbi has not shown a strong use of synonyms in this poem but in contrast, his artistic use of antonyms has gave a special prominence to his poetry. Regarding the concept of repetition, he clearly demonstrates that he has the full knowledge of the acoustic and semantic properties of letters and vocabulary, and he has adapted them to his poetry according to his poetic purpose. He does not pay attention only to cohesion in a single verse, but he has a more comprehensive horizon, and from the collocations he has used it can be understood that he has thought about every single word he has used and has not selected them accidentally.
The frequency of grammatical cohesive devices is considerably greater than that of lexical ones, and this indicates that Motenabbi has mainly tried to hide his poetic beauty, so that readers can have different interpretations of the poem; or he has not directly expressed his aims due to an inside fear he has had.
And finally, it can be seen that he has used cohesive devices in his poem quite consciously, since there is an interaction among all chains of this poem and there is no gap. He has arranged the words played with the images in such a way that makes the reader encounter with huge hesitations. According to what has been mentioned before, cohesion in this poem is linked to the foundations of aesthetics, and in the light of this attitude, Motenabbi has created a strong cohesion in the external and internal form of his poem.
