JOURNAL OF LANGUAGE AND LITERATURE FACULTY OF LETTERS AND HUMANITIES
Year:2004 | Volume:37 | Issue:3|Papers Count:13

Persian literature, especially modern poetry, has brought about amazing changes in the language as well as aesthetic principles. The employment of onomatopoeia in the poetry of Nima and other contemporary poets presents a way to confront the dogmatic belief in poetical words in the traditional literature. Although Reza Barahani (1965) and Saeed Hamidian (2002) have referred to Nima"s use of onomatopoeia, no rhetorical analysis of this phenomenon in Nima"s poetry has been presented yet. In this article, the writer presents a linguistic-rhetorical and musical analysis of the question, while presenting evidence from the works of other poets Akhavan sales, Foroogh Farrokhzad, Sohran Sepehri and Shamloo.

The classical (fasib) Arabic, which has always been a source of solidarity among speakers of Arabic, is now facing serious threats. The first threat was posed by Arab speakers themselves, pursued later by Orientalists, who attacked the syntax of Arabic. The second threat was posed by those supporting vernacular Arabic dialects. This was welcomed by colonialists who wanted to separate Muslims from their historical past. While the threats have done damage to the solidarity of Arabs, the writer admits, it has strengthened national spirit, paving the grounds for the emergence of great poets and writers. In this article the writer discusses these threats and, at the end, presents practical solutions to these problems.

The poet laureate Bahar not only wrote poetry and did literary research, he was involved in social and political activities as well. What distinguished Bahar from the other poets of his time was the breadth of his knowledge about the history and culture of Iran. Bahar lived in a period of transition from tradition to modernity. Such periods are always turbulent, characterized by extremes. Drawing heavily on tradition, Bahar turned to modernity. Unlike many of his contemporaries, he was not absorbed in modernity at the price of tradition; rather, he meticulously sifted tradition and took from modernity only those elements that he considered useful for the contemporary Iran. The purpose of this ankle is to explore Bahar"s mild attitude towards modernity and tradition.

The purpose of this article is to introduce the prominent Turkish poet, Yunus Emre, a great writer of mystical poems. To dos 0, the writer introduces the poet"s views on love for God, love for the Prophet and love for God"s creation and creatures.

In the Persian poetry, wine, as it was believed to have a life-giving property, was likened to Jesus Christ and Water of Life. Is this comparison simply a hyperbole or is it rooted in some ancient belief? The sources of ancient beliefs of Iranians indicate that ancient Iranians had a divine image of wine. It is probable that at a time when some beliefs of Mithraism were borrowed into Christianity, the belief in wine as sacred, life-giving was entered into Christian beliefs. The writer argues that this image of wine appearing in the post-Islam poetry is rooted in the beliefs of Iranians, even though some of the poets using this image were not aware of this ancestry.

There is a direct relationship between the level of difficulty of an educational text and the learner"s ability to learn it. If this is not taken into account in the choice of texts, the desired results are not achieved. Also, the choice of an appropriate learning method has an effective role in learning. In this article, the writer, using the difficulty coefficient, or fag index, has critically examined some of the lessons of a Persian textbook designed for non-Persian speakers with the aim of investigating the appropriateness of these lessons with the assumed level of the learners" competence.

Man has always made long journeys by land or by sea to satisfy his spiritual and material needs. These needs include a desire to know the mysteries of life and immortality, to achieve the ideal life, material and spiritual, to acquire knowledge and experience. All these journeys have three essential elements in common; motivation, the route and the vehicle. Depending on these three elements, the culture of travelling differs from culture to culture, but sometimes, for various reasons, there are similarities between descriptions of journeys. The purpose of this article is to show the similarities found in the poetry of Manouchehri and some Arab poets with respect to the three elements mentioned.

Postmodernism, a subject of interest in most disciplines has come to occupy an important place in literature. Although it is known as an Anglo-Saxon movement, many of its pioneers such as Michel Foucault, Jacques Derrida and Jean-Francois Lyotard are French. The novel, which has been the dominant literary genre in the last two centuries, has undergone profound structural changes in the last quarter of the 20th century under the influence of postmodernism, hence the rise of the post-modern novel. In this article, efforts have been made to first introduce Postmodernism and second, to show the transition of the novel from its traditional to post-modern eras, culminating in "Le Nouveau Roman".

In Persian, like many other languages, there are three voices, passive, active and middle. In Persian, middle voice, like passive voice, is a structure consisting of a one-place predicate. Middle verbs are morphologically active and semantically passive. The purpose of this article is to describe the properties of middle construction in Persian and to explore the derivation of middle as a transitive structure within the framework of the latest version of Generative Grammar.

While the woman has hardly been portrayed in a positive way in ancient myths, the great Persian thinkers have expressed a realistic attitude towards the woman in their works. In the Persian literature, the woman has played a most brilliant role as the mother, (epitome of farsightedness, religious faith, compassion and wisdom), as well as the beloved (helping man in his ascension towards God). Using his typical method of narration, that is, using proverbs, idioms and traditions in a language free from any prejudice, Rumi sometimes elevates the position of the woman so high that he describes her as a blessing from God. And sometimes he plays down the position of the woman, reducing her to an instrument of vice, a manifestation of the lower self. By this he does not mean to insult the woman; according to him, the spirit is genderless, and that the value of human being, which is manifested in the spirit, is beyond that of the male and the female. The woman has never been granted such a high position as accorded by Rumi, who places her in heaven as the mother, considering her a blessing from God Almighty. Before he deals with the question of gender, preferring one sex to the other, he goes beyond gender and physical differences, attaching value to the individuals who can establish intimate relationships with one another. This is what you would expect of the righteous.

The writers of the present article begin with the assumption that, in various historical eras, the effects of the Qur"an on Arabic poetry and prose have not been explored to the extent that the ideas of the Qur"an have been explored. The effects of the Qur"an, the writers argue, on contemporary poetry and prose or on the Abbasid or Umayyad literature, for example, have hardly been researched. In this article, the writers discuss the effects of certain Qur"anic concepts and words on contemporary Arabic poetry. They take the examples from the works of those Arab poets, including Ahmad Shoghi, Hafiz Ebrahim, Ma"roof AlSafi, Mahmood Sami Al-Baroodi, Jamil Sedghi AI-Zohavi and Mohammad Mehdi Javaheri, who are known to Iranian students of Arabic.