Journal of Literary Studies
Year:2011 | Volume:44 | Issue:1 (172)|Papers Count:7

Imitation is a keyword in philosophical poetics that is the Fundamental element of poem. Concept of this term has changed since time of Aristotle to Qonnaee and then to other Muslim philosophers. This article is seeking the concept of Imitation Through philosophical writings and with Phenomenological method. Our Resources are Poetics’ Aristotle translated by Qonnaee and then epistles of Farabi, Avicenna, Baqdadi, Ibn Rushd, Nasire Toosi and Qartajeni. Subject matters in this article are: The spiritual realm of Imitation, distinctions and likenesses of Imitation in arts, Imitation in poem, kinds of versicular Imitation, purposes of versicular Imitation, versicular Imitation and logical syllogism, versicular Imitation and rhetorical Techniques and finally versicular Imitation and Ultimate moral purpose of poem. Qartajeni isn’t philosopher but his work is affected by writings of Farabi and Avicenna.

In this paper we have studied and shown the ambiguity forms and the factors making them in Sufism letters of Sohrevardi which are symbolic stories. Because symbolic sufism stated are kind of knowledge concepts, and the way of interpretation is just possible by similar words. Sohrevardi has used allegory for stating those concepts. His symbolic allegories have been formed from fiction narrations and symbols and the overcoming of these symbols over fiction narrations has formed ambiguity. In this paper according to the interpretations which are taken from Sohrevardi's allegories, the remaining ambiguity in these allegories and its factors were studied. The obtained results show that the amount of ambiguities in each of these allegories depends firstly on the reader's presuppositions and beliefs and his familiarity with Sohrevardi's mentality and outlook and secondly on the kind of applied symbols in allegory (mystic, personal and repetitive symbols. The most ambiguous parts are in these letters; Avaz-e par-e Jebraeil, Aghl-e sorkh, Fi haghighatel Eshgh and Resalatottair.

One of the short poems of Sanaei Qaznawi- who is a religious a religious poet of 6th A.H- is Tahrimat-ol-Qalam. It is clear that this work refers to him and is also less noted. Qalam in Persian literature has got a sublime nature and poets/writers have adored it. In mystic literature the Qalam has been referred to as the first creature, essence, wisdom, territory, light and etc. Mystics believe that the first creature is the perfect man who must, after his fall, return back to the holy state & regain his perfection. In this essay, this issue has been worked upon in regard to some of the mystic texts especially the prefect man by Aziz-ol-din Nasafi. This essay attempts to expresses the point that Qalam in Tahrimat-ol-Qalam is the same as prefect man indeed Sanaei tried to praise it as the prefect creature. The aim of Sanaei is to resist the hypocrisy of his day & finding his way in order to transcend our essence. In this way, Qalam expresses some stages of mystic path (Selouk) and thus it can be regarded as a pamphlet of mystic path. This assay has categorized the advises of Qalam in the four fields: invitation to regret, invitation to avoid hypocrisy encouraging honesty& fight against the ego.

This paper seeks to explain and interpret of the meaning of "naghsh" in a controversial verse from Hafez: داده¬ام باز نظر را به تذروی پرواز بازخواند مگرش نقش و شکاری بکندInitially, some points about the word "naghsh" raised by earlier commentators have been considered. Many commentators, following the meaning Soodi has given to the word "naghsh", have taken it to mean a term related to hunting. The author has found several reasons to reject this interpretation and has concluded that "naghsh baz khandan" in this verse from Hafez means "to perceive the effect of something or someone", correct perception or understanding of something", etc. and this word has no relevance to hunting.

C.D.A stylistics is an approach in stylistics which goes beyond description and semantic interpretation and gives psychological interpretation and sociological explanation of a text. This article is intended to present a psychological interpretation of Blind Owl applying functional variables such as ideational, interpersonal(tense, mood), textual(cohesive ties). This article is trying to reply to this question: what kind of surrealistic features functional variables can represent. The hypothesis is that through functional variables some surrealistic features such as subjectivism, automatic writing, soliloquy and stream of consciousness are represented. The theoretical frame work is C.D.A stylistics and the research method is statistical- analytical, the data analysis has been done by one-stage cluster sampling proportional to sample size as well. The results indicate that Blind Owl based on linguistic evidences is subjective, reality denying and surrealistic.

This research tries to achieve an executive determination about Kurdish epopees. The epic poems which we know it’s as Kurdish Shahname. These epopees are rooted in myth and included the general believes and the viewpoints of Zagros settlers belong the earlier ages of human life from today. The difference of mythical foundations between Western and Eastern Iran appointed the researcher to survey in the ideas and worldviews of Kurdish Shahname. This surveying leads to achieve a conceptual classification and it helps to have a comparative studding to know the proportion of original Kurdish Shahname. The structure of Kurdish literary language and the poems meter is the other point that mentioned there and writer tries to determine and explain the concept of “Gurani” with some sample words. There is a special part for Oral literature also to explain how the booklets and handwritings were engendered and also has speaks about aspects of narrators’ performance. The main conclusion of this paper is that the Kurdish Shahname is an original and independent text in Gorani and the seclusion from official Iranian literature progress causes to accept some metamorphosis and also to be affected from some sects after Islam and ancestors of ancient Iranian religions in Zagros area.

The new edition of Tarikh Beihaqi, the precious work by Abu Al-Fazl Beihaqi, was published by attempts of Dr. Mohammad Jafar Yahaqi and Mahdi Seyyedi, in the winter of 2010. Before this, famous masters such as Adib Pishavari, Saeed Nafisi, Dr. Qasem Ghani, and Dr. Ali Akbar Fayyaz had edited this prominent work. The new edition and the research, however, are of a special value, for besides the accurate contrastive study of several manuscripts and previous editions, and providing a critical edition for it, many of the defects of the previous editions are corrected. Among the significant advantages of the new edition, a comprehensive preface, abundant explanations and corrigenda, and various indexes are to be mentioned. This essay is to present some corrective suggestions by a critical study on this new edition, mentioning advantages and strong points, as well as some defects.