PERSIAN LITERATURE (FACULTY OF LETTERS AND HUMANITIES)
Year:2014 | Volume:4 | Issue:1 (13)|Papers Count:10

Gilles Fauconnier and Mark Turner have considered the issue of conceptual metaphor as a special case of more general and comprehensive matter. This vast matter is the analysis of Mind System mechanism when it exposes to conceptual domains. To describe such a process, Fauconnier and Turner use the term of Mental or Conceptual Space. They believe that in order to understand much of human thought complexities, the pattern of one or two domains would be insufficient and aLatticed (or multi-spaced) model should be provided toexplain human’s imaginative thought. A latticed model consists of three input, blended and generic spaces. The main purpose, in present paper, is to show how it can improve the accuracy of conceptual metaphor analysis and how it helps the reader to analyze the elements of the poetic imagination. It will also be examined how much the latticed model would be useful to analyze the conceptual metaphors in the Persian Literature, especially in Persian Poetry.

The comparative study of the works of Iranian and Russian authors such as Ferdowsi Tusi and Alexander Pushkin makes the opportunity of being familiar with the culture of two Russian and Iranian people more possible. Although there is not that much similarities between Persian and Russian classics from the perspective of style and content, but studying the love stories in both literatures the common subjects and the influence of eastern literature on the Russian one are obviously clear. Common subjects in two different literatures are very interesting, for they can show the cultural differences poets and their points of view as well. The characters of both stories are historical figures."Khosrow and Shirin", a love story composed by Hakim Abu’l-Qasim Ferdowsi Tusi (940–1020 CE) the highly revered Persian poet, "The Fountain of Bakhchisaray" written by Alexander Sergeyevich Pushkin (6 June [O.S.26 May] 1799– 10 February [O.S.29 January] 1837), are both love stories that reflect the writers’ viewpoints about the phenomenon of love. Meanwhile, both stories are tragic ended.

Hakim Abul-Majd Majdud ibn adam Sanai Ghaznavi, is often characterized as the "ingenious poet". Using satire in mystical texts is the technique can be considered as one of his inventions, what had already been used in socio-critical texts. Theosophists, after Sanai Ghaznavi, have frequently utilized this approach to teach moral aspects. To find satirical techniques applied bySanai Ghaznavi (467-529 or 545A.H.), in this paper, as well as expressing his purpose to teach ethical, moral and spiritual lessons in his masnavi, "Hadiqat Al-Haqiqa"; we initially introduce a general definition of irony and satire and their conventional techniques, and then, we will review and classify the features of Sufi language. At the end, the Hadiqa stories, their humors, messages of mystical techniques, and their moral and philosophical analyses will be expressed, if available. Summarizing and understanding the mystical, wise, moral and satirical messages of Hadiqa as well as the special language for which Sanai Ghaznaviattempted to reach are all the results would be obtained out of present study.

The study of topics concerning rhetorical issues shows that paying attention to "condition requirement" in the first quoted definitions can be considered as the most significant criteria in rhetorical speech and the speaker. Although it seems being the most important and the most fundamental subject during different periods, but none of its theoretical principles has been explained in the old and modern sources.It will be make clear, in present study, and after a review of different viewpoints on the subject, that despite the existing conceptualization about the audience-based state of condition requirement in traditional rhetoric and despite the criticisms regarding this field, and although terms such as speaker's condition requirement, speech, and conditional context cannot obviously be found in these sources, but in these books, under the different titles, some subject matters are proposed on which one can deduce all its requirements in several levels.

During the reign of the Seljuks (431–590), a considerable number of Persian poets and writers lived in their territory. Reviewing the lives of the kings, and that of their ministers and other politicians and dignitaries of Seljuks ear, this article tries to show how much each of these individuals had supported Persian literature. At the next step, the patrons are classified in six categories: the kings, the ministers, the local rulers, the court staffs, the Alavids and the military commanders, to determine to what extent each of these classes was pro-Persian literature. The conclusion is that Seljuks, with the exception of few ones, were not that much inclined to patronize Persian literature. However, the development of a new class of local rulers who were relatively considered as literature patrons and the empowerment of some groups like Shias and Ismailis were the positive events that occurred during this period. Along with their increased power, these new centers of power also supported other cultural issues. The Turkish origin of the ruling dynasty had a negligible influence on their apathy in Persian literature and most of the people who disregarded the poets were of Iranian court.

Amir Abu Mohammad ‘Imadi Ghazvini was one of the most prominent poets of the 6th century A.H who was very famous in his lifetime, but we don’t know much about his life and have not yet obtained his divan. The author, in present study, has tried to eradicate on the life of this great poet of the Seljuk era introducing several sources, sometimes new, depending on ‘Imadi’s published or unpublished poems. Finally, the sources of ‘Imadi’s poems would be presented through several published books, poem collections (Jongs) and manuscripts.

Initially in this article, a brief history of rhetorical narrative approach is offered and the definitions of important terms and concepts, such as implied author, types of audiences, unreliable narrator, tension, instability, etc. from the viewpoint of three generations of rhetorical theorists are provided. Then, “Tree” a short story by Goli Taraghi, published in her collection, I’m Che Guevara, too [من هم چه گوارا هستم] has been reviewed and interpreted. The main subject of the story is the Cycle of Misuseon-which all of characters are involve. Different groups of readers have their own feelings and opinions about the characters of the story, and they express their sympathy to some of them. Our Main purpose is to investigate the existing differences of readings and the quality of plot development from various viewpoints of readers. The story forms on the theme of “Tree: immortality and decay”, and as characters stand on various permutations, different kinds of readings would be possible.

The mental association and the innovation of lingual and artistic relations on two syntagmatic and paradigmatic axis results in collocation in a literary speech. In the ordinary and formal language collocation is the necessary condition for a speech to be considered meaningful and coherent, but in literary language, there is a variety of aesthetic creativities and innovations that leads to the emergence of several collocations in the speech. So, in comparison with an ordinary language, several collocations can be found in a literary one. Of the most important and the most frequent linguistic and literary coordinates of Azerbaijani poetic style is the existence of an extensive proportion and relation in the network of words and the images, phones and concepts in each verse. This article reviews different types of collocations in Azerbaijani style.

There have been survived any ancient and authentic manuscript from the poets lived in Ghaznavids’ era. What have been frequently published, out of their works, are mostly based on recently corrected manuscripts. Various entered errors, however, have made considerable changes in meanings and forms of the works. Farrokhi Sistani is one of those outstanding poets who undoubtedly had a great influence on the Persian poetry. Relying on some old dictionaries (Loghat-e Fors, Jahangiri and Rashidi) and the anthology of Sheikh Safi al-Din Ardabili’s monument, we tried to show that in printed edition of Farrokhi Sistani’s divanthe words such as "Chamchakh, havazi, pahne-bazi, Chakanidan, Hendovan and Basaghdah" have been made corrupted and changed.

Talking about ego, in the Sufis’ works, two terms of “endeavor” and “austerity” have been sometimes used focused on each other and sometimes alone.Did they have similar definitions and positions in Sufis’ opinion or had they been different from each other? We claim that “endeavor” and “austerity” had had different positions and of course different definitions in old texts. It was made clear, after accomplishing present research that the Sufi authors had explained these two issues apart from each other in their instructive books on Sufism; but most of them used “endeavor” and “austerity” with similar meaning and focused on each other when talking.