JOURNAL OF FACULTY OF LETTERS AND HUMANITIES (TABRIZ)
Year:2005 | Volume:48 | Issue:196|Papers Count:16

Interpreting the Verse 72 of Ahzab Sura, commentators of Holy Quran in explaining the terms 'tyranny' and 'ignorance', are unanimous, though with some differences of opinion, in the point that through accepting to carry the burden of the divine trust Which has been beyond his tolerance, man has tyrannized himself, and has been ignorant of the difficulty and grandeur of the burden of trust and consequence of carrying such a burden. Though, at the surface level, this interpretation implies some sorts of reprimand and reproach due to senses behind the terms 'tyranny' and 'ignorance', in the mystical literature, these features have been interpreted in such a way that are considered as extolment and commendation, and not as vituperation and blame. The present article attempts to explore some literary texts, aiming at discussing these term from the perspective of mysticism.

Reading literature as a an activity for the purpose of revealing "truth" is usually doomed to failure in the western tradition of literary theory influenced by scholars such as Kant because such theories generally ignore to take into account reading as a real-world phenomenon and the presence of the reader as a key element in the formation of the meaning of the text. This, it is supposed, would lead to a frustration that usually results from the ignorance and concealment of "truth". In contrast, it is supposed that a reading in the context of the real world and in close connection with the reader's existential experiences and talents must be full of bliss because it would disclose aspects of "truth", which otherwise remains concealed through what Viktor Sklovsky, the Russian formalist, would call the paralysis of our limbs and senses due to our becoming "habitualized" to everything. This paper will argue that, although Shklovsky's theory could not substantialize this grand goal of his due to the formalistic nature of his approach, a more comprehensive approach to the reading of literature can be formulated on the basis of poststructuralist studies influenced by Heidegger's philosophy so that "truth" may be touched and experienced existentially.

This article tries to investigate the meaning of “unfamiliar concept” from the viewpoint of Saeb. It also attempts to demonstrate what the main features of his poetry are and what special characteristics he looks for in his books of poetry. A close study of his works and also his style show that the “unfamiliar concept”  is the creation of meanings, a new set of associations and taxises. These are mainly achieved through rhetorical structures like amphiboly and stylistics. Among these, amphiboly which comes from simile and irony have a special place.

A study of bird imagery in the Poems of Prison-Poets indicates that the aesthetic and psychological issues are so closely related that it makes the critic of aestheticism to be considered a criticin Psychology. This essay means to do a survey on the elements of colour and motion in imagery and conceptualization  ob Poets on birs in Proison- letters to enable us to approach the mental and spritual word of Prison-Poets and to disclose the mentality and standpoints of the three Prison-Poets’ Poems, Masoud Saad, Khaghani, and Bahar in their collection of Poetry.

The subject of the article, as the title suggests, is the analysis of Sadi's Golestan prologue. First, what we deal with is whether Sadi had a pre-arranged plan to write his Golestan or not. Secondly, the article deals with the question whether there is enough proof supporting the hypothesis claiming that Sadi wrote Golestan in accordance with the social atmosphere of his era.The next part discusses the possible reasons why the book was chosen as a major educational book at schools. All the answers provided here are based on the analysis of Sadi's Golestan forward.

Mathnawi has been Called The “ Metric Quran” too. That is because its fall of Quranic verses and Ramie's mind and tongue are mostly formed by Quran than anything else.Rumi’s approuch towards the Verses can be divided into four types: 1- Verbal participation. 2- Spiritual participation. 3- Interpretation. 4- hermenutic. In this essay we point to the last 2 types. Is what Rumi does, hermeneutic or interpretation? What are the tules and origins of hermeneutic in Rumi’s view?    

If we look deep into the rich history of Persian languege and literature‚ we will perceive some instances of the influence of the literature of various nations across time “Kelile Va Demne”‚ a Persian allegorical masterpiece‚ has Hindi  roots and was brought to Iran by Borzuje. Many years after the iranian conversion to Islam‚ Arabic language and literature was wrapped in a glory of holiness‚ and was further penetrated and homogenized with persian language and literature so much that it seems difficult to separate the two. TheArabic poetry of preislam mingled with Khorasani and‚ Araqi styles of poetry‚ bringing with it all its motifs and themes.In Moezziُs poems and Manuchehriُs collection‚ we trace Arab nomads and the ring of their camels’ bells. Persian language and literature‚ in turn‚ has greatly affected world literature. Iranians such as Badiozaman Hamedani and Saheb Ebn Ebad pioneered Arabic figurative writing. Longfellow got impression from Sa’ddi’s line “Bani ’adam ’aza-ye yekdigarand ” ‚ which mean” human beings are parts of one body”.  Herder‚ Mosse and Balzac talk of sa’adi. Victor Hugo’s ‘ immortal being ’ reminds us of the peacefulness of the seashore and the melody of the waves that confess the excellence of creation. Gotteُs romantic poetry is indebted to Hafiz for its substance which made him honor this Iranian poet. Last but not the least‚ Ferdowsi and the effect of his masterpiece on world literature goes without saying.Since Qajar era and the establishment of Darolfonun‚ Iranians have been extensively familiarized with the Europe’s literary works‚ including story – writing in its modern mode (style) which is based on a cause and effect relationship between and among the story elements which distinguishes it from tales and anecdotes. Since then‚ they have created many such which wereinfluenced by literary schools of Europe.The writer of this article attempts to find out to what extent and how modern Persian short-stories / are affected by the writing styles of Europe’s literary schools. To make the study a practical and manageable one‚ the writer takes as the corpus of the study nearly all the works of Mohsen Makhmalbaf‚ a famous writer and film director‚ and strives to illustrate the extent and type of the aforementioned effect.

Since the onset of studying on Hafez’s poems until present, a mass of precious researches on the beauty-associated properties of his poems have been carried out; nevertheless, they are not purely clear of habits and recognitions. The fact is that, an unprecedented look at Hafez’s poem discloses a novel world with all its magnificent sights towards its viewers. In this paper, the phonological, musical, and audio-visual aspects, besides features like words and letters movement and other invisible relations among the constituents of his poems with an unconventionally new approach have analytically been studied. The burden that the audio-visual aspect of Hafez’s poem carries on its shoulder is the one that, in addition to exhilarating its addressee through the musicality of words and their combination, aims at aiding him in achieving the ultimate meaning. Consequently, the argumentation on the invisible literary features is to further explain the multi-dimensionality of his words and meaning to the readers and to better shed light on the complex relations of his poem.