JOURNAL OF HUMAN SCIENCES
Year:2005 | Volume: | Issue: |Papers Count:25

Reason is recognized as the main principle of the Enlightenment and that is why the eighteenth century is called the golden age of rational-religious thinking. In this period, we witness not only a change in the position of science but also a rational (in contrast to metaphysical) attitude toward nature. Neoclassic literature of England under the influence of the Enlightenment is a humanistic and moral literature as it concentrates on the social identity of individuals. Eighteenth century is also the great age of satire, humour, essay and treatise since these genres unlike poetry study man with reason rather than emotions. The novel as the product of this age like poetry and satire follows the moral attitude of the Enlightenment; it attempts to establish some ideal models in the context of social oppositions and conflicts.

Appropriation is one of the sub-categories in (Arabic) syntax and rhetorics. It has specific precepts within Arabic syntax. In the books on rhetorics, it is usually discussed in the figurative senses of vocative case under the category or non-indication. In rhetorics, appropriation means limiting a thing or an action in a person or restricting someone or something to something or some action. Its usage in Arabic and Persian Language differs. In this article, the method of its usage in Persian Language, its instances and implications are discussed.

This study tries to be a stylistic analysis of The Desert (Kavir), by Ali Shari′ti, based on systematic paradigmatic and interaction axes. The first axis is where the author selects one constituent rather than others. The paradigmatic axis is where (s) he decides how to arrange and juxtapose those selected constituents. And at last, but not least, the interaction axis is where other rather paralinguistic or even non-linguistic elements affects the work of both aforementioned axes, and ultimately the interpretation of the reader of the text. Here, first and foremost, key terms regarding above considerations are introduced, and then. The Desert is analyzed based upon those theoretical considerations.

It is obvious that the language and, principally, the literature of each country can bring about the improvement of that language especially from an aesthetic point of view. By the word improvement, we do mean that Persian language has reached a dead-end or it is afflicted, but we intend to say that the literature of each country draws on the improvement, beautification and richness of the language. Here is the reason why we intend to consider this matter: Knowing that the efficiency of the words and also their semantic scope are limited, the speaker cannot often find the best words to express his thoughts or even his experiences, therefore we have come up with the idea of finding a solution for this problem. By dividing, the language into two parts of Colloquial Language (Self-acting Language) and Literary Language (Method-escaping Language), we are trying to concentrate on the second part of this division to represent their own techniques for the amelioration of colloquial language.

In spite of many interpretations written on Manzume-ye Makhzan Al-Asar in the past and in the present, there are still many abyats (couplets) in its prelude which has remained ambiguous and mysterious. The author of this study along with comparing and interpreting other critics′ views, and regarding the vertical relationships among abyats, expresses his own view on the presentation of the Story of Creation or the chronological sequence of creation in the preface of the intended book.

Dr.Mohammad Ighbal, the Pakistani poet-philosopher who played a vital role in the birth of his country, was the first to advocate the formation of independent Moslem state for the subcontinent. As a poet, Ighbal represented in perhaps the most sensitive manner, the collective consciousness of his people during a certain period of history. Another unique contribution of Ighbal to the contemporary thought is his bracketing modern science with "God consciousness" which he considers more precious than mere belief in God. He goes to Europe and become a philosopher. He comes to know the European schools of philosophy and makes them known to others. But meanwhile, he conquers the West. Based upon the knowledge he had of the rich new and old cultures, he was able to develop himself. He was a "reformer" of both individual and social levels. He was a very serious supporter of a deep change in thought. Ighbal was a man or peace, equality and justice. For every human being, regardless of race, religion, region, and social class, he dreamt of a liberated and united world and humanity free form-either capitalist or communist-western rule. The most important point in his philosophy is "selflessness". A person (or a society) must keep his (or its) individual characteristics intact but once this is achieved, he (or it) should sacrifice his (or its) personal ambitions for the needs of the nation. Man cannot realize the "self" out of society. Finally, Ighbal sees the individual and the society as the reflections of each other.

Getting through the system of linguistic studies that is based on dualist structuralism and passing the narration system of semiotic studies, Semiology considers the meaning production as a logical system n which the question of reference of the sources of perception, involved in meaning production, is set forth whose aim is a sort of ontology of the language production. This ontology causes the meaning production tangle with perceptive condition and introduces the viewpoint of phenomenology in linguistic productions that maintain some non-linguistic preconditions for the meaning production. One of these preconditions is considering a center or a base from which the main interfering process in the meaning production can be lead. This perceptive base or center is itself the source of a "presence" base on which a tense atmosphere is formed with two important features of extensity. These kinds of presence related to the perceptive process, which we will deal with its conditions of formation and dimensions in this essay, cause the meaning production to change into an instable and non-cliché one. To illustrate this matter, with and example of a poem by Sohrab Sepehri, we will demonstrate how a tense atmosphere in literal dialogues leads to the emergence of an instable meaning.

There have been various studies on Hafiz’s poetry. Pleasant rhythms, fascinating rhymes, appropriate lexicon, deep meanings, mystical allusions, and wise sayings of his poetry have been appreciated yet a lot of not pondered upon and the path for scholars is still not paved. This witticism in expressing delicate ideas and fine emotions is one of those areas which is considered by only few cynics. This article is an attempt to provide a study of the beautiful and splendid heap of Hafiz’s poetry.

Satire is an indirect criticism of society’ corruption and deviations in a humorous way or expression and its goal is the reform of the defects and pollutions. Abolghasem Halat is a successful and famous poet in satire, with a critical view and simple language. He as a proficient doctor, cuts the wounds and pulls the pus out to cure the patient. This paper deals with the analysis of Halat’s satire themes in four aspects of the social, political, economic and cultural matters. From social point of view, it considers the analysis of administrative, civil, judicial, hygienic, medicinal matters and also the social corruption. Politically speaking, it deals with social events, political parties, domestic dictatorship and foreign intervention. The economic aspect reviews the petroleum crisis, goods shortage, inefficient agriculture, and financial status of people. Finally the cultural aspect considers the matters related to education and important culture.

Satire is a kind of rhetorical figure, not a literary genre in Hafiz’s poetry. Hafiz’s methods of creating satire are various, sophisticated, with indefinite brevity. Misunderstanding of satirical methods in his poems, some times, has brought about incorrect interpretations opposed to the poet’s intention. In this article, Hafiz’s satirical methods have been classified into 12 categories such as satire through ambiguity, paradox, new and satirical interpretations of important subjects, logical fallacy, attributing opposite behaviours in to one self and so on. Hafiz’s criticized are all typical, without any names and are of two types: authorities and religious. He criticizes these characters in view of 1) moral principles and individual values 2) social damages. His satire is usually modest without any disgracing words. The subjects of his satire are mainly the criticism of those who object to the ideas of love and mysticism, the oppressive governors, morals and the hypocritical muslims. The form of his satire is often the result of gathering together incompatible elements, adhering to the false and intentional fallacy in an elegant and secret way. This is completely compatible with "the content" of his criticism of the society with is laws and basic structures deeply opposed to each other.

This article tries to answer this question: What are the commitment criteria in "binding literature"? The term "binding literature" or "Adab-ol-moltazam" is coined in Europe in the 19th century and actually is a branch in Europe. Commitment in Arabic and Persian literature in its modern sense appeared under the influence of European literary schools during the last century. The experts have considered various criteria in the definition of "binding literature". The criteria as: ethics and edification, religion, nationality, social and humanity issues. Each of these criteria can be a base to explain a specific literature as a "binding literature". But it needs further consideration which one of the criteria is closer to accuracy. Moreover, sometimes there are some contradictions in the presentation of the criteria that must be explained. The explanation of "binding literature" has exercised modification and development during the time and had been improved under the influence of social development.

This article tries to answer this question: What are the commitment criteria in "binding literature"? The term "binding literature" or "Adab-ol-moltazam" is coined in Europe in the 19th century and actually is a branch in Europe. Commitment in Arabic and Persian literature in its modern sense appeared under the influence of European literary schools during the last century. The experts have considered various criteria in the definition of "binding literature". The criteria as: ethics and edification, religion, nationality, social and humanity issues. Each of these criteria can be a base to explain a specific literature as a "binding literature". But it needs further consideration which one of the criteria is closer to accuracy. Moreover, sometimes there are some contradictions in the presentation of the criteria that must be explained. The explanation of "binding literature" has exercised modification and development during the time and had been improved under the influence of social development.

There have been various studies on Hafiz’s poetry. Pleasant rhythms, fascinating rhymes, appropriate lexicon, deep meanings, mystical allusions, and wise sayings of his poetry have been appreciated yet a lot of not pondered upon and the path for scholars is still not paved. This witticism in expressing delicate ideas and fine emotions is one of those areas which is considered by only few cynics. This article is an attempt to provide a study of the beautiful and splendid heap of Hafiz’s poetry.

Symbol is one of literary techniques which has been given attention by many poets. In its general meaning, symbol is the representation and explanation of something. The important characteristic of symbols is its ambiguity, unclearness, undetailedness and indirectness; it means that in symbolic language, desire and intention, is not the appearance and a figure of speech, but it is a concept, beyond the surface and deeper. Sohrab Sepehri, one of the contemporary poets, has used symbol in his poems and one of the mysteries of his poems is ambiguity and complexity. In this article the effort was to study and describe symbols in Sohrab’s poetry as much as possible, to see his worldview and his ideas from this point of view. Symbols of Sohrab’s poetry are originated in his Gnostic, philosophical and social beliefs and ideas. He has been affected by different cultures of Islamic Iran, ancient India and China and Christianity. However, his poetry announces an internal enthusiasm and personal behavior. Sohrab is a Gnostic poet and his symbols are different from socio-political symbols of his other contemporary poets.

This paper aims at analyzing and investigating the foregrounded words and phrases in Akhavan’s poems. The foregrounded words and phrases are those which are not used in scientific language and the language of communication. The analysis of the words in Akhavan’s poems shows that he has used five kinds of words in his poems: 1) the words coined by him, 2) the words which are not used or rarely used in contemporary language, 3) mythical words, 4) colloquial words, 5) abbreviated words. Regarding phrases, two kinds of phrases have brought about the foregrounding in Akhavan’s poems: noun phrases and adjectival phrases. Akhavan has created skillfully phrases reminding the firmness of Khorasani epic phrases and this feature distinguishes the abovementioned phrases from the phrases which are used in daily communicative language.

The Shaobieh or Islamic-Persian Humanism movement response a reply to totalism of Bani Omayeh, who in the shade of imperialism, had forgotten Islamic goals. The nature of Islamic humanistic movement was mixed with religious infrastructure and was derived from the holy Quran. That is why we can find a lot of true believer Muslims among them. Shaobieh had two main sects in Iran which prevailed in our literature and poetry for many centuries. The first sect was in the domain of sophism. The next sect was leaning on logical thinking based on science. The pioneer of this scientific approach was the "brothers of friendship" (Ekhavan-al-Safa) who analyzed the scientific issues and taught the entity of "doubts and knowledge". They believed that the first step toward knowledge is doubt. Among the trends which made a move in knowledge was an elementary realism. The peak of rationalism in Persian literature is Nasser Khosro. Motenabbi was a great Arab poet who, although cannot be placed in this movement definitely, (even some believe he was against Shoabieh) had some kind of self-esteem and freedom even from existentialism. This can place him next to Naser Khosro. The present research tries to discuss this important issue as far as the space of a short essay allows.

This essay deals with some definitions of "violence" oriented in four fields: Philosophy, Politics, Sociology and Psychology, and whether its origin is rooted in human nature or outside. Various tools of manifesting violence (thought, language and action) are also studied. It is also argued that the way to work against violence is not suppressing human instincts, but controlling and directing them. The essay’s focus is on studying violence and compromise in children’s literature. The authors, objective id to show that dragon, genie and fairy tales are proofs of violence in children’s literature. In conclusion, the authors have presented and analysis and evaluation of violence in two theatrical pieces for children.

Persian literature is a glamorous palace which has strongly stood up high during centuries and it already bears the heavy load of culture and thought of tens of generations. Today most of our knowledge of classic poetry is confined to thought and some subtle artistic points which have been emphasized in technical criticism and aesthetic books. A subtle point which has been neglected in Persian literature and in Saffavid era poetry, and more specifically in Saeb′s poems, is the analysis of paradoxical image and concepts. Among all those poetry techniques by whose awareness Saeb′s precious words can be deciphered and unfolded, paradoxes are the most outstanding. This paper aims at analyzing different paradoxical variations like: literary paradox and conceptual paradox in Saeb′s poems through discussing the causes of the emergence of this artistic tool.