Journal of Persian Language and Literature (University of Tabriz)
Year:2020 | Volume:72 | Issue:240|Papers Count:14

Turk of mine saying san san (Reviewing the reflection of Turkish language and culture in Khā qā ni's Diwā n)Yousof Asqari Bayqoot Assistant Professor, Dept. of Persian Language and Literature, University of Jiroft AbstractThere is no doubt that part of poets and writers' imaginary motifs is influenced by their environment and geographical territory and it is somehow reflected in their literature. Writers and poets' susceptibility is more than others due to their subtle and sensitive spirits. Accordingly, the current research aimed to give answer to this question: Had Khā qā ni shirwani been influenced by language and culture of Azerbaijan, his living environment? The research showed that the environment and culture of Azerbaijan and its common language, namely the Turkish language, were reflected in various forms in Khā qā ni's; In addition to direct presence of thousands of Turkish words, allegories and ironies translated from Turkish, popular beliefs, Azerbaijan environment had serious impact on poet's works and had been the basis of creating many themes and poetic pictures, to the extent that without regarding this, part of Khā qā ni's literature in his Diwā n was not well interpreted and clarified. Key words: Khā qā ni shirwani, Azerbaijan, Language and culture, Turkish language, Susceptibility

The greatest act of epic-mythological stories is kill the dragon. Other than Sistan’ sheroes in Iran’ s gladiatorship-national narratives, a number of kings also fight with dragon, creatures like dragon and dragons that have changedand they kill or capture them. In well-known sources and common narrations about him, Keixosrow Kiani is also one of these kings whohe is not a dragon race, but the story of his confrontation with the dragon is a genuine and ancient narrative that its background may be pre-Islamic sources of Iran and two different reports have survived in Arabic and Persian sources. The first report is in the book of “ history of the Senii of the Moluk al-arz va al-anbia” written by Hamze Isfahani and then Zajjaji’ sHomayoon nameh and Tarikhe Gozideh and Mostofi’ sNozhat al goloob, in which Kexosrowkilled a dragon on the mountain between Fars and Isfahan and the other is the history narrative of Qom that the king is going to Qom to keeping back the dragon’ s damage and the dragon escapes from her. The story of killing the dragon by Keyxosrowdue to lack of it in important and impressive texts such as Shahnameh and Tabari historyandagain tobe more prominent of the sacred and spiritual aspect of the king than his warfare and gladiatorship remained unknown and far from attention.

Ahmad Mahmoud is a climate writer and realist whose works deal with history, events and historical figures in various ways. The " Hamsayeha" (Neighbors) novel is the author's first novel, with a compilation of historical documentation, imagination, and memoirs by the author. "Hamsayeha", while having the characteristics of a fictional narrative, like the other Ahmad Mahmoud novels, deals with the realist narrative of an important historical event. The story of the "nationalization of the oil industry in Iran" is the plot of this novel, and this historical event plays a central role in shaping it. Much of the novel' relationships and this historical event have been structurally related and structured. In this essay, the reflection and reflection of this historical event and its related events in the "Hamsayeha" novel as well as the author's historical approach and judgment, have been contemplated; And its similarities and differences have been explained and analyzed by historical documents.

The dragon palace, the first volume of the Giants of Persia and I by Arman Arian, is the first mythical novel and one of the most successful examples of Persian teenage novels. The relationship between this novel and ancient Persian texts and Iranian cultural heritage is in reflection. The purpose of this research is to show the textual relation between the novel of the Dragon Palace and the earlier texts by descriptive-analytic method. For this purpose, the more textual approach, one of the cornerstones of the theory of the Gertratt-Genette theory, was chosen as the theoretical framework for this essay. In more text, any textual effects from another text are examined. The relations between texts in more than text, should not be of the same type of interpretation and interpretation, but the admissibility of the texts is the criterion. The findings of the research indicate the widespread connection between the dragon house novel and its predecessors, especially the Shahnameh. This relationship is based on the components of the more textual, more of a kind than the same kind of as the tragedy; However, all three processes of traction, namely displacement, increase, and decrease, are observed in this effect, among which the process of reduction is more frequent.

Belief in the originality of "firm" or "meaning" is one of the important subjects in the world of rhetoric and our literary tradition. Should we know the importance of the formation of works of art from the Form or Form or from the Meaning (content)? which has made a long struggle between the supporters of these two approaches. This endless conflict during the time of Safaviyeh namely the peak and splendor of the literary criticism and stylistics with the attention and the deep knowledge of literary critics is being surprisingly continued. Besides in the Hindi style poem which has also been the most important field of rhetorical subjects and criticism and stylistics, in addition to many other important and new literary subjects, the attention to the originality of form or meaning is glaringly displayed. If in the poems of Saeb, the most rhetorical and fluent poet of Hindi Style, the subjects like: " pure form", "unfamiliar form", " polishing form", " new meaning", " delicate meaning", "strange meaning", "florid meaning", using form and meaning jointly, are seen frequently.

Most of the coordinates of language in Ferdowsi's Shahnameh are based on a central dialogue, along with these speeches, we also encounter the characters. The role of self-reflection is used for lonely conversations and is a narrative that shows the emotional experiences of story characters at different levels of mind and is close to the flow of the mind. This pre-speech stage is an internal quest that the person uses to explain the situations and present their minds. In literature, language and self-reflection are two systems of sign and try to depict the contents of the mind's personality. Self-reflection in Shahnameh means production and conceptual applications. In this paper, from the point of view of linking literature with psychology, spontaneity in Shahnameh has been characterized by two qualitative and quantitative research methods, which shows a significant relationship between self-reflection and personality in Ferdowsi's Shahnam. The result is that selfishness in actions such as action, action or confrontation has shown a passive attitude, while the relationship of personality faces with self-reflection is far more effective and clearer. In the analysis of the content, the most authoritative personality of Shahnameh with (23) Beit Rustam and then Siavash (20) Beat and Kikavos (18 bits) are the most authoritative characters.

Abstract Dual oppositions are one of the most important functions of human collective mind. For the first time, Nikolai Trojistov, a phonologist (1890-1938), referred to the term "double contrasts. " This issue has been particularly respected by constructivist theorists, and novelists have either asked for it or used it unwittingly in the narrative structure of their stories. Given the importance of the novel "This street is not accelerating", in the post-revolution literature, this essay attempts, in a descriptive-analytical way based on deconstruction elements, to examine the elements of women in the writings of contemporary literature in this novel. And has come to the conclusion that this modernist novel, in a deconstructive way, seeks to create doubts about the duality of man and woman. The apparent dual opposite of this novel is patriarchal / feminist thinking. For this reason, female characters find that their status and identity are the product of patriarchal imposed social relationships that created men and authority for the male language. The written language of the text is due to the reflection of beliefs, worldviews and emotional affairs, highlighting women's oppression in confrontation with the man, paying attention to the sense of hatred and fear in women, the sense of women's independence in the main character of the novel, protesting the male repressive and responding to With feminist criticism, deconstruction etc., it is an attempt to express contradictions in a patriarchal society. Keywords: women, writing, deconstruction, gender, world Mary

Attar who has been continuously in relation with the Holy Quran and hadiths, has given a great deal of dedication to the interpretation of the verses and hadiths according to his intuition. In addition to simple structural and one dimensional interpretations, he has multi-dimensional interpretations too. In that way, he has looked to the same quranic and narrative matters for many times and gave a different interpretation each time. This feature which is characterized by his style is called »multi-dimensional interpretation «and it's the subject of this research. On the other hand, by studying poetic works of Attar, we clearly find his previlieged attitude to the process of Human's creation and his descending to the earth. Now, this question arises that how is his idea about Human descending from the court of God and what structure it has? The present research is based on a descriptive way and content analysis method and is designed to provide an answer to this question. Discoveries show that presented interpretation about descending of man indicate Attar's multidimensional look to the man's descending and also makes a collection that can be called clustered interpretation.

The paradox is considered as an innovative array in Persian literature, one of the factors beauty, surprising and highlighting in literary works (and mystical). This research intends to investigate the causes of the growth of this innovative array in Attar’ s Manteq-o-alteir Based on Jung's psychology. According to the results, . Attar, with the help of the Simorgh and Jung, with the help of their own ancestor of both, seek to evolve and develop human, that is, the whole and the whole integrated paradox is fundamental; Because it consists of opposing forces; forces such as good and evil, the small world and the great world, the whole and the material, and the mino (the unity of opposites), which seeks to integrate and balance the two aspects of being, that is, "the body and the psyche" Thirty chicken or self-conscious + Simorgh or unconscious) Which is interpreted as unity; The result of this unity, fanaticism and this fanaticism at one and the same time, survives in other dimensions. As a result of such a complete paradox, that is The mystic of the total and complete in the "centuries", "sees in the shade of the sun", "in selflessness", and "in the absence of existence" It will be achieved.

The image as part of the message is the affect intermediate between the speaker and the audience. Examining the components of the image and its impact on the audience can inform us about the amount of emotion and affection of the poet; The diversity and dynamism of the image leads to its permanence in the minds of the audience and, as a result, conveying more affection. The diversity of the image, on the one hand, shows that the speaker has experienced it with all his senses, and on the other hand, it enables the audience to receive the message with various sensory receptors. In the present paper, we first review the theories related to affection, image, demilitarization, and their interactions with each other and with the audience; Then, a variety of verbal, visual and vocal images, cinematic images, and transformation in the vertical axis of imagination, identification through the image as well as the components of the image, such as verbs, the image of words and colors, and their connection with Rumi’ s affection and emotion in Shams' sonnets are investigated.

Artistic games with words form the central part of Nizami's aesthetic. The major share of these games are played in Khamsa with the name of fictional characters. With the help of 41 word names, Nizami has performed 400 cases of artistic games. Most items of games have been conducted with Shirin, Shekar, Mahan, Shabdiz, Goor (Bahram) and Leili. Nizami employed literary arrays such as proportion ambiguity, total pun, partial pun, repetition, derivation pun, pseudo-derivation pun, redundant pun, subsequent pun, and difference pun in long vowels (from the most to the least) to run artistic games. Shedding light on these games would reveal the essence of Nizami's art and power. In addition to artistic aesthetics, the poet has followed other objectives too. For instance, with the help of these games, he has supported fictional atmosphere to attract the attention of his readers. Apparently, the poet has deliberately played with the word names, but in some cases the game has been so appropriately that the reader takes it as granted. The high frequency of games with word names is the major stylistic feature of Nizami's works.

The use of Allusive simile and metaphor in expressing the mystical experience and preliminaries(Based on Mantegh-al-teyr by Attar)AbstractPoetry is the manifestation of poetic and artistic images. These images are created using the rhetorics and its various tools. A mystic poet uses these images to recreate the mystical experiences and preliminaries. Among the most important devices used in mystic poets' minds to recreate – Including Attar Neyshaburi-are "simile", "metaphor" and "allusion". He has used simile repeatedly in Mantegh-al-teyr – which is the story of a group of birds' spiritual journey-to express the mystical experience and has combined it with allusion. In this paper, with a descriptive, analytical and review method, as we introduce this device, we will show how these tools or techniques have been used to express his mystical experiences and it’ s preliminaries. In mystical poetry, decorating speech is secondary but the main purpose of the poet is to express preliminaries of internal and mystical revelations and experiences, so his poetical images are driven from his religious and mystical attitudes. Most of Attar's similes and allusions are related to verses and stories of Quran and religious and quranic characters and religious subjects and Hadiths, as well as religious sayings, characters and subjects and that is a sign of the deep impact of religion and mysticism on his speech rhetorics. Key words: Image, allusive simile, allusive Metaphor, mystical experience, Mantegh-al-teyr,

Literature and social has mutual effects together and it can know that the literature is a reflection of social realites. One of these influences is the effect of class system and autocratic on the society and membersʼ s communication, and the literature as the principle of social appearance itʼ s reflect at itself. Class system is a social inclusive system that people disport to some separate class, and in this system some of people enjoyed complete citizenship rights, and the rest of them deprived the primary rights. Acceptance and emphasis on difference, opposition, and generally inequality are the characteristics of this system. Class system has results to autocratic that itʼ s components are the sanctity of the king and one-way conversation, and the fear has form itʼ s founding. This system has effects on peopleʼ s attitude, belives, moods, and expression of the contentsʼ s manner. So that literary language tendency to indirect expression and aphorism, and sideways of the content of the literary works to serve the interests of the socialʼ s ruling and powerful class. This article studies these effects and itʼ s reflection in the educational literature by descriptive-analytic method, relying on the most prominent Persian prose educational texts that classified in political advice writtens.

Critical stylistics is a new approach rooted in critical aesthetics that has emerged from the perspectives of the Frankfurt School. . The study of stylistic feature of a text from a critical point helps us understand how the text is related to the power and what the ideology of the text is. In Shamlou's poems, from the point of view of critical stylistics, the layer of pragmatics and rhetorical and lexical layers can be examined. From the perspective of the pragmatic layer we can study propagation of meaning and deviation on the poems of Shamlou. The analysis of these indicators has been done with the help of critical aesthetic theory. From the perspective of the rhetorical and lexical layers we can study archaism and repetition. From an aesthetic point of view, these attributes are explained deviation on the poems and criticism of power in modern times. In these studies, Shamlou's poems are in a negated position toward the center of domination. He criticizes the one-dimensional man in modern times and also the pattern of power in contemporary societies.