JOURNAL OF HUMAN SCIENCES
Year:2007 | Volume:- | Issue:54|Papers Count:32

Savant Mir Faghfur Guillani (d. 1030 h.) is one of the savants and poets of the 10th and 11th centuries (Hejira, Saffavid period). He was fully proficient in various sciences and knowledge such as medicine, sagacity, music, poetry and calligraphy. He lived part of his life in Isfahan and composed eulogies in praise of King Abbass Saffavi, but for different social reasons, like many other poets of this era, immigrated to India and joined the companions of Prince Parviz. His Saghi-name follows the pattern of return tie and Hazaj meter; it consists of selected and significant verses which, besides its creative descriptions that engrave in heart, present a particular manifestation of mystical and philosophical thoughts. Some of the main subjects of Guillani's Saghi-name are: insight and factualism, magnanimity and high-mindedness, reproach of false piety, free-spirituality views and Malamati thoughts. In order to express his thoughts and standpoints, the poet was affected by the themes of past poets such as Khajeh Hafiz Shiraz. Certain characteristics of Hindi style can be traced in his poems. Simile, metaphor and personification are among the prominent picture-making elements of his Saghi-name.

As two distinct forms of drama, tragedy and tazieh are closely related to religion, myth, and rituals. This invites us to a comparative study where tragedy not only shares its origin with Tazieh but its structure and dramatic features. In a comparative study, however, we encounter differences too. In the study of tragedy of these two nations, Iran and Greece, we face two distinct philosophical and social views. Tazieh is formed by an external conflict between two forces of power: good and evil. On the contrary, the conflict that forms the Greek tragedies is between men and gods. While the struggle in Tazieh finds a socio-political aspect, in Greek plays gods are the central subject. Consequently, other elements such as oppression, innocence, and nobility of the heroes receive a different interpretation since determinism is treated differently.

The main subject of the three historical plays Gotz von Berlichingen by Goethe, Wilhelm Tell by Schiller and Die Hermannsschlacht by Kleist is self-sufficiency against various forms of despotism and cruelty in periods of political and social chaos. In these works self-sufficient characters such as Arminius, Gotz and Tell are introduced, whose self-sufficiency against despotism and foreign invasions is discussed in three different historical periods. In this way, these writers, with their own points of view, have tried indirectly to show the different paths of confronting despotism and the limitations of self-sufficiency in the periods in which they lived, the 18th and 19th centuries. These plays show that Goethe and Schiller have examined self-sufficiency more accurately, and view the issue relatively and in a more cautions manner, and confirm its validity only under specific conditions. In contrast, Kleist, because of his great sense of nationalism and desire for a united Germany, viewed the issue of self sufficiency from a more biased and radical point of view. The issue of self-sufficiency is not restricted to these three plays, and as long that history is a record of despotism, this issue will always remain important and relevant.

Plutonious (Faloutin) by fusing Plato's ideas and Aristotle's ideas as well as beliefs and doctrines of different religions such as the Hekmat (wisdom) and ancient oriental philosophy established the Neo-Platonic philosophy. His philosophy had a great impact on Iranian-Islamic philosophy and mysticism so much so that the Ishragh philosophy which is the most prominent philosophy was affected by it. The primary concern of the present article while arguing an illustration of the quality of this effect and the impact of neo-platonic philosophy as well as Hekmat (Wisdom) and Islamic mysticism delineates its influence on Molavi's mysticism and explores the affinity of neo-platonic philosophy and Molavi's mysticism. In this study, Faloutin's basic philosophy, that is, oneness, all-knwoing Reason, and all-inclusive Self (essence) is argued and is compared witt Molavi's philosophical thought and mysticism. It also analyzes their affinities and discrepancies, especially in such points as all-embracing self, return of the self, the quality of this returning, recognition, unified oneness, rational being, creation based on revelation (manifestation).

Research in literary texts and artistic works must be along with knowing philosophical imagination and understanding epistemological aspects of imagination and thus is indebted to the fundamental role of imagination in poets, literary men and artists' creations. So, thinking and research in theosophists: and philosophers' views about the essence of imagination are the basic discussion in the philosophy of literature and art. This article explains the most important epistemological arguments in philosophy with the help of Farabi's view. In Greece, for the first time, Plato gave the last and the lowest level to imagination in philosophical system and that is why artists and poets have been rejected in his Utopia. But Aristotle saw the imagination from a philosophical view. He called it one of the faculties of the soul which is able to hold and record the forms. At the beginning, Islamic philosophy reviewed Greek philosophical texts, then accepted some of Plato's and Aristotle's thoughts and their schools in Neapolitan and Alexandria as the bases and rejected their deficiencies and refutations. Therefore, it began to expurgate, correct and complete views in Greek Philosophy. Among them, Farabi, who is called "the second teacher", is one of the most famous Islamic philosophers and in other words, has established the Islamic philosophy. He has especially innovated some views in "imagination". These originations have created many brilliant literary examples in Islamic-Iranian literature and culture. The main questions in this article are: the essence of these innovations and explaining their bases and sources. But a complete illustration of this argument must be done after explaining the position of imagination in Greek philosophy, especially Aristotle's thought.

Even though the mirror has always born the connotation of truth telling in literature, there's no doubt that Jean Genet is one of the rare writers who introduces the mirror as an agent of illusion in his dramatic work. Genet's characters are always fleeing their true identity and in this endeavour, the mirror erases their daily reality by giving truth to their disguised appearances and thus, reinforces their wishes and illusions. The aim of this article is to underline the various connotations that the theme of mirror bears in Genet's work in order to see which outlook on reality makes their focusing point. We conclude that not only the mirror for Genet is not reality reflecting but it voids the reality from its true meaning and mutates it to a world in which no wish is impossibleand no illusion, an illusion.

The Islamic Era begins with the Prophet’s (Peace be on him) call to Islam and extends until the Umayyad Period when the influence of Islam had been rooted in the literature and culture. Some of the historians disregard this era as an independent one in the literary history, although it should be noticed that Islam has really created a fundamental change in the social, political, religious and literary life, leaving, in the meantime, its influence that could be easily felt. The Arabs whether willingly or not, accepted this change. It is natural that during the transmission to the new era an intercourse might have happened between these two eras. This essay will study, the initial but fundamental influence of Islam as to poetry and literature during the mentioned times

Overview of literary interchange and interaction among Persian language countries is interesting subject and deserves investigation that in this article, it was intensively and historical radiant, first only to one of its subjects, i.e. literary relations between Iran and Transoxiana in the twentieth century and then deliberated its influence on Tajikistan's new-poetry. Although, since appearance of new-poetry, central Asia and its Persian languages, with a view to diplomatic- cultural ruled by the Russians and old Soviets government, political- cultural and literal relations between Iran and Transoxiana was severely confined and tighter but some rare and effective events in literary relations between Iran and Tajikistan was sufficient that profit by Tajikistan's new-poetry than Iran's new-poetry - had evolved and attained to more riches-Tajik's poets (new poetry); like Farzaneh Khojandi, Dara Nejat, Siavoosh, eskandar Khatlani and …have  assimilated the standards of the Iran and Tajik's new poetry based on art  and poetically ,have found special style that is the sight of Tajik's literature growth and development and decreased space between Tajik and Iran's Persian literature.

The nature of literary event, recognition of literary movements and their periodization, as well evolutions occurred for literary subjects in every change are the most important issues in literary history. Selection of study domain in this survey is because of the fact that the Orientalism provided a suitable environment for Russian thinkers to merge the Russian methodological traditions with the vast horizons arisen through acquaintance with literature of oriental nations, in spite of the limits of Soviet dominant ideology. Here we tried to formulate the methods used in historiography of literature by the Russian orientalists, as well as we aimed to open a limited and efficient viewpoint for studying the Russian methodology of literary history at all.

In his short stories and novels, Tangsir and Sang-e-Sabur, Chubak is trying to shed light on the dark aspects of individual and social life of Iran in 30s 40s in the 14th century. His works mirror up the real face of contemporary Iran in those hectic years. In so doing, he attempted to depict and embody existing social violence, hostilities, crimes and the ominous fate of miserable people. The primary concern of the present article is the critical analysis of intellectual principles in his novel Sang-e-Sabur, while reading his other works in the light of their concerned schools as well as a critical review of motifs of his short stories.

Naturalism as a school of literature was first founded in 19th century in France and later on moved to most of the other countries in the world. This school was introduced for the first time by Goncouert brothers and Emile Zola and was founded thanks to the progress of industry, Tains's criticism, determinism, and sociology based on Spencer and Countes’ theories. This school was trying to explain the behaviour of human beings in connection with their previously determined circumstances and the existing genetic principles. Like the other schools, this one underwent ups and downs during its development. (That is during more than half a century) until it finally stopped existing as a popular school of thought. This article attempts to explain what circumstances caused this school appearance and demise.

Iran and China have had deep influences on each other through their long-lived relationships. Reconstruction of the past relationship between two countries, due to present circumstances of the world, possesses a great deal of importance. The extent of the subject under investigation, however, places some restriction on paying attention to all aspects of the case. Therefore, the focus of the research shall be on this question that "why did the Iranians' pay attention toward China and Chinese people, and in what areas were they affected by the Chinese?" To find the answer, the investigation was based on literary sources through historical research method. The finding point out that Iranians imported the commodities in need, from China. The imported commodities, due to their high qualities, were more requested by Iranians than the same Commodities from other countries. These commodities, besides their daily usage, had a deep cultural effect on Iranians: the Chinese artists cooperated with Iranian artists in illustrating the handwritten manuscripts; beauties of China's nature and patronizing arts there were admired by Iranian poets, and had traveling and migratory attractions to them; Chinese pretty damsels had a great role in brainstorming and imagination of the Iranian poets. On the contrary, some of the Iranian mystics condemned them as "faith bandits" and warn their murids (followers) to take care of their faiths when facing these beautiful damsels!

Ferdowsi has not judged one dimensionally and one sidedly. On the one hand, a reflection of the Zoroastrian beliefs about the role of struggle in human life has been reflected in Shahnameh. The writer rationalistically believes that human beings can make their own faith. The rationalism of Ferdowsi could be observed in Zal story. On the other hand, Ferdowsi believes in faith and destiny. Ferdowsi believes that human beings have no choice from this point of view and have a predetermined destiny and faith. The reflection of Ferdowsi's determinism can be clearly observed in Rostam and Sohrab tragedy and also the story of Rostam and Esfandyar's battle. The belief in destiny in these sorts of stories is along with the unreliability of the world, the affectation and tricks of life and the power of death. Finally, I have insisted on the fact that Ferdowsi's pessimism about the world and its affairs does not prevent human beings from their struggles and does not make them unconcerned with life. It can only be possible through the determination and free will that the national epic poet of Iran could create the most valuable Shahnameh through thirty years days and nights.

Protest against positivism as the ruling element of the spirit of his time is the recurrent theme of Robert Musil’s works. Contrary to the naïve optimists of the early 20th century who assumed that the parallel development of science and technology and the utter predominance of rationalism would eliminate the current anomies sooner or later, Musil made references to man as an indefinite variable in social equations - a variable which renders any predictions about the society’s course of evolution impossible. In Musil’s narrative mentality, man is like an unknown galaxy out of the reach of any observatory’s telescope. Protagonists in Musil’s works are metamorphic individuals - reflective hesitant characters that create an identity only in the labyrinthine narrow paths under extraordinary circumstances. His first novel ‘The Confusions of Young Toerless’ is a deep reflection on uncertainties and confusions of an adolescent who, upon entering a boarding school, encounters the disintegration of the familiar world of his childhood and the abrupt appearance of ruthlessness and fear. The critics see a reflection of the structural changes in Europe in the early 20th century in the narrow world in which absence of rationality, ruthlessness and coldness has been described with scientific accuracy.

Hamidi's and Hariri's Maghamats ,as two prose works in old Arabic and Persian literatures, have special importance to the orators so that many studies have been done about the aesthetics of prose, writing Maghameh, and its eloquence. But analyzing Maghamat from the viewpoint of fictional elements, and method of using it in the framework of structure of an elegant story, is a new field which needs more studies. In this paper, Hariri's and Hamidi's Maghamats, have been considered as two significant stories; and we have tried to illustrate the role of "style" in the stories to make relationship between the other fictional elements.

Romantic ballads of Persian literature have extensive spectrum. These romantic ballads are amplificated forms of lyric poetry and extended form of romantic lyric in the form of story and concrete and detailed narration. These stories, except for Iranian origin, are originated from the literature of nations like Semitic, Hellenic and Indian.  The story of Malek Khorshid and the Lover of Banaras which is a graphetic ballad is the history of platonic love of Iranian youth, from Isfahan, living in Banaras's, whose name was Malek Khorshid to the king of Banaras's daughter that finally led to the death of lovers and their drowning in the sea. The poet of the story is unknown and supposed to be a poet whose penname is "Khata". In this essay we will interpret and introduce the story as well as criticize and analyze the story elements and leitmotif and compare it with its examples. The aim of writer is to introduce one of the lyric stories of subcontinent and show the extentsion which poets of subcontinent were impressed by elements and leitmotif of Iranian stories and mixing them with Indian elements. We also want to see, whether the story is known or not, to conform to the new story elements with an example of archaic stories and show that in spite of those who say this adaptation is impossible, this adaptation is possible. The only difference is in the kind of new and old leitmotifs.

Any cultural communication as well as business and utilization of fruitful wisdom and thoughts are the necessities of moral life for every noble nation and civilized nation who try to maintain themselves permanently in the history. The mutual effect of Arabic and Persian language is an indication of the deep relation between the two nations and especially it is an indication of their deep relation after Islam which has been more effective, so there have been written many books and articles on the deep relations of both communities. But there have not been interesting researches on the Arabic impression by Persian, thus, it needs more researches to be done. The article is trying to discuss the following schematically: How did the Persian words enter Arabic language before Islam? How has the Arabic written style been impressed by Persian language? How have the Persian words and proverbs been entered in Arabic language? How has the qualitative aspect of Persian verse and prose been in Arabic language?

The typology of linguistic signs has been one of the central and controversial issues in linguistics, especially since the foundation of Modern Linguistics by Ferdinand de Saussure. It has also been a main theme of difference between formalists and functionalists. The present article is an attempt to look into verb forms and their structure in Modern Persian from a semiotic point of view. It will be argued that Modern Persian verb forms are motivated and their iconicity bears intra-clausal as well as inter-clausal effects.

Sadegh Hedayat in Iran and Anton Chekhov in the world changed the basis of short stories. In fact, as the story writing in the world is in debt to Chekov's inspirations and intuitions, Iran's story writing is in debt to Sadegh Hedayat's talentive innovations. Although Hedayat had not been a complete follower of Chekhov's 's writing styles and from this point of view there are differential aspects between these two, but there are some considerable similarities in their works too that unfortunately have been noticed less until now. The similarities that are specially hidden in the art of using images for deepening the subject and making it believable. In this review, the similarities and differential aspects of these two writers' top stories have been compared, especially from the structural and endoplasmic points of view. Endoplasm, character polishing, the art of using images, writing dialogues and different kinds of using tunes and space making in the two writers' stories were concluded the items which have been noticed.

Avicenna, the famous sage philosopher, scientist and the well-known literary man of Iran, surnamed Shikh Al-Rayis, has written valuable works on a wide range of subjects such as the works on medicine, philosophy, logic and so on. He also authored works on literature in particular on the poetry of which "kitab al-sher" (the book of poetry) presents mostly his points of view. So in addition to scientific and experimental categories, he has written books in the field of poetry, consciousness, and sentiment. In this paper, the authors try to concentrate on new scientific–philosophic contents of his poems and to argue this fact that he has imitated past poets and has followed the classical poetic styles in order to compose his personal poems. Therefore, his poems are regarded an innovation from scientific point of view and an imitation with view to stylistics.

Particles are kinds of words in Arabic and Persian language. Although the number of this group of words is less than the numbers of noun, verb, and other groups of words and that they have no independent meaning, they play a significant role in the syntax of the words since such words bring about connections between the words and sentences. Particles in both Arabic and Persian language explain the function of their following words so that the Arabic prepositions place their following nouns in the oblique case and make them a temporal, local, distinctive, and similar functions. Persian prepositions also make complementary form of their following nouns with different meanings. Interjections in both languages make an interjectionary function of their following nouns, and conjunctions make a reciprocal function or coequality in the terminology of the modern grammarians, of their following nouns. In the present article, the writer compares practical methods of the particles in both languages with an aim to explain its readers the similarities and differences in them and to unveil some dark corners and obscurities in the language not taken enough heed by grammarians.

Were Al Boyeh, the Iranian family who established Shia't government at the age of Abbasid dynasty, the kind of people that Arab resources show? This is the question this article tries to answer. The writer of this article argues that we naturally cannot put Al Boyeh or other governments away, but Arab resources wrote about them so unfairly and illogical. In fact, the heads of Al Boyeh were important and effective in literary, cultural, and other fields, and the political and social defections in their governing period were caused by injustice of some authorities. It was also caused mainly by their involvment in wars that deliberately draw their attention more to solve problems.

Epics and living a heroic life disclose a universe in which the hero has either a singular association with nature or seeks to do so. This article examines the battle between Rustam and Esfandiar in the Shahnamah and the one between Santiago and the fish in The Old Man and the Sea as one such search. The authors view these battles as archetypes of search for venerable peers. The killing is then seen as an allegorical, sacred fratricide through which the heroes first say farewell to ‘epic’ life and then open their eyes to the dawn of history as deceit or Fall.

‘Abdolqaher-e-Djorjani, the famous Iranian Rhetorician of the fifth centurly, considers the beauty and excellence of the literary masterpieces as an aresult of a special quality in them, which he calls Nazm or coherence. To explain this theory, he approaches literary texts from three points of view: Verbal aspect, Syntactical aspect and Semantic aspect. The author believes that there is a sharp similarity between the theory of Djorjani and some critical theories of 20th century as that of Chomsky and de Saussure and their followers, i. e. structuralists and disciples of Transformational Grammar.

Mathnawi and Shams Divan are not only the greatest heritages of Iranian mysticirm but they should also be considered as the source of many philosophical theories and ideas in the form of poetry. For instance, one can find the solipsismic ideas of Proust in Rumi's ideas on love. One could also see traces of phenomenological philosophy as well as deconstructive ideas of Derrida in Mathnawi. In this article, without paying attention to the overall general structure of Rumi's though, it is claimed that the gist of many western philosophies can be found in Rumi's writings.

Nowadays in the contemporary world, Mathnawi Manawi with its translations and extracts is considered to be one of the mythic texts in Persian language. The subject of textual and intertextual connection and relation on Mathnawi, like other great works had been always in the center of attention of researchers which is followed by different theories. Intertextual and hypertextual connection in Moulana's works could be divided into four sections: intertextual, interauthorial, interchaptered and middlechaptered. This paper deals with the smallest section of the mentioned connection i.e. the connection between the chapters of Mathnawi. The paper, as an example, deals with examining the quality of the relation between narrations in the first chapter of Mathnawi. In this regard, along with the classification of the narrations in these chapters, considering the type of relation with the other narrations, the quality of the relation between these interconnected or independent narrations, is also under consideration. Consequently, the main subject of the paper is a study of textual connectivity, keeping the narrative independent of the chapters of Mathnawi. The method of critique and study of intertextuality and hypertextuality in particular will be the same as presented by Gérard Genette. The author has tried to apply this method with necessary changes in order to match the corpus of the study.

The Shahnameh by Firdowsi and War and Peace by Tolstoy considered as two grand epics of world literature, have been able to maintain their respective status even today. Both writers have successfully reflected upon the different dimensions of life such as social incidents, political matters, family issues, moral, historical aspects, war scenes, bloodshed, and peace. All these have been illustrated through the theme of good versus evil. Without doubt the role of women in these great epics is exceptional. By placing these two different epics parallel to one another, one can study them on a comparative basis and study the role and contribution of women in social, cultural, political and family matters. Both writers unanimously believe that morally sound women such as Rudabeh, Sendokht, Natasha Rastuva, and Maria Balconskaya by respecting moral and social norms have helped to maintain peace and integrity in the family and as a result have tasted the fruits of this contribution. On the other hand, immoral women such as Sudabeh, Helen Kuragina, have been condemned for violating moral and social norms, and as a result have met with disastrous ends. Despite being culturally and religiously different, both texts have exhibited due respect to those women who have been devoted wives and mothers, and thus been praised.