Mahsoumeh Shakouri, Koros Karimpasandi, Naeme Kialashaki, Maryam Shadmohamadi80@yahoo.com,
Volume 8, Issue 22 (3-2022)
Abstract
The correspondence between philosophers’ and theorists’ views regarding literary text has been addressed by scholars. Chief among these views is the concept of “beauty” which has been theorized differently by numerous philosopher and theorists. Plotinus is among the philosophers who presented thought-provoking views on beauty and provided a bright horizon for philosophers and mystics, especially Mawlānā. In this study, the category of beauty, as the most frequent word in Mawlānā’s poems, is examined based on Plotinus’ school of thought.
The study finds that both Plotinus and Mawlānā believed in sensory, intellectual, and intuitive beauty and considered the true source of beauty the infinitude of divinity, and the outward and worldly beauties as a shadow of that absolute beauty.
Plotinus and Mawlānā believed in the existence of two senses, two intellects and three souls; yet there are minor differences in their attitudes towards them which derives from Mawlānā’s incorporation of the intellectual views of Plotinus with principles of Islamic mysticism like revelation, aptitude, love, and greatness, etc., and gives a mystical feature to the category of beauty.
Hamid Taheri, Maryam Ghaforyan,
Volume 8, Issue 22 (3-2022)
Abstract
layered stylistics is a sub-branch of stylistics. In layered stylistics, considering the situational context as a macro-layer, researchers break down the text into strata and study the style by examining the text strata and identifying prominent or frequent features. This type of stylistics can be considered as the most complete and accurate methods in stylisitcs. Due to the large number of manuscripts obtained from Hossein Kharazmi’s Divan, the authors use layered stylistic to prove the accuracy of their attribution to this poet.
In this research, in an analytical-descriptive approach developed by Mahmoud Fotouhi in his book, the lexical and ideological layers of Kharazmi’s Divan are analyzed. The words and combinations of verses as a unit of style analysis are also examined. It is suggested that the lexical layer is effective in discovering the ideology of the text and explaining the hidden power relations.
Results: In the lexical layer, regarding the semiology of words, vocabularies are divided into structural and process codes, and indicators, vocabulary marking, and repetitive words are introduced as stylistic components. From a stylistic point of view (lexical and ideological), all the copies obtained from the court are consistent and prove their attribution to Hossein Kharazmi. Also, the table of indicators including announcements, titles, histories, material, dates, places, etc., further reinforce this argument. Other elements such as typography, personal stylistics, and period and external music, confirm this issue.
The research finds that that among codes, religion has a high frequency. The codes of a process originate from the harmonious connection and function of religion and government on the one hand, and on the other hand, the domination and influence of religion and culture over government and documenting power over religion. These codes are very much in line with Kharazmi's thought. Also, the words related to the institution of love and mysticism have the highest frequency and repetition.
Hamed Bashiri Zirmanloo,
Volume 8, Issue 22 (3-2022)
Abstract
As a literary subgenre, epic poetry is characterized with specific features in terms of language which distinguishes it from other subgenres. The secondary layer of meaning is the other distinguishing factor. In study, in order to examine the secondary layer of meaning in epic, analyzes the story of "Rostam and Sohrab" in terms of the frequency and variety of secondary meanings and its relationship with the literary type of the epic. For this purpose, the syntactic structure of verbs at the beginning of the stanza and the secondary meanings related to this syntactic structure are examined. The most frequent aspects of the secondary layer of meaning are emphases on the verb, exaggeration and bowing, and emphatic intention. The discussion of secondary meaning of emphatic intention can be considered as the novelty of this article. The secondary meanings of emphatic intention, along with the emphasis on action and exaggeration and bowing in terms of number and type, indicate the unity and harmony of these secondary meanings.
