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Showing 7 results for Subject:
Ali Reza Nabiloo,
year 21, Issue 74 (5-2013)
Abstract
The study of binary oppositions in art and literature has attracted some contemporary linguists, mythologists, narratologists and semiologists. They maintain that one may get a better understanding of the literary work through these binary oppositions. In this study attempt is made to have another look at the poems of Shams al-Din Muhammad Hafiz by considering binary opposition as one of the central elements and main features of his poems. For this purpose, 100poems have been selected randomly.In these poems 637 binary oppositions are seen indicating that in each sonnet there are 4 to 6 cases of binary opposition. The binary oppositions are grouped in three parts: verbal and lexical (35%), semantic and conceptual (54%), and literary (11%). Semantic pairs are repeated more often in the poems of Hafiz, which give his Ghazalstheir distinctive feature.
Yahya Kardgar,
year 25, Issue 83 (3-2018)
Abstract
Simile, which appears in different modes, is one of the major subjects of a branch of rhetoric called Bayan. Some of these modes, such as intellectual-intellectual and sensible-intellectual are not in harmony with the illuminating role of simile; therefor, the books on Bayanhardlyhave positive attitudes towards these modes of simile, but contrary to this attitude, such similes appear with a high frequency in some literary ages and some Persian texts. By critiquing and analyzing the intellectual similes in Tarikh-e-Vassaf, this article tries to study the reason why these similes were widely used. This research shows that Vassaf’s tendency for this mode of simile was because of his penchant for breaking with tradition and departing from the literary norms, widespread desire for innovation, the limitations of creating simile’s by the restricted views of ancients, general inclination for circumlocution, and a tendency to use the exaggerated forms of imageries. By using artistic elegances,the author of Tarikh-e-Vassaf has tried to elude the negative consequences of these similes, yet he has not been successful in all his efforts. Moreover, one of the important reasonswhy the text is abstruse and obscure, is the high frequency of intellectual similesin this text.
Alireza Nabiloo, Mohaddeseh Hashemi,
year 26, Issue 85 (1-2019)
Abstract
Fantastic literature is one of the most popular genres in the world. Due to its wide scope, literary theoreticians have put forth numerous theories to explain its various dimensions. On the other hand, many Persian literary texts make use of these features, but they have not been sufficiently investigated yet. In the field of mysticism, due to the connection with supernatural affairs, numerous works have been created by the mystics, which are related to fantastic and supernatural issues. Kashf al-Asrar is of this kind, which includes the writer's revelations and spiritual journey. In this spiritual journey, he encounters super-real creatures and visits fantastic places, and most importantly, has meetings and talks with God; a range of events that gives a fantastic, super-real and phantasmagoric structure to the book. In this article, in addition to explaining the super-real and fantastic literature, using the elements and methods used by Ruzbehan Baqli, such as symbol, metaphor, etc., the authors describe and explain the elements of the fantastic literature in Kashf al-Asrar. It is said that, in order to explain this journey and spiritual experience, Ruzbehan uses various tools in three realms of the inner, outer, and super-real worlds to illustrate his connection with the unseen world and its extraordinary creatures.
Yahya Kardgar, Hasan Shahriari,
year 28, Issue 89 (12-2020)
Abstract
Knowledge of myths and epics is important and necessary to get acquainted with the past culture and civilization of nations. Therefore, it is worth considering the developments that occur in a society’s myths and epics due to political and social reasons and the passage of time. So far, no research has been done aimed at identifying the causes and the changes occurred in the mythological and epical images of Iran in the most important Persian history books from the third century up to the end of the Safavid rule. The results of this study, which was done using the descriptive-analytical method, are: the removal of many ideas of Zoroastrianism from the face of Iranian mythology as a result of Arab domination and the influence of Islam, changes in some of the actions and deeds of Iranian mythological characters and the influence of Islamic teachings on them and their mixing with the Israelites (foreign narratives from Jewish sources), the transformations that took place in the form of characters, stories, and mythological geography, and the mixtures that influenced the Iranian mythology due to the spread of Israelites in the form of contemporaneity, fake lineage, uniformity, and geographical affiliation. Other findings of this study show the influence of the thoughts of the Semitic people on Iranian mythology and the logic of the credibility of the historian’s era on the Iranian narratives, which led to various myths about them.
Ali Rezā Nabiloo, Maryam Hāmoongard,
year 32, Issue 96 (4-2024)
Abstract
The story “Zan-e Ziadi” is one of the nine short stories in a collection of the same name, which was first published in 1952 during the lifetime of the contemporary writer, Jalal Al-e Ahmad. The central theme of all the stories in this collection is women, and the author has depicted their sorrows and problems from a critical perspective. This article examines “Zan-e Ziadi” from the perspective of deconstructive criticism. Deconstructive criticism, also known as deconstruction or constructionism, was developed based on the theory of the French philosopher and theorist Jacques Derrida (1930-2004). This term was first used in philosophy and then in literary criticism. The basis of deconstructive criticism is to find hidden binary and contradictions within the text, as by uncovering these binaries, one can discover the hidden layers within the text. According to Derrida, the internal binaries are hierarchical and stair-like, and one part is given superiority over the other, but upon close examination of the text, it becomes clear that none of the binaries have superiority over the other and are in fact complementary to each other. Deconstructive criticism is based on examining accepted assumptions, deconstructing, and revealing textual contradictions and the readers must search within the text for everything they need to know. The conflict in “Zan-e Ziadi” is superficially based on the contradiction between human and human, man/woman, and internally between human and false cultural and social beliefs and traditions. After examining the binaries within the text and identifying the conflicting forces within it, it becomes clear that contrary to what appears from the surface of the text and in the initial reading, the dominant pole in the text and the transcendental signified on which the internal challenge of the text is based is not an oppressive man against an oppressed woman, but rather both the man and the woman are captives and subjugated by false and imposed beliefs of their time, and the two binaries advance the story alongside harmoniously with each other.
Ahmad Rezāei,
year 32, Issue 96 (4-2024)
Abstract
Research on metonymy and related topics in Islamic studies stems from Muslims’ interaction with the Qur’an and their efforts to comprehend the meaning of certain verses. It sparked numerous theological debates among Islamic sects, such as the Ash’arites and the Mu’tazilites, to the extent that some scholars rejected metonymy in the Qur’an. In addition to theological (Islamic kalam) works, metonymy featured in rhetorical volumes and since the time of Sakkaki it has been transferred from theological to rhetorical works. The main issues in these works relate to the definition of metonymy and truth, the quality of their recognition, metonymy types, and so on. The main debate has been attending to one aspect and neglecting other aspects. Despite the efforts made by Muslim scholars in these works, due to the intermingling of different fields in this subject, current research on metonymy has paid less attention to previous studies. Therefore, the present research has explored this issue from various perspectives while examining the evolution of metonymy studies in the works of Muslim theologians and rhetoricians using a descriptive-analytical method. The results showed that logocentrism, the intermingling of different domains, abstract theological topics, unnecessary divisions, disregard for the functional aspect of language, overlapping types of metonymy, and repetition of the content were the main research barriers. Additionally, one should also mention the neglect of the points made by scholars such as Jurjani and Khatib Qazvini. It seems that if we pay attention to the aspects of information, pragmatics, and the context in the field of metonymy, many problems of its semantic recognition will be solved. On the other hand, dividing this category into metalepsis and compound metonymy as well as their trivial subfields will make us independent from other categories.
Yahya Kardgar,
year 32, Issue 97 (1-2025)
Abstract
The culture and literature of Iran, has paid special attention to the religion of Christianity. This feature has become more prominent in the Safavid era for political, social, cultural and ideological reasons. Saib, the greatest poet of this era, had further contribution in reflecting this feature in his poems. This paper examines the events of the life of Christ in his Divan of six books by his descriptive-analytical method and concluded that the religious features his era, his theosophical and ethical perspective, the attachment of the audience of Saib poetry to Christ and the religion of Christianity and, finally, his tendency to theme-creating and subtlety and his dominance in the life of heavenly prophets has played a key role in presenting a full image of Christ. Referring to the life of Christ and other divine messengers, he seeks to bring religions closer to one another.
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