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Showing 4 results for Mirhashemi
Qolam Ali Fallah, Abbass Mahyar, Seyyed Morteza Mirhashemi, Sedigheh Soleimani,
Volume 17, Issue 65 (11-2009)
Abstract
Del (heart) is one of the recurrent themes in Nezami-e-Ganjavi’s Makhzan-al-asrar. This paper addresses the concept and its true nature as well as its ranks. One may hypothesize that the poet has his own technical interpretation of Del spreading all through his ideas and thoughts and reflected in various sections of the collection. To answer the research questions posed in this research, content analysis method was utilized
Sayyed Morteza Mirhashemi,
Volume 20, Issue 73 (10-2012)
Abstract
Persian is a language that accepts combination.This tendency has made some of the poets and authors try to create new combinations. Nizami of Ganje is one of the poets in whose works hundreds of these new combinations are seen. On the one hand because of his high intelligence and talent and on the other hand because the people of his time looked for new subjects and new expressions, and also due to the natural evolvement of language, he has paid special attention to this issue. Although Nizami does not limit himself to certain combinations, on the whole the frequency of allusive combinations is high in his works. One of these combinations is that of"kabkshekastan", which the narrator of Ganje has used in Khosro and Shirin and Sharafname three times. The meanings written for this allusive combination in dictionaries are as follows: "to flirt", "to efface the track" and "to hide secrets". Although on the construction of this combination no explanation has been given, we may offer a few conjectures. What we attempt to explain in this research concerns this combination and its meaning in dictionaries. The research is an endeavor to find out how much these meanings are reliable and if there is another possible meaning for this term.
Seyed Amirabbas Setayeshgar, Habibullah Abbasi , Seyed Morteza Mirhashemi, Effat Neghabi,
Volume 31, Issue 95 (11-2023)
Abstract
The use of music is one of the most useful techniques in poetry, which poets use to convey their thoughts. Owing to their mastery in music, some poets have employed it to express their reflections and to portray poetic images more than others. The frequency of the discourse of music in the poetry of this group of poets and the imagery created through it shows their mastery over music, both in terms of theory (in topics such as organology and the study of tunes and melodies) and in terms of practice (which is performing and composing music). Using a descriptive-analytical method, the present research aimed at investigating the means of the theoretical and practical music in the divans of two of the foremost representatives of the Indian style (sabk-e Hendī) of Persian poetry, i.e. Saeb Tabrizi, the leader of the mode called delicate imageries (nazok-khiyali), and Bidel Dehlavi, the forerunner of the mode called exotic imageries (dour-khiyali). First, by giving examples, the concepts of music in the poetry of the two poets were examined and then both views were compared in the field of music. The results indicated that mastery of music would highly contribute to the decoding of secrets of the poems. In effect, without finding the musical roots (as a specialty and profession) it would not be possible to gain the correct and precise understanding of some couplets. In fact, this method of applying musical concepts is not a sign of distant knowledge of the field, but it implies a kind of scientific and close knowledge. The result of this study – which is the explanation of the combination of theoretical and practical music in the two modes of delicate imageries and exotic imageries of the Indian style – indicates the three main branches of the association network, the theoretical-practical knowledge and the link between poetry and music.
Shirin Roshani , Habibollah Abbasi, Dr. Nasergholi Sarli, Seyed Morteza Mirhashemi,
Volume 33, Issue 98 (5-2025)
Abstract
The historical event of the liberation of Bukhara is among those highly significant occurrences that have been recorded by numerous historians. The manner in which this event has been chronicled across different historical texts reflects the diversity of approaches and perspectives regarding historiography and the narration of events. In some of these texts, the accounts are presented in greater detail, to the point that the narrative transcends a mere historical report. One historian who recorded this event with an approach beyond simple reporting is Aṭa-Malik Juvayni, the author of Tarikh-i Jahangushay (The History of the World Conqueror). An analysis of Juvayni’s account reveals multiple factors that persuade the reader that he documented the events not solely for the purpose of reporting but from a broader outlook. In the present study, the event of the liberation of Bukhara was examined through a descriptive–analytical method and a narratological approach. The analysis is based on David Herman’s four-level narrative analysis theory, which examines narratives at the levels of happening, event sequencing, worldmaking/world disruption, and experientiality, thereby revealing the degree of narrativity within an event. At the first level of Juvayni’s narrative (happening), the narrator’s position can be identified in four distinct roles. In other words, Juvayni, by alternately assuming the roles of writer (reporter and reminder) and teller (reporter, moralizer), employs strategies that elevate the event beyond the confines of mere reporting to arrange a literary creation. At the second level (event sequencing), by skillfully arranging a beginning, middle, and end, Juvayni organizes the events into a causal structure, which presupposes a narrative plot. In shaping this narrative, Juvayni distinguishes between main and subsidiary events. This ordering of events, combined with precise depictions of time and place, illuminates Juvayni’s narrative method at the third level (worldmaking). Finally, at the fourth level, Juvayni induces a sense of experientiality in the reader through three techniques. It must be noted that such evocation is rarely perceived in historical texts. Yet, in their reports, Iranian historians often aim at purposes beyond mere chronicling, pursuing what can be termed the principle of instruction to influence their audience. At this level, by adopting three distinct techniques—an eloquent proemial description at the beginning of the narrative, the blending of discourse and image, and the incorporation of poetry and proverbs at the service of instruction—Juvayni affects the reader’s emotional system and transforms feeling into understanding. Ultimately, this process generates a central idea within the audience. This process results in the emergence of one of the essential elements of narrativity: the transition from the level of mere reporting to that of literary creation.
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