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Showing 2 results for Nikmanesh
Dr. Mahdi Nikmanesh, Dr. Sepideh Javaheri,
Volume 31, Issue 95 (11-2023)
Abstract
Curriculum planning has always been based on the needs, opportunities, and constraints of each academic discipline. Meanwhile, due to its indigenous roots and cultural significance, the field of Persian Language and Literature has long held a privileged position. Hence, compilation of instructional materials in accordance with established principles and rules is of significant importance in acquainting students of this discipline with classical and contemporary texts, whether in verse or prose. However, this undertaking is accompanied by constraints such as instructional time, compilation of content for pedagogic purposes, considerations related to assessment, and the like. In this research, six selected excerpts from Tarikh-e-Bayhaqi, which were compiled for pedagogic purposes, were analyzed and critiqued in terms of page layout, editing, and pedagogical aspects. The results of this analysis were presented in multiple tables for clarity. Through this study, the authors surveyed the structuring of the mentioned excerpts and explicated the principles and regulations of developing excerpts for pedagogic purposes.
Maryam Zarif, Mahdi Nikmanesh,
Volume 32, Issue 97 (1-2025)
Abstract
Rather than expressing his feelings in poetry, Bidel uses poetry to express his thoughts. This rapid flow of thought is evident in his views of natural phenomena and descriptions of the elements of nature. Since his mind is filled with mystical meanings and concepts, everything he looks at takes on the color and fragrance of mysticism and flows through his tongue. He considers art to include perfection and moral virtues and with its help, he has tried to express the capabilities of man and the nature around him. From a descriptive and analytical perspective, this research addresses the symbolism of mountain in Bidel’s masnavi of Tūr-e-Marefat (or Mountain of Knowledge) and investigates the images in which the natural element of the mountain is artistically connected with mystical concepts and meanings. First, the images were identified and classified, then the significance of the ‘mountain’ icon was highlighted and its mystical hidden meanings were explained. The findings showed that the concepts hidden in the symbols of water, fire, and earth, in a coherent set, have a mystical transcendental path from the lowest level to the highest position in Bidel’s perspective, and these elements have a conceptual relationship with the ‘mountain’.
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