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Showing 6 results for Rahimi
Naser Rahimi,
year 17, Issue 64 (5-2009)
Abstract
This article attempts to introduce Mohammad Ibn-Fadl, one of the little known mystics of Malamat in the third century (A.H.). To this end, the author uses old sources in his historical method of analysis, providing information about his name, hometown, family, date of death, religion and jurisprudence, works, companions, narrators and travels. An older source of a story about him, as narrated in Mowlavi, s Mathnavi without direct reference to him, is also introduced.
Zolfaghar Allami, Sima Rahimi,
year 23, Issue 78 (5-2015)
Abstract
The story of “Rostam and Sohrab” is one of the most beautiful stories of Ferdowsi’s Shahnameh which has been studied on the basis of different approaches. Sohrab’s character in this story as the quester/victim hero is the core of actions in the story. His unsuccessful quest to find his father which is compatible with the pattern of growth to achieve the self/ individuation in Jung’s opinion has high capacity for being analyzed psychologically. In this article, based on an analytical approach, we survey the pattern of searching for individuation in this story according to the “Process Of Individuation” theory which is one of the most important theories of the great psychologist of the twentieth century, Carl Gustav Jung (1875-1963). We also discuss the quality of the process of individuation by Sohrab and the causes of his failure in this process as the main question of this research by analyzing the actions of Sohrab and other characters of this story in the light of Jung’s archetypes: persona, shadow, anima, the old wise man and the self. The results of this research show that Sohrab’s story and his journey to Iran in order to find Rostam is compatible with the “Process of Individuation” of Jung. Moreover, the analysis of the quality of this compatibility shows that Sohrab encounters with the archetypes of persona, shadow, anima, the old wise man and the self in his path but because of the dominance of persona, shadow, and negative anima and not understanding the massages of positive anima and the old wise man, he cannot complete the process of individuation and achieve his father/self/wholeness.
Ali Heidari, Behnoush Rahimi-Harsini,
year 26, Issue 85 (1-2019)
Abstract
One of the stylistic features of Hafez’s sonnets is the repetition of a part of the meaning of the first line in the second line. His knowledge of the rhetorical and semantic relations of vocabularies enabled him to repeat the meaning with the least verbal repetition. One of the ways that has helped him to achieve this goal is replicating the concepts in two parts of the couplet based on rhetorical relations between them. The replicated concept, in addition to referring to the first concept or a part of the meaning of that, retains its original meaning. We call this method "Rhetorical Replica" (Badal Bilaqi). In this research, based on the three traditional offices of rhetoric, we have categorized different relations existing between the two sides of the replica. In Hafez’s poetry, methods of arranging the “rhetorical replica” vary. Sometimes Hafez substitutes a few concepts for each other in a verse and creates several rhetorical replicas. Sometimes he creates several rhetorical relations between two concepts, and extents the domain of significance. Also, occasionally he replaces a concept with multiple references which generate numerous significance and ambiguity in the poem. In what follows, through examples from Hafez, the authors of this paper categorize and explain the multiplicity and diversity of rhetorical replicas in his poetry. The frequency of rhetorical relations on the two sides of the rhetorical replica in the three different offices of rhetoric is as follows: invention, 3%; arrangement, 69%; and style 28%. About one third of Hafez’s poetry contains rhetorical replica. And, the high frequency indicates that this is a stylistic feature in Hafez’s poetry.
Sayyed Ahmad Parsa, Mansour Rahimi,
year 29, Issue 91 (12-2021)
Abstract
The prison poems of Ahmad Shamlou are significantly different from the classical form of prison literature in terms of structure, function, content, and discourse. In the present research, we have tried to study Ahmad Shamlou’s prison poems with an integrated approach using discoursal and semiotic tools. In order to interpret the function of prison as a punitive tool, we have taken Foucault’s views and to explain the relationship between power and disciplinary space and prison punishment, the issue of authority and domination has been briefly discussed based on the ideas of some sociologists and philosophers such as Max Weber and Thomas Hobbes. Lefebvre’s views on space have been used in the interpretation of prison environment. The results indicate that unlike the classical prison poets, Shamlou first discredits the punitive and disciplinary function of the prison by not admitting the charge and considering the punishment illegitimate. Second, the prison environment in Shamlou’s prison poems is a discoursal space in which the poet has tried to use the dialectical capacity of the space by successively escaping to the outside world, emptying the prison of its physical and defined identity as an enclosed space, and portraying it as a required developmental experience in the path to achieve the goal.
Ebrahim Mohammadi, Effat Ghafouri Hassanabad, Seyyed Mahdi Rahimi, Hamed Norouzi,
year 30, Issue 93 (1-2023)
Abstract
Ahou Khanom (Madam Ahou’s Husband) novel, written by Ali Mohammad Afghani and its movie adaptation directed by Davood Mollapour. The noteworthy point in both works is the existence of different sense-maker layers and components in the novel and movie threshold that reveals the quality of the relationship between husband and wife in the traditional and pseudo-modern discourse. By highlighting the dispute between traditional and modern discourse, the writer and the director, invisibly and intangibly, try to present the audience the image of an oppressed and alienated woman around whom the patriarchal discourse has always formed a chain to subjugate her due to the natural differences between men and women, and has regarded her as the other and inferior and has marginalised her. So, in the present research based on a comparative-interdisciplinary approach and Laclau and Mouffe’s critical discourse analysis the structures of the thresholds of the two media were investigated. First, the micro-texts of thresholds in the novel and movie were identified, and then with the analysis of the existing point in their structure, the connection among thresholds, the nodal text and its outside world, and ways of creating meaning in different layers of micro-text were examined. Two points were revealed by studying threshold structures in Showhar-e Ahou Khanom’s novel and movie: 1. All the points found in the thresholds of both works were formed based on a macro-clash between men and women. 2. The existing points reveal patriarchally created discourse which always equates men with the nodal point, as superior, active, independent, and free, while introducing women with concepts such as marginal, inferior, passive, dependent and limited, and using the rational of the difference between men and women it excludes and rejects this rival.
Mr Mansour Rahimi, Professor Sayyed Ahmad Parsa,
year 31, Issue 95 (11-2023)
Abstract
The interaction and correspondence of a set of linguistic, literary, narrative, and discourse elements form a network of relationships with varying degrees of influence in connection with the text. The combination and integration of the views of theorists in linguistic, discourse, and narrative fields prevent the researcher from giving a one-sided account and pave the way for achieving more desirable results. In this study, using an integrative approach, we have attempted to present some of the most important linguistic, discourse, and narrative elements as effective factors in meaning formation, and to describe the position and the role of each of these elements in the text to understand the intra- and extra-textual aspects. To this end, the present research based its analysis on Halliday and Hasan's three-tiered theory of linguistics (context, agents, and mode of discourse). It also referred to Riffaterre's views for the description of the discourse context in poetics. Regarding the narratology, reference has been made to some statements of structuralist narratologists, and finally, for the description of discourse agents, Van Leeuwen's (2008) views on discourse and actors have been utilized. The results of the research show that firstly, the foundational theme and discourse context in Arash the Archer's poetry is the reproduction of the anticipation and hope for liberation through the emergence of a hero and savior. Secondly, the agents (actors) of discourse are divided into two main categories: the agent of action and the recipient of action. Arash, in the role of the sacrificed hero, is the agent of action in the narrative, and the people of the city, who are passive and waiting, are represented as the recipients of action. Thirdly, due to the specific discursive and ideological field to which Kasrai belonged, he omitted the ‘king’ character in the narrative.
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