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Showing 2 results for Khaghani Shervani
Seyyed Ahmad Parsa ,
year 17, Issue 66 (3-2010)
Abstract
Identical Rhyme is one of the important factors which plays a great role in turning up the lateral music of poetry. The fact that it is placed after rhyme containing verbal and semantic unity, has been the common denominator of all the definitions given for this very concept from the beginning to the present time. Deviating from these concepts, and employing linguistic capacities such as figurative, ironic and new metaphoric meanings in the context of discourse, Khaghani Shervani (515-595 after Hijrat), has challenged all the existing definitions in this respect and more specifically in the field of semantic unity in a way that he has presented 116 different meanings for "Identical Rhyme" only in a long (145-couplet ballad). In the present study, after demonstrating Khaghani's artistic capability in this field, we have made an attempt to revise the definition of Identical Rhyme as well. To achieve this purpose, all types of nominal, verbal and adverbial Identical Rhymes and the like, as reflected in Khaghani qasaed (odes ) were scrutinized.
Mohammad Parsanasab, Fatemeh Ahmadizade Kohan,
year 29, Issue 91 (12-2021)
Abstract
Boasting (Mofakhereh in Persian) as a poetic theme or as a sub-genre has a strong presence in the books of poems of classical Persian poets. Adopting an analytical approach, this research attempted at analyzing ‘boasting’ in poems of Manouchehri Damghani, Sanaei Ghaznavi, and Khaghani Shervani based on Pierre Bourdieu’s field theory. To do so, after extracting instances of their ‘boasting’ odes and considering the historical and social issues of their times and their different habitus and mindsets, we tried to analyze the poems based on Bourdieu’s four literary field principles (habitus, capital, struggle, and disinterestedness). The results showed that Manouchehri, due to his inclination to the power filed, and to make a name and a living and to stabilize his position, used his art and poetry for boasting. He did not observe the principle of disinterestedness in the literary field which attempts at purifying literature from personal intentions. As a result, he was pushed to the margin. But as the power field changed during the second Ghaznavid and Seljuk periods and some new problems and instabilities affected poets’ conditions, poets such as Sanaei and Khaghani distanced themselves from the power field, due to their specific habitus, and attempted at purifying literature and fighting the power field. From the two poets, Khaghani was more successful due to his disinterestedness and observance of the rules of the literary field.
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