Changing the Mystical Themes of Azar Yazdi’s Stories
Akram
Arefi
M.A Sistan&Baloochestan
author
Maryam
Shabanzadeh
phD Sistan & Bloochestan university
author
text
article
2014
per
Mehdi Azaryazdi is amongst the precedents in rewriting the classic stories for youths and children. He recreated the book “Nice Stories for Nice Children” in eight volumes since 1957 until 1990. His main aims were to transfer the ethical messages to the young readers as well as familiarizing them with the valuable treasure of Persian literature. Hence he has apparently recreated the main theme of the stories into an ethical theme. Therefore, the mystical stories of Molavi and Attar have so much changed that there does not exist any common aspect between them and the final work of Azaryazdi. This paper investigates the themes of “Molavi’s Stories” and “Attar Stories” and compares them with the rewritings of Azar yazdi. It is declared how much Azaryazdi has changed the themes of the stories. As Azaryazdi has definitely changed the themes of these stories to social, ethical and sometimes to historical and royal themes. As a comparative analysis, while just only %19.6 of the original resources of Azaryazdi’s rewritings come with the ethical theme, this theme, in Azaryazdi’s works, appears over %60.2; where the original resources are mainly (%62.5) covered by mystical theme. By such a rewriting, there is no doubt thatAzaryazdi has clearly recreated completely new stories from the sense of the classic stories.
Journal of Kavoshnameh in Persian Language and Literature
Yazd University
2645-453X
15
v.
28
no.
2014
9
41
https://kavoshnameh.yazd.ac.ir/article_382_d806db54d9e8e3fbfb275d5bab6c6eb1.pdf
- "A New Look at the Sources of the Story of the King and the Woman
Mohamad
Parsanasab
phD Kharazmi Universiy
author
text
article
2014
per
The study of source of Mathnavi goes back to the age of composing “Maakhez e QesasvaTamsilateMathnavi”. Undoubtedly, the present study will remove most of ambiguities in the field. However, the results of the studies have been unremarkable so farindicating we cannot think just about one source. Mathnavi is originated of Moulana’s interactions with lots of sources and religious, historical, interpretative, mystic texts, even folklore. Tracing to such a rich source is never accomplished by mono-dimension studies. Thus in this study we intend to obtain a real precise trace of these tales by means of intertextual, structural, narrative, motive studies. Thus, for this purpose, we analyzed the essential and first tale of Mathnawi, “Qessye Shah oKanizak”. We understood this tale, is connecteddirectly or indirectlyto many Persian romantic, mystical, didactic stories.Meanwhile is more similar to a tale in “Adabolharbevashshojaah”
Journal of Kavoshnameh in Persian Language and Literature
Yazd University
2645-453X
15
v.
28
no.
2014
39
67
https://kavoshnameh.yazd.ac.ir/article_383_2868af6aaeb99fc80d43194669eba58d.pdf
- A Survey of the Rhythmic Pattern of SaidaNaqhshbandiYazdi’s Poems
Mohamad reza
Najjarian
ph.D yazd University
author
text
article
2014
per
Said NaqhshbandiYazdi, pseudonymed as Saida, was an 11th century (A.H) sonneteer whose poems, like those of his contempories, were in Indian or Isfahan style. He considered himself as a devoted follower of Jami, Nezami, Sanai, and Attar. He also adored Hafiz of Shiraz and was in close terms with Saeb Tabrizi. Saida’s anthology consists of 4815 lines versified in five genres: sonnet, ode, mathnavi, stanza, and quatrain. However, the major bulk of his poems (590 poems) comprises sonnets. Stylistically, saida is categorized primarily as a poet of Ramal foot, while Mozare’, Mojtass and Hazaj feet come next to that. His sonnets often employ the most frequent Persian rhythms such as elliptical octave Ramal and elliptical Makfuf octave present, but there also exist a few sonnets with a hectic, fast-tempo rhythm that rises ecstatic spirits like Moulana’s unscrupulous verses do. Expressing complex, far-fetched, and lampoon-free concepts, Saida’s sonnets project love and mysticism in a pleasant manner.His sonnet rhyths, except for Rajaz and Moqtazab, are tried in some of his odes too. While his mathnavis are in a fast tempo, his stanzas are written in Mojtass, slow, and present rhythms. As for quatrains, he has mostly used AzalMaqhbuzAkhrabactave, Hazj. Apart from the rhythms ever mentioned, his anthology contains just a few poems written in Recurrentmeter but a lot in ‘streamlike’ and lenient rhythms. Owing to their soft nature, Afaeel prosodic structure, as well as their musicality, these dominant rhythms are well suited for such circumstances as mourning, grief, nostalgia, pain, regret, and complaint.
By means of accurate statistical tables, the present article aims at introducing and analyzing the frequent and non-frequent rhythms as used in Saida’s poems. Also, an attempt is made to shed light on the status of Saida in the Indian style of poetry.
Journal of Kavoshnameh in Persian Language and Literature
Yazd University
2645-453X
15
v.
28
no.
2014
67
99
https://kavoshnameh.yazd.ac.ir/article_384_a9f102141ce4d18cb64bfe813ebe7b69.pdf
Critical Discourse Analysis of the Story of “Rostam and Shaqad” based on Van Dijk’s Ideological Square
Zahra
Hamedi shirvan
phD condidate Mashhad Ferdowsi university
author
s.mehdi
Zarghani
ph.D Ferdowsi Mashhad University
author
text
article
2014
per
In this paper the story of “Rostam and Shaqad’ fromShahnameh, the masterpiece of Persian epic poetry, is analyzed on the basis of Van Dijk’s method of Critical discourse analysis (CDA). After the statement of the problem and the review of literature, CDA is introduced briefly and then Van Dijk’s method is represented in details. This part presents the theoretical structure of our analysis. Then along with a short review of the story, we have shown that the producer of this story has tried to understate the ingroup faults and negative points and the outgroup positive points and overstate outgroup faults and ingroup positive points by means of different discursive structures in the text. These strategies are called the ideological square by Teun Van Dijk. This ideological square shows that some part of reality in the texts can be ignored or falsified. Many of the classic Literature stories can be analyzed and reread by CDA approaches and this allows the addressees to look at and read back the stories from different viewpoints. This is also the goal fallowed in this paper.
Journal of Kavoshnameh in Persian Language and Literature
Yazd University
2645-453X
15
v.
28
no.
2014
99
129
https://kavoshnameh.yazd.ac.ir/article_385_85c68a8092773a66f85e3ed69f9662df.pdf
A Study of Simile in Khajou’sRawzatolAnvar
Ali Reza
Nabiloo
ph.D Qom University
author
text
article
2014
per
The question addressed in the present paper is how similes are treated in Rawzatol Anwar. They are studied in terms of structural, thematic elements of simile, aspect of simile, quality, being single and in combined form, etc. An attempt has been made to review the statistical and frequency of Khajou similes. As it is shown RawzatolAnvar contains 1827 verses and 839 similes, which is determined by comparing the number of verses and similes. Almost two verses contain one simile.
Khajou’s similes include 7.5 of human quality type, 8.24 of abstract concept type, 5.32% of objective type and 5.18% of natural type. Similes are repetitive and stereotyped. Fresh similes are few.Kjajou is also more willing to use singular similes and has made little use of complex similes.
Journal of Kavoshnameh in Persian Language and Literature
Yazd University
2645-453X
15
v.
28
no.
2014
129
165
https://kavoshnameh.yazd.ac.ir/article_386_e81ae31ba2d17c17c434cdbedb40ab32.pdf
Eternity of the Character in the Latest Story of SiminDaneshvar
Elnaz
Ezati
M.A Urmia University
author
Fatemeh
Modarresi
ph.D Urmia University
author
text
article
2014
per
Bless being caliph of human on the earth, bless” is the latest story from the last collection (Entekhab) of SiminDaneshvar.In this story the main character in facing death, reaches a belief of her own eternity and continuity through the next millennium in another skeleton with creating a content syndrome by the author in a intuition and illumination attitude. The objective of this study is Daneshvar’s tip analysis of the illustration of the character’s eternity in relation to the selection of the content that has been presented by the author. In this narrative, Daneshvar creates a deep-structural bed related to the theme, fighting to illustrate the eternity of the main character via illuminated discussions. In this way, she has reached the same essence with the typiocal “self” in mysticism and illumination.The result of the work demonstrates that the creation of this link has brought success to the author in illustrating the character’s eternity after her death.
Journal of Kavoshnameh in Persian Language and Literature
Yazd University
2645-453X
15
v.
28
no.
2014
165
186
https://kavoshnameh.yazd.ac.ir/article_387_d16cd847c9155a827abbe6fdf7c70405.pdf
AbolFarajRooni’s Poems and their Effects on Kelileh&Demneh
Leyla
Amiri
M.A Shiraz University
author
Zarin taj
Varedi
ph.D shiraz University
author
Zahra
RiyahiZamin
ph.D Shiraz University
author
text
article
2014
per
AbolFarajRooni is one of the pioneers for changing the style of Persian poetry from Khorasanito Iraqi style.He has done so many innovations with an innovative moralwhich has caused his poetic style to be separated from his other contemporary poets. AbolMaaliNasrollahMonshi is also the creator of the technical and well–arrangedPersian and "Kelileh and Demneh" of Bahramshahi, as he said: until the time Persian language is common among people,it does not ever become obsolete. In this paper, it has been tried to point out some aspects of Kelileh and Demneh effectiveness from AbolFarajRooni,s poetical works.NasrollahMonshi has received so many impression from AbolFaraj,s lexicons, combinations, interpretations and literal figures in different aspects, and he has brought so many hemistiches and couplets from AbolFaraj,s works through warranty or insertion in his prose. From one hand, this effectiveness can show the remarkable position of AbolFaraj in the extension of Persian literature, and on the other hand, it expresses the dominance of NasrollahMonshi on his own contemporary poet'sAbolFarajRooni
Journal of Kavoshnameh in Persian Language and Literature
Yazd University
2645-453X
15
v.
28
no.
2014
187
209
https://kavoshnameh.yazd.ac.ir/article_388_35d5abf3b16e15ffbbff986d2df46381.pdf
- Oil Industry and its Relation with the Works of Three Iranian Writers from the South of the Country(Ahmad Mahmood, Sadegh Choobak & Ebrahim Golestan
S.mehdi
Noorian
ph.D najafabad esfahan
author
Shabnam
Hatampour
ph.D condidate azad university of najafabad
author
text
article
2014
per
As industrygrowth has made many effects on urbanization of industrial societies and modernization it can bring changes in culture and art of these societies. One of the most important industries in our country is oil industry since it was the inception of economic and political focus. This industry growth in the south has made a great impact on life style of the people living in the south of the country.The purpose of this paper based on the works of three writers from the south of the country will examine the sociological style approach used by them. This study has shown that, SadeghChubak and EbrahimGolestan who worked for oil ministry have been less affected by their job in oil industry than Ahmad Mahmood. It may be due to the fact that Ahmad Mahmood has been living in south, while the other two writers have not been living there. Another reason for the attention of Golestan and Chubak was the kind of technique and style that they used to tell their stories; however, Ahmad Mahmud as a realistic writer has more reflected the real life of people in the south.
Journal of Kavoshnameh in Persian Language and Literature
Yazd University
2645-453X
15
v.
28
no.
2014
209
239
https://kavoshnameh.yazd.ac.ir/article_389_5a684e2e03851466d60f9ee345be0870.pdf
A Mixture of "Shath" with Caricalmatur in Ahmad Azizi’s Prose
leyla
darvishalipur
M.A Gilan University
author
Ali
Safaee
ph.D Gilan University
author
text
article
2014
per
Journal of Kavoshnameh in Persian Language and Literature
Yazd University
2645-453X
15
v.
28
no.
2014
239
266
https://kavoshnameh.yazd.ac.ir/article_390_f8ca1de1d14166c61b97233af13f819e.pdf
An Investigation of two Tales from the Third Chapter of Marzbannameh Based on the Greimas “ActantialModle
Nasrin
Ali akbari
ph.D Kordestan University
author
Khadijeh
Mohammadi
M.A Kordestan University
author
Samira
Rizehvandii
M.A Kordestan University
author
text
article
2013
per
Journal of Kavoshnameh in Persian Language and Literature
Yazd University
2645-453X
15
v.
28
no.
2013
267
292
https://kavoshnameh.yazd.ac.ir/article_391_17546d4b8df64a5da06985ac901606f6.pdf
A Study of the Religious and Mystical Elements in Jahangirname’s Epic
Reza
Ghafoori
ph.D Shiraz University
author
Mohammad Reza
Amini
ph.D SHIRAZ University
author
text
article
2013
per
Journal of Kavoshnameh in Persian Language and Literature
Yazd University
2645-453X
15
v.
28
no.
2013
293
316
https://kavoshnameh.yazd.ac.ir/article_392_8c5b6bccbe6d4b1c04856f4b8893c834.pdf
Spirit and Reason in the First Poetic Line of Shahnameh’s Preface..
Hamid Reza
Ardestani
ph.D Islamic Azad University ,Dezfool Branch
author
text
article
2013
per
Journal of Kavoshnameh in Persian Language and Literature
Yazd University
2645-453X
15
v.
28
no.
2013
317
340
https://kavoshnameh.yazd.ac.ir/article_393_01cb204be7cf9c7c16e3df30b33c161c.pdf