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Showing 3 results for Binary Opposition
Ali Reza Nabiloo,
year 21, Issue 74 (5-2013)
Abstract
The study of binary oppositions in art and literature has attracted some contemporary linguists, mythologists, narratologists and semiologists. They maintain that one may get a better understanding of the literary work through these binary oppositions. In this study attempt is made to have another look at the poems of Shams al-Din Muhammad Hafiz by considering binary opposition as one of the central elements and main features of his poems. For this purpose, 100poems have been selected randomly.In these poems 637 binary oppositions are seen indicating that in each sonnet there are 4 to 6 cases of binary opposition. The binary oppositions are grouped in three parts: verbal and lexical (35%), semantic and conceptual (54%), and literary (11%). Semantic pairs are repeated more often in the poems of Hafiz, which give his Ghazalstheir distinctive feature.
, ,
year 24, Issue 81 (2-2017)
Abstract
Binary oppositions are among the essential concepts and components of structuralism and linguistic and semiotic theories that are rooted in human ancient beliefs. One of the fundamental functions of the human mind is the creation of binary oppositions, which are seen in art and literature. The study of binary oppositions in literary works leads to a better understanding of them. This article is an attempt to discuss the binary oppositions in the lyrics of Attar Neishabouri. A close study of 100 chosen lyrics of Attar shows that many of the lyrics are formed by binary oppositions and even in some verses there are two, three, or four binary oppositions, as if binary oppositions are the driving force behind many of Attar's lyrics. The study of these lyrics shows that there are 843 cases of binary oppositions of which 47 percent (396 cases) are lexical, 35.5% (298 cases) are semantic, and 17.5 percent (149) are thematic. There are about 8.4 binary oppositions in every lyric which shows the great frequency of this type of diction. The main reason that Attar is interested in binary oppositions is that the poet is influenced by his unconscious, the importance he gives to moral and religious issues, his consideration of mystical concepts, the effect of the social environment and the his interest in aesthetics and music. In short, binary oppositions are considered as one of the stylistic characteristics of Attar's lyrics that have semantic and aesthetics functions.
Nasergholi Sarli, Akram Ghorbani Cheraghtappeh,
year 31, Issue 94 (6-2023)
Abstract
The researchers of mysticism and Islamic Sufism have considered the making of the language of Sufism and mystical discourse as one of the most important aspects of the history of Sufism. Especially the gradual differentiation of the language of Sufism from the language of religion and its transformation into an independent discourse has been the subject of valuable researches. The researchers have demonstrated that mystical experience and Qur'anic interpretation are inseparable at first and the language of mystical experience merely uses Quranic words, but gradually, mystical experience becomes independent and adopts the Qur'anic language/language of religion and acquires its very own language. One of the lexical features of the language of Qur'an/religion is the use of binary opposition. Binary oppositions such as Paradise/Hell, Good/Evil, this world/the Hereafter among the basic religious and Quranic teachings and are used with high frequency in Sufi texts. The use of binary oppositions in Sufi texts goes far beyond religious binary opposition, and especially in Sufi textbooks, many new terms are formed based on binary opposition.One of the distinguishing aspects of the language of Sufism is the deconstruction of binary oppositions. The deconstruction is applied both in the binary oppositions of religion and in the oppositions formed in the language of Sufism. It has various and different forms and aspects, and its analysis may provide us with the most creative and innovative aspects of Sufis' worldview and mystical experience. This linguistic invention, which is rooted in the novelty and uniqueness of mystical experience, is a sign of the authenticity of that experience. In this research, we have investigated the deconstruction and departure from binary opposition in a corpus including the most creative words of the Sufis in Persian prose texts. By analyzing and classifying the different forms of the deconstruction and going beyond the binary opposition, the article shows how this feature grants the language of Sufism a special artistic and poetic characteristic, and places it in a completely different level compared to religious texts and the language of Shariat. Going far beyond the binary oppositions is closely related to the paradoxical feature of the language of Sufism and provides the possibility of expressing more complex experiences for Sufis.
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