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Showing 5 results for Tabriz
Abbas Mahyar,
year 17, Issue 66 (3-2010)
Abstract
This paper presents a new description of "Tabriz" in one verse of Mathnavi, Volume 6. The story begins with the journey of a poor man (Darvish) to Tabriz working for a loan from an official. Molana composes the poem from the point of view of this man about "Tabriz" and its residents. The poem reads : God`s empyrean mercy awarded to "Tabriz", the heaven on the earth, and whole residents. In this paper, attempts are made to examine this claim of Molana based on historical documents and religious scholars’ views through adopting a library investigation mode of research. Interpretations are based of direct meanings of words.
Habib Allah Abbasi, Naimeh Ghaffarpour Sedighi,
year 21, Issue 75 (12-2013)
Abstract
In this research two kinds of critical approaches are introduced and then some examples of these two approaches are selected and discussed. The aim of this article is to consider the critical fields in Constitution period in Iran, which is counted as the turning point in passing from tradition to modernity. The first approach, in-group criticism, is criticism among the members of one group; the second approach, out-group criticism, is done among the members of two different groups. The example selected for the first approach refers to the “Association of the Faculty” and its two members Mohammad TaghiBahar and Abbas EghbalAshtiani, who stand for Neoclassicism. The second example refers to the “Association of the Faculty” and Bahar in particular and Tajaddod-e Tabriz Journal and TaghiRafat at its heads. The latter group represents revolutionary Romanticism. The method of this research is based ontextual analysis.The analysis of the content of these two approaches shows that the in-group approach in Constitution period was more moderate compared tothe out-group approach and sometimes personal prejudices had a role in the process of criticism. There has been difference in taste in the first approach, and in the second approach the difference is in thought and ideas. If approaches like these could have changedinto movements, they could have been useful in criticism of literature and also in widening the field of criticism. These two approaches, however, had been stopped gradually. Moreover, out-group criticism is considered as the opposition of Neoclassicism and Romanticism in Iran.
Iraj Mehraki, Hossein Alizadeh,
year 24, Issue 80 (8-2016)
Abstract
Among extant books of Sufis prose, the prose of Maqalat-e Shams-e Tabrizi has high and particular qualities. Its special language and the sensitivity that Shams shows in every point of his Maqalat regarding language makes us observe the dialectic between structure and meaning of language which is the results of forming a progressive prose compared to the prose of his contemporaries. Among the different functions of Shams’ language, metonymic function of prose has a special importance in Maqalat. Therefore, in order to discuss the form of Maqalat, in this article the metonymic language function is discussed, and in this way the theory of Roman Jakobson about metaphoric and metonymic pole of language has been used very much. Jakobson by accepting the theory of Saussure about the arbitrary aspects of language and also admitting two axes of replacing and companionship in language, adds that metonymy is formed by the relationship of proximity and companionship of words, but metaphor from the relationship of similarity in the replacement axis in language. By studying Maqalat we may conclude that its prose has used metonymy to present particular and special concepts.
Seyed Amirabbas Setayeshgar, Habibullah Abbasi , Seyed Morteza Mirhashemi, Effat Neghabi,
year 31, Issue 95 (11-2023)
Abstract
The use of music is one of the most useful techniques in poetry, which poets use to convey their thoughts. Owing to their mastery in music, some poets have employed it to express their reflections and to portray poetic images more than others. The frequency of the discourse of music in the poetry of this group of poets and the imagery created through it shows their mastery over music, both in terms of theory (in topics such as organology and the study of tunes and melodies) and in terms of practice (which is performing and composing music). Using a descriptive-analytical method, the present research aimed at investigating the means of the theoretical and practical music in the divans of two of the foremost representatives of the Indian style (sabk-e Hendī) of Persian poetry, i.e. Saeb Tabrizi, the leader of the mode called delicate imageries (nazok-khiyali), and Bidel Dehlavi, the forerunner of the mode called exotic imageries (dour-khiyali). First, by giving examples, the concepts of music in the poetry of the two poets were examined and then both views were compared in the field of music. The results indicated that mastery of music would highly contribute to the decoding of secrets of the poems. In effect, without finding the musical roots (as a specialty and profession) it would not be possible to gain the correct and precise understanding of some couplets. In fact, this method of applying musical concepts is not a sign of distant knowledge of the field, but it implies a kind of scientific and close knowledge. The result of this study – which is the explanation of the combination of theoretical and practical music in the two modes of delicate imageries and exotic imageries of the Indian style – indicates the three main branches of the association network, the theoretical-practical knowledge and the link between poetry and music.
Yahya Kardgar,
year 32, Issue 97 (1-2025)
Abstract
The culture and literature of Iran, has paid special attention to the religion of Christianity. This feature has become more prominent in the Safavid era for political, social, cultural and ideological reasons. Saib, the greatest poet of this era, had further contribution in reflecting this feature in his poems. This paper examines the events of the life of Christ in his Divan of six books by his descriptive-analytical method and concluded that the religious features his era, his theosophical and ethical perspective, the attachment of the audience of Saib poetry to Christ and the religion of Christianity and, finally, his tendency to theme-creating and subtlety and his dominance in the life of heavenly prophets has played a key role in presenting a full image of Christ. Referring to the life of Christ and other divine messengers, he seeks to bring religions closer to one another.
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