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Showing 4 results for Tree
Ali Taslimi, Tayyebeh Karimi,
Volume 24, Issue 80 (8-2016)
Abstract
Fantastic Realism is a genre which remind us of Russia and its great writer Dostoevsky. This genre has been developed in Iran among Iranian writers who have been familiar with the books of world literature, especially Russian literature. Fantastic Realism employs and combines reality and imagination, and while it concerns the reality related to human beings, it pictures that kind of reality which is internal. That is why the reader has some difficulty in finding the true meaning in such novels. Among the Iranian writers, Khosro Hamzavi is more inclined to this genre and the novel The City which Died under the Cedar Trees is one of the best novels of this writer which is written on the basis and reflects Fantastic Realism. The City which Died under the Cedar Trees is discussed in this paper based on Fantastic Realism using a descriptive-analytic method.
Rahman Zabihi,
Volume 25, Issue 82 (9-2017)
Abstract
In the words of the poets, there are motifs that in addition to being frequent and extensive are linked to the knowledge and epistemology of the narrator. Among them, the "tree motif" in NaserKhosrow’s poetry and prose with a frequency of at least 177 times is one of the central themes and images which are rooted in the poet’s intellectual and religious beliefs. NaserKhosrowhas often used this motif in two major ways: First as an image of the universe in the form of a tree with human beings as its fruits, and second as an image of a human being in the form of a tree with his moral traits as the sweet and valuable fruits as well as his immoral traits as bitter and harmfulfruits.In the present study, in addition to investigating the background and origin of this theme, its different aspects have been analyzed. The results indicate the special and unique importance of tree in the poet’s mind and imagination and also the impact of Islamic teachings and Ismaili works and theories on the poet increatingsuch themes and images.
Hamid Rezā Ghorbāni, Mohammad Khodādādi,
Volume 32, Issue 96 (4-2024)
Abstract
Trees have special importance in Persian poems. Cultural, religious, mythical, ethical, mystical, and political elements have propositions influenced by trees. Following water and the sun, the tree is an important phenomenon from which special literary elements and situations are created. The creative ways of connecting natural phenomena with human elements have been highlighted by the emergence of various political events in the last century on the one hand, and the creation of many artistic ideas and styles on the other hand. The tree image has found a new and multifaceted effect in modern poetry. Modernist poets give special roles to non-human elements and among these, the tree is a human-like mirror image that shows the evolution of human society in its stature. Using the library method and based on an analysis and explanation of poetic evidence in the thoughts of selected poets the current research revealed that the tree could be an image of personal failures, love, a medium of perception, an indicator of freedom, a representative of an ecosystem, a symbol, a sign of death and nonexistence, and a reflection of tyranny and a denial of human existence under the rule of tyranny.
Msr Gholamreza Pirouz, Ms Houra Adel, Msr Gharibreza Gholamhosseinzadeh, Ms Fataneh Mahmoudi,
Volume 32, Issue 97 (1-2025)
Abstract
Poetry and painting are two different ways to create works of art, and their close correlation has always been the consideration of art history researchers and literary critics. Sohrab Sepehri is an artist who has tested his taste in both the fields of poetry and painting. Therefore, the present research, targeting a select collection of paintings of trees and Hasht Ketab (Eight Books) of Sepahri, in the light of the theory of Panofsky's Iconology, deals with a comparative and interdisciplinary study of these works. It also focuses on the image of trees in both poetic and painting media to analyze and explain the various structural and semantic aspects of common icons in order to discover the characteristics and connections between his poetic world and the art of painting. The main question is why and how the image of a tree acts differently in two linguistic and visual systems. Sepehri's approach to the element of tree in both poetry and painting contrasts with such concepts as dynamism and static, life and death, rootedness and rootlessness, fertility and infertile, openness, closure, and junction and disjunction whereas it sometimes gets very close to each other in such themes as strangeness and the sense of suspense. Sepehri is under the influence of the paradigm of modern Iranian painting in drawing the image of the tree and its space, in which the space is basically contracted, dark, and desperate. That's why the trees in his works act mostly in the direction of rupture. They move in the direction of disjunction from the world and the essence of existence which can be an allegory of Sepaheri's objective world. However, the image of the tree in his poems is in line with the dominant concepts - a symbol of growth, freshness, and vitality - at the usual level far from the rhetorical signs and the uncommon domain of connotation in Persian literature. It is in fact an explanation of the ideal world of the poet.
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