فهرست مطالب مرادعلی واعظی

Ritual poetry has experienced new semantic, visual, and structural domains in recent decades. This type of poetry is researchable as an ideological text. The meaningful connection of poetic elements with each other can be found by analyzing the linguistic and rhetorical components of poetry. Some texts have an ideological context and have the social, religious, or cultural ideals of a particular group. One way to understand these collective beliefs and ideals is to analyze the linguistic and rhetorical elements of poetry based on the beliefs and attitudes of writers and poets. Although ritual poetry has been presented in Persian poetry from the very beginning, for about ten centuries or more, it has not had the courage to change and evolve. After the Islamic Revolution, under the influence of Shiite discourse, it gradually became a dominant ideology in contemporary poetry, especially in the last two or three decades due to the provision of political and social contexts on the one hand, and the continuous activities of poetry associations on the otherhand. Ritual poetry has been polished over the centuries through ups and downs and has reached perfection in the field of contemporary literature by creating new horizons. Both in terms of form and content, it has become a place for beautiful and meaningful poems. As we read in the book Rasade Sobh (Kazami, 2009) “the tendency of young Iranian poets to ritual poetry is a good and blessed tendency and even unpredictable extent” (p. 54).

This study aimed at introducing modern examples of religious and ritual poetry to explain the relationship between the form and content of poetry through the study of rhetorical and linguistic elements. Therefore, two questions have been posed: 1) Is there a significant relationship between the form and content in the ritual poetry of the last three decades?; 2) Through which linguistic and grammatical features and rhetorical elements have the poets expressed their desired ideology? We tried to divide the dominant ideology of the text of the poem into two categories of language and rhetoric and to analyze the sub-branches of each by mentioning some examples.

The results of the present study showed that the linguistic and rhetorical elements in today’s ritual poetry are strongly tied to the ideas of poets. Poets have hidden their religious and scholastic ideology in linguistic layers and syntactic techniques such as marked words, specific linguistic combinations and constructions, type of verbs, omissions, and prepositions. Also, their intellectual worldview has been expressed in rhetorical techniques such as metaphor, illusion, symbol, and exaggeration. Such kinds of technical techniques are tools to convey the ideology of poets.

The study showed that ritual poetry is one of the texts in which linguistic and rhetorical elements are tied to thought. The language and rhetoric in various forms have  crystallized the ideologies desired by poets. The most manifestation of ideology in the linguistic layer is manifested in signified (marked) words. The high frequency of symbolic and ideological words explicitly indicates the poetic dependence of poets on certain religious beliefs. Linguistic compositions also reveal a certain intellectual world. The type of repetitions and emphasis  in ritual poetry is a diagram of mental commitment to the Shiite belief system. The aspects of grammatical verbs and omissions in most cases adhere to the ideology of the poets. In evaluating the rhetorical level, it was found that metaphors, allusions, and symbols were the most important means of conveying ideology. Metaphors such as the sun, the lamp, and the star all arose from a doctrinal belief and represented the dimension of guidance and enlightenment of the existence of the Infallible Imams (AS). The Qur'an and the Kaaba also introduced the level of knowledge of the Imams (AS) and their metaphorical position showed that they are specific to ritual poetry and such a metaphor cannot be formed in another ideology. Implicit references have also shown the concepts and intellectual foundations of poets by invoking historical propositions from hypertext to text.

The factors and conditions that influence the poet's heart and soul in the creating poetry are of great importance in the creation of it; generally, poets, scholars and critics pay attention to these factors, and they are scientifically followed by theorists and new philosophers. However, the question remains that what causes the poetic atmosphere and mood? Sometimes this ability is only assumed as something innate and accessible to certain people, and some believe that, everyone can become a poet with practice and experience just like any other skill. According to Hakim Nezami's explicit comments on poetic techniques and its conditions, it is very interesting and valuable to deduce and clarify Hakim Nezami's views in this respect. IT seems necessary to collect and compile his valuable views which are neglected due to being scattered among the poet's words in a form of a coherent view to guide the followers of correct speech; while helping them to better know him and his artistic techniques.The presence or absence of coherent literary theory in the literary history of the Orient, especially in the field of ​​Ancient Persian Literature, is one of the issues that has always been dealt with briefly and without any scientific support.  Is it Possible to imagine all the beauty and variety that is evident in Persian Literature without any theoretical support? The span and variety of the issue dimensions in Nezami Ganjavi's poems compels us to examine one of them, namely, the factors of poetry creation in the poet's literary theory, and try to answer the following question: Does he have clear comments on the factors of poetry creation? And if so, how can they be classified, and what relations do they have to modern and contemporary literary theories?

On the one hand, the researcher investigated Kolliyat of Hakim Nezami including poems, using historical analysis, and on the other hand, to clarify the origins and basis of literary theories, this technique was investigated from Plato to Rolan Barthes and the contemporary philosophers and other eminent theorists. Finally, the poet's views on the creation of poetry were deduce

It is true that the creator of an artistic work is the one who can understand the factors of the outside world and discovers its secrets better than the others. However, his relation with outside world do not necessarily always follow the rules of wisdom. Sometimes the relationship with the outside world stimulate his mind and makes it aware of great forces which he himself might not be familiar with..From the formalists' point of view, generally art is not the purpose or the frame of an artistic work but a process through which perception is reduced or even disconnected. As such, critical investigations are also to achieve such influences (Keri, se, 1381: 33)Therefore, it should be considered a place for wisdom, along with the trance and the unconsciousness, in poetry creation space. Although, from a poetic structure point of view, Nezami sometimes comes close to the ideas that conform to formalism (Ismaili, R. K. 1394), this never leads to ignoring the place of reason in the creation of poetry and it makes him a generally rational poet.Bares believes that the place of wisdom and its use in the creation of poetry and art has a definite boundary. He says: If the creator of a literary work wants to use wisdom from the beginning, not only does it fail to empower other internal forcesbut also cripples them. The artist must know that the time of using instinct is before any reference to wisdom or logic (Bars, 1968: 104).In Nezami's perspective, wisdom is the head of human soul and can pave the way for all the difficult ways, including the ambiguous path of poetry creation, and any speech that does not correspond to this old man's logic would be worthless. In the mind of the wise poet, wisdom and art have a close relationship with each other that can serve as an introduction or complement on and to each other. This correspondence is of course inevitable and just as art requires wisdom, wisdom also requires art and artistry (Nizami, 1388: 51).Phenomenologists insist that the poetic image is "something empty". It is not an image drawn on a canvas or on a sheet of paper, it is merely a virtual, metaphorical, or ironical expression that cannot be seen. The original content of the poem is neither images, nor expression of thought and language (Ahmadi, 1370: 59). This view is far from what Nezami thinks of the close relationship between poetry and wisdom. Nezami remains a rationalist poet while employing images from the world of senses and what is beyond. Sometimes he has arguments on affairs which are really rational. And if it is not possible, his arguments become poetic. It is a sort of poetry that follows wisdom.

Although the criticism and literary theorizing were not dominant in the past of Iranian and Oriental literature; no written works have been compiled in this respect and they have not received much attention in the way that was common in ancient Greece and the West, It does not mean that Iranian poets and intellectuals did not have any theories in the field of literature and literary criticism. The reason is that direct and indirect cues of many of these great characters in the field of criticism and theorizing represent deep intellectual challenges in this regard.He was unrivaled in direct expressing of his views on literary theorizing and poetical techniques if not unique. He provides a logical framework for his poems and thoughts, and seeks to apply this thought frame to his poems and reveal it to others. In the context of the factors that influence the creation of poetry and a poetic atmosphere and mood, he mentions noticeable factors which are classified under the following topics: Divine Grace, Solitude and Loneliness, Poetic Atmosphere and Mood, Poet's Inspiration, Angel, and Fairy Impression, the Introduction of Magic, the Developing and Propagandizing of Religion, Wisdom, Heart-centrism  the Buyer of Speech, the Name and Reputation of the Poet and the Spreading of Science; the poet's deep look was revealed in this field by referring to his poems. It seems that the views which have been raised in the field from the past to the present are summed up in his own. The author's intention is to extract and classify all of Nezami Ganjavi,s comments and to formulate them by explaining his poetic theories so that these prose gems would be presented in a form of a poetic chain.

Variation and plurality of voice and thought in the conceptual network of the Shi’a poetry in the last three decades is a point that is worth being scrutinized. This type of poetry has breathed in a different atmosphere by experiencing an altered climate, taking on a more modern identity. In the present study, for the first time, the manifestations of evolution and distinction of ritual poetry in the last three decades have been investigated and analyzed. The research question is as follows: “What conceptual indices and manifestations have led to formation of the identity of today’s Shi’a poetry, and how does this evolution show itself?” The research method was of descriptive-analytical type using library sources. Here, we attempted to explore today’s Shi’a poems to extract the manifestations of modernization of this type of poetry in the sphere of conception from the related texts and explain them using examples. The study aims at introducing and explaining the modern identity of today’s Shi’a poetry and its artistic aspects, which are unknown for the scientific and academic community. The findings of the study show that today’s Shi’a poetry has become more thematic, more objective, and more promising. It has become closer to the social life and far from the stereotypic expression of the past; and the discourse of Waiting has become stronger in it.

Every literary work comes from people and society in its period. Therefore, in literary works, the observation and reception of events, events, and social demands can be observed more or less during the production period. Comic effects, from which criticism is usually based, reflects more and better on the disadvantages and problems of their societies, and they are important in sociological studies. After the Islamic Revolution, written humor grew. Of course, during the years of this period, they were driven by factors and components, and sometimes they came close to parody or falsification. These factors can be divided into internal (external) and external (social and audience) groups that determine the type, theme, format and manner of presentation of humorous effects. This research tries to explore the influence of internal and external factors on the humor of this period with a sociological perspective in a descriptive and inferential way.

Yaghma, The literary magazine in the field of poetry, started its activity with the aim of preserving ancient achievements and countering every kind of unapproved innovations and novelty. This was in spite of the fact that many years had passed since the beginning of modern poetry and there have emerged famous figures in Nimaei poetry. The present article intends to see how much Yaghma was successful in following its initial policy in the field of poetry delineated in its very first number. This will be done through a review of the theories of poetry published in this magazine and also content-statistical analysis of forms and contents of the poems and identifying the poets who were considered and heeded more than others in Yaghma. Had Yaghma been successful in following classicism regardless of modernism, or had it been affected by modern trends in poetry? Results of the current study, which was done by content analysis and descriptive-analytic method, show that although Yaghma had serious attempts to print and publish classic poems and had great cooperation with dogmatic poets, and much of it comprised of Ghazal (33 percent), Ghasideh (25 percent), classical contents and Akhavaniat, yet it could not ignore public demands for modern trends in poetry and sometimes made cautious innovations to satisfy contemporary needs and occasionally eulogized and praised innovative (or modern) poets due to expediencies of the age, and even published some of their poems. However, to defend and respect its classic followers who form the main body of its audience, Yaghma prevented this from becoming a regular approach in the magazine.

Wine is an old and rich symbol in Persian literature which has dedicated itself a wide range of conflicting thoughts. This symbol in Iranian culture allows the addressee to have a materialistic or spiritual understanding of it according to his or her suspicion and character. This research seeks to select the common Rubaiyat among three Arab translators about wine and vinosity and compare the translators’ understandings about wine. Invitation to drinking is chosen because wine in Khayyam Rubaiyat is the symbol for seizing time and it is considered as an image of thought and the main theme for the poet. How did the translator react to joyfulness and invitation to drink wine by Khayyam? What effects do the taste and ideology of the translator have in rendering this motif in Khayyam poetry in Arabic, and what intricacies are followed by their translations? This research is limited to three translations of Ebrahim Qoreyz, Ahmad Safi and Ahmad Najafi. Each translator employing strategies such as a stipulation, omission, and refined thought has conveyed his interpretation and has placed his character and emotion in the target language during the process of transmission. This happens because the translator cannot translate free of his character even in literal translations. The research method used in this paper is descriptive-analytic with a lexical approach.

A general belief about the modern story in Persian fiction is that this genre, unlike modern poetry, has never been subjected to the critique of traditionalists in its evolutionary process. The present article claims that the story has gone through similar difficulties as modern poetry. To determine the classical approach to fiction, this research has chosen Yaghma Magazine which has indisputable classical approach. Categories such as old and new genres fiction, the commentaries on storytelling and authors published in Yaghma Magazine are analyzed. The results of this research show that Yaghma considers the contemporary fiction as the sequence of its classic forms of storytelling in Persian literature. Therefore, the observance of the rules and principles of modern narrative is not required and furthermore, following the classical rhetorics is counted as an advantage. Since the mission of the story is education and entertainment, in many cases in this magazine, pseudo stories take the place of the fiction and even an ancient genre, such as the fable, occupies much of the fictional literature of this magazine. Yaghma’s stories, apart from the works of translation, is divided into two categories: Historical stories based on classical works, whose structure is inspired by classical literature and stories that have been formed by the influence of Western literature, still trying to draw closer to their Iranian identity. Another point is that Yaghma has not published a story from any of the famous and well-known persian writers other than Jamalzadeh.

This paper investigates the heroic tone of the convinced poet Ibn Hesam in the century of 9 Hegira and in contemporary with the Timurids era. In this direction and by considering the artifact background of Ibn Hesam in composing the first religious epic of Iran territory. At first the definitions of tone in two ambits of music and literature has been performed. Then also the general definitions of costumes and ritual poem has been introduced. Eventually by bringing some poetical evidences of this amorous poet to the teaching of the families and men of faith (peace be upon Him), the heroic tone in harmony with meaning and music has been revealed. These poems classified in five definite grounds so that the beauty of the selection of rhythm and diction by Ibn Hesam to be manifested in a best manner and because in his poems the eulogy, elucidation, the lamentation and praise each one of the religious leaders and Imams, has revealed the outstanding features of its heroic tone. It is hoped that by more scrupulous study of the works of this amorous and insightful poet, the religious poems to be known better so that to be more familiar with the damages that always threatens the poem and specially the ritual poems.

Epic is one of the literary types. It has special definition and characteristic and divided in some kinds and types from different views. From one of these divisions, religious and historic Epics are of epic kinds. In this article beside the abstract representation of religious and historic Epics, with Khavarn Nameh Ibn Hisam Khosfi as pivotal domain which is one of the successful kinds of religious epics, the explanation of the characteristics of religious epics has been probed and with comparison of the structural characteristics of Khavaran Nameh with the features which has been specified to epics, the importance of the literary stance of this great religious epic in the domain of religious and historical epics has been emphasized.

Ibn Hesam was born in the ninth century in Khoosf village, which is now a town near Birjand, and his tomb is a sacred place for Gnostics. Although all Muslim poets have composed poems to praise god and prophet Mohammad, there are a few who have been seriously dealing with religious issues including Naser Khosrow Ghobadiani, Molavi, Saadi, Atar, ….Ibn Hesam is the first poet who devotes 95 percent of his poems to religious issues such as Islam history, prophet Mohammad’s life, great people living during prophet Mohammad’s life, the reasons for prophet Mohammad’s prophecy, and praising prophet Mohammad, imam Ali, Fatemeh, and other infallible imams. His long couplet-poem, Khavaran nameh, is also the most famous religious work. Ibn Hesam had a very simple rural life and was living on farming. He did not have enough money even to provide some papers and he has written some of his poems on his shovel-handle. He has complained the inequalities and oppression in his society for so many times. He has composed his poems without any expectations and only for his real love to god, Quran, prophet Mohammad, infallible imams, and the people. He has had a very pious life and, therefore, has never had any relation with the royal court and the courtiers and has even criticised them every now and then for what they had been doing.