mohammad ali mousazadeh

A travelogue is a narrative work primarily focused on reporting what the author saw and heard during their travels. During the Qajar era, when Persian travel writing experienced a revival, writers like Haj Sayyah began to produce this genre with goals beyond mere narration of travel events. By studying the travelogue of Farang Haj Sayyah, we can understand that his purpose in recounting the developments of the Western world was not just to report, but rather to influence the perspectives and attitudes of Iranians during the Qajar period. His main objective was to promote modernist ideas and introduce the concept of modernization to traditional Iranian society. To achieve this goal, the author of the Safarnameh employed a style of simplistic writing characteristic of the Qajar era, complemented by various literary techniques designed to strengthen the text's impact on the Iranian audience. In this manner, Haj Sayyah attempted to bridge the gap between tradition and modernity in Iranian society, blending simplicity with the means of expression required for the task. His writing uses clear and straightforward language, characterized by simple vocabulary, short sentences, and a lack of complexity, while simultaneously incorporating expressive and innovative stylistic elements. From a social perspective, the author, despite expressing admiration for the progress of the West, maintains his religious and patriotic values. He avoids becoming entirely captivated by Western advancements and, at times, offers critique of the thoughts and behaviors of modern nations. This article aims to provide a detailed analysis of Haj Sayyah's expressive and intellectual approach to the manifestations of Western progress during the Qajar era.

Safavid era is one of the important periods in the history of Iran, where Persian and Turkish languages interacted with each other. This article investigates the function of Persian, Turkish, and Arabic languages in Safavid era Iran, as well as the lexical borrowing between Persian and Turkish languages, within the framework of Bourdieu's linguistic market theory. For this purpose, Persian and Turkish loanwords were collected by content analysis method and analyzed according to Bourdieu's linguistic market perspective. The results show that during Safavid era, these three languages, coexisted with each other. Arabic was the language of religion and science; and introduced religious, and scientific words and terms into Persian and Turkish. Persian was the language of poetry and literature; It had legitimacy in the literary circles and has lent poetic and literary words and terms into Turkish, and Turkish as the language of Shahs and army; was used in the army and court environment and has lent military and government words and terms into Persian. Therefore, the dominance of each of these languages in a certain social field is because of its speaker’s authority and competence in that field, not the nature of that language.

The present article aims to study the social contexts of the influence of Persian poetry and language on Turkish language and poetry by using Bourdieu's linguistic market theory, and to examine the literary and cultural influence of Turkish language on Persian during the constitutional revolution. Bourdieu considers language as a commodity which is traded based on the market logics. When a language dominates the market, it becomes the norm by which the price of other discourses is determined and the groups that make such a language their own language, legitimately dominate the means of understanding. The linguistic market places the speech of some people and groups at the top and limits and even rejects the speech of others. Persian language was dominant in the poetry and literature field and market for centuries, and was popular in the court, and circles of Sufism, and mysticism. Classical Turkish poetry was also developed under the influence of Persian Prosodic poetry and found its way into the field of court, Sufism, and mysticism. Through Persian Prosodic poetry, many words entered Turkish classical poetry, and then some of these words entered the language of the people. However, Persian language and poetry did not have much influence on the Turkish oral literature. From the early 20th century, social issues and colloquial language entered Turkish literary poetry, and the form and content of the poems became simple, Persian literature was also affected by this method, and as a result, the flow of literary and cultural influences reversed.

In this verse of Hafez:Kooh-e andooh-e feraaghat be che hilat bekeshadHafez-e khaste ke az naale tanash chon naalistThere are three recordings: “Hilat/ Haalat/ Taaghat” and there is disagreement among the editors of Divan-e Hafez over those records. Choosing any of these three recordings is valid from the lexical point of view, but only one of them is according the Hafez final edition. “Hilat” in addition to its common known meaning, which is synonymous with “Means”, refer to another meaning: “Medicine”. Furthermore what strengthens “Hilat” status is its relation to ancient mechanical engineering term. The word “bekeshad” in this verse strengthens this hypothesis, which due to translation, corresponds to the part of “Jarr” in the “Ilm Jarr al-Athqāl”. In the scientific tradition of the Islamic Middle Ages, the “Ilm al-Hiayl (=the science of devices)”, covers the whole tradition of Islamic practical mechanics, in contrast to theoretical mechanics represented by the “Ilm al-Athqāl / Jarr al-Ithaqāl (=the science of weights)”.However, the other two recordings: “Haalat” and “Taaghat” are not completely unreasonable; the texts that Hafez was influenced by, can be a reason for the relative acceptability of the recording of “Taaghat”. From the Homonym and Amphiboly point of view “Haalat” has a special meaning, which has been less noticed by Divan-e Hafez commentators and editors; This figures of speech are based on the manuscript’s styles of writing, which the writers and poets of the past - at least in a certain period - paid full attention to. This article seeks to examine the reasons for the relative acceptability of the two other recordings, and examine the preference of the “Hailat” from textual and rhetorical point of view as a final recording of Hafez.

The previous custom in correcting the texts was that the most archaic manuscript was absolutely the basis, and except for gross errors in the oldest manuscript, they did not consider it permissible to deviate from the oldest recording. Although this method was correct in most of the revised texts, the nature of Hafez’ poems and the variety of his sonnets were such that in the work of correcting his poetry, relying only on the oldest manuscript does not lead to a superior recording. On the one hand, Hafez was constantly in the process of completing various aspects of his poetry and possibly changing and modifying them, and on the other hand, he did not collect his poems himself, and the oldest written copy of Hafez’ Divan is dated after his death, which is said to have been collected by Mohammad Golandâm. It is possible that other people have been assigned to collect and edit Hafez’ sonnets. Based on this, in addition to the fact that we are faced with several original copies, the existence of numerous secondary manuscripts as well as the distortions of the scribes in his Divan, and the number of recordings in some verses and disagreements about them have caused that only referring to the older manuscripts will not cause these disagreements to disappear. In such a case, one of the ways is to examine disputed verses based on textual/semantic documents and rhetorical techniques

The subject  of this essay is to review the origin of the metric of the Gusheh-ha_i of Avaz Dashti in the Iranian classical music. Pahlaviyat is one of the important types of poetry-music of the Sasanian era, which is the old and less evolved metric of today's dobeyti. Since the arrival of Islam in Iran, under the influence of the Arab prosody system, it gradually underwent changes in the metric and became Bahr Hazaj Mosadas Mahzof or Maqsur, and due to its special structural characteristics, it continues to be a popular and common metric in the Iranian ethnic's music continued and that way he got into the Radif of Iranian music. Some music researchers believe that ،Avaz Dashti is a collection of songs of Iran and heavy metric presence of  Dobeity on the Gusheh_ha_i of  Dashti, this will reinforce doubt and believe. The research method in this article is descriptive-analytical and the statistical investigations were carried out to determine the frequency of the metric of Avaz Dashti in four Radifs of Iranian music (instrumental and vocal) as well as the metric of selected poems in the performance of the Avaz Dashti of Mohammad Reza Shajarian's albums shows a significant connection between the Avaz Dashti with dobeyti metric and its less evolved ritmic, which is reminiscent of the metric of old Pahlaviyat.This article examines the changes in the Pahlaviyat metric and its relationship with the metric of the Gusheh_ha_i of Avaz Dashti.

One of the most important topics in practical mysticism is the positions that the seeker has to go through in order to get right. The mystics believe that in order to attain the highest level of knowledge, one has to attain the degree of perfectly and universality. The purpose of the research is to examine the mystics and especially Attar Neishabouri's views on the triple positions of Trust, Satisfaction, and Surrender, using the arguments and descriptive and analytical methods. In the insight of the mystics and Attar, the secret of immortality and the overcoming of the ego and reaching the position of mortality in Allah and the survival with Allah in the embellish to the Existential levels of the Trust, Satisfaction and Surrender and losing in the door of the Holy Allah. In the worldview of the mysticism sect and Attar there are similarities between these three positions. From their point of view, the surrendering position is higher of Trust and Satisfaction; because in Trust, seeker request is a priority, in Satisfaction the will of God as the principle; but in Surrender the desire and the pleasure are not raised for the seeker; is the status that seeker welcomes the divine judgment, he surrenders to divine destinies, and gives all his life to God.

In none of the commentaries on the Bustan, there is any reference to the man intended by Sa’di in the following couplet:ÚÒیÒی ÏÑ ÇÞÕÇی ÊÈÑیÒ ÈæÏ
˜å åãæÇÑå ÈیÏÇÑ æ ÔÈ ÎیÒ ÈæÏ
(there was a dear man in Tabriz / who was always wakeful and vigilant)
Based on the existing evidence, the author of Rowzat al-Jenan wa Jannat al-Janan, quoting his teacher Badr al-Din Ahmad Lalehei, for the first time declares the person referred to by Sa’di as being Sheikh Abubakr b. Solleh-baf of Tabriz, an unidentified mystic of the late 6th/12 century and beginning of the 7th/13 century, Shams-e Tabrizi’s mentor. Apart from one or two scattered pieces of information, nothing is known about him. The main sources of this small information, are Maqalat-e Shams (Shams’s Discourses) and The Manaqeb al-Arefin (Virtues of the Mystics). Even though Ustad Foroozanfar expresses, in a gloss in his Mawlana’s Biography, that Ferydun Sepahsalar has made a reference to Sheikh Abubakr, no mention of such a person is made in the Resale-ye Sepahsalar.
In the present article, the writers have first tracked Sheikh Abubakr Solleh-baf in the sources of that period. Then, by matching Sheikh Abubakr’s mystical states against the contents of the story related in the Bustan, and considering other indications, they have concluded that the person (aziz) referred to by Sa’di is this same Sheikh Abubakr to whom Sa’di apparently paid a visit on his return journey from Mecca to Tabriz.

The debate between wisdom and love is one of the most important and contemplable topics in the valuable texts of persian verse and prose. Whe we investigate the persian poetry, it will be observed that to deal with such debatable topic, a large number of poets have abandoned the immitation and repetition of antireason and antiphilosophical thoughts of great poets and philosophers. This immitation goes with their mystic ranks and experiences. However among these poets, we can find few poets in whose thoughts there are higherspiritual thoughts, antireason debate, and antiphilosophicality, whether this be manifested overtly or covertly in their speech or writing fundamentally as a firm thinking, but there is not any place for immitation and repetition. These antireason beliefs which are the results of their fine spiritual greatness. As an example, the manifestation of antireason thoughtseither overtly or covertly- in the poems of Hafiz has given him a special status. This paper aims at investigating various dimesions of antireason in the Divan of Hafiz, referring to the unapproveed characteristics of wison, statement of wisdom in capabilities in the discovery of secrets, rejection of philosophy and philosophical knowledge, learned sciences, recommendation of drunkness by Hafiz.