فهرست مطالب ziba esmaeili

Muhammad Ghazali is one of the most prominent thinkers and the most influential religious scholars who called for the reform and revival of religion, he is one of the leaders of the movement of returning to predecessor. The teaching of the principles and pillars of religion, the way of governance and other customs such as marriage customs have been taken into consideration in his works, in which he also mentions his opinions about women. In this research, Imam Mohammad Ghazali's view on issues related to women was explored and investigated with descriptive analytical method and critical approach, then the historical, cultural and social contexts influencing Ghazali's thinking were analyzed. In the Ghazali's works, there are thoughts about women that contradict the tradition of the Prophet (PBUH) and his practice. A closer examination of his views on women reveals the cultural view of the society in which Ghazali lived. It seems that some of Ghazali's views were influenced by Pre-Islam’s culture and changes in Islamic society after the death of the Prophet Mohammad (PBUH). The presence of orders such as consulting with women and acting contrary to it or women being created from crooked ribs, locking women at home and depriving them of education, placing women in the ranks of servants and slaves, and emphasizing the function of women bearing children are the topics emphasized in the thoughts of Ghazali that is against Islamic & Quranic teachings & directly related to the cultural changes of the Islamic society after the death of the Prophet (PBUH).

"Nostalgia" is a Greek word that in Persian is equivalent to the feeling of longing for the past. Although this title has recently entered the Persian language and literature, this concept has appeared in Persian literature for a long time.
. Nostalgia can be seen in the works of most contemporary poets. By studying the works of Jale Esfahani, clear examples of the expression of this feeling and regret can be seen, and the goal of this study is to restore the nostalgic effect in her poems. The statistical community of the research is the generalities of Jaleh Esfahani's poems. The research design is qualitative discourse analysis and descriptive analytical research method. In order to obtain research data, the nostalgic components of romanticism were recovered in the poems of Jale Esfahani. In the next step, after presenting the library descriptions, the data were analyzed with the analytical method. The examples of nostalgia in Jale Esfahani's poetry were analyzed in three subcategories of individual memory nostalgia, collective memory nostalgia, and political nostalgia. in the nostalgia of individual memory; Returning to the past, distance from family and friends, dissatisfaction with the passage of life, in the nostalgia of collective memory; Homeland, longing for the loss of values, returning to the myth and returning to nature and in political nostalgia; Freedom, dissatisfaction with the country and immigration, longing for the golden era of Iran's history, protest against the destruction of the homeland, dissatisfaction with people's neglect and protest against oppression reflect throughout history. The results of the study showed that the numerous manifestations of nostalgia are manifested in the poems of Jale Esfahani.

Hurufiyyah is an influential mystical Shia of the eighth centuries AH, founded by Fazlullah Naimi, and after his death, his followers began to teach his beliefs. Seyyed Ishaq is one of the followers of Fazlullah and the promoter of Hurufiyyah ideas in Khorasan. In this research, with a library method and with a descriptive-analytical approach, the beliefs of the Hurufiyyah were examined in the book of Mahramname. The results showed, the Hurufiyyah beliefs and personal perceptions of Seyed Ishaq are reflected. From the Horufiy beliefs, the belief in the Imamate of Imam Ali (AS) and his children to Imam Hassan Asgari (AS) has been expressed. The cycle of divinity begins with the Imamate of Hazrat Mahdi (AS), who is the "Fazlollah" and his daughter is his guardian and successor. The world is never empty of the existence of a perfect human being, and following the perfect human being is obligatory, and acting against his will is a sin. Seyyed Ishaq's personal beliefs and perceptions are often expressed through interpretation. His most important interpretations about Imam Ali (as) and his wars have been mentioned. The liberation of the perfect man from the temptations of Satan, infidelity and polytheism due to non-submission to the vicegerent of God, the remaining righteousness of the daughter of Fazlollah and her ability to measure the deeds of the servants of God are other personal interpretations of this book. The numbers 28 and 32 are also mentioned in this book, but not much is emphasized.

Marriage and related themes exist in the folk literature of all lands and regions; According to the cultural, social and climatic characteristics of each region, its components change. These themes have many reflections in the folk literature of Lamard region, which shows the importance of the marriage tradition and its related rituals in this geographical region. While examining 83 folk tales of Lamard region, the researchers analyzed the main themes of marriage and the scatter rate each theme in the folk stories of this human geography. From the results of the research, it appears that 24 stories have ritual themes of marriage, among them, themes such as defining the test and conditions for marriage, marriage by searching for signs, the journey of the hero of the story to find a wife, the opposition of the girl's father or brother to marriage, marriage Human with non-human, the king's daughter or son becoming interested in a person from the lower class of society, the exchange of a bride with another girl, choosing a wife by throwing fruit, and the freedom of girls in choosing a husband have been repeated in these stories. Among these themes, the king's daughter or son's interest in a person from the lower class and the marriage of a human with a non-human are the most frequent themes, and choosing a spouse by throwing fruit is considered the least frequent themes.

The aim of the present study was to retrieve the signs of feminine language in the Bayati of Azerbaijan. The statistical population of the study was 4567 Bayaties. The sample of the study was the written and linguistic feminine signs of the Bayaties of Azerbaijan. The research design was discourse qualitative study and the method was descriptive-analytical. In order to obtain the data of the research, based on the library studies, the poems of women were retrieved through the linguistic symbols used in the poems. After presenting the descriptions and the library information the data were analyzed analytically. The results showed that some of the Bayaties had explicit verbal cues indicating the female gender of the poet. In some of the Bayaties, the poetess's femininity was revealed by examining the hidden layers of the text. In Bayaties, while talking about topics such as love, expressing life problems, glory and complaint, issues related to marriage, etc., women revealed their gender with obvious or hidden allusions, and in lullabies, inner desires and aspirations. They expressed themselves. Based on the results 3495 Bayaties had no gender symbol. 749 Bayati had a clear gender symbol, of which 508 Bayati had a masculine connotation and 241 had a feminine connotation. Therefore, 82% of the poems had no gender symbol, 12% of the poems had a male symbol and 6% of the poems had a female symbol.

Dual contrasts are among the linguistic factors that, by influencing the syntactic and intellectual level of a work, make its structure more artistic and in semantic and structural studies are the fundamental elements of achieving the structure, world of thought and thought of literary works. In this research, which has been conducted by library method and with the aim of better understanding the poetic world of holy defense poets, it has been tried to investigate the poems of this period with a descriptive-analytical approach based on double contrasts. were extracted in the poetry of three prominent poets of this period (Qaisarminpour, Abdoljbarkaei and Alireza Quzouh) and classified according to different types of confrontations. Data analysis showed that different types of contrasts (graded, complementary, ambivalent, directional, etc.) are found in the poetry of this period and complementary and implicit confrontations have the highest frequency. Another result in the study of these poems is that at the content level, concepts and thoughts are at odds with each other, and it can be said that the application of confrontations to the process of meaning and highlighting the concepts related to war, sacred defense and political, social, cultural issues considered by poets has helped and has been able to convey the mental concerns of poets through highlighting. Another noteworthy point in the application of contrasts is that they have a great effect on the imaginary structure of poems and are the basis of some literary industries .such as allusion, simile, pun, metaphor, etc.

Folk tales are the cultural heritage of the people from very distant times, which reflects the general culture of the people of that region throughout history. Folk tales are rooted in the beliefs, rituals, and customs of the people of an area. The role of women in folk tales reveals the social status of women in the public culture of the people of each region. Therefore, the present article has been written to examine the role and personality of women in Kurdish folk tales of Kormanji Khorasan. In this research, twenty-six Kurdish stories of Kormanji Khorasan have been collected by library and field methods and analyzed with a descriptive-analytical approach. In these stories, the active and passive female characters were examined. Women with active, positive personalities with the attributes of resistance, warlikeness, chastity, wisdom, chastity, sacrifice by accepting unconventional marriage, guardian of cohabitation, an advocate of spouse or suitor against father, destiny changer, builder of an ideal life, dependent and fascinated by children And ... have been introduced. Women with negative active personalities often have roles such as stepmother, sister, uncle's wife, and mother-in-law. Passive female characters have also been introduced as submissive to the will of the spouse and the fate of the villain, or are prizes for the hero. The positive active character is nineteen percent in these stories, and a woman is seventeen percent. The negative dynamic characters are ten percent male and seven percent female. The passive nature is twenty percent, and that of a woman is fifteen percent. Due to the lower population of negative women than negative men and sedentary women compared to passive men, it can be concluded that in the culture of North Khorasan, women have an equal position with men.

The poem "Mehr and moshtari " by Assar Tabrizi is one of the most powerful poets of the eighth century AH. This work, like other lyrical poems of the seventh and eighth centuries, although written under the influence of military poetic style, was not devoid of individual poetic creations. This poem, despite having a relative reputation during the poet"s lifetime, has not received much attention from researchers. In this article, while introducing this work, its linguistic and literary features have been studied.

This research has been done by library method with descriptive-analytical approach. The statistical research is all the poems of Mehr and moshtari.

The poem "Mehr and Jupiter" has been composed in the form of Masnavi and in the sea of ​​Hazj Masdas. Different types of puns, word repetition, conjugation, consonants, consonants, adjectives, adverbs, adverbs, and rejections and photographs have been used to enhance the inner music of the poem. At the lexical level in this system, Arabic words and compounds, astronomical words and compounds, and newly created compounds have a high frequency, which seems to be influenced by Khaghani and Nezami in the use of these terms. At the literary level, simile, metaphorical addition, explicit metaphor, and allusion are some of the most common arrays used in this system. Metaphor and metaphor are used in accordance with the lyrical spirit of the work. The ambiguity of proportion is often created by the names of the characters in the story, which give the poem an artificial color.

Assar Tabrizi, like his contemporaries, thinks in the style of military storytelling, but also has his own linguistic initiatives. The linguistic and literary features used in the work, such as the use of Arabic words, astronomical terms, sensory similes, etc., show the attention of Assar Tabrizi to the style of military poetry and the Azerbaijani style. The use of Arabic words and combinations, the use of novel combinations, the extensive use of literary arrays, the introduction of astronomical terms, music, chess, etc. are obvious signs of the style of this system.

Prominent and outstanding literary works are among official literature of all nations. In contrast to the official literature, stands the public literature which is considered as a treasury of culture, traditions, beliefs and ambitions of the general public. Public tales possess characteristics that are quite distinct from the official literature. Nezami’s Haft Peykar is as one of the poetic tales of the official literature; however, its middle stories are of public literature characteristics. This study has been done to investigate public literature components in Haft Peykar tales. It has been done as a library research through a descriptive-analytical approach and the statistical population is the tales of Haft Peykar. The results show that in these tales, there exists characteristics of public stories such as: characters’ stability, generalism, weak plot, indistinctive time and place, identical viewpoint, superiority of ethics and the bold role of destiny. Therefore, it can be concluded that tales in Haft Peykar belong to public literature in Nezami’s era or prior to that. Nezami has recreated these tales through his exceptional imagination and his mastery over description.

Attention to climatic characteristics in contemporary poetry began with Nima's theories. After him, many poets used the indigenous elements of their climate in their poetic illustrations. Shams Langroudi is a Gilani poet whose indigenous elements in northern Iran have played a significant role in creating his poetic images.In this research, using a library method with a descriptive-analytical approach, we aimed to investigate the effect of climatic features of the northern region on the poetic images of Shams Langroudi.Indigenous elements were divided into three levels of geographical, cultural and economic indicators. In the geographical features of nature, local animals and the names of specific places, in the cultural indicators the use of local words, the use of local proverbs and beliefs, and in the economic indicators the occupations and livelihoods of the people. Shams Langroudi was studied in his poetic imagesThe results show that in Shams Langroudi's poetic images, geographical indicators with 82.8% have the highest and economic indicators with 6.3% have the lowest reflection. In the geographical index, nature plays the most important role in creating the poet's images with 70.2%.

The Nizami language in its poems is its prominent and unique language. Nizami has always tried to create new words with great care and avoid imitation of other poets. He is aware of the importance of poetic form and language, so he innovates and deconstructs his vocabulary, literary arrays, and grammar, which is why his poetry linguistic prominence. The field of grammar and syntax is one of the areas of Nizami interest.In this descriptive-analytical method, this paper deals with the ways in which the Nizami has mastered grammar and has long been the flagship of linguistic creativity in Persian poetry.The results showed that some of the Nizami techniques for building syntactic capacities of the language and its visualization are: generating multiple meanings in the word with multiple readings, using hidden vocabulary delicacies, using the word syntax to create visual aesthetics and induction. The concept is to create verbal harmony and enhance the music of the poem, to disrupt the components of the sentence and to move the words and pronouns to emphasize and to harmonize, to displace the negative word, and to create impetus. For these purposes, he benefit from how words are aligned horizontally. It uses multipurpose words, and with the secondary meanings of the words, it creates your nuanced meanings. All of this has created her own rhetorical delicacies.

The phenomenon of war is one of the most despicable and murderous phenomena in the entire history of mankind, but escape from it is one of the most difficult humanitarian ideals. War has no achievement except destruction, destruction, displacement, poverty, etc., and it affects all the social, economic, cultural and artistic structures of the country involved in war. In contemporary Iran, the Islamic Revolution and immediately thereafter, the war had an definitive and significant impact on art. One of the most important and, at the same time, the weakest forms of art that took a new form under the influenced of the Revolution and the imposed war was drama or theater, which later became known as ‘Sacred Defense theater’. Sacred Defense dramatic literature is a type of documentary dramatic literature that derives its identity from memories, memos, reports, biographies, stories and official histories of events that brings about the confrontation between the two forces and the two fronts, depicting issues such as defending values, protecting the country, sacrificing, etc. Sacred Defense theater has its own special form due to the specific nature of the Iran-Iraq war, which is fundamentally different from other theaters in the world. This study, which has been done using an analytical and descriptive method, aims at expressing the status and importance of theater during the imposed war, and examining Sacred Defense theater and its history while distinguishing it from war theater and resistance theater, and mentioning the damage to this type of theater.