حبسیه

Informed by Henri Lefebvre’s “Production of Space” theory, this study aims to explore Khaqani’s representation of prison in his “Prison Poems” in the light of the perceived, imagined, and lived space dialectics. This research adopts a descriptive-analytical approach and employs library sources. The results of this study show that in the perceived space, the poet, informed by phenomenological and critical perspectives, reinterprets the material space of the prison by confronting the veil and recognising the implicit mechanisms of power; in the imagined space, echoing the prescriptive knowledge of the discourse of power, the poet, as the subject, adopts a forced understanding of the space, which reveals the power and role of other groups in Khaqani’s imprisonment; in the lived space, the poet, echoing an implicit resistance against the discourse of power, employs his imagination and poeticity to create a different space within the realm of possibilities, which has no material correlation with the real prison but only adds a utopian meaning. This study concludes that the material space of the prison, the imprisoned poet as an active subject, and the discourse of power affect the ambience of Khaqani’s “Prison Poems.”   

Resistance literature is considered to be an important factor in the history of Iran, and has played an important role in preserving the homeland and protecting it. When it is connected with the element of imprisonment, the sacrifice, tolerance and courage of the warriors are manifested more vividly and the audiences’ belief  in them is strnghtened. Habsiyeh, or prison literature, which includes the thoughts and feelings of the prisoners, plays an important role in describing the post-war experiences. In this study, the memoirs of Seyyed Naser Hosseinipour in the captivity of the Baathist forces are examined. Hosseinipour has focused his attention on imprisonment and captivity in the novel "The Leg Left Behind". In the examination of the level of thought in the novel seven components were observed:1) Physical torture including using a club and cable, looking at the sun, sitting on hot ground, hanging from the ceiling, electric chair, thirst, not treating the wounds. 2) Mental torture including: playing songs, forming queues for counting the prisoners, the state of toilets and bathing, the state of food, the presence of lice. 3) The internal state of prisoners including: sadness, loneliness, longing, hopelessness, worry, fear, complaint, patience and resistance, apology, maintaining ones’ pride, weakening of spirit for disease and lack of health, threats, humiliation. 4) humor and creativity in captivity 5)The presence of spies in captivity 6)Religious beliefs and celebrations in prison 7)Entertainment devices in captivity

Common intellectual fields are the result of common social issues and the manifestation of this can be found in literature. By exploring literary works, one can find out how similar ideas are formed among writers. The present research will deal with the descriptive-analytical method, with the approach of comparative literature and based on the American school, to examine imprisonment in the poems of Malek al-Shoara, an Iranian poet, and Fadavi Touqan, a Palestinian poet, and will study and discuss the most obvious themes of prison in their poems. Because Malek al-Shoara Bahar and Fadavi Touqan are poets who fought and sought freedom and spent the best years of their lives in prison and exile. Both of them have complained about their depressing and inhuman environment and have been imprisoned. The results of the research show that patriotism, anti-colonialism, call to resistance, promotion of solidarity and stability, promotion of justice and fairness, honoring the position of martyr and freedom and hope are common themes in the poems of these two poets and it seems that the two poets are in a situation And the understanding of the similar experience has provided the prerequisites for such a thing.

Although the concept of Habsyeh (prison poetry) can serve as a literary genre in the thematic and stylistic classification of poems, the issue of genre unity conceals the sociological and discourse manifestation of Habsyeh. Therefore, instead of stylistics that seeks to depict integrated spaces under the control of one thought, with more precise discourse analysis, the historical layers of a genre can be seen. The present study, with a genealogical approach and with an emphasis on Lacan's theory of imaginary and Anderson's imagined communities, shows that contemporary Habsyeh poetries do not follow the same imagined community and imaginary that prevailed in classical Habsyeh poetries. The common imagination that Masud Sa'd Salman refers to is vertical, holy and providence; while Farrokhi Yazdi's collective imagination is horizontal and at ground level; therefore, Masud Sa'd Salman looks to the stars and the inevitable decision of fate for liberation, and Farrokhi looks to the earth and people's awareness and uprising. For this reason, Masud Sa'd Salman's concepts and metaphors aimed to preserve the existing status, while Farrokhi Yazdi aimed at revolution.

One of the sub-branches of Ghanaian literature in Persian is Ḥabsiyeh or prison name. Among Iranian poets, Masoud Saad has the most imprisonment. His poetry of imprisonment in the context of words expresses various tones that play a significant role in creating atmosphere and conveying his message. The constituent elements of different tones in Abyssinia have influenced the connection with the reader and the aesthetic of his poetry. The purpose of this research is to investigate the effective factors in creating tone and its types in Masoud Saad's habisiyeh. In this research, we have investigated the factors that were effective in the variety of tone in his poetry with library tools using descriptive and analytical method, and we have come to the conclusion that many elements such as images, music, sounds and tones suitable for confinement, weight, vocabulary, from The factors that create the tone in Masoud Saad's imprisonments are: he has used protesting, aggressive, complaining, sad, helpless, etc. tones in making his imprisonments. This variety of tone has an effect on his success in conveying the message, for this reason, without understanding the type of tone, it is difficult to understand the meaning and structure of his poetry

The literary works of imprisonment is dealt with composing poems in prison and describing bitter complaints as well as literary combat with the cruelty of the rulers. This is counted as one of the rare types of lyric literature both in Persian and Arab literature. Over time, this literary type has not been significantly changed from the views of texture and context. Therefore, this hypothesis is emerged that it might have been exposed to obstruction. In the current research, four prominent literary works of Persian and Arab imprisonments composed in different intervals have been chosen. Then, the in common components of this type have been determined. For the next step, the causes and reasons obstructing its development analyzed based on an analytical-descriptive approach. The present research scrutinize a text from two different historical eras. The findings indicate that the obstructing reasons are mainly referred to the intertextual issues, equal compatibility, similar to historical pattern from static items. Moreover, this study has also evaluated the four main factors hindering the development of this type of literature.

Force and orientation schema are kinds of image schema. These images have provided a cognitive process shaped by human physical experiences that are confronted with the outside world and cause the possibility of abstract concept understanding.     This research analyzes the Hasbieh poems of Mohammad Javad Jazaiery in the framework of schema theory which has the force and orientation schema with the cognitive linguistic approach. According to this research, Mohammad Javad Jazaiery's poems analyze different kinds of force and orientation conceptual metaphor with the descriptive-analytic method. His poems have never investigated whit this approach. The result of Mohammad Javad Jazaiery's poetry analysis has been that the concepts of force schema of this poet located in removing problems. In advance of resistance and stability and orientation schema for effort, struggle, decisiveness, and stability of action that all of them suggest a positive sense. Which all of them help to understand the subjective and abstract concepts.   The poet makes it profit with their help and sets the pattern of origin area (identical and experimental) and generalization of it to destination area (inward and abstract) in stating these concepts.

Since the poets have tasted the suffering of the prison, they wrote poetries about the prison, and this type of poetry received the name "Habssiyeh". "Habssiyeh or a poet about prison is a kind of lyric poetry that most of its components are about complaints and the preson,s present situation. As Habssiyeh is a kind of poem that is clear and simple, it originates from an overwrought and wounded feeling. The bitter and sad moments and heartfelt scenes of the life of a helpless poet in the deadly silence of the prison, which is presented in the form of words and phrases, and when some sections of prose  are depicted in the absence of current known rhythm. But in a simpleand clear manner, the upheaval , anger and grief, allows the speaker to speak clearly. Therefore, the style of the expression of the prison is generally fluent, clear and far from arbitrary and arbitrary "(Zafari, 2009: 23-24). The prison and its related issues are one of the most important basic  parts of the prison system. The poets have also talked about it in various aspects: they sometimes said about the cause of imprisonment, and sometimes described the prison as a place, and often they explained  their views on prisons. Some  poets also described prison constraints, jailer's mistreatment, difficulty and pressure, and the chains, the suffering of torture, the racket of clothes, the lack of broadness (darkness, pollution, bad food, timelessness and being the same  of night and day, and year and month, coldness and warmth, etc.) Prison and aging and disability, night blindness and other illnesses, redness of tears, confiscation of property, poverty, conflict and incompatibility of fortune and time, incomplete knowledge and Lord of grace and the most painful of all, the loneliness and disrespect for friends and people, and usually these complaints are accompanied by a description of the same issues (ibid., 19) Bahar and Safi are two great contemporary poets, and both have received imprisonment for their political thoughts. Concurrence and even coexistence, having a rogue spirit and a critical look at the issues of their country are among the other common subjects of these two poets. Although Safi had lived in Iran for many years, He had many  meetings with Bahar, but this article does not seek to examine the impact between the two in poetry, it is only a comparative study of these two poets' issues and the explanation of the issues. It deals with analytical descriptive methods. In the present study, the following questions have been asked to explain: What are the common issues of Bahar and Safi poems about prison? The purpose of the present paper is to provide a true picture of the concept of prison and its related issues in Bahar and Safi poetries, as well as the comparative explanation of their commonalities. comparing Bahar and Safi views about the prison and imprisoned matters, as well as examining the common views of the two poets, as well as the similar social and political situation in Iran and Iraq, show the necessity of this research. This research has been written with a descriptive analytical method that the theoretical foundations of the research are based on comparative literature and the statistical society is poems written by Bahar and Safi Najafi. The methodology is that after reviewing the biographies of both poets, their views on the issues related to the prison are mentioned and analyzed by bringing examples of the poems of both poets. Comparative  literature is one of the most innovative and fascinating literary approaches that has attracted the attention of many scholars today. An international perspective on the literature is the origin of this thinking. "It is easy to find common factors between the two literature, because, along with finding literary intermediaries, the aspects of differentiation and similarity between them are clarified, but the French school did not answer this important question. If between the two literaries , it was found that there is no historical relationship with each other, how should this similarity be assessed, and where is the position of such cases in comparative research? "(Jamal al-Din, 2010: 20). In the American school that is intended in this essay, the criterion of  comparison in two works is nationality and culture, not merely language. For this reason, problems can be a good topic for comparative studies. Habsiyyeh is one of the types of poetry that most of its components are complaints and person,s present situation. This kind of poetry is an expression of sadness and endless grief that has been imprisoned in prison. Some of the poets who have been imprisoned have also dedicated a section to their prisons, among the topics of their poetry. This topic is well reflected in the old and new Persian and Arabic literature. Bahar and Safi in the contemporary era are two outstanding examples in this field. The social and political conditions of these two poets necessarily linked them to political issues. That's why both of them were imprisoned by the rulers of time and tasted the suffering of imprisonment. In their poems, they have depicted common themes such as the cause of being stripped down, describing prison clauses, describing prison guards, patience, tolerance, or apology in their poems. This type of poem can show the characters and thoughts of these two poets for the reader.    Habsiyyeh is a collection of poetry topics that have long been known in Persian and Arabic poetry. However, this recognition has varied throughout the different periods, but, given the many commonalities between Arabic and Persian, they share the same themes in this kind of poetry. These common themes are also apparent in terms of social and political conditions and libertarian tendencies in Bahar and Safi poetry. Indeed, the poetics of both poets provide a clear picture of their conditions in prison. The capture and imprisonment events have led both poets to describe the prison and their inner states, and how their confrontation with the prison the audience has an offer. On the other hand, the prison has not been able to negatively influence the poet's poetry feeling and put them into recession, even some  parts of their most poems are about prison. These sections shows the character of both poets and the editor of the poetry are the insistence of the two on their resolve and their intentions, and even the prison did not stop them from freedom and liberating. In addition to these similarities, some differences can be observed, including the fact that most of Bahar habits are about the prison itself and its description, while the smoothness of the matter involves more sub-topics. Bahar also cautioned in many issues and events with rulers of his time and even made an apology, but Safi did not do it and never gave up.

"Habsiyeh” is a kind of poem written by a poet in prison to represent its sensory, spiritual, epistemology interactions, which are involved with its imagination to show his threatening  position in prison by using a special language. The prison “landmark” either draws the poet to the threatened body and mind, or forms the cognation in which the "prison" is a "supernatural". prison discourse is formed in the poem  according to his related social affairs and the world. Accordingly, in explanation of the poem of “Habsiyeh”, we face with two types of prison discourse which at first is pre-modern world poet whose poem confirms the governing of the social and political powers, and the second is poet representing of the contemporary “Habsiyeh” whose poem is against the power and in a context of resistance literature. In this article, by using a critical discourse analysis method and with special attentions to Laclau and Mouffe points of views is tried to investigate two prison discourse in the poetry of Masood Saad  and also “Habsiehs” of another two contemporary poets known as FarrokhiYazdi and Bahar to reveal their discourse circumstances. In the traditional discourse of “Habsieh”, fanaticism is the core of this discourse. The elements that are articulated in this discourse, represent the poet's worldly life as a symbolic structure, social acts involved with the governing power.  But in the modern “Habsieh” poets, prison discourse is a political protest; therefore, the core of political protest is articulated by elements such as law, liberty, struggling and constitutionalism.

A large part of the Arab and Persian literature has been devoted to prison and poems about it. Democratic poets from the distant past to the present created beautiful things in the field of human themes that studying them is not unpleasant and useless. Abuferas Hamdani، a famous poet of the fourth century is considered among the pioneers of Habsyyat in Arabic literature who has poetized ballades called “Roomyyat” about prisons and their belonging things during his captivity. In Persian literature from the earliest Habsyyah belongs to Masood-e Sa’ad-e Salman، a famous poet of fifth and sixth centuries. The Habsyyaat of these two poets has been reviewed in this article to find common themes.

Prison poetry is the poetry which expresses the concerns and feelings the poet has had in the prison. These poems usually try to reveal the true face of the tyrant rulers of the time. Malek-ol-Shoara Bahar and Nazem Hikmat are contemporary Iranian and Turkish poets who have passed many years of their lives in prison due to their fight against tyranny and oppression. Each of them has in a way crystalized his inner feelings and concerns in his poetry. The present article studies their points of similarity and difference through comparing instances of their prison poetry.

The Persian literature and culture is praised for a rich and unique heritage. The poems of Mas'ud Sa'd' Salman is considered as one of the valuable literary legacies of Persian poetry. Accordingly, many scholars have written commentaries about the poem's of Mas'ud Sa'd. This paper includes the Descriptive bibliography of Mas'ud Sa'd Salman. These works are classified in four separate groups: individual books, parts of  books, theses and articles. The resources are listed historically and after introducing each work, a short explanation about its content follows.

Rumiyat of Abu Foras - forth century poet is of eternal fame in Arabic literature undoubtedly. According to the researcher's studies during history, Rumiyat of Abu F oras has been studied by many poets and literary men and had impact on their literary works consciously or funconsciously. One of these literary works which has been affected by Rumiyat of Abu Foras is Habsiyayat (Prison poets) of Khaqani shervani - fatuous poet of sixth century. The present article studies both Habsiyayat (Prison poets) of both poets as well as their metaphors.

"Habsiyyeh" is a kind of lyric poem, similar to an ode, the prevalent theme of which is "the prison" and "the prisoner". the prison, its walls and door, iron collar, chains, prisoners and the jailer as well as nostalgic feelings of the prisoner, his inner sentiments, being away from relatives, the days and nights of the prison, and freedom are all subjects of habsiyyeh. The present article tries to examine Persian and Arabic Habsiyyehs and their common themes with respect to common cultural, social and religious backgrounds.

Though under a command, a corporal body can be imprisoned, but a soul can never be turned into servitude, so was the case with M. T. Bahar, the poet laureate, who on the offence of truth-seeking and because of the backbiting of the enviers was kept in jail for some years, but even then his tender temperament never hesitated from darting into the vast expanses of literary firmament. His confinement-songs were the outcome of his imprisonment-pre-occupations, however, the songs have been composed on the pattern as adopted by Masood Saad, Khaghaani and Naser Khusroo. The research in hand has attempted to briefly review the odes composed in prison by Bahar with regard to their literal and content characteristics, and the pictures emerging from the conception of the night, the bird, the flower, the musical instruments, and the interests and detestation of Bahar on this account.