جستجوی مقالات مرتبط با کلیدواژه « Constitutional Period » در نشریات گروه « ادبیات و زبان ها »

Caricature is a visual and humorous art form used for media and communication. In caricature, meaning and wit are derived from two semiotic expressions, either verbal and visual or solely visual. The three language techniques of exaggeration, contradiction, and metaphor contribute to creating humor in caricatures, which result from the interaction of verbal and visual elements and the use of visual metaphor. Another abundant source of non-linguistic metaphor representation is the caricature. By examining the phenomena of language, art, politics, and religion, as well as other objective manifestations of metaphor, it is possible to uncover ideology and the human cognitive system. In contrast, the theory of critical analysis of speech seeks to investigate caricature as a social action related to power, ideology, and discourse. Due to caricatures' content compression, brevity, and interaction between language and image, caricatures are quick and straightforward methods to process a message. The audience's unanimity in receiving the message causes them to adopt the desired perspective. Through the use of humor and image literacy, the audience's self-awareness and conceptual literacy will be enhanced. The representation of ideology in political caricatures is founded on two sociological perspectives and linguistic analysis. This study examined the depiction of ideology in political caricatures from the Persian Constitutional Revolution to the present, focusing on significant events such as the July 21, 1952 uprising, Iran's Islamic Revolution, the Iran-Iraq War, nuclear energy and sanctions, and resistance to the economy. The beginning of the Persian Constitutional Revolution, the concepts of freedom, awakening in front of the sleep and decline of the nations, in the form of conflict between good and evil forces, blowing horn and the resurrection of the dead, nationalization of the Iranian oil industry, concepts of independence, and drawing the occupier in the minds like a captive anima have been conceptualized in political caricatures based on the findings of this study. In verbal-visual political caricatures from the beginning of the Persian Constitutional Revolution, the formation of the caricature is based on a humorous poem and the concept of an auction, a mosque with large rocket domes, and a nuclear bomb symbol representing religion and imposed war. In the first group of images, which contained pictorial metaphors, the symbols of freedom, the symbolic symbols of the occupation's encroachment on Iran's hydrocarbon resources, and the symbols of impertinent and unintelligible representatives are depicted. In the reader's consciousness, the relationship between origin and destination is formed by combining the concepts of origin and destination and unexpectedly filling part of a schema. In the group of verbal-visual caricatures, the same relationships and the stabilizing function of inflated writing map the relationship between the concepts of war's origin and destination.

Lullaby is a kind of motherly song which is used to put infants into sleep, but one type of formal literature in the constitutional period inspired by these lullabies targeted the awareness and awakening of common people. The current research explores Mirza Ali Akbar Saber (1279-1329), Abulghasem Lahuti (1264-1336), and Sayed Ashrafaldin Gilani’s (1352-1287) lullabies. The goal of this study is to introduce these types of lullabies, the reasons of their songs, the analysis of their structures and contents, and the differences of such types of lullabies with the conventional ones. The methodology of this research is descriptive-analytical. The data was gathered by library and document analysis. The results indicated that the lullabies were formed under social, political, and psychological circumstances of that period. The secret of success of this type of poem in communicating with its addressees in transacting political issues and making the people aware lies in its simple language, traditional literature, the naturalness of literary methods, and the avoidance of intricacy. Finally, the results illustrated two different discourses by the poets of these poems which are investigated in this study.

literature can solve many political and social problems. Hence, in the constitutional literature, we see themes through which the speakers have tried to create solidarity among the people. In this research, which was done by descriptive-analytical method with the aim of recognizing the components of solidarity in the poetry of Farrokhi Yazdi and Mirzadeh Eshghi. We came to the conclusion that these two poets, using common elements among the whole nation, have used these themes in their poems to encourage people to unite.These common themes and components are related to national and religious identity, which stimulates their sense of Iran-friendliness. These elements include: a common land, a common history, a common religion. Farrokhi and Eshghi have tried to remind the features of the ancient history of Iran and past heroism, the importance of the homeland as a symbol of the mother, the need to preserve the Persian language and culture, the religion of Islam and the need to protect it from foreigners. To prepare the nation for solidarity against foreigners and irreligious rulers.

The Timurid period is a period in the history of Iran in which women do not have a favorable position. Jami, one of the prominent poets of this century in Haft Aurang, has a dual and often negative approach to women in referring to the women of his Masnavi; In contrast, the situation has changed during the constitutional period. In the Malek osh-Sho'arā Bahār’s poets, this change of attitude and improvement of the position of women can be clearly seen. This can be related both to the political and social conditions of the poet's age and to his personal view of women. Analytical-descriptive study shows that Jami in Leili and Majnoon presents a positive image of female characteristics such as beauty, loyalty, intellect, etc. introduced as a liar and lustful. This dual approach is also observed in the Malek osh-Sho'arā Bahār’s poetries, with the difference that a positive attitude towards women is more prominent. Woman is not only mentioned as a mistress, but also the rationality, personality and humanity of women In Malek osh-Sho'arā Bahār’s poems.

‘Protest Poetry’ as a literary type tries to present the dark spots of society in order to reform it, and for this purpose, it attacks many weaknesses, injustices, disorders, inattention and so on. This article tries to examine the themes of protest poems of the contemporary period of Iranian history, which include the constitutional era, the Pahlavi era and the period of the Islamic Revolution.This article has been conducted as a case study and library study, and the themes of protest poems of the contemporary period of Iranian history, which include the constitutional era, the Pahlavi era and the Islamic Revolution, have been collected and analyzed descriptively.In general, the themes of these poems can be divided into two categories, i.e., common and specific themes. Common themes are the issues that exist in all three mentioned periods, such as protest against class conflict, poverty, hypocrisy of traitors, foreign interference and self-blame, etc. Based on the political and social situation of each period, some protests have been given special attention in each period, including protesting against the ignorance of the people, protesting against suffocation and not being free, protesting against forgetting the memory of the martyrs, etc. In all these themes, poets with a language mixed with humor try to guide to the right path those who have deviated from it.Finally, by examining these themes, it was concluded that the purpose of protest poetry is to preserve values, reform society and fight against various types of injustice, and it is a kind of enjoining the good and forbidding the wrong.Protest poetry, Constitutional period, Literature, Side of the Islamic Revolution, Injustice.

The woman and her individual and social rights entered Literary discussions whit Constitutional Movement And became one of the most important issues in Constitutional Poetry. Hence women were at the center of discussions, So that in this day and age, very few poets who are Attention more or less to freedom and women's rights. Equality, freedom, education, the presence of women in society and to prevent gender discrimination and sexual look to women, including women's issues is reflected in the poetry of Constitutional era. Malek-alshoara Bahar and Nasim-e shomal look more balanced and a more traditional to woman and In contrast, Iraj Mirza, Lahooti, Eshqi and Aref Qazvini are more radical and sometimes even disagreed with some issues such as the veil. This study will analysis the idea of  constitutional poets about women and seeks to answer the fundamental question is it progressive or regressive thought and whether it can be aligned with the ideas Considered in feminism or not? The results show that the poets of that era have positive thoughts about women and in this sense, it corresponded with some feminist ideas about women.

Although Naser Khosrow wrote the first Persian travelogue in the fifth century AH, no other travelogue was written in Persian until the 12th century AH except for two travelogues. But from the time of Fath Ali Shah until the end of the Qajar period, the process of travel writing in Iran accelerated and more than thirty travelogues were written in Persian describing Farang and its developments. During the Pahlavi era, instead of describing the West, Iranian intellectuals wrote travelogues describing the countries ruled by the socialist system or traveling to the remote lands of Iran, and on the other hand, the number of Persian travelogues decreased to some extent.Which was gradually marginalized from the scene of contemporary Iranian literature and continued to exist in the form of memoirs. In this article, the author has tried to explain why travel writing is prevalent in a certain historical period, change its approach in other periods and finally marginalize it. It seems that the function of travelogues during the Qajar period, ie the introduction of the intellectual, social and political system of the West, has led to its prosperity in this period. With the realization of the constitutional political system and some other social developments in the Pahlavi era, as well as the influence of socialist and communist tendencies in this period, the attention of intellectuals instead of the West turned to the countries ruled by the communal system, so to test this system , Traveled to these countries and wrote travelogues describing them. On the other hand, with the formation of the discourse of westernization and return to the self, the attention of the Iranian intellectual community was focused on the remote inner regions of Iran and travelogues were written to describe these regions. In the old days, it gradually declined and continued to live more as a memoir.

Humor in terms of content is a literary genre in which the writer and the poet express the causes and reasons of backwardness, defects, corruptions, and painful inadequacies of a society with an intentionally adjusting look with a taste of laughter in an exaggerated way. The four main elements of "laughter", "exaggeration", "social criticism" and "reformism" are involved in the formation of any humorous writing. Although a humorous look to reveal political and social anomalies and problems has always existed in the Iranian history and literature, it can not be compared, in terms of frequency and stylistic characterization, with the humor of the constitutional era. The relatively free and temporary atmosphere which was created for the writers and poets along with the emerging of newspaper media provided enough appeal for satirists to write. In Isfahan, the Naqour newspaper began to be published, imitating Mollansereddin and Sur Israfil. In the column "Ugly and Beautiful", which was probably written following Dehkhoda's "Nonsense and Birds", interesting humorous content was inserted. This article is qualitative research and examines the text of the column "Ugly and Beautiful" in the whole statistical community published for one year. The method of analysis is documentation (newspaper) and content analysis from a satirical perspective. Naqour newspaper (published in Isfahan from 1326 to 1327) was published under the management of Mirza Masih Tuyserkani. Its first issue was published on the 26th of Rabi al-Awal, 1326 AH, in Isfahan. This newspaper criticized the events of the society of that time and the activities of the Isfahan Provincial Association with a humorous and sometimes satirical expression. In its humor, Naqour, while playing with words and interpreting them, has used allegories and anecdotes to criticize the political situation of the country, and in this way, it has made humorous use of proverbs and presenting the letters of the readers. Most of Naqour's political satires are interpretive and how those satires deal with current events. Its distinctive feature is the use of humor, language, and folklore, especially since this newspaper was one of the local newspapers and was published in Isfahan. It has tried to use the dialect and idioms of Isfahanians and sometimes the Armenian minority. In the ‘Ugly and Beautiful’ column of Naqour newspaper, most of the content is related to the country. The relatively high level of political issues in the newspaper is influenced by the main function of this newspaper as a political tool, and the most important political issue raised in the Naqour newspaper is the criticism of the Isfahan Governors’ Association. In this newspaper, occasionally dealing with religious issues is only for the sake of the judiciary and the unjust behavior of that power. Otherwise, the humor and joke of the newspaper do not include this field, because the writers use religion as a lever of pressure or threat when they want to clarify something that is religiously understandable to the people or to respect the rights of the people by the authorities with a humorous and of course softened look.

One way to know the literature of a period is throughout accurate assessment and critical analysis of literary works based on the available realities therein. Persian constitutional poetry as an interface between traditional and modern poetry deserves attention in many aspects. This article aims to review the rhetorical criticism of the constitutional poetry with emphasis on the poems of Mirzadeh Eshqi and Abulqasim Lahouti as two outstanding poets in that era. Contrary to commonly held views, the rhetorical critique is not restricted to the arguments of rhetoric, but rather scholars believe that it should also involve the analysis of stylistic devices or figurative language. Therefore, in this article it was attempted to review some figures of speech such as simile, metaphor, and metonymy as well as the influential stylistic devices used by the two above mentioned poets. Then, those stylistic devices were classified according to the philosophy of their formation and some aesthetic criteria which are often neglected. Literary trope was not analyzed in this paper as imagination is not concerned with making that and synecdoche is not produced by a poet. The result of this study contributed to achieve a better understanding of the two above poets, and it also revealed that despite cliché tendencies of the constitutional poetry, the poets in that era neither abandoned rhetorical devices nor considered them as merely ornamental; but rather, they made use of them to express occurring challenges and problems in society in order to influence their audience and encourage them to bring transformation in community.

In Persian literature, various works have been created in order and prose, and each speaker has chosen style and style for his expression. A piece of Persian poetry format that has been used to express the inner world of poets. Perhaps the most important feature of the unit of unity is the issue because the poet in each piece seeks to express a subject. Also, the piece's format is rich in the validity of the diversity of the subject matter, and in this regard there is no limit; every subject that the poet likes to order, The face of the piece is a poem; from sugar and grief to cheerfulness and exhilaration, and even a personal drink for medication . The constitutional era is one of the most prevalent periods in the form of a piece. In this period, with the change of the social system, the attention of the literate from the mental issues to the objective and social issues focuses. The present research seeks to introduce the descriptive-analytical method using the statistical method; after reading the three parts of the Constitutional Revolution, Iraj Mirza, Malek Al-Shaara Bahar and Parvin Etesami, the most important subjects of the three poets' parts are introduced and in terms of the frequency of value The results of the research indicate that these three poets have been experimenting on subjects such as ethical, social and political issues; however, Parvin Etesami has not been involved in topics of enthusiasm, passion, enthusiasm, ethics, history, and parody. But most of the debates are in the form of a piece of it. The Shahr-e Bahar spring has only one debate and a slip in the form of a piece. Some of the jokes of Iraj Mirza and Bahar are used in this format from the words of the reiki.

Mirza Ali Akbar Saber has expressed his social thoughts based on the people’ needs and demands and historical conditions in satirical language in the form of poetry. Indeed, his poems are an alarm that warns on the social issues. He is professional in illustrating various social aspects. Saber dissections the society and its ruling conditions by his satire. He uncovers different issues ranging from insignificant to general social problems. Saber has written poems about all social life aspects. He has illustrated the necessity of educating and informing the children, youths and women using modern educational methods and reaction of the reactionaries against these movements in an elegant way. Social ideas in Saber’ poetry include two categories: 1- fighting against tyranny and demand for social freedom; 2- the women’ rights. Investigating his social thoughts reflects not only his works literary and historical dimensions but also level of efficiency of his poems and reveal the Iran and Azerbaijan historical and literary associations in constitutional period.

The constitutional period is a distinct period in Iran’s history, in which all aspects of Iranians lives has transformed and as a result the verse and literature encountered a great change by the change in point of view of poets of this period in comparison to former poets. In this period everything even the poetry serve the society. The greatest poets of this period are those who were in the middle of the society and the social events and react them; So this periods verse is explicit, clear, and thought governed, however streaks of feeling is accessible in these works but they cannot be classified in lyric poetry but this doesn’t underestimate the emotional aspect and semi-lyrical language of these works. Sometimes, the Constitutional poets try to support their works emotional and logical sides simultaneously; therefor the social matters present with a semi-lyrical language that cause a kind of Socio- lyrical integration in their works; however it’s a slight integration. This kind of socio-lyrical integration is observable in Aref`s, Farrokhi`s, Eshghi`s, Bahar`s, etc poetry with an unequal severity and weakness, Mohammad Taghi Bahar`s poetry as an authority in Persian verse in this respect is worthy to consider and investigate; because in this period no other poet is familiar with Persian classic poetry and in other hand he is the most political poet of constitutional period.