وطن

The concept of homeland is multifaceted and encompasses several epistemological fields, such as geography, anthropology, sociology, psychology, psychoanalysis, political science, and literary theory, particularly post-colonial studies. Moreover, the construction of the identity of many nation-states today, especially in the Middle East, is a socio-historical creation that results from the concept of othering based on the homeland. Othering occurs at both macro and micro levels. At the macro level, it involves canonizing the West/White as the subject and the East as object. At the micro level, it involves confronting the ruling power of nations or neighbouring ethnicities/races. This position in the macro narrative is reflected in many contemporary Persian and Kurdish poems, formulated under leftist/committed or resistance literature. Mehdi Akhavan-Sales and Abdullah Pashew are two poets who represent the narrative of the homeland from different perspectives. In this article, we analyze their poetry to demonstrate how they construct the homeland as a form of resistance and commitment against other types at the macro and micro levels. Our analysis shows that the artistic-ideological construction of homeland in the poetry of these two poets is represented from three perspectives: psychological-nostalgic, objective/geographical, and discursive. To illustrate this, we provide specific examples from their poems that demonstrate each perspective.

In recent decades, Iran has been considered one of the leading countries in terms of emigration. Iranian migration can be categorized into three waves, corresponding to three time periods. A) The years 1950-1979, during which most migrations were for higher education with the intention of returning to Iran. B) The years 1979-1995, when most migrations were forced due to revolution and war. C) The years 1995 to the present, where the majority of migrations are for economic reasons, aimed at achieving stability and a better life, without the intention of returning to the country. The aim of this research is to examine the memories and feelings of nostalgia among Iranian migrants during these three time periods. To this end, theories of collective memory and nostalgia were used to analyze the findings. This is a qualitative study, and the data were obtained through in-depth virtual interviews (via Skype and WhatsApp). In this study, interviews were conducted with 11 migrants residing in Australia, Germany, the Netherlands, and Sweden. The results indicate that memories and nostalgias in the first group primarily revolve around childhood memories, in the second group focus on political activities, and in the third group center on economic, social, and cultural issues. Memories from the first and second groups are more closely associated with feelings of nostalgia, and the sense of nostalgia in all three periods is more pronounced among the male interviewees than the female ones.

Metamorphism of mega-metaphors signifies the historical ruptures. The political and social concepts expose themselves in new configuration and evolve in companion with the historical transformations. Conceptual History or The History of Concepts is from new disciplines of History studies which surveys these conceptual evolutions. Conceptual History is a proper framework to observe the articulation of social- cultural concepts. This discipline shows how the concepts transform through the threshold eras (Sattelzeit) and transfer toward the future. Nevertheless, neglect of apparently non-political traits such as allegories, metaphors, myths, etc. could be regarded as one of the biggest deficiencies of this scope. In this paper, which is based on the Conceptual History Project of Reinhart Koselleck, we will observe the role of allegories and metaphors in conceptualization of the words and how they make the words enter the modern era loaded by a new conceptual connotation. Homeland, as one of the greatest keywords of the modern era, has been the focus point of this research. This word, along with a large number of other words, assume a new conceptual connotation in the constitutional era - which must be regarded as one of the main threshold eras of Iran's history-. As we will see, grafting to the concepts like woman, mother, home, etc. homeland breaks out of the lexical mold and evolves into a modern concept.

"Shelter" is one of the basic human archetypes that is embodied in the "homeland"; A body for the emergence of the worldview and social structure of people with common cultural, political, linguistic, and historical characteristics. Anthropologists have proposed two components to the definition of "homeland": the originality of the border and what is seen within the borders. According to this issue, land, government, and enemy are components that each have a share in creating this concept and according to the paradigm of each historical period, it becomes more or less important. In Shahnameh, "Iran" or "Iranshahr" is the homeland in which all narrations are formed; But the fusion of real and surreal places, mythical and historical governments, and various enemies in Shahnameh makes it difficult to identify the homeland. "Place" is the most important and obvious component for defining the concept of homeland, so in this study, in order to obtain the definition of "homeland", the "places" of Shahnameh are divided, described, and analyzed. "Surreal places" are a reflection of the Iranian mentality about the settlement and the ideal king, and "real places" depict governmental and social structures. The study of real places and surreal places reveals the fact that "homeland" in Shahnameh is a mental, collective concept and includes a sphere of civilization; it is a collection of cities and people that are interconnected and managed by a powerful central government and protected from enemy damage.

Migration become a lived experience for millions of Iranian in the last decades. This paper tries to shed light on the Iranian diaspora and its transnational relations with the homeland. Based on a qualitative method this ethnographic research has been conducted through 48 semi-structured interviews with Iranian migrants’ lives in Germany. It also followed by participant observation and expert interview with 9 associations which work for immigrants in selected cities in Germany. Because of various reasons such as time of migration, motivations for immigration, differences in terms of class, ethnicity and religious affiliation, intergenerational challenges and political perspectives Iranian migrants make a fragmented, hybrid and contested diaspora which impact upon diasporic identity.

One of the main areas of socialization is the strengthening and reproduction of national identity; it is felt more urgent in developing societies than in other societies due to the ongoing political, social and cultural developments. In Iran, attention was paid to national identity simultaneously with the acquaintance of Iranians with the manifestations of Western culture. Meanwhile, poets and writers have played an important role in regenerating and deepening national identity and drawing the boundaries of this identity, and presented many of its components in their poems. The present paper tries to study the ratio of text and political-social elements in the poem of the Constitutional Revolution using the descriptive-analytical method, while highlighting and analyzing the most important components of national identity in the poems of this period, the role of Constitutional Poets in regeneration Explain the national identity.. Also, these poets, influenced by Shahnameh and the dominant discourse in the pre-Constitutional and Constitutional period, emphasized on three components of the common homeland, common history and common language as the most important components of national identity, and the effect of the consolidation of nationalist discourse in Iranian society Have a lot of fun.

Anna Gurenko better known by her pen name as Akhmatova، an old Tartar name، is the most popular contemporary Russian poetess، who “taught women how to speak”. Together with Nikolai Gumilev and four other poets، she founded the School of Akmeism in Russia. Akhmatova’s poems contain various issues including love. Among her romantic poems، love of the homeland is the most prominent theme. Political affairs of Russia (Soviet) led her to be known as a national epic elegist poet. She expressed her religious-philosophical ideas about life and its meaning through her poems. Her heroes all have the concern of saving and protecting their homeland. Akhmatova، who called herself “Oriental Girl”، has poems with oriental traits. She found wisdom and knowledge among oriental people، and believed that oriental nature was wonderful. Akhmatova’s poems are illuminated with the “pearls” of Saady’s words. The sound of oriental rivers and singing of oriental birds echo in her oriental poems، and they smell of Iranian Jasmine. In this article، we have tried to introduce Akhmatova and describe some of the features of her poems. We also studied some of her oriental-Iranian poems and the reasons for saying such poems in order to learn about her idea regarding oriental nature، culture and wisdom، and find out what did the orient mean to Akhmatova.

s article is about different features of resistance and mother land in Anna Akhmatova’s poets; a contemporary Russian poetess، and there are some hints about effective elements in her works and life which have special reflexes in her poems. Russia’s history in Stalin’s government has been reflected in Anna’s poems، mother land had effective tone in them; and has been changed into one of special symbols، so that love، family and life was meaningless without it. Her tragic fate was connected to bitter fate of her country in ‘horror government’ ages، the effects of hard life is obvious in her works. The article is about serving Anna’s some epic poems specially poems ‘Requiem’. In poems ‘Requiem’; epic poems were mixed with lyric ones. Poetess’s female mind is obvious in these poems، and epic changed into new and specific style by emotional female them. Epic was mixed with loneliness and sufferings but with resistance and hop.

In the eyes of contemporary Palestinian poets the Occupied Land illustrates a sweetheart boasting an endless number of ravishing names. The poet gets their way through to their sweetheart (homeland) by a figment of their imagination and takes a specific and different look at it. After the start of hardships in Palestine and its occupation at the pinnacle of crises, the “woman” was looked at as a symbol to express feelings and show the strong love of homeland. For this very reason, in order to motivate their hopeless citizens, they have pictured Palestine allegorically as a beauty incarcerated and the youths struggle to set her free with bestowing their lives. The gender of Muslim Palestinian poets has definitely been affective on quality of the way of they utilize the symbol and their opinion towards it. This study seeks to find the symbolic points of views of Palestinian poets through the works and ideas of two prominent poets of that land: Fadavi Toqan and Abou Salma.