جستجوی مقالات مرتبط با کلیدواژه « ادبیات منظوم » در نشریات گروه « علوم انسانی »

Safavid kings used to order poets to describe some buildings in poems. Examples of these poems include "Three Poems (Khamsa)" by Abdi Beyg Shirazi, "Odes" of Saeb Tabrizi, "Golzare-e-Sa'adat" by Mirza Mohsen Ta'assir, "Shahr Ashoob" by Mohammad Tahir Vahid Qazvini, "Ramz Al-Riyahin' by Ramzi Kashani, and the "Manavi-Nameh of Emarat Shahi (Shahi's Mansion)" by Mirza Mohammad Olia Nasrabadi. Although most of these poems have exaggerated in describing the building, they are valuables since many of these buildings have been destroyed, and these poems provide important rare historical information that would otherwise remain unknown. Shafia's Shirazi and Mirza Mohammad Olia Nasrabadi, two poets of the Safavid era, have written poems in the description of the Behesht-Ayin mansion. Masnai-Nameh of Nasrabadi is one of the exquisite works about the Behestht-Ayin mansion built by order of Sultan Hussein Safavi. Rare information has been left in prose documents about this demolished building in the Qajar period. Therefore, Nasrabadi's poem, which is written with a realistic view, makes it possible to have a picture of the whole atmosphere and decorations of this mansion. Among the main features of Masnavi-Nameh, one could point to the description of decorations, work plans, work rules, wages, and categories in explaining the general space of the building and occupations working in each part of the mansion.

 This is a descriptive-analytical study. Research on destroyed buildings in the Safavid period and poems related to these buildings are very limited. Shahidi Marnani (2015) in Saadat Abad garden of Isfahan in the mirror of Golzar-e- Sa'adat;  Alizadeh et al. (2012) in Spatial Features of the Design of Saadat Abad Garden in Qazvin, based on the Masnavis of Rouza al-Safat and Doha al-Azhar by Abdi Beyg Shirazi"; Eshraghi (2009) in Describing the Paintings of the Safavid's Government in the Poems of Abdi Beig; Eshraghi (2008) in Description of Safavid's State House, Palace and Gardens in the poems of Abdi Beyg Navidi, a Contemporary Poet of Shah Tahmasab I. And Soltani (2008), in Garden of Sa'adat Abad in Qazvin, based on the Poems of Abdi Beyg Navidi Shirazi, explored buildings in the Safavid periods in the poems. This is the first research on the Behesht-Ayin mansion, and at the time of writing this article, no study was published in this field. Analyzing Safavid poems helps to understand the structural and decorative aspects of destroyed buildings. On the other hand, some of the social issues and interpersonal interactions of the Safavid period are evident in these poems, which facilitate a deep understanding of Iranian society and its strengths and weaknesses in that period.

 Among the sources related to the architecture of the Safavid era, one could refer to poets in the description of royal buildings. Although these works have exaggerated these descriptions, some contain historical information that can rarely be found in other historical sources. The analysis of these poems provides the opportunity to understand the overall structure and decorative aspects of the buildings that would otherwise remain unknown.Behesht-Ayin mansion was built by order of Shah Sultan Hossein Safavi, where he lived until the end of his official reign. The only time the King was forced to leave this building was during the nine-month siege of Isfahan and the people's rebellion. There are rare data in written and visual sources about the Behesh-Ayin mansion that was destroyed during the Qajar period. In fact, the only notable work about this mansion is a Masnavi called "Description of Emarat Shahi (Shahi's Mansion)", written by Mirza Mohammad Olia Nasrabadi, which describes the Behesht-Ayin mansion. Masnavi-Nameh contains information not mentioned in other sources. Workin plans, division of tasks, working times, and other hidden information in these poems are interesting for analysis. Using the Abjad letters in the hemistich "Place of government and place of happiness," Nasrabadi has pointed to the year 1106 A.H. as the time of completion of the Beheshtayin mansion.Although poems have been written describing royal buildings in previous periods, Nasrabadi's classification of occupations and features of each of them, as well as his realistic descriptions, have turned his poems into superior and more accurate works. In other words, he has described the tasks of each industry and the beauty of their works separately. The overall structure of Masnavi's Name includes general information about the client, working time, work plans, speed of construction, costs of current affairs, people involved in the construction, general aspects of the building, decorative structure, and the drawings in the Behesh-Ayin mansion. With a realistic approach, Nasrabadi described the mirror and plaster decorations, water basins, and woodworks in this building and also points to wall paintings with stories about Khosrow and Shirin, Leili and Majnoon, and Yusuf and Zulikha. This Masnavi-Nameh is so valuable that it can be considered a historical document about social interactions as well as systems of labor divisions and payments. Neither similar books of that era nor those of later eras contain such detailed information.

 The architecture of the Safavid era is prominent due to its magnificence, and in addition to the remaining works, there were many buildings completely destroyed in the post-Safavi era with very little remained information. According to the custom of the Safavid era, poems were written describing Safavid buildings, some with a realistic view.Behesht-Ayin mansion of Shah Sultan Hossein is one of the destroyed Safavid buildings in the Qajar period, which lacks clear information. Manavi-Nameh, written by Mirza Mohammad Olia Nasrabadi during the reign of Shah Sultan Hossein, describes the Behesht-Ayin mansion, and it is the only comprehensive and first-hand work available about this mansion. Careful analysis of this Manavi-Nameh provides an overview of the structure and decorative features of this building. This book provides valuable information about the overall supervision of the architect over all the departments, plastering, continuous efforts to quickly complete the building, calculating the wages, and the people working in the construction of the building. Since it was not customary to include this type of information in other similar Masnavis of that time, the importance of Nasrabadi's Manavi-Nameh became more prominent.

The study of the prominent poetic debates in Persian literature can make significant contributions to genre and stylistic studies. Given the importance of debates in classical texts and their relation with public discourse, the present research studied eight prominent poetic debates from the fourth to the seventh centuries. Considering the situational context of the texts and the contexts in which they had been formed, Halliday's systemic functional approach was used to explain the debates. A descriptive-analytical method was adopted to study the debates in terms of the ideational metafunction: the process of actions. The findings of the research indicate that the analyzed poetic debates had undergone transformations with regard to the ideational metafunction. The material processes were the most frequent in the prominent debates of the fourth and seventh centuries but with a different function in each century.  Moreover, the relational processes had the highest frequency in the prominent debates of the fifth and sixth centuries. Such transformations show that from the fourth to the seventh centuries, the debates shifted away from objectivity and extroversion towards subjectivity and introversion. In other words, how to use debate processes considerably evolved over the four centuries.

The use of "allegory" and "symbols" to better understand the concepts, particularly abstract and rational concepts, is one of the ways in which children's literature is very important and it can be examined from multiple views one of which is semiotic structure or meaning of the symbols that can open the way to new issues in literature. Therefore, this article uses qualitative and quantitative mixed research methods and the semiotic pattern of symbols of Ogden and Richards to explore the semiotics of meaning of symbols in children's literature in the eighties. Semiotic symbols of this period show that the ideas that have changed signs in stories this decade are more religious and moral. In addition, the study of data, based on the above model, shows that thought alone cannot be considered the main factor in changing the signs of the symbol, but other components such as the multiple characteristics of a case and its semantic evolution over time must be considered.

The factors of nature have long been considered by many Persian language poets. In the meantime, morning and dawn have been depicted in the poetry of poets more than other factors due to their aesthetic, artistic and semantic capacities. This study intends to investigate the use of these words in terms of additional combinations, metaphors and poetic images in the poetry of great Persian poets up to the eighth century.

In this research, with the method of theoretical analysis and library study, the use of the word morning and dawn in different dimensions in the poetry of great Persian poets such as Rudaki, Ferdowsi, Manouchehri, Naser Khosrow, Masoud Saad Salman, Khayyam, Sanai, Anvari, Khaghani , Nezami, Attar, Rumi, and Saadi.

The image of morning and dawn in the poetry of Persian poets was at first realistic and aesthetic, but after the introduction of mysticism to the language of poetry that Sanai started, morning and dawn due to night solitude and the time of revelation and Mystical manifestations and, on the other hand, the inclusion of the temporal capacity of prayer and supplication in the Qur'an, found a high frequency in mystical poetry. After Sanai, among the poets Khaghani, Rumi, and Hafez, they used the most semantic and metaphorical uses with morning and dawn.

These words were first developed by mystical poetry in Persian language and finally, both in semantic level and in linguistic level, they have expanded the vocabulary and richness of Persian language to the extent that few poets can be found who illustrate with This word is not paid

In the literature of each ethnic group, different techniques are used to attract the reader's attention and influence. One of these literary methods is the use of symbol in symbolic texts so that the author conveys his intended purpose to the reader in symbolic and indirect language. The use of animal symbols is one of the cases that is most widely used for expressing and justifying a goal or instilling a particular belief. In this article, we examine the animal symbol of the lion. So far, the symbol of the lion has been studied in history, art and literature; But the mystical and religious aspects of this symbol have received less attention. The purpose of this article is to study this symbol from religious, mystical and literary aspects, so that the reader can be guided to understand the animal symbols of the lion based on scientific findings.

Crying is one of the main issues in the mystical literature of Iran, especially in the writings of Sana'i, the first poet who introduces mysticism into poetry. Types of burns and baits Need, prayers, happiness, sadness and mourning, directly or indirectly related to crying. Study of sorrow and joy is the concerns of seekers in the field of literature, because sometimes we encounter cries of joy and happiness. So it deserves to be done with proper research. This article deals with crying in the texts of the Sana'a mystical order and states that when and how the cry is creeping on this great poet, the Sanai is a poet who is an admixer of mysticism and Sufism. In his works, the subject of crying is one of the characteristics that the way of love has been addressed. Of course, Sanai is not a poet of love and affection in general, and the aspect of wisdom and sharia and its accessories are of greater interest.