Research Paper
الادب المقارن
Shokrolah Tatari; Farshad Mirzai motlagh; Masood Sepahvandi
Abstract
This paper explores and compares the movement dynamics in Attar’s The Conference of the Birds (Mantiq al-Tayr) and Al-Marri’s The Epistle of Forgiveness. Both works depict a spiritual journey and mystical quest; however, they differ in their representations of movement. Attar’s work, ...
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This paper explores and compares the movement dynamics in Attar’s The Conference of the Birds (Mantiq al-Tayr) and Al-Marri’s The Epistle of Forgiveness. Both works depict a spiritual journey and mystical quest; however, they differ in their representations of movement. Attar’s work, as a mystical text, uses the evolutionary journey of birds as a metaphor for seekers of God, while Al-Marri, with his unique philosophical perspective, approaches the concept of journey and movement as an intellectual and philosophical voyage. This study explores various dimensions of movement and compares the philosophical concepts presented in these two works. While Attar uses mystical metaphors to depict a spiritual journey toward ultimate truth, Al-Marri adopts a philosophical and skeptical approach, offering a mental journey and a critical examination of the religious and social beliefs of his era. The primary objective of this research is to analyze the depth and significance of movement in both works and to conduct a comparative analysis of this movement from mystical and philosophical perspectives. Employing a comparative approach and content analysis, this study explores the origins, characteristics, and outcomes of movement in the two works. The findings indicate that movement in The Conference of the Birds symbolizes a spiritual journey toward perfection, whereas in The Epistle of Forgiveness, it represents a philosophical and intellectual progression aimed at criticizing traditional worldviews. Introduction:The mystical and philosophical literature of Islamic and Eastern traditions has long provided a rich foundation for analyzing and exploring fundamental human and ontological concepts.Two outstanding works in this field, The Conference of the Birds by Attar of Nishapur and The Epistle of Forgiveness by Abu al-Ala al-Ma'arri, employ narrative and symbolic structures to present a novel perspective on dynamic movement in the spiritual journey and the quest for truth. In this context, the concept of "movement" or "dynamics" is understood not only as physical displacement but also as a metaphor for spiritual and psychological processes. In The Conference of the Birds, the birds' journey toward the Simurgh symbolizes a mystical quest, with each stage marked by challenges, purification, and transcendence. On the other hand, in The Epistle of Forgiveness, the journey of the main character through the afterlife serves as a narrative framework that intricately weaves together religious, philosophical, and social critique. Both works, from the perspective of dynamic movement, present complex models of physical, spiritual, and metaphysical motion, which are analyzed in this comparative study.The primary aim of this research is to analyze and compare the patterns of dynamic movement in these two works to demonstrate how each text, through its unique structural dynamics, deepens epistemological and spiritual themes. The central question is whether the dynamic movement in The Conference of the Birds and The Epistle of Forgiveness follows similar principles and structures or if each possesses its own distinct system of movement. The structure of this article is as follows: first, the theoretical section will elaborate on the concept of dynamic movement and the research framework. Next, the comparative section will analyze selected examples from both works side by side. Finally, the findings will be presented in the conclusion.Method:Despite numerous studies in mystical and philosophical literature, a comprehensive comparative analysis of dynamic movement in these two significant works has yet to be conducted. This article aims to fill this research gap by employing the theoretical framework of movement schemas, offering a fresh perspective on these classical texts. The findings of this study may contribute to a deeper understanding of the spiritual and psychological concepts in the works of Attar and Ma'arri, providing new insights for comparative studies in mystical and philosophical literature.Conclusion:This study examines and analyzes the dynamics of movement in "The Conference of the Birds" by Attar of Nishapur and "The Epistle of Forgiveness" by Abu al-Ala al-Ma'arri. The primary objective is to compare how these two poets utilize the concept of movement and its dynamics in their works. The findings indicate that although both poets use movement to express inner and philosophical transformations, their methods and the associated semantic implications differ significantly. In The Conference of the Birds, movement symbolizes a spiritual journey and serves as a path to attaining truth and mystical perfection. The birds undertake symbolic movements to navigate various cognitive and mystical stages, ultimately reaching the ultimate truth. This movement is not merely a tool for personal and spiritual transformation; it also serves as a means of illustrating the mystical experience. It holds a metaphysical significance, symbolizing an ascending journey from darkness to enlightenment and from ignorance to knowledge.However, in The Epistle of Forgiveness, movement is primarily depicted as a search within the material and human realms. It is portrayed as a complex process filled with doubt and philosophical inquiry. Ma'arri perceives movement not only as a spiritual process but also as a dynamic force operating within both individual and social contexts. In this work, movement is more concretely connected to human and societal dimensions, particularly addressing internal contradictions, intellectual cycles, and spiritual struggles. Here, movement is not merely a path to truth but also an exploration of suffering, sin, and redemption within the human experience. By comparing these two works, it becomes evident that while Attar presents movement as an ascending path leading to ultimate perfection, Ma'arri portrays it as a complex quest filled with unanswered questions in both human and philosophical contexts. This difference in the use of movement reflects their fundamentally distinct perspectives on humanity and existence. Attar perceives movement as a purifying and spiritual process, whereas Ma'arri emphasizes its philosophical and human dimensions, viewing it as an integral part of the human experience with its unique complexities.Furthermore, this study demonstrates that, while previous research has generally examined movement in the mystical and philosophical works of Islamic writers, this comparative analysis reveals new dimensions of movement and its impact on the development of philosophical and mystical concepts in Islamic literature.The findings underscore the importance of movement as a fundamental tool for understanding spiritual and human transformations, demonstrating how this concept plays a crucial role in defining human experience and the pursuit of truth in the works of Attar and Ma'arri.
Research Paper
الادب المقارن
Ali Khaleghi; Mahmoodreza Tavakoli Mohamadi; Hamid Motavalizade
Abstract
Criticism of psychology and psychoanalysis in the contemporary period, influenced by the growing prevalence of literary criticism and interdisciplinary studies, has occupied a significant portion of literary research. Given the close relationship between literature and psychology in reflecting emotions, ...
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Criticism of psychology and psychoanalysis in the contemporary period, influenced by the growing prevalence of literary criticism and interdisciplinary studies, has occupied a significant portion of literary research. Given the close relationship between literature and psychology in reflecting emotions, feelings, and individual spiritual factors, this approach has received special attention. Among the topics in psychoanalysis, the theme of love and the exploration of its dimensions and identity as a fundamental human phenomenon are very important. The worldview of poets can be understood by examining their poems on this subject. The concept of love is also a significant issue discussed in existential psychotherapy. The phenomenon of love can be analyzed in the poems and thoughts of poets through Ervin Yalom's theory, due to the conflicts it generates and the dynamics it entails. Using a descriptive-analytical method, this research aims to investigate the theme of love in the poetry of two classical poets—Saeb Tabrizi, a Persian poet, and Ibn Rumi, an Arabic poet—based on Yalom's theory. The study seeks to discuss and examine how this theme is presented and processed, as well as the poets' attitudes toward it. The research results show that both Sa'eb and Ibn Rumi had a profound understanding of love and offered insights for dealing with it. Saeb's poetry primarily explores the mystical and divine dimensions of love, while Ibn Rumi's poetry focuses mainly on the earthly and material challenges associated with love.
Introduction:
The issue of love has long been of interest to philosophers, scholars, poets, and literary figures, and various views and ideas have been presented about this fundamental human experience. Philosophers and scholars such as Plato, Ibn Sina, and Rumi have spoken about this important issue, but the nature of this phenomenon remains not entirely clear. Contemporary theorists and researchers have attempted to present their own specific definitions of love by examining and defining it according to new theoretical foundations and emerging knowledge. Among the various perspectives and approaches that discuss love, psychotherapy in general, and the theory of psychotherapy developed by Irvin Yalom addresse concerns such as death, loneliness, absurdity, love, fear, and so on. This approach has been influenced by the humanist movement and the philosophy of pragmatism in America.
Yalom has offered a newly updated perspective on the definition of love, addressing how human beings experience love in the context of modern conditions. He attempts to provide a clear understanding of how individuals confront the phenomena of love and loneliness. While explaining the principle of communication in his theory, he discusses love and poses the question: What is the original relationship? The original connection is Martin Buber's. The person that communicates with unique individuals, not an object. This original relationship reflects the love described in Maslow's hierarchy of needs, rather than love that merely alleviates loneliness. From Eric Forum's point of view, the genuine love is not about being loved passively. True love is an active process that involves care, self-sacrifice, and attention.
Love stops people from communicating with others for mixing and removing loneliness. It should be noted that love, according to the mechanisms of Yalom and in the classical Persian and Arabic literature, is discussed in this literature due to the extensive scope of love. Love can be considered one of the most important themes of classical Persian and Arabic poetry so that the office and poetry of most classical Persian and Arabic poets are considered as special and independent of love and issues. Investigating these poems from the perspective of new theories can further determine the place and importance of such poems and explain how the poet's view and the depth of his thinking about love and related subjects. The present study seeks to examine the same subject in the poetry of two Persian and Arabic poets, Saeb Tabrizi and Ibn Rumi based on the theory of psychotherapy for Erwin Yalom.
Method:
The present study aims to examine the theme of love in the poetry of two poets, Saeb Tabrizi and Ibn Rumi, from Persian and Arabic traditions, respectively. This is managed via using Erwin Yalom's psychotherapy theory. It seeks to answer the following questions: What are the effects of love in the poetry of two poets based on Erwin Yalom's theory? What is the attitude towards love in the poetry of these two poets according to Erwin Yalom's theory?
Results:
After examining the love poems of the two poets through the lens of existential psychotherapy, it was found that Saeb Tabrizi resembles a psychotherapist. Anyone seeking solutions to existential disruption can gain insight from his works. By spending time with his poems, reflecting on them, and uncovering their hidden meanings, readers can discover effective ways to cope with various forms of loneliness, including existential loneliness.
Conclusion:
Saeb's poems, which reflect his view of life, convey that he considers relationships with others—whether earthly or divine—as a way to live fully and alleviate loneliness. To purify the path of love, he suggests that true love lies in the other; in other words, genuine love is to be completely immersed in another person. Saeb suggests to his audience, who are full of purity, kindness, honesty, and trust, that this love is free from superficial friendship. It embodies tolerance, unity, and mutual support, raising the level of both social and individual life. This love also instills confidence in others, which is one of the most important components of healthy relationships. Because it diminishes the intensity of that inaccurate aspect of existential loneliness and, in a proper form, places us as human beings in relation to others. Regarding the outcome of Ibn Rumi's poetry, it can be said that his work contains two types of loneliness: enforced and optional. Enforced loneliness occurs when the poet is cast into a solitary sea due to the absence of family or a lover, experiencing this solitude deeply with both soul and heart. The poet has used this experience as an opportunity for growth and flourishing. The second stage is when the poet prefers loneliness over being among people. He considers loneliness a blessing that leads to self-knowledge, prosperity, and inner harmony. The poet views love as a means to alleviate the pain of loneliness or at least lessen its suffering.
Ibn Rumi dislikes the need and expectations in love. Although he is a poet of Maddieh, in matters of love, the focus is solely on the pleasure and alleviation of lonely suffering, and nothing else. He advocates for doubt and patience to truly attain and enjoy love, while rejecting hasty expectations. The poet also advocates self-sacrifice and kindness in love, urging others to create lasting joy. Being united with another is one of the ultimate goals in Ibn Rumi's romantic worldview. The poet views the human being as inherently incomplete, and it is this deficiency that leads to existential loneliness. Man is saved from loneliness, and his pain and suffering come to an end through patience. All in all, both poets have depicted love in various forms, including love intertwined with loneliness, unrequited love, the promotion of friendship, and self-sacrifice in the face of love. Ultimately, love is portrayed in their poetry through the figure of a lover. The poets' attitude toward love is positive; they view it as a source of fulfillment and a means of alleviating human suffering.
Research Paper
الادب المقارن
Ramazan Rezaei; Aiireza Jalali
Abstract
One of the most important emerging literary genres is the "digital realist novel," which uses digital data, information, and technological techniques to construct its narrative structure and content. This genre explores the transformations individuals undergo as they transition from the real world to ...
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One of the most important emerging literary genres is the "digital realist novel," which uses digital data, information, and technological techniques to construct its narrative structure and content. This genre explores the transformations individuals undergo as they transition from the real world to the virtual world, reflecting on virtual digital reality and contemporary human issues. Mohammad Sanajla, in Arabic literature, and Leila Sadeghi, in Persian literature, have explored this new narrative form and produced works within this genre. This research aims to analyze the motivations of these authors in engaging with this emerging literary style and to identify the similarities and differences in their works. The most important findings of this research, employing a descriptive-analytical method and a comparative approach to examine the novels Shat and Frost by Sanajleh and If that is Leila, then who am I? and Make time for me to pass by Sadeghi, indicates that the mentioned novels are similar in terms of appearance (cover, title, and communication links). Also, they seem similar in terms of content (use of audio and visual elements), as well as in their depiction of the transition of humans from the real world to virtual worlds. However, the manner in which these elements are utilized differs among the novels. For example, Sanajleh used three types of images: moving images with sound, still images with sound, and still images without sound, whereas Leila Sadeghi used only the third type, that is still images without sound. Introduction:Human thought today is witnessing a series of conclusions, including the end of history, the end of man (the writer), the end of metaphysics, the end of philosophy, and the end of ideology. As a new development, it also promises the emergence of a new stage in human history, referred to as the post-human era. In fact, today’s world is undergoing a profound transformation in technology and media, similar to the shift that occurred during the era of printing and writing, which led to the decline of oral culture. Consequently, the power and dominance of the printed book are also being challenged, and its end may be approaching. The information, digital, and communication revolution is the result of technological innovations. Contemporary literary discourse has also been shaped by this digital and technological wave. As a result of encountering the innovations of digital literature, the allure of globalization, the digitization of literary texts, and the transformation of the fundamental structures and elements of texts into technological media, literary discourse has distanced itself from the paper world and transitioned to the digital realm. This new situation has significantly contributed to the emergence of digital literature, literary genres such as digital stories, digital theater, and digital poetry.Method:The present study aims to explore the phenomenon of digital literature, particularly digital novels, as a new social development. It employs a descriptive-analytical approach and draws on comparative literature. Since both authors were pioneers of this literary genre and their works have attracted significant interest within their own societies, this study offers a fresh perspective on the subject.Results and Discussion:Digital literature, or electronic literature, is a relatively new field that has existed for less than two decades in the West. In the East, however, it has only emerged in the realm of fiction and narrative literature in recent years. The text in this literary genre relies on multimedia technology and computer use, particularly the Internet. Therefore, it utilizes information technology services and electronic software to construct both its external and internal frameworks.The emergence of this literary genre can be traced back to a shift in intermediaries; specifically, after the Internet replaced paper as the primary medium. The Internet creates a small world and, according to McLuhan, a "global village". In fact, a digital text is like an embryo born in the womb of technology, nourished through digital tools and relationships. Therefore, literature will not truly be digital unless it offers the audience a space equal to or greater than that of the creator.The technological aspect of this form of literature encompasses the collection of visual and audio elements, which gives it an unlimited potential. In fact, the use of the word "informational" in literature refers to the application of computers to collect, organize, analyze, categorize, and rewrite texts, thereby achieving a level of innovation in literary works. The text is thus set free from the constraints of a linear structure, becoming dynamic and fluid due to its infinite flexibility.These diverse dimensions require various intermediaries and shared sensory modalities—auditory, visual, and tactile. Consequently, computer technology has introduced new tools for editing, communication, and research to both writers and readers, enabling them to convey their thoughts through sound, images, and moving visuals.In Arab literature, the founder of digital literature is considered to be the Jordanian novelist and critic Mohammed Sanajlah. The digital novel Al-Raqmiyah is also known in Arabic as "al-Nasa al-Mutrabat" because its associated text, along with other interactive digital elements and language (HTML), plays a significant role in its creation.Conclusion:After analyzing several digital novels by Mohammad Sanajleh and Leila Sadeghi, this research reached the following key conclusions: The aforementioned authors have utilized various features derived from hypertext technology, which enable the linking of texts to one another. Therefore, the language of their digital novels does not rely solely on words; rather, words are part of a whole that includes images, sound, cinematic visuals, and movement. Movement is perhaps one of the most important elements because the other components depend on it, and without movement, they lack appeal and become dull.Therefore, the structure of their digital novels evolves within the digital shaping triangle: image, music (sound), and word (writing). This approach compels the audience to engage all their senses to derive meaning. The digital novels of Mohammad Sanajleh and Leila Sadeghi represent a new type of narrative in both form and theme (content). The covers of Sanajleh and Sadeghi's digital novels serve as a showcases that attract the audience and readers. Since the cover of digital novels differs from that of classic hardcover novels, the graphic and visual elements—such as geometric shapes and a diverse range of colors—on the cover of digital novels signify their digital nature, creating a unique aesthetic appeal for the audience.
Research Paper
الادب المقارن
Malek Abdi; Mina Pirzadnia; Zaynab Chenani
Abstract
Basically, real symbols are unimaginative, and abstract concepts and forms are not fundamentally connected to realist symbols. However, literature carries a tradition that creates an inseparable connection between these two heterogeneous aspects of illogical thought, so that sometimes the boundary between ...
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Basically, real symbols are unimaginative, and abstract concepts and forms are not fundamentally connected to realist symbols. However, literature carries a tradition that creates an inseparable connection between these two heterogeneous aspects of illogical thought, so that sometimes the boundary between them becomes indistinguishable. The political and social conditions in the world's troubled societies have likely inspired writers to adopt this style, prompting them to depict societal realities through a mysterious language and a symbolic combination of reality and imagination. This research has analyzed the components of magical realism in the two novels "The Tree of Al-Abid" by Ammar Ali and Kafka on the Bank by Murakami using a descriptive-analytical method. In both novels, elements such as fantasy and imagination, loneliness, socio-political situation, silence and voluntary boycott, the presence of extrasensory beings, disguise, and absurdity are prominently featured. Elements such as metamorphosis and Sufism appear exclusively in Shagarat al-Abid's novel, while absurdism and a stifling atmosphere were used only in Kafka's novel. The most prominent of these components in Shagarat al-Abid is the depiction of a stinky atmosphere and a mystical themes, whereas Kafka's novel is characterized by contrast, absurdity, and diversity. Ammar Ali addresses societal disorder, social problems, and mystical concerns, while Murakami focuses on human issues in his society, including loneliness, emptiness and death, and cultural issues.
Introduction:
Magical realism is a branch of literary realism in which transformed realities coexist with the real world, connected through cause-and-effect relationships. On one hand, mental or metaphysical elements are portrayed as stable, eternal, and immortal elements, and they are fundamentally distant from the materialistic and tangible elements that can be measured and seen in the real world. Therefore, the mixture, combination, or application of the deep structural components of these two disparate, and sometimes contradictory, literary types requires a conscious approach and the use of precise, purposeful tools and measures. This ensures that, while preserving the originality and literary nature of each type and maintaining a clear and distinct orientation to the dramatic requirements of both genres, they provide a uniform and symmetrical texture from the combination of the heterogeneous components of these two styles, in such a way that mental emanations, fantasy imaginations, and sometimes unbelievable ideas. The author, in the framework of this school, the author integrates objective and quantitative elements in a balanced and non-institutional manner. These elements appear as imaginary or illusory sentences, phrases, or metaphysical predictions—though grounded in real facts—to express societal issues and problems.
Method:
The method of conducting this research is descriptive-analytic, which is carried out by referring to textual and citation sources in the context of library evidence, and through a comparative process with the analysis of existing data and confrontational inference. Therefore, the necessity of reaching the implementation mechanisms of such a scheme that presents asymmetrical manifestations of narrative methods in the form of integrated and valuable intellectual components - and that in two completely different literary fields (Japanese and Arabic) - clearly demonstrates the necessity of presenting such a research.
Results and Discussion:
The final and crucial point in this case is the secular, absurdist, and irreligious perspective prevalent in much of Japanese society. This worldview compels Murakami to become trapped in the abyss of nihilism during difficult periods. Through the fusion of some deviant Shinto beliefs such as the pursuit of transcendental concepts and extreme self-surrender, etc., as well as the inability to acquire epistemology and divine intuition, nihilistic propositions are manifested in the mind and language of Murakami's elements, while Ammar Ali is free from deviation in such an abyss. Finally, given the completely different intellectual and cultural atmospheres of the two novels, there is a clear difference and common view among the two authors on this basis, which has been discussed.
Conclusion:
The elements used in the two novels mentioned, from the perspective of magical realism—both common and distinct—can be summarized as follows: the intertwining of reality and fantasy, opposition, loneliness, voluntary silence, extrasensory beings, socio-political issues, mystery, myth, and defamiliarization. Some of these components appear in one story, while others appear in the other. The elements unique to the novel Shajarat al-Abid include transformation and metamorphosis, and a mystic-centered perspective. In contrast, Kafka's novel features elements such as nihilism and a hallucination, and a fetid atmosphere. In both works, the intertwining of reality and fantasy is so skillfully executed that the boundary between the two becomes indistinguishable. Murakami has created an imaginative atmosphere by introducing surreal elements such as a rain of fish and talking cats. The presence of magical and extrasensory beings in both novels is evident and contributes to the enchanting, otherworldly atmosphere of the stories. These elements create a magical ambiance that captivates the reader. The inclusion of these metaphysical beings within the materialistic world serves to bring resolution to the characters' actions.
Research Paper
الادب المقارن
Mina Ghanemiasl Arabi; Naser Zare; Seyyd Haidar Faree Shirazi; Khodadad Bahri
Abstract
Semiotics is a scientific discipline focused on understanding the fundamental principles of signs and indications. This concept is considered one of the prominent theories in logic. The main focus of semiotics is to explain what semiotics entails. The deviation of explicit signification and the provision ...
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Semiotics is a scientific discipline focused on understanding the fundamental principles of signs and indications. This concept is considered one of the prominent theories in logic. The main focus of semiotics is to explain what semiotics entails. The deviation of explicit signification and the provision of an implicit interpretation or image of a sign represent the most significant function of semiotics. Following this, we explore the symbol of the the contemporary poetry of several Arabic and Persian poets. In the meantime, we have selected a sample of contemporary poems by prominent poets from Arabic and Persian literature as the scope of this research. This study, conducted using a descriptive-analytical method, examines both contemporary Arabic and Persian poetry to explore the implicit semantic meanings of "swallow" as a symbol. For this purpose, we aim to analyze the new signs associated with "swallow" as a symbol and reveal the positive and negative aspects and factors that have shaped these signs in the poems of contemporary Arabic and Persian poets. Therefore, the actual present research includes both positive and negative implications of the swallow. However, the research findings show that this bird plays an essential role in expressing poets' social and personal concerns and has conveyed such implications as freedom, repatriation, and fertility through thr "swallow" sign. In the following use of the swallow symbol, poets exhibit a more positive attitude than a negative one, which is reflected in their poems. Introduction:Semiotics is a prominent concept in linguistics that studies systems of symbols, signs, and allusions, aiming to uncover the hidden symbolic meanings behind them. Semiotic theory encompasses various approaches and perspectives from semiotic, structuralist, and poststructuralist thinkers who share a particular stance on the science of signs. Semiotics is a profound field of knowledge grounded in principles rooted in disciplines such as philosophy, logic, sociology, and linguistics. Each of these sciences has played a significant role in introducing this knowledge and its impact on other fields, which is why today we observe considerable interest among researchers in semiotic studies. Notably, the word itself serves as a fundamental link between the signifier and the signified. A sign can convey a wide range of meanings. Some semioticians, such as Ferdinand de Saussure, consider the relationship between the signifier and the signified to be fixed—that is, a signifier is always associated with a specific signified for which it has been designated and intended. However, the emergence of insightful perspectives in this field has marked a new chapter for the science of semiotics, liberating it from the framework established by traditional semioticians and offering a fresh outlook. This article explores "swallow" as a symbol in the poetry of contemporary Iranian and Arab poets, uncovering the semantic layers of this symbol and providing an interpretative analysis. In the meantime, we have attempted to organize the research axes in accordance with the objectives concerning the positive and negative semantic meanings of "swallow" as a symbol. This approach will allow us to ultimately examine both the explicit meanings derived from this symbol and its implicit meanings within the poets' works.Method:In this study, the symbol of "swallow" is examined in the poetry of selected contemporary Persian and Arabic poets. Examples have been chosen from prominent Arab and Iranian poets to serve as the focus of our analysis. This study employs a descriptive-analytical method and draws on semiotic theory to examine the relationship between contemporary Persian and Arabic poetry. It aims to uncover the implicit semantic meanings associated with the symbol of "swallow". For this purpose, the study aims to examine the new signifiers associated with the symbol of "swallow" and to uncover both the positive and negative aspects of these symbols, as well as the factors that shaped them in the poetry of contemporary Persian and Arabic poets. Therefore, the present study focuses on the positive and negative connotations of "swallow" as a symbol.Results and Discussion:Swallow is a symbol of return. This symbol has appeared in the poems of contemporary Persian and Arabic poets, paying attention to the emotional, social, and political factors of each poet. For example, in the poem by Houshang Ebtehaj, the word "swallow" contains a sign worthy of contemplation. Sadness and longing dominate this poem. Ebtehaj begins the first stanza of this poem by addressing his old acquaintance (Arghawan) and until the end of the poem, he laments the times and social conditions and the state he is in. In fact, the poet is looking for the spring of freedom, but this spring has a price, and the price is nothing but the blood of swallows. Swallow is the messenger of spring and fertility: The poems of contemporary Arab poets have not been left without this symbol and, in parallel with Persian poets, they have mentioned the "swallow" as a sign of spring, including the prominent Palestinian poet Mahmoud Darwish, who considers the "swallow" a sign of the lost spring. He is in dire need of a spring that brought birth and fertility to his people. Swallow, the messenger of freedom: This symbol is reflected in a poem by Mehdi Akhavan Sales. The poet sends his bitter, sad, and sighing poem flying with the swallows in the hope of freedom of expression. Swallow, the symbol of hope: The Iraqi poet Abdul Wahab Al-Bayati uses this symbol of the swallow as part of this hope and promises the hope of returning. By using the plural pronoun in the poem, the poet introduces himself as one of the Palestinians and considers their wish for return as his own wish.Conclusion:The study of the symbol "swallow" in the poems of contemporary Persian and Arabic poets from a semiotic perspective has yielded clear results, including the finding that "swallow" as a symbol plays a pivotal role in conveying the thoughts and views of these poets. In addition, this symbol can be seen as a reflection of the concerns of Persian and Arabic poets regarding various national, political, social, and emotional issues. They have interpreted the swallow with multiple symbols and connotations, depending on the era in which they lived and the circumstances they faced. Spring, fertility, and the theme of return are two significant and recurring symbols in contemporary Persian and Arabic poetry. Despite differences in language and style, these motifs consistently appear in their works, with the concept of "return" being particularly prominent among Arab poets. This level of benefit stems from the harsh living conditions endured by poets who were constantly harassed, exiled, and lived in exile to preserve national values and defend their homeland. Idealistic poets, who continually strived for the ideal city, employed the symbol of swallow in their poems. This symbol carries connotations such as spring and fertility, hope and desire, as well as migration and separation, serving as implicit meanings within their work. Poets, influenced by societal factors and events, have used the symbol of the swallow to create a hopeful framework for the reader. By interpreting the various symbols of the swallow in their poems, we conclude that they have represented exile, hostility, exile, disorder, occupation, and other forms of suffering and turmoil through positive and hopeful signs and connotations, while giving less emphasis to negative aspects.
Research Paper
الادب المقارن
Ahmad Lamei Giv; Somaye Eghbali
Abstract
The spring season has long been a central theme in descriptive poetry, creatively expressed in verse since ancient times. Safi al-Din al-Hilli, an Arabic poet, and Manuchehri Damghani, a Persian poet, have composed valuable and beautiful odes celebrating spring. Familiar with the science of music and ...
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The spring season has long been a central theme in descriptive poetry, creatively expressed in verse since ancient times. Safi al-Din al-Hilli, an Arabic poet, and Manuchehri Damghani, a Persian poet, have composed valuable and beautiful odes celebrating spring. Familiar with the science of music and blessed with a remarkable ability to observe the vibrant nature and wondrous world around them, they could depict the manifestations of spring more beautifully than reality itself. The present study aims to examine the literary status of these two renowned poets through a library-based approach and to analyze the most prominent themes of spring description in their poetry using a comparative-analytical method. The research findings indicate that, by employing various similes and simple language, they elegantly portrayed the transformations of spring. The rebirth of nature, rain-bearing clouds, azure skies, roaring rivers, the melodies of birds, vivid buds and blossoms, colorful flowers, fragrant breezes, and the perfumed atmosphere of gardens frequently appear in the poets' verses. For Manuchehri, spring is constantly blossoming, and he does not forget to describe it, even in his panegyrics. In Safi al-Din al-Helli's poetry, the praise of the patron sometimes assumes a more prominent role.
Introduction:
Comparative literature, a significant trend in literary criticism, aims to assess, analyze, and explore the history of interactions among literary works, genres, styles, periods, and even literary figures across different cultures. The close proximity of Iran and the Arab nations, along with their religious, commercial, and cultural ties, as well as the presence of relatively similar conditions in both regions, have created common grounds that have led to mutual influence in various fields, including literature. Descriptions of nature's manifestations, especially during the spring season, have made a major and significant contribution to lyric literature as one of its broad and substantial thematic areas. In this domain, poets and writers from various nations (such as Iran, Arab countries, etc.) have written extensively across all historical periods. The descriptions of poets in portraying the beauties of spring, especially the fact that each poet has a unique perspective shaped by their environment and the emotions they experience in facing nature, have given their work distinct color and luster. Poets, through their diverse worldviews and their remarkable ability to organize words, each carrying a wealth of meaning, have created extraordinary works.
The subject of describing nature in Arabic literature has a long and ancient history. Arab poets of the pre-Islamic era depicted its elements and transformations by closely observing the harsh environment in which they lived.
In the second century AH and the centuries that followed, as Arab society became acquainted with urban culture, descriptions of nature took on a more vivid and detailed character. During this period, poets began to appreciate the beauty of nature shaped by human hands. Magnificent palaces, mansions, and gardens filled with fruits and colorful flowers enhanced the splendor of their surroundings. Poets of this era captured and expressed these scenes through their poetic artistry. In Iranian culture and literature, the fourth century and the first half of the fifth century represent a period known as the era of period begins with the Samanid dynasty in Transoxiana and Khorasan. This period, regarded as one of the most significant in the history of Iranian literature for its focus on nature and spring, witnessed substantial growth in literary sciences due to the Samani kings' familiarity with science and knowledge. Consequently, poets held an important and esteemed position within their tribes and society.
On the other hand, the encouragement of poets by the Aryan rulers was accompanied by valuable gifts. Poets of this period received substantial rewards for composing poems and presenting them to the reigning king. Consequently, poets not only enjoyed a high social status but also lived in prosperity. The poets of this era held a horizon-oriented and extroverted perspective toward the manifestations of nature. They depicted nature exactly as they observed it, using beautiful arrangements of language, vivid imagery, and detailed descriptions. Rudaki, Farrokhi Sistani, and Manouchehri, who is renowned for his exceptional portrayals of nature and spring, are among the leading figures of this literary period. Safi al-Din Hilli is considered one of the outstanding and distinguished poets of the Arabic language and literature of the 7th century AH. With his unique talent in describing the manifestations of spring, he has brought noteworthy works to the field of poetry. His poems are famous for their elegance and use of literary techniques. Manouchehri Damghani is also considered one of the unique Persian-speaking poets, capable and stylish in describing spring, to the point that he has been called “the master painter of nature” (Zarrinkoob, 1993: 55). The poems of these poets in describing the exquisite manifestations of spring are worth considering. By living in such an environment, the poets have created works that reflect their careful gaze, delicate feelings, pure thoughts and loving fantasies in facing the manifestations of spring. These descriptions, which undoubtedly come from the poets’ hearts and souls, have never become dated and their freshness has not diminished with the passage of time and will not.
Method:
The present research aims to examine and clarify, in an analytical-comparative manner, the prominent and common themes in the poems of the poets, Safi al-Din Helli and Manouchehri Damghani, with the theme of spring, by citing library sources and based on the theory of comparative literature of the French school.
Results and Discussion:
The studies conducted indicate that Safi al-Din Helli and Manouchehri Damghani grew up in a lush geography, a peaceful nature, and were highly respected by the rulers of their time. Helli in Arabic literature and Manouchehri in Persian literature have been described as the leaders of their era. The two selected poets have undoubtedly imitated their predecessors in some of their poems. However, they have not remained in the dilemma of imitation and have achieved noteworthy innovations with their own style and manner of expression. Their method has been a model for many writers and poets among their contemporaries and in later periods.
Helli and Manouchehri have paid special attention to the spring of nature and in every field they have performed, they have introduced the manifestations of spring in a delicate and precise manner into their poetry and created masterpieces. They have often made spring a preface to their praises. Helli, through his careful and delicate look at the world around him and his attention to the affairs and changes of nature, has tried to adorn the emanations of his thought with the cover of aesthetic rules, and this can be one of the points of strength and attention of contemporaries and poets after him to his works. Manouchehri Damghani also did not neglect nature in his praise poems and considers each part of nature as a manifestation of the praised one. In all his praises, Manouchehri constantly observes the manifestations of spring and has explored nature and its changes at every opportunity he finds. This is while Safi al-Din Helli pays more attention to Mamduh.
The elements of spring, along with the imagery of the resurrection of the earth that experiences renewed life, gray, rain-filled clouds that shed tears of joy from the distance of the beloved and beloved (spring flowers and plants), roaring and flowing springs and streams, melodious and beautiful birds that promise spring, fruitful and refreshing rains, the birth of buds, blossoms and colorful flowers of nature that are the fruit of rain and the gift of spring, the blowing of spring and life-giving winds and the air filled with the fragrance of fragrant flowers, are among the frequent images of spring in the poems of poets.On this basis, it becomes clear that they not only experienced relatively similar conditions geographically, but the reflection of their art in the novel and innovative imagery, the use of simple arrays and similes is very evident, to the extent that it is conceivable that they lived in the same place and had the same observations.
Research Paper
الادب المقارن
Ziba Mahmoudi; Alireza Manouchehrian; Mohammad Hasan Hasanzaeh Niri; Gholamreza Mastali Parsa
Abstract
Analyzing and comparing texts within the fields of criticism and theory is considered one of the innovative and practical research methods. In this context, the theory of intertextuality holds significant interest for critics of both classical and contemporary works, as it is closely related to comparative ...
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Analyzing and comparing texts within the fields of criticism and theory is considered one of the innovative and practical research methods. In this context, the theory of intertextuality holds significant interest for critics of both classical and contemporary works, as it is closely related to comparative literature. The main challenge in the theory of intertextuality is to identify the similarities between texts. Scholars of this theory argue that a text is never closed; rather, texts engage in a dialogue with one another, and no text exists without a pretext. Every text is created based on previous texts; therefore, adapting the literary works of different nations may lead to the discovery of common themes among poets' works. Hafez and Saadi are two renowned Persian lyric poets and among the most famous poets in the world. Their works often explore romantic themes. Another notable poet is the Arab lyricist who lived in the 7th century; he is considered elegant and contemporary with Saadi, and predates Hafez. The main theme in his diwan is love, focusing on expressing the emotions of both the lover and the beloved.
His poems share various thematic similarities with the sonnets of Hafez and the general themes found in Saadi's works. These include motifs such as the lover's imprudence, the faithfulness of promises, the lover's tears, the meeting of lover and beloved, and parting. These similarities may stem from the intellectual connection among the three poets or from a shared tradition of influence. We are not attempting to prove any of these cases; however, in this essay, using Kristova's theory of intertextuality, we have analyzed and examined some of the similarities in Shab Zarif's themes with those of Saadi and Hafez. We have provided examples demonstrating the unity and convergence of their themes and uncovered the shared ideas among these three poets. Hafez and Saadi have similar themes across four types of poems: romantic, mystical, romantic-mystical, and social themes. Among these, romantic themes occur most frequently.
Introduction:
Intertextuality has been one of the most prevalent and extensively studied topics in literary criticism over the past century, attracting significant attention from numerous scholars. Since its inception, this theory has fascinated researchers and critics alike and is widely employed to analyze textual similarities. Moreover, this approach is not limited to literature; it is applied across various artistic and cultural fields, including non-literary texts. Intertextuality examines the relationships and similarities between two or more texts. This theory was developed by identifying these connections, which may occur among works by the same author or within the same language, as well as among texts from different cultures, sometimes involving varying degrees of influence or adaptation. There are numerous thematic similarities between Persian and Arabic literature, some of which have been studied and analyzed. However, an extensive path still lies ahead for researchers in the fields of literary criticism and comparative literature.
In general and comprehensive terms, the theory of intertextuality states that literature is not created in a vacuum. No text is solely the product of a writer's creative mind; rather, every text has pretexts. Writers and poets compose their works based on knowledge acquired through study, and whether they intend to or not, their studies influence their work. This results in texts sharing similarities and engaging in a dialogue with one another. Discovering these similarities is fascinating and enhances our understanding of the texts. Sometimes, writers and poets develop a single theme—whether intentionally or unintentionally—and this is one of the most prominent features of comparative literature. Intertextuality and comparative literature share common origins. Comparative literature is a relatively young discipline that originated in France and quickly established itself within the literary traditions of various nations. It has now existed for nearly two centuries. One key area of interest for scholars in this field is the exploration of similarities in ideas among writers and poets from different linguistic and geographical backgrounds. This focus has, whether intentionally or unintentionally, led to the identification of common themes across the literatures of diverse cultures.
A literary text originates from the inner feelings and emotions of the writer or poet and flows through their pen. The study and knowledge of its creator, combined with their emotions give rise to a literary work, which may encompass one or more distinct themes. Sometimes, writers and poets create a single theme—whether intentionally or unintentionally, knowingly or unknowingly—which is one of the most prominent features of comparative literature. This fundamental-applied research is based on Kristeva's theory of intertextuality. First, we extracted and translated verses from the Divan Shab-e-Zarif that share similar themes with the poems of Hafez and Saadi, presenting them in twenty comparative entries. We have attempted to include examples from both renowned Persian ghazal poets whenever possible; however, in some instances, we found similar themes represented by only one of these poets.
To practically demonstrate the theory of intertextuality and the similarities between texts, in some entries, we have not only identified themes from Saadi's general works and Hafez's ghazals but also included examples from the works of other poets. This article features the words of two renowned Persian poets and one Arabic poet, all of whom have expressed their thoughts on love—what God created humanity and the universe for. Love is a divine gift that never grows old.
The quality of the expression of love in the works of these three poets varies, yet many of their themes share notable similarities. In this article, we explore and analyze these common themes. The subtle allure of love evokes feelings and moods in all humans, regardless of culture or language. However, poets and writers from different nations respond to and perceive love in unique ways, each expressing it distinctively.
Hafez, Saadi, and Shab Zarif are all romantic poets. Shab Zarif was a contemporary version of Saadi and preceded Hafez historically. He is also known as the poet of love and ghazal. Regarding the quality of love in Hafez's Divan, Saadi's general works, and the verses translated from Shab Zarif, the following observations can be made: Shab Zarif predominantly portrays the earthly lover in his ghazals, whose themes reflect pure and innocent feelings, although these emotions are not yet fully matured in love. In Shab's poems, there is little indication of attachment. He remains in eternal waiting, mostly in the initial stage of love. When describing the lover's state of mind toward the beloved, Shab often portrays an indifferent lover who is not eager to win the beloved's affection, unlike Saadi and Hafez, whose beloved is cherished, respected, and is in the position of affection.
Shab's themes are limited to a few specific subjects, such as alcohol, imagery involving the bow and arrow (symbolizing the lover's eyes and eyebrows), descriptions of the beloved's body, the morning breeze, insomnia, the lover's reproach, and his rejection of advice. ShabZarif is highly skilled in both verbal and spiritual arts. Hafez and Saadi are also considered the foremost figures in Persian literature and are the undisputed masters of Persian poetry. According to researchers, ShabZarif's poetic style is as simple as Saadi's, yet his themes are often complex and difficult to understand. Hafez's poetry, as well as Saadi's works in "Bustan" and "Golestan" and occasionally in his ghazals, contain elements of didactic literature. However, Shab is primarily a ghazal singer, and his divan shows little evidence of didactic literature. Thematically, Hafez shares a closer similarity with this Arabic-speaking poet than Saadi does.
The comparative entries discussed in this article take three forms: some are shared between Hafez and ShabZarif, with the primary common themes being the morning breeze and the roles both poets assign to this natural element; most entries are common to all three poets; and some are shared between Saadi and Shab Zarif. In concluding the categorization of themes based on their subject matter, we have identified four categories, which may sometimes overlap: romantic themes, mystical themes, social themes, and alcoholism. In this article, we explore thematic similarities among these poets by applying Kristeva's theory of intertextuality and citing evidence from the Divan of Shab Zarif, the ghazals of Hafez, and the works of Saadi.
Method:
This fundamental applied research is based on Kristova's theory of intertextuality. Accordingly, we have extracted and translated verses from Shab Zarif's Divan that share themes with the poems of Hafez and Saadi, presenting them in 20 comparative entries. To practically demonstrate the theory of intertextuality and the similarities between texts, in some sections, we have not only identified themes from Saadi's general works and Hafez's lyrical poems but also included examples from the works of other poets.
Results and Discussion:
This research has several notable achievements. First, it is based on one of the widely used theories in literary criticism, namely intertextuality. Second, it focuses on a branch of literature known as comparative literature. Within this framework, we translated selected verses from Divan Shab Zarif and compared certain poems by Hafez and Saadi. Third, by examining thematic similarities, we have effectively demonstrated the theory of intertextuality through examples from three classical literary texts. Fourthly, in what ways are the verses of these three lyric poets similar: Romantic, mystical, romantic-mystical, and social? This article presents a method for analyzing non-synonymous texts within the fields of literary criticism and comparative literature.
Conclusion:
In this research, using the theory of intertextuality, we present evidence of thematic similarities between Shabzarif's Divan and the Divans of Hafez and Saadi's Koliat. ShabZarif is an Arab poet from the 7th century, and some of his verses closely align with the poems of Hafez and Saadi in terms of content. The common themes in Shab Zarif's work, shared with those of Hafez and Saadi, can be categorized into four aspects: romantic, mystical, mystical-romantic, and social-ethical. Among these, the "romantic" themes occur most frequently and often align with common Persian and Arabic themes. Some themes, however, are very rare and may reflect the unique relationship between this poet and Hafez and Saadi
