جامعة أصفهان بحوث في اللغة العربية 2821-0638 3 5 2011 10 01 Semi-clear Heritage Technical Image in Ibn-Nubatah’s Poetry: His Prophetic Eulogies in Focus Semi-clear Heritage Technical Image in Ibn-Nubatah’s Poetry: His Prophetic Eulogies in Focus 7 22 15828 AR Sayyed Mohammad Amiri Assistant Professor, Department of Arabic Language and Literature, Islamic Azad University, Najafabad Branch, Iran Journal Article 2016 06 14      Ibn-Nubatah is one of the poets of deterioration era who lived at this time so his poetry has the trace of both the imitation and repetition of the poets of that time. He used a kind of poetic theme in his poems that lacks the privilege and typicality of a good poem because he imitated some poets like Emre'al- Qays, Tarafah Ibn al-a’bd, Khansa, Hassan Ibn Sabet al-Ansary, Ka’b Ibn Zuhayr, Aboo Tammam and Al-Motanabbi. Concerning the issue of repetition, he made use of a large number of repetitive meanings in his poetic works, an example of which is the prophet Muhammad’s praise containing repetitive words and terminology. The eulogy of the kings and rulers of his time is also among some of his other repetitious works. However, there are some literary terms which are not authorized to be included in Ibn-Nubatah’s poems, examples of such terms as syntax, prosody and some other terms like dignitaries, hadith and Sufi terminology which Ibn-Nubatah used in his poems. Ibn-Nubatah used the Quran and Hadith in his poetic works as well, which is a kind of citation indicative of a sort of religious concept in his poetic works because religious concepts have special dignity and value for him, so the poet had to pay special attention to the demands and wishes of the public in his poetry. A large number of immoral contents can also be seen in his works. An attempt has been made in this article to examine such issues in the greatest poet’s poetry of that time, Sheikh Jamal Al-din Ibn-Nubatah.      Ibn-Nubatah is one of the poets of deterioration era who lived at this time so his poetry has the trace of both the imitation and repetition of the poets of that time. He used a kind of poetic theme in his poems that lacks the privilege and typicality of a good poem because he imitated some poets like Emre'al- Qays, Tarafah Ibn al-a’bd, Khansa, Hassan Ibn Sabet al-Ansary, Ka’b Ibn Zuhayr, Aboo Tammam and Al-Motanabbi. Concerning the issue of repetition, he made use of a large number of repetitive meanings in his poetic works, an example of which is the prophet Muhammad’s praise containing repetitive words and terminology. The eulogy of the kings and rulers of his time is also among some of his other repetitious works. However, there are some literary terms which are not authorized to be included in Ibn-Nubatah’s poems, examples of such terms as syntax, prosody and some other terms like dignitaries, hadith and Sufi terminology which Ibn-Nubatah used in his poems. Ibn-Nubatah used the Quran and Hadith in his poetic works as well, which is a kind of citation indicative of a sort of religious concept in his poetic works because religious concepts have special dignity and value for him, so the poet had to pay special attention to the demands and wishes of the public in his poetry. A large number of immoral contents can also be seen in his works. An attempt has been made in this article to examine such issues in the greatest poet’s poetry of that time, Sheikh Jamal Al-din Ibn-Nubatah. Ibn-Nubatah Poetic style Repetition Imitation deterioration https://rall.ui.ac.ir/article_15828_e7c81a1d48fa26bccba7436d9a64c776.pdf
جامعة أصفهان بحوث في اللغة العربية 2821-0638 3 5 2011 10 01 The Rhetoric of the Holy Quran Oaths The Rhetoric of the Holy Quran Oaths 23 40 15829 AR Abdolghani Iravanizadeh Associate Professor, Department of Arabic Language and Literature, University of Isfahan. Ali Mohammadrezayi Ph.D Candidate in Arabic Language and Literature, Imam Reza University. Journal Article 2016 06 14      The Quran has been analyzed by many commentaries from many aspects including its rhetoric and style. It is questionable to grasp the arcane outstanding position of the Quran in terms of its form, meaning, or rhetoric. Of the rhetoric of the Quran, oaths indicate miracle of the Quran. Oaths and their answers are in line with aggregates of all contexts as well as form and meaning. Then, what is the aim of God by oath? In other words, why God oaths while He is the creator of the word? This article deals with oaths and their answers in terms of aims, results and aggregates of contexts.      The Quran has been analyzed by many commentaries from many aspects including its rhetoric and style. It is questionable to grasp the arcane outstanding position of the Quran in terms of its form, meaning, or rhetoric. Of the rhetoric of the Quran, oaths indicate miracle of the Quran. Oaths and their answers are in line with aggregates of all contexts as well as form and meaning. Then, what is the aim of God by oath? In other words, why God oaths while He is the creator of the word? This article deals with oaths and their answers in terms of aims, results and aggregates of contexts. The Holy Quran Rhetoric Oaths Miracle https://rall.ui.ac.ir/article_15829_fd3371bc78db4d41d040fe7488ebe5bc.pdf
جامعة أصفهان بحوث في اللغة العربية 2821-0638 3 5 2011 10 01 “Satire” in Khorasani Poetry in the Fourth and Fifth Centuries “Satire” in Khorasani Poetry in the Fourth and Fifth Centuries 41 56 15830 AR Sayyed Mohammad Bagher Hosseini Associate Professor, Department of Arabic Language and Literature, Ferdowsi University – Mashhad. Javad Gholamalizade Ph.D Candidate in Arabic Language and Literature, Ferdowsi University – Mashhad. Journal Article 2016 06 14      The fourth and fifth centuries are known as the golden age of Arab poetry in Khorasan, in such a way that Khorasan became a place for great poets and scholars from all over the Islamic world. One of the poetic genres culminated in this period is usually created when human is faced with an affair that irritates him and makes him angry and sad, and makes him interpret sometimes explicitly, sometimes implicitly, sometimes by nasty speech and sometimes by a virgin mode. Through analysis of related poems, the present study makes an attempt to investigate the reasons for creating satire, types of satire and its use in Khorasani poetry.       The fourth and fifth centuries are known as the golden age of Arab poetry in Khorasan, in such a way that Khorasan became a place for great poets and scholars from all over the Islamic world. One of the poetic genres culminated in this period is usually created when human is faced with an affair that irritates him and makes him angry and sad, and makes him interpret sometimes explicitly, sometimes implicitly, sometimes by nasty speech and sometimes by a virgin mode. Through analysis of related poems, the present study makes an attempt to investigate the reasons for creating satire, types of satire and its use in Khorasani poetry.  poetry/ poem Satire Khorasan satire form Dehkhoda https://rall.ui.ac.ir/article_15830_bdcbacb188889adc01de75b878c4d449.pdf
جامعة أصفهان بحوث في اللغة العربية 2821-0638 3 5 2011 10 01 The Image of Women in Shoghi’s Poetry The Image of Women in Shoghi’s Poetry 57 70 15831 AR Zahra Soleymanpour Ph.D Candidate in Arabic Language and Literature, University of Isfahan. Jafar Delshad Assistant Professor, Department of Arabic Language and Literature, University of Isfahan. Journal Article 2016 06 14      From a long time ago, describing the woman as well as love and mania has allocated a large part of poets’ poetry to itself. It could be said that there is almost no poet some of whose poems are not related to women. Moreover, love and affection are in fact common senses among human beings. In the period of Arabic poetry movement, this issue found a different color and the poets noticed the social status of women and attempted to restore the lost rights. In Shoghi’s poetry, the woman was pictured in two ways. The first was related to social problems with which the women were facing at that time and in fact they were the main factor of the movements which were seeking the women freedom. The second was the woman image as a matter of lyricism. In Shoghi’s poetry, two tendencies could be observed. The first is the classical tendency in the introduction of his eulogy poems as well as those which were purely in the field lyricism. The second is the romantic tendency shown in his presentation poetry. In these poems, the poet writes the poetry through his feeling and emotion and because he speaks by the heroes of the story, he has more freedom of speech. Our aim in this article is to have an analytical investigation of Shoghi’s viewpoints concerning social issues related to women and his lyricism (material or spiritual).      From a long time ago, describing the woman as well as love and mania has allocated a large part of poets’ poetry to itself. It could be said that there is almost no poet some of whose poems are not related to women. Moreover, love and affection are in fact common senses among human beings. In the period of Arabic poetry movement, this issue found a different color and the poets noticed the social status of women and attempted to restore the lost rights. In Shoghi’s poetry, the woman was pictured in two ways. The first was related to social problems with which the women were facing at that time and in fact they were the main factor of the movements which were seeking the women freedom. The second was the woman image as a matter of lyricism. In Shoghi’s poetry, two tendencies could be observed. The first is the classical tendency in the introduction of his eulogy poems as well as those which were purely in the field lyricism. The second is the romantic tendency shown in his presentation poetry. In these poems, the poet writes the poetry through his feeling and emotion and because he speaks by the heroes of the story, he has more freedom of speech. Our aim in this article is to have an analytical investigation of Shoghi’s viewpoints concerning social issues related to women and his lyricism (material or spiritual). Shoghi’s poetry women social issues lyric https://rall.ui.ac.ir/article_15831_f6910efa3221e6bd1e67fd96dca6e6cb.pdf
جامعة أصفهان بحوث في اللغة العربية 2821-0638 3 5 2011 10 01 Avicenna’s Role in Arabic Literature Avicenna’s Role in Arabic Literature 71 82 15832 AR Nasrollah Shameli Associate Professor, Department of Arabic Language and Literature, University of Isfahan. Hamid Ahmadian Assistant Professor, Department of Arabic Language and Literature, University of Isfahan. Journal Article 2016 06 14       The master and doyen, Avicenna, is one of the prominent savants of the fourth century A.H. Besides medicine and philosophy, he was a master in sciences of his time, and was proficient in Arabic literature. He has peerless anthologies in poetry and prose, in both Arabic and Persian literature. In mysticism, he was tending to the symbolic and allusive style. Hence we find ourselves mystics when we float in “Resalat Altair” (the message of the birds) and “Hai ebn Yagdan” (Alive son of the Yagdan), and when we look at his Arabic poems and quatrains we find ourselves at a hospital with the poetry as a cure, and when we enter “Al-Esharat” of Avicenna we find ourselves in a wisdom court, as we are kids obsessed by thousand fictions stalking gravely after wisdom and logic. In this article, an attempt has been made to pick bouquets of colorful flowers, ornated with rhetoric, eloquence, language, inflection, derivation and poetic meters, as we pick from symbolic prose that is full of mystic symbols.       The master and doyen, Avicenna, is one of the prominent savants of the fourth century A.H. Besides medicine and philosophy, he was a master in sciences of his time, and was proficient in Arabic literature. He has peerless anthologies in poetry and prose, in both Arabic and Persian literature. In mysticism, he was tending to the symbolic and allusive style. Hence we find ourselves mystics when we float in “Resalat Altair” (the message of the birds) and “Hai ebn Yagdan” (Alive son of the Yagdan), and when we look at his Arabic poems and quatrains we find ourselves at a hospital with the poetry as a cure, and when we enter “Al-Esharat” of Avicenna we find ourselves in a wisdom court, as we are kids obsessed by thousand fictions stalking gravely after wisdom and logic. In this article, an attempt has been made to pick bouquets of colorful flowers, ornated with rhetoric, eloquence, language, inflection, derivation and poetic meters, as we pick from symbolic prose that is full of mystic symbols. Avicenna Arabic Literature poetry prose https://rall.ui.ac.ir/article_15832_b563b987d6a78883c84b3b55e40e981c.pdf
جامعة أصفهان بحوث في اللغة العربية 2821-0638 3 5 2011 10 01 Poetic Stories in Ilia Abu Mazi’s Poetic Works Poetic Stories in Ilia Abu Mazi’s Poetic Works 83 101 15833 AR Sadeq Fathi Dehkordi Assistant Professor, Department of Arabic Language and Literature, Tehran University. Shlyr Fathi MA Student in Arabic Language and Literature, Kordestan University. Journal Article 2016 06 14 Poetic story is a kind of art firmly connected to poetry and story and is a sign of restoration in Arabic poetry; furthermore, it is an artistic field for presenting poets' ability in putting poetry and tale together. This genre has included many current poetic works. Abu-Mazi as a poet with sublime human tendencies and like many other Mahjar (migration) poets has poetic stories with humanistic motifs, but the span of his art is wider, so it contains many themes like history, legend, teaching and preaching, society, sentiment, conscience, fatherland and nation. Since he is a social poet, in his poetic stories he finally gets to human and his noble life. Among themes of preaching he goes through human borders and sings the anthem of sublime life. We can see vividly the honesty of his soul which tries to transfer a collection of social thoughts to the audience, some of which are his personal experience but some are not. These thoughts have dominated his work and are inserted into social subjects. Teaching as well as preaching is another theme with which the poet is discovering an instrument to bring him near the love of all creatures. Meanwhile, he is not inattentive toward themes regarding nation and fatherland and narrates some tales which are impressed with homelessness and separation from Lebanon. Explicitly he ends most of his themes with stories and wise sayings which are concerned with human and his society and teach human patience, cooperation, correlation, and help and encourage him to continue his life. Poetic story is a kind of art firmly connected to poetry and story and is a sign of restoration in Arabic poetry; furthermore, it is an artistic field for presenting poets' ability in putting poetry and tale together. This genre has included many current poetic works. Abu-Mazi as a poet with sublime human tendencies and like many other Mahjar (migration) poets has poetic stories with humanistic motifs, but the span of his art is wider, so it contains many themes like history, legend, teaching and preaching, society, sentiment, conscience, fatherland and nation. Since he is a social poet, in his poetic stories he finally gets to human and his noble life. Among themes of preaching he goes through human borders and sings the anthem of sublime life. We can see vividly the honesty of his soul which tries to transfer a collection of social thoughts to the audience, some of which are his personal experience but some are not. These thoughts have dominated his work and are inserted into social subjects. Teaching as well as preaching is another theme with which the poet is discovering an instrument to bring him near the love of all creatures. Meanwhile, he is not inattentive toward themes regarding nation and fatherland and narrates some tales which are impressed with homelessness and separation from Lebanon. Explicitly he ends most of his themes with stories and wise sayings which are concerned with human and his society and teach human patience, cooperation, correlation, and help and encourage him to continue his life. Ilia Abu-Mazi Poetical Story Poetical Work https://rall.ui.ac.ir/article_15833_51df77db133fc6f09be16e5154143983.pdf