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Volume 4, Issue 2 (Spring 2024)
Abstract
According to the doctrine of the indwelling of the Holy Spirit, one of the basic functions of the Holy Spirit is to transform people into a new creation, which is necessary for salvation. On the other hand, man is an independent being who has the right to choose between happiness and misery. The serious issue is how a free man is placed in the course of divine inner guidance. In this study, Alston's sharing model can reasonably defend the position of authority. Based on this model, the Christian believer, in indwelling the Holy Spirit within himself, gets knowledge and awareness of what is good and feels that he wants to show a proper and appropriate reaction. This model plays an important role in all transformations of the Holy Spirit and simultaneously permits human free will.
Volume 8, Issue 35 (11-2020)
Abstract
Abstract
Folk poems are one of the most pleasing types of oral literature among the Iranian ethnic groups, which represent the spirits, thoughts, and ideas of the masses, and arise from their natural and daily needs. Songs and poems are forms of popular literature and are diverse in the cultural geography of this land. Folk poems in Kerman province are titled differently and are mostly composed in the form of couplets having a particular prosody. The common couplets of this region in different ceremonies have titles such as Sharma, Ajaghboos, Birghi, Kheloon, Mordekhani, Abado, Sar-Asyabi, Aino, Biabani, Kurdish reading, Hujlashshoon, Gharibi Khani, Hanabandi, in the bathroom, etc. These poems fall into the realms of server, mourning, work, sleep and caressing poems, lullabies, game songs, entertainment, and prayer. This study employed the descriptive-analytical and library methods in order to introduce the folk and local songs of Kerman province, and analyze and classify the poems based on their themes so that the cultural prospects and local elements can be obtained.
Kerman; folk poems; oral literature; theme; popular culture.
Research background
The first person who has done a study in the field of popular culture of people in Kerman is Lerimer. Ali Tavakoli (2015) has studied the literature and popular culture of Amjaz in another research. Moayed Mohseni (2007) in her book on popular culture of Sirjan has introduced the popular culture of people of that region, and since her work is based on the method of observation and participation, she has been precise and delicate.
Koohi Kermani (1966) is another pioneering work in collecting rural legends and songs of Kermanians. In 1931, he published a book of national songs, which attracted the attention of literary circles. Also, on the music and couplets of Kerman, case studies and only a few articles have been done so far, which are as follows: "Music of the regions of Kerman province" by Towhidi (2011), "Themes of local songs, a case study of Sirjan songs" by Moayed Mohseni (2013), "Analysis of rhyme and line structure in Kermani native poems of Shahrbabak city" by Riahi and Radmanesh (2019). In the latter study, a real view of the folk songs of Kerman province is provided.
What distinguishes the present study from the others is that so far no research has been done in relation to Kerman folk poems. Therefore, this study aims to fill this gap.
Aims, questions, and assumptions
The aim of this research is to study and classify the popular and local poems of Kerman province, which are performed in different ways and sometimes with music. It is also aimed to examine any poem that refers to their indigenous elements and religious beliefs in order to be able to show the manifestations of Kerman culture.
Considering the variety of melody types, songs, and chants in this vast region, it can be said that Kerman is a treasure trove of oral culture the richness of which can be seen in less places, because it has never been invaded by foreign and non-Iranian tribes, and because of this, its songs, chants, and music are kept intact to a large extent.
This article seeks to answer the following questions:
1. What is the content of the popular and local poems in Kerman province?
2. How many categories are there for the popular poems and songs considering their content?
Results and Discussion
One form of folk literature is folk poetry, which are sung on various occasions during work, celebrations and rituals, mourning, play and fun, putting children to sleep, and entertainment. They are mostly in the form of local songs, accompanied by traditional music. They are the source of human manifestations and thoughts, and represent the history of culture, life, and expressive thoughts of people who express their feelings in a completely obvious and untouched way. In the meantime, popular and local songs and chants have a prominent role that have been passed down from a distant past, and have circulated around Iran, particularly in the geographical area of Kerman.
Popular art and literature in Kerman province reflect an important part of the rich and diverse culture, a culture that is rooted in the turbulent history of thought and customs of different tribes, ethnicities, and races (Persians, Arabs, Kurds, Lors, Turks and Baluchis) and the ancient natives of this region.
Considering the variety of melody types, songs, and chants along with the vastness of this region, it can be said that Kerman is a treasure trove of oral culture, the richness of which can be seen in few places. This has made the songs, chants, and music in this area remain pristine.
Folk music and local songs in Kerman province have various names such as Shink Bilal, Holoo Halo Holoo, Seriao Gonal, Ey Dalak Sar Tarash, Ji Saro Ji Saro, Dokhtare Dekandar, and Hey Ya Lalal. The most important types of Kerman musical instruments are Nay, Anban reed, drum, and harp (Nazari, 2011, p. 146). The classification and arrangement of these poems, based on the theme and content of the songs or local hymns, are as follows: 1. Sur hymns, 2. mourning, 3. work, 4. romantic, 5. epic, 6. childish, 7. entertaining, and 8. religious.
Conclusion
Considering the variety of melody types, songs, and chants, it can be concluded that Kerman music and folk songs are unique in terms of quality and quantity, and have a special place in Iran. Further examination of the songs reveals that their composers were tasteful, but anonymous, and in only a few cases, titles such as "Hosseina, Mehdi and Baqir" appeared in some of the songs. Also, the content of some songs shows that their composers were women.
Kerman folk songs and literature are still prevalent in many cities and among generations to come. Some songs are a combination of common songs in other parts of the country that have reached Kerman from elsewhere and after brief changes, have been combined with the dialect and living environment of the people in Kerman for many years. In some cases, it can be said that Kerman's special couplet is written in that line. The folk poems and songs in Kerman could be divided into seven groups based on the theme and content of the songs.
References
Koohi Kermani, H. (1966). Seven hundred songs from rural Iran (in Farsi). Ibn Sina Library.
Moayed Mohseni, M. (2007). Sirjan folk culture (in Farsi). Kerman Studies Center.
Moayed Mohseni, M. (2013). Themes of local songs; A case study of Sirjan songs. Culture of the Iranian people, 32, 183-200.
Nazari, G. (2011). A study of climatic elements in the poetry of local poets in the south of Kerman. MA Thesis of Hormozgan University, Hormozgan, Iran.
Riahi, F., & Radmanesh, A. M. (2019). Analysis of rhyme and line structure in Kermani native poems of Shahrbabak city. Local Languages, 1, 53-70.
Towhidi, F. (2011). Music of Kerman province. Culture of the Iranian People, 27, 85-111.
Volume 12, Issue 4 (3-2023)
Abstract
In recent years, the concept of innovation ecosystems has become commonplace for understanding the process of creating shared value. On the other hand, due to the importance of radical innovations in creating a unique defense capability and evolving of these innovations in a network of different actors, the need for an ecosystem view is felt more. In this research, with a qualitative approach and in the form of a multi grounded theory strategy, using latent content analysis tactics and semi structured interviews, a framework for radical innovators in the Iranian defense sector has been introduced. The interviewees were selected from senior managers in the field of defense innovation by snowball sampling method and the researcher saturated the data after 28 interviews. Findings showed that the components of radical innovations ecosystem include actors, capital, infrastructure, regulations, knowledge, ideas, commonalities and communication channels, culture, and structural principles.
Volume 16, Issue 64 (9-2019)
Abstract
In discussing the emergence of Nimai poetry, there are generally causes and factors such as the efforts of Shams Kasmayee, Ja'far Khamenei, Abolghasem Lahouti and Taqi Rafat in changing the poem formatsand the acquaintance of Nima with French and his impressionability from western literature. With more accurate research at this area we find out that although these factors remain strong, the role of the classic approach to classical poetry, such as the tendency toward multiple poems and innovations within this format, is undeniable. This descriptive-analytical paper shows that some of the most important features of Nimai poetry have been used before in some constitutional era. These features include changing the length of the lines and changing the rhyme position. Multiple poems also been a pioneer in mixing narrative and dramatic poetry and addressing political and social themes with regard to Nimai poetry.
Saeid Radfar,
Volume 17, Issue 67 (10-2024)
Volume 17, Issue 67 (10-2024)
Abstract
This study delves into the motivations and intentions of Persian biographical writers through a comprehensive analysis. The primary objective is to examine the underlying reasons driving these authors to compile such works, considering the broader context of Iran's literary and political evolution. By comparing different historical periods, the study seeks to identify patterns in the emergence and decline of various motivations in response to prevailing socio-cultural conditions. Beyond motivations, the research also explores the implicit goals that Tadhkerah writers aimed to achieve through their compilations. Ultimately, by elucidating the motivations of Tadhkerah authors through the lens of their authorial persona, this study contributes significantly to the historiography of Persian literature. This approach not only enhances our understanding of these works but also positions this research as more comprehensive and rigorous than previous studies.
Extended Abstract
In essence, all literary works can be seen as a history of literature. They serve as mirrors, reflecting the social, political, and cultural transformations of their time. For instance, when we read a ghazel by an ancient poet, beyond the literary pleasure, we are unintentionally reading a piece of the literary history of his/her era, establishing a connection with it. Undoubtedly, many readers find themselves pondering the why and how of his/her ghazals, engaging in a form of exploration of Persian literary history. Those readers who consider it their duty to find answers to these questions are generally literary critics and historians.
Literary historians and critics, in their quest to answer these questions, often seek to uncover his/her motivations and intentions in composing his/her ghazals. To achieve this, they employ various tools and methods. However, as contemporary readers of an ancient ghazel, how do they access and understand the poet's intentions and purposes? This question has so far sparked lengthy, and sometimes endless, debates.
It should be clarified that the aim of this article is neither to defend intentionalism nor to attack anti-intentionalism. These two positions have primarily debated the intentions of authors of literary works. This article intends to explore and investigate is the intentions and motivations of Persian Tadhkerah writers in their historiographical writings about literature. In other words, I am interested in the motivations and intentions of those who have written about literary works and poets. Of course, it should not be forgotten that every author has their own intentions and motivations for writing, and therefore it is possible to research these intentions.
I intend to investigate this issue through the following questions: What were the motivations of Tadhkerah writers for compiling these biographical dictionaries, and what can be inferred about their intentions? What developments can be attributed to the flourishing of particular motivations in a specific period? How will elucidating the intentions and purposes of Tadhkerah writers facilitate the path of Persian literary history?
A noteworthy aspect of this study is my intention to explore texts and literary history by differentiating between the concepts of intention and motivation. I owe this conceptual distinction to Quentin Skinner. Motivations are prior to the act of writing, while intentions are linked to the text's interiority and can be discerned throughout the composition and completion of the Tadhkerah.
I have categorized the motivations of Tadhkerah writers into seven groups and provided examples for each. Ultimately, I have concluded that the overarching goals and intentions of Persian Tadhkerah writers was to seek power, exert dominance, and construct identity.
Extended Abstract
In essence, all literary works can be seen as a history of literature. They serve as mirrors, reflecting the social, political, and cultural transformations of their time. For instance, when we read a ghazel by an ancient poet, beyond the literary pleasure, we are unintentionally reading a piece of the literary history of his/her era, establishing a connection with it. Undoubtedly, many readers find themselves pondering the why and how of his/her ghazals, engaging in a form of exploration of Persian literary history. Those readers who consider it their duty to find answers to these questions are generally literary critics and historians.
Literary historians and critics, in their quest to answer these questions, often seek to uncover his/her motivations and intentions in composing his/her ghazals. To achieve this, they employ various tools and methods. However, as contemporary readers of an ancient ghazel, how do they access and understand the poet's intentions and purposes? This question has so far sparked lengthy, and sometimes endless, debates.
It should be clarified that the aim of this article is neither to defend intentionalism nor to attack anti-intentionalism. These two positions have primarily debated the intentions of authors of literary works. This article intends to explore and investigate is the intentions and motivations of Persian Tadhkerah writers in their historiographical writings about literature. In other words, I am interested in the motivations and intentions of those who have written about literary works and poets. Of course, it should not be forgotten that every author has their own intentions and motivations for writing, and therefore it is possible to research these intentions.
I intend to investigate this issue through the following questions: What were the motivations of Tadhkerah writers for compiling these biographical dictionaries, and what can be inferred about their intentions? What developments can be attributed to the flourishing of particular motivations in a specific period? How will elucidating the intentions and purposes of Tadhkerah writers facilitate the path of Persian literary history?
A noteworthy aspect of this study is my intention to explore texts and literary history by differentiating between the concepts of intention and motivation. I owe this conceptual distinction to Quentin Skinner. Motivations are prior to the act of writing, while intentions are linked to the text's interiority and can be discerned throughout the composition and completion of the Tadhkerah.
I have categorized the motivations of Tadhkerah writers into seven groups and provided examples for each. Ultimately, I have concluded that the overarching goals and intentions of Persian Tadhkerah writers was to seek power, exert dominance, and construct identity.
Volume 18, Issue 72 (7-2021)
Abstract
In this article, "contemporary" has been studied as a "concept" by the first historians of Persian literature, i.e. biographers. I have tried to describe this concept in exactly the same way that the Persian biographers has experienced and known it. First, there is an introductory discussion of the lexical roots of "contemporary" and then its current meanings and interpretations of contemporary. These studies show the extent to which perceptions of the contemporary depend on cultural and social conditions. After that, the meanings of "contemporary" are discussed by biographers. The meanings are contemporaneity, novelty and being in the same level. It has been shown that for biographers, these perceptions are fluid and the reasons for their fluidity have been investigated. The fluidity of these perceptions has led biographers to use restrictive criteria. This has been used so that they can do their job in writing about their contemporaries with more precise limits, and reduce the fluidity of the contemporary concept.
Volume 24, Issue 4 (12-2020)
Abstract
Customers are the most important resources of service companies, and so there is no doubt that the condition for achieving profitability of insurance companies depends on analyzing issues related to customer satisfaction and increasing the productivity of the servants. One of the most important factors that insurance companies face with customer satisfaction in providing insurance services is reduce process time of the issuance of insurance policy to customers. This issue has rarely been considered by insurance companies, therefore, in this research, it has been tried to using simulation of the existing system and observing the results of the simulated model, a solution should be provided to improve the duration of the insurance issuance process.
After compiling the model in the software environment, were analyzed the results of the implementation of the discrete-event simulation model and tested to validate the model, and after the simulated model was found to be valid, were developed scenarios for improvement system. The results showed that with the change in each parameter of the number of users issuing the insurance policy, the time of customer referral to the expert physician and the time of response of the specialized tests and the time of appointment of the insurance representative to the insurance policy issuing unit, the duration of the issuance of the insurance policy decreased, and eventually Will lead to improved service delivery and increased productivity, reflecting the effectiveness of the discrete-event simulation technique and the development of operational study methods in the service sector.
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