Showing 5 results for shafieioun
Saeid shafieioun,
Volume 4, Issue 15 (Fall 2011)
Abstract
Parody is one of the literary sub-genres which mocks its main genre. On the basis of value and significance of the main genre and also the structure and nature of parody, it can be considered as an independent genre. Since meaning in literature is one of the main elements and it has a central role in both language and imagination, it is of considerable importance in literary works. Therefore, one of the most important kinds of parody which is called tazriq in Persian literature has been formed in this field. In fact, one of the goals of parody is to entertain the audience and make them laugh, and tazriq satisfies this goal very well. Though there are a few differences, this kind of parody can be found in western literature where it is called nonsense verse. This article tries to compare the main aspects of these two kinds of parody.
Saeid shafieioun,
Volume 8, Issue 30 (Summer 2015)
Abstract
Karnameh, Shahrashub, Senfi (guild)poetry, and Shahrangiz are the names that are used often interchangeably in the sources due to some similarities and the fact that they share the same root. However, these genres have enough nuances that can distinguish them into four separate genres. Of course, it is more difficult to consider karnameh as a genre since there are few and sometimes incomplete examples of it and that, practically, karnameh is transformed into shahrashub at last. The same is true about senfi poetry in which the professions are described poetically and the craftsman is portrayed as the beloved but, later, they were entered into shahrangiz genre and sometimes became extended and coherent works instead of scattered poems. Identifying the delicate features of these genres requires a lot of precision and, indeed, the inaccuracies have caused some of the experts and scholars to confuse these genres. However, it should be noted that, even at the time of their currency, poets and literary figures considered them as not following any norm and convention. Drawing on original sources and taxonomical studies, this research aims to identify and represent the nuances of each of these genres.
Volume 9, Issue 38 (5-2021)
Abstract
Despite the differences that recently have arisen in determining the meters of the folk poetry, it can be said with confidence that the meters of the folk poems follow the rules of syllabic accentual meters. Work songs (work poetry) is a branch of folk poetry which is read in harmony with the rhythm of the work and it has work-related content. Workers recited these poems in groups or individually to refresh themselves, making work easy and faster. In this article, at first, we have defined the work songs and its types and characteristics, and then analyzed the meters of these poems from two perspectives: the quantitative meters, and the syllabic accentual meters. We have found that the work songs follow the syllabic accentual meters and there is a significant relationship between the meters of work songs in a specific branch. The work songs also match the rhythm of the work. Also, by changing the work rhythm, it takes on different rhythms as well.
Shokouh. S Tabesh, Saeid shafieioun,
Volume 13, Issue 49 (Spring 2020)
Abstract
Cultural Semiotics, concerned with revealing the processes of meaning formation and identifying inherent values and norms in texts, was established by Yuri Lotman (1922-1993). This approach to text analysis, by focusing on the interrelation of different semiospheres, provides a new possibility to analyze cultural events to identify the means of text production in a specific semiosphere. Mythological-theological texts appear to be significant cultural sources for such an analysis and therefore Avesta, as a mythological-theological text, was selected for the current study. This paper has focused on Jamshid and attempted to study the delegitimization process of Mithraism and legitimization process of Zoroastrianism. Jamshid was studied in the binary of Self and Other and he was viewed as a god in Mithraism who, by the depreciation of vedic ideas and the influence of Zoroastrian semiosphere, had obtained a sinful character. Sinfulness of Jamshid was explored here by analyzing his introduction to the new semiosphere, the rejection of Other and the emphasis of Self culture (Zoroastrianism).
Saeid shafieioun,
Volume 17, Issue 68 (2-2025)
Abstract
In addition to his role as a teacher, performer, and composer in the field of music, Arshad Tahmasbi has also established himself as a distinguished and familiar name in the realm of scholarly writings on Iranian music. Recently, he has authored a book about his own life—one that, given his delicate and sensitive artistic spirit, his research-oriented approach, and his ethical perspective, as well as his bold and candid expression, stands as the most significant source of insight into the innermost currents and key figures of Iranian music over the past half-century. Furthermore, this compelling book, in terms of its creative literary structure, serves as an example of the hybrid genre of autobiographical writing. This work, structured as an imagined interview, blends elements of a diary, autobiography, confession, travelogue, and critical essay. Since the author of this article claims that this book marks a new development in literary genre classification, the introduction first explores the generic nature of the work—clarifying its boundaries with adjacent genres—before proceeding to an analysis of its genre-related aspects and its artistic and thematic merits. Centering on the author’s interactions with influential Iranian musicians such as Lotfi and Alizadeh, as well as other figures in this domain, the book, enriched by the author’s meticulous and insightful commentary from various perspectives—particularly ethnic and professional—proves to be both profoundly engaging and highly enlightening.
Extended abstract
Arshad Tahmasbi, a virtuoso of the tar and setar, a teacher, composer, and, above all, a distinguished scholar in the realm of Iranian national music, is a name that resonates deeply within the musical and literary spheres of Iran. His scholarly pursuits in narrative literature, travel writing, and memoirs, along with his tireless dedication to writing, have endowed him with a pen that is both elegant and profound, surpassing even the most esteemed of his peers. Recently, he has penned a remarkable work—a book chronicling his life. Given his direct involvement in contemporary movements of Iranian national music, his meticulous documentation of events, and his candid, ethical portrayal of influential teachers and figures, this work has become an essential resource for both general and specialized audiences interested in Iranian music.
Tahmasbi’s sharp memory and analytical voice, woven through the pages of his book, alongside his disciplined and almost archival approach to storytelling, have created a work that is as much a social and historical study of Iranian culture as it is an exploration of the inner worlds of Iran’s literary and artistic giants. His spirit of inquiry, shaped by his dual roles as a teacher and a researcher, has led him to regularly engage with, critique, and reflect upon music-related writings, sharing technical insights drawn from the teachings of his own masters.
One of the strikingly novel features of this work is his life story written as an imagined dialogue. The subtle difference between an interview-based biography and a self-written autobiography lies in the blend of the interviewer's prose with the spoken style of the subject, which—although edited—does not stray far from the realm of autobiography. While these questions are sometimes the result of the interviewee's own thoughts or their interaction with the interviewer, they still maintain the integrity of the autobiography genre.
This highly readable book, in terms of writing creativity, is also an excellent example of the intertwined literary genre of autobiography. It is a fusion of diary, self-written autobiography, confession, travelogue, and critique, and the writer of this article, based on these merits, claims that this book marks a new development in literary genre classification. According to the writer of this article, a self-written autobiography “is referred to as an independent or implicit work, in which the author thoughtfully reflects upon certain moments or stages of their life, relating them to their own self, in the form of a documentary or documentary-like monologic narrative, created either spontaneously or, rarely, in dialogue, and sometimes in response to external requests”.
To substantiate the novelty of this work, the writer first delves into the genre itself, examining the boundaries that separate it from its counterparts. Following this, he offers a thorough analysis of its typology, highlighting the artistic and thematic virtues that elevate it to a work of both historical and cultural significance. Focusing on Tahmasbi’s interactions with trailblazing Iranian musicians—figures such as Lotfi and Alizadeh—alongside other prominent voices in the field, the book offers keenly observed reflections that open new vistas on ethnic, professional, and artistic rivalries. These personal and cultural encounters, presented with remarkable candor, create a compelling narrative that deepens the reader's understanding of Iranian music and its key figures.
Conversations with Myself, subtitled Memoirs of Arshad Tahmasbi, spans 736 pages and is published by Mahoor Publications, accompanied by a cover illustration of Tahmasbi by Ahmad Vakili. This article’s author has made an effort to analyze the book from linguistic, artistic, historical, anthropological, and professional perspectives, providing excerpts from the text to offer the reader a brief understanding of its content and the author's multifaceted perspective—one shaped by Iranian multicultural upbringing and reflective of various encounters, whether religious conflicts between Sunni and Shia, ethnic differences such as Kurds, Turks, and Lurs, or professional rivalries in the arts like the dominance of singers versus instrumentalists. These dynamics are presented openly and unreservedly for the reader's judgment.
