Showing 8 results for Massnavi
Zahra Hayati,
Volume 2, Issue 6 (7-2009)
Abstract
Structural semioticians believe that bilateral contrasts are signifying elements which shape a text’s concealed structure; while their analysis makes the interpretation and paraphrase of meaning a possible task. Binary elements, which according to linguistics, psychology, and structural anthropology are factors of cognition and comprehension, have found a variety of different expressions and manifestations in cultural texts; whether they are in written form within literary works or have appeared in the visual and auditory arts. A survey of the variety of bilateral contrasting elements that the author has used, in addition to the manner in which they are processed, show the stylistics of the work; just as the semiotic study of binary elements in the depiction and portrayal of Rumi’s poetry show that: 1) All the objective and subjective bilateral contrasts which somehow instil ascension or descent are utilized for expressing materialistic and spiritual affairs and phenomena. 2) All the bilateral contrasts are finally united in a specific point and their contradicting identity is resolved. 3) Negation of contradictory identity from bilateral contrasts occurs through rhetorical and declarative devices which once categorized, guides us towards semiotic description of Rumi’s poetry in Massnavi and Shams Poetry Book (known in Persian as “Divane Shams”)
Volume 5, Issue 18 (3-2008)
Abstract
M. Sarrafi.PH.D.
Abstract:
The present essay is written through a referential method for the analysis of bird symbols in Rumi’s work; Massnavi. Once the author derived all the functions of birds, he categorized, described, and also explained the symbolic concepts of each through context analysis as the major technique. On the basis of these findings, there are about 30 birds mentioned by their names, while about 100 birds are mentioned without referring to their actual names. These create merely a part of Rumi’s creativity in symbolism. One of the most significant findings of this paper is; regarding the final analysis of birds; they are actually a symbol and sign of fate of the human soul within the prison of body and the materialistic world.
The meanings and symbolic concepts of birds hold an inseparable connection with their natural characteristics. Furthermore, the religious, cultural, and mythological teachings, which have been created about each of them throughout time, all enjoy a stunning role in the particular concepts given to them by Rumi. In overall it can be said that some of Rumi’s interpretations and understandings on the birds are quite new and innovative; while some of the others are rooted within the cultural traditions. The construction of symbolic concepts regarding birds in Massnavi derives from Rumi’s unique and special approach on one hand, while it is the result of his personal findings and understandings added to his potentiality and talent on the other hand.
Volume 5, Issue 21 (12-2008)
Abstract
Fatemeh Moeineddini, PH.D.
Abstract
Molana, known in the west often as Rumi, elaborates and conveys a significant extent of his story narrations through dialogues. Some of these dialogues do not have a specific audience, in other words, one of the heroes or even the narrator of the story himself speaks with himself in moments filled with severe passion and excitement. In this manner, this character helps the process of the story; while he reveals his consciousness or unconsciousness; so that the reader is informed about that particular character. It is actually through this method that Massanvi’s monologues are formed. According to the author’s purpose, structure and his particular linguistic shape and patterns, Massnavi’s monologues are divided into three types; intrinsic, dramatic and. self revelation.
The types of monologue play an important role in turning external point of view into an internal point of view. As a matter of fact this point of view suits Rumi’s main method in narration; as his stories often start with quite an open focus associated with the omniscient point of view, but then gradually the point of view and the focus of narration becomes narrowed and closed.
This paper was prepared through exploring documents, offering the results in an analytical-descriptive form, in order to survey the different types of monologue in Massnavi.
Volume 6, Issue 24 (9-2009)
Abstract
Ahmad Khatami, Ph.D.
Abstract
Mowlana Jaluluddin Rumi’s mystical character (604-672 A.H) has penetrated so deeply into the hearts and minds of his keen readers and admirers that there is actually no place left for the survey of other aspects in his work which are truly as much comprehensive. The truth is, Massnavi (Rumi’s great poetry book) has the potential to be analyzed from religious, scholarly, philosophical, political and even social perspectives; to mention a few of such a high diverse domain. Government, as a political-religious affair, has been among the topics of interest in Massnavi. Rumi has expressed his views about different kinds of reigns, the legitimacy of reigns, and the characteristics and features of governors and administrators; while he has pointed to the illegitimate reigns, or Pharaoh-like reigns in other words, on one hand and the legitimate or in other words Solomon-like reigns on the other hand. In this article, I intend to pave the way for a better access to Rumi’s opinions about governing through collecting and compiling his perspectives; finally depicting Mowlana’s intellectual basis and the features of a desired and appropriate government.
Volume 6, Issue 25 (12-2009)
Abstract
Ramin Moharami, Ph.D.
Abstract
The criticism and conveyance of the positive and negative points in mankind’s “will” through the mystical point of view of Rumi (Mowlavi), is the major topic of this article. Through the analysis of the verses which discuss mankind’s “will” in Massnavi, different dimensions of Rumi’s attitude about the “will” are clarified. Rumi consents with the belief of mankind’s will; a will that leads to a direct path and salvation in humans; yet he refuses a will which leads to rebel and obstacles the path of truth. Rumi also agrees with mystical fate which means men’s “will” should be sacrificed for God’s “will” alongside the “will” itself. He believes that God and his perfect creatures deserve to have “will” because will has made mankind the superior creature in God’s creation. After he proves mankind’s will, he complains about it as will has led to mankind’s suffer and finally divided the universe into two poles of the good and the evil, depriving mankind of God’s presence. In Rumi’s view, the trust that God gave human on the very first day was this will.
Volume 7, Issue 26 (3-2010)
Abstract
Mohammad Ebrahimpour namin
Abstract
The general structure and framework of the story of "The Old Harper" from "Massnavi" by Rumi (Moulavi), bears signs and traces of the minstrelsy art and tradition. That is obviously besides the different details of its narration and regardless of the functions and mystical inferences which has influenced it due to Sufi texts. The minstrelsy tradition is the pre-Islamic musical and literary tradition of Iran; traces of which can be found in sources up to the Maad period, while it has survived in all the next periods and even in the Islamic era as well. Although the "Old Harper" from "Massnavi" and other sources are fictional characters, his story in its various genres is a pattern taken from the characteristics of minstrelsy artists; while their story is a real depiction of life and living of the minstrels. In this article the bibliography and profound structure of this story and its variety of genres in the minstrelsy tradition and their social life is investigated.
Volume 7, Issue 27 (6-2010)
Abstract
Hossein Ali Ghobadi, Ph.D.
Saeed Bozorg Bigdeli, Ph.D.
Nasser Nikoobakht, Ph.D.
Bassel Adnavi
Abstract
Since love forms the core intellection and wisdom system of Mowlavi, all ideas and addresses expressed in Moulawi's works is made based on love. For this reason, analysis of the connection between the inner and outer world in Massnavi is also done regarding the attitude that Mowlavi- as the creator of the work- had on love. According to this approach, love for Moulawi is like the purgatory world between the inner and outer world. In this respect according to Mowlavi, issues interpreted in terms and expressions such as the correspondence of countries ad people, intuition and the unseen, appearance and interior, abstract and concrete, territory and heavenly kingdom, earth and sky, body and soul etc all depend on love and one of its manifestations. Based on this view, love and God's fondness and love for recognition has become the motivation for a movement due to which everything has become absolutely concrete from abstract – finite has raised from the infinite, form from inform, and eternity from preexistence- and therefore maybe it could be claimed that the entire creation has appeared in this manner.
This research intends to discover some manifestations of such belief in Massnavi written by Moulawi and further on elaborate it. The research method is descriptive- analytic, and by considering the title and the demands of the study, it has utilized the hermeneutics approach for the interpretation and paraphrase parts of Massnavi's text.
In brief the outcome of the study shows that in line with the common belief of mystics who claims that humankind is the mirror of truth and God's representative, Mowlavi believes that love in mankind is like a purgatory which draws thought towards the domain of manifestation and expression. Therefore from an ontological point of view, love is like a mirror which reflects the beings of the other world within appeals and representations of this world.
Volume 7, Issue 27 (6-2010)
Abstract
Alireza Nabilou, Ph.D.
Abstract
Mowlavi is a theoretician poet in Persian literature whose works- especially Koliat-e-Shams and Massnavi- are enriched with critical views. In this paper Mowlavi's linguistic and literary views are discussed. This research was carried out by relying on contemporary literary criticism theories, particularly Roman Jakobson's Theory of Communication. The analysis of the major elements of communication, meaning the language's features and characteristics, message (poetry), sender (poet) and receiver (addressee) in Mowlavi's poetry construct the basis axis of this paper while each of these elements is divided into smaller components. In order to identify the position of Mowlavi's theories in the contemporary era, his standpoints have been compared with some other schools and literary criticism theories in brief. Among them the most prominent ones include; new criticism, formalisms, structuralisms, and supporters of reader-response theories. The capable reader versus the novice reader, active and inactive, concrete union, cohesion of poetry's form and content, relation between mind and language, link between signified and signifier, language codes etc are among the common discussions of the mentioned schools with Mowlavi's ideas.