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مرکز اطلاعات علمی SID1
مرکز اطلاعات علمی SID
اسکوپوس
مرکز اطلاعات علمی SID
ریسرچگیت
strs
Author(s): 

PAYANDEH HOSSEIN

Journal: 

BARG-E FARHANG

Issue Info: 
  • Year: 

    2011
  • Volume: 

    NEW
  • Issue: 

    22
  • Pages: 

    60-71
Measures: 
  • Citations: 

    0
  • Views: 

    240
  • Downloads: 

    164
Keywords: 
Abstract: 

This essay consists of two main sections. In the first section, entitled “Foundations of Cultural Studies”, it is argued that LITERATURE, as a distinct university discipline, was formed on the basis of a “canon”, an authoritative list of highly praised literary works. The traditionalists who drew up the first syllabi of this discipline considered POPULAR LITERATURE as lacking the necessary values to be included in the canon. One of the characteristics of cultural studies is its questioning of and challenging the distinction between high and POPULAR LITERATURE. The author then explains the process of the formation of cultural studies and the focusing of this interdisciplinary field on POPULAR culture, as well as Gramsci’s concept of “hegemony”. In the second section of the essay, entitled “James Bond Films from a cultural studied Perspective”, the character of James Bond (both as the protagonist of Ian Fleming’s novels and the hero of the hugely POPULAR films made on the basis of Fleming’s novels) is analysed as the icon of western culture from the end of World War II onwards. In this section, the author explains four stages of the process through which James Bond has been transformed into an extremely POPULAR figure for the people who have read James Bond novels or watched his films. It is concluded that studying James Bond novels and films, as instances of POPULAR culture, has led to the uncovering of the dominant ideological and cultural values of society.

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Author(s): 

Nazari Qarechomaq Mohammad Kazem | Rahimi Seyed Mahdi

Issue Info: 
  • Year: 

    2021
  • Volume: 

    9
  • Issue: 

    38
  • Pages: 

    183-219
Measures: 
  • Citations: 

    0
  • Views: 

    147
  • Downloads: 

    134
Abstract: 

This paper aims to study and analyze the issue of Zaum in POPULAR LITERATURE because POPULAR LITERATURE has been and is a suitable platform for the appearance of Zaum. It is basically one of the most frequent elements and motifs in Zaum POPULAR LITERATURE. Examples of this research are selected from the POPULAR LITERATURE of Torbat-e Jam region. Zaum refers to words that deviate from linguistic logic and have no meaning or are nonsensical, but by creating music in poetry and also in proverbs and songs, they cause emotional motivation and sweetness. In literary research, the term comes from the Russian school of futurism. It was first introduced into Persian literary studies by Shafi’ ï Kadkani. According to researchers, Zaum is divided into three categories: semiotic, morphological, and phonetic. This division is based on word-of-mouth Zaum and it is based on Zaum at lexical level. The findings of this study show that Zaum also occurs at the level of hemistich or line (sentence). Nonsense poetry and injection have sentence Zaum. Though meaningless, Zaum produces and increases music. As a result, this music compensates for the meaning charge. In some folk poems, where the poet does not have a high level of poetic mastery, he creates Zaum. In children poetry, Zaum is more prevalent, because music is more important than meaning.

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Journal: 

OURMAZD JOURNAL

Issue Info: 
  • Year: 

    2021
  • Volume: 

    -
  • Issue: 

    54
  • Pages: 

    92-109
Measures: 
  • Citations: 

    0
  • Views: 

    108
  • Downloads: 

    77
Abstract: 

Folk LITERATURE or folklore refers to those LITERATUREs that have reached our time more orally from previous generations and are POPULAR among the masses. And these topics include local dialects, customs, local idioms and proverbs that preserve the culture of different ethnic groups throughout history and introduce them to others. One of the most POPULAR literary forms in the Persian language is the story. In this research, the beginnings of definition and brief explanation about the story and how it is related to folk LITERATURE are presented. The main text and content of the research is related to the study of folklore and folklore in the stories of Moniro Ravanipour. She is a writer who knows his talents in creating unique indigenous spaces of her stories by using the climatic features of the south of the country. A world full of illusions and full of the beauties of writing that is the result of doubt between the terrestrial world and the supernatural. Given that Ms. Ravanipour, as a novelist, is at the forefront of women in southern Iran, their work has been critiqued based on the use of POPULAR beliefs in order to test this POPULAR criterion.

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گارگاه ها آموزشی
Author(s): 

ZOLFAGHARI HASAN

Journal: 

ADAB PAZHUHI

Issue Info: 
  • Year: 

    2015
  • Volume: 

    9
  • Issue: 

    32
  • Pages: 

    63-95
Measures: 
  • Citations: 

    0
  • Views: 

    918
  • Downloads: 

    997
Abstract: 

One of the most common forms of POPULAR LITERATURE and poetic couplet is Bvmysrvdhay different parts of Persia and Persian language countries. Couplet with respect to the pre-Islamic Iranian LITERATURE and history in brief and talent of expression and reflection of people' 's lives has always been known and POPULAR format. In this paper, based on a research project about the author of the POPULAR poetic LITERATURE, poetry and Amhsrvd of 302 species, 100 species with different names and functions Have been written in the form of couplets. The purpose of this article is to show the range and geographical distribution couplet in Persian and Persian-speaking countries. The results show that the use of couplets with the Masnavi, both of which are Iranian, equally 67% of all species of poetic LITERATURE community constitutes 33 percent in the couplet, and names like bit-Bayati, couplet, Dvbytv, Chharbytv, songs, Trunk, Fhlvyat, Klhfryad, parting, four, Sytk, Chhardanh, Chhargany, Dstvn, Bydgany and recognized.

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Issue Info: 
  • Year: 

    2019
  • Volume: 

    10
  • Issue: 

    1
  • Pages: 

    173-182
Measures: 
  • Citations: 

    0
  • Views: 

    579
  • Downloads: 

    163
Abstract: 

The moral and moral themes are part of folk LITERATURE, which represents the pure and pure faith of the public throughout history. The folk LITERATURE of each region is the heritage of the previous generations; it is rooted in the local and local traditions of that climate, and the folk LITERATURE expresses the beliefs and customs of each region. Religious beliefs have a special place among the people of Shahrbabak and are evident in various forms in the LITERATURE and poetry of these people. The study of religious and ethical beliefs is one of the aspects of folk poetry that has been neglected. This article seeks to examine the religious and moral approach in the folk poetry of Shahrbabak and show that in addition to love and descriptiveness, the themes of belief are also seen in folk poems, and this may be the function of public art that has been able to Draw different themes together.

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Author(s): 

kafi Gholamreza

Issue Info: 
  • Year: 

    2021
  • Volume: 

    13
  • Issue: 

    1 (47)
  • Pages: 

    225-248
Measures: 
  • Citations: 

    0
  • Views: 

    31
  • Downloads: 

    28
Abstract: 

Introduction: POPULAR LITERATURE is called the oldest type of LITERATURE in human society even dating back to before the emergence of inscription and writing (Kafi & Ameri, 2014: 2). It can be argued that the inherent sincerity of these works and the pure and liberating spirit embedded in the elements POPULAR LITERATURE have usually attracted great and thoughtful poets and writers. Ahmad Shamloo has also shown interest in elements of POPULAR LITERATURE at some point in his poetic career. Shamloo's connection with POPULAR LITERATURE, especially Koocheh as a research encyclopedia, shows the importance of suspension as will be discussed in this paper. Accordingly, this study aims to find out how this connection is represented in Shamloo's poetry and consequently making his poetry, strong, emotional, and welcome by the public. LITERATURE review and research methodology It seems that the praise of personalities such as Jamalzadeh and Sadegh Hedayat of a particular genre of POPULAR LITERATURE along with works in recognizing the nature of POPULAR LITERATURE and its elements such as The folk culture of the Iranian people by Sadegh Hedayat (1963) and The collection of articles of Iranian folk LITERATURE by Mohammad Jafar Mahjoub (2018) has attracted the interest of literary scholars. Besides, considering the fame of Ahmad Shamloo's conversational poems, tracing the elements of POPULAR LITERATURE in the poems of this poet also attracted the attention of critics to the extent that the book Shamloo’ s biography: Almost everything about Shamloo by Mohammad Ali Ronagh (2009) with that sub-title almost provided a full description of Shamloo and his works. However, not attention has been paid to the “ application of elements of POPULAR LITERATURE in Shamloo poetry" in this bibliography. The article “ A Look at Ahmad Shamloo's Songs” by Siamak Bahrampour (2009) has also examined his three poems written in a colloquial language. It is clear that none of these works have pursued our goal in this article, namely the impact of POPULAR LITERATURE on the linguistic development of Shamloo. Discussion: Shamloo is considered one of the most famous figures of contemporary LITERATURE and is often ranked second after Nima as an important figure of modern poetry. In Shamloo's view, “ the roots of many world-famous works are POPULAR LITERATURE, music, public art” (Shamloo, 1996: 26). The elements of POPULAR LITERATURE have a special intimacy and sincerity, and the original and capable poets including Shamloo use these elements in their poetry to increase the attractiveness of their works, including Shamloo. However, the application of the elements of POPULAR LITERATURE in poetry can be examined in terms of several meta-structures including language, words, idioms, tone, and onomatopoeia, as will be detailed as follows: 3. 1 Use of colloquial language In Shamloo's poetry, eight poems have been written based on colloquial language including fairy, the story of a man without lips or Hossein Gholi, and the daughters of Nenhdarya which are long and detailed poetic works: “ I am the spring in the earth/I am the ground in the tree / I am the tree in the spring The coquetry of the fingers of your rains turns me into a garden. And I am lost in the middle of the forest” (Ibid: 455). A survey of the poems written by Shamloo in informal languages shows that there two poems written in macaronic verses and conversational language. These two poems are interestingly different from other poems. Both poems are based on parasitic dialogue; except that the poem "Pare 4 Shabaneh" is longer. 3. 2 Reasons to use colloquial language There are different reasons for using the colloquial language including differentiation, time requirements, and the need of society, and the poet's connection with POPULAR LITERATURE. 3. 3 Use of POPULAR and folk words and terms Shamloo's trick in the language is to create a hidden harmony in the discourse and to reconcile strange words with each other to create a chain of speech to provide a special context that is interpreted as "inbreeding with words" as a positive feature in his poetry (Hoghoughi, 1989: 44). The use of POPULAR words and expressions in Shamloo poetry can be categorized to come up with a better understanding of this technique. These include the use of words from specific dialects, the use of modified forms of words, the use of words that are rhyming and often meaningless, and the use of colloquial words. 3. 4 Reasons for using POPULAR words and terms Extending the use of words to have a rich collection of words at disposal, creating a more tangible sense of colloquial words, and inducing music 3. 5 Use of onomatopoeia Onomatopoeia is considered to be the first components and elements of language that are derived from the imitation of nature, and because the relationship between the signifier and signified is simple and they are not governed by a special grammatical rule, they are closer to POPULAR LITERATURE and its elements than formal LITERATURE. In Shamloo's poetry, there are several examples of onomatopoeia, some of which are composed by the poet: bloop, dribble, drip, drizzle, splash, sprinkle, squirt, etc. 3. 6 Reasons for using onomatopoeia Some reasons for using onomatopoeia include objectivity and understanding of natural music. 3. 7 Using POPULAR beliefs and myths The POPULAR beliefs, anecdotes, and myths have been used by poems and writers for a long time as they helped them convey their meanings concisely and poetically using people’ s background knowledge. Envoutment “ Destiny has buried a magic spell of you in the blood/ and you have no escape from defeat and death” (Shamloo, 2002: 872). Envoutment is a French term in witchcraft and Envoutment". The client surrenders a piece of nail, hair, or eyelash that he has seized from the conspirator to apply magic to it. Solomon’ s Bagpipes, Shabgir, the legend of Sinbad, and Ashti Konan (reconciliation) alley are among other POPULAR beliefs. 3. 8 Reasons using POPULAR beliefs and myths Creating brevity and compression in speech and a pleasant feeling of mental activity in the audience. 3. 9 The use of other elements of POPULAR LITERATURE The use of proverbs, folk songs, folk tales, and famous figures of POPULAR LITERATURE are other strategies used by Shamloo. 3. 10 Reasons for using proverbs, songs, and characters of POPULAR LITERATURE Stimulating the audience's sense of nostalgia, the act of awareness and reconstruction of real but forgotten scenes of life. Conclusion: The most important findings of this article are summarized as follows:-Shamloo's approach to the elements of POPULAR LITERATURE and their application in his poetry is the result of an intellectual transformation in which language, in his view, changed nature from a means of conveying a message to a sacred temple.-Shamloo’ s linguistic approach which is visible in his poetry has caused him to focus more on the elements of POPULAR language and their abilities, words, and idioms. For this reason, semantic elements such as beliefs, myths, as well as theological and doctrinal points hidden in POPULAR LITERATURE as represented in Shamloo’ s poetry.-The natural and uncomplicated state of POPULAR language along with its more natural music is one of the important reasons for using POPULAR elements in Shamloo’ s poetry.-In his unique poetic style, he even uses the parables and anecdotes of POPULAR LITERATURE in favor of his political point of view and the context of some elements seeks his ideals and interprets them in line with his value point of view.-Research in POPULAR LITERATURE has given him a great deal of knowledge of the minutes and functions of the elements of POPULAR LITERATURE, and in the light of this awareness, he has used them with the necessary care in speech.-Despite Shamloo’ s inclination towards POPULAR LITERATURE and the use of its elements, his poetry never seems vulgar, commonplace, and POPULAR. Keywords: Folk LITERATURE, Shamloo, Contemporary Poetry, Fairies

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strs
Author(s): 

Ghanavati Ali | Nadim Mostafa

Issue Info: 
  • Year: 

    2021
  • Volume: 

    13
  • Issue: 

    12 (58)
  • Pages: 

    203-221
Measures: 
  • Citations: 

    0
  • Views: 

    195
  • Downloads: 

    197
Abstract: 

>Contemporary fictional LITERATURE has had a special look at the elements and components of Shiraz folklore in the period of Pahlavi. In the present study, considering the extent of the components of folklore, the reflection of Shiraz has been studied POPULAR LITERATURE through of analysis of 20 fictional works including fifteen collections of short stories and five novels. The collected data in this article based on library resources have been analyzed in a descriptive-analytical method. The results show that the use of Shirazi dialect, Shirazi and non-Shirazi proverbs and Shirazi songs and chansons have been abundant in Contemporary fictional LITERATURE, but fictions(Matal) and stories have had a small presence. Some of the used Shirazi chansons and fictions indicate some of the social and historical events of Shiraz during the period of pahlavi, such as the story of Saif al-Qalam, the uniformity of clothes, and the situation of the wage of employees of the first textile factory of shiraz. generally, according to the style of writing and indigenous interests of fiction writers, the reflection of Shiraz POPULAR LITERATURE in Sou va shoun, patchy pants, a city like Behesht, the Alley of Zanboorakkhooneh, The Patient Stone, the last light, The extinguished oven and Barooni has been more considerable compared to other Literary works.

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Author(s): 

AMELI S.R.

Issue Info: 
  • Year: 

    2006
  • Volume: 

    2
  • Issue: 

    5
  • Pages: 

    13-50
Measures: 
  • Citations: 

    2
  • Views: 

    2967
  • Downloads: 

    465
Abstract: 

City can be subject of love and hate. Particular elements of the city can be subject for POPULARity and disPOPULARity as well. In this paper my main attempt is to apply the concept of POPULAR culture to the city and examine the POPULAR elements of the city of Tehran through examination of peoples' love and hate in relation to the city of Tehran. This paper will first discuss the concept of POPULAR culture and its relationship with elitism and symbolic power then from this perspective idea of respondents to the question about POPULARity and disPOPULARity of Tehran together with question about symbol power will be the core of the discussion in this paper. The result of qualitative research based on 120 comments of the respondents to POPULAR/disPOPULAR aspects as well as symbol of Tehran is' major source for cultural approach to the city of Tehran. This research carried out on the neutral space of weblog which gives opportunity to receive the profound and reliable answers.

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Issue Info: 
  • Year: 

    2018
  • Volume: 

    11
  • Issue: 

    2 (40)
  • Pages: 

    65-85
Measures: 
  • Citations: 

    0
  • Views: 

    657
  • Downloads: 

    322
Abstract: 

Definitely, the quality of LITERATURE in any period entirely depends on the political and social circumstances of that period. The poets in Qajar period were pioneers and the most POPULAR contemporary poets in Iran. The most part of POPULAR LITERATURE includes slangs and irony which are POPULAR among people; and as the language of such terms is specially the language of ordinary people, it is colloquial. The works of such poets are intellectual assets of nation and social heritage of a tribe or society; thus, they shouldn't be ignored. For identification of slangs and irony in poetry, the present study investigated nearly 876. 141 lines of works of poets of Qajar period including Saba, Vesal, Qaani Shirazi, Foroughi Bastami, Yaghma Jandaghi, Soroush Isfahani, Iraj Mirza, Fathollah Khan Sheibani, Mahmood Khan Maleko Shoara, and Shorideh Shirazi; the findings demonstrated that Iraj Mirza by using 927 slangs in his works was ranked the first and Forougi Bastami by using 61 slangs was ranked the last among other poets. The authors of present study attempted to investigate the application of slangs and irony in Iraj Mirza works in detail in order to provide useful insights for those who love Persian LITERATURE.

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Issue Info: 
  • Year: 

    2020
  • Volume: 

    8
  • Issue: 

    34
  • Pages: 

    157-185
Measures: 
  • Citations: 

    0
  • Views: 

    17
  • Downloads: 

    21
Abstract: 

This article, with a descriptive-analytical method and with the aim of conducting a thematic-qualitative ethnographic analysis, seeks to study the features that are in the folklore of the Balochi people. Therefore, by describing, classifying, and extracting the features of these works, their research capacities have been evaluated in terms of theoretical and methodological aspects. Based on the findings, two categories of works can be identified in this area; first, works in which only Balochi folklore texts are collected; second, the works that scholars have attempted to provide interpretations of. These features have enriched the research capacity of these works. These capacities are grouped in four main categories as: accurate descriptions and interpretive analysis; attention to the factors and contexts of the formation of the subjects under study; looking at issues as a part of an overall mechanism in culture; the classification and presentation of categories and semantic patterns. Therefore, based on the anthropological insight, a kind of perspective was drawn that can be used to gain a deeper understanding of the mental and intellectual structures of the creators of Balochi folklore.

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