Black Threads

REMIE – Multidisciplinary Journal of Educational Research , 2021

The first part of the poem contains a set of chapters that neither enters nor glorifies, which is very important for each poet and named after mysticism. In Nizami Ganjavi, these chapters are entitled «Night Recognition and Recognition of the Soul,» «The First Lonely Hearts», «The First Harvest's Fruit», «The Second Late Night's Night,» These chapters, in their essence, define the essence of the poems, and describe the events of the ascent, hiking and departure as in the charter. While Amir Khusrav Delhi called «The First Privilege of Employment,» «The Second Privilege and the Sabbath», «The Haram Visit of the Third Sacred Heart», these three chapters in Navoi follow the Nizami's mentor, went a new way. All three poets will talk about humor in these chapters, and the wonders of the soul. But this notion is not interpreted in the same way in all three poets; Therefore, we will make a comparative analysis of these chapters. The three wonders in Matla 'al-Anwar and the three marvels on Hayrat ul-Abror are of great importance in understanding the essence of these two poems. Amir Khusrav named the epic poem «The source of light» («Light springs»), referring to the divine gift of the soul or the phenomenon of revelation from the source of divine light (remember that poetry is a continuation of prophecy. And Alisher Navoi called the work "Admiration of Abror", referring to the ethics, beliefs and beliefs of a person striving for perfection. Abror is a pure man who has taken the second stage of the staircase. This lover of theology took note of his fascination with the world of enlightenment. Accordingly, I think we have a chance to look at the chapters of «seclusion» and «wonder» and to understand the true meaning of the poet's viewpoint. In Matla 'al-Anwar we mentioned the first secular slavery. What dose it mean? Employment («tabbud») means understanding of Islam, recognizing and recognizing the essence and greatness of Allah, His creation, and the reality of slavery. In the chapter, he talks about how the tax can be retarded in isolation, reflection, self-awareness, sleeping and talking to the soul. Amir husrav begins the chapter with the bytes: Sufii gardun chu ba xilvat nishast, Kard falak subhai parvin ba dast, Turrai zulmat zi nasimi bahor. Mushkfishon shud chu labi ro'zador... Chashmai hur burd zi har xona tob, Toxtan ovard ba har dida xob... 1 (When the Sufi sat quietly, he caught the glory of the stars.

2013

Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. Indiana University Press is collaborating with JSTOR to digitize, preserve and extend access to Prooftexts.

2016

The premise of my thesis is to approach poetics anew, using psychoanalysis and other related theoretical disciplines to help answer the often overlooked but fundamental question: “What is poetry?” This thesis is based on the notion that Freud’s insight into the unconscious is itself the key to unlocking the essential function of poetry as it has come to be understood in the 20 century, throughout the modernist period; and that Lacan, as a rewriting of Freud, specifically developed a theory of language that provides the beginnings of a psychoanalytic poetics. Another component of this thesis involves the claim that, of all the modernists, Wallace Stevens particularly embodies a poetic style that most closely embodies the theoretical position of psychoanalysis. In the first chapter of this study my aim is to draw out thoroughly the relationship to Freudian psychoanalysis and poetry—and to make the specific argument that Freud’s technique for dream interpretation is essentially the one...

Journal of Literary Theory, 2015

Sometime around 1900, a fundamental shift occurred in the way animals were represented in works of Western literature, art, and philosophy. Authors began to write about animals in a way that was unheard-of or even unimaginable in previous epochs. Traditionally, animals had fulfilled a symbolic, allegorical, or satirical function. But in the period around the turn of the twentieth century these animals begin, as it were, to »misbehave« or to »resist« the metaphorical values attributed to them. There is a conspicuous abundance of animals in the literature of this period, and this animal presence is frequently characterised by a profound and troubling ambiguity, which is often more or less explicitly linked to the problem of writing, representation, and language – specifically poetic or metaphorical language.Taking the Austrian literary scholar Oskar Walzel’s 1918 essay »Neue Dichtung vom Tiere« as its starting point, this essay explores the historical and philosophicalbackground of this paradigm shift as well as its implications for the study of animals in literature more generally. Zoopoetics is both an object of study in its own right and a specific methodological and disciplinary problem for literary animal studies: what can the study of animals can contribute to literary studies and vice versa? What can literary animal studies tell us about literature that conventional literary studies might otherwise be blind to? Although animals abound in the literature of almost every geographical area and historical period, traditional literary criticism has been marked by the tendency to disregard this ubiquitous animal presence in literary texts, or else a single-minded determination to read animals exclusively as metaphors and symbols for something else, in short as »animal imagery«, which, as Margot Norris writes, »presupposes the use of the concrete to express the abstract, and indeed, it seem[s] that nowhere in literature [are] animals to be allowed to be themselves« (Norris 1985, 17). But what does it mean for literary theory and criticism to allow animals to »be themselves«? Is it possible to resist the tendency to press animals »into symbolic service« (ibid.) as metaphors and allegories for the human, whilst also avoiding a naïve literalism with respect to the literary animal?The pervasive uneasiness regarding the metaphorical conception of the animal within recent scholarship in animal studies stems from a more general suspicion that such a conception serves ultimately to assimilate the animal to a fundamentally logocentric discourse and hence to reduce »animal problems to a principle that functions within the legibility of the animal: from animal to aniword« (Burt 2006, 166). The question of the animal thus turns out to have been thequestion of language all along. Conversely, however, we might also posit that thequestion of language has itself also always been the question of the animal. Whatwould it mean for literary studies if we were to take the implications of thisinvolution seriously? How can we be attentive to the specific way animals operatein literary texts as »functions of their literariness« (McHugh 2009, 490)? In otherwords, not merely as one trope in an author’s poetic arsenal that could easily bereplaced by any other, but rather as a specific problem to and for language andrepresentation as such.

1989

Literary Imagination , 2019