List of Articles Aref Kamarposhti

• Open Access Article
  • Abstract Page
  • Full-Text
  
  1 - Explaining the presence of women in folk couplets of Savadkouh
  Aref Kamarposhti Mojgam Ahmadi Kamarposhti
  10.30495/irll.2019.667862
  20.1001.1.2345217.1398.9.2.7.8
  Women, as half of the world's population, have always been under a magnifying glass. They suffered from oppressive and unkind treatment of men or government. Such ignorance has long been endured in the myths and legends of various cultures. Depriving women from the righ More

  Women, as half of the world's population, have always been under a magnifying glass. They suffered from oppressive and unkind treatment of men or government. Such ignorance has long been endured in the myths and legends of various cultures. Depriving women from the right to live a normal life with dignity; women were sometimes condemned to prison or commuted to exile. Sometimes they were subjected to a series of rigorous tests to prove their being. Folk couplet is the most famous and widely readable form of poetry in folk literature which can be easily communicated by the audiences who speak the same language, i.e. Persian, although their dialects are different. Regarding Pure Language without any limitation, folk couplet flourishes in exquisite literary beauties, wonderful fancies, and musical rhythms which have made it popular and prestigious. The purpose of this study was to investigate the reflection of the presence of women in 200 folk couplets of Savadkouh County using descriptive-analytical method and library-field approach. The findings showed that women's share in the folk couplet is more than that of men as they either make their own poems or are being addressed. Such presence is highlighted as a lover, beloved, and mother. Woman, as a beloved companion, has been investigated from three aspects, i.e. as a waiting beloved, thankful beloved, and as an advisor beloved. She is sometimes presented as a provoker of all kinds of vocals and sometimes as a helper to accomplish great things. Manuscript profile
• Open Access Article
  • Abstract Page
  • Full-Text
  
  2 - Different methods of dialogue in the local and folk poetic cycles of Savadkouh with an emphasis of Hojabr Sultan
  aref kamarposhti
  20.1001.1.2345217.1396.7.1.6.1
  Dialogue is one the most essential contributing factors in the formation of plays and stories by which the real character and personality of the heroes can be revealed. Dialogue indicates a step above and a transition from selfishness, one-sidedness, and cautiousness. I More

  Dialogue is one the most essential contributing factors in the formation of plays and stories by which the real character and personality of the heroes can be revealed. Dialogue indicates a step above and a transition from selfishness, one-sidedness, and cautiousness. It denotes understanding and realization of the presence of the other, tolerance and forbearance, simplicity, and lastly liberty and democracy. Dialogue is based on participation and understanding of the other. Hojabr sultan couplet narrative, an epic-couplet narrative poem that leads to tragedy, is a biography of Asadullah Khan Bavand known as Hojabr Soltan , the youngest son of Ismail Khan Bavand Savadku’i known as Amir Mu’ayyad . This Persian-Mazandarani couplet exhibits the verse -refrain structure. The popular literature (accent, saturation, musical instrument and general singer) has been composed by omitted or short lilt based on prosody rules. . This study tries to investigate different methods of dialogue employed in the narrative of Hojabr Sultan and other common poetic cycles of Savadkouh, through a descriptive-analytical approach. Accordingly, those dialogues integrated with bluster, rhetoric, punishment, deterring, pride, bragged to others as well as contemplating others, have been guided in this narrative couplet. This couplet narrative poem seems to be the unique one among other Persian-Mazandarani couplets.   Manuscript profile
• Open Access Article
  • Abstract Page
  • Full-Text
  
  3 - “Amir and Gohar” in the field of Mazandaran native literature researches
  Aref Kamarposhti Maryam Soleymanpour
  10.30495/irll.2023.1974723.1537
  20.1001.1.2345217.1402.13.2.6.5
  Amir Pazvari is the most famous native poet of Mazandarani dialect, whose poems have been the subject of research by popular literature enthusiasts and researchers. A poem called "Amir and Gohar" has attracted attention among the romantic poems of native Mazandaran lite More

  Amir Pazvari is the most famous native poet of Mazandarani dialect, whose poems have been the subject of research by popular literature enthusiasts and researchers. A poem called "Amir and Gohar" has attracted attention among the romantic poems of native Mazandaran literature with the publication of Amirs and poems attributed to him under the name "Divan Amir Pazvari" in the last decade. Therefore, this essay aims to discuss Amir and Gohar according to the characteristics of romantic poems. Criticism and analysis of research shows that the legend of Amir's meeting with Imam Ali (A.S.) is the foundation of the poem named Amir and Gohar. Amir and Gohar are among the legendary characters; But the events revolve around the meeting with Imam Ali (A.S.) and do not indicate the course of the story and romantic events.In fact, there is only one legend about Amir and Gohar, and contrary to the expectations of researchers and lovers of popular literature, there is no poem with this name in Mazandaran. From the verses and couplets attributed to Amir Pazvari by describing feelings to "Gohar", only non-narrative poems can be imagined; Because, only a short section of Amir and Gohar's life is represented in the poems, and since there is no story and romantic history of Amir and Gohar, the story cannot be placed in the framework of romantic narratives. Manuscript profile
• Open Access Article
  • Abstract Page
  • Full-Text
  
  4 - Analysis of the structure of rhyme and identical rhyme (prosody) in Mazandarani couplets (Savadkooh)
  morteza mohseni aref kamarposhti
  20.1001.1.2345217.1394.5.2.6.9
    In this paper, in addition to introducing run on couplet, the structure of rhyme and identical rhyme are analyzed in two hundred Mazandarani run on couplets using descriptive analytical method. The rhyme is made based on the proximity of the pronunciation of More

    In this paper, in addition to introducing run on couplet, the structure of rhyme and identical rhyme are analyzed in two hundred Mazandarani run on couplets using descriptive analytical method. The rhyme is made based on the proximity of the pronunciation of letters, rather than being based on the same type to be arranged in order of the last letter of the rhyme which appears to be principle in Persian and Arabic classical poetry. The rhyme is couched in mathnawi form in 25 percent of Mazandarani (savadkooh) run on couplets. The common denominator letters including “L” with “R” and “M” with “N” are found more frequently in rhyming the Mazandarani couplets. Slightly more than a quarter of Mazandarani (savadkooh) run on couplets have an identical rhyme scheme, and of those, just over a fifth of couplets are uttered with a verb prosody namely identical rhyme with verb endings. The frequency of identical rhyme with verb endings (about 25%), on the other hand, implies dynamism and movement to couplets as well as supervising the actions and behavior Manuscript profile