https://jlitre.jahromu.ac.ir/ Interdisciplinary Studies of Literature and Art en daily 1 Sun, 21 Jan 2024 00:00:00 +0330 Sun, 21 Jan 2024 00:00:00 +0330 https://jlitre.jahromu.ac.ir/article_214804.html Singing, or more precisely, authentic Iranian avaz, despite its many similarities to general vocal performance, possesses subtle yet significant differences. In other words, beyond its professional principles, Iranian avaz—owing to its deep connection with classical Persian literature—is an ethical art, akin to chivalric sports in contrast to competitive sports. This is because avaz is not merely a musical skill; it also requires attaining intellectual and ethical refinement. An avazkhwan (master of avaz) enjoys intellectual and artistic independence, whereas a khanandeh (singer) excels in executing performances that cater to diverse tastes—an adept contractor who materializes the ideas of marketplace patrons and follows prevailing trends.Of course, there are thoughtful and discerning tasnif (ballad) singers and even taraneh (lyric song) performers who belong to this category; likewise, some among them have performed valuable and remarkable avaz. However, they are not devoted practitioners of this path. This study, which seeks to delineate this distinction, ultimately identifies only Taj Isfahani among the avazkhwans of the past century as having accumulated the highest artistic and ethical merits in his artistic life compared to his peers. https://jlitre.jahromu.ac.ir/article_217734.html Hossein Panahi’s poetry is significantly influenced by cinema, art, and painting due to his background in performing arts, directing, screenwriting, playwriting, and writing. This study, conducted using a descriptive-analytical method, examines the application of painting in Panahi’s poetry and introduces the innovative painted imagery emerging from this connection. In Panahi’s poems, painting elements are prominently present in both his thought and poetic style. Some of the key pictorial elements in his poetry include colorization, brushwork, symmetry, and composition. Among these, colorization and composition are more prevalent, while symmetry and brushwork hold secondary importance. He has made the utmost use of colors, particularly black and white, with the intention of conveying various meanings.While occasionally considering their symbolic functions, he has also employed colors as a means to express his thoughts and ideas. Furthermore, the presence of painting and imagery in Panahi’s poetry is closely intertwined with figures of speech such as simile, allusion, metonymy, metaphor, and personification. https://jlitre.jahromu.ac.ir/article_218538.html This study employs the roknpayeh (Meter-base or Metric unit) tool to analyze the most commonly used Persian poetic meters in terms of the internal segmentation of their metrical circles (dāyerah-ye arkan). By redefining the concepts of the silent syllable (hejā-ye sokut) and the semi-long syllable (hejā-ye nimboland), the study underscores the importance of metrical circles in a precise, scientific, and musical examination of these meters. Additionally, it introduces key concepts such as metrical circle overlap and symmetry, exploring their role in the musical characteristics of widely used meters by categorizing them into binary and ternary time-unit divisions. Furthermore, the study demonstrates the actual structural composition of certain poetic meters using dāyerah-ye arkan and roknpayeh tools and proposes possible reasons for their frequent usage based on their resemblance to specific forms of Persian music, particularly Reng (Persian dance piece) and Chaharmezrab (fast rhythmic instrumental piece). The research primarily focuses on poetic meter, including the number of metrical bases (hexameter and octameter), as well as the internal rhythm of each base—defined by the arrangement and combination of short and long syllables within each unit (various types of roknpayeh).