Hasil untuk "Indo-Iranian languages and literature"

DR. ZAHEER ABBAS

Milan Kundera is one of the most significant novelists of the modern era, whose fiction persistently interrogates the philosophical, emotional, and existential dimensions of human life. In his novels and short stories, he delves deeply into human existence, revealing new interpretive possibilities with each reading. His works demand active intellectual engagement from readers, as the layered narrative structure generates fresh meanings over time. ‘The Unbearable Lightness of Being’ stands as one of his most complex and philosophically rich novels. The existential dilemmas of modern humanity are explored in this novel with a depth that often rivals cognitive philosophy. The narrative revolves around four central characters who navigate love, jealousy, identity, and complex existential crises shaped by historical pressures. This article examines how Kundera challenges literal interpretation and explores the existential condition of humanity through metaphor and psychological introspection. Kundera advances the narrative through the characters’ inner states, departing from traditional notions of linear storytelling and narrative density. The study analyzes their contrasting emotional and existential conditions and concludes that, despite complexity and uncertainty, human relationships remain enduring, revealing the distinction between authentic and inauthentic bonds during times of crisis.

زینب شکرآبی

در این مطالعه، با تمرکز بر بازخورد اصلاحی به تحلیل تعامل پیچیده میان بازخورد، اضطراب و عملکرد نوشتاری در یادگیری زبان دوم پرداخته می‌شود. گرچه همچنان بحث‌ها در خصوص کارایی بازخورد ادامه دارد، پژوهش‌های پیشین بر تاثیر مثبت این نوع بازخورد بر جنبه‌های زبانی در نوشتار تاکید می‌کند. ویژگی پژوهش حاضر، بررسی تاثیر بازخورد حضوری و برخط بر کنش‌های عاطفی و نتایج یادگیری در زبان‌های کمتر تدریس شده مانند زبان ژاپنی است. این مطالعه مبتنی بر نظریه شناخت اجتماعی، چگونگی تعامل باورها و منابع بازخورد زبان‌آموزان با اضطراب را برای شکل دادن مهارت نوشتن بررسی و رابطه پیچیده بین بازخورد، اضطراب و عملکرد نوشتاری را در شرایط مختلف (بازخورد برخط و حضوری مدرس و هم‌کلاسی) را بررسی می‌کند. به ‌این منظور، 84 زبان‌آموز زبان ژاپنی به نگارش انشای ژاپنی پرداخته و به پرسشنامه اضطراب پاسخ دادند که سطح اضطراب و عملکرد نوشتاری آنان در شرایط بازخورد برخط و حضوری از مدرس و هم‌کلاسی بررسی شد. نتایج نشان داد که ارتباط معنا‌داری بین کاهش اضطراب و بهبود انشا وجود دارد. این ارتباط در بازخورد همکلاسی قوی‌تر است. به‌علاوه، فارغ از شرایط بازخورد، زبان‌آموزانی که از هم‌کلاسی بازخورد دریافت می‌کنند، اضطراب کمتری را تجربه می‌کنند. هم‌چنین، بازخورد مدرس به صورت چشمگیری کیفیت انشا را افزایش داده و بر اضطراب غلبه می‌کند. این موضوع بر نقش کلیدی نگرش زبان‌آموزان در شکل‌دهی تجارب یادگیری تاکید می‌کند. پژوهش حاضر همچنین بر اهمیت راهبردهای آموزشی مناسب در بهینه‌سازی نتایج یادگیری زبان با در نظر گرفتن وضعیت‌ عاطفی و ترجیحات زبان‌آموزان در طراحی بازخورد موثر تاکید می‌کند.

ALMAS AKMAL

Mustansar Hussain Tarar is a famous Urdu novelist. In this article, the desolate settlement Presented in Tarar's Novel "Bahao” and its psychological study under the on human thoughts and psychology due to the destruction of its civilization has been examined. Analysis of the character of novel is presented as a psychological study under the influence of theories such as life instinct, death instant, multiple personality disorder, narcissistic culture, Freud’s theory of dream, inferiority complex, oppression, replacement, Consciousness, Un Consciousness and Nostalgia. The aim of this article is to make the student of Urdu literature understand the psychological problems faced by the characters in the story of a deserted slum.

Bérénice Bernard

Anees Rashid Hashmi, Khawaja Zahid Aziz

<p class="MsoNormal" style="text-align: justify; text-indent: .5in; line-height: normal;"><em><span style="font-size: 12.0pt; font-family: &quot;Times New Roman&quot;,serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi;">The occupation, slavery and violence are against the nature and most notorious in the life of nations who are suffered from cultural, structural, physical and potential violence which badly impacted upon all five factors of human life activities i.e., economic, environmental, political, security and societal. Man has an instinct to fight against these psychological phenomenon slavery, occupation, subjugation and deprivation of rights which requires any forceful stimulus to revoke against injustice, violence and hostility. In Kashmir, just after the downfall of Mughals the alien rulers oppressed, made inhuman, harsh and authoritarian treatment with the Kashmiris by Afghans, Sikhs and in last by Dogras. Iqbal </span></em><em><span style="font-size: 12.0pt; font-family: &quot;Times New Roman&quot;,serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: ER;">having Kashmiri family background remained worry about the poor and miserable situation and substandard living of the Kashmiris. The slavery, tortures and heavy taxes with deprivation for fundamental right, no authority, no liberty, and freedom were very famous in subcontinent. Iqbal raised his voice against subjugation and inhuman treatment with the Kashmiris and also inspired Kashmiris against brutality and slavery. The lightening words of Iqbal is still working as magical impacts in the feelings, emotions, thoughts and ideas of the Kashmiris and they stood against the Dogra illegal and injustice monocracy and undemocratic autocracy in Kashmir. The resistance of Iqbal during the accidents of 1931 gave birth to impressive freedom movement after the partition of subcontinent. This is an attempt to highlight the Iqbal specific poems and verses written on the misery of Kashmir and some lines for the motivations of the Kashmiris which resulted into strong inspiration against Indian illegal Occupation since last 74 years.</span></em></p>

عارفه خمر زابلی, علی اصغر حبیبی, مجتبی بهروزی

روانشناسان برای شناخت شخصیت‌ها، روش‌های گوناگون را ارائه داده‌اند که هریک از زاویه خاصی به موضوع می‌نگرند. آنیاگرام (Ennea gram) یکی از این الگوهای شناخت شخصیت در روانشناسی نوین است. الگوی تیپ‌شناسی آنیاگرام دارای9 تیپ شخصیتی: اصلاح‌طلب، کمک‌گرا، موفقیت‌طلب، فردگرا، فکور، محتاط، خوشگذران، رهبر و صلح‌طلب است که با به کارگیری آن می-توان نوع تیپ شخصیتی هر فرد را تشخیص داد. سعود السنعوسی(1981-) ازجمله رمان‌نویسان معاصر کویت به شمار می‌آید. یکی از مطرح‌ترین رمان‌های او "ساق‌البامبو" است که مسئله کارگران مهاجر آسیای شرقی در کویت و بحران‌های اجتماعی و مسائل روانی ایشان را دستمایه اصلی داستان خویش قرار داده است. پژوهش پیش روی با تکیه بر روش توصیفی ـ تحلیلی و آماری تلاش می-کند تا ویژگی‌های شخصیتی عیسی قهرمان اصلی رمان ساق‌البامبو را براساس تئوری آنیاگرام از3 زاویه تیپ‌شناسی، تعیین سطوح سلامت و تشخیص تیپ ثانویه تحلیل نماید. نتایج پژوهش حاکی از آن است که عیسی دارای تیپ4 (فردگرا) می‌باشد و تیپ ثانویه و تکمیل‌کننده وی، تیپ5 (فکور) است. همچنین سطح سلامت عیسی با 91 بسامد در سطح حد وسط سلامت به طرف ناسالم می‌باشد.

وجیهه رضوانی

هدف از نگارش این مقاله، شناخت اشتراکات دیدگاه های واسیلی واسیلیویچ داویدوف (Vasily Vasilievich Davidov), وکارل راجرز(Carl Rogers) در مورد روشهای آموزش و توانایی تدریس به عنوان بحث کلیدی روز در آموزش مدرن است. منابع رشد شخصیت در آموزش توسعه دهنده و جایگاه مدرس در تدریس توسعه دهنده مورد بحث و بررسی قرار می گیرد. از طرفی مفهوم «ارتباط با موقعیت» در آراء داویدوف به عنوان پیش شرط های فلسفه جدید آموزش مورد واکاوی خواهد بود. در این پژوهش بر آن هستیم تا فرضیه تقویت تعامل مدرس و دانشجو و تاثیرآن در بهبود اعتماد به نفس و بهره وری بیشتر در کلاسهای درس زبان را بیازماییم. با اتکا بر آراء راجرز و داویدوف جهت بررسی فرضیه های پیش گفته پرسشنامه ای تنظیم گردید، و 147 نفر از دانشجویان زبان روسی در پاسخگویی بدان مشارکت داشتند. از انجام این پژوهش به دنبال پاسخی برای این مساله هستیم که کدام رویکرد های آموزشی فوق می تواند تاثیر گذارتر باشد ؟ آیا همه دانشجویان با یک روش تدریس موافق هستند؟ و نتیجه پاسخها موید استقبال دانشجویان از روشهایی است که هم افزایی تعاملی و تقویت خود باوری، خودکارآمدی و به تبع آن بهره وری حداکثری دانشجویان از روند آموزشی را در پی دارد.

Masoumeh Zavarian, Mahdi Mohammad Beighy

Mahvash Ghavimi, a researcher,  university professor, and one of the famous experts in French language and literature, whose main fame in translation is related to the works of Christian Bobin, has translated Le Malentendu and Les Justes by Albert Camus. Ashian Publishing published both of them in 2010 in a volume, then republished them in 2018. In the present article, we have a brief look at the paratextuality, approaches to translating the play and its problems, the background of the translation of these two works in Iran and reason for retranslation. We also examined these two plays from a textual perspective and tried to take an overview to a translation approach in these two works. The discussion of the performance, which is the fundamental element of any play, is detailed and does not fit into this paper and is left to the experts in this field. In the translation of these two works, the content of the original text has been translated and conveyed as far as it is intended, but regardless of its performance in terms of text, sometimes the haste and the translation of the word to the word are obvious.

مجید رستنده, مبارک وحید

عطّار که انسی مستمر با قرآن کریم و احادیث داشته برابر مشرب فکری و نوع نگاه خویش، به نحوی گسترده به تأویل آیات و احادیث دست یازیده است. او در این فرآیند علاوه بر تأویل‌های ساده‌ساختار و تک بعدی، تأویل‌های چند بعدی (منشوری) هم دارد؛ به این صورت که او بارها و از مناظر مختلف به یک موضوع قرآنی یا روایی نگاه کرده و هر بار تأویلی متفاوت از آن موضوع واحد ارائه نموده است. این ویژگی که از مختصّات سبکی وی به شمار می‌رود، با عنوان «تأویل منشوری» موضوع این پژوهش است. از سوی دیگر با مطالعۀ آثار منظوم عطّار به روشنی دریافت می‌شود که او در این آثار، نگاهی خاص به فرآیند آفرینش آدم و هبوط او به زمین دارد. حال این پرسش مطرح می‌شود که نوع نگاه او به «هبوط آدم از درگاه حق» چگونه است و چه ساختاری دارد؟ پژوهش حاضر بر پایۀ روش توصیف (descriptive) و تحلیل محتوا (contentanalysis)، پاسخی برای این پرسش ارائه کرده­است. یافته‌ها نشان می‌دهند که مجموعه تأویل‌های ارائه شده دربارۀ هبوط آدم، افزون براین که بیانگر نگاه منشوری عطّار به ماجرای هبوط آدم هستند، مجموعه‌ای را تشکیل می‌دهند که می‌توان آن را تأویل خوشه‌ای نامید.

سید ناصر جابری اردکانی, ناصر زارع

آموزش صرف‌ونحو در مدارس سنتی و در میان علما و شعرا، عمری طولانی دارد و همین امر موجب بازتاب واژگان و اصطلاحات آن به شکلی هنری، در شعر فارسی شده‌ است. بر این مبنا در این تحقیق سؤال این بوده که خلاقیّت شاعرانه در کدام صورخیال محقق شده و چه روابطی میان صور خیال و قواعد نحوی برقرار شده‌ است و کدام شاعران از این ظرفیت بهره برده‌اند. روش تحقیق تحلیلی-توصیفی و مبتنی‌بر مطالعة دیوان‌های شاعران بوده و از نرم‌افزار درج نیز بهره گرفته شده‌ است. این تحقیق نشان می‌دهد که دامنۀ کاربرد واژگان صرف‌ونحو در اشعار فارسی وسیع بوده‌ است. دامنۀ نام‌های شاعرانی که با واژگان این دانش حشر و نشر داشته‌اند، نیز گسترده است و پهنۀ تاریخی وسیعی از قرن پنجم تا دورۀ معاصر را در برگرفته است. هم‌آیندی تصاویرِ مُلهم از صرف‌ونحو یکی از نکات تأمل‌انگیز در اشعار بررسی‌شده است؛ اغلب سه تصویر ایهام، حسن تعلیل و مراعات نظیر با هم تلفیق می‌شود. دایرۀ بلاغی ازلحاظ گوناگونی و تنوع نیز نسبتاً گسترده بوده، عناصری مانند تشبیه، استعاره، کنایه، ایهام، حسن تعلیل، تمثیل، تمثیل رمزی، ارسال‌المثل و چیستان را در برمی‌گیرد. قاعده‌مندی دانش نحو برای اثبات موضوعات و مضامین مدنظر شاعران زمینۀ مناسبی برای تصاویر تمثیلی و تعلیلی بوده‌ است. شکل حروف و کلمات، معانی مختلف آنها و قابلیت تصریف و اشتقاق زمینۀ تشبیه، استعاره، کنایه و ایهام را به وجود آورده‌ است.

حسین پوراحمدی میبدی, امیر عباسی خوشکار

کتاب آیا قرن آمریکا به پایان رسیده است؟ به تحولات پس از یازده سپتامبر و جایگاه آمریکا در نظام بین‌الملل در دهة حاضر می‌پردازد. نای برای پرداختن به این مطلب نخست خطاب به نیروهای دولتی و غیردولتی رقیب آمریکا در عصر حاضر شامل چین، روسیه، برزیل، و هند مطالبی را بیان می‌دارد و سپس با نقد عملکرد و میزان قدرت هریک از دولت‌های فوق آن‌ها را خطر جدی برای آیندة نزدیک آمریکا درجایگاه قدرت سلطه‌گر جهانی نمی‌داند، اما به راه‌بردپردازان آمریکایی پیش‌نهاد می‌کند که در تعامل با قدرت‌های دولتی ذکرشده درپی حل معضلات مرتبط با امنیت ملی و امنیت جهانی به‌صورت چندجانبه تلاش کنند. نقد شکلی و روشی درکنار نقد محتوایی درقالب سه شاخص نقد ساختاری، نقد پویش قدرت، و نقد مفهوم قدرت مجموعه‌ای از نقدهای منظم و دسته‌بندی‌شده را تشکیل می‌دهند که هریک از آن‌ها در مقالة حاضر بحث و بررسی شده‌اند.

Ramin Moharrami, Soraiya Karimi Younjali

Applying descriptive-analytical research method, the present study critiques and analyzes Ibn-e Bazaz Ardabili’sSafvat al-Safa based on the mythical view of Mircea Eliade. From the perspective of Eliade, myth is the most important from of real, sacred, and communal thinking and for this reason it is exemplary and repeatable. In myth, the hero achieves trans-human conditions by transforming the sensory experience into religious experience. The religiousness of this experience means that the individual’s existence in the profane world is halted, and he enters a world of light through supernatural forces. As a result, through applying religious experience, he can replicate mythical events. According to the mythical model of Eliade, the mythical sanctity of Sheikh Safi, Safvat al-Safa’s hero, resembles the gods’ archetype and primordial models. The examples and components of mythical times and places of Mircea Eliade are also evident in Safvat al-Safa. As Sheikh Safi uses a religious experience, he replicates the mythical events, and conforming to religious man’s example, he achieves a sense of religious power through austerity. Through this, he reaches illumination and inner self-recognition and his heart gets ready to accept the facts. At the stage of acquiring secret knowledge and being honored with initiation (tasharuf), the hard tests, and the compact and confined places for learning mystical mysticism are somehow representative of the embryonic world and rebirth. The hero reaches the divine manifestation (tajalli) through the stages of mystery-learning and initiation, and by his spiritual flight or ascension meets the angels face to face. Several examples of mythical models and repetitions are observed in the mystical experience of Sheikh Safi al-din Ardabili in Safvat al-Safa.

Yusuf Nazari

The book “Fi al-nass al-adabi: Dirasah uslubiyah ihsaiyah” written by Dr Saad Moslouh and published in 1993, is one of the foremost and significant works in the area of Arabic studies, dealing with statistical stylistics. In the current study, the book was analyzed in terms of form and content. The focus of formal analysis revolved around cover artwork, typography, page layout, and typing errors. The content analysis, on the other hand, incorporated eloquence of expressions, order of the issues, resources, referencing, innovations and analyses and reviews of them. The results of the analyses indicated that since this work has been published almost 20 years ago, it has several deficits in terms of formal features particularly typography and referencing. It should be noted that, in terms of content, despite the novelty of the concepts in the area of Arabic studies, the underlying theoretical issues of the book are mainly adapted from western experts. Thus, it should be considered that the main innovation of the book is adapting the Western concepts and implementation of the related models and patterns in Arabic texts and literature.

Behjatosadat Hejazi

One of the illustrious proses in eightieth decade is “A glass of hot Shat’h” belonging to Ahmad Azizi, which he writes to an ironic style and a blame and plain of idiotism of people of this period. Azizi’s art is in diction and apparition in the most wisdom circle for narrating altitude and bent of social life and encounter of multiple discourses. A blend of deep concepts, philosophy, mystic and wisdom, with words, structure and slangy comments show a kind of congruity with Hindi style in this book. Whilst dominant style of him is ironic that divides to two kinds: fine, wise and slangy. Contraptions and style illustrious because of language, literary and mental and contra, distinguish his style from other writers. And one of the contraptions style of him is inter stream circulation of mind of space of story to prose different with story the language of Azizi in the parts of this book is scare, glassy and biting and the other parts is benign, quieter and exciter interior literate. Apparently irony have been used equipollent with some words like quip, allegory, derision, jape, raillery, curvet, bamboozlement; while all of these are and none of them aren’t. The ironic style in this book of Azizi isn’t ever in concept that Greeks have used, rather base on the difintion of Romans, it is a kind of evasion with extra literary value. Mike divided irony two kinds: behavior and position. Irony that is cognizant ironist would be called generally as verbal irony but because ironist can use of other appliances other than language, it would be better that we name it behavior irony. And other position irony or ironic event that hasn’t ironist but always has a prey and an intendant. So if divide to three kind; language, behavior and position’s irony; absolutely is more advised. Verbal irony also can be defined to two forms: 1-dictions or sentences in which author or poet uses arts like metaphor, eulogy. On the basis of one generic definition proposed by Mike ‘irony would be any word that on basis forms of fiction like simulation, metaphor, allegory, opacity and etc., forward several meanings to mind, so inclusive of all literature. All of literary devices become under collection of irony. But if irony would be said only to words that create a combination of pain and laugh, it will be considered as an exclusive literary art. 2-stories that have been written in them allegory of adroit bedlams and in the current era, Seyyed Hasan Hosseyni and Ahmad Azizi are among followers of this style. We can to divide position irony to two original kinds: 1-The position’s irony with human origin; for example  honor Josef in spite of knowing the faults of his brothers toward him in the childhood, entertained them with honor; so much that his brothers after recognition of him feel more ashamed. This kind also divides into two kinds: real and dramatic. This section of Josef story is real position irony that is near to position irony with divinity origin and counts as bring up. 2- position irony with divinity origin: like destiny and allotment, divinity contraption in affect with ethnics or heathens.” And they devised, and God devised, and God is the best of devisers” (3:54) or “they desire to extinguish by their mouths, the light of God; but God will perfect his light, though the unbelievers be averse” (61:8). Azizi on the one hand shows an illustrious model of verbal irony in his sentences and propositions and on the other hand, with critic and piercing look at events and personality and social evolutions, displays position irony in written form. However, author persists to select “shat’h as the title of his book, because of the mystic attitude dominant in this book, because of the sharp and biting language and critique of social events with evolutions in modern period, it is nearer to irony rather than shat’h. His irony style divides to two kinds: fine learned, slangy and sometimes faint. His impression of Quran, in many of sentences is absolutely modern and ingenious style. One of his contraptions in this book is stream of consciousness to non-fiction prose. His language in the section related to discourse analysis is very crenelated, acrid and sharp, detrimental and rapturous. And contrariwise in the writings related to dialogue with God, mystic ones or celebration of one character, he has a benign, calmative and excitant of inner sentiments language.

Mohammad shokry

The logical positivism was the name of radical empiricism that was formed in Viena  by the inspiration of persons like Hume, Russell, Witgenstein and others in 1920 and then entered into England by Ayer via  his The language, True and Logic book.The main claim of this philosophical movement is to exclude metaphysics as a kind of knowledge. Spokesmen and agents of this school of thinking who accepted Hume’s division of propositions into Analytic and synthetical, believed that not only metaphysics but also theology and morals cannot be counted as scientific mental actions. Translating some articles, the writer of logical positivism has tried to represents and criticize its main doctrines like verifiability.

Marianne Pasty-Abdul Wahid

When Theatre Makes the Ritual Work. Imitation, Materialization and Reactualization in the Malayali Ritual Theatre Muṭiyēṯṯu’ In Muṭiyēṯṯu’, a ritual theatre performed in some Hindu temples of central Kerala (South India), ritual and theatre are intricately woven to form a cluster that plays a well-defined role in the cult of the goddess Bhadrakāḷi. It ‘works’ as a ritual because of the realistic theatralization of key portions of her myth, the generation of sacrificial violence and ritual pollution, as well as the embodiment of the goddess using an array of musical, dramatic and performative components. With its overt theatrical essence, Muṭiyēṯṯu’ displays all the features corresponding to and expected by Bhadrakāḷi in a specific condition and is thereby seen as a most effective offering to appease, please and worship her. The ethnographic data provided in this article highligh how the Hindu logic of imitation allows the materialization of the goddess—and its culmination in possession—using theatrical and performative tools to create life, hence giving substance and ritual legitimacy to Bhadrakāḷi’s physical manifestation that is at the core of the power assigned to Muṭiyēṯṯu’ in its traditional context.

hojjatollah Hemmati, Mohammad Hossin Khanmohammadi

Abstract Which by their nature narrative structure elements , motifs and narrative action takes place . Author In light of these characteristics and structural elements such as plot , point of view , conflict, crisis , climax and relief , follow the narrative structure down. In this study is to investigate the structure of the story landed in Shahnameh . For this purpose, the definition of story and structure delivers And a review of such issues to investigate this story. And to provide this evidence to conclude that the text of traditions and story And a coherent and systematic plan and that it regulates the relations of cause and effect . And shows the text with the help of fictional elements From a stable position starts And stable position and different ends.     Abstract Which by their nature narrative structure elements , motifs and narrative action takes place . Author In light of these characteristics and structural elements such as plot , point of view , conflict, crisis , climax and relief , follow the narrative structure down. In this study is to investigate the structure of the story landed in Shahnameh . For this purpose, the definition of story and structure delivers And a review of such issues to investigate this story. And to provide this evidence to conclude that the text of traditions and story And a coherent and systematic plan and that it regulates the relations of cause and effect . And shows the text with the help of fictional elements From a stable position starts And stable position and different ends.

Siavash Haghjoo, Mostafa Mirdar rezaii

Abstract Poetic figures of speech are among the factors which their prominence in a poet’s poetry makes up his/her specific style. One of the figures of speech and poetic techniques is allusive figures of speech or amalgamated allusions. As the name entails, these are types of figures in which allusion is located at the center and amalgamates with other figures. Such amalgamation brings about a novel complicated figure of speech.  One special type of allusive figures of speech is an allusion which is occasionally amalgamated with metaphor and ambiguity, and at times in addition to metaphor and ambiguity with simile. The origin of this figure, which is recently referred to as “metaphoric ambiguous allusion, is traced back to Hakim baz in Persian literature. Although, poetry of Hafez is replete with metaphoric ambiguous allusion, it is considerably ubiquitous in Indian style in a way that its ignorance especially in Saeb’s poetry implies the denial of one of its foremost stylistic qualities. The mixed nature of this figure and the presence of several robust figures besides each other which are the basis of poetic fantasy and a fantastic presentation is created by combination of these figures. These figures invite readers into a mode of reflection and thinking and opens corridors of fantasy towards him replete with unsurpassable satisfaction. Such amalgamated figure is formed when a poet grants an allusion to a phenomenon which in reality the phenomenon owns such quality but in a different conceptualization. Supposedly, the given figure was Saeb’s major artifact which helped him to fulfill his distinct poetic quality i.e. unsurpassed power of creating vivacious contents. The present article intended to conduct a supplementary reanalysis of “metaphoric ambiguous allusion and its different varieties and examined it in Saeb’s Poetry. Metaphoric ambiguous allusion refers to a metaphor which alludes to something. The characteristics of the allusion normally exist in the nature of the entity it alludes to. However, the real object of allusion does not exist in the reality of the thing it refers to. Thereby, metaphor is maintained in its original form. The analysis of metaphoric ambiguous allusion shows the following figures: Latent metaphor Allusion Reality Opacity It is notable to say that the necessary reality of allusion in entity to which a metaphor is addressed does not exist and only a similar feature to its necessary form may be proven. Bud tore away its skin and effloresced, though we such welfares did not tore any clothes though in this spring. In Persian tearing away skin is a human allusion, and in the given example, the poet have in mind the meaning not the form. Tearing away skin alludes to bud through a latent metaphor. The real practice of tearing away skin can be observed in a bud when it effloresces. The practice of bud while it is tearing away its skin has nothing to say about the meaning of the allusion in human domain of the statement. The necessary entity does not exist in bud, however, the reader sees the allusion in one hand and the manifestation similar to tearing-away-skin phenomenon in bud. The reader knows that this has not allusive feature and is a one-dimensional reality, so there is no necessity in it. Then the reader realizes that the text invites him understand an allusion in the statement. To do so, he needs to first, assume a necessity in the form within which there is no necessity. Second, he should have glimpse toward its real meaning without any necessity which leads to opacity

Ahmadreza Yalameha

Abstract Mir Mohammad Mom&#39en with Arshi pseudonym and name of Nader ol-Asr was mystic and calligrapher of 16th century AD in India SubContinent. His father Mir Abd ol-Lah Meshkin Ghalam with Vasfi Pseudonym was poet and Calligrapher of Kerman who was son of Shah Ne&#39mat ol-Lah. Shah Ne&#39mat ol-Lah immigrated to India during Jalal ed-Din Akbar Gurkani. Jalal ed-Din named Shah Ne&#39mat ol-Lah as Meshkin Ghalam. In addition to Complete Poetical Works consisting of ghazals, refrains, stanzas, quatrains and singles, there are many works of Arshi in verse and prose. He is versifier of a Mathnavi in imitation of Mathnavi Ma&#39navi in 3000 stichos which is composed in 1069 AH and remained unknown up to now. He had also another Mathnavi with the name of Mehr and Vafa in imitation of Khosrow and Shirin. In addition to his verse works, it has remained a work by the name of Shekarestan which he has composed in imitation of Saadi&#39s Golestan and Jami&#39s Baharestan. Contemporaneous with him, another poet with a short interval was living. He was one of Isma&#39eel Mirza&#39s daughter&#39s children, the son of Shah Tahmasb Safavi, with the name of Tahmasb Gholi Beigi. Tahmas Gholi Beigi has Pseudonym of Arshi too. Arshi Yazdi had a Poetical worksconsisting of odes, refrains and stanzas. This Poetical workswas written in 16th century AD and had been available in Malek National Library with number of 5568. Poetical works of mentioned poets including Mehr and Vafa has been misrecognized in many resources and attributed to each other.

T. Ja’fari

The Prophet, written by Jibran Khalil Jibran, is a thin book but full of mystical, religious, ethical, and philosophical concepts. Although this book seems at the first sight a simple and easy-to-handle one, it has very rich and archetypal motifs. The Prophet tells the story of one of the archetypes of our unconscious. The recluse Prophet , as a kind sage of our inner world, is waiting for the conscious “I” so that by help of “Anima” it can assist the “I” in going through the path of perfection and show it the green path to individuation and psychical (psychological) integrity. This work represents the stages which the people of Urphaliz pass through by help of the prophet and Anima’s intermediacy called “Mitra” and hence are united with themselves. What constitutes the motif of this work is an inner travel; a mystical inquiry which has set the ground for the presence and function of many archetypes and symbols concerning this inner procedure. “I”, “ego”, “shadow”, “The sage”, “Anima”, and the symbolical image of “Mandela” are of the most outstanding symbols and archetypes existing in this seminal work by Jibran Khalil Jibran.