Hasil untuk "Indo-Iranian languages and literature"

میلاد جعفرپور

حماسه یکی از انواع ادبی کهن و دوران‌ساز ادب فارسی است و متون ارزشمندی از آن در دو گونۀ منثور و منظوم به عنوان میراث مکتوب بر جای مانده که به برخی از آن‌ها علی‌رغم نسخ خطّی پرشمار و قدمتی قابل ملاحظه کمتر توجّه شده است. ذوفنون‌نامه حماسۀ منثوری است که به جهت برجستگی کردارها و میدان‌داری بیشتر ذوفنون در رویدادهای آن، پهلوان‌بانونامه‌ای را ماند که هدف شاه‌دخت جنگاورش تلاش برای دفع کافران، وصال به عاشق و رهایی او از بند رقیب مادینۀ پری است؛ موضوعی که تا کنون جز بانوگشسپ‌نامه، شاید کمتر طرح کلّی یک متن حماسی مستقل را به خود اختصاص داده باشد. از آن‌جایی که پیشینۀ گونۀ منظوم ذوفنون‌نامه به سدۀ هشتم هجری بازمی‌گردد، معرّفی روشمند گونۀ منثور ذوفنون‌نامه و نسخ خطّی آن ضرورتی دوچندان می‌یابد. نظر به فقر پژوهشی در این باره، تحقیق بنیادی حاضر به روش توصیفی - تحلیلی انجام شده است و برآیندهای آن به شیوۀ استقرایی در دو بخش عرضه شده است. در بخش نخست، پس از مطالعۀ کهن‌ترین دست‌نویس شناختۀ ذوفنون‌نامه و عرضۀ چکیدۀ مشروح رویدادهای آن، ابتدا گزارشی از وجوه متن‌شناختی روایت در هفت پارۀ وجه تسمیه، راوی، زمان و محلّ تألیف، منشاء پیدایش، ساختارو زبان ارایه شده است، آن‌گاه با توجّه به برآیندهای حاصله، در بحث نسخه‌شناسی سه دست‌نویس ذوفنون‌نامه از سه مکتب داستان‌پردازی ایران، ماوراءالنّهر و شبه‌قارّه ارائه شده است.

DR. ALI BAYAT, AAMIR BASHIR

Humor is the integral part of human life. To escape the seriousness and pain of life, Satire and Humor writers created various forms of humor to temporarily diminish the impact of the harsh realities of life. All these writers try to spread a smile on the faces of human being. Due to social disorders, issues and domestic situations; cause mental stress for the modern man. Such a job of humorist is like a good psychiatrist who strives to reduce environment pressure through his humor. This article describes the satires on social attitudes in the humorous poetry of Dr. Imran Zafar, who has currently become the source of reducing nervous conflict of human race. In his poetry he described the different aspects of social attitudes in a very derisory Humorous style. His books "CORONA MERY AGY" (کرونا مرے آگے) and "SHER AYA SHER AYA" (شعر آیا شعر آیا) are the masterpiece of humor writings. His sense of jocularity becomes more entertaining and fascinating while describing the life from different angles. This article not only discusses his writing style but also reflects the way Dr. Imran Zafar used to reflect aesthetic sense to show his inclination towards humor as well as he showed the unwanted aspects of social attitudes. After gone through his humorous poetry his satire on social attitudes has been revealed which described for the purpose of making reforms in the society.

Soraya Karimi, Khodabakhsh Asadollahi

AbstractLiterary worksarewritten in a time and place that aredirectly related to previous works; therefore, thewritings of the texts before themarenot ineffective. In this study, with the aim of investigating the influence of Ferdows al-Murshediyeh from Tabari’s history and KhajehAbdollah Ansari’sinterpretation, a descriptive-comparative methodwasused. The results of this study showedthe extent to which Sheikh Abu IshaqKazerouni borrowed from ancient sources and mystical interpretations and added to the previous texts and thoughts in relation to the new materials and themes.Ferdows al-Murshediyeh's study showed that Tabari’s history and exegesis of KhajehAbdollah Ansari were among the study sources of Sheikh Abu IshaqKazerouni and his disciples. Ferdows al-Murshediyeh's comparative study of Tabari’s history is evidence of a direct influence without referring to this mystical work in the field of creation and caliphate of Adam (AS) adopted from Tabari’s discussions. Also, the Sheikh’s mystical exegesis on the verses indicated the existence of an indirect influence of KhajehAbdollah Ansari’sinterpretation on its themes. In addition, the other mystics’views werein continuation of the exegetical method of this book based on KhajehAbdollah Ansari, which hada direct influence on the levels of phrases and vocabulary in most cases as quotations without a reference in the text. Keywords: Ferdows al-Murshediyeh, Sheikh Abu IshaqKazerouni, Exegesis of KhajehAbdollah Ansari, History of Tabari IntroductionThroughout history, texts have been created in close relationship with each other in such a way that the previous texts have beenthe basis for the emergence and creation of subsequent texts, whichhavenot been created independently without the need for their own backgrounds. On the other hand, the textsources of Islamic mysticism, such as Quran and Hadith, have made the inevitable influences of mystical texts oneach other. These influences have beentakenby the intellectual space and common cultural elements, resulting in the same minds, approximations, and words. In the meantime, mystical memoirs are among the ancient works, whose themes have interacted with their earlier and future texts.Finding this interaction and relationship between the texts requires theircomparative reading.Materials & MethodsThe study of the functions of mystical verses and Sheikh Abu IshaqKazerouni’sinterpretations indicatedtheirinfluence on interpreting Qur'anic verses from old sources, such as Tabari’s history and KhajehAbdollah Ansari’s interpretation of the Qur'an. In this descriptive-comparative study, we soughtto answer these questions: 1) What is the influence of Ferdows al-Murshediyeh on the versesin terms of historical sources and mystical interpretations? 2) What are the methods of Ferdows al-Murshediyeh's influence in relation toTabari’s history and KhajehAbdollah Ansari’sinterpretation? It should be noted that the basis of this research in relation to KhajehAbdollah Ansari's interpretation of the Holy Qur'an was a book called "Exegesis of KhajehAbdollah Ansari" written by HabibollahAmouzgar, which was in fact the third time of the mystical exegesis of Meybudi in Kashf al-Asrar.Discussion of Results & ConclusionsLiterary texts share their earlier texts because of their clear and hidden quotes and influences. Sometimes, this influence is formed in the depths of concepts and themes and sometimes, borrowing and effectiveness can be retrieved at the vocabulary level. Whenever an element appears in the second text adopted from a literary or artistic text, it is certain that the second text is directly or indirectly influenced by the first text. The study of the influence of exegesis of Sheikh Abu IshaqKazerouni's verses on Ferdows al-Murshediyeh showed that Tabari's history and KhajehAbdollah Ansari’sinterpretation wereamong the main subtexts, on which Sheikh Kazerouni influenced based on his interpretive method on the verses. Sheikh Abu Ishaq was directly influenced by the concepts of Tabari’s history in the subjects of the story of creation and caliphate of Adam (AS), the age of Adam's demise, the creation of Eve, and the covering of Adam and Eve. It should be noted that this effect was reflected in its most explicit form as quotations without a reference. On the other hand, the reflection of KhajehAbdollah's insights and beliefs in Sheikh Abu IshaqKazerouni’sinterpretations showedan indirect influence. Since narration in meaning and content fell into the category of an indirect influence in Ferdows al-Murshediyeh, the themes of KhajehAbdollah Ansari's exegesis in the exegesis of Sheikh Abu IshaqKazerouni werenarrated in the form of meaning and content of objectivity. Sheikh abuIshaq was sometimes completely influenced by KhajehAbdollah’sinterpretationand sometimes brought his attitude in the section of the elders’sayings without mentioning his name. In some verses, Ansari's view encompassed only a small part of the exegesis of a verse and in some cases, the sheikh offered a different interpretation of the verse and the exegesis of KhajehAbdollah was expressed under the exegesis of Sheikh kazerouni when quoting the elders’sayings. In addition to the indirect influence, Khajeh Ansari's interpretations wererepeated in Ferdows al-Murshediyeh with a minor difference in terms of vocabularyand this influence clearly indicateda direct influence.

سمیه مولوی, داوود کوهی, سعیده آهنگری

در کنار جنبه‌های شناختی یادگیری زبان، سایر عوامل می‌توانند شکست/موفقیت عمومی آموزش زبان را توضیح دهند. بدلیل کم توجهی به عوامل عاطفی در یادگیری زبان، بررسی این عوامل امری دشوار بنظر می رسد. محققان حوزه روانشناسی در مطالعات روانشناختی خود در مقایسه با احساسات مثبت بیشتر احساسات منفی مانند غم و عصبانیت را نظر گرفته اند و این عناصر را در ارتباط با زبان آموزان مورد بررسی قرار داده اند. از این رو، نقش عواطف مثبت به اندازه کافی مورد بررسی قرار نگرفته است، به ویژه در مورد مدرسان زبان انگلیسی. پژوهش حاضر با میانجیگری جنسیت و تجربه تدریس سعی در بررسی تأثیر بهزیستی بر خودپنداره و توسعه حرفه ای دارد. بدین منظور 220 مدرس زبان انگلیسی مرد و زن مقطع مهارتی پیشرفته با حداقل 5 سال سابقه بر اساس نمونه گیری در دسترس انتخاب شدند. ابزارها شامل پرسشنامه بهزیستی PERMA توسعه یافته توسط باتلر و کرن (2016)، توسعه حرفه ای (PD) طراحی شده توسط افشار و قاسمی (2018) و پرسشنامه خودپنداره رابسون (SCQ) تهیه شده توسط رابسون (1989) بود. پایایی (ضریب آلفای کرونباخ) و روایی (روایی محتوایی) پرسشنامه ها تضمین شد. داده‌های جمع‌آوری‌شده بر اساس تحلیل همبستگی و مدل‌سازی معادلات ساختاری (SEM) با استفاده از SPSS 24.0 و Amos 8 مورد تجزیه و تحلیل قرار گرفت. نتایج نشان دادند که هیچ رابطه ساختاری معناداری بین بهزیستی و توسعه حرفه ای با میانجیگری جنسیت و تجربه تدریس وجود ندارد. یافته های این پژوهش پیامدهای نظری و عملی مهمی برای معلمان، روانشناسان مدارس، مربیان معلمان، طراحان برنامه درسی و پژوهشگران دارد.

متین نهاوندی, ارسلان گلفام

استعاره‌های مفهومی در زندگی روزمره ما حضور گستره‌ای دارند و بر همین اساس در زبان‌شناسی شناختی از جایگاه ویژه‌ای برخوردار هستند. بسیاری از پژوهشگران بر اهمیت استعاره‌ها در فرایند زبان‌آموزی تاکید می‌کنند. زبان‌آموزان به هنگام مواجهه با عبارات استعاری در زبان مقصد با چالش‌هایی روبرو می‌شوند و از آنجایی‌که استعاره‌ها در اغلب بافت‌های گفتمانی حضور دارند، نمی‌توان آن‌ها را نادیده گرفت. لذا این پژوهش به تأثیر آموزش استعاره‌های مفهومی چندشیوه در بهبود مهارت‌های خواندن و نوشتن زبان انگلیسی به عنوان یک زبان خارجی بر روی فراگیران فارسی زبانِ ایرانی می‌پردازد. به منظور بررسی تأثیر آموزش استعاره‌های مفهومی در کلاس‌های زبان انگلیسی و ارزیابی سطح توانایی استعاری زبان‌آموزان، پژوهش در دو بخش – پیش‌آزمون و پس‌آزمون- برای دو گروه -کنترل و آزمایش- روی دو مهارت خواندن و نوشتن انجام گردید. در طول این پژوهش دو بخشی، نمرات پیش‌آزمون و پس‌آزمون گروه آزمایش که در معرض آموزش استعاره‌های مفهومی چند‌شیوه قرار گرفته‌اند با نمرات گروه کنترل مقایسه شد. یافته‌های پژوهش نشان‌ می‌دهد زبان‌آموزانی که در معرض آموزش مستقیم استعاره‌های چند‌شیوه قرار گرفتند، توانستند به دلیل درک بهتر متون استعاری و افزایش توانایی تولید استعاره، نمرات بهتری کسب کنند. به عبارتی، آموزش مستقیم استعاره‌های مفهومی چندشیوه در بهبود درک و تولید زبان استعاری در فراگیران زبان انگلیسی تاثیرگذار بوده است.

Isar Kamran

<p class="MsoNormal" style="margin-bottom: .0001pt; text-align: justify; text-indent: .5in; line-height: 150%;"><span style="font-size: 12.0pt; line-height: 150%; font-family: &quot;Times New Roman&quot;,serif;">In Pakistani folk culture, romance appears as a symbol to unfold the deep insight and metaphysical expression regarding Heer Ranja, Soni Mahiwal, Mirza Sabhian and Sussi Punu. The important point regarding these folklore romance,, the divinity of love appears as the gift of Allah, create an unseen spirit to reach to its destiny. While observing every case,, the annihilated phenomenon unfold the metaphysical trait in the form of fana- which is an Arabic word means-passing away.Pakistani folklore is comprised of folk songs, folk tales, myth, legends, customs, proverbs and traditions of the four provinces and along with tribal areas forming the modern nation of Pakistan. Every village had hundreds of tales and traditions. 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Ehsan Zabihifar, Seyed Shahin Mohseni

“Mystical Music” is a term that can include a wide range of meanings and many examples of music were defined as mystical in the Islamic period of Iran’s history and some still live on. This research is to define mystical music based on its significance in culture and its examples, rather than via studying semantics or the etymology of the words. This study will then introduce the semantic horizon of mystical music instead of one single sense of the term. To do so, first, the significance spectrum of the terms music and mysticism is studied, and then examples are sorted into four categories: the relationship between music and mystical ontology, the relationship of music and intrinsic aspects of culture, music with a mystical influence and its different types in mystical literature, and music in Sufists rituals. In general, twenty-one examples of mystical music will be briefly introduced. Each of these examples represents other instances, making up the spectrum across which the horizon of the meaning of mystical music is displayed.

Sajid Siddique Nizami

<p class="MsoNormal" style="margin-bottom: .0001pt; text-align: justify; line-height: normal;"><span style="font-size: 12.0pt; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi;">This article presents the very first critical editing of the &ldquo;Nou-Ayin e John Horace Ford&rdquo; by Rustam Ali Bijnori. This &lsquo;qissa&rsquo; was penned down in 1786 A.D for presenting to an East India Company&rsquo;s army officer John Horace Ford. A manuscript of abovesaid qissa is kept in the Middle Eastern Manuscript section of Special Collections at the University of Melbourne, Australia. Alongwith critical editing, a brief biographical introduction of the author, linguistic and stylistic analysis of the text and a glossary are also included in this article.</span></p> <p class="MsoNormal" style="margin-bottom: .0001pt; text-align: justify; line-height: normal;"><span style="font-size: 12.0pt; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi;">&nbsp;</span></p> <p class="MsoNormal" style="margin-bottom: .0001pt; text-align: justify; line-height: normal;"><span style="font-size: 12.0pt; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi;">Keywords: Urdu prose, Nou-Ayin e John Horace Ford, Rustam Ali Bijnori, Critical Editing, Manuscripts</span></p>

لیلا مکوندی

در این نوشتار جلد دوم کتاب گل‌‌نبشته‌‌های باروی تخت ‌‌جمشید بررسی و نقد شده است. کتاب موردبحث ترجمۀ فارسی و انگلیسی بخشی از الواح عیلامی منتشرنشدۀ بایگانی باروی تخت جمشید (متن‌‌های A-G) است که سال‌‌ها پیش ریچارد هلک خوانده بود و عبدالمجید ارفعی آن‌ها را ویرایش و ترجمه کرده و با همکاری مرکز دایرة‌‌المعارف بزرگ اسلامی و پژوهشگاه میراث فرهنگی منتشر کرده‌‌ است. در مقالۀ پیش‌ِرو، کتاب ازنظر خوانش و ترجمه ارزیابی و نقاط قوت و ضعف آن بررسی شده است. اما جدا از همۀ این مسائل، چالش عمده مسئلۀ انتشار الواح باوجود اعلام رسمی عدم رضایت مؤسسة شرق‌‌شناسی شیکاگو درجایگاه صاحب امتیاز علمی پروژه به «مترجم و ویراستار» و ناشران است. این مسئله به‌معنای رعایت‌نکردن اخلاق علمی آن هم ازطرف دو مرکز مهم علمی کشور در حوزۀ علوم انسانی است و ارجاع به کتاب را در سطح بین‌‌المللی برای پژوهش‌گران با مشکل مواجه می‌‌کند.

Farooq Adil

The study aims to determine the correlation between the employment of language and the decay of the Normative framework and degeneration of societal norms. It has been seen that irresponsible statements for politicking are generally picked up and hyped by the media. Further, the degradation of language and personal allegations put politics away from partisan political domain resulting into desensitisation of the society. This correlation of lousy language and desensitisation of the society has not been studied theoretically in Pakistan. The assessment, in this study, has been carried out in light of the parameters set out by the Theory of Desensitisation under a larger framework of General Agression Theory delineating that abnormal shifts to neo-normal if repeated with regular intervals. The study confines to two watershed years i.e, 1958 when Pakistan faced first constitutional breakdown and 2013 onwards resulting into polarisation. In order to analyse, a widely read newspaper selected that have been in circulation virtually all over Pakistan since its creation. The editorials, statements of political leaders, reporting of incidents have been studied precisely that determined the course of the political history of Pakistan and the fissures in the social texture of the country. It has been observed that the more such content is given coverage, the more society and polity gets desensitised. Moreover, publication of such content is incremental in nature, that is to say, it expands in terms of coverage and intensity as time goes by. The study concludes that desensitization has been growing over the years resulting into degeneration of the societal norms.

محمد احمدی

فردوسی در کتاب سترگ خویش در مواضعی از افکار و اندیشه‌های خود پرده برداشته است. یکی از مهم‌ترین مواضعی که در آن مقام حکیم طوس از عقاید شخصی خود سخن گفته است، ابیاتی است که عموماً پس از یک واقعۀ ناگوار یا مرگ یکی از شخصیت‌های شاهنامه ا آمده و در آن فردوسی در مذمت جهان و بی‌مهری روزگار داد سخن داده است. در این مواضع که در این پژوهش از آن با نام شکواییه‌ها یاد می‌شود، فردوسی بر اساس نظریۀ دراماتیستی برک برای برقراری ارتباط بر رکن صحنه تأکید دارد. تأکید بر صحنه در ارتباطات انسانی ناشی از نوعی جبرگرایی فلسفی است که عوامل محیطی را در ایجاد تغییر دخیل می‌داند و اختیار انسان را محدود می‌شمارد. از جمله عوامل پدید آمدن چنین جهان‌بینی‌ای در شکواییه‌های فردوسی و تکرار آن با بسامد بالا در شاهنامه، یکی تأثیر خود شاهنامه یعنی داستان زوال شکوه و عظمت هر دورۀ اساطیری، حماسی و تاریخی ایران‌ و مرگ محتوم شاهان و پهلوانان ایرانی است و دیگر شرایط فرهنگی، سیاسی و اجتماعی دورۀ حیات شاعر است که جریان‌های مدنی متفاوتی از دل آن پدید آمده است . این همه زمینۀ مشترکی است که میان فردوسی و مخاطبان او وجود دارد و فردوسی با تأکید بر این زمینۀ مشترک اثر خود را پدید آورده است. پژوهش حاضر نشان می‌دهد که چه عواملی زمینۀ مشترک میان فردوسی و مخاطبان او را پدید آورده است و این زمینۀ مشترک در برقراری یک ارتباط موفق میان اثر فردوسی و مخاطبان آن که ایرانیان هستند چه تأثیری داشته است.

Hossein Moghiseh, Esmail Kavoosi, Abdalrahim Rahimi

The purpose of the present study was to evaluate the performance of the Council for Reviewing Books and Text in the Developing the Culture of critique of texts and books of the humanities, based on upstream documents of the council. Therefore, the combination method was used. The statistical population included all experts and reviewed books in council as well as other institutions and publications in the 1390s. The samples of the study were: I) Almost all articles and critiques, II) 24 experts and practitioners, and III) 10 interviews published in the book of the Re-Reading Council that were selected by purposeful sampling method. A checklist and a questionnaire were used to collect the data. The data were analyzed by chi-square and binomial tests, and qualitative content analysis. The research findings indicated that the council had received an acceptable grade in five criteria of six criteria and had a positive performance. Of course, there were some shortcomings in each of these criteria. Thus, some suggestions were made to improve and enhance the status of the council. It is recommended to redefine the scope of its members and take advantage of the advancements in information and communication technologies to disseminate and inform about the activities of the council.

Rafaqat Ali Shahid

Masnavi Ramzul Ish'q is a unique literary master piece of Classic Urdu Literature. It also has great importance as an early Urdu writing in Punjab. It is an important Urdu poetic composition on mysticism. Masnavi Ramzul Ish'q was written by Ghulam Qadir Shah, a famous Noshahi Sufi (mystic leader) of Punjab. Masnavi Ramzul Ish'q is famous among mystic lovers and in Urdu literary circles, so several manuscripts of this Masnavi have been prepared by various scribers and have been found so far. Some of them are considered important in the editing and studying of this&nbsp; Masnavi. This article deals with another and an unfamiliar copy of the manuscript of Masnavi Ramzul Ish'q. In this article, the writer provides essential and important information about the concerned manuscript. He has covered various aspects of the detailed study of this manuscript. <br />

Yassaman Hoshyar

This article is a critical review of the book “An Overview of the Philosophy of Science”. The importance of this lies in the fact that it is the first Persian book in this field. What we confront in the introduction increases its importance which says “This book can be used as a textbook or even self-study book”. In this review, first, the approach of this book to topics such as induction, methodologies, and realism as well as the weights which are given to each of them and their clarity and ambiguity will be surveyed. Then, some further notes like what is necessary for a textbook and what this book lacks, and  summary of each chapter and questions for further thinking will be noticed. Finally, a conclusion and evaluation of the book and its purposes will be presented.

محمدرضا دوستی زاده, فاطمه ارزجانی

"توانش ارتباط بین فرهنگی"بعنوان یکی از موئلفه هایی مطرح است که در صورت وجودآن زبان آموز می تواند در جامعه زبان مقصد علاوه بر تسلط زبانی به فرهنگ آن جامعه نیز مسلط باشد. مسلم است شرط اساسی کسب این توانش، تسلط به مهارت های چهارگانه زبانی بطور کل و اکتساب توانش های دستوری و گفتمانی بطور جزءاست. نقش کتاب های آموزشی را نمی توان در مسیر تحقق این توانش انکار کرد، بطوری که ارایه ی مباحث فرهنگی اساس این اکتساب محسوب می شود. مقاله حاضر ضمن بررسی نظریه های موجود درزمینه توانش ارتباط بین فرهنگی و راه ها و نشانه های کسب آن به بررسی نقش کتاب های درسی بومی در این نوع اکتساب می پردازد.لذا این تحقیق به بررسی کتاب آموزشی زبان آلمانی پیش دانشگاهی با توجه ویژه به نظریه های توانش بین فرهنگی وهمچنین نظریه های بررسی کتب درسی می پرازد ودر این راستا نه تنهاعدم احراز توانش ارتباط بین فرهنگی دراین کتاب آموزشی مشخص می شود بلکه گرایش به فرهنگ آلمانی در کتاب را مشخص می کند.

M Ja’afarpoor, M Alavi Moghaddam

In previous researches, exploration of the theme of Ayyari and teachings of Javanmardi and branches of this socio-political rite has focused mostly on prose and sometimes poetic mystical texts due to elitist view of researchers, and centrality and special status of the Holy Quran and religious texts. Perhaps, elucidating and representing the close relation of Ayyari and Javanmardi to epic texts and showing didactic teachings of this moral society can be a new and impressive effort to reveal its primary and Iranian origin and also correct some existing incorrect considerations. By this background in mind, the present paper aims to introduce in two sections the theoretical foundations of research in four axes including: prose epic narratives, didactic literature, its nature and branches, historical background and ups and downs of Ayyari and Javanmardi. Then, by comparative and typological approach in two prose epics Samak-e Ayyar and Darabnameh, didactic-suggestive teachings of Ayyaran and Javanmardan are analyzed and described. Having an almost comprehensive view on previous studies in this field, the present article reveals some points not considered before.

Abdollah Vasegh abbasi, Fatemeh Savab, Mohammadamir Mashhdi

Abstract Simile as the main element of imagination has a leading function in the creation of various types of poetic images. Seif  Farghani is an image maker poet who, via the aid of this element, takes step in the field of innovative and fantastic image making. In this research, the similes of Seif Farghani’s odes, are investigated from different aspects like types of simile, materials of simile, new similes, simile instruments and their static and dynamic nature. Finally their statistical analysis has been presented so that, in addition to knowing how to employ expressive instruments to create poetry and their impact on the poet’s style and language, the basic criteria of Seif Farghani’s poetry aesthetics would be presented to the reader. This study proves that, though Seif has made use of all forms of imagination, the similes of his odes are of a different type, concerning the frequency and innovation, so that, regarding 3019 similes found in 125 odes, it is claimed that Seif Farghani is an image maker poet who has employed this element more than other elements of imagination in making imagery. In order to achieve a specific speech and style and creating novelty in imagery, he generates novel similes and, with a commitment to difficult nominal rhymes and placing them as one of simile sides, innovates new images. Variety of elements used in Seif&#39s similes shows the breadth of the poet&#39s scientific and intellectual scope in various fields. Comparing all parts of tenor and vehicle in respect to simile materials indicates that, in vehicle, the highest frequency has been dedicated to spiritualities and the lowest frequency to the historical and mythological elements. Similarly, in the investigation of vehicles of his odes, the highest frequency is devoted to objects and the lowest frequency to this world and hereafter. High frequency of singular to singular simile denotes brevity and innovation as well as rich, smooth and delicate language of the poet. The frequency of bound simile is not infrequent. This may indicate the point that the poet, in order to reflect his own poetic images and also renew his trite and banal similes, has bounded the tenor or the vehicle to give emphasis to them. And, in fact, he makes his simile more prominent that is of  special techniques of powerful poets especially those of Seif Farghani. Although the employment of compound simile in the poet&#39s poems signals their high power of combining and simulating several images, its trivial use in Seif&#39s poet is not the result of his inability. However, it shows that he has a simple mind and prefers to utilize artistic similes and innovative images away from complexity and extreme ambiguity so as to achieve his mystic and social purposes. But this very low frequency of the poet&#39s compound similes is also innovative, new and nice. Seif&#39s extensive similes have a higher frequency than his intensive similes. Among the extensive similes, the detailed tenor has got the highest frequency. Since Seif wants to convey eminent messages and concepts to the audience, he avoids what causes ambiguity and complexity in form and meaning, unless discourse requires it. The frequency of eloquent simile, particularly analogous simile (intensive simile), is enormous in Seif Farghani&#39s odes, so that we sometimes encounter immense number of images which, in turn, requires us to name him as the most image maker among the poets. Despite the fact that Seif Farghani lived in seventh and early eighth century, depending on the poetic template of the ode, the frequency of sensory to sensory similes is more than his other similes. Since his odes is composed of social, moral and mystic themes as well as advice, as a result, the frequency of rational similes exceed that of sensory similes compared with other two types. The similes of sensory to rational and rational to rational are of low frequency. Because receiving the point of resemblance is understood sooner than the sensory vehicle and occurs easier. In this regard, his poetry is like other poets following Araqi&#39s style. As to the formal structure, the poet has more tendencies towards reduced simile. This form of simile, because of the number and contention of the images, is considered as the most imaginative and artistic type of simile. The images in his poems are more static rather than dynamic. Due to the angle of simile and their novelty and obsolescence, the innovative and strange similes (the simile with open-angle) allocate around one-third of Seif Farghani&#39s similes. And the rest are repeated similes, a sample of which is found in works of other poets before him

Nasrin Faghih Malek Marzban, Sepideh Javaheri

Savāneh al-Oshāq written by Ahmad Qazzāli is the first Persian book allocated to love. It is a collection of the author’s own theories about love, the lover and the beloved, and their relationship. It influenced many works written after. One of the most important aspects of this text is its structure that to the best of our knowledge has not been studied so far. Therefore, this inquiry focuses on its structure. Structuralism, by finding a logical relation between smaller parts in a text and their relation to the whole body of the text, indicates the solidarity or irregularity of a literary work. In this paper, the application of lexis and concepts in the whole structure of the text are analysed. The results show that it has a circular structure and therefore the beginning and the end of the text share similar features. Moreover, we came upon the effect of metaphysical forces and divine concepts on the circular structure of Savāneh al-Oshāq.

Tahereh Khoshhal Dastjerdi, Razeahe Hojatizadeh

Islamic Gnosticism, due to its purpose and goal, is a notion focused on recognition, awareness and intuition. In general, it is a process toward superego to achieve evident hierophanic knowledge of epiphanic phenomena. This provides an active and appropriate background to review the cognitive events from phenomenological perspectives. This study, thus, is going to deal with some aspects of this fact that are ‘intentionality, ‘reduction’ and the relationship between objective and subjective aspects which are considered as ‘union’ and ‘separation’ in Ruzbahān's Gnosticism. The attempt is to pinpoint the potentials of Islamic Gnosticism, especially cognitive role of Gnostic epiphany in accordance with Ruzbahān's standpoints. Finally, on the basis of philosophy and Gnosticism, new conclusions and findings are derived.