Hasil untuk "Indo-Iranian languages and literature"

Ahmad Sanchooli

Roman Jacobson’s verbal communication theory, in which the main functions and roles (sender, message, and receiver) and secondary roles (topic, symbols, and communication channel) of language are considered, is one of the most consistent theories in the field of linguistics and literary criticism. Based on this theory, directing the message towards each of these roles causes the emergence of special functions such as emotional, persuasive, literary, referential, meta-linguistic, and empathy. In the study of Sana'i Ghaznavi’s quatrains, according to the six functions of language, it was found that in addition to the literary role, which all quatrains have due to the use of poetic elements, the emotional role also has the greatest function. In the emotional role in which the direction of the message is towards the speaker, the poet has expressed his emotions and feelings in a simple and intimate language regarding issues such as beloved, admired, or his opponents. Therefore, the purpose and centrality of the speech in these quatrains are with the sender (the poet) and the literary type of these quatrains is the type of lyric literature in which the structure of description is considered the most important structure and the poet has described categories such as love, lover, praise, man, world, and God. Keywords: Sanai Ghaznavi, Quatrain, Theory of Verbal Communication, Roman Jacobson. IntroductionSana'i Ghaznavi (d. 529 A.H.), is a famous poet of the 6th century. In addition to being considered a flow-making poet in Masnavi, odes, and ghazals, he is also a poet in the quatrains and opening new semantic horizons. He brought mysticism into the realm of quatrains and in this sense created a new movement in quatrains that were more romantic before him. For this reason, his works are among the texts that have been referred to as "the text of the moment of change" (Fottouhi, 2012, p. 230). In these quatrains, various themes can be seen such as romantic, mystical, philosophical, and moral, as well as praise, satire, witnessing, and chaos, which are usually divided into ‘light’ and ‘gray’ categories (Shafiei Kadkani, 2010, p. 25-34).In addition to mystical themes, his Khayamiyat is also worthy of reflection in this poetic form. The themes of Khayami, before Sana'i, are seen in other poetic forms (Islami Nadoushan, 1995, p. 122). Introducing these themes into the form of quatrains is very likely done for the first time by Sana'i. Sanai is also a pioneer in composing the quatrains of Shahreshob (Shamisa, 1984, p. 55). In this research, while examining the Sana'i quatrains based on Roman Jacobson's communication model, these questions have been posed:Which role is more important in these quatrains?What is the function of other roles in these poems?How does a dominant construction influence other constructions? Materials and MethodsThe method of conducting this research is the descriptive-analytical method, in which all Sana'i Ghaznavi’s quatrains have been examined and studied based on Roman Jacobson's model of verbal communication, and the six functions of language in these quatrains have been categorized and analyzed by mentioning the frequency. Research FindingsIt is rare to find a poem in which only one of the language roles is used, but in most instances, two or more language roles are present at the same time, and even in some cases, the language roles are separated from each other. According to Jacobson, what makes different messages different from each other is "the predominance of one of the functions of language over other roles" (Meghdadi, 1999, p. 623). In the analysis of Sana'i quatrains based on Roman Jacobson's communication model, it was found that in addition to the literary role that all quatrains have due to the poet's use of the quatrain format and the use of literary devices, the emotional role has the most function, which has influenced other roles of language. The most obvious structure in the emotional role is the structure of description, in which the poet has described his situation, his lover, his admirers, and sometimes his opponents. In addition to these two main roles, Sanai has also used other roles of language, i.e. persuasive, referential, meta-linguistic, and empathic roles. The most important structure in the role of persuasion is the structure of advice, which includes moral, religious, and romantic advice. In the referential role, the poet's point of view can be seen towards categories such as love, lover, human, world, and God. Considering these points, it can be said that Jacobson's theory of linguistic communication is an efficient and coherent theory in the analysis of literary works, which pays attention to both the structure and the content of the literary work. Discussion of Results and ConclusionsAccording to Jacobson's model of verbal communication, Sana'i has used all the six roles of language in his quatrains. In the emotional role, Sana'i talks about his feelings in relation to his lover, praised, or his opponents. Therefore, his quatrains can be considered a type of lyrical literature, in which the most important element is description, and the most important structure in description is the herding structure, in which Sana'i complains to the herd and about his lover's cruelty. He pays attention to his lover's bad temper, bad language, cunning, trickery, reproach, and cuteness. The tone of lamentation and glory from the lover is sometimes to such an extent that it finds the side of burning and symptoms of the lover, and in some cases, it even comes close to satire. In addition to being proud of his lover, Sanai complains about destiny, luck, and sometimes from some of his friends and relatives. The predominance of the emotional tone in Sena'i quatrains is such that it has overshadowed other roles and functions of language.In the role of persuasion, in which the direction of the message is towards the audience and the structure of advice is considered the most important structure, in cases where the audience is a lover, the tone of the poet is not commanding, but is accompanied with a kind of desire and expression of romantic need. Of course, in cases where the audience is general, the poet's tone becomes commanding. In these cases, the most important recommendations are moral recommendations. In addition to the structure of advice, the structure of wish, which comes with a prayer verb, has a significant function in which the poet has a wish in the form of a prayer or a curse for his beloved, praised, or opponents. In addition to these roles, the poet has also used other roles of language, i.e. the role of meta-linguistics and empathy.

Raziyeh Hojatizadeh

The present study investigates paradox as a cognitive phenomenon within the framework of conceptual metaphor and metonymy, challenging its conventional classification as a rhetorical device. Focusing on Persian mystical literature, the research explores how paradox functions as a dynamic meaning-making mechanism in figurative language. The primary aim is to redefine paradox through cognitive linguistics, demonstrating its integration with metaphor (para-metaphor) and metonymy (para-metonymy) in restructuring perception. The study seeks to: 1) identify the cognitive models underlying paradox, 2) analyze its interaction with other conceptual processes, and 3) illustrate its role in non-linear thinking and knowledge organization. A descriptive-analytical approach is employed, with data purposively sampled from Persian literary texts. Theoretical frameworks include conceptual blending theory (Fauconnier & Turner, 2002) and Ruiz de Mendoza’s cognitive modeling, emphasizing high-level abstraction and mental space networks. Paradox emerges from metaphorical contradictions (e.g., "death is life") and metonymic expansions (e.g., "weeping with laughter"), resolving oppositions through conceptual blending. It operates as a matrix-like strategy, enabling reframing and emergent meanings. Persian mystical texts exemplify this capacity to transcend binary logic and evoke multilayered interpretations.

سالومه صیاد راجبی, محمد ابراهیم پور نمین, خسرو جلیلی کهنه‌شهری

ادبیات صوفیه در دو صورت منثور و منظوم آن، بخشی بزرگ و مهم از ادبیات فارسی است با گونه‌ها و زیرگونه‌های متنوعی چون دستینه‌ها و آثار منثور و منظوم تعلیمی و نیز آثار خلاقه‌ای که گزارش‌گر لحظات شور و اشراق صوفی در زبانی غنایی یا رمزی(سمبلیک) است. یکی از مواد اصلی و مشترک در میان تقریباً تمامی این انواع گوناگون، نقل «حکایات» و «اقوال» مشایخ صوفی است. این پژوهش کوششی است برای ارائۀ تصویری دقیق و مستند از کمّ و کیفِ بازتابِ «حکایات» (و نه اقوالِ) مشایخ صوفی در مهم‌ترین ‌منظومه‌های تعلیمی صوفیانۀ فارسی شامل حدیقة‎الحقیقۀ سنایی، مثنوی معنوی مولانا، و هفت‌اورنگ جامی. نتایج این پژوهش نشان می‌دهد از مجموع 300 حکایت منقول در مجموع این آثار، گذشته از حکایات منسوب به پیران ناشناس (47 حکایت)، که بالاترین میزان حکایات را تشکیل می‌دهد، بیشترین حکایت‌ها به‌ترتیب مربوط به بایزید(با 24مورد)، ابوسعید ابوالخیر(با 21 مورد) و شبلی(با 20 حکایت) است. همچنین حدود یک‌چهارم از مجموع کل حکایات، «حکایات کرامات»اند و مضمون بقیۀ حکایات، تعلیم معارف و مفاهیم صوفیانه است. گفتنی است در نگاهی تاریخی و تطبیقی، به‌روشنی‌می‌توان افزایش توجه به نقل حکایاتِ کرامات را در فاصلۀ سنایی تا مولانا دید؛ چنان‌که در حدیقة‌الحقیقه، هیچ حکایت کرامتی نقل نشده اما از میان 26 حکایت منقول در دفاتر ششگانۀ مثنوی مولانا، 15 حکایت، (یعنی حدود 60درصد حکایات) کرامت‌محور است. درنهایت نیز می‌توان مجموع منظومه‌های صوفیانۀ فارسی را در مقایسه با انواعی همچون تذکره‌ها و اولیانامه‌ها و نیز عده‌ای از دستینه‌های کهن عربی، برخوردار از توجه کمتری به حکایات کرامات تلقی کرد.

Majid Mushtaq Dr

Urdu litreture has many genres like Gazal Nazam, Novel, short story and Drama.Sadarshan is one of the earlier renowned short story writers in Urdu, having potential of drama writing equally. His stories have romantic aura.  Parbala is one of his importent charector of his drama Parbal.He wrote this dramma in 1925. In This article using the close reading methods, the salient features of this characters are brought forth. It is argued that despite the social and cultural bounds of his time, Sudrashan has created a feminine character that has courageous personality and who had the capcity to turn the tables. In Parbla we can find a balance between hard core femininism and sublime qualities of traditional culture.        

Taher Lavzheh

The application of certain rules in style, language, and tone of various narratives gives coherence to an anecdote’s context of the text. The anecdote "Qazor wa Khar", taken from Kalile wa Dimna, is recreated in a different way in Mathnavi and Movlana uses it in a distinct narrative. The main objectives of the study are comparing these two different narratives of the anecdote according to the context of the text, examining the development and expansion of the anecdote’s concepts during its transition from a literary form to a mystical text, analyzing its content, explaining its themes and the way it is in form of a special narrative in Mathnavi. In this research, using content analysis and criticism criteria and theory, the researcher explicates the reasons why Movlana retold Kalile wa Dimna’s story. According to the findings of the research, Movlana, by resorting to some techniques of eloquence, introduces the thoughts and actions of the leading characters of the story as representatives of two groups in order to fulfill the aims of his story in explicating the sincere repentance, and to examine its relationships with related terms such as acquisition, trust, imitation and research in a new narrative. Movlana in this new interpretation exploits the capabilities of the language of mysticism and other small stories to explain the fundamentals of the subject and its broad implications. He emphasizes the understanding of esoteric mysteries through symbols and in referring to the adventures of the characters and analyzing their discourse, he expands the content to present the implied meanings embedded in the new story.

زهره قرائی, حدیث حسینی نسب

نظر به وفور بازترجمه‌ها در ایران و کمبود پژوهش‌ها در این حوزه، در این مطالعه‌ی کیفی و اکتشافی، به‌روش مقایسه‌ای و بااستفاده از تحلیل محتوا، بازترجمه‌های سه داستان کوتاه از مجموعه‌ی دوبلینی‌ها بررسی‌شد. چارچوب نظری این پژوهش بینامتنیت و روابط قرابت و تعارض است. هدف به‌طورخاص بررسی گرایش غالب بینامتنی میان بازترجمه‌ها بود. به‌علاوه، سعی شد باتوجه به ارتباطات بینامتنی بازترجمه‌ها صحت فرضیه‌ی برمان مبنی‌بر مبدأ-محوربودن بازترجمه‌ها و سیر تکاملی‌شان بررسی‌شود. پس از شناسایی موارد قرابت و تعارض بینامتنی، موردهایی که ماهیت یکسان داشتند در یک دسته گذاشته و کدگذاری‌شدند تا نمودهای قرابت و تعارض مشخص‌شود. بررسی‌ها نشان‌داد ارتباط میان ترجمه‌ی دوم و اول از هر دو نوع قرابت و تعارض است. قرابت بینامتنی خود را در تکرار همایندهای نامأنوس ترجمه‌های اول در ترجمه‌ی دوم نشان‌داد، و تعارض در قالب تصحیح اشکالات ترجمه‌های پیشین، افزودن حذفیات، حفظ لحن محاورات و تلطیف فرهنگی نمودیافت. ارتباط بینامتنی ترجمه‌ی سوم با ترجمه‌های پیشین از نوع تعارض بود، چراکه در ترجمه‌ی سوم گرایش به ایجاد اشکال در ترجمه‌ی بخش‌هایی از متن مشاهده‌شد. به‌علاوه، باتوجه به تلطیف فرهنگی در ترجمه‌ی دوم، گرایش به مقصد-محوربودن مشاهده‌شد و باتوجه به اشکالات موجود در ترجمه‌ی سوم، سیر تکاملی موردنظر برمان مشاهده‌نشد. ازآنجاکه روش اتخادی برای مقایسه‌ی متون در این مطالعه را می‌توان در دروس مقایسه‌ای ترجمه به‌کارگرفت، از این پژوهش می‌توان در امر آموزش ترجمه استفاده‌کرد. به‌علاوه، بخشی از نتایج این پژوهش می‌تواند گامی در جهت افزایش آگاهی میان متصدیان حوزه‌ی چاپ‌ونشر باشد و لزوم وضع قوانین بازدارنده و نظارت در حیطه‌ی نشر بازترجمه‌ها را بیش‌ازپیش آشکار کند.

Dr. Shabnam Niaz, Dr. Muhammad Afzal Butt

This article talks about the literature of every era under the ever changing influence of civilization and society. The revival of trends and social values exist accidents or mishaps of the period may decrease their importance but they cannot uproot them. In classical and contemporary Ghazal the revival and continuity of topics, trends and social values can be seen clearly in contemporary Ghazal like classical Ghazal’s era also deeply influence by the changing trends of the era. Now under the influence of new trends and ever changing thoughts the preference is given to observation too. We see the new trends and topics of contemporary Ghazal are being reformed by the same resultant same social issues or conditions which are found in the classical Ghazal.

Reza Ghanbari Abdolmaleki

در پژوهش حاضر بعد از توضیح در خصوص وجه تسمیۀ طایفۀ عبدالملکی و تبارشناسی این طایفه، دیدگاه نویسندگانی که عبدالملکی¬ها را افشار یا قشقایی و بر همین مبنا، ترک¬زبان قلمداد کرده¬اند؛ معرفی و نقد شده است. در بخش دوم، سیر کوچ¬نشینی طایفۀ عبدالملکی و پراکندگی جغرافیایی آن بررسی شده است. مقالۀ حاضر نشان داده است که طایفۀ عبدالملکی از شاخه های گوران محسوب می شوند که در گذشته از طوایف اصلی کرد بوده و از قرن 6 تا 13ق/12-19م در بیشتر وقایع مهم تاریخ کردستان و ایران نقش داشته اند. روش پژوهش حاضر، توصیفی- تحلیلی است و داده-های مقاله اغلب با مراجعه به منابع کتابخانه¬ای گردآوری شده¬اند.

Nevzat Eminoğlu

Di dirêjahiya sedsalên serdema edebiyata klasîk de estetîk yek ji wan mijarên bingehîn e ku edîb û şair li ser sekinîne. Têgeha ciwaniyê çawa wek babeteke girîng a şiîr û edebiyata klasîk e, her wisa qadeke felsefeya lêgerîna ciwaniyê ye ku jê re tê gotin “estetîk”. Ciwanî ji hêla piraniya şairên serdema navîn ve li ser hêmanên hevpar û bi heman şêweyî hatiye teswîrkirin. Digel vê yekê ew ciwaniya ku bi uslûbeke standart ve dihate ziman, bi rêya vegotinên alegorîk, girîft û pirmane ya her şairekî, rewş û rehendeke mukemel û xweser wergirtiye. Ciwanî, çawa di şairên serdema klasîk de wek babeteke sereke tête bikaranîn, her wisa di vehonandina hunerî û estetîkî ya Melayê Cizîrî de jî cihekî taybet û girîng digre. Di şi’ra wî ya lîrîk û coşîş de hêmanên ruh ên wek îhtîşam, hessasiyet, xwebawerî, ciwanî û baldarî derdikevin pêş. Di vê xebatê de armanca me ew e ku em ciwaniya ku Melayê Cizîrî li ser sekiniye bikolin û cureyên wê destnîşan bikin û binirxînin.

Zohreh Ghorbani Madavani

Textbook criticism is of great importance and status. The book “Conjugation 2”, written by Ahmad Pashazanoos, while addressing issues related to the name, has tried with exercises at the end of each lesson to provide the audience with the opportunity to explore the material presented in practice. This book is a continuation of the book “Conjugation 1” by the same author. The present article critiques the two levels of form and content of this book by descriptive-analytical method and relying on the descriptive analysis approach. All the strengths and weaknesses of the book in the two areas of form, content and mistakes of the author have been pointed out by presenting documents and examples of the book. Finally, in general, this book can be called a scientific package that tries to provide inflectional content by deductive method (mentioning the rule and then providing an example witness( and the role of meaning and subtle semantic differences in different inflectional forms are insignificant.

Roohollah Kohan Hoosh Nejad, Mohammad Hossein Altamimi

This paper reviews the book “Fiqh (Islamic Jurisprudence) of Oil and Gas”, and provides a critical view on the content of the book. The emphasis of the author for writing the book is to make the MA and PhD students of “Oil and Gas Law”, “Energy Law” and “Oil and Gas Contracts” and other interested people be familiar with basic concepts and foundations of “Fiqh (Islamic Jurisprudence) of Oil and Gas” and give them access to short and simple texts in this regard. Although the book has tried to fill the gap mentioned in the goal for writing the script, it has failed so far as chosen texts and their arrangement do not have a suitable relation with oil and gas law and contracts, and it seems that review and reorganization of the script in such a way that the reader can understand the relationship between the chosen texts and oil and gas law and contracts help to increase the coherence of the book.

Roghayeh Rahimi Sorkhani

The present study tries to evaluate and pinpoint the structural and content weaknesses and strengths of the book, entitled Archaeology of Iran (Tourism Planning and Management), authored by Karim Hajizadeh and Parviz Pourkarimi. In terms of content, the book is one of the rare and vanguard compilations in the field of the relationship between archeology and tourism in Iran. However, it has some deficiencies in different parts of this subject. The author in the present paper aimed to analyze and criticize the features and deficiencies of content and writing from several viewpoints, such as the conformity of the book subjects with approved topics by Planning Higher Council, the correctness or inaccuracy of the relationship between the content and the title of the book, the quality of the use of valid and new references as well as the typographic mistakes that cannot be ignored. The present article suggests that the book, despite its rich content and impact on the applied archaeology, seems to be used as an academic course of "Archaeology of Iran" needs to be reconsidered.

Chiara Neri, Tiziana Pontillo

On the Boundary between "Yogakkhema" in the "Suttapiṭaka" and "Yogakṣema" in the "Upaniṣads" and "Bhagavadgītā" The combination of the stems yoga- and khema-/kṣema- occurs in phrases or compounds in both ancient and in middle Indo-Aryan sources but what is intriguing is that such a combination is generally interpreted as coordinating in the former occurrences and as subordinating in the latter ones. In particular, yogakkhema- within the Buddhist Theravāda Canon and its commentarial literature is regularly analysed as a tatpuruṣa and often translated as ‘freedom from bondage or safety’. We recently presented a part of the Vedic and Pali documentation collected in the context of more broadly shared research on this subject during the 18th Conference of the International Association of Buddhist Studies (Section: “Buddhism and Its relation to other religions”) held at the University of Toronto on August 20th–25th, 2017, now published as Pontillo and Neri 2019. The case of yogakṣema/yogakkhema in Vedic and Suttapiṭaka sources. In response to Norman. In: Journal of Indian Philosophy 47(3): 527–563. Here, we shall take a further step in the above-mentioned comparison by concentrating on the occurrences of the compound yogakṣema/yogakkhema as found in the upaniṣads and in the Bhagavadgītā and in some comparable Suttapiṭaka passages with the aim of understanding what might have been the boundary that this word historically crossed in the framework of an assumed dialogue between different traditions.

Ali Afzali, Rouhollah Aboojafari

This article examines the economic conditions of publishing books in Iran. The book as one of the most important cultural goods in comparison with other cultural industries has a fairly good capacity to generate income and employment. In this research, firstly, using the value chain approach, the economic conditions of the book publishing are explained. Then, using the grounded method and utilizing economic indicators, the challenges of this area have been identified. According to the studies and surveys conducted in this study, real household expenditures on books have been decreasing since 2013. Examples include imbalances in the share of publishing chain actors, the inadequate distribution of distributors across the country, the inappropriateness of the number of bookstores with the number of publishers, the weakness of reading culture and the educational system, and the domination of the new media on people's lives are considered to be challenging. In contrast, effective policy-making with the use of economic indicators and actions such as updating the rules in this area and the use of innovations such as printing on demand, online sales, and audiobooks in many ways can help to cope with the challenges.

Suhail Mumtaz Khan

Omid Vahdanifar, Mohammad reza Sarfi, Mohammad sadegh Basiri

Abstract Today, because of the importance of narrative style in literature, science of "narratology" has great importance in the narrative, and the issue of "Time" has found a special place. "Time" and "speed" in the narrative are the two issues which are closely related to each other and always effective in narration of narrative works. Since "time" has found its great value for modern man, new knowledge, "narratology", like all areas of human knowledge, has given time particular importance. The speed of the story in a literary work is to display, actions and events occurred during what period of time and how much of the story is devoted to. Sa'di's Golestan anecdotes as one of the most successful ancient Persian literature and the Persian poet Sa'di, one of the most discussed story writers, represent other literary values. In this study the issue of "rapid narrative" as a factor contributing to the popularity and persistence of this effect has been studied. For this purpose, 81 pieces of Golestan, which has a narrative structure (with two elements: dialogue and action fiction) and also have more of a coherent plot, selected on the basis of Gerard Genette's theory of narratology, to do a descriptive analysis and to reflect the increase and decrease of speed of the narrative on topics such as: the selection and elimination, the Parish, frequency, description, dialogue, adding episode, theorist, writer, intellectual expression, revealing the imaginative and emotional time, Hadith breath, Quote, use of metaphor, decelerating and comparing the characters of the story, will be discussed. The result of this study showed that the pace of the narrative in the story of Sa'di's Golestan is "sluggish" and due to the volume of the stories, use of the maximum of rapidly reducing factors is considered good and causes this literary work to be more lasting. It also has a great impact on making the young novelists focus on the importance of the narrative in the story, and pushing researchers to discover unknown aspects of the literary works of ancient Persian language.  More stories of Golestan were written in a "realistic" way and besides simplicity, in many respects accord with the contemporary fiction techniques and principles. In this work, the following questions will be answered: 1. What are the most important factors affecting the pace of the narrative Golestan's anecdotes?  2. Does the rapid or slow pace of the narratives impact on their popularity or everlasting? The objectives of this paper can be summarized as follows: 1. Evaluation of use of the additive and reductive factors in speed of Golestan's narrative stories.  2. Examining the Effect of narrative speed as one of the most important topics in everlasting Golestan's stories.  3- Determine the skills Saadi's successful or unsuccessful use of narrative speed. In this paper was to review the pace of the narrative in Sa'di's Golestan anecdotes. The results of this study showed that: 1. In Golestan's anecdots, the use of elements of selection and elimination, single frequency and frequency recounts, speeded up (rapid movement) the narrative. 2. In Golestan's anecdotes these factors have been used more: descriptions, subjective expression, adding episode, frequently repeated, the Parish of retrospectively, revealing the mental - emotional, negative acceleration, self-talk, dialogue, quotation, analogy, theorizing and comparing the characters. But these elements slowed down the speed of narrative stories. Thus, according to the results of this paper can be said the Golestan's anecdotes are narrative s in which the pace is slow. However this pace of the narrative is effective because pace factors of the narratives are charm and reputation and in the popularity of Golestan, have left a positive effect. Thus, this feature makes the reader without boredom, enjoy reading stories, adventures and events and pursue them until the end. Witness is the various and several editions of Golestan by different publications that justify the popularity of this work in the eyes of the audiences.

رضوان متولیان نائینی, فاطمه محمدپور

چینش صحیح واژگان درکنار یکدیگر و ارتباط میان آن‌ها که می بایست مطابق با قواعد خاص هر زبان صورت گیرد، یک عبارت زبانی منسجم را شکل می دهد. در نظریه ظرفیت(تنی‌یر 1959)، این قواعد براساس مرکزیت فعل و رابطه میان آن و سازه‌های درون جمله تعریف می‌شوند. از سوی دیگر درک بهتر یک پاره‌گفت زبانی منسجم، بر مبنای نظریه‌ی معناشناسی قالب(فیلمور 1976)، با تداعی یک قالب خاص برای هر عبارت زبانی و در نظر گرفتن ارتباط معنایی میان عناصر تشکیل دهنده‌ی جمله حاصل می‌گردد. اهمیت بررسی مقابله‌ای ظرفیت نحوی و معنایی افعال زبان‌های گوناگون در چارچوب‌های مطرح شده وکارآیی آن در حوزه‌های مختلف از جمله ترجمه دستی و ماشینی، پردازش زبان طبیعی و همچنین آموزش زبان، ما را بر آن داشت تا بر تدوین واژه‌نامه‌ی تقابلی ظرفیت افعال فارسی-انگلیسی(PEVV) همت گماریم. در مقاله‌ی حاضر قصد داریم شیوه‌ی تدوین این واژه‌نامه و اجزای تشکیل دهنده‌ی آن را با تمرکز بر برخی افعال قالب «پر کردن» نشان ‌دهیم و بدین وسیله تغییرات ظرفیت آن‌ها را به تصویر کشیم.

Fatemeh Modarresi, Maryam Arab

Abstract Figures of speech in addition to their aesthetic functions have different effects on words. Internal music is one of the  effects of figures of speech  which can play an important role in beautifying the word and its effect on the audience. The internal music comes with the use of verbal figures of speech. Figures that make words related by similarity or uniformity of vowels and consonants and create sensible  alliteration. Categories of palilogy, alliteration, parallelism, pun and riming prose are among the figures of speech  that play a major role in creating internal  music of the poem. In this study, with a descriptive-analytical approach, we discuss the roll of music making factors in  Tamhidat as an example of prose poem. The language of Ein ol-Ghozat in Tamhidat is preachy and didactical and in an addressing mode. Despite the intensity and sharpness of his speech, he speaks simple language with his audience. However, his words are in some cases melodious that influences audience and increases its penetration in the listener. The music of his words is natural so the listener can feel it with his spirit and takes its effect. Well syntagmatic arrangement of words is one of his language features that is based on music and phonemes' melody. This music gives words importance and predominance and makes Tamhida's  prose a kind of prose poem. Applying some of the subtle and tiny musical elements such as parallelism (paronomasia /pun) makes the music of book more effective and catching. In other words, harmony of sounds and synchronization through which prose becomes rhythmic and melodious is one of the aesthetic aspects of the mystical prose of Ein ol-Ghozat that arises from his word's music and special intonation, so as human nature accepts it and enjoys reading. This word music is found in the form of alliteration, pun, repetition, and meter in important parts of his speech that sometimes becomes close to prosodic meter. In Ein ol-Ghozat's prose without feeling prosodic meter by listener, a wave of intonation and meter dominates resulted from alliteration and rhyme, and proximity of the number of syllables in every symmetry and perhaps likeness and nearness of the number of syllables in all or parts of the symmetries. Repetition as a key element of the internal music is one of Ein ol-Ghozat's stylistic characteristic.  Repetitions are seen in three forms in Ein ol-Ghozat languages. 1- Alliteration, this group consists of various kinds of pun, rhyme, repetition, etc. 2- Parallelism: Repetition of words or phrases. 3- Palilology: Repetition of word: This form is one of the most important and aesthetic repetition in Tamhidat that in addition to making prose integrated, is effective in conveying the concept and content of the message of Ein ol-Ghozat, as repetition of the words "Alas," " O’ Friend," and "O’ Dear" in several phrases has a great influence in stimulation of feeling and  inculcation emotion in the reader. Alliteration: One of the most important aspects of aesthetics in the mystical prose of Ein ol-Ghozat are sound harmony and alliteration that can be mainly found in pun/ paronomasia and riming. Usage of rhyme in all Tamhidat is not in the same level. Wherever  discussion is didactic and reasoning, it is not generally riming, but where  the subject is stories and anecdotes and analogies or becomes emotional, usually is riming. One manifestation of this figure is short sentences and aphorisms, whether the word is quotation of  an old or an important person or whether the author expresses his own word. Apart from these, Ein ol-Ghozat has worked other ways to enrich his word's music. The most important of these methods are: Bringing words that at least their initials are co-voiced. Such as: "Ebtela" and "Emtehan" Phonemes processing: a kind of internal music is repetition and sameness of consonants and vowels. This figure in some cases, with creating a specific internal music, highlights the phrases and helps to conveying the message and gives pleasure to the audience. Bringing together words that make a pun is another species of alliteration in the language of Ein ol-Ghozat. This figure of speech is one of the best examples of  creating and enhancing music in words or sentences. Bringing together the co-meter terms is one of other species of alliteration in Tamhidat.  Repetition of words or phrases, are of those categories that is used in the mystical prose of Ein ol-Ghozat and is one of the stylistic features and music making elements of his Word. Repetition in Ein ol-Ghozat's language, sometimes have artistic and rhetorical aspects that helps his prose being rhythmic and is effective in conveying the meaning and intention of the speaker. Ein ol-Ghozat while repeats thoughts and beliefs of the mystics, repeats words and combinations in the various types, so that he not only raises the words' musical level and makes it melodious, but also increases the rhythmic role of his own speaking. Sometimes this repetition in the form of word or phrase in the end of sentence comes symmetrically, it functions like radif in hemistiches and if in the terms of syllables number be long, makes  an intonation in the words too.

Akram Joudi Nemati

The present article majorly deals with the relation of manifestation with behavioral norms of the mystics. It intends to show how, in the history of Sufism, the manifestation of the Beauty has brought such qualities as grace, goodness, and mercy of God into the attention of the lover mystic, making him spiritually intoxicated and giving rise to speeches and behaviors that suggest abandoning religious obligations. On the other hand, the manifestation of Glory has brought such qualities as overwhelming power, wrath, and dominion of God into the attention of the mystic, keeping him in a state of constant self-consciousness and leading him to observance of the norms and concentration on religious obligations and devotions. The first group of mystics is called Ashāb al-Sukr and the second Ashāb al- Sahw. Ashāb al- Sukr have been accused of abandoning religious obligations and at the same time known as men of abundant worship and devotion. This article, additionally, discusses the causes of this contradiction. Presenting certain arguments and evidence, the author establishes the point that there is no real contradiction. The theoretical grounds of the manifestation of the Beauty and such issues as the Unity of Being and the station of union and annihilation have given rise to different perceptions. However, in practice, there has necessarily been no matter of abandoning religious obligations.

J Dehghanian

In the history of India, Iran and Islamic countries Kalile va Demne is important in many aspects. In this work, the attitude toward human being and society in the pre-enlightenment era has been greatly reflected. In spite of superficial coherence, this work contains different layers and the role of three great oriental civilizations, that is, India, Iran and Arab can be observed in it. Most of Kalile va Demne's characters are beast and the style of the work is allegorical. The author uses this method to avoid political consequences. A great number of tales are about politics and political culture in oriental society (Iran, India and Islamic world). By analyzing this text the structure of political culture and its influence on individual and social behaviors can be discovered. Postmodernist thinkers, especially Michel Foucault, make it clear that power and political culture are so complicated and affect private and social life. It is possible to claim that there is a meaningful relationship between people’s deed and power in each society. In this article, we take a look at political culture and power in Kalile va Demne and will analyze its effects on people’s thoughts and deeds.