Hasil untuk "Indo-Iranian languages and literature"

SAIMA HABIB, DR. SYED AOUN SAJID NAQVI

This paper offers a comparative study of Allama Muhammad Iqbal and Dr. Israr Ahmed’s concept of Khilāfa (Caliphate), analyzing their intellectual, philosophical, and theological interpretations of Islamic political authority. Despite differing approaches—Iqbal’s being visionary and philosophical, and Israr Ahmed’s being organizational and prescriptive—both converge on the belief that Khilāfa is essential for Muslim unity, spiritual renewal, and the realization of divine sovereignty on earth. This comparative analysis underscores their shared rejection of Western secular paradigms while highlighting the contrast between Iqbal’s poetic-philosophical vision and Israr Ahmed’s pragmatic call to action.

Kinga Paraskiewicz

This article examines the notion of verbal aggression evident in Zoroastrian prayers. Although one may be surprised that a declaration of Zoroastrian faith, called Fravarānē (Yasna 12), begins with the words “I hate / abhor / am disgusted” instead of “I believe,” cursing (nifrīn kunišn) the demons is a pious religious act.

Hatice Görgün

<p class="MsoNormal" style="margin: 0cm 0cm 0.0001pt; font-size: medium; font-family: Calibri, sans-serif; text-align: justify; text-indent: 42.55pt;"><span style="font-family: &quot;Times New Roman&quot;, serif;" lang="EN-US">The people of the subcontinent considered it their duty to stand by the Ottoman State, which they were pleased with and grateful for, because of their administration, which had lasted since the first Turkish states. After the Ottoman Empire took over the caliphate, a spiritual bond was established between the Muslims of the subcontinent and the Ottoman Empire, and the relations between these two societies gradually increased. During difficult times that countries go through, authors are usually the ones who put societies in action. Muhammed Iqbal, who had a sincere love for Turks, shared the grief of Turks during the Tripoli War. As a reflection of this, Iqbal made a great contribution to forming public opinion by instilling love for Turks into Indian Muslims through the poems in which he gave examples about the heroic epics of Turks. In this study, we aim to reveal the significance of Iqbal&rsquo;s support, which reached to a big crowd of people between Subcontinent Muslims, by studying his poems, written with the same emotions and enthusiasm as Turks, that depict the tough times Turks were going through during the Tripoli War.&nbsp;</span></p>

مژگان ربانی, مهیار علوی مقدم, محمود فیروزی مقدم et al.

این مقاله می‌کوشد با رویکردی بینانشانه‌شناسی و بر اساس الگوی رمزگان روایی رولان بارت به تحلیل فیلم اقتباسی «گاو خونی» ساختۀ بهروز افخمی برگرفته‌شده ازرمان گاوخونی نوشتۀ جعفرمدرّس صادقی بپردازد. در نقد آثار سینمایی، به طور عمده به جنبه‌های زیبایی‌شناسی، صحنه پردازی، عناصر بصری فیلم و درون‌مایۀ فیلم توجّه می‌شود و دلالت‌ها، نشانه‌ها و مؤلّفه‌های نشانه‌شناختی و معناشناختی آن، کمتر مورد توجّه قرار می‌گیرد. در تحلیل سینما، رویکرد نشانه‌شناسی به بررسی، تحلیل و تفسیر کنش دلالت پذیری و فرایند معنا سازی متن می‌پردازد و فیلم را به عنوان یک نظام نشانه‌ای تصویری، دربر‌گیرندۀ «تصویر»(باز نمودشی)،«شاخص»(نشانة نقش کارکردی برای بازنمود تصویر) و «نماد»(نشانة تلقین کنندۀ معنا از معنای ذاتی تصویر) بررسی می‌کند. در رویکرد بینانشانه‌ای، به یاری الگوی رمزگان روایی رولان بارت، یعنی رمزگان هرمنوتیکی، فرهنگی، معنابنی، کنش‌مند و نمادین، می‌توان به تحلیل بینانشانه شناختی فیلم‌های سینمایی از جمله فیلم اقتباسی «گاو خونی» پرداخت. دستاورد این پژوهش این است که با بررسی نظام نشانگانی متمایز بین دو متن زبانی- ادبی و متن تصویری، می‌توان به تحلیل بینانشانگانی متنی ادبی-روایی(دراین پژوهش: رمان«گاوخونی») وفیلم اقتباسی-روایی(دراین پژوهش: فیلم«گاو خونی») به کمکِ رمزگان روایی پنج‌گانة رولان بارت پرداخت که این پژوهش، موجب غنای مطالعات متن شناختی ومطالعات سینمایی می شود.

Hemdat Salay

Śiva’s sense of self is ever-evolving, ever-changing. His selfawareness is in constant motion, expanding and contracting in its many manifestations. The movement is circular. It forms Śiva’s life cycle which is structured and bound to an internal dynamic based on a tensile balance between the reflexive and reflective modes of the god. The following article examines this dynamic, sketches the structure of the life cycle as it appears in the Kālavadha Kāvya of Kṛṣṇalīlāśuka, and aims to shed new light on the vibrant sense of Śiva’s self.

Mohammad Sadegh Basiri, Najmeh Hosseini Sarvari, Ali Jahanshahi Afshar

Iqbal Lahori, a Muslim thinker, believed that poets, like prophets, are leaders and guides of human beings. Poetry, in his belief, is the means of expressing the truth and inviting people to fight for the truth. Iqbal has paid attention to the instructive and persuasive aspect of speech, as well as the eloquence and rhetoric of words and meanings of poetry. Imperative sentences show the most important aspect of the conative function of language. For these reasons, the function of secondary senses of imperative sentences in Iqbal poetry was studied and analyzed in this study. The research method was based on the identification and classification of secondary senses of imperative sentences in Iqbal's poetry besides analyzing the evidence based on the two-way relationship between the speaker and the audience. This was an important research because it could explain the function of language and message transmission methods according to the interaction between the poet and his audience. The results of this study showed that in Iqbal's poems, 770 sentences had been used with secondary meanings, while the imperative sentences had the meaning of guidance in 50% of them and he was thus in a superior position to the audience in terms of knowledge and awareness. In 35% of the evidence, he spoke to the audience with an equal verbal communication so as to persuade them. He showed a lower position in front of the audience only when he spoke to God and absent or imaginary audience.IntroductionIqbal Lahori (1877-1938) was a Muslim philosopher, politician, poet, thinker, and one of the leaders, who revived religious thoughts and strived for the unity and progress of Muslims in the world. He was an knowledgeable thinker. He studied in European universities. He was fluent in Persian, Arabic, Urdu, Sanskrit, and English languages. He also knew the views of philosophers, such as Hegel, Schopenhauer, Nietzsche, etc. and criticized some of them. He believed that a poet's duties are finding out the secrets of existence and revealing them to humanity. Therefore, according to him, the purpose of a poem is changing people's thoughts and inviting everyone to make an effort for revolution. That's why "his poems are lively, powerful, and exciting in terms of theme and music of combined words." (Yusefi, 1990: 407)Iqbal knew Urdu, Persian, Arabic, Sanskrit, and English languages, but chose Persian language to express his passionate thoughts. He wrote poetry in all forms and styles of Persian poetry; yet, his poetry is not an imitation of the poems of other poets. and "Although he did not intend to be a poet, he was the greatest thinker and poet of his time due to the eloquence of his words, rhetoric of his meanings, and popular nature of his poetry." (Schimmel, 2004: 222) His poetry is worthy of attention because he paid attention to the instructive and persuasive aspects of speech while paying attention to the eloquence of the words and meanings of his poems. Imperative sentences show the persuasive role of language in the best way. Therefore, paying attention to the use of imperative sentences and their other meanings reveals a poet’s ways of using an artistic language to us. Material & MethodsThe aim of this study was to analyze the secondary meanings of imperative sentences in Iqbal Lahori's poems. For this purpose, all the imperative sentences of his poems were extracted from the general texts of his Persian poems and analyzed in terms of their secondary meanings. Discussion & ResultsThe importance of this research was not in revealing the thematic aspects of Iqbal's poems and explaining his thoughts, but in paying attention to the functions of language and methods of conveying the message in his poetry. By explaining the semantic aspect of the sentences based on the two-way communication between the speaker and poet and the listener and singer and finally analyzing the frequency of using them, as well as the position and role of the speaker in relation to the reader, we tried to answer the following question: What are the views of Iqbal as a Muslim thinker and leader about a poet’s role and duty and how are they reflected in his poems?Abdul Qader Al Jorjani is considered the founder of rhetoric. In his book entitled Dalael-al-E’jaz (The Reasons for Miracles), he considers rhetoric to be "the science of speech" and believes that the eloquence of words is related to the order of hidden features in speech unlike those who thought that rhetoric is related to words". (Shauqi Zeyf, 2004: 216-218) Syntactic purposes do not cause advantages absolutely and by themselves; rather, the advantage is related to purposes, according to which the speech is organized (Jorjani, 2004: 93). In explaining the purposes of words, Abdul Qader has examined the subjects of declarative and non-declarative sentences (interrogative, exclamatory, and imperative sentences) (Insha), but he has not fully explained the types of non-declarative sentences and their meanings (Shauqi Zeyf, 2004: 315). Zamakhshari, who found Jorjani's writings to be the best way of portraying the miraculous rhetoric of the Qur'an, has adapted Abdul Qader’s opinions with the verses of the Qur'an and combined this type of adaptation with many of his own views. In the explanation of interrogative and imperative sentences in the verses of the Qur'an, he has explained other meanings that can be understood from the implicit evidence. He completed Abdul Qader’s comments, but the later scholars of rhetoric did not add anything more to his words. Writers like Fakhr Razi, Sakkaki, Taftazani, Ibn Arab Shah, etc. have only explained and summarized the opinions of these two scholars. They have included a series of useless rules in their books and divided their books into sub-sections with smaller sub-headings (Alavi Moqadam, 1993: 319). Later scholars of rhetoric, such as Siyuti and Taftazani, have not added anything to Zamakhshari's words in the imperative sentences. The definitions of imperative sentences in Arabic and Persian rhetorical books are more or less the same. They have listed different types of secondary meanings with 5 to 20 purposes, in imperative sentences.In explaining the diagram of Jacobsen's communication process, Safavi (1994: 31-32) has mentioned phonetic and imperative constructions as the most obvious examples of the persuasive role of language, a role in which the message is directed towards the listener. Therefore, in any case, the purpose of using imperative construction is to persuade the audience; however, if the meaning of the imperative sentence "executing the command is impossible or inconvenient for the addressee" turns into an exclamatory sentence with an emotional meaning in the context of speech (shamisa, 2007: 49), it will be understood to have a virtual secondary meaning. In addition, the relationship between the speaker and the listener determines the different meanings of imperative sentences; that is, the relationship based on equality or superiority and inferiority on both sides of the verbal communication determines the purpose of the speaker to use an imperative sentence. Also, it should be noted that not only the levels of practical power are the basis of the equality or superiority of the speaker and listener, but also the difference in the levels of awareness and knowledge gives meaning to the process of communication between the speaker and the listener. Accordingly, in this study, all the imperative sentences of Iqbal's poems were identified and classified into 9 groups based on the secondary purposes of the sentences as follows:Guiding and encouragingThe difference between ordering and guiding and persuading is in the question of whether the audience is required to do an action or not. Although the functions of guidance and persuasion are the same, these two meanings are different in terms of the need for the audience to do the work, the relationship between the speaker and listener, and the speaker's level of confidence in the awareness and acceptance of the audience. When the purpose of the speaker is persuading the audience through his guidance, the poet puts himself in a more superior position than the audience in terms of having knowledge and awareness, while it is thought that the audience is empty-minded or his knowledge of the subject is very little and his acceptance of the issue is also doubtful. Persuasion does not have a persuasive aspect because the audience is equal to the speaker in terms of knowledge and information about the subject or at least he is not empty-minded. Among Iqbal's 770 verses, in which imperative sentences had a secondary meaning, 320 verses bore the meaning of guidance and 125 verses had the meaning of persuasion.Praying, wishing, and beggingIn Iqbal's 72 verses, there were imperative sentences with the meaning of prayer and in 111 verses had the meaning of wishing and begging. Praying and begging both mean a request from a subordinate person to his/her superior one. If the audience is able to fulfill the speaker's request, the imperative verb would mean a wish from God, the Prophet, and other great religious leaders, while it means praying, but if the listener is unable to fulfill the speaker's request, the imperative verb can mean a wish and begging. In addition, in the sense of desire, "the speaker does not hope that his desire will be fulfilled because either the request is impossible or his/her superior person is not able to do it." (Dibaji, 2015: 43)Requesting The use of imperative sentences in the sense of request shows the equality of the speaker and the listener; "that is, a friend or colleague asks his friend and colleague to do something." (Kazzazi, 1994: 219) Only in a relatively small number of Iqbal's poems (25 verses), the imperative verb meant a request.Asking for compassionIn this case, the use of an imperative verb means asking the listener, who has the same rank as the speaker. The purpose of this way of speaking is "to attract the audience’s kindness and affection". (Kazzazi, 1994: 53) In 10 verses of Iqbal's poems, the imperative sentences meant a request for compassion.Taunting and ridiculingTaunting and ridiculing is the use of an imperative verb in speech with the intention of humiliating the audience or blaming and slandering him. In this situation, it is necessary that the listener’s level of dignity be lower than that of the speaker or the speaker imagine to have a higher position than the audience. In Iqbal's 6 verses, the imperative sentences meant taunting and ridiculing and in 5 verses, the poet talked to the hypocrites.Threatening and warningUsing an imperative verb to convey the meaning of threatening or warning although not binding on the audience requires the speaker's real or alleged superiority over the audience. What is meant by excellence is not the superiority of dignity based on power, but the speaker's possession of more knowledge in particular subject areas or his imagination and belief in relation to his increased knowledge or lived experience. In Iqbal's 48 verses, the imperative verbs had such a meaning.Informing and warningIn terms of the relationship between the speaker and the listener and their positions, informing is similar to warning with the difference that the purpose of warning and threatening is to prevent the audience from doing something, but the purpose of informing and warning is to encourage. This meaning could be seen in Iqbal's 10 verses.Creating a surpriseIn Iqbal's 30 verses, the imperative sentences meant creating a surprise in the audience. In most of these verses, the poet surprised the audience and was proud of himself. In this case, along with the conative role of imperative sentences, the emotive role of language is prominent and "the speech is directed towards both the listener and speaker." (Safavi, 1994: 40) In this case, the audience is equal to the poet or is his friend, but he does not have the poet’s spiritual experience. Therefore, in terms of knowledge and experience, the poet is in a superior position compared to the audience and reports an event that the audience is unfamiliar with.Considering equity and giving authority to someoneGiving authority to someone means stimulating someone and leaving him/her free to choose between two opposite things (Homaei, 1994: 102-103). In the concept of considering two things as equal, it is assumed that one thing happens more than the other thing. In Iqbal's 12 verses, the imperative verbs were mentioned with these two meanings. In this case, whenever the poet talks to God, his speech means a prayer, but when the audience’s status is equal or lower than the speaker’s, the poet’s purpose is guidance and encouragement. ConclusionThe aim of this research was to investigate the secondary meanings of imperative sentences in Iqbal Lahori's poems. For this purpose, 770 verses, in which imperative sentences had been used with secondary meanings, were identified, analyzed, and categorized in terms of the relationship between the poet and the audience. The results of this research obtained from the total of these 770 verses were as follows:- 42% of the imperative sentences meant guidance .In his writings, Iqbal considered a poet to be equal to a prophet and emphasized that his role and duty was awakening people’s will and encouraging them to face hardships for achieving peace and well-being. His frequent use of imperative sentences in this sense showed that he had used his poetry to communicate his ideology.- After conveying the meaning of guidance, the imperative verbs, the most frequent meaning of the imperative sentences in Iqbal's poetry was warning and punishment (a total of 7%).- The use of the imperative sentences with the meaning of taunting and ridiculing in Iqbal's speech was so little that it could be ignored because it did not reflect the poet's style in speaking to an inferior audience.-  In Iqbal's poetry, encouragement was the second most frequent secondary meaning of the imperative sentences (16%).- 4% of the imperative sentences in Iqbal's poetry meant creating a surprise in the audience.- 4% of the imperative sentences in Iqbal's poetry meant requesting and attracting the audience’s kindness and affection.- Only 2% of the imperative sentences in Iqbal's poetry had the meaning of equality and giving authority to someone.Praying and begging both mean a request from a subordinate person to his/her superior one. Iqbal did not praise anyone but God in his poetry and thus, the imperative sentences in 72 verses of his meant a prayer to God. In his 111 verses, the meaning of the imperative sentences was wishing and begging. In these sentences the listener or audience, was absent and virtual, such as a butler (Saqi), the sun, or the soul of the deceased poets.The analysis of the secondary meanings of the imperative sentences in Iqbal's poetry showed that the poet spoke to the audience only in front of God and a virtual and absent audience from a lower position. In other cases, he always spoke to a listener, who was of equal status or had a lower status than his. In Iqbal's poetry, speaking to the audience from a superior position had the highest repetition in the imperative sentences with secondary meanings (a total of 50%). Speaking to a listener, who had the same status and dignity as the speaker with a total of 35% showed the second most used form of meaning in the imperative sentences in Iqbal's poetry, while most of these sentences had the meaning of encouragement. Choosing the meaning of guidance and encouragement for the imperative sentences and avoiding humiliating and mocking the audience showed that Iqbal, above all else, cared about the missions and roles of poetry and poet in guiding people, especially Muslims. For this purpose, according to the context and conditions of the speech, he spoke of a superior or equal position to the audience’s, while the poet’s higher position and dignity was the result of his greater knowledge and awareness than those of his listeners audiences, whom he imagined; hence, it was his duty to guide them.

حسن جهاندار

عطاملک جوینی، نویسندۀ تاریخ جهانگشای جوینی، در نگارش کتاب خود از شعر دیگران بهره برده است. ضبط بسیاری از این اشعار با آنچه در مآخذ اصلی آمده است متفاوت است. در این پژوهش یکی از علل این اختلاف‌ها را که دستکاری و تغییر عمدی مؤلف باشد، مورد مطالعه قرار داده و با بررسی نمونه‌ها نشان داده‌ایم که این نویسنده گاه، با هدف ایجاد هماهنگی بیشتر میان نظم و نثر، به‌فراخور موضوع کلام، آگاهانه در اشعار دیگران تغییراتی اعمال کرده است. البته این تنها یکی از دلایل است و از این رو در ادامه دربارۀ عوامل دیگر از جمله اختلاف نسخ، احتمال خطای حافظه و تصرّف ذوقی نیز به‌اختصار توضیحاتی آمده است.عطاملک جوینی، نویسندۀ تاریخ جهانگشای جوینی، در نگارش کتاب خود از شعر دیگران بهره برده است. ضبط بسیاری از این اشعار با آنچه در مآخذ اصلی آمده است متفاوت است. در این پژوهش یکی از علل این اختلاف‌ها را که دستکاری و تغییر عمدی مؤلف باشد، مورد مطالعه قرار داده

محمد ابراهیم پور نمین

یکی از انواع نگارش‌ها در ادب صوفیه، مجموعه‌هایی است گرد‌آمده در ضبط و نقل اقوال و احوال مشایخ و پیران تصوّف؛ آثاری که در تعبیری عام، تذکره‌های صوفیانه خوانده می‌شود. این دسته از آثار عموماً برآمده از سنّتی رایج در اغلب قریب‌به‌اتفاق ادیان و مذاهب است که حیات اولیا و قدّیسین را خاصه پس از مرگ آنان، نه صرفاً مقید به چهارچوب عینیت و واقعیت تاریخی حیات ایشان، بلکه بیشتر آمیخته و پوشیده با لایه‌های متعددی از افسانه و کرامت و در ساحتی قدسی و منزّه به تصویر می‌‌کشد؛ سنّتی که از تمامی انواع و گونه‌های آن در وسیع‌ترین معنایش می‌توان به مقدّس‌نگاری/ سپنتانگاری (Hagiography) تعبیر کرد. از این میراث صوفیه در مقام یک نوع / ژانر، با تعابیری چون احوال یا حالات / تذکره / سیره یا سیرت یا سیرت‌نامه یا سِیر/ مقامات و مناقب‌ یا مناقب‌نامه/ ولی‌نامه/ اولیانامه در منابع کهن و جدید یاد شده است. پژوهش حاضر از دیدگاه نقد ژانر و بررسی چشم‌انداز تاریخی تحولات این گونه از نوشتارهای صوفیان است که نشان می‌دهد ژانر مذکور چگونه از میراث زهدنویسان اولیه سر بر می‌آورد و در نقطۀ اوج تکامل خود به اولیانامه‌های اختصاصی مشایخ منجر می‌شود.

Ahmad Behnami

“Haqiqat-ol Hadiqat: Selections & Excerpts of All Chapters of Sanai Ghaznavis Hadiqat-ol Haqiqat” is a book compiled by Homeira Zomorodi, with the aim of providing a selection from “Sanai Ghaznavis Hadiqat-ol Haqiqat” book and related commentary. Was the book successful in achieving its purpose of familiarizing Persian literature readers and students with this significant Persian literary work? In order to evaluate the text accuracy, the author refers to valid sources such as Persian dictionaries, the original text of Sana’i Ghaznavi’s book, old Persian texts sharing common anecdotes with the original text, and commentaries and explications. As a result of such evaluation, few shortcomings have been found, some of which can be cited as various writing, editing, and printing-related flaws in the text, and the citations of verses in many cases are incorrect. In several instances, there are also inaccurate interpretations of verses, incorrect presentation of anecdotes and allusions origins, and flawed translation of cited Arabic phrases. Also, many verses are left unexplained.

پرویز البرزی ورکی

این جستار به ‌واکاوی مقابله‌ای در فعل‌های پیشوندی زبان‌های فارسی و آلمانی معاصر می‌پردازد. در زبان فارسی، فعل پیشوندی فعلی است که از یک ‌فعل ساده و یک ‌پیشوند ساخته شده ‌باشد. در این زبان با افزودن پیشوند اشتقاقی به ‌فعل‌های ساده، ممکن است معنای فعل پیشوندی عوض شود. در زبان آلمانی، فعل پیشوندی فعلی است که از یک فعل ساده، اسم یا صفت و یک پیشوند ساخته شده باشد. در این زبان با افزودن پیشوند به ‌مبنای اشتقاقی، ممکن است معنای فعل پیشوندی عوض شود و یا تغییر نحوی در ظرفیت آن ایجاد شود. الگوهای معنای واژه‌سازی متنوعی در پیشوندهای فعلی هر دو زبان یافت می‌شود. ضمن اینکه شباهت‌هایی بین نظام فعل‌های پیشوندی دو زبان مشاهده می‌شود، تفاوت‌های آشکاری نیز بین این دو نظام وجود دارد. در هر حال، مؤلفه‌های هم‌گرایی و واگرایی فعل‌های پیشوندی هر دو زبان نسبتاً متعادلند. داده‌ها و یافته‌های اولیه مقالۀ حاضر برگرفته از منابع شاخص در زمینۀ واژه‌سازی دو زبان است، اما داده‌ها و یافته‌های ثانویه برآیند پژوهش نگارنده است.

Saeed Hatami, Hameed Jafari Qarye Ali, Ali Haidarizade

Aesthetics of Rafsanjan poets’ poems after the Islamic Revolution The study, deploying the descriptive-analytic approach, examines the aesthetics of the Rafsanjan poets’ poems after the Islamic Revolution. The results of the study show that the aesthetics of Rafsanjan poets’ poems has been based on innovation in music and alliteration, vagueness, metaphor, symbolism, and defamiliarization. 1. Statement of the problem In this paper, the viewpoint of Rafsanjan poets on poetry music, forms and figures is examined, the poets’ interest in poetry aesthetics is indicated, and the poets’ innovations and attempts are assessed along the way. 2. Forms     The works of Rafsanjan are more in forms of sonnet, masnavi, quatrain, couplet, four-piece, Nimayi, Sepid, short poem, triad in quatrain (trio, two-rhyme quatrain, Nimayi short poem in quatrain form), Nimayi single-verse, Nimayi semi-verse, and rhyme-less sonnet. 3. Music of the poem   3.1. Alliteration Double alliteration, continuous alliteration, and discrete alliteration, are different types of alliteration in Rafsanjan poets’ poems from an external viewpoint, and from a practical and purpose-based view, one can mention the pleasing but meaningless poem. In the pleasing but meaningless poem, the music resulting from sound repetition is not related to the meaning at all. 3.2. Inversion Is a figure of speech which is made by inverting the word order of a compound or a sentence and creates a new meaning. 3.3. Vagueness Here, only the vaguenesses are mentioned which are not cited obviously in classical new books:  3.3.1. Linked verbal vagueness with the same letters It is a type of vagueness in which when the reader reads two (or more) words, they notice the presence of another word. 3.3.2. Linked verbal vagueness with different letters It is a type of vagueness in which the reader, when reading it, feels that from the link of the sounds of some words, they hear the sounds of another word or compound. 3.3.3. Verbal verbal vagueness In this kind of vagueness, a word, when read, evokes another word with a colloquial pronunciation, which has a separate meaning; however, in relation to the word having the vagueness with, is pleasant. 3.3.4. Allusion vagueness Allusion vagueness occurs when a word refers to two events at the same time, so that its semantic load, at the beginning, would refers to an accident and its implicit semantic load which comes to mind refers to another event. 3.3.5. Practical vagueness Sometimes the reader reads a poem and pronounces a word in such a way that the hearer thinks that they are the audience, however, as they continue reading, they find out that they were wrong and laughs for their mistake:      Be Quiet!, a sound is coming from the sky               The sound comes from God’s feast (Heydarizade, A2012: 77) 4. Defamiliarization in allusion for creating humor Likening today's lovers and beloveds to Leyli and Majnoun and making them get together contrary to the original story, is a kind of defamiliarization in allusion for creating humor:         There is a reason Majnoun would go on strike           In the first night of his marriage (Jahanbakhsh, 2013: 16) 5. Expressive figures of speech In Rafsanjan poets’ poems, most similarities are in association with the cultural and economic characteristics of the region and it seems that the poets of Rafsanjan have expanded a little the “Maknie” metaphor; the features of the metaphor in their poems are: personification, animal likening and plant likening.  Regarding the use of symbol one can state: In the poems of the region, most symbols are from natural phenomena and are more intended to induce ethical messages. Generally, using animal symbols is the best way to create humor in their poems. Conclusions General assessment of the poems from Rafsanjan poets indicate that poems in different lyric, religious, humorous, and social types in classical, Nimayi, and short poem types have developed seriously and each have been developed in works of one of the poets and has been decorated with figures of speech. Innovation of Rafsanjan poets in quatrain and Sepid short poems and also attending to some of verbal games and figures of speech, in a way that they have had an undeniable role in creating meaning, has made the field dynamic.

Leila Kordbache, Hossein Aghahosseini, Seyedmorteza Hashemi

Deviation from the norm, deviation  from the  rules that  governing  on  the  syntagmatic relations  of  the words, adding  the  rules  on  the  standard language, displace  in  parts  of  sentence,  and  manipulating  in  accepted  structure  of  grammar,  are  collection  of  methods  that  most  poets  use,  for  arriving  to the language  of  poetry.  Principally,  use  of  methods  in  language  that  focuses  on  language  instead  of  message  creates  foregrounding  in  language  of  poetry.  Foregrounding  in  language  of  poetry,  takes  shape  in  two  kinds  of  deviation  and  extra-regularity,  and  deviation,  takes  shape  with  displace  and  manipulating  in  parts  of  different  areas  of  grammar.  Adjective  that  has  a  secondary  role  in  the  structure  of  sentence,  is  so  flexible,  and  has  suitable  context  for  deviation.  Different  deviations  in  this  area,  especially  in  contemporary poetry,  create  significant  variety  in  application  of  adjective. In this article, examining deviation of adjectives' structure rules in contemporary literature, we have discussed importance of adjective as unessential grammatical component in deviation. In addition, we have shown flexibility of adjective to acceptance of deviation, and reviewed its impact on richness of language in Persian poetry. On the other hand, we have shown that most of deviation types in adjective structure, had been available in past literature (poetry and prose), for this reason, past literature considered as a treasures of language structures.   Adjectives are groups of words, which describe nouns and determine one or more of their characteristics such as their state, number or amount, etc. In fact, adjectives are so important that some scholars believe that they are more important than simile, metonymy and metaphor. Moreover, they state that the best way to express an image is via using adjectives. Furthermore, some have written about the structure of adjectives, which are being investigated grammatically using two different approaches: Firstly, adjectives are investigated as one of the seven parts of speech. Secondly, they are investigated within linguistic contexts, i.e. sentences. The present paper attempts to study some frequent adjective constructions, which deviate from standard linguistic rules, so that they cause defamiliarization in the poetic language. In this paper, investigating the deviations from rules in the use of adjectives in contemporary poetry, we have considered the role of adjectives as a dependent one, which indicates the importance of other dependent roles in the syntactic construction of the Persian language. Moreover, investigating deviations from the rules of the standard language in case of adjective constructions emphasizes the flexibility of adjectives in bringing about types of deviations. This indicates the fact that how much manipulating the construction of this dependent can add up to its functional variety, increase its capabilities in the syntactic construction of the sentences, and lead to great linguistic achievements in Persian poetic language.  In this research, we analysed types of deviations in the use of adjectives such as ‘comparative adjectives’, ‘phrasal adjectives’, ‘negative adjectives’ and their subcategories in contemporary poetry.  However, via introducing examples of these deviations in classical poetry, we emphasized the existence of such strategies in the history of Persian literature to indicate that using this strategy in contemporary poetry is not innovative, but it’s restructuring classical linguistic constructions.  That poets have paid special attention to the manipulation of adjective constructions indicates the importance of adjectives in foregrounding the language. Studying deviations from the rules of language in adjective constructions, which had existed in classical poetry as well, shows that some contemporary poets have been aware of linguistic achievements of the classical literature. Moreover, this is an indication of the existence of rich inventories of linguistic achievements in the classical poetry. Knowing these achievements can enrich contemporary poetry as well, especially, when this can increase the domain of foregrounding in language to give the chance to the poet to foreground the language from various dimensions.

Kobra Bahmani, Mahbube Mobasheri

Kashf-al-Asrar contains observations of Rozbahan from heaven. Mystics obtain the ability to see the unseen in a state between sleep and wakefulness which is called the event. Recognition and analysis of the event in language, according to its psychological state, entails an understanding of the psyche. What mystics seek within themselves and the journey they start from and end to themselves, leads to the encounter of a dimension that is today named “unconscious”. According to Yung, revelation is unraveling the depths of the human soul which is essentially a psychological state. Unconsciousness and sudden intuition in the archetypal daydreams is very similar to the event state. According to the order of the mystic, the individualization steps are more evident in the events, and how "Self" can organize and control all the images for representation. He renders internal survey equal to explorations in the unknown territory. In the events, Roozbahan sees the order and inner truth in the garb of imagination. The most important archetypal images in his observations are "Self" and the "Pir" (aged). He always refers to the hadith of I saw my God in the finest image. In his revelations, the finest images of himself or God appears as a person in the sensory manifestations such as forms of light, mandala, jewels, etc. from the treasury of the mind. Powerful expression of the “Self” in the order of unity diminishes the shadow and highlights the "Pir" (aged).

Zahra Nasr Isfahani

Abstract Mirza Ab ol-Qasem Shirazi, whose pseudonym was "Farhang", is the calligrapher and the poet of the thirteen century A.H. and the son of Vesal Shirazi. He has written some worthwhile works such as "Collected Poems", "Farhang’s Dictionary", "A Commentary on Hadaegh os-Sehr". His worthiest work is "Farhang Dictionary" that its writing has been completed in 1276 A.H., and its manuscript is kept at the National Library of Iran. This manuscript edited and interpreted by the author of this text, will be published soon. Farhang wrote this dictionary for the purpose of providing the poets with a comprehensive dictionary to have an easy and quick access to Persian vocabulary. The strength of this book is its word order in a particular way because the author has found equivalents for Persian, Arabic, and Turkish vocabulary. This book comprises an introduction, two sections, and a conclusion.       The first section consists of different kinds of vocabulary it has thirty one chapters that each of them has numerous chapters too. The second section consists of specific vocabulary and has twenty nine chapters that some of them have several chapters too. The concluding section of this book consists of words such as letters, gerunds, and noun of sounds. The sources that have been cited in this book are "Borhan Ghat'e", Jahangiri’s Dictionary", "Rashidi Dictionary", "Soruri’s Dictionary", and "Sarah al-Loghat". The author of this book has followed the following ways for the structure of vocabulary and making word: 1. Making word by deleting the inarticulate "h". 2. Making word by changing the consonants with similar pronunciation such as "B", "P" and "Ch", "J" and "K", "G". 3. Making word by deleting the final consonant of the words. 4. Making word by replacing consonants or vowels. 5. Making word by deleting the initial "A". 6. Making word by changing long vowel to short vowel. 7. Making word by deleting the middle consonant. 8. Making word by the conversion of long vowels.      As the strong points of this book we can refer to (1) the author's particular method in finding equivalents for vocabulary, (2) devoting a chapter to the specific words that could be complied as a separate dictionary, (3) the selection of entries from among the common Persian, Arabic, and Turkish words. As the weak points of this book we can refer to (1) the use of Dasatiri fake words (2) not using poetic examples (3) not openly introduced resources

Morteza Hiedari

The Exploration of Semiosis of Aalphabetic Letters in Sanāeī’s Divan   Morteza Heidari[1]                Received: 02/07/2014 Accepted: 22/04/2015     Abstract Sanaei versifies exquisite poems by applying pictorial and compound qualities of alphabetic letters in his Divan. A comprehensive theory that may cover the cultural background of Sanaei’s art and which is able to enfold an inclusive understanding, is an obvious need for studying these qualities. In the present article, the author deals with semiotics of Sanaei’s literal attitude and explains all of his literal poems. The Pierce semiotics theory has a very close relationship with the prevalent rhetorical criticism in Persian language, while it also encompasses a higher interpretative potentiality and helps us reach a more intricate conclusion. In this research, Pierce’s icon, index, symbol, and well known triad and their semiotic transformative process in Sanaei’s Divan are explored. The singular, lineal and involved semiotic processes are the three forms that the author differentiates. The findings show that semiosis of letters of the alphabet in Sanaei’s Divan, has a very easy attribute to its object and interpretation.   Keywords: semiotics, Charles Sanders Pierce, Sanaei, letters of alphabet. [1] Assistant Professor, Persian language and literature; Payam-e-Noor University. Mortezaheydari.58@gmail.com

Marion Rastelli

In his Pāñcarātrarakṣā, Veṅkaṭanātha states that a Pāñcarātrin is not obliged to follow the prescriptions of the Pāñcarātra Saṃhitās, but can also follow those of the Vedic Sūtras when performing sandhyā worship. The paper tries to clarify the meaning and background of this statement by presenting and comparing various sandhyā prescriptions—from Veṅkaṭanātha himself, from Vedic Sūtras, and from several Pāñcarātra Saṃhitās—and it investigates the question of whether this statement gives us insight into the relationship between theory and practice of sandhyā worship in Veṅkaṭanātha’s lifetime.

Tiziana Pontillo

The present paper is focused on a couple of apparently contradictory Buddhacarita (Bcar) passages. On the one hand, there is the attribution of the pre-classical pattern of constituting kings in the sacrificial arena, implying a cyclical exchange between asceticism and warrior sovereignty, to Buddha’s father and his ancestors, who possibly ignore the varṇāśrama system. On the other, King Śuddhodana himself wishes that his son would not choose asceticism as a permanent way of life, i.e., that he adheres to the ordered succession of āśramas, in accordance with the brahmanical inclusivistic varṇāśrama system. The interpretation proposed here consists in assuming a specific Aśvaghoṣa intellectual reading of the potential relation between Buddhist and brahmanic dharma, based on a shared past, denoted by the expression sūkṣma dharma. The poetic allusion to this epic expression might have denoted an uncertain common dharma path which was to be overpassed by both parts, respectively by means of the true Buddhist dharma, and through the brahmanical śrauta reform. The two questioned verses are assumed to be a further fragment of the history of the brahmanic-Buddhist debate dating back to the Itihāsa and Mahākāvya age reconstructed by Hiltebeitel over these last ten years.

Dr. A. Razi

Being familiar with research methodology causes an increase in the effectivity and efficiency in research. One of the most valuable subjects in research methodology is to discuss about principles and skill of "Problem-oriented" researches that seems to be less known in literary studies.Propagation of problem-oriented researches in the field of Persian language and literature needs serious considerations to its principles and regulations, changing the viewpoint of literary researches, reconsideration in the curriculum of higher education centers, and finally revision in methods and procedure of doing a research plan in this field.Emphasing the necessity of the further consideration of problem-oriented in literary studies, in this article the characteristics and features of this type of research is discussed. Also the methods and skills of problem-finding in the field of literature are described and types of literary problem are introduced. Moreover the different steps that must be followed by a researcher in order to solve the literary problems are stated.

MH Karami

The celebrated poem of Ahmad Hatif of Isfahn, known in Persian as the Hatef’s Tarjiband is studied in the present paper from a historical point of view to reveal the status of this poet in Persian poetry, as well as its mystical content. First a short history of Tarjiband as a poetic form is revised, then the sixteen poets who have written a mystical Tarjiband are presented. All of these Tarjibands have the same rhythm and the refrain “He is one and there is naught but He” after each strophe. The total number of these Tarjibands is twenty one because some of these sixteen poets have written two Tarjibands . Searching the Persian poetical texts it is found that this kind of Tarjiband was begun from seventh century by Fakhr al-Din ‘Araghi and other poets before Hatif. Forsat al-Dowleh, a poet from Shiraz has continued this tradition. But among all these similar poems it is the work of Hatif that is rested popular and the others are approximately forgotten.

M.R Najjarian, M Iranmanesh

Tarikh-e-Beihaqi is a prose masterpiece of the 5th century A.H. and a model of compiling history for the successors. It is also an example of exquisite prose and a treasury of literary examples along with some indications of social and political conditions of those days. Beihaqi had mastered Arabic diction and literature as the requisite of the secretarial offices then. As the prose of Tarikh-e-Beihaqi is of the mutual nature and different from the prose of the first period, there are not so many Arabic verses. In these verses, Beihaqi mentions the name of each poet before or after the poem. Some verses are related to a historical event which Beihaqi uses to confirm his claims not necessarily related to the history and some of them are merely of advisory and counseling nature. The composers of the poems living in different periods including pre-Islamic and Islamic periods such as the beginning of Islam, Umavids and Abbasids –poets like Motanabbi and Abu-l-Ataheye and so on are chosen by him. However, some composers are not yet known for instance a single verse belonging to Imam Ali is not attributed to him. Also the attribution of some poems seems to be incorrect and some errors could be noted in the text. It seems that Beihaqi has changed some verses of his own however, these manipulations are not clarified and mentioned in any critical essay. Therefore, in this essay it is tried to criticize these verses according to the external and contextual points. Also some grammatical and rhetorical points as well as common contents of Persian and Arabic literature used in them are shown.