Hasil untuk "Indo-Iranian languages and literature"

Mostafa Jozi

One of the most challenging issues among researchers in the field of Tasif or songwriting is the issue of the meter of Tasnif and its nature. Some consider the meter of Tasnif to be a syllabic meter; others believe that these meters are prosodic; and some emphasize that these meters are syllabic-stressed. This disagreement continues to the point that some, due to a lack of proper understanding of the structure and form of Tasnif, consider some Tasnifs to be without a meter. In the present study, we aim to investigate the multiple musical aspects of these Tasnifs using a descriptive-analytical method and focusing on the different and special structures of Tasnifs after the Constitutional Era. The outcome of this study shows that Tasnif, given its direct association with melody and rhythm, has specific musical requirements that are influenced by musical beats and Igha'at. The result of this is the creation of meters that we call ‘Ighaie meters’. Considering the melodic reading of Tasnifs, pauses, the tension of sounds, and the starting and ending points of the beats of Tasnif, leads us to ‘Ighaie meters’ that have unique characteristics.

حسن محمدی, علی همتی, علی محمد محمدی

گفتمان فرایندی پیچیده، خلاق، و درهم‌تنیده است که در قالب آن فرد همیشه در تعامل با دیگران است. مباحث درباره ماهیت گفتمان سیاسی بیشتر مربوط به متون و سخنان سیاستمداران حرفه‌ای و مؤسسات سیاسی مانند رهبران، رؤسای جمهور، نخست وزیران، وزرا، نمایندگان مجالس، یا احزاب سیاسی می‌باشد. تمام فعالیت‌های سیاسی مانند قانونگذاری، تصمیم‌گیری، ملاقات، و گفتگو عمدتاً دارای ماهیت گفتمان‌مدار   (Discursive)  می‌باشند. کاربران حرفه‌ای زبان عناصر زبانی مختلفی مانند حروف اضافه، ربط و عطف، قیود، جملات کوتاه، و افعال را ترکیب می‌کنند که نتیجه آن پیدایش گفتمان‌نماهاست. گفتمان‌نماها عناصری فرازبانی‌اند و جز مؤثرترین، پیچیده‌ترین، و پرکاربردترین متغیرها در آفرینش، درک، و مدیریت گفتمان می‌باشند. این پژوهش بر آن است تا بر اساس نظریه گفتمان شناختی انسجام، گامی اولیه در کشف و معرفی نظام مدیریت گفتمان در حوزه سیاست و حکمرانی بردارد و به معرفی الگوی مدیریت در این حوزه و ویژگی‌های آن بپردازد. پیکره مطالعه برگرفته از دو مناظره در دور دوم چهاردهمین انتخابات ریاست جمهوری اسلامی ایران است که حاوی ۱۶۳۱۴ کلمه می‌باشد. نتایج مطالعه به کشف الگویی مستطیلی در گفتمان سیاسی انجامید که اضلاع آن روابط گفتمانی تفصیل، تقابل، استنباط، و توالی را به نمایش می‌گذارند. ویژگی‌ها و خصوصیات نتایج بررسی و تحلیل شد. کاربردهای مختلف در حوزه‌های پژوهشی، آموزشی، و علمی نیز بحث و بررسی گردید

Ruth Bartholomä, Zaur Gasimov

The journal Türk Amacı, published in Istanbul between 1942 and 1943, was – according toits subtitle – intended as a ‘propagator of Turkic cultural unity.’ As such, it is an outstandingexample of the discourse of the time and offers interesting insights into how the editor andthe authors constructed and negotiated the borders of the ‘Turkic world’ they had in mind. Ina close qualitative discourse analysis, which also considers the political and social conditionsof that time, this article will show how debates about the history, language, literature, and cultureof the Turkic people(s) and neighbouring communities – as well as the existing ideologiesof Pan-Turkism – influenced the journal. To this end, it focusses on how Turkic culture andgeographical aspects are combined, how the various (sub)groups are represented in the contributions and how the authors deal with issues of language(s). Through their selection of topics and the wording used, the articles in the journal constructed a more or less unified cultural and linguistic space, a ‘Turkic world,’ that largely ignored the question of real existing borders.

علیرضا بخرد, بهدخت مال امیری, نسیم شنگرف فام

هدف از این تحقیق ساخت و اعتبارسنجی ابزاری جهت اندازه‌گیری راهکارهای معلمان زبان انگلیسی برای کاهش اضطراب یادگیری در زبان‌آموزان بود. در این پژوهش ترکیبی، با بهره گیری از روش متوالی اکتشافی و با استفاده از نمونه گیری آسان، 200 معلم زبان انگلیسی از موسسه های زبان کیش و سفیر در تهران به عنوان شرکت کننده انتخاب شدند. برای طراحی آیتم‌های پرسشنامه، با 30 معلم زبان انگلیسی که به طور تصادفی از میان 200 معلم اولیه انتخاب شده بودند مصاحبه شد و از آنها در باره علل اضطراب زبان آموزان و راهکارهای کاهش اضطراب مربوط به یادگیری زبان آموزان سوال شد. براساس نتایج تحلیل محتوای پاسخ ها و دیدگاه‌های نظری موجود و پیشینه تجربی، یک پرسشنامه با 18 آیتم جهت اندازه‌گیری راهکارهایی که معلمان زبان استفاده می کنند طراحی شد. در نتیجه تحلیل عاملی اکتشافی، یک مدل شامل چهار عامل آموزش مرتبط با فرآیند یادگیری، آموزش صریح راهکارهای کاهش اضطراب ، مواد درسی، و نحوه آموزش استخراج شد. نتایج تحلیل عاملی تاییدی نیز نشان داد که این مدل چهار عاملی دارای روایی قابل قبول است. بر اساس نتایج، این پرسشنامه از ویژگی‌های روان‌سنجی رضایت‌بخشی برخوردار است و می‌توان از آن جهت اندازه‌گیری راهکارهای معلمان برای کاهش اضطراب زبان آموزان استفاده نمود.

Mohammad hadi Khaleghzadeh

"Aliyya Ghurra" is a work by Maktabi Shirazi (c. 865 - after 941 AD) written in the meter of Nezami Ganjavi's "Seven Bodies". This work is a translation of Imam Ali's precious sayings into verse form. The poet selected one hundred words from "Al-Laali Prose" and translated each saying into one or more couplets accompanied by a poetic anecdote. The book was first published in 1313 AH by Hossein Kuhi Kermani based on the only known manuscript belonging to Malek al-Shoara Bahar. This initial publication was riddled with errors and inaccuracies. In the next attempt, Mahmoud Abadi published a corrected edition in 1999. However, Abadi did not have access to the original handwritten manuscript and could only work with the flawed Koohe edition. While Abadi's corrections were a step in the right direction, the text still requires further refinement. In this discourse, the researcher had access to Bahar's original manuscript, as well as another complete handwritten copy of the poem. By comparing these sources to Koohe and Abadi’s editions, the researcher identified the remaining mistakes in Abadi's correction and noted the missing words from the earlier published versions in order to present a more comprehensive and accurate version of "Gol-e Sad Barg-e Bagh-e Morteza" (The Flower of a Hundred Leaves from the Garden of Morteza). Keywords: Aliyya Ghurra, Maktabi Shirazi, Correction, Supplementary Analysis. Introduction: Maktabi Shirazi (c. 865 - after 941 AD) was a renowned poet active in Shiraz in late 9th and early 10th centuries. He was among the elegiac poets, who were influenced by the works of Nezami Ganjavi and his own "Layli and Majnun" became a classic masterpiece. Maktabi Shirazi also authored a lesser-known work titled "Kalimat-e Aliyyeh Ghurra." In this treatise, Maktabi compiled the sayings of Imam Ali (A.S.) into a poetic form inspired by Nezami's "Seven Bodies" and the styles of other poets like Rashid Vatvat, Ibn al-Savaji, Ashraf Maraghi, and Shah Daei Shirazi. He selected one hundred words from the collection of "Al-Laali Prose" and translated each into one or more poetic couplets accompanied by a narrative explanation. The work was first published in 1913 by Hossein Kuhi Kermani, but this edition was riddled with errors and inaccuracies. Subsequently, the scholar Mahmoud Abadi attempted to correct and edit the text, publishing an updated version in 1999. However, Abadi did not have access to any handwritten manuscripts and could only rely on refining Kuhi Kermani's flawed printed edition. While Abadi's corrections represented an improvement, the text still contained noticeable flaws. This discourse aimed to examine and critique Abadi's work, while also incorporating 33 missing words identified from a concise manuscript version that included the complete set of one hundred sayings ("Majlis" version). Materials & Methods This study employed a descriptive-analytical approach, drawing on information gathered from library resources. The researcher examined two handwritten copies of the work in question and concluded that the published correction by Professor Mahmoud Abadi, while representing the best available edition of "Aliyya Ghurra", still required further critique and refinement. The aim of this discourse was to review and critique Mahmoud Abadi's correction and to additionally incorporate 33 words that were omitted from both the Kuhi Kermani and Abadi’s editions. The researcher utilized a concise manuscript version that included the complete set of one hundred sayings attributed to Maktabi Shirazi (dated 935 AH). By carefully comparing the various source materials and published versions, the researcher sought to present a more comprehensive and accurate representation of the text of "Aliyya Ghurra". Research Findings "Aliyya Ghurra" is a poetic collection featuring one hundred sayings attributed to Imam Ali (A.S.). The structure follows a consistent format, where the poet first presents a saying of the Imam, then provides a translation of it into one or more poetic verses, and finally offers a brief explanatory verse. The selected sayings are drawn from "Al-Laali Prose", a work attributed to Sheikh Tabarsi (d. 548 AH). In the Bahar manuscript, 70 words and titles of the Imam are included, but 13 of these are actually combined with other words, resulting in a total of 57 distinct entries. Mahmoud Abadi's correction addressed this issue by identifying the 13 corresponding words from "Al-Laali Prose" and reintegrating them into their proper place within the text, thereby reconstructing the poetic structure. This represented a significant step forward in refining and organizing the work. However, it was shown that Abadi's correction also contained errors in the selection and replacement of certain words. Furthermore, the Bahar manuscript, which served as the source for Kuhi Kermani's printed edition, was incomplete, containing only 57 of the 100 words attributed to Maktabi Shirazi’s tradition. Abadi's correction included 70 words, including the mentioned 13 ones from "Al-Laali Prose". The author of this discourse identified the true 100 words of the elevated language of "Gharra", drawing from additional source materials to provide a more comprehensive and accurate representation of the complete work. Discussion of Results & Conclusion This article presented a critical analysis of "Aliyya Ghurra", a work attributed to the poet Maktabi Shirazi, and evaluated the correction efforts of Professor Mahmoud Abadi. The key findings were as follows: Attribution of "Aliyya Ghurra" to Maktabi Shirazi was well-founded, refuting the claim by Saeed Nafisi that it was composed by a non-existent poet named Maktabi Khorasani. The Majlis manuscript had to be used as the primary source for correcting and editing "Aliyya Ghurra" as it contained important sections, such as the preface and completion of the work, which were absent from the Bahar manuscript. The Bahar manuscript, which served as the basis for Kuhi Kermani’s printed edition, was incomplete, including only 57 of the 100 sayings (Hadiths) attributed to Maktabi Shirazi. In contrast, Mahmoud Abadi's correction included 70 words with the addition of 13 words from the compilation of "Al-Laali Prose". The author of this article identified the complete set of 100 words that constituted the authentic "Aliyya Ghurra" text, drawing on the dual handwritten sources of Bahar and Majlis. Mahmoud Abadi's correction, while addressing the appropriate attribution of the words in "Aliyya Ghurra", was nevertheless flawed due to the limitations of working solely from the Kermani’s erroneous print. This discourse aimed to correct those errors by utilizing the more comprehensive manuscript sources. Since Professor Mahmoud Abadi did not have access to a handwritten manuscript, his work was necessarily based on his literary expertise and general knowledge. While his correction addressed the appropriate attribution of the words in "Aliyya Ghurra", it was hindered by the reliance on Kermani’s flawed print. Consequently, several mistakes had been made. In this discourse, we endeavored to correct these errors by utilizing the dual handwritten sources of the "Bahar" and "Majlis" manuscripts. Regarding Maktabi Shirazi's poetic Khamsa (quintet), only the work "Layli and Majnun" remained, along with some verses imitating "Makhzan al-Asrar", which are no longer extant. The "Aliyya Ghurra" text appeared to be modeled on the meter of the "Seven-Bodies" form, but information on Maktabi's other lost works was unavailable. This analysis provided a more accurate and comprehensive understanding of the "Aliyya Ghurra" text and its place within the literary legacy of Maktabi Shirazi.

فرزانه تاج آبادی, عالیه کرد زعفرانلو کامبوزیا

نون وقایه یکی از اقسام چهارگانه نون مفرده در زبان عربی است. جستار حاضر تلاش‌دارد تا تبیینی واج‌شناختی در چارچوب نظریه نشانداری برای انگیزه درج، دلیل انتخاب همخوان درج‌شده و نقشی که این همخوان در ساختار موجود ایفا می‌کند، ارائه‌کند. به همین‌منظور، ابتدا تمامی مواردی که در آن نون وقایه به-کاررفته‌است (286مورد) به ‌شیوه رایانشی و با ایجاد یک فوق‌مجموعه از الگوهای مرتبط از کل متن قرآن استخراج و مقوله واژگانی و نحوی عناصر زبانی شرکت‌کننده در فرایند و بافت آوایی وقوع هریک از آن‌ها مشخص‌شد. در ادامه بر اساس مفاهیم مختلفی چون رسایی، ساخت ‌هجا، نشانداری و سرنخ‌های ادراکی، توضیحی برای این فرایند در قالب نظریه نشانداری ارائه‌شد. یافته‌ها نشان‌می‌دهد که انگیزه اصلی درج خیشومی[n] ترمیم ساخت هجای بدون آغازه و رفع التقای واکه‌ای است‌ که هر دو در زبان عربی قرآنی، ساختی غیرمجاز محسوب‌می‌شوند. با درج این همخوان، پدیده تیرگی رخ‌می‌دهد که به تبع آن از اعمال فرایند هماهنگی واکه‌ای ممانعت ‌می‌شود. از آنجایی که درک محل‌ تولید همخوان‌های خیشومی دشوار است، با درج این همخوان در جایگاه آغازه هجا، به واسطه برجستگی شنیداری و به کمک سرنخ‌های صوت‌شناختی بر شفافیت درک محل تولید افزوده‌می‌شود. همچنین چون بین میزان برجستگی همخوان خیشومی و دریافت میزان خیشومی‌شدگی واکه رابطه‌ای معکوس وجود دارد از میزان برجستگی واکه‌ای که به دنبال همخوان خیشومی درجایگاه آغازه آمده‌است، کاسته‌‌می‌شود و به این ترتیب ساختی کم‌نشان‌تر ایجاد‌می‌شود. بنابراین، درج این همخوان با هدف کاهش نشانداری و همسو با گرایش جهانی زبان‌ها در رابطه با بهره‌گیری از ساخت‌هایی با نشانداری کم‌تر صورت‌می‌گیرد.

Abdollah Radmard, Abollghasem Ghavam, Saeed Khosropour

Bahare Ajam by Lala Tek Chand is one of the most important dictionaries in the second period of lexicography in the Indian subcontinent. The book consists of 19,729 entries and is more comprehensive in terms of words, compositions, allusions, and poetic proofs compared to the dictionaries of the former eras. The abundant use of sources and opinions for writing and commentary is a prominent feature of this dictionary. Furthermore, Tek Chand uses numerous poetic pieces of evidence in this reference book. His most important work in this field is the evidence selected from the Persian poetry until the time of Bahare Ajam.Due to the great attention of the users and Persian learners of the subcontinent, this book has been published several times in seven periods, and lexicographers frequently use this reference to write books. However, contemporary dictionary scholars have not paid much attention to this book and, quoting each other, have only highlighted the general features of the book. By knowing the methods of lexicographers before Tek Chand and his contemporaries in compiling his book, one can realize the value of this author's work, which is achieved through adequate knowledge of the structures that govern Bahare Ajam. The structure of the dictionary is not summarized in a way that explains why the entries are arranged and how they are arranged, while it covers definition methods, phonological methods, input controls, review of the citation system, and citation and critique methods in dictionaries.In fact, it is a dictionary consisting of macrostructures, microstructures, and middle-structures. The present study aimed to investigate the methods of selecting the entries in the macrostructure section of this dictionary. With the methods of bringing entries and recording pronunciation in the Bahare Ajam dictionary in the microstructure section (first part) and after stating the order, number, and percentage of each entry, it is shown that Tek selects an entry by adding a word and its related derivatives if used. Unlike today's dictionaries, the Bahare Ajam dictionary brings all these derivatives together based on four criteria, including entries based on one word/combination, the verbal and semantic affinity of two words/combinations, the verbal and semantic similarity of several words/combination, and entries and selection of proverbs.Although many of the book's entries (including the separation of sub-words and many poetic combinations) do not meet today's standards, the adoption of these methods could be attributed to the poetic nature of this dictionary. The Persian students of the subcontinent who have been learning Persian could see that instead of referring synonymous entries to each other, many similar verbal and semantic items are merged into one entry so that the user could see all or most of the poetic capacities of the words and combinations together without the need to use other dictionaries. This is an accepted method (especially among subcontinental lexicographers), which should not be measured and considered flawed by today's standards.In the second part of this research, the intervention regarding Bahare Ajam has been discussed. This book has numerous explanations under the entries mostly to guide the users about the type of the entries rather than identifying a specific word. Although most of these explanations are not considered to be definitions in the modern sense in classical dictionaries, they should not be overlooked and ruled out as definitions. We evaluated these explanations, which encompass several input materials. Tek uses 25 methods to bring in the entry material and identify its type. In this research, such methods were highlighted along with examples for each. In several cases, Tek introduces the entries based on usage, grammatical category, and literary features, while defining each word in some cases.Notably, some of these entries are ambiguous for today's users (e.g., the difference between the words ‘famous’ and ‘famous’ in Bahare Ajam) since no explanation has been provided in this regard. It seems that the ‘famous’ entries of Bahare Ajam had been the most frequently used words and expressions of poetry until the time of the ‘famous’ entries in this dictionary, as well as the most commonly used words and expressions among the users. Undoubtedly, the reference to later entries is one of the few drawbacks of the inclusion of a few entries, which is quite natural and justifiable for the users who have read Bahare Ajam thoroughly.In the third part of the research, the methods of recording pronunciation in the Bahare Ajam dictionary were discussed. For this reason, the evolution of the pronunciation recording methods in pre-Bahar dictionaries was initially discussed, and it was observed that the pronunciation of words is not recorded in many dictionaries due to rhyming, while in others, this is done by determining the movement of some letters or by homogenous words. This method has been widely used by lexicographers; for instance, most of the words in the Dictionary of Definitive Argument are based on concordant words to partially compensate for the book's lack of poetic evidence, which is also a good reason for the popularity of this reference book.In the evolution of pronunciation recording methods, in addition to determining the greater movement of letters and lexicography of the words, a word is mentioned if it has two or more pronunciations. In a few cases, words have become difficult for reasons related to the users or copywriters. The obsessive-compulsive disorder causes some sub-continental lexicographers to record the pronunciation of some non-compound words even in their dictionary of terms and combinations. Although Tek is aware of the previous methods, he has developed novel approaches in this regard with the help of Jahangiri, which has eventually advantaged his work. A slight difference is also spotted in addition to paying more attention to the phonology of words. Tek Chand adopts the methods of using a homogenous word by using short vowels and words to record the pronunciation of words. The first objection is the possibility that the user is unaware of the word ‘homozygous’, especially if the word ‘homogenous’ comes after the entry where the recording has been made.

مالک شعاعی

ادبیّات کودک باید بهترین افکار و ایدآل­ترین اهداف و مفاهیم را با روشی لذّت­بخش به مخاطب خود آموزش دهد. شعر به عنوان بخشی از ادبیات کودکان، به دلیل لذت شنیداری­ و ظرفیت فوق‌العاده­اش، ابزار مناسبی برای این منظور است. این مقاله با هدف بیان نابسامانی­های محتوایی و ساختاری اشعار شش کتاب فارسی دوره­ی ابتدایی تدوین شده نتایج بررسی نشان می­دهد درون­مایه­ی اشعار بیش­تر تکرار طبیعت­گرایی و حماسه بدون توجه به پیام است. حضور برخی از مؤلفین در پایه‌های مختلف، استفاده مکرر از اشعار یک شاعر، تکرار مضامین، تکرار در قالب و موسیقی اشعار، عدم توجه به نیازهای مختلف دانش­آموزان، ایرادهای نگارشی، عدم توجه به رشد همه­جنبه­ی کودک و ... مجموعه عواملی است که در این مقاله تشریح شده­است.این پژوهش کاربردی به روش  توصیفی ــ تحلیلی، متون نظم کتب درسی دوره ابتدایی را بررسی نموده واحد مضمون و محتوا، فحوا (زمینه) است. جامعه آماری آن، شامل کتاب­های فارسی (بخوانیم) پایه اول تا ششم ابتدایی است و نمونه های آماری بخش­هایی از کتب فارسی دوره ابتدایی است که در قالب نظم آمده­است.روش گردآوری اطلاعات، اسنادی و کتاب‌خانه‌ای است پرسشی که این تحقیق در اندیشه­ی پاسخ بدان برآمده برشمردن مشکلات بخشی از کتاب فارسی است که با طرح کاستی­ها، راهکارها تشریح می­شود.

Agnieszka Wójcik

Kārtikā Tirunāḷ Bālarāma Varma (r. 1758–1798) was the ruler of the South Indian state of Travancore and the author of a Sanskrit treatise on theatrology, the Bālarāmabharata. His reign constituted an important period of patronage of arts and literature, especially in the field of performing arts. The king was not only an outstanding patron but also an eminent scholar and an accomplished author. As the evidence of this great variety of roles, the paper proposes to analyse the opening passages of the Bālarāmabharata where Kārtikā Tirunāḷ Bālarāma Varma presents himself in a self-portrait of sorts: as a ruler, patron, scholar and poet. He inscribes himself in the patronage tradition of the rulers of Travancore as well as in the line of the continuators of Bharata’s Nāṭyaśāstra while simultaneously showcasing his literary prowess and practical experience in the contemporary tradition of performing arts.

Amirhossein Dowlatshahi, Sayyed Mahdi Nourian

The Devalrani and Khizrkhan Masnavi by Amir Khosrow Dihlavi, composed in 715 (Hijri lunar), not only contains awakening points about history and the community and context of India in the seventh and early eighth century (Hijri lunar), but also includes valuable information about the uses of the Persian language and its lexicon in that particular period and area. Amir Khosrow Dihlavi (651-725 Hijri lunar) is the most well-known and outstanding Persian poet in the Indian subcontinent who has left numerous and various works as heritage.One of the significant features of his poems is the use of rare and new word-formation. If we take a random look at the entries of the Dehkhoda Dictionary, below some of the entries, there are some pieces of evidence of the poems of Amir Khosrow as well as the writers and orators before him. We can even find entries with exclusive evidence from Amir Khosrow’s poems. Additionally,  some traces of his morphological innovations have been found in the works of poets and writers after him. Like Hafiz and Mohtasham Kashani, who have used ‘aeeneh ru’ and ‘vahdat abad’ in their sonnets, respectively, Bidel Dehlavi has also used ‘niaz andish’. Jami has used the word ‘belasanj’ and Orfi Sharazi and Qudsi Mashhadi have used ‘ragham sanji’ and ‘faramush gashtegan’ in their sonnets. These all have already been used by Amir Khosrow in Devalrani and Khizrkhan (the first three words), qeran sa’deyn (the fourth mentioned word), ayine-ye eskandari (the fifth word) and in a sonnet from qurat-ul-kamal (the sixth).Nevertheless, so far there have been few lexical analyses of the works of Amir Khosrow Dihlavi though, in some literary research, the works of Amir Khosrow have been occasionally examined to some extent.  Among these studies is the one entitled ‘An examination of some influential Indian words in the Persian poetry’ by Rezayi Baghbidi. In this study, Baghbidi made an etymological analysis of some words found in Persian texts and provided examples for each word from the well-known Persian poets. Among these examples are some verses from Amir Khosrow. In contrast to the study by him, Salim Neysari made a comprehensive analysis of the lexical innovations in Amir Khosrow’s poems in an article entitled ‘Innovations of Amir Khosrow Dihlavi in combining Persian words’. He set ‘Noh Sepehr’ (nine heavens) Masnavi as the basis of his work and the result of his work was a list of the compounds and words used in this Masnavi for which there is either no entry in Dehkhoda Dictionary (28 cases) or there is an entry but no examples (nine cases) or there are both an entry and examples from the works of Amir Khosrow (two cases).The present study is an attempt to select and introduce rare and new words from Devalrani and Khizrkhan and its innovative word combinations and to examine Amir Khosrow’s word-combination way to show that this well-known Persian poet in the Indian subcontinent has been successful in creating new compounds. In addition, considering the fact that some of the existing word combinations in this poem have no entries and examples in the most important Persian dictionary, i.e. Dehkhoda Dictionary, the present study also seeks to introduce these new words and word combinations to be used in this dictionary and in the future lexical analysis studies.It should be noted that Devalrani and Khizrkhan is one of the romantic-historical masnavis of Amir Khosrow. The subject of this masnavi is about the love that KhizrKhan, the son of Sultan Ala’eddin Muhammad Khalaji, had for Diveldi, daughter of Raay Karan (ruler of Gujarat). Amir Khosrow composed this romantic poem in 4519 verses in the prosodic weight of Musadas-e Mahzoof/Maqsoor in 715 (Hijri lunar).In this study, first the whole poem was studied and 240 words and compounds that qualified as new and novel were selected. Then, reviewing different poetry and prose books by poets and authors who lived before the age of Amir Khosrow, 125 words and word combinations, which had been already used in these texts were put aside. For this purpose, in addition to searching the digital version of the Dehkhoda Dictionary and digital library of Noor and Noormags database, and the Ganjoor website, various textbooks in print were also searched including Tafsir-e Nasafi, Koush-nameh, Monsha’at-e Khaqani, Ali-nameh, Loqat-e Fors, Sha’eran-e Bi-divan, Mersad ol-Ebad, Nafthat ol-Masdoor, Faramarz-nameh, Tarikh ol-Vozara, Sandbad-nameh, Divan-e Najib od-Din Jorbazeqani, etc… .The results of analysis revealed a final number of 115 words and compounds not used in the works before Devalrani. These words were classified into different groups as follows:Group A: words or compounds for which there is no entry in Dehkhoda dictionary or there is an entry but the meaning intended by Amir Khosrow cannot be found in Dehkhoda dictionary (85 cases);Group B: words and compounds with entries in the Dehkhoda Dictionary but no examples (19 cases);Group C: words and compounds with entries in the dictionary and examples from Devalrani and Khizrkhan (four cases);Group D: words and compounds for which there are examples from the poets after Amir Khosrow (five cases); and finallyGroup E: words the meanings of which have been provided in the Dehkhoda Dictionary but with examples from the verses of other works of Amir Khosrow (two cases). The results show that Devalrani and Khizrkhan contains a number of unique and novel words and word combinations that not only reveal the poet’s skill and talent in producing new words but also reflect the lexical environment of the Persian language in India at the end of the seventh and early eighth century (Hijri lunar). Furthermore, a part of the lexical benefits of these sets of words includes the unique names and proper nouns used in this text. Out of these names, 11 names are Indian proper names used to refer to ethnicities and groups, social titles, carriers and riding animals, musical instruments, flowers and plants, one of the gods of the ancient India, and also materials and clothes. Besides these Indian proper names, there are a number of Persian names and proper names related to the living environment in India in this poem. These names also refer to ethnic groups, a type of riding animal, one of the coins being used at that time, a type of material, two types of flower and plant, and one of the partners. Additionally, an alternative word is used for riddle and spy news.In addition to these words, this romantic-historical masnavi has preserved some unique word combinations within it; words combinations that the poet has created using 31 non-repetitive (unique) methods.

زینب صادقی سهل آباد

زبان ابزار اصلی برای یادگیری و تسلط بر جهان خارج است که به‌عنوان اصلی‌ترین وسیلۀ ارتباطی بین افراد عمل می‌کند. بدین‌گونه‌است که زبان، شناخت فرهنگ‌های دیگر را امکان‌پذیر می‌کند. در دهه‌های اخیر، دیدگاه فرهنگی در آموزش زبان‌ها، جایگاه مهمی یافته است. افزون بر زبان، یادگیری فرهنگ نیز ضرورت دارد که این بایستگی هدفی مهم در آموزش زبان‌های خارجی شده است. در این پژوهش، دیدگاه‌های زبان‌شناسان مشهور روس همچون؛ باختین، لوتمان، ترمیناسوا، ورشاگین، سافانوا، وارابیوف، فورمانوا و سایرین در زمینة اهمیت و نقش فرهنگ در فرایند آموزش زبان‌های خارجی بررسی می‌شود. در حال حاضر هدف از آموزش زبان‌ها فقط به‌شایستگی‌های زبانی و ارتباطی خلاصه نمی‌شود، بلکه به‌شایستگی‌های بین‌فرهنگی نیز می‌پردازد، زیرا تماس‌های بین‌المللی پیوسته در گسترش است و زبان‌آموزان به‌طور فزایند‌ه‌ای با افرادی از فرهنگ‌های مختلف دیدار می‌کنند. هدف از مقالۀ حاضر آشکار کردن اهمیت فرهنگ در آموزش زبان‌های خارجی، تعیین نقش مدرسان زبان خارجی و صلاحیت‌های حرفه‌ای آنان و همچنین تعیین نقش کتاب‌های آموزشی در گنجاندن مفاهیم و مباحث فرهنگی در فرایند آموزش برای بازنمایی فرهنگ است. مدرس زبان نه تنها باید درک یک زبان خارجی را به‌زبان‌آموز بیاموزد، بلکه توانایی درک فرهنگ زبان مورد آموزش را نیز به‌وی بیاموزد.

Moin UdDin Aqeel

Bahmani Sultanate is an important era of Muslim rule in south India (Deccan). The Bahmani’s rule presents an important example of mutual political, social and civilizational relationships of India and Iran. This article engulfs a number of primary and secondary sources on this mutual relationship. It also provides the sources of medieval history of subcontinent.

مهدی رحیم پور

پس از استقرار سلجوقیان در آسیای صغیر زبان فارسی در آنجا از رونق فراوانی برخوردار شد و سبب شد آثار متعددی به فارسی در آن سرزمین به رشتۀ تحریر درآید. درخصوص اینکه چه اثری برای اوّلین بار به فارسی در آناتولی تألیف شده، پژوهشهای زیادی صورت گرفته است و محقّقان ایرانی و ترکیه‌ای در این زمینه مقالاتی را تألیف کرده‌اند. پیشتر حبیش بن ابراهیم تفلیسی (متوفی 559 یا 579 قمری) را نخستین فارسی‌نویس دیار روم دانسته‌اند که چند اثر به فارسی آن سرزمین نوشته است. امّا در سالهای اخیر رسالۀ دیگری با عنوان «کشف‌العقبه» که در مجموعه‌ای از رسائل که در قرن هشتم کتابت شده، مندرج است، به عنوان اوّلین اثر به زبان فارسی در آناطولی مطرح شده است. تاریخ تألیف این اثر اواخر قرن پنجم تخمین زده شده که بسیار جالب توجّه و قابل تأمّل است و در صورت اثبات این فرضیه تاریخ تألیف اوّلین اثر به فارسی در آناتولی بیش از نیم قرن عقبتر می‌رود و از لحاظ سابقۀ زبان و ادب فارسی در آسیای صغیر بسیار حائز اهمیت است. در این مقاله ضمن معرفی اجمالی رساله به قراینی اشاره شده که نشان می‌دهد این اثر می‌تواند به عنوان اوّلین اثر احتمالی در دیار روم پذیرفته شود.

پرویز البرزی ورکی, بهار برزگر

پژوهش حاضر با استناد به فرضیه دورۀ بحرانی که یادگیری کامل هر زبان را پس از سن خاصی ناممکن می‌داند، انجام گرفته است. دو گروه از دانشجویان ایرانی که در سنین مختلف زبان آلمانی را آموخته‌اند، مورد بررسی قرار گرفتند. تلفظ آنها از طریق روخوانی سه متن آلمانی بوسیله پنج ارزیاب بومی آلمانی مورد ارزیابی قرارگرفت. هدف یافتن گویشور درحد بومی زبان آلمانی درمیان زبان‌آموزان دوگروه بود. براساس تحقیقات متعدد در رابطه با سن زبان‌آموزی، احتمال دست یافتن زبان‌آموزان زیر ۱۲ سال به مهارت تلفظ در حد گویشوران بومی وجود دارد. با توجه به اینکه بیشتر زبان‌آموزان گروه اول از بدو تولد در محیط آلمانی زبان رشد نموده‌اند، انتظار می‌رفت در میان آنان تعدادی به عنوان گویشور بومی شناخته شوند. پرسش مطرح شده این بود که آیا در میان زبان‌آموزان بزرگسال، فردی با تلفظ در حد گویشور بومی یافت می‌شود؟ در نهایت، نه تنها هیچ کدام از زبان‌آموزان گروه دوم نتوانستند به عنوان گویشور بومی شناخته شوند، بلکه در گروه اول نیز هیچ زبان‌آ‌موزی نتوانست در هر سه متن بر اساس نظر ارزیاب‌ها گویشور بومی شناخته شود. نتایج این تحقیق در راستای فرضیه دوره بحرانی یادگیری زبان قرار می‌گیرد.

nadiya dadpour, Mohammad Khaqani Isfahani

Critical analysis increases the efficiency of considered text in different aspects. They reveal positive and negative features of the text. Rhetoric books are no exception from this evaluation. Evaluating rhetoric books is important due to two points: Enhancing/Improving quality of educational rhetoric books and finding modern rhetoric viewpoints and comparing them with other rhetoric results. The purpose of this article is to evaluate lessons of Arabic rhetoric toward a new idea from two perspectives: Efficiency level in rhetoric as well academic education. The method of analysis is analytic and descriptive. The paper aims to analyze the positive and negative aspects of the book by first reporting the context of the book. In addition, it aims to show AlAzhar’s book view for academic tuition all over the world. The results of this research show the book "Lessons of Arabic Rhetoric toward a New Idea", has compounded classic rhetoric with modern masterful rhetoric discovery. However, the frame of the book turns around classic rhetoric. This book can be taught in basic levels (BA) as a main source and in high levels (MA) as a derivative source. Although the writer has done his best, he has not paid attention to some classic rhetoric discussions.

Fatima Parchekani

Using a series of criteria, literary criticism is concerned with the study of literary works from the start explaining the works, their elements and concepts, and clarifying their weaknesses and strengths; ultimately, it helps to improve the quality of the work. These attempts of division of critical theories under literary doctrines can be considered as good examples, and the book "Approach of Realism in Literary Creativity" by Salah Fadl fits the critique in this model. This research attempts to answer a fundamental dilemma: To what extent did this book succeed in completing the explanation of status and criticism of the realist doctrine? The analytical methodological method shows that the book has had great success in explaining the reality theories, whether in form or content, although there are some shortcomings such as the lack of concrete and tangible evidence in the literary texts.

مجید نعمتی, محسن ترقی گشتی

این پژوهش برای مطالعه پیش بینی صحت و شیوایی تولید گفتار دانشحویان زبان خارجی توسط خلاقیت و انگیزش کاربردی/ تلفیقی صورت گرفت. 80 شرکت کننده با زبان مادری فارسی برای پژوهش انتخاب شدند که مشغول یادگیری زبان خارجی انگلیسی سطح متوسط در موسسات آموزش زبان بودند. نخست آنها پرسشنامه 60 سئوالی خلاقیت عابدی را تکمیل کردند. سپس تکلیف گفتاری (کشتی غرق شده) ارائه شد و عملکرد آنها برای نمره گذاری توسط دو ارزیاب صحت گفتار و شیوایی گفتار در مرحله بعد ضبط گردید. درآخر شرکت‌کنندگان به پرسشنامه انگیزش- نگرش گاردنر پاسخ دادند. نتایج حاصل از برازش مدل با داده ها با تکنیک تحلیل مسیر نشان داد خلاقیت و انگیزه کاربردی می‌تواند شیوایی گفتار را پیش‌بینی کند. معناداری ضرایب اثر نشان داد خلاقیت و انگیزه کاربردی می‌تواند صحت گفتار را نیز پیش-بینی کند. همچنین خلاقیت و انگیزه تلفیقی می‌تواند شیوایی گفتار را پیش‌بینی کنند. اما برای صحت گفتار، خلاقیت و انگیزه تلفیقی قدرت پیش‌بینی نداشتند. نتایح این پژوهش پیشنهاداتی را برای شیوه آموزش و نکاتی برای پژوهشهای آتی ارائه داد.

Khodabakhsh Asadollahi, Wali Ali-Manesh

Abstract At the level of the form of the poems of Bidel Dehlavi, various elements of language have been misunderstood and led to de-familiarity. "Numerical affinities" are among the most important elements that make it difficult to get meaning. Numerical affinities are words that, in the context of the language of the conjunction, when exerted by a few semantic relationships, are derived from the normal and standard norms of the language. In ordinary language, numerical affinities are words that denote by size, weight, number, area, type, gender, quantity, and form of a few, and are placed after the number in the locus of the language. Such as "two volumes of books". In poetic language, grammatical numerical affinities are just as normal, but in terms of the semantic associative system they act beyond the normal language, which is why they are known as special numerical affinities. Also, in poetic language, affiliates do not accurately state the size; for example, in the phrase "a mirror of the heart", the "mirror" like "bottle and kilo" cannot reflect on the amount and size of the heart. This ambiguity doubles when it is affiliated, and the few are both abstract, such as: "A hundred crazy madness" . Numerical affinities are one of the highlighting and ambiguous factors in the language of Bidel Dehlavi's poetry that has led the language to persuade and make it difficult to get meaning. Numerical affinities, such as: One hundred doomsday songs, one hundred strokes of madness and ... are affiliations that have crystallized in Biddle's poems, with a high frequency and with different structures than in other periods. Considering the necessity of knotting the sadness in the language of Biddle's poetry, the present study, with the help of a scientific study of particular numerical affiliations, attempts to resolve some of the tongues to a degree and to explain the relationship between the dependent and the few in terms of meaning rather than the valve To enter the poet's mind and thought, and also to get the meaning of numerical affinities and meaning of poetry. In this paper, the semantic relations of certain numerical and limited affinities in the language of Biddle's poetry have been explored and analyzed with respect to semantic normality. In semantic normality, the constituent elements of the sentence in the associative axis, and at the level of meaning, diverge from the semantic constraints and rules governing the normative language, and the language becomes prominent. "The domain of meaning as the most flexible level of language is used more than literary highlighting more than other levels of language" (Safavi, 2011, 1: 55). The particular affinities in Biddle's poems are initially in four patterns: the number, the material and material dependence, the number, the material affiliation and the few abstract, the number, the abstract dependence, and the few material, and the number, abstract, and abstract dependence, Classified, then the types of semantic relations are expressed separately in each pattern. The result of the research suggests that there is a variety of semantic relations in the fourteenth structure of the poetry of Bidel Dehwali in the axis of affinity between a number and a few. The semantic relationships in the structure of the "number, material affiliation, and material possessions" are: "the dish", such as: "One hundred grass of tulips and flowers"; "likeness", such as: "One hundred eyelashes"; "contradictions", such as: "One hundred storms of dust"; "necessity", such as: "One hundred caravans"; "tools", such as: "a swarm of swim"; "time", such as: "One hundred storms of sorrow," "kind", such as: "Thousand colors of sound "and "Creation" such as: "A breath of sting. "  In the structure of the "number, material affiliation, and abstract", there are these relationships: "dish", such as: "One hundred depressions of madness"; "metaphorical terms", such as: "a dignified enamel"; "likeness", like "half "Tools", such as "one stepping stone"; "time", such as: "One hundred salt on the liver"; "necessity", such as: "a world of belonging"; "type", such as: "One hundred colors of sorrow"; "Creation", such as: "Thousands of Chinese behavior" and "Descriptive", such as: "A hundred storm earthquakes."  The structure of the "number, abstract, and abstract", which has long-lasting and twisted relations, has these semantic relationships: "likeness", such as: "One hundred Armies of Resurrection"; "Contradictions"; "Required", such as: "One Khalid Halot" ;" Tools", such as:" A footprint"; "Time", such as "100 Spring of Presence", "Creation", such as "100 Hot Shock, "Descriptive", such as: "One Deathly Armageddon"; and "Accompaniment" such as: "One Hundred Thorns ". In the structure of the "number, abstract dependence and a few material", there are the following relationships: "likeness", such as "Several repentance"; "necessity", such as: "a pounding spontaneous"; "time", such as: "a moment Bubble "and" Creation", such as: "One hundred Melancholy". Some affiliations have a rhetorical semantic relation with a few, that is, these relations are justified in terms of literature (rhetoric), not linguistics, such as the similarity and metaphorical relationship.  This research also indicates that Bidel Dehlavi did not use any affiliate with the few freely and arbitrarily. In numerical affiliations such as: "a desert of madness", "a mirror of astonishment" and "a prostration", and ... a deliberate poet and consciousness, to create more imagination and express a particular thought, dependents has chosen.

Rouya Yadollahi Shahrah, Mohammad Javad Mahdavi

Thepresent article has evaluated the last three volumes of Tarikh-e Adabiat-e Koodakan-e Iran (The History of Children’s Literature of Iran) in two general areas: 1. The Generalities and the theoretical grounds, including: 1.1. Not explaining the complete literature of the subject, 1.2. not having a clear theoretical base and an explicit approach toward writing the history of literature as a whole and writing the history of children’s literature in particular; 2. The structural-content problems including: 2.1. Not having a coherent structure, 2.2. Not having a clear terminology, 2.3. Not referring to authentic resources and raising unproven claims, 2.4. Covering a very vast historical domain, 2.5. Not having a clear base for the historical periodization, 2.6. Having deficiencies pertaining to the format and the appearance of the book, 2.7. Having writing and editing errors.As a whole, in spite of the theoretical, structural, and content deficiencies, the real importance of this collection is that it has gathered the source materials and documents (specially the scare documents) relating to Persian children’s literature, and one can introduce it as an important reference book in this field.

Giorgio Milanetti

Indian cities seem particularly prone to investigation through narrative both for the abundance of material about the origins and the development of urban centres from ancient to medieval times—which often contrasts with the relative scarceness of purely ‘historical’ data—and for the tendency to elaborate modern and contemporary “a posteriori narrative-myths” (Aravot 1995) through popular media such as cinema and television. Using methodological tools provided by research on narratives and analysing two case studies with reference to the cities of Ayodhyā and Bengaluru, the present paper investigates the processes and the dynamics by which narrations on cities are made to evolve. It builds on the conceptual frame provided by recent narratological scholarship, with a specific reference to the “increasing recognition of the ubiquity of narrative within any culture, in discursive practices as diverse as theology, historiography, economics, legal practice, political speech-making, everyday conversation and philosophy” (Rigney 1992: 263–264, italics in the original). Focusing on the ‘constructive’ aspect of narrative, seen as a discourse that intrinsically involves the active (and determinant) participation of the narrator, it argues that this perspective of analysis allows the researcher to interpret urban narratives eminently in political terms, or within relations of power—which also legitimizes the use of narrative materials for historical research. In broader terms, it contends that narration can give back structured information about the values and the practices which characterize a given society, and which are selectively communicated by the narrator(s); and that, in turn, this quality of ‘restoring’ structured information may shed more light on the inherent nature of narration itself and lead to further theorization both on its creative dynamics and its created artefacts. Practice of exploration of narration in a context of open communication with other disciplines may undoubtedly facilitate this process.