Hasil untuk "Indo-Iranian languages and literature"

Dr.Rehman Sarwar Bajwa

<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 12.0pt; line-height: 107%; font-family: &quot;Book Antiqua&quot;,serif; mso-bidi-font-family: &quot;Jameel Noori Nastaleeq&quot;;">The influence of post-modernism is evident across various genres of Urdu literature, including poetry, ghazals, fiction, and novels. This paper seeks to examine and interpret the impact of post-modern philosophy and its stylistic trends on the language of the Urdu novel. The novel, as a genre, has been selected for this study due to its intrinsic connection with lived experience, serving as a dynamic reflection of society. In contemporary literature, the novel is regarded as one of the most potent social instruments, offering an unparalleled medium for articulating nuanced thoughts and ideologies. Through a critical analysis of linguistic and narrative techniques, this paper explores how post-modernism has reshaped the language and structure of Urdu novels, reinforcing their role as a mirror to evolving cultural and philosophical paradigms.</span></p>

فرناز ساسانی, مرجان فرجاه, سپیده نواب زاده شفیعی et al.

در پژوهش حاضر در صدد آن هستیم تا با در نظر گرفتن تفاوت‌های زبانی و فرهنگی، به چگونگی انتقال پنداره‌های فرهنگى در ترجمۀ ادبی بپردازیم. از این رو به‌عنوان پیکرۀ این پژوهش، نمونه‌هایی از ترجمه‌های دو اثر از اریک امانوئل اشمیت را در دوره­های مختلف مورد مطالعه قرار خواهیم داد و روش‌هایی را که مترجمان برای ترجمۀ عناصر فرهنگی به کار برده‌اند، با تکیه بر نظریه پیتر نیومارک بررسی خواهیم کرد تا کاربرد‌‌پذیری این نظریه در محوریت زمان و دورنمای کارآمدی آن بر‌اساس سه شاخصۀ اهداف، امکانات و موانع تبیین گردد. با گسترش تسلط بر هوش مصنوعی و به‌کارگیری نسل جدیدی از نرم‌افزارهای ترجمه توسط مترجمان جوان که همواره نسخه­های دقیق­تری از محتوای اصلی را به زبان­های بیشتری ارائه می­دهند، شاهد ظهور نسلی از مترجمان هستیم که روزآمدی نظریه­های ترجمه را در خصوص بازنمایی بن‌مایه‌های فرهنگی نادیده می­انگارند. از آنجا که معنای واژه‌ها یا عبارات نشأت‌گرفته از فرهنگ یک زبان است، درک معنا مستلزم شناخت کاملی از فرهنگ زبان مبدأ است و به نظر می‌رسد تا به امروز نرم‌افزارهای ترجمه به‌تنهایی نمی­توانند برای دست یافتن به ترجمۀ دقیق مؤثر واقع شوند. لذا در این جستار سعی بر آن داریم تا اهمیت کاربرد نظریه­های ترجمه را در حیطۀ ترجمۀ ادبی به­ویژه در ارتباط با ترجمۀ عناصر فرهنگی برای نسل آینده از مترجمان مطرح سازیم.

Hosain Salimi

Poems composed by Hafez can be considered the most complex and enigmatic ones in the Persian language in terms of the use of artistic, rhetorical, and semantic capacities and functions of language. In this regard, Hafez goes to the point that it would be impossible to comprehend the intellectual world of his speech without reflection and hesitation. Hence, he has intelligently, fluently, and consciously used all the subtleties and capacities of the language to present his thoughts and draw his worldview taking advantage of them all with remarkable dexterity. It is because of the use of these clever linguistic tricks that his poetry has always been the subject of literary studies by scholars from different perspectives. On the other hand, since one of the most important stylistic and artistic features of his poems is the amazing use of amphibology and its different types, especially proportional amphibology, many researchers and poets have tried to examine the different layers of meanings and linguistic mystery of his art by extracting evidence of amphibologies and its various categories in his poetry in order to reveal the wonders of prismatic relations of words in his poetry. The present study has used the methods of description and analysis to examine the idea of ​​new proportional amphibologies in the poetry of Hafez. These proportional amphibologies have not been considered in previous research and studies of the poetry of Hafez. Keywords: Hafez, Amphibology, Proportional Amphibology, Rhetoric Multi-layered. IntroductionThe most frequent and eloquent feature of the poetic style of Hafez is considered to be proportional amphibology. Basically, multi-facetedness and multi-meaning are the constituent elements of literary discourse. By using this feature, Hafez not only displays his literary eloquence but also conveys his intelligent thoughts beautifully and in the most artistic way. Amphibology means complexity of images, or in other words, multi-dimensional images that are created by combining words with multiple meanings at the level of a verse.One of the strengths of the poetry of Hafez compared to the poetry of many formalist poets or even poets who have created amphibology is that aside from making maximum use of multiple paralinguistic capacities of language, Hafez has also grown the semantic and intra-linguistic aspects of the language in various ways. This issue has made the audience draw different meanings and interpretations from the linguistic and semantic layers of words and their artistic relation with the content proportionate to the amount of their feelings, emotions, awareness, and knowledge in the face of his poetry to be satisfied and enjoy from this artistic pleasure.Undoubtedly, through his awareness and competence over linguistic delicacies, Hafez himself has played a role in the choice and combination of the lexicon based on their artistic and semantic relations. However, based on the theory of “death of the author”, the role of the reader of poetry in discovering and extracting the semantic and linguistic layers of words and their deliberate and stable musical connections is undeniable. Following the same line of research, the present study investigates some aspects of the artistic capabilities of Hafez and his awareness of the prismatic relations of the lexical items in light of the linguistic and rhetorical subtleties of his poetry. Materials and MethodsThe present study is conducted using a descriptive-analytical method through the use of library resources and extracting files from related sources. Many researchers and poetic scholars have tried to show the different layers of meaning and linguistic mysteries of his art by extracting the amphibologies and their different categories from his poetry in order to reveal the wonders of the prismatic relationships of the words in his poetry. However, by studying the language of Hafez, novel artistic and rhetorical relationships can be found among the words that other researchers have not noticed or discovered yet. In the present study, novel proportional amphibologies in the poetry of Hafez have been examined. These proportional amphibologies have not been considered in other studies and annotations written on the poetry of Hafez. Research FindingsOne of the obvious and at the same time effective components of Hafez's poetry is the multidimensionality of the verses and the layers of meaning embedded in them “in such a way that the audience, after reading it several times, still makes discoveries in the field of form and meaning, and this issue makes the text finished does not know and always has the motivation to return to it as a dynamic and generative text” (Azizi Habil, 2019, p. 8). The use of amphibology and more specifically proportional amphibologies in Hafez's poetry is usually made with awareness and a special style, and while Hafez tries to bring his words closer to the pure essence of poetry, he also tries to make his art reflect the social issues of his time. A time when hypocrisy and sanctimony of the people could not be described except via a multi-faceted and multi-layered language. Although from the perspective of "the death of the author", the issue is acceptable as the poem is a musical note that is performed by the singer and the author no longer has control over it. When words are written, they turn into an instrument that anyone can use based on their taste and the tools they have at their disposal; it is not guaranteed that the author can use them better than others. “Hafez's artistry in his special way of using language has caused his poetry to be a mirror so that everyone can see themselves in it and imagine that this is the true image of Hafez; Minds that are familiar with the words and meaning of Hafez's words, whenever they look at his words and reflect on them, they learn new things about form and meaning and discover new subtleties and points” (Agha Hosseini, 2004 p. 124).The present study investigates the use of proportional amphibologies in lexical items that have not been noticed by commentators and researchers and have been neglected in the annotations of the poetry of Hafez, as well as in previous linguistic and rhetorical studies regarding their lower layers of meaning and their harmony and compatibility with other words in which these lexical items are used. In examining the aesthetics of the poetry of Hafez, in many cases, neglecting the rhetorical and aesthetic dimensions of a letter or a word can collapse the artistic structure and stunning beauty of the verse and sometimes destroy the value and the content and semantic position of the verse and even the whole sonnet. This attention and awareness to the multiple semantic layers of a word, as well as his unique awareness and knowledge of the coexistence and replacement of words, has turned the poetry of Hafez into the purest poem in the history of Persian literature and the most artistic poetic language. Discussion of Results and ConclusionsThe precision and obsession in choosing words is one of the distinctive and artistic features of the poetry of Hafez. The poetry of Hafez is like a mirror every time you look into its clarity and transparency, you can see more wonderful and different aesthetic aspects that lead to the artistic pleasure of the readers. That is why his collection of poems, which is a masterpiece of the artistic subtleties of Persian literature, refreshes as time passes and the mysteries hidden beyond its literary level reveal themselves upon each reading. The secret of the immortality of Hafez and his poetry should also be sought from this perspective. The present study was an attempt to shed light on some of the hidden proportional amphibologies in the verses and poems of Hafez which had so far escaped the keen eyes of scholars. To discover these amphibologies, one should pay attention to the sometimes obsolete and forgotten meanings of some lexical items as used by Hafez; synonyms that can sometimes only be searched and found in Persian dictionaries.The following are some of the lexical items whose forgotten meanings and synonyms have been examined in this study and it has been shown that paying attention to these meanings helps us discover the proportional amphibologies that have been neglected so far: ISHRAT (a type of tree), HASRAT (the name of a flower), AN (Wolf's nest), Bud (well), QAROON (a type of flower and herbal plant), JAN (wind), SHAHID (Friday), BI (butterfly), SHARAB (a type of flower), GOL (A musical note), HOOR (A tree), KHEJEL (A valley full of flowers and plants), TOBE (rainbow), FARAGH (Arrow and hot summer wind), PARVANE (leader and frontrunner), SU (An arrow), AREZ (leader of the corps), NAM (sleep), HOBAB (one of the names of the devil), BAD (pride), TALIB TA LAB HAD (looking at the corner of the eye). It is as if these words are like actors present on the stage, each wearing a different costume underneath their outer clothes, having them sit together with other actors (words) in the lower layer of the play (poetry). Undoubtedly, we should not suffice to what has been said so far about the art of Hafez by researchers and scholars, and by meditating and delving into this ocean of art and rhetoric, we can catch new and valuable oysters and reveal other mysteries of the magic of his speech.

Ghodrat Allah Taheri

The two terms, “faith” and “belief”, due to their common semantic field and widespread usage, are used interchangeably, without clear conceptual boundaries between them, not only among ordinary people, but also among elites, such as some poets and writers. However, they exhibit significant distinctions in their true meanings and concepts. In this regard, “faith holders” and “believers” have obvious differences in their perception of God and the way of communicating with Him, the way of perceiving and interacting with existence, as well as their perception of religion and religious experiences. In contrast to many poets inclined towards mysticism and gnosis who often did not perceive a distinction between faith and belief, Rumi, similar to most of the mystic Muslim intellectuals, places “faith” and “disbelief” in opposition and explicates their origin, causes of creation, and their impacts. In fact, he separates his path from the mystical poets preceding him. In Rumi's intellectual framework, which is similar to the views of philosophers such as Kierkegaard, faith is a fluid and ever-evolving matter, while belief is something fixed and static. Consequently, faith is an unlimited affair stemming from an individual’s experiential inclination towards God and is attained through the spiritual journey of the self. On the other hand, belief is established in community and society, evolving through various means such as individuals, books, documents, and exoteric developments. Faith belongs to the impossible, while belief belongs to the possible affairs. Believers are dogmatic and antagonistic, fearing that others challenge their convictions. However, faith holders are tolerant. Those in faith are always in an endless relationship with God and continue this relationship in love, while others have a transactional relationship with God, viewing their religion as a means to achieve worldly and otherworldly desires.

Layla Anbarsetani, Rashid Zoalfaghari Zafarani, BiBi Sadat Miresmaeili et al.

The present study was conducted with the aim of developing and validating a quality management model in order to implement the educational goals of the document of fundamental transformation of education and upbringing with a combined approach. In terms of applied purpose, the present research method was a combination of consecutive exploratory type and data collection method in the qualitative part, field using interviews and in the quantitative field using a questionnaire. The statistical population in the qualitative section includes professors of educational management familiar with the document of education and training as well as familiar with quality management, who were purposefully selected as a standard for qualitative interviews on the subject of research (19 interviews with 19 people and up to The theoretical saturation limit continued) and in the second (quantitative) part, after collecting information from qualitative research, a questionnaire was constructed. Therefore, in general, it was found that the categories of strategic quality management model in order to implement the educational goals of the document of fundamental transformation of education and training, in order of importance, including infrastructure, evaluation, finance, human resources, participatory education, communication, human, organizational structure, program is planning and training. The directors of education in the country are recommended to use the results of the present study to achieve the educational goals of the document of fundamental change in education.

Ali Khorashadi, Dariush Esmaeili

Realism is a powerful materialization of art that appeared in 19th century in literature and painting and is still ongoing. A realism artist creates logic and relations in a work of art that comes from new sciences and social relations related to modern society. Meanwhile, Cinema as modern era art has close connections with realism for image recording and we know that from the earliest films of Lumiere brothers. with the addition of sound and color to basic silent movies, this relation continued and from mid 20th-century attitudes for social realism were increased which was reflected in works of Iitalian Neorealists and “Andre Bazin” theories. This article is a survey of the book An Approach to Realism, Cinema and the Expression of Religious Concepts that was written by Vahid Hayati that surveyed the capacities of cinema realism to express religious concepts and it is about distinguishing the common realism that reaches its climax at Neorealism movement, and a form of realism that is common to express religious concepts. In this article, Hayati’s opinions about the religious realism concept were shown. He believes this manifested in the works of Majid Majidi and especially “Children of Heaven”. It criticized his point of view about similarities between realism in Islamic and religious concepts and cinematic concept and differences based on epistemology.

Reyhane Mirza Alian, Zahra Sayed Yazdi, Saeed Hatami

Extended AbstractThe author's gender and the reflection of the elements arising from gender in terms of writing techniques are influential in how the narrative is formed. In this regard, the present study aims to compare the narrative style of Khaneye Edrisi Ha by Ghazaleh Alizadeh, and Sal-e Balva by Abbas Maroufi from the same perspective. Feminist theorists believe that the gender of the author is influential in the texts. Due to the spread of feminist issues in the field of literary criticism in today's world, the component of ‘women's writing style’ has become one of the main topics of text analysis based on the methodology of women's criticism. One of the methods that can be widely used in feminist literary criticism is to study examples of women writing styles in literary works.In this study, most of the important coordinates of women's writing style, consisting of fourteen main and influential components, as criteria for measurement and comparison, are considered by the authors: 1) the strong presence of female characters, 2) maximum use of point of view to reflect the author's views, 3) the saliency of the nature of nostalgia or homesickness as one of the common themes in women's writing style, 4) the reflection of ‘waiting’ as an inseparable feature of women's personality, 5) women's meticulousness, 6) the clear manifestation of the concept of ‘love’ and its related feelings and emotions, 7) anti-masculinity, 8) attention to women's body and physical abilities, 9) the manifestation of a kind of solidarity and cooperation between women, which is called ‘sisterhood’, 10) the use of a formal and polite form of language, 11) the use of special vocabulary that indicates the family issues and a woman's preoccupation, 12) the color words, 13) words and emotional reactions, and 14) multilingual signsThe results of the study show that although the author of the novel Sal-e Balva is male, based on the gender of the protagonist who is Nooshafarin as the basis of his narrative style, except in a few cases (such as pornography and the use of incomplete sentences), he was well able to create feminine writing. As in most of these components, the narrative of Sal-e Balva has many similarities with the narrative of Khaneye Edrisi Ha. As far as can be said, the author of the novel Sal-e Balva has used feminine writing techniques in a way that conflicts with her gender. Although Khaneye Edrisi Ha is a feminist novel in general, and in most of the characteristics of feminine writing, this kind of author’s attitude is clearly reflected. But the author's narrative, contrary to expectations, in a few cases (such as the characterization of Shaukat as the hero and the use of female characters in words), clearly shows manifestations of masculine writing. In sum, the authors of both novels have creatively and coherently used feminine writing techniques to achieve their goals, and this fact has brought advantages to both novels.

Maryam Poostforush, Mostafa Taqavi

Different narratives have been offered so far of the nature of science and scientific activity. Roy Bhaskar as one of the leading critical realists seeks to set the ground for a Copernican Revolution in the philosophy of science which seems to have been handled well by him. To this end, he proceeds    to highlight the ontological debates and at the same time pays attention to the social nature of science. In A Realist Theory of Science, which contains original and powerful arguments in the philosophy of science, not only does he raise criticisms against some philosophical schools and explains his own theory of science, rather he does also broach significant categories in the philosophy of science. His remarks with their philosophical basis can inspire the scholar who studies Bhaskar’s philosophy. Among the most important ones of these categories, one can refer to the mutuality of ontological realism and epistemological relativism as well as his criticism of Tarsky’s theory of truth. This essay aims at reviewing Bhaskar’s key work in the philosophy of natural sciences and identification of its points of weakness and strength using a descriptive ـ analytic method. This is undertaken through a detailed review of the whole book in view of its formal, qualitative, and content dimensions. The essay is concluded by a number of practical suggestions.

Hakimeh Izadi, MohammadReza Najjarian

In the current article, the authors tried to evaluate some aspects of alternative history narration in the historical novel, Shah-e bi Shin, written by Mohammad Kazem Mazinani. Alternative history narration is an emerging genre in Persian literature, which could lead to the creation of attractive, compelling stories, somehow opposed to the historical imaginations of audiences. Alternative history finds a new timeline for historical narrating, using ingredients like having an appropriate scenario and finding a point of divergence (POD). Alternation of historical narration includes alternation in fictional events and fictional persons. The research background belongs to the historical novel, Shah-e bi Shin, limited to literary meetings and interviews, and no detailed research has been done, except for two short articles by Majid Estiri and Maryam Goudarzi. Alternative history is a new subject in fiction literature and is sometimes confused with historical metanarrative style and post-modernism.Shah-e Bi Shin narrates a real story of the Pahlavi period about a historical character, Mohammad Reza-Shah. This narrative allows writers who are interested in adding historical novels of alternative history to Iranian fiction literature, to use examples of alternate history that happened from the story character’s viewpoint. Shah-e Bi Shin, including components of alternation history narrating in branches of birth, death, lifestyle, and finally, the metamorphosis of character helps break the boundary between imagination and reality. In this research, we tried to draw the audience's attention to create new and intact narratives using historical events, besides introducing alternative historical genres and discovering novel power and imaginary narrations in Shah-e Bi Shin the historical novel. Alternation history has rooted in the historical imagination, for it can reach more readable and idealistic works of true history. This literary art seeks historical “what if”s, to show a new history to the story and its audiences.Shah-e Bi Shin novel has been narrated from Mohamad Reza Shah’s view. So, it consists of life details, personality, and behaviors of this historical character; a defeated character who always seeks in his mind the answer of “what if”s that could change the destiny and history of his land. This component makes us look for more components of this idea, and investigate historical alternate examples in this novel from the language of Mohammad Reza Shah and his surroundings. The alternation of historical events in this novel ends with the events that belong before Shah’s exodus from Iran. Events like coup defeat, Mohammad Reza Shah and Soraya’s unsuccessful escape, Shah’s assassination in university, and finally, leaving the homeland which was among the worst choices he has made, in Mohammad Reza’s view.Alternation of the historical character of this novel almost refers to Mohammad Reza, himself. These events occurred during the period from his birth to his death that happened outside Iran. During this period, he was complaining about everything and imagining other events and occurrences, in his mind, which if they had happened, would have changed his life and the history of his homeland. The novel’s atmosphere is a reflection of Mohammad Reza's childhood and such a stifling atmosphere continues after he had just survived an illness. He was upset about his birth all over the novel. That feeling of dissatisfaction spread to his destiny. He did not like this life and wishes he were a farmer or a lawyer in one of the American cities and had a normal life rather than being a country king and deprived of those works he did like to do.Mohammad Reza was so dissatisfied with this destiny, as he likes to come to a personal metamorphosis. This can help the imagination of alternative historical genres and create a story with a surrealistic atmosphere. Death and death types are other designs and deviation points which help to break down the timeline of the story. Modification in his death type or death time could cause other historical events and movements, and create a new history for novel and story audiences. Statistically analyzing the representations of alternate historical narration in this novel, we found a high frequency of alternate characters compared with alternate events (63 to 37%).  Also among representations of alternative characters, statistical data that belong to birth change has the most, and personal metamorphosis has the least quantity.

Behruz Bekbabayi

The Cossacks, who had were separated from Turkic society in 1465 and had independent identities until Russian domination, also gained extensive geography in Central Asia after independence. But, we know that this vast geography is part of Iran’s cultural geography. Consequently, the historical process of thought and literature in this field is necessary for the investigation of Iranian scientific circles. As a result, in order to achieve this goal, we reviewed the book “Kazakh History and Literature “Survey and Analysis of Historical and Literary Links with Iran” by Islam Zhemeni. In this review, we will mention the positive features of the book, such as providing brief information on the history and culture of the Kazakhs, the various periods of Kazakh literature, especially the literature of the Stalin era, and the way in which the Cossack intellectuals struggled with Stalin’s despotism at the head of them in the process of Kazakh culture and thinking. Particularly, we will refer to the most influential Kazakh indicators, such as Abai Qunanbayoglu, Shahkarim, Mokhtar Avesov, and so on. We will also look at some of the flaws in the book, such as repetition and the emotional content of some of the content and the weakness of the book’s layout and editing. This book is very important in knowing the way and time of the influence of Iranian culture and literature in those areas.

Sarah Kiyanrad

Shortly after the completion of Firdausī’s Šāhnāma, historical epics in modern Persian were being written. While sharing in the tradition of šāhnāma-nivīsī, these epics deal with a more recent past. This paper maps out the characteristics of Persian historical epics by means of three examples (ʿAbdallāh Hātifī: Timurnāma and Šāhnāma-yi Hātifī; Qāsimī Gunābādī: Šāhnāma-yi Ismāʿīl). Not only during the Ilkhanid era, but also during later eras these kinds of works were actively being produced in Iran, even though they are as yet largely unexplored. The three aforementioned epics dating from the late Timurid and early Safavid periods (15th and 16th c.) shall illustrate continuities in form and content that transgress the limits of dynastic history, while at the same time acknowledging the three epics’ characteristics to be understood within their particular historical context. It will become clear then that historical epics tied together poetry and historiography consciously. For centuries, the respective authors sought to follow up on Firdausī’s opus and thus to embed the depicted ruler or dynasty/dynasties in a narrative of Iranian history, which apparently greatly appealed to their envisaged audience.

سیدحسن وحدتی شبیری, حسین عبدالحمید

نجات جان مصدومان در حوادث مصداق بارز احسان است، اما اتلاف در ایراد زیان مقتضی ضمان است؛ بنابراین، برخی مصادیق این دو قاعده در مسئولیت امدادگران به‌ظاهر متعارض یا متزاحم‌اند. در رفع این تهافت ممکن است چنین به‌نظر برسد که رابطۀ عموم و خصوص من‌وجه دو قاعده تساقط هردو در وجه مشترک و رجوع به ادلۀ عام و مطلق لزوم جبران و ضمان می‌گردد. بااین‌وصف، این نگرش قابل نقد است، بنابراین قاعدۀ احسان به‌خصوص در موارد ضرورت امداد می‌تواند حاکی از محکومیت آن بر قواعد دال بر ضمان باشد وبدین‌ترتیب، رفع خلأهای قانونی برای تضمین معافیت امدادگران از مسئولیت در موارد احسان ایشان در موارد منتهی به اتلاف انفس یا اموال امدادجویان ضروری است. دیدگاه برخی از نظام‌های حقوقی دیگر هم‌چون انگلستان بیان‌گر نوعی ضرورت اجتماعی در جهان امروز برای تأمین معافیت از مسئولیت امدادگران در چنین مواردی است و درنتیجه، آموزۀ مناسب به‌منظور وضع قوانین لازم در این حوزه نیز برای رفع ابهام یا خلأهای موجود درقالب حکم اولیه متأثر از قاعدۀ احسان یا ثانویه متأثر از ضرورت اجتماعی امروز پیش‌نهاد شود.

Mahdi Fadaei Mehrabani, Zaniar Ebrahimi

Giovanni Gentile is the most important philosopher of fascism. His influential book Origins and Doctrine of Fascism has a key role in the theoretical aspects of fascism. In other words, the significance of this book is providing a theoretical justification of fascism as an ideology. In the present article, by studying the different ideas raised by Gentile, I attempt to clarify how Gentile explains the internal logic of Italian fascism. I will try as much as possible to show how Gentile provides a theoretical support for fascism in Italy. Furthermore, the article has a critical review of this book in the last part.

Рамиль Тагирович Юзмухаметов

В статье содержатся результаты исследования усвоения арабо-персидских лексических заимствований в индонезийском (малайском) языке. Актуальность исследования обусловлена интересом к истории распространения арабо-мусульманской письменной традиции в ареале Малайского архипелага, а также способами усвоения иноязычных слов носителями индонезийского языка. В статье рассматриваются фонетические, морфологические и лексико-семантические изменения арабо-персидских заимствований в индонезийском языке на материале словарей современного индонезийского языка. Методологической и теоретической базой для исследования стали труды отечественных и зарубежных языковедов и востоковедов. Арабо-персидские лексические заимствования начали проникать в язык малайцев одновременно с их знакомством с исламом примерно с XIV века. Изначальной формой присутствия ислама на Малайском архипелаге был суфизм, который органично вписался в местную культуру, так как имел общие черты с индуизмом и буддизмом. Появление суфизма здесь очевидно связано с деятельностью индийских и иранских торговцев. Благодаря суфиям распространилась грамотность среди населения, началось знакомство с образцами арабо-персидской мусульманской литературы; так язык малайцев стал насыщаться арабизмами и иранизмами. Хотя в индонезийском языке количество арабских заимствований значительно больше, чем персидских, тем не менее возможно предположить, что арабизмы попали в индонезийский язык уже после усвоения мусульманами, говорящими на индоиранских языках, а не от арабов напрямую. Арабо-персидские заимствования в структурном плане приобрели индонезийские фонологические и морфологические черты. The article contains the results of the study on the assimilation of the Arabic and Persian lexical loanwords in the Indonesian (Malay) language. The relevance of the study is due to the interest in the history of the spread of the Arab-Muslim written tradition in the area of the Malay Archipelago, as well as the ways of assimilation of foreign words by native speakers of the Indonesian language. The article considers the phonetic, morphological and lexical-semantic changes of the Arabic and Persian lexical loanwords in the Indonesian language based on the material of the dictionaries of the modern Indonesian language. The methodological and theoretical basis for the study is the works of the domestic and foreign linguists and orientalists. The Arabic and Persian lexical loanwords began to appear in the Malay language at the time when the Malay people became acquainted with Islam in the 14th century. The initial form of the presence of Islam in the Malay Archipelago was Sufism, which organically fit into the local culture as it had common features with Hinduism and Buddhism. The emergence of Sufism here is obviously associated with the activities of Indian and Iranian merchants. Thanks to the Sufis, literacy spread among the population, the Malays got acquainted with the samples of the Arab-Persian Muslim literature. Thus, the Malay language began to get saturated with Arabisms and Iranisms. Although the number of the Arabic lexical loanwords in the Indonesian language is much larger than the Persian ones, it is nevertheless possible to assume that the Arabisms entered the Indonesian language after being adopted by Muslims speaking the Indo-Iranian languages, and not directly from Arabs. The Arabic and Persian lexical loanwords structurally acquired Indonesian phonological and morphological features.

آیت الله فاضلی منیع, شادی دنیایی, مسلم یوسفی et al.

مطالعۀ حاضر به‌منظور ارزیابی کتاب درسی زبان انگلیسی پایۀ اول دورۀ دوم متوسطه، ویژن یک (Vision 1)، انجام گرفت. بدین‌منظور، پرسش‌نامۀ برگرفته از مطالعۀ احمدی صفا و همکاران (1396) با بررسی مجدد پایایی و روایی بین 150 معلم زبان انگلیسی انتخاب‌شده براساس نمونه‌گیری در‌دست‌رس توزیع شد. به‌علاوه، مصاحبه‌ای نیمه‌ساختاریافته شامل ارزیابی کلی کتاب، مزیت کتاب تازه‌تألیف بر کتب پیشین آموزش زبان، دیدگاه معلمان درخصوص تحقق اهداف کتاب، نقاط ضعف کتاب، پیش‌نهاد‌های معلمان برای چاپ‌های آتی طراحی شد و با بیست نفر از معلمان فوق انجام گرفت. نتایج نشان داد که معلمان رضایت نسبتاً بالایی از 1) مواد کمک‌درسی و کتاب راه‌نمای معلم، 2) موارد گرامری، موارد واژگانی، و انواع نقش‌های زبانی، 3) محتوا و مهارت‌‌های زبانی، 4) فعالیت‌ها و تمرین‌‌ها، 5) طرح و قالب، 6) روش تدریس دارند. درحالی‌که در بخش کیفی مطالعه، معلمان کتاب را تلاشی ناموفق در دست‌یابی به اهداف موردنظر ارزیابی کردند.

رضا طاهرخانی, مهسا بیات, شبنم قاسمی

مطالعۀ حاضر با استفاده از روش پژوهش ترکیبی کتاب جدید زبان انگلیسی پایۀ سوم دورۀ اول متوسطه (prospect 3) را بررسی کرده است. در این پژوهش، 83 معلم زبان انگلیسی پرسش‌نامۀ پنجاه سؤالی در مقیاس لیکرت را تکمیل و ده نفر در مصاحبه‌ای نیمه‌ساختاریافته شرکت کردند. هم‌چنین، 470 دانش‌‌آموز پایۀ نهم به پرسش‌نامۀ چهل‌سؤالی پاسخ دادند. پایایی پرسش‌نامه‌‌ها  نیز براساس شاخص بارتلت و KMO محاسبه شد و هم‌چنین آزمون بارتلت نیز برای هردو معنادار گزارش شد. داده‌‌های به‌دست‌آمده ازطریق دو آمار توصیفی جداگانه بررسی شدند تا میزان رضایت این دو گروه از جنبه‌‌های مختلف کتاب به‌دست آید. هم‌چنین، به‌منظور یافتن پیش‌بین قوی از تحلیل کتاب در پرسش‌‎نامۀ معلمان و دانش‌‌آموزان دو آزمون رگرسیون جداگانه برای هر پرسش‌نامه انجام گرفت و نتایج آن‌ها نشان دادند که برای پرسش‌نامۀ معلمان مؤلفۀ مهارت‌‌ها و برای پرسش‌نامۀ دانش‌آموزان مؤلفۀ تمرین‌ها و فعالیت‌ها پیش‌بین‌های قوی‌تری‌اند. بنابراین، می‌‌توان گفت که درنظرداشتن موارد یادشده به معلمان و کارشناسان این امکان را می‌دهد که نقد علمی بهتری از کتاب‌ها و مواد آموزشی کنند و این توانایی را به معلمان می‌دهد که هنگام تنظیم طرح درس به همۀ هدف‌ها و معیارهای آموزشی توجه کنند.

حامد وحدتی نسب

کتاب انسان خردمند، تاریخ مختصر بشر ازجملۀ پژوهش‌هایی است که در جهان با عنوان رویکرد تاریخ کلان طبقه‌بندی می‌شود. کتاب یادشده به‌قلم یووال نوح هراری از دانش‌آموختگان مشرب فکری جرد دایموند به‌‌رشتۀ تألیف درآمده است. نویسنده درخلال چهار فصل عمدۀ کتاب با عناوین انقلاب شناختی، انقلاب کشاورزی، وحدت بشر و انقلاب علمی کوشیده است فرازونشیب‌های داستان تطور انسان را از حوالی صد هزار سال پیش تا رسیدن به عصر مدرن روایت کند. گرچه نویسنده و مترجم و ویراستاران همگی از قلمی شیوا و جذاب برخوردارند، برخی ایرادات محتوایی منجر شده برخی انتقادات به رویکرد علمی نویسنده فراگیر شود. شاید مهم‌ترین نقد وارده به کتاب ساده‌انگاری بیش از اندازه و وسواس کم درخصوص ارائۀ مدل‌ها و تاریخ‌هاست. نویسنده در هیچ بخشی از کتاب توضیح نداده که چرا مبدأ انقلاب شناختی را هفتاد هزار و نه هم‌چون بیشینۀ پژوهش‌گران پنجاه هزار سال قرار داده است. هم‌چنین وی خواننده را دربارۀ شخصیت اصلی کتاب (انسان خردمند) تاحدودی سردرگم رها می‌کند. این‌که مراد نویسنده انسان هوشمند ابتدایی (homo sapiens) است یا انسان هوشمند هوشمند (homo sapiens sapiens) هرگز مشخص نمی‌شود.

Lidia Sudyka

The "Santānagopāla" as a Narrative Opening up Intimate Spaces: Lakṣmī Tampurāṭṭi and Her Poem During my fieldwork in Kerala in 2014 and 2015, made possible by the financial support of the National Science Centre in Poland, I was able to collect several manuscripts by women authors as well as some very rare printed editions of their works. From the collected sources I have decided to choose a poem based on the Santānagopāla theme, a story about a pious Brahmin and his wife losing one child after another. It recurs in the oeuvre of at least three women writers living at the turn of 19th and 20th centuries. We know very little about the lives of the authoresses but the selection of such a theme perhaps was not fortuitous and we will be able to notice their womanly sensitivity in its treatment or scenes from their own lives and gather more information about the authors themselves. In the present paper I will concentrate on the Santānagopāla poem written by Lakṣmī Tampurāṭṭi (1845–1909).

maryam rozatian, Mohamad jalil mostafavi e rozati

Study and analytical comparision of works of the nobles shows their impressions to each other, in addition to can be useful to ranking of thinking progresses of culture.” Naserkhosro” and “Molavi” create rich works that were imitated several times. Purpose of this article is showing similarities of” Masnavi” of “Molavi “ and “Wajhi din” of “Naserkhosro”.These cases include two groups worldviews and parables. Some similarities : necessity of obedience of authorities, importance of inner part and sense, high rank of knowledge,…

Taher Lavzheh, Rahim Kooshesh, Abdoolah Toloueiazar

Abstract Harmonious and rhymed prose is a literary kind of speech characterized by producing music and intonation in order to conveying meaning of the context as well as possible and influencing the addressee more. In this paper main question is “whether Sa’di in writing the Golestan, besides of applying rules of this kind of speech in Persian language, has used those characteristics of rhymed prose that exist in the main Arabic rhetoric books?” For this purpose, Characteristics of rhythmic and rhymed prose in Arabic rhetoric books have been examined by using description-annalistic approach, and brief pointing to the situation of Persian rhetoric science. The hypothesis is based on the belief that Golistan’s author uses ideas of Arab rhetorician in composition of this book to strengthen the structure of Harmonious and rhymed prose. The aim of the present study is recognizing that Sa'di in the rhymed prose of Golistan how much has used important Arabic rhetorical resources in the field of word and meaning. Having a critical look at the rhetorical books, New and Old Persian sources, it can be found that the researchers noted only a short definition limited to interpretation of some words or expressions based on great prose works and poetries, and not expressed their opinion by a critical attitude and also not looked on the details exactly and thoroughly of the aesthetic view. In the other side, in Arabic literature up to the Sa’di’s range, the field of rhetoric has been expanded and developed more and more. Most parts of Golistan are consistent with theories in view of Arab rhetoricians that in the following of this paper some cases are briefly mentioned: In the period of Abuhelal Askari, main idea was that meaning is superior to the word, and meaning was not as important as word. Abd ol-Qahr Jorjani abolished that belief and so emphasized that word and meaning cannot be separated and also proved that word out of the meaning frame and context order could have no sense, so that, be attributed to rhetoric. According to Ibn Asir, rhyme has its own rules and standards. So, it is not merely coming two uniformed or symmetrically matched parts of speech. But it is necessary that the harmony and consonance be embedded in its best state and appropriate demanded place in the speech. Ibn Asir and other great Arab rhetoricians know some conditions necessary for applying harmonious and rhymed prose and suggest the authors use them: 1- Appropriate words in speech should be chosen 2- The combination of words in sentences be at best 3- It is not correct that meaning follows the word 4- Each parts of rhythmic and rhymed prose should have different implications 5- Both parts of rhythmic and rhymed prose should be equal 6- No part should be longer or shorter than the other Those characteristics in Golistan are obviously represented. In writing most parts of Golistan, being free from artificiality is taken into account by the author. Beautiful words, poetic compounds with bluntly eloquent rhetoric, rhetoric in sense, strong cohesion and creating consistency in the whole work, are due to Sadi’s efforts to comply with those characteristics and features in the language and expression. So as the words and expressions are without cacophony, complexity, figuration, and other negative characteristics of literary speech. In Sa’dies expression,  meaning follows the word. If a sentence is complete in meaning and does not need to be figured, it comes in the same simple form. In harmonious and rhymed prose of Golistan, there are examples of literary symmetry that both of sides have the same meaning and are not according to the conditions of harmony in the view of Ibn Asir and other Arab rhetoricians. But it should be mentioned that in the artistic features of Persian language, literary repetition is pleasing and acceptable in the customary of rhetoric, and also circumlocution in harmonic and rhymed prose emphasizes the meaning to influence the audience. Based on what was presented in the context of this study, the following points may be noted as a result of discussions: Persian books of rhetoric up to Sadi’s time, haven’t noticed to the artistic feature of consonance and harmony in prose, and rhetoricians have not tried to criticize its aesthetical aspects. So there is no doubt that Sa’di has been influenced by Arabic rhetoric that has made good criticisms on that. Sa’di has an artistic, creative and literary view about harmonious and rhymed prose and it is based on poetic and rhetoric scales of Qoran and Abuhelal Askari theories of “Word eloquence” and other rhetoricians, and Abd ol-Qaher Jorjani’s “Harmony of Word”. Making use of harmonious and rhymed prose in most parts of Golistan, Sa’di has aimed at conveying the meaning to the audience as well as possible through this kind of literary discourse. So the audience not only understands the artistic massage but also becomes familiar with music of words and their image making power, and therefore feels satisfaction more than before. Also Sa’di against the Arabs rhetoricians’ claims, in some cases proves that while observing the artistic aspects of consonance, this literary figure can be applied contrary to their views