Hasil untuk "Indo-Iranian languages and literature"

میثم اکبری, فرشته افضلی

ترجمه طنز به شکل دوبله و زیرنویس، پیوسته چالشی جدی برای مترجمان این حوزه است. از نظر کیارو بیشتر لطیفه‌ها فرهنگ‌‌محور هستند و ممکن است یک لطیفه خاص، برای یک شخص ناآشنا با فرهنگ، هیچ حس خنده‌داری نداشته‌باشد. مترجم گاهی ناگزیر می‌شود برای پیشگیری از انتقادهای اجتماعی، دست به حذف و یا تغییر در بخشهایی بزند. با مقایسه شیوه‌های به‌کار‌رفته در ترجمۀ عبارت‌های طنزآمیز، نتایج نشان از آن دارد که مترجمان در رویارویی با این چالش‌ها، شیوه‌ها و عملکردهای متفاوتی را به نمایش می‌گذارند. این پژوهش به روش توصیفی-تحلیلی به بررسی مقابله‌ای راهکارهای انتقال پیام‌های طنزآمیز در فیلم فارسی «مارمولک» بر پایه مدل کیارو می‌پردازد تا عملکرد مترجم را در رویارویی با موارد اشکال‌برانگیز در ترجمه زیرنویس ارزیابی کند. به این منظور، همه دیالوگ‌های طنز، شناسایی و متن مبدأ و مقصد خط‌ به‌خط با هم تطبیق داده‌شد، آنگاه در جدول‌های جداگانه تقسیم‌بندی‌گردید. به‌گونه کلی و بر پایه تجزیه‌و‌تحلیل دیالوگ‌های فیلم، یافته‌ها نشان‌می‌دهد که شگرد «حذف» به میزان (31% ) و «جایگزینی» با (29%) به ترتیب، پرکاربردترین و شگرد «ترجمۀ تحت‌اللفظی» با اختصاص (17%) کم‌کاربردترین راهکار مترجم در زیرنویس این فیلم است. گفتنی است در جایی که مترجم راهکار حذف را به‌کار‌برده، محصول پایانی را از هرگونه حس طنز خالی نموده‌است

Waseem Abbas, Dr. Aziz Ibn ul Hassan

Shaukat Siddiqui is well known progressive short story writer and novelist in Urdu Literature. His novel "Jangloos" completely portrays the Pakistani society. The following research is an attempt to analyze novel "Jangloos" through a feminist lens, but this critical approach has been localized at length. Therefore, the analysis of "Jangloos" will be carried out by using local feminist approaches. The research will be focusing on the issues like exploitation, marginalization, and oppression that women face in "Jangloos". The research therefore is not only a textual analysis of but also a contextual and cultural study of the novel. In the context of this novel, an attempt has been made to explore the role of women in agricultural production and the venerability of women according to rural customs.

سعید کریمی قره بابا

زندگی و هنر فرهاد، این عاشق ناکام داستان خسرو و شیرین همواره از آن ظرفیت برخوردار بوده است که در ادبیات فارسی و زبان‌های دیگر مورد تأویل و بازخوانی‌های متفاوت و گاه متضاد با روحِ اصلی داستان قرار گیرد. حضور مستمرّ فرهاد تنها به ساحت شعر محدود نمانده و به عرصه نمایش نیز کشیده شده است. ناظم حکمت نمایش‌نامه شیرین و فرهاد را با نیم‌نگاهی به منظومه نظامی و شاید از روی افسانه‌ای محلی و براساس موازین رئالیسم سوسیالیستی تألیف کرده است. ما در این مقاله که با روش تحلیلی- توصیفی انجام شده، ابتدا انگاره‌های کلان مارکسیستی را که در تکوین این نمایش‌نامه تأثیرگذار بوده است، برشمرده‌ایم. مخالفت با نهاد سلطنت، طرفداری از مردم فرودست، تأکید بر عشق عمومی در مقابل عشق خصوصی و قهرمان‌سازی از مردمِ عادی پاره‌ای از این آراء است. سپس این بحث را پی گرفته‌ایم که شخصیت فرهاد چه مشخصاتی دارد که حکمت به سراغ این قصه رفته‌است. شخصیت مبارز و انقلابی فرهاد و نیز چهره مبهم و رازآلودِ وی در افسانه‌ها به همراه جثه عظیم و پهلوانانه‌اش از او فردی مستعدّ برای پرداختی سوسیالیستی ساخته است. از طرف دیگر، فرهاد در ادبیات ترکی سیمایی درخشان دارد. تُرکان این تیپ را از ادبیات فارسی گرفته و به اشکال گوناگون پرورش داده‌اند. نفوذ فرهاد در ادبیات عامیانه، دارا بودن ساخت‌مایه‌های نمایشی و برخورداری از پایانی امیدبخش هم از جمله عواملی است که احتمالاً حکمت را به بازنویسی و تبدیل این داستان به نمایش‌نامه علاقه‌مند کرده است.

حاکم قاسمی

فراگیری فرایند جهانی شدن، با توجه به تاثیرات گسترده آن، چالشهای زیادی را برای کشورها ایجاد کرده است. در این میان کشورهای کوچک به عنوان جوامعی که از تاثیرپذیری بیشتری برخوردارند، با چالشهای بیشتری روبرو هستند. پژوهشگران مقالات و کتابهای مختلفی را به این موضوع اختصاص داده و سعی کرده اند وضعیت کشورها را در فرایند جهانی شدن، و اقدامات آنها را برای مواجهه با چالشهای جهانی شدن تبیین نمایند. نویسنده کتاب «اقتصاد سیاسی بین الملل خلیج فارس» با این رویکرد سعی کرده است جایگاه کشورهای عضو شورای همکاری خلیج فارس را در اقتصاد بین الملل در عصر جهانی شدن توضیح دهد. این کتاب اقدامات کشورهای کوچک خلیج فارس را برای انطباق با شرایط جهانی بررسی کرده است. در این مقاله با نگاهی نقادانه به کتاب، سعی شده است نقاط قوت و ضعف آن بررسی شوند. این بررسی نشان می دهد که نویسنده کتاب تحلیل های ارزشمندی از سیاستها و اقدامات کشورهای کوچک خلیج فارس برای ارتقاء جایگاه خود در اقتصاد بین الملل ارائه کرده است، اما در عین حال کتاب بویژه متن ترجمه آن از ضعف های شکلی و محتوایی متعددی رنج می برد.

Mehdi Hatami

The present article, the analytical research conducted in an analytical-descriptive manner, seeks to answer the question of Conformity of The Proliferation Security Initiative (PSI) with the Treaty law and customary international law. As one of the most important restrictive arrangements for the rights of developing countries in the field of advanced technologies, critics of the PSI believe that the intention of the members of the PSI to seize ships in the high sea and territorial waters violates the principle of freedom of the high seas and the right of innocent passage in territorial waters. In addition, the practices conducted in the framework of this initiative violate the right to self-defense and Security Council resolutions such as 1718 and 1540. On the other hand, the nature and manner of joining the initial operations and statistics about the success of its operations are vague and distorted. The finding of this article is that regardless of the justifications and support formed by this initiative, such an arrangement cannot be considered in conformity with treaty law and customary international law as well as the Security Council resolutions. The Proliferation Security Initiative is an illegal arrangement worthy of persistent objection, non-recognition and tries to prevent it from becoming the customary rule of international law.

Mohammad Ali Merati

This article takes a critical look at Alan Merriam's book Anthropology (1923-1980), while the history of ethnomusicology considers this work as one of the foundations of the field. The knowledge of musicology and its relation to anthropology after the second half of the twentieth century is somehow gradually tied to the connection between music and Human. This article intends to examine this work in contemporary theories by considering the basic and fundamental axes of “Human Musical”. Probably, the design of some of Merriam’s principles in this book, if he were alive today, would face challenges. The process of this critique will have comparisons in the methods and ideas of comparative musicology that have been revived in the last decade or two with international music associations. But the main focus of this article is the interdisciplinary critique within the field of Ethnomusicology, which believes in the use of theories and methods more independent of the humanities or social sciences.

مسعود یزدانی مقدم, محمد جواد معافی, علیرضا عامری

هدف از این تحقیق، بررسی ادراک دانشجویان زبان از ویژگی های اخلاقی اساتید زبان با توجه به پایگاه اجتماعی-اقتصادی دانشجویان بود. روش تحقیق ترکیبیِ-توضیحی در این پژوهش بکار رفت. ابتدا پرسشنامه پایگاه اجتماعی-اقتصادی با شرایط تحقیق سازگار شد تا دانشجویان را به دو گروه اجتماعی-اقتصادی بالاتر یا پایین تر طبقه بندی کند. از 81 پرسشنامه پایگاه اجتماعی-اقتصادی پخش شده در 5 کلاس زبان مختلف از 2 دانشگاه در شهر قم، 53 مورد تکمیل شد. پس از آن، 22 نفر از همان دانشجویان در مصاحبه نیمه ساختاریافته شرکت کردند. پس از تجزیه و تحلیل دقیق کد و مقوله های مصاحبه، 1 موضوع اصلی (جدیت) شناسایی و سپس با توجه به پایگاه اجتماعی-اقتصادی دانشجویان، با استفاده از آزمون دقیق فیشر بررسی شد. در نهایت، 1 مدل برای ویژگی های اخلاقی اساتید زبان بر اساس ادراک دانشجویان طراحی شد تا بتوان در برنامه ریزی آیین نامه های اخلاقی که به طور خاص برای مدرسان زبان طراحی شده و همچنین جهت افزایش آگاهی اخلاقی در میان آنها بکار برد.

Bakhan Ahmad Hama Amin, Nasrin Ali Akbari, Erfan Rajabi

Abstract In Iran, as well as in Iraqi Kurdistan, the critique of literary texts using ‘literary theories’ has grown in recent years. The present study investigates published articles in ‘Literary Criticism’ and ‘Sulaimaniyah University’ journals. The research method in this article is criticizing the critiques. The aim was to answer two questions: Why has this kind of critique and theory taken up so much volume? How have researchers applied this theory? The volume of the articles includes 188 Persian and 76 Kurdish articles. After discarding 46 Persian and 29 Kurdish articles in terms of the basic structure, the scope was reduced to 142 Persian and 47 Kurdish articles. After analyzing the articles, it was found that the theory of structuralism was used in 47 Persian articles (33.9%) and 15 Kurdish articles (33.09%). The theory had the largest share in the articles compared to the type of critique and other theories. An attempt has been made to apply the critique and theory of structuralism in these articles, to express the differences and correspondence of the type of attitude in Kurdish and Persian articles. The findings of the research are that in the published articles of both journals, this theory is not fully understood and they have a general view that can be one of the reasons for the great application of this theory in published articles. Looking at how this theory is used, it can be said that Kurdish researchers have dealt with this theory more superficially and most of the time there is no analysis of the type of structure in the text. Also, unlike Persian articles, theories such as structuralist mythology, paleontology, structuralist psychology, Bakhtin conversation logic, do not exist in Kurdish articles at all. Another point in the published articles of the two journals is the refusal of researchers to study the sources in the original language or the sources of the first degree of constructivism, which is directly related to the type of application and analysis of texts. Introduction The critique of literary texts using ‘literary theories’ has grown in recent years in Iran, as well as in Iraqi Kurdistan. This could be due to a kind of imitation of Europeans and a new definition of criticism, with the influence of Anglo-American cultural and social developments. Because in the West, since the beginning of the twentieth century, turning to literary theories has become very important and many books have been written about it. Every article or literary research needs theoretical support, and every researcher must use one or more literary critiques and theories to advance the work in order to maintain the scientific level of his / her research and its tastelessness. Literary Criticism Journal is one of the most popular journals in the field of academic literary criticism, which was launched in 2008 and soon became a base for many critics in the field of criticism and theory. Sulaimaniyah University Journal is one of the most prestigious academic journals. Therefore, the present study investigates published articles in ‘Literary Criticism’ and ‘Sulaimaniyah University’ journals.   Research Method (Metacriticism, Criticizing Criticisms) To achieve the purpose of the study, in addition to using Cochran's formula for the statistical analysis, metacriticism was used. In this regard different and close words and terms have been used, such as critiques of criticisms, reading of readings, etc. Metacriticism goes beyond literary criticism and criticizes ideas, rules, and methods of critiques together. In other words, it is a way of generally looking at criticism. Studying the critical discourse of Metacriticism can help to perpetuate the interlocution and dialogue between different critics.   Results 3.1.    Data Analysis to Investigate the Amount of Using the Structuralist Theory in The Two Journals To answer the first research question of the study, after analyzing the articles, it was found that the theory of structuralism was used in 47 Persian articles (33.9%) and 15 Kurdish articles (33.09%). The theory had the largest share in the articles compared to the type of critique and other theories. An attempt has been made to apply the critique and theory of structuralism in these articles, to express the differences and correspondence of the type of attitude in Kurdish and Persian articles. 3.2.   Data Analysis to Answer the Question of How to Apply the Structuralist Theory in The Two Journals With respect to the second research question of the present study, the authors studied the published articles based on different genres to find out the amount and the application of this theory. The following themes were observed in 142 Persian and 47 Kurdish articles. A: Classic poetry B: Contemporary poetry articles C: Articles that are about classical prose/fiction texts D: Articles that are written about contemporary or modern prose texts/stories E: Articles that are written about a film F: Articles that are about critical texts or critiques of criticism and theory G: Articles that are about different theories of structuralism with no specific textual analysis.   Conclusions The findings of the present study showed that in the articles of both journals, this theory is not fully understood and they have a general view that can be one of the reasons for the great application of this theory in published articles. Considering how the structuralism theory is used, it can be said that Kurdish researchers have dealt with this theory more superficially and most of the time there is no analysis of the type of structure in the text. Also, unlike Persian articles, theories such as structuralist mythology, paleontology, structuralist psychology, Bakhtin conversation logic, do not exist in Kurdish articles at all. Another point in the published articles of the two journals is the refusal of researchers to study the sources in the original language or the sources of the first degree of constructivism, which is directly related to the type of application and analysis of texts.

Irfan Shah

Shanul Haq Haqqee (15th September, 1917 - 11th October, 2005) was a versatile genius having multi-dimensional vision and knowledge. He was at a time great linguist, lexicographer, researcher, scholar, critic, translator, biographer, fiction writer, an acknowledged great poet, a story writer for children, humorist, copywriter and a publicist. His respected father Moulvi Ahteshamuddin was also a great lexicographer, poet, researcher and writer of great eminence. Shanul Haq Haqqee's creative works is found in various forms of Urdu literature in which he has shown his creativity and exhibited his new experiences in them. In his works his approach and vision had various angles and innovations. His writings in respect of credibility and correctness of language attained status of a certificate of perfection. His special interest in lexicography represents his command on the subject and theme. During his honorary appointment in Urdu Development Board, Karachi, he served for many noble services which includes his lexicographic work on Urdu dictionary and issuance of quarterly "Urdu Nama". He also remained associated as Chief Editor Urdu Monthly "Mah-e-Nau" Karachi.

رجب اسفندیاری

فناوری دیجیتالی می‌تواند تأثیر مهمی در آموزش زبان داشته باشد. این تأثیر باعث می‌شود معلمان درس زبان انگلیسی‌مطالب درسی را بهتر به زبان آموزان آموزش بدهند و کیفیت آموزشی معلمان را نیز بهبود بخشند. هدف اصلی تحقیق حاضر، از طرفی، ارزیابی سواد دیجیتالی معلمان زبان انگلیسی ایران و از طرف دیگر، بررسی تفاوت بین سواد دیجیتالی و جنسیت، سطح تحصیلات، و تجربه تدریس آن‌ها است. به‌همین منظور، 239 معلم زبان انگلیسی نسخه‌ای تطبیقی از مدل سواد دیجیتالی اینجی[1] (2012) را تکمیل کردند. برای تحلیل داده‌ها از نرم‌افزار SPSS (نسخه 21) استفاده گردید. نتایج تحلیل داده‌ها نشان‌داد که سطح سواد دیجیتالی معلمان زبان انگلیسی، از نظر نوع نگرش، مباحث فنی، و ابعاد عاطفی-اجتماعی نسبتا بالا بود، اما در‌بعد شناختی، سواد دیجیتالی آن‌ها تقریبا پایین بود.. تفاوت معنا‌‌‌داری در سطح سواد دیجیتالی معلمان زن و مرد، تجربة تدریس و جنسیت آن‌ها وجود نداشت، اما تفاوت معناداری در زمینة سواد دیجیتال معلمان شرکت‌کننده با در نظر گرفتن سطح تحصیلات آنان وجود داشت.

علی اکبر خمیجانی فراهانی, غلامرضا میرزایی

یادگیری ترکیبات لغوی همواره برای فراگیران زبان دوم دشوار بوده است و تلاش برای یافتن روشی موثر در تسریع این روند مورد بررسی پژوهشگران بوده است. در تحقیق حاضر تلاش برای بررسی تاثیر ارزشیابی پویا بر یادگیری ترکیب‌های لغوی متجانس و نامتجانس در زبان‌آموزان ایرانی زبان انگلیسی به‌عنوان زبان خارجی شده است. از بین صد و بیست زبان‌آموز بر‌اساس آزمون تعیین سطح آکسفورد، شصت دانش‌آموز انتخاب شده و به‌دو گروه سی نفرة آزمایشی و کنترل تقسیم شدند. در طول ده جلسه اعمال آزمایش که در هر نوبت چهار ترکیب متجانس و چهار ترکیب نامتجانس به‌آن‌‌ها آموزش داده شد، درمجموع هشتاد ترکیب ارائه شد. گروه آزمایشی در معرض طرح پیش‌آزمون- همیاری - پس‌آزمون (مدل فشردة ارزشیابی پویا) قرار گرفتند، درحالی‌که برای آموزش این ترکیب‌ها به‌گروه کنترل از مدل‌های رایج آموزشی استفاده شد. یافته‌های حاصل از آزمون تحلیل کواریانس (ANCOVA) نشان می‌دهد که ارزشیابی پویا تأثیر به سزایی بر یادگیری ترکیب‌های متجانس و به‌خصوص نامتجانس در زبان‌آموزان ایرانی دارد و به‌تأثیر آن‌‌ها بر به‌چالش کشیدن شاخصه‌های زبانشناسی اشاره می‌کند. مفاهیم به‌دست آمده از این تحقیق معلمان را تشویق به‌جایگزین کردن روش‌های قدیمی با ارزشیابی پویا می‌کند که با قرار دادن زبان آموز و نیازهای زبانی آن در اولویت یادگیری لغات دشواری همچون ترکیبات لغوی را آسان تر می‌کند.

Yahya Kardgar, Akbar Golabian

Technical prose is more than the meaning in the thought of the arrangement of the word, and uses a lot of rhetorical delusions to decorate the word. One of these linguistic and rhetorical delicacies is the guarantee of poetry during prose. Among the more than 240 verses that are implicated by Nasr ol-Lah Monshi, more than seventy percent has been chosen from odes. Abundant usage of the ode form is very common because it was the prevailing form of poetry before the seventh century. <br />In <em>Kalileh</em>, which is a masterpiece of technical prose, the quote poetry has a unique position in terms of quality and quantity. Nasr ol-Llah Monshi, has quote poetries and verses in all stories of <em>Kalileh and Demneh</em>. The relation between poetry and prose in this book is such that the reader does not feel any jump between the prose and the quote poem. It seems that the entire work, including poetry and prose, is written in an integrated form and by a person. He has various methods that using the quote poetry does not hurt the linguistic integrity of the text. One of the most important ways that Nasr ol-Lah has utilized to create and maintain this harmony is making minor changes in the poems of the poetries. In other words, he has created small changes in some quote poetries that are not capable to quotation in the text without changes to increase the harmony between his own text and the other’s poetries to the best. Of course, all the changes in the quote poetries in <em>Kalileh</em> cannot be known deliberately or in order to the maintenance of the integrity of the text. Linguistic changes created in the quote verses, as compared to the poet’s books, can be due to reasons such as the difference of copies, the carelessness of the scribes, making the coordination with the prose or the presentation of the poetries from the writer's memory without referring the original books of the poets. The changes in the quote verses and hemistiches are at the level of the vocabulary and increase or decrease the conjunctions and prepositions. <br />Nasr ol-Lah Monshi has tried to use a variety of linguistic and rhetorical techniques to maintain a strong link between quote poetry and his text. In such a way that we see less of the heterogeneity between quote verses and the text of the book. In <em>Kalileh</em>, the verses and hemistiches are quoted from poets such as Sanaayi, Masoud Saad, Abu al-Faraj Rouni, Amir Moezi, Farrokhi Sistani, Osman Mokhtari, Kasayi, Abu Saeed Abu al-Khair, Onsori, Masoudi Razi. Among the more than ten poets whose poems are quoted in <em>Kalileh</em>, Nasr ol-Lah Monshi has used the Sanayi poetry more than the other poets. <br />Undoubtedly, there is a certain difficulty to make connections between the quote poetry and the prose. The author of the prose must be so dominant in poetry and prose that he can put them together in such a way that it is not inappropriate for the reader. Perhaps this is the reason why the authors of technical prose use most of the quote poems in the role of parenthesis in the prose sentences. But sometimes the link between the quote verses and the text of the book is such that they can be placed in various grammatical roles. Nasr ol-Lah Monshi has used quote verses and hemistiches in various grammatical roles that created the most artistic and perfect kind of the quotation in the technical prose. One of the most commonly used roles that the quote poetries in <em>Kalileh and Demneh</em> have, is object role. Approximately thirty of the quote verses have been used in this role and have increased the richness of technical prose. In the <em>Kalileh and Demneh</em>, there are quote verses that are used in adverb role. The similarity of this adverbs with many of <em>Kalileh and Demneh</em> verses, is that they are parenthesis sentence and their probabilistic elimination from the main sentence, does not make any problem in the concept of sentence. The adverbs that are used in <em>Kalileh and Demneh</em> are all adverb of state. <br />In addition to the variety of grammatical roles of the quote verses, there is also a strong rhetorical link with prose. The types of the rhetorical link of the quote poetries with the text are very extensive. Since the enhancement of the impact of the text on the reader is one of the main concerns of the authors of technical prose, Nasr ol-Lah Monshi with full understanding of this point, has tried to adhere to rhetorical elegances in the quotation of the poetry. Hence, in applying poetry, there are many rhetorical elegances in the text. What is evident in the quote verses in <em>Kalileh and Demneh</em> is their rigorous selection and arrangement rhetorically. Nasr ol-Lah Monshi has followed all the principles of eloquence and rhetoric, and in addition to the great care in choosing the poetries from the point of view of content, some other points such as poems forms and even their meter have been paid special attention. From the factors of the stability of this connection can be mentioned to rhetorical arguments, confirmation and emphasis on fictional thoughts, descriptions and exaggeration. However, the dominance of tendency to the destiny in the era of the translation of the book, has decreased tendency to the reasoning. Nasr ol-Lah Monshi has often used the quote poetry to balance the arguments of the prose sections of the book. <br />The attraction and sweetness of poetry led to exist the quotation of the poetry for attraction of audience in most of the proses. This means that a writer such as Nasr ol-Lah Monshi with full knowledge of the position of poetry in the minds and language of his audience, uses poetry to explain the artistic ideas of his thoughts and uses the effectiveness of his poetry and its great influence in verifying his word. <br />One of the ways to extend and, of course, presentation the art of the writers of technical prose, is the usage of poetic descriptions in different positions. This feature can be used as a criterion for evaluating this category of works. This means that sometimes the descriptions have a decorative aspect and sometimes they add to the rhetoric of the text and affect to attract of the audience. Nasr ol-Lah Monshi has used this opportunity in the best way. So that the book's descriptions increase the effectiveness of the text on the audience. <br />Exaggeration, in addition to increase the poetic features of the text, is more consistent with the spirit of works such as <em>Kalileh</em>, which has a general audience, and the appropriate usage of this poetic technique has a lot of impact in the accompaniment of such audience with the text; because this feature active the imagination of the audience and makes him enthusiastic about accepting the thoughts of the author, and in this way becomes more enthusiastic for companionship with the author's thoughts. <br />This article, in a descriptive-analytical method, has tried to analysis the mystery of success of Nasr ol-Lah Monshi in the quotation of poetry and introduce the linguistic tricks and rhetorical elegances that he employed through utilizing the poetries. <br /> The present research shows that Nasr ol-Lah Monshi has always adhered to the eloquence and rhetoric in the quotation of poetry. So that in the place of the connection between poetry and prose in <em>Kalileh</em>, there are many linguistic and rhetorical elegances.

S. Haider, Marvi Baloch, Q. Iqbal et al.

Ilona Kędzia

Tamil Siddha medicine in the present-day discourses on identity and tradition is often presented as an exclusively Tamil system of science. The following paper aims at showing some examples of quite different images of the Tamil Siddha tradition depicted in a few of the classical Tamil Siddha medico-alchemical texts. The following consideration concentrates on the works of two respected authors of Tamil Siddha literature, namely Irāmatēvar alias Yākōpu and Pōkar, both of whom may be regarded as particular cosmopolites among the Tamil Siddhas. The texts ascribed to Yākōpu and Pōkar suggest the cosmopolitan nature of both of the authors, which may be also reflected in the character of their teachings presented in their literature as a transcultural system of knowledge dedicated to the benefit of all mankind.

K. Schofield

ion, were considered exemplary in their capacity to concentrate and refract the many facets of the nine rasas and thereby to provoke the connoisseurs’ tasting. In the figure of the rasika, Indic aesthetic theory thus emphasises “the role of the perceiving subject” and privileges “experience and affect”. Artists and their works thereby succeed or fail not on their own terms, but “by [their] ability to evoke aesthetic response in the listener”.11 Critical to the Mughals’ extensively attested capacity to appreciate Indic forms of poetry and music was the fact that Persianate aesthetic theory also shared this emphasis on the audience. In particular, the Islamicate discourse on sama‘ or “audition”, the devotional use of music and poetry by sufi initiates from which much Persianate music aesthetics derive, focuses so heavily on the knowledgeability and emotional and spiritual preparedness of the audience, that comments on music itself or on musicians may be sidelined.12 The theory of the rasas, and of how vernacular poetry and song lyrics brought them into being, was certainly known at the Mughal court by the late sixteenth century. Particularly important were the versified catalogues in Sanskrit and Brajbhasha called nayika-bheda, which categorised different kinds of heroines (nayika) and heroes (nayak) using traditional metaphors, and which constituted the lyrical repertory of much courtly song and poetry. Such lyrics were not merely to be read straightforwardly; rather, they exemplified the rasas, and the purpose of nayika-bheda textbooks was to make “the path of rasa [...] understood by everybody”.13 Important Mughal patrons not only knew and commissioned nayika-bhedas in Indic languages, but they translated them into Persian, incorporated Persian-language nayikabhedas into treatises on Indian arts, and even used them to guide their own writing of vernacular poetry. Three canonical writers on music— Abu’l Fazl (1551-1602), Mirza Khan (fl.1675), and Saif Khan Faqirullah 11 Martin Clayton, ‘Introduction: Towards a Theory of Musical Meaning (in India and Elsewhere)’, Ethnomusicology Forum 17.2 (2001), 13. 12 Qazi Hasan, Mift̄ḥ al-sarūd [mistransliterated Miṣb̄ḥ al-sorūr], Asiatic Society of Bengal, MS 1629, ff. 2a-4a; also Carl W. Ernst and Bruce B. Lawrence, Sufi Martyrs of Love: The Chishti Order in South Asia and Beyond (New York: Palgrave Macmillan, 2002), pp. 34-46. For extensive discussion of sufi appropriation of rasa theory in the domain of literature, see Aditya Behl, Love’s Subtle Magic: An Indian Islamic Literary Tradition, 1379-1545 (New York: Oxford University Press, 2012b), especially pp. 59-108, 286-384. 13 Sundar, Sundarśṅḡr, cited in Busch (2010), 287. More widely on Mughal-era nayikabheda and rasa theory, see ibid., 281-7. Learning to Taste the Emotions 411 (d.1684)—incorporated Persian-language nayika-bhedas into their works.14 And a great Mughal office-holder like Abdurrahim Khan-i Khanan “Rahim” (1556-1626) was able to compose a set of nayika-bheda verses in Brajbhasha sufficiently accomplished to be praised by his contemporary critics.15 He at least must have qualified as a rasika in the literary sense. It is particularly important to note that in this poetic tradition, one rasa above all others was celebrated and explored: shringara rasa, the erotic sentiment, known as the king of rasas. Written from the feminine perspective of the nayika, Brajbhasha poetry characteristically explores the travails of a heroine waiting for the return of an absent, neglectful, or teasing beloved; this can also be read ambiguously as referring to a human or a divine beloved.16 The Indic tradition therefore had significant affinities with the Persian poetry central to Mughal cultural traditions. This likewise took as its principal theme ‘ishq, or love, and firaq, longing for the absent beloved, and could similarly be read in either a courtly or devotional manner. In sufi readings of such poetry, the soul—the interlocutor—was frequently construed as feminine,17 even though the interlocutor of Persian poetry is usually construed as masculine. The peculiar affection of Indian sufis for the female voice of Indian vernacular poetry and song lyrics, particularly in the guise of the virahini seeking reunion with her male beloved, is well known.18 Through 14 Abu’l Fazl “‘Allami”, Ā’īn-i Akbarī, trans. by H. Blochmann and Col. H.S. Jarrett (Calcutta: Asiatic Society of Bengal and Baptist Mission Press, 1873-1907; reprint 2008), Vol. 3, pp. 239-44; Mirza Khan ibn Fakhruddin Muhammad, Tuḥfat al-Hind, ed. by N.H. Ansari (Tehran: Bunyad-i Farhang-i Iran, 1968), Vol. 1, pp. 297-321; Saif Khan “Faqirullah”, Tarjuma-i-M̄nakutūhala & Ris̄la-i-R̄g Darpan, ed. and trans. by Shahab Sarmadee (New Delhi: IGNCA and Motilal Banarsidass, 1996), pp. 132-49. 15 Busch (2010), 282-84. A matter for further contemplation concerns Persian translations of Sanskrit and Brajbhasha nayika-bheda and ragamala verses (dhyanas), whose subject matter and evocative purpose are related. While both Brajbhasha and Sanskrit versions explicitly seek through poetical means to evoke the rasa associated with nayika or raga iconography, there is no attempt to do this in Persian translations of the same material. Rather, the latter tend not merely to be in prose, but in prosaic prose, almost as if they are simply guides to the original materials. 16 It is worth noting that in the Tuḥfat al-Hind, Mirza Khan inserted his nayika-bheda section into the chapter on shringara rasa; Khan (1968), pp. 297-31. 17 On the nafs or “lower” soul as woman in Persian sufi poetry, particularly that of Jalaluddin Rumi, see Annemarie Schimmel, My Soul is a Woman: The Feminine in Islam (New York: Continuum, 2003 [1997]), pp. 69-80. 18 Ibid., esp. 118-38; see also e.g. Shantanu Phukan, ‘‘Through Throats Where Many Rivers Meet’: The Ecology of Hindi in the World of Persian’, Indian Economic and Social History Review 38.1 (2001), 33-58; Katherine Butler Brown [Schofield], ‘The Origins and Early Development of Khayal’, in Hindustani Music: Thirteenth to Twentieth Centuries, ed. by Joep Bor et al. (New Delhi: Manohar, 2010), pp. 159-94; Francesca Orsini, 412 Tellings and Texts nayika-bheda descriptions of different kinds of romantic heroines in verse and song, a vast proliferation of emotions and scenarios, all of them revealing different aspects of shringara rasa, were made available to the Mughal connoisseur for exploration in the person of the Indian nayika. Shantanu Phukan makes clear that in seventeenth-century Mughal readings of vernacular poetry, shringara rasa as enacted through the romances of heroes and heroines resonated profoundly with ‘ishq.19 Mughal aficionados of songs may therefore have seized on the nayika, the principal embodiment of shringara rasa, as a means to enhance and enlarge the emotional experiences of their own exploration of ‘ishq through the shared Indic and Persianate metaphor of the lover yearning for the beloved.20 It is the affinity between shringara rasa and ‘ishq that most obviously connects the Mughal connoisseur of music to the Indic rasika. This affinity goes back at least to the pre-Mughal sufi romances, magical narratives in which sufi vernacular authors used poetical imagery from the Indic tradition as complex allegories, and which when revisited by Mughal noblemen became a renewed source of pleasure and moral and spiritual instruction.21 Aditya Behl pointed out that the principal object of the hero’s quest in the sufi romance, which is a metaphor for the journey of the human soul towards the Divine, is shringara rasa. However, along the way, all nine of the rasas are explored, savoured, tasted, and transformed for the purposes of teaching the sufi how to control and sublimate his baser emotions22—a notion that has clear links with Islamicate understandings of cultivating the emotions through ‘“Krishna is the Truth of Man”: Mir ‘Abdul Wahid Bilgrami’s Haq̄’iq-i Hindī (Indian Truths) and the Circulation of Dhrupad and Bishnupad’, in Culture and Circulation, ed. by Allison Busch and Thomas de Bruijn (Leiden: Brill, 2014), pp. 222-46. 19 Phukan (2001), 34-36. Phukan’s article, with its reflections on the confluence of the “varying emotional resonance[s]” of Hindi and Persian in Mughal literature, has many things to say to my work in this chapter. 20 See e.g. the lyrics of the dhrupad and other song compositions in the Sahasras compiled for Shah Jahan, and Khushhal Khan’s R̄g-r̄ginī roz o shab, compiled for Nizam Asaf Jah III of Hyderabad; Sahasras: N̄yak Bakhśū ke dhrupadoṃ k̄ sañgrah, ed. by Premlata Sharma (New Delhi: Sangit Natak Academy, 1972); Khushhal Khan “Anup”, R̄gr̄ginī-yi roz o shab, Salar Jung Museum Library, MS Urdu Mus 2. 21 Ibid., 36; Phukan, ‘”None Mad as a Hindu Woman”: Contesting Communal Readings of Padmavat’, Comparative Studies of South Asia, Africa and the Middle East 16.1 (1996), 41-54. 22 Aditya Behl, ‘Presence and Absence in Bhakti: An Afterword’, International Journal of Hindu Studies 11.3 (2007), 321-2; Behl (2009), 73-76. Learning to Taste the Emotions 413 artistic means in order to balance mental and physical health.23 There thus appears to be a long tradition within Indian sufism of the sufi as true rasika, an idea that is at least obliquely manifested in the treatises on music written at the seventeenth-century Mughal court. Several Mughal holders of high office and patrons of music were undoubtedly rasikas, going by the depth of their musical writings. The most interesting was Mirza Raushan Zamir (d.1669).24 The author of the 1666 Tarjuma-yi P̄rij̄tak,25 a Persian commentary on Ahobala’s contemporary Sanskrit music treatise, the Saṅgītap̄rij̄ta, he was by far the most sophisticated and knowledgable scholar of Hindustani music and Sanskrit music theory of the Indo-Persian corpus. He is better known to Indian literary history, however, as the Brajbhasha poet “Nehi”, and Allison Busch argues that his poems, including seve

hossein jalalpour

سفینه تبریز یکی از با ارزش‌ترین مجموعه‌های خطّی موجود در زبان فارسی است. در این مجموعه حدود 209 کتاب و رساله متنوع در تاریخ، نجوم، لغت، حدیث، فقه، کلام، تصوّف و... و نیز دیوان‌های شعر بسیاری از شاعران نامی و بی‌نام گردآوری و کتابت شده است. همچنین ابیات پراکنده فراوانی از شاعران و نویسندگان مختلف در خلال دیگر آثار این مجموعه آمده است. یکی از دیوان‌های شعر این مجموعه، مربوط به ظهیرالدّین فاریابی از شاعران تأثیرگذار قرن ششم هجری است. دیوان موجود در این مجموعه، افزونی‌هایی نسبت به دیوان چاپی مصحَّح استاد امیرحسن یزدگردی در انواع شعر مانند قصیده، قطعه، رباعی و نیز ابیاتی در خلال شعرها دارد. این مقاله در پی مقابله سفینه تبریز و دیوان چاپی ظهیر و نیز معرفی این گونه اشعار است.

Nicole Mills

Negin Binazir

The Fall of Oppositions and the Originality of Relative Attitude in the Thought System of Molavi Abstract The unconventional and beautiful structure of Masnavi requires that the reader in order to understand deeper and to get more artistic enjoyment of Molavi’s words, does not encounter the Masnavi’s text world with his lingual and mental conventional familiar patterns. Also the semantic schema of Masnaviremains ignored and hidden without considering the semantic grounds and organic link of pieces and components of the textin reductionist reading. Accordingly, the present study by considering one of the epistemological and ontological approaches of Molavi explains the manner and reason of the fall of oppositions and the originality of relative attitudeand the cohesion in Masnavi. The present study shows that how Molavi goes beyond the closed and repetitive fence of this structure in spite of the presence of binary oppositions in Masnavi. Avoiding making definite and final conclusion and seeing the concepts in coherence and spectral view are among Molavi’s infrastructure principles in thinking throughout Masnavi which is transferred to the reader through expressions like “from the viewpoint”, “different directions”. “from perspective”, “in relation to”, “towards you”, “on one hand”, etc. This article by re-reading some of the stories of Masnavi –which are outlined with this fundamental idea-, shows that how concepts in slippery and fluid form join together in the universality of Masnavi. Also by looking closely the outlining of some of these concepts for several times; this fact would be highlighted that in Masnavi no concept is defined once and for all but each of them is outlined many times - from a specific perspective and angle- so that the reader would not consider any meaning as the final one and awaits another aspect of that in another line, story or volume. Keywords: Binary Oppositions, Relative Attitude, Multiplicity of Meaning, Molavi, Masnavi. __________________________________________________

Seyyed mehdi Masboogh, Shahram Delshad

Express their thoughts and ideas, recognizing Islam has always been a symbol of mystery and interest Getting there. So that the works of Shaykh al-Ishraq Sohrevardi mystic and philosopher, has occupied a vast field Iranian mystery and symbolism. There is no doubt that the secret is in the special language of the mystics. This allegorical style selection Masnavi is evident in works such as Sanai and Attar nishabori seen. But among philosophers Rmzgrayy underused. Meanwhile, the story of \"Hayy ibn Yaqzan\" as one of the few stories Ramsay - philosophy, the philosophers such as Ibn Tufayl, Ibn Shaykh al-Ishraq and Plato before it is placed. Ibn Rumi\'s sake and to showcase the characters in \"ney\" and \"Hayy\" the essence of the human searcher seeking the lost reality portrayed. Thus, in contrast Rumi and Ibn sake of a separate entity within the realm of philosophy and thought, mysticism, and others have created. Outlook tries to comparative and analytical methods Homogeneity and heterogeneity, and the dimensions and facets of the character based on his study of the American schoo The thinking of philosophers and mystics, and the close proximity of the two would not open.

Maryam Shabanzadeh

  Abstract Nowadays technology has extended all over the human’s life and has affected even his language. It seems that a new language is propagated within people especially among youth which utilizes the words or compositions related to technology. Metaphor, metonymy and is used in these compositions. These words were first applied in ironies but later on it has been perceived in people conversations and even within the poems. The primary goal of this paper is to investigate the Today ’ s language structure and also the effects of technology on the language. Ahmad Azizi’s poems are chosen for this study. In this content the main question is how greatly the human and machine relation is affected the human conversation and specifically on the Ahmad Azizi’s poems. The theory in the current paper is that there should be a relation between the technology and language in Ahmad Azizi’s poems. The method here is to find and study the effect of words related to technology, such as automobile and its content, telephone and other means of communication devices and also urban lifestyle, within the Ahmad Azizi’s poems. Investigations related to stylistics often perform in three methods of language, music and literature studies. However, in this paper we focused on the words and literature points and do not investigate the grammar and music. This research is merely descriptive and is not looking for the reasons for using those specific words. Ahmad Azizi made a breakthrough in utilizing the Today ’ s language. There are several words in his poems related to urban lifestyle and its hardships such as metro trains, highways, buses, speeding and traffics. There are a numerous effects of technology on human lifestyle, eating habits, costumes and human manners. Words which are related to machine parts such as “sag dast” or “achar kalaghi” and etc can be seen in his poems. Even compositions like “rip zadan”, “cheragh dadan”, “aab va roghan ghati kardan” and etc is used. The products trademarks are also seen in some poems. Here technology not only interferes in creating words but psychologically changes the human ideas. The new words are generated by cutting the words into pieces and changing their meanings or it can be generated by metaphor and metonymy which obtain a new intended meanings. From the moral point of view the new words and compositions are rather objections to the current society situations, called “argo”. The Ahmad Azizi’s method in using new words is somehow to continue predecessors’ method.   Finally, according to new word creations in Today ’ s language we propose to include the machine metaphor to Rhetoric.     Â