Hasil untuk "Indo-Iranian languages and literature"

Tohid Teymori

This study examines the trickster archetype within the narrative of Zāl and Simorgh in Ferdowsi’s Shahnameh. The trickster, a mythological figure characterized by ambivalence, shape-shifting, resourcefulness, and divine intervention, occupies a significant role across various cultural traditions. Drawing upon established theoretical frameworks, this research identifies Zāl and Simorgh as a trickster within Iranian mythology. The analysis focuses on key trickster attributes—including shapeshifting, wisdom, and the capacity to disrupt and reconstitute social order. Zāl, marked by his extraordinary birth and upbringing by Simorgh, embodies a liminal identity that facilitates intervention in pivotal events. Simorgh, in turn, functions as a supernatural guide and healer, contributing to the restoration of equilibrium and the revelation of hidden truths. A close reading of the Rostam and Esfandiar episode demonstrates how Zāl and Simorgh employ cunning and esoteric knowledge to challenge oppressive power structures and institute a renewed order. This study underscores the significance of the trickster archetype in Iranian mythic traditions and elucidates the roles of Zāl and Simorgh as agents of transformation and balance within the Persian cultural discourse. Keywords: Trickster, Zāl, Simorgh, Shahnameh, Mythology. IntroductionThe trickster archetype represents one of the most significant and beloved figures in world mythology, characterized by paradoxical qualities where positive attributes typically outweigh negative ones, though this balance varies across different mythological traditions. As liminal beings existing between worlds, tricksters challenge established laws, confront deities, and disrupt social and cultural norms. While often depicted as deceiving ordinary people, tricksters more importantly challenge those in positions of power, undermining the dominion of kings, heroes, and the powerful through cunning and artifice.This study examines the trickster archetype within the narrative framework of Zāl and Simorgh in Ferdowsi’s Shahnameh, positioning these figures within the broader context of Iranian mythology. The research addresses a significant gap in Iranian mythological studies, as the trickster concept, despite its prominence in global mythology, has remained largely unexplored in Persian literary scholarship. By applying established theoretical frameworks from folklore, psychoanalysis, mythology, and anthropology, this investigation seeks to illuminate the transformative roles of Zāl and Simorgh as agents of change and balance within Persian cultural discourse. Materials and MethodsThe methodological approach employs a comprehensive theoretical framework drawing primarily from the foundational works of Paul Radin and Carl Gustav Jung on the trickster archetype. Radin’s conception of the trickster as a “culture-bringer” who facilitates societal transformation from lower to higher levels of civilization provides a crucial analytical lens. Jung’s psychological interpretation, viewing the trickster as a representation of the collective unconscious and undifferentiated human consciousness retaining its animal nature, offers complementary insights into the archetype’s enduring significance.The analysis incorporates perspectives from various scholars, including Claude Lévi-Strauss’s structural approach to mythological dualities, Joseph Campbell’s hero archetype theory, and Mary Douglas’s anthropological insights on social order disruption. The study employs close textual reading of Shahnameh, focusing particularly on key episodes including Zāl’s birth and upbringing by Simorgh, and the pivotal Rostam and Esfandiar confrontation. Comparative analysis with trickster figures from other cultural traditions—including Loki from Norse mythology, Anansi from West African folklore, Coyote from Native American traditions, and Prometheus from Greek mythology—provides cross-cultural context for understanding the unique characteristics of the Iranian trickster manifestation. Research FindingsThe investigation reveals that Zāl and Simorgh collectively embody the essential characteristics of the trickster archetype within Iranian mythology. Key findings of the study include:Extraordinary Birth and Liminal Identity: Zāl’s albinism marks him as fundamentally different from birth, leading to his abandonment and subsequent raising by Simorgh. This unusual upbringing creates a liminal identity existing between human society and the supernatural realm, a defining characteristic of trickster figures.Shape-shifting and Duality: The relationship between Zāl and Simorgh demonstrates the trickster’s capacity for transformation and dual existence. Simorgh functions as both a physical being and Zāl’s spiritual essence, while Zāl himself bridges the animal, human, and divine realms.Wisdom and Problem-solving: Zāl’s renowned wisdom, acquired through Simorgh’s tutelage and his own dedicated study, enables him to serve as advisor and mediator in critical situations. His knowledge encompasses both earthly learning and supernatural wisdom, positioning him as a crucial problem-solver in times of crisis.Shamanic Attributes: Zāl exhibits shamanic characteristics through his ability to summon Simorgh via the ritual burning of the sacred feather, accessing supernatural assistance when confronting seemingly insurmountable challenges. This shamanic connection enables intervention in the natural order when necessary.Divine Intervention and Social Transformation: In the Rostam-Esfandiar episode, Zāl and Simorgh’s intervention challenges corrupt power structures represented by Goshtasp and Esfandiar’s ambitions, ultimately facilitating a restoration of proper governance and social order. Discussion of Results and ConclusionsThe findings demonstrate that Zāl and Simorgh function as a unified trickster entity, challenging oppressive power structures while maintaining cosmic and social balance. Unlike tricksters in other traditions who often act from self-interest, the Zāl-Simorgh complex operates primarily for societal benefit, distinguishing the Iranian trickster tradition. The Rostam-Esfandiar confrontation exemplifies the trickster’s role in exposing corruption and facilitating necessary social transformation. Esfandiar’s invulnerability, granted through Zoroastrian blessing, represents a sacred power corrupted by personal ambition. Zāl and Simorgh’s intervention—revealing the secret of targeting Esfandiar’s eyes with a double-headed arrow from the gaz tree—demonstrates the trickster’s function in challenging even sacred authority when it threatens social harmony. This episode reflects broader tensions between two political paradigms: the pre-Lohrasp tradition of balanced power between royal and heroic houses, and the Lohrasp-Goshtasp model concentrating all authority in the monarchy. The trickster’s intervention supports the restoration of balanced governance, suggesting Ferdowsi’s critique of absolute monarchical power. The comparative analysis reveals both universal and culturally specific aspects of the Iranian trickster. While sharing common features with global trickster figures—liminality, shape-shifting, wisdom, and social disruption—Zāl and Simorgh demonstrate unique characteristics rooted in Persian cultural values, particularly the emphasis on wisdom (kherad) and justice (dād).This study establishes Zāl and Simorgh as a distinctive trickster manifestation within Iranian mythology, contributing significantly to the theoretical understanding of the trickster archetype. The trickster archetype plays a vital but previously unrecognized role in Iranian mythological traditions, with Zāl and Simorgh embodying this function through their combined attributes and interventions. The Iranian trickster tradition emphasizes wisdom, justice, and societal benefit over the self-interested cunning often associated with tricksters in other cultures, reflecting core Persian cultural values. The Zāl-Simorgh complex serves as a mechanism for critiquing and transforming unjust power structures, particularly relevant to Ferdowsi’s historical context and his concerns about tyrannical rule. Recognition of the trickster pattern in Shahnameh opens new avenues for comparative mythological studies and a deeper understanding of Persian literary traditions. The study’s findings have implications beyond literary analysis, offering insights into mechanisms of cultural resistance, identity formation, and social transformation relevant to contemporary Iranian society. This research advances scholarship in Iranian mythology, comparative literature, and archetypal studies while demonstrating the continued relevance of ancient mythological patterns for understanding cultural dynamics and social change. Future research might explore trickster manifestations in other Persian literary works and examine the archetype’s evolution in modern Iranian literature and culture.

Zülküf Ergün, Mehmet Emin Özgür

Şêxbizinî piştî zarên kurmancî û zazakî şêwezarê kurdî yê sêyem e ku li Tirkîyeyê tê axaftin. Şêxbizinîyên ku bi vî şêwezarî diaxivin, di sedsala 16em da di encama milmilaneya Osmanî û Sefewîyan da ji nav sînorê Îrana wê demê ber bi desthilata Osmanî koç dikin û bi demê ra li cografyayeke berbifreh belav dibin. Herçend şêxbizinîyên li Îraqê ji alîyê zimanî ve di nav kurdîya soranî da bihelin jî li Tirkîyeyê di asta axaftinê da dikarin şêwezarê xwe biparêzin. Armanca me ji vê gotarê ew e ku em taybetmendîyên cîyaker ên şêxbizinî rave bikin û cihê wê di nav zar û şêwezarên kurdî yên din da destnîşan bikin. Ji ber vê em bêhtir li ser taybetmendîyên cîyaker ên şêxbizinî zûr dibin û wê bi zarên din ên kurdî ra berawird dikin. Piştî nirxandinên li ser deng, teşenasî û ristesazîya şêxbizinî em digihîjin wê encamê ku şêxbizinî şaxeke zarên kurdîya başûrî ye ku bi demê ra karîgerîya kurmancî li ser çê bûye.

ALI HASSAN, Dr. Safeer Hyder

<p class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph; line-height: 115%;"><span style="font-size: 14.0pt; line-height: 115%; font-family: &quot;Urdu Typesetting&quot;;">This research paper presents a critical analysis of <span style="text-decoration: underline;">Asghar Nadeem Syed</span>&rsquo;s novel &ldquo;<span style="text-decoration: underline;">Jahanabad ki Galiyan</span>&rdquo;, examining it through the lens of <span style="text-decoration: underline;">historical consciousness</span>. Set against the backdrop of <span style="text-decoration: underline;">General Zia-ul-Haq</span>&rsquo;s<span style="text-decoration: underline;"> Martial Law</span> in Pakistan (1977-1988), the novel explores the far-reaching consequences of this era on <span style="text-decoration: underline;">Pakistani society</span>. Through its narrative, the novel delves into the intersection of politics, history, and culture, revealing the complexities of a nation&rsquo;s experience under <span style="text-decoration: underline;">authoritarian rule.</span> The novel&rsquo;s canvas simultaneously encompasses various facets of the Pakistani landscape, including the political upheavals, social transformations, and cultural shifts that occurred during the Martial Law era. By employing a range of literary devices, including narrative, character development, and symbolism, the novel creates a nuanced and multifaceted portrayal of life in Pakistan during this period. This study will analyze how the novel portrays the impact of Martial Law on Pakistani politics, media, and interpersonal relationships. Furthermore, it will examine the ways in which the novel employs historical consciousness to blur the boundaries between past, present, and future, creating a nuanced understanding of <span style="text-decoration: underline;">Pakistan&rsquo;s complex history</span>. By exploring the intersections between history, politics, and literature, this research aims to contribute to a deeper understanding of the Martial Law era and its ongoing impact on Pakistani society.</span></p>

Hermina Cielas Leão, Tiziana Pontillo, Lidia Sudyka

No abstract is avaliable for this article.

Omer Omer, Kawa Dhaher

تێرم دهێته‌ هه‌ژمارتن ئێك ژ گرنگترین یه‌كه‌یێن زمانى و ڕۆله‌كێ مه‌زن د بینیت د ئاڤاكرنا ئاستێن ڕسته‌سازى و سیمانتیك و پراگماتیكێدا د هه‌ر زمانه‌كێدا، د ئه‌ڤێ ڤه‌كۆلینێدا ب ناڤ و نیشانێ((رێكێن دروستكرنا تێرم و تێرمێن زانستی و بكارهینان ئه‌وان د ناڤ زمانێ كوردی دا)) ڤه‌كۆلینه‌كا وه‌سفى شیكارییه‌، جه‌خت لسه‌ر چه‌وانییا دروستكرنا تێرمان و بكارهینانا ئه‌وان كریه‌ دناڤ زمانێ كوردیدا، هه‌ر دیسان تێرمێن ره‌سه‌نێ كوردىو بیانیژی هاتینه‌ ژێكجوداكرن د هنده‌ك بیاڤێن دیاركریدا وه‌كو (زانیستى، خواردن، ڕاگه‌هاندن).

Sara Sadeghinia

Ajā'ib al-Makhlūqāt is one of the illustrated manuscripts available in the Central Library of Astan Quds Razavi. This book was written by Qazvini in the encyclopedic order in the seventh century AH. This research has selected version 35212 from among three illustrated copies available in Astan Quds library and has examined its human-icon from among the icons. In the selected version, 23 images belong to human-images, which are classified into two categories. The first category consists of male or female constellations that appear in the period and have a natural structure, and the second category is imaginary creatures derived from myths and folk tales in the form of a combination of human-animal is depicted. The paintings are drawn in the style of the Jalayri School. Although the school was influenced by Chinese painting, it took on Iranian culture and, in addition to innovation, played an important role in the development of the Herat school, which was the pinnacle of Iranian painting. In this research, an attempt is made to investigate the degree of adaptation of the text with the drawings in the selected version. The research has a descriptive-analytical method and has been done through documentary and field research. The results show that the illustrations serve the text and help the reader to identify the text's descriptions and understand them better. Wherever the artist feels the need to break the boundary between fantasy and reality, the images are more appealing. The figures are all facing west and east, with none facing each other. The figures are usually in a frame that separates them from the text.

آرمینا آرم

جغرافیا تأثیر بسیار مهمی در سرنوشت کشورها دارد. در این چارچوب، اخیراً کتابی با عنوان «در اسارت جغرافیا» توسط تیم مارشال منتشر شده که محور اصلی آن تأکید بر اهمیت ژئوپلیتیک در بررسی مسائل و بحران‌های بین‌المللی است. نویسنده کتاب با تمرکز بر اهمیت نقش عوامل جغرافیایی، به دنبال یافتن پاسخی متاسب برای این پرسش کلیدی است که چگونه ژئوپلیتیک یا جبر جغرافیایی تصمیمات رهبران و بازیگران سیاسی کشورها را تحت تأثیر قرار می­دهد؟. از نظر مارشال، چالش‌های جغرافیایی سبب ایجاد محدودیت‌هایی در تصمیم‌گیری رهبران در حوزه­هایی چون جنگ و صلح می‌شود. در همین راستا، نویسنده برای ارزیابی مدعای اصلی خود در کتاب شرایط ژئوپلیتیک کشورهای مختلف در مناطق گوناگون جهان را مورد بررسی قرار می‌دهد و با مرور گذشته تاریخی، نگاهی به آینده بحران‌های بین‌المللی در سایه محدودیت‌های ژئوپلیتیکی می‌اندازد. مارشال موضوعات کلیدیِ ژئوپلیتیکی که تمام قاره‌ها و مناطق مهم جهان با آن روبرو هستند را شناسایی کرده، تا از این طریق مناطقی که پتانسیل درگیری‌های فعلی یا آینده را دارند مورد شناسایی و تحلیل قرار دهد. بدیهی است مباحث مذکور در زمره موضوعات کلیدی در حوزه حکمرانی است و اهمیت چنین مباحثی نویسنده این سطور را به سمت معرفی، نقد و بررسی اثر مذکور رهنمون ساخته است.

Seyed Ali Qasemzade

One of the fundamental questions in the literature of the new story writing in Iran is the extent of the linkage with classical Persian literature. The importance of this question becomes apparent when most critics and researchers in the field of fiction, novel, and short stories consider it as the imported art (Western), and it is believed that the entry and expansion of new fiction to Iran should be based on the same western art attitude and non-native phenomenon. It is clear that in the light of such an attitude, expecting the benefit and relationship of the Iranian storyteller with his literary past looks awesome and awkward. The Effect of Classic Persian Literature in Contemporary Story Writing by Masoume Sadeqi, an answer to the serious rejection of the novelty of the novel and the new Iranian story Relying on the three novels Suvashoon, Missing Salooch, and Fire without Smoke, while rejecting the prevailing view, Reveals the Iranian writers' influence on the style and language of Persian classical literature. The present study, by revising this work in a descriptive-analytical manner, concluded that in spite of the writer's admirable effort to prepare and collect intelligible information and intertextual representations of selected novels with some basic objections and unbalanced thematic propositions, the data analysis and the final interpretation of novels are confronted. An insulting approach to the whole and the whole of this attitude requires a serious review in the book.

Mohammadad Masum, Reza Mohammadkazemi, Sadaf Sartipi

Universities, as the main custodians of expertise, play a key role in the development of entrepreneurship. Studies show that entrepreneurial education not only promotes entrepreneurial growth but also enhances entrepreneurial skills. However, despite the need to provide quality and practical training to entrepreneurship students, many students and graduates of this field did not consider the provided training to be of acceptable quality and could not prepare to enter the business world after this training. The aim of this research is critical review of lessons and rubrics of Master's degree in Entrepreneurship at universities and its impact on empowerment of students. In order to achieve this goal, the mentioned rubrics and lessons were evaluated from different aspects. In this regard, students and graduates of Entrepreneurship Faculty in University of Tehran between the 1388 to 1398 were selected as statistical population. The results of data analysis show that lessons and rubrics of Master's degree in Entrepreneurship at universities has a significant impact on enhancing academic ability of the students and graduates (Entrepreneurial knowledge and attitudes), Preparing students to enter the job market, preparing students to start a business, preparing students to upgrade previous businesses and mentioned rubrics and lessons fit the needs of the work environment.

Mahmoud Mokhtari

This article reviews the book The Relationship between Religion and Technology. The main effort of the book, as the author himself states, is to study the interaction of technology and religion in the context of the Islamic worldview, as well as to present a theory for achieving Islamic technology. The present article first examines the main concern of the book and its place among other publications of the author. Then the research methodology of the book author will be assessed. Finally, a detailed evaluation of the author's project on Islamic technology will be presented. The claim of this article is that the book does not succeed in achieving a coherent theory about Islamic technology, and this effort needs to be modified and completed. In fact, the author's view focuses on the intentions of the designers and users of technological artifacts, not on the structure and physical properties of the artifacts, and thus the concept of "religious technology" is reduced to what the author calls "non-religious technology" (as opposed to anti-religious).

زیبا قلاوندی, محسن نورپیشه قدیمی

تصویر به‌عنوان بخشی از پیام، واسطۀ عاطفی گوینده و مخاطب است. بررسی اجزای سازندۀ تصویر و تأثیری که بر مخاطب می‌گذارد، می‌تواند ما را از میزان هیجان و عاطفۀ شاعر آگاه کند؛ تنوّع و پویایی تصویر، موجب ماندگاری آن در ذهن مخاطب و در نتیجه انتقال بیشتر عاطفه می‌گردد. در این مقاله ابتدا به نقد و بررسی نظریه‌های مرتبط با عاطفه و تصویر و تأثیر متقابل آن‌ها بر یکدیگر و بر مخاطب، پرداخته شده است. سپس انواع تصاویر زبانی، حرکتی و صوتی، تصاویر متحرک و استحاله در محور عمودی خیال، هم‌ذات‌پنداری از طریق تصویر و همچنین اجزای تشکیل دهندۀ تصویر؛ مانندِ افعال، تصویرواژه‌ها و پیوند آن‌ها با عاطفه و هیجان مولوی در غزلیات شمس بررسی شده است. مولوی بر خلاف نظریه‌هایی که ایماژ زبانی را نازل می‌داند و تصاویر حسّی را سطحی، توانسته است با این نوع تصاویر هم عمق عاطفه و هیجان خود را به نمایش بگذارد و هم به اعماق جان مخاطب راه یابد.

حسن سلیمانی, محبوبه رحمانیان

در سال های اخیر، سهم خود کنترلی و خود تنظیمی در برنامه های یادگیری تلفیقی نگرانی اصلی محققان بوده است. این مطالعه سعی در ارزیابی نقش خود کنترلی و خود تنظیمی در یک دوره تلفیقی با 64 دانش آموز در ایران دارد. خود کنترلی به عنوان قابلیت و عاملیت بالقوه یادگیرندگان در دستیابی به اهداف خود و خود تنظیمی به عنوان شیوه های واقعی آن ها در دستیابی به آن می باشند که از طریق مقیاس خودکنترلی و راهبردهای با انگیزه برای یادگیری پرسشنامه به ترتیب مورد بررسی قرار گرفتند. رگرسیون چندگانه نشان داد که موفقیت در یادگیری بطور معنی داری با خود تنظیمی (r = .41) و نه خود کنترلی در ارتباط است. تکرار پست ها و کل کلمات مورد استفاده به طور مشابه برای خود کنترلی و خود تنظیم رفتار نکردند. این نشان میدهد که گروه های آموزشی می توانند به برخی از برنامه ها برای توسعه برنامه ریزی دانش آموزان، خود نظارتی و انعکاس که متغیرهای خود تنظیمی هستند متوسل شوند.

Mahmoud Bashiri, Niloufar Ansari

Abstract Existence is the philosophy of the originality of existence (one of the most important and influential schools of philosophy and literature in the world, the birthplace of which is "Europe"). Existence is directly confronted with the borderline situations of "death, suffering, fear, and guilt."Gholam Hossein Saedi (1936-1986), who is known as a modern writer, talks about pain, loneliness, and death. His works represent the literature of existence. Saedi's view of life is noteworthy. In his collection of stories entitled Bill's Mourners, he talks about the pains that have fallen on human spirits, and the atmosphere he depicts is full of fantasy, illusion, stress, economic and cultural poverty of rural and urban life in a way that the reader can not hope for a happy ending in the story. The power of Saedi's writing is rooted in his philosophical, literary, and existentialist thoughts, which modern man has repeatedly observed under the magnifying glass of his literary taste. One of the features of the story of Bill's mourners is sociality. Saedi tries to portray the ugliness, corruption, and inequalities of the society in front of the readers as well as expressing the consequences of this injustice. Most of the contemplations on the content of Bill's mourners' stories have been readable for critics, which is the link between social and personal issues and especially the impact of society on an individual's illness. The features that show the relationship between mental disorders and the social level are listed below: The philosophical despair of the characters are  intertwined with social pessimism and social contradictions; The psychology of the masses are illustrated in fictional actions; The villagers take refuge in the city and suffer from immorality and homelessness; The suburbs of cities are suffering from poverty and prostitution; Poverty in the modernized environment is threatening, and a fate awaits people; People ruined by heroism and sanctification; Urban dwellers, like villagers, are plagued by their superstitions; and The result of living in the conflict between tradition and modernity is isolation and loneliness. All the above features can be examined in the context of the borderline situations of "death, suffering, fear and sin". The main discourse of Bill's Mourners is critical, and the predominant themes of the works are the roots of moral corruption and mental illness in the society. Saedi combines attention to the aesthetics and creation of a story with modern methods of storytelling with political and social ideals. For this reason, he is known as one of the writers who pay attention to morals whereas the moralists criticize him. His writing style stands in the opposition to those of contemporary fiction writers. Being influenced by the world literature, he could also be compared to writers such as Dostoevsky, Faulkner, Hemingway, Joyce, and Marquez, due to his political leanings and representing the storytelling in a modern way as well. This influence is shownin two styles: realism in the style of writers such as Chekhov and Dostoevsky; and subjectivism in the format of mental-narrative works of Hedayat, the metamorphosed world of Kafka, the eerie atmosphere of Marquez, and the existentialism of Jaspers and Sartre. As a result, Saedi's thoughts have a strong influence on the philosophers' viewpoints. He seems to know the society, its main pains, and problems. The main themes in his stories are death, suffering, fear, and sin on which the existentialists focus. According to the results of analyzing the story of Bill's Mourners, characters not only do not go beyond the phase of moral existence but also do not get the phase of faith existence. The philosophy of existence has based its analysis of human destiny on three fundamental inferences and considered three signs. The purpose of this article is to clarify the three principles of the entity (benevolence, morality, and faith) in Bill's Mourners.

حسین سرفراز, محسن امین

سواد رسانه‌ا‌ی سازه‌ای آموزشی است که ازخلال فرایند آموزش رسانه به مُتعلمان ساخته و پرداخته می‌شود. «مخاطب» از بنیان‌ها و مؤلفه‌های سازندۀ این سازه است که در فرایند آموزش رسانه معنایی مضاعف دارد؛ اولاً، مخاطب بخشی از مباحث آموزش سواد رسانه‌ای را به خود اختصاص می‌دهد و ثانیاً، متعلم درمقام مخاطبِ آموزش رسانه، به‌صورت پیش‌فرض جایگاه همان مخاطبی می‌نشیند که مقوّم سازۀ سواد رسانه‌ای است. این امرْ آموزش را با چالشی پیچیده مواجه می‌‌کند. ازیک‌سو و مطابق با تحولات آموزش رسانه، امروزه و به‌دلیل تحولات مشارکتی و تعاملی رسانه‌ها، مخاطب فعال پیش‌فرضی است که سواد رسانه‌ای در شناخت سوژۀ خود به‌کار می‌بندد و ازدیگرسو، کتاب درسی تفکر و سواد رسانه‌ای در‌جایگاه رسمی آموزش، معلم و مدرسه، مخاطب را عنصری منفعل فرض می‌گیرد که قرار است با طی‌کردن فرایند آموزش سوژگی لازم را کسب کند. طی نقد و ارزیابی کتاب، پرسش اصلی مقاله پرسش از معنا و جایگاه متناقض مخاطب در کتاب درسی تفکر و سواد رسانه‌ای است که تلاش می‌شود با کمک اتخاذ استراتژی واسازی ژاک دریدا، ازخلال کشف نظام سلسله‌مراتبی متن، استخراج دوگانه‏ها، بازتفسیر متن، و توجه به استثناهای آن پاسخ داده شود.

فیهمه حمید زاده, زهره محمدی زنوزق

هدف از مطالعه حاضر بررسی تاثیر دو روش داستان سرایی و باز نویسی متن در زبان دوم بر درک اصطلاحات انگلیسی زبان اموزان ایرانی است. برای این منظور,90نفر زبان آموز سطح متوسط مونث ایرانی براساس نمرات آزمون تعیین سطح آکسفورد برای شرکت در این پژوهش انتخاب شده وبه سه گروه 30 نفری تقسیم شده اند که این سه گروه تحت آموزش اصطلاحات انگلیسی ازطریق داستان گفتن وبازنویسی متن و روش سنتی حفظ معادل آنها قرار گرفتند . داده ها جمع آوری شده توسط پیش و پس آزمون از طریق روش آماری “همپراش , آزمون تعقیبی ” مورد تجزیه وتحلیل قرار گرفتند.یافته های حاصل از این تحقیق نشان داد که تکنیک های یاددشده موثر بوده اند و همچنین روش داستان سرایی در مقایسه با دو روش دیگر تاثیر مثبت بیشتری بر درک اصطلاحات انگلیسی داشته است. نتایج این تحقیق و پیامده های مفید آن برای آموزگاران بررسی شدو محدودیت های تحقیق جهت پیشنهاد تحقیقات آتی مورد بررسی گردید.

Aleksandra Wenta

This paper explores the connection between cognitive ritual and theatrical performance in non-dual Śaivism based on the textual study of the Mahārthamañjarī written by Maheśvarānanda (13th–14th centuries) and related texts. The Mahārthamañjarī incorporates the image of the dancing Śiva of Chidambaram to expound certain ideas of non-dual Śaiva doctrine and practice. One of the most important issues discussed by Maheśvarānanda was the meaning of Śiva’s dance and the possibility for a man or a human agent to become Śiva-the Dancer by performing the Five Acts (pañcakṛtya). Surveying the different meanings of pañcakṛtya that have developed over time, this paper explores how Maheśvarānanda’s project of discovery one’s own status as Śiva-the Dancer is essentially a discovery of being an agent of the Five Acts.

Morteza Mohseni, Mahdi Sarahati Juybari

It is axiomatic  for those who are stylistically a little familiar  about  the periods of  Persian  poetry  that  quasidas  of  Nāser-e Khosrow are totally  different  from  those  of  the  poets  in  fifth  lunar  century  both  in  terms  of  their  contents  and  technically.  This difference  is  seen  even  in  those  areas  of  his  poetry in which the poet is confided to make innovations. This paper investigates Nāser-e Khosrow's style in the field of the music of poetry. It also aims to identify his slylistic differences comparing with those of his most famous contemporaries (Onsori, Farrokhi and Manoochehri) in external, lateral and internal areas.      As the first  step, all the Nāser Khosrow's poems -exept for additions section- was considered the Scope of this study, accompanied by main parts of other three cited  poets' divans (poetical works) which consists almost 23600 distiches. For the second stage, each poet's divan were separatly scrutinized in three fields of the music of poetry. The frequency of each cases were recorded and after comparing statistics related to Nāser-e Khosrow's poems with other tree poets,  stylistic charachteristics of his poetry were explored. Statistical information related to the poets were generally recorded in a table and some parts of them were shown in a bar graph. It seems necessary to note that the researcher considered two items of  innovation and frequncy in all phases of the study.     Most of the studies done in the field of Nāser-e Khosrow's music of poetry, investigated the prosody and meter of his poetry. Most of these studies considered difficulty and relevancy as the important prosodic characteristics of  his poetry. Regarding the lateral and internal areas of Nāser-e Khosrow's poetry, there are not much argument proposed except for using difficult rhymes and nominal radifs ( for lateral music of poetry) and attending to figures of speech which are based on some types repetition ( for internal music of poetry).     In this paper, musical characteristics of Nāser-e Khosrow's poetry were classified into three sections comparing with those of the three above cited poets: A) in prosody or external area, main characteristics of his style were concluded into two items: 1) using rare meters, and 2) pause in meter, which is one of the main factors for making his quasidas' meters unpleasant. One reason for this could be "poetic emotions".  It means that the meter of Nāser-e Khosrow's poetry is not a selective act. It is related directly to his emotions and this is one reason for his metric differences in comparison to those of other poets. His emotions are mirrored in his poetical meters and because his emotions are different from others', his used meters are different from others'. So that the reason for pauses or his unpleasant meters in his poems was related to his different emotions. Another reason for using unpleasant and difficult meters was that Nāser-e Khosrow avoided kings' courts (as an incentive for using pleasant meters for other contemporaries). Besides, attention and emphasis on such topics as advice, asceticism, and criticism influenced on the type of used meters and quality of  meter selection by Nāser-e Khosrow. B) in lateral area of  Nāser-e Khosrow's music of poetry, the only point to be noticed is using non-verb radifs more than his contemporaries. C) Considering the internal area of Nāser-e Khosrow's music of poetry, the most important characteristics of his poetry style is ample using of such devices as alliteration, assonance, and some types of pun. But one important point about pun in his poetry is in special use of that as a pivot for satire, criticism and lampoon.

K shohadaie, Z Mousavi, M Zolfaqari

Khaqani Shervani, entitled Afzal al-Din, is one of the pious poets of sixth century (A.H). The presence of scientific issues like medicine, astronomy, philosophy, theology, mysticism and religious thoughts in his poetry led to his being called “philosopher”. Religious beliefs and thoughts based on the Law are amongst the most important motifs of his poems which have been elaborated generally in the form of innovative and poetic images. The main axis of this article is the exploration of Ka’beh manifestation in his Divan with regard to critique of imagery an issue which has not been considered in the past rhetorical books and simply the negative manifestation of religious concepts in literary works, named as neglecting the courtesy of Law, has been mentioned in the form of brief definitions and evidence but there is no detailed discussion about the Law, image and their mutual relationships. The issue of image, the Law and Ka’beh, the interaction of these three words and how they are used in Khaqani’s Divan constitutes the main axis of this article. This article shows that his attitude to Ka’beh and its manifestation, in spite of its high frequency in his poems, is not in line with the principles of Islamic beliefs and teachings, as much as is expected, and the poet has violated such principles and polluted his view with the love of the world panegyrically in many instances.

سارا اربابی, شهلا شریفی, علی مشهدی

مطالعة دوزبانگی از دیدگاه شناختی مسئله‌ای است که در سال‌های اخیر محققان زیادی را به خود مشغول ‌کرده‌ است و در این میان پژوهش‌های بسیاری برتری شناختی دوزبانه‌ها نسبت به تک‌زبانه‌ها را گزارش ‌کرده‌اند. با توجه به کثرت دوزبانگی در ایران، نیاز به مطالعة هرچه بیشتر و عمیق‌تر این پدیده از جنبه‌های مختلف احساس می‌شود. تحقیق حاضر، با هدف بررسی شناختی دوزبانگی در ایران، به تأثیر دوزبانگی بر کنش‌های اجرایی در دوزبانه‌های آذری- فارسی ‌پرداخته ‌است. بدین منظور، آزمون ویسکانسین بین 72 دانشجو (36 نفر دوزبانه و 36 نفر تک‌زبانه) اجرا شد و نتایج تحلیل واریانس چندمتغیره از برتری دوزبانه‌ها در کنش‌های اجرایی به‌طورکل و انعطاف‌پذیری به‌طورخاص حکایت‌ داشت. این نتایج که تأییدی است بر یافته‌های تحقیقات پیشین، نشان‌دهندة این حقیقت است که برتری شناختی دوزبانه‌ها ناشی از ماهیت به‌کارگیری دو زبان متفاوت است و نه نوع زبان.