Hasil untuk "Indo-Iranian languages and literature"

Dr. Rani Begum

<p class="MsoNormal" style="margin-bottom: .0001pt; text-align: justify; text-justify: inter-ideograph;"><strong><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: &quot;Times New Roman&quot;; mso-bidi-theme-font: major-bidi; color: black; mso-themecolor: text1; mso-bidi-language: ER;">Abstract</span></strong></p> <p class="MsoNormal" style="margin-bottom: .0001pt; text-align: justify; text-justify: inter-ideograph;"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: &quot;Times New Roman&quot;; mso-bidi-theme-font: major-bidi; color: black; mso-themecolor: text1; mso-bidi-language: ER;">This paper presents a comparative study of the major elements of Romanticism in the poetry of Allama Muhammad Iqbal and Rabindranath Tagore. Romanticism, as a literary and intellectual movement, emphasizes imagination, love of nature, spirituality, nostalgia for the past, aesthetic beauty, and individual freedom. Both Iqbal and Tagore embody these Romantic traits within their distinct cultural, philosophical, and artistic contexts, giving them new dimensions and unique expressive forms. The study highlights that while both poets share Romantic features such as imaginative elevation, vivid nature imagery, spiritual experience, and humanistic love, the foundations and purposes of their Romanticism differ significantly. Iqbal&rsquo;s Romantic vision is rooted in action, selfhood (khudi), dynamism, and revolutionary consciousness, whereas Tagore&rsquo;s Romanticism revolves around aesthetic harmony, divine unity, contemplative serenity, and the celebration of universal humanism. Through this comparative analysis, the paper clarifies the similarities and distinctions in the poets&rsquo; philosophical frameworks, aesthetic sensibilities, and Romantic ideals, thereby underscoring the richness and diversity of South Asian literary heritage</span><span style="font-size: 12.0pt; line-height: 115%; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; color: black; mso-themecolor: text1; mso-bidi-language: ER;">.</span></p>

Leila Dobakhti, Sajjad Mahdavivand Fard

This study highlights the role of idioms and expressions in language acquisition and teaching as essential and basic tools for communicating in any language. Learning idioms, and their complexities and simplicity, creates a significant barrier for language learners because it involves interpretation and comprehension, as there are multi-layered meanings attached to cultural dimensions. This study investigated learners’ and teachers’ opinions on the importance of idioms and expressions in enhancing their linguistic competence and language skills, as well as the challenges faced in learning and teaching them. A qualitative approach was employed to dig into the participants’ experiences. To this end, eight teachers and twenty-seven English language learners from a private language institute were interviewed using semi-structured interviews. It was found that learners realized the importance of idioms in their journey toward fluency in the target language culture, though it was a long journey. This gives particular focus on context-enriched learning, dynamic learning, and exploring cultural studies to boost learners’ knowledge and use of idiomatic expressions. It's training meaningful images into a context for which learners construct a linguistic and cultural understanding of how to operate those images across their entire life span. This study suggests that idiomatic language be given due recognition and that processes be developed to adequately render idiomatic language relevant for improved language learning and acquisition.

Arsalan Ahmad Rathore

<!--StartFragment--> <p class="MsoNormal"><span style="font-family: &quot;Urdu Typesetting&quot;;">B</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ī</span><span style="font-family: &quot;Urdu Typesetting&quot;;">dil is considered the greatest and last influential poet of the *Sabk-e-Hindi* (Indian style). The intellectual similarities between Gh</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ā</span><span style="font-family: &quot;Urdu Typesetting&quot;;">lib and B</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ī</span><span style="font-family: &quot;Urdu Typesetting&quot;;">dil are widely recognized as a valid research topic. However, little effort has been made to explore the connections between M</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ī</span><span style="font-family: &quot;Urdu Typesetting&quot;;">r Taq</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ī</span><span style="font-family: &quot;Urdu Typesetting&quot;;"> M</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ī</span><span style="font-family: &quot;Urdu Typesetting&quot;;">r, a famous Urdu poet known as *Khud</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ā</span><span style="font-family: &quot;Urdu Typesetting&quot;;">-e-Sukhan* (God of Poetry), and B</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ī</span><span style="font-family: &quot;Urdu Typesetting&quot;;">dil in terms of thought and style.<span style="mso-spacerun: yes;">&nbsp; &nbsp;</span></span><span style="font-family: &quot;Urdu Typesetting&quot;;">Even though M</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ī</span><span style="font-family: &quot;Urdu Typesetting&quot;;">r lived closer to B</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ī</span><span style="font-family: &quot;Urdu Typesetting&quot;;">dil&rsquo;s time and had more direct access to his works compared to Gh</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ā</span><span style="font-family: &quot;Urdu Typesetting&quot;;">lib, this connection has not been fully explored. Persian literary records clearly mention that Kh</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ā</span><span style="font-family: &quot;Urdu Typesetting&quot;;">n </span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">Ā</span><span style="font-family: &quot;Urdu Typesetting&quot;;">rz</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ū</span><span style="font-family: &quot;Urdu Typesetting&quot;;">, a mentor and relative of M</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ī</span><span style="font-family: &quot;Urdu Typesetting&quot;;">r, considered himself a student of B</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ī</span><span style="font-family: &quot;Urdu Typesetting&quot;;">dil. This paper is the first scholarly attempt to trace the intellectual and artistic links between M</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ī</span><span style="font-family: &quot;Urdu Typesetting&quot;;">r and B</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ī</span><span style="font-family: &quot;Urdu Typesetting&quot;;">dil through the influence of Kh</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ā</span><span style="font-family: &quot;Urdu Typesetting&quot;;">n </span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">Ā</span><span style="font-family: &quot;Urdu Typesetting&quot;;">rz</span><span style="font-family: &quot;Cambria&quot;,serif; mso-bidi-font-family: Cambria;">ū</span><span style="font-family: &quot;Urdu Typesetting&quot;;">.</span></p> <!--EndFragment-->

Danuta Stasik

The tragic events that followed the demolition of Babri Masjid on 6 December 1992 in Ayodhya were the culmination of a conflict simmering for almost the entire period of independent India, especially after the 1980s, striking at democracy and secularism, two values on which independent India was built. The Hindi literary world did not remain silent to these developments. However, the literary output that emerged on the subject during this time, though largely known and studied from the perspective of communal conflict and politics, has not been explored in the context of bearing witness by the literary community—their specific gaze as a witness. This article attempts to fill this gap by looking at two poetry collections, Apnī zabān, and Yah aisā samay hai, edited by Asad Zaidī and Viṣṇu Nāgar, and published by SAHMAT in 1994. It offers a contextualised analysis of the creative expression offered by poets acting in defence of a democratic, secular state.

Mahmood Nadimi Harandi, Tahmine Ataei Kachuei

The book of Pand-e Pirān was edited based from a manuscript preserved in the British Museum by Jalāl Matini and published in 1979. Notably, the title of the book, the author’s name, and the date of its composition are not mentioned in the text of the book. In this article, we will first introduce other manuscripts of Pand-e Pirān which are known under the titles of "Mavā`ez al-Ferdows" and "Manāqeb al-Awliyā ". Then, for the first time, we will introduce its rewritten text called "Jame` al-Hekāyāt" which Nasrollāh ibn Shahrollāh Termezi wrote in the 10th or 11th century AH. Of course, because he did not mention anything about the original of the book, but claimed that he collected the anecdotes himself, his work is considered to be plagiarism. In the following, for the first time, we will introduce the Arabic translation of Pand-e Pirān under the name of "Hekāyāt al-Sālehin" and then we will present new information and findings about the original name of Pand-e Pirān and the name of the author and the date of its composition. Finally, by citing examples, we show that using newly known manuscripts, new critical editing of Pand-e Pirān is necessary.

Edith Ambros

Alexander Lubotsky

Raj Muhammad Dr.Tahseen Bibi

Drama is a literary genre of fiction .It has dated back as the human history itself. It passed through various cultural boundaries. In Hindustan, various dramatists exhibited their skills and potential in it. When partition of Pakistan took place, the dramatists of KPK, especially showed great contributions. One of among them, Younas Qayasi is well known dramatist, who presented and staged not only Urdu but Pashto and Hindko dramas too. He earned great fame and name at national and International level.

خلیل بیگ‌زاده, پریسا احمدی, سوسن جبری et al.

آشوب و نظم از تقابل‌های دوگانة تولید معنا در نشانه‌شناسی فرهنگی یوری لوتمان هستند. نظم امری ایجابی و سازنده است که با قرار گرفتن در تعامل آشوب که امری سلبی و ویرانگر است، باعث تولید معنا و خلق مفاهیمی پیچیده می‌گردد. این پژوهش با رویکردی توصیفی – تحلیلی و با خوانشی تطبیقی رمان چاه بابل رضا قاسمی و واحۀ غروب بهاء طاهر بر پایة الگوی آشوب و نظم یوری لوتمان انجام شده‌است. دستاورد پژوهش حاکی است که آشوب ازلی و حرکت بال پروانه‌ای باعث شده تا رخدادها در این رمان‌ها به صورت غیر خطی و پیشامدها مبتنی بر عدم قطعیت باشند؛ در واقع هر پدیدة پیچیده مانند ترس و نابه‌سامانی از رخدادهایی دیگر تأثیر می‌پذیرد. این رخدادها مواردی مانند: آشوب ازلی، آشوب پیش از نظم و آشوب پس از نظم است که باعث تغییرات و آشفتگی‌های در دل متن و شخصیت‌های داستانی می‌شود. آنچه در دو رمان بسیار شبیه است، آشوب ازلی است که بنیان اصلی آن، ترس و سرگردانی است و حرکت بال پروانه‌ای تفاوت عمدۀ این دو رمان است که در رمان چاه بابل به دلیل دوره‌های زمانی مختلف بسامد بیشتری یافته‌است.

سید حسن زهرایی, لیلا قلی نژاد بداغ

هدف اصلی و نهایی آموزش زبان روسی، به‌عنوان زبان خارجی، همانند آموزش هر زبان خارجی دیگر، کاربرد زبان به‌عنوان ابزار ارتباط است. در راستای این هدف، آموزش دستور زبان از جایگاهی اساسی و کلیدی برخوردارست. در آموزش زبان روسی، دستور زبان مهمترین جنبة آموزشی آن است. روش‌شناسی آموزش زبان روسی، به‌عنوان زبان خارجی (Методика обучения РКИ) با تاکید بر اهمیت غیر قابل انکار و نقش کلیدی دستور در روند آموزش زبان، مهمترین مسئله در ارتباط با آن را لزوم بکارگیری رویکرد ارتباطی (Коммуникативный подход) به‌عنوان موثرترین و اثربخش‌ترین روش آموزش در شکل‌گیری مهارت و توانش دستوری با هدف تسلط بر زبان به‌عنوان ابزار ارتباط عنوان می‌کند. اجرای رویکرد ارتباطی در آموزش دستور به‌دانشجویان مستلزم زیرساخت‌ها و پیش‌نیازهایی است که سامانة سنتی آموزش زبان روسی با روش غالب دستور-ترجمه (Грамматика-переводный метод)، قادر به‌‌پاسخگویی به‌این نیازها نیست. در راستای رفع این نیازها، یکی از اقدامات اساسی بازنگری در کلیه مولفه های سامانة آموزش، بویژه محتوا و شیوة سازماندهی آن برپایة اساسی‌ترین اصول روش‌شناسی آموزش زبان روسی به‌عنوان زبان خارجی است. پژوهش حاضر اهمیت و نقش دستور زبان در آموزش زبان روسی و جایگاه رویکرد ارتباطی در آموزش آن را مورد بررسی قرار داده و با توجه به‌چالش‌های موجود در این زمینه؛ راهکارهای روش‌شناسی آن‌ها را ارائه کرده است.

Houriye Bakouei Ketrimi, Hassan Fathi

This article reviews and criticizes Aristotle’s Eudemian Ethics based on Anthony Kenny’s translation. We have tried to show that morality in Aristotle means living good, and his purpose in writing this work is to find an answer to the question “ what is good life and how can we achieve it?”; an answer in the virtuous tradition of the philosophical environment about which he is thinking. Hence, the understanding of the nature of what happiness is based on the understanding of the nature of virtue is significant. After examining all the various virtues, he ultimately defines happiness as “full life activity according to complete virtues” (1219 a, 39), and this main virtue includes all other virtues, namely moral virtue and intellectual virtue. Studying and acquainting with such a book for those interested in ethical studies have this advantage that they can examine some of the ethical issues in society from the scope of virtuosity.

زهرا روحی بایگی, غلام حسین کریمی دوستان

مقالة حاضر به معرفی و نقد کتاب واژگان زایشی اثر جیمز پاستیوسکی می‌پردازد. نظریة واژگان زایشی چهارچوبی را برای نمایش و بازنمود دانش زبانی پیش می‌نهد که بازنمایی‌های معنایی ـ واژگانی عرضه‌شده در آن درواقع بخشی از اطلاعات ذخیره‌شده در واژگان‌اند. در این رویکرد، تلاش بر این است تا کاربرد خلاقانة زبان شرح داده شود و با در‌نظرگرفتن ساختار و سطوح بازنمودیِ چندگانه برای انواع مختلف اطلاعات واژگانی شیوة تازه‌ای برای زایش معانی متعدد ازطریق فرایندِ ترکیب عرضه شود. در این مقاله، ابتدا مقدمه‌ای کوتاه در معرفی اثر ارائه می‌شود. سپس، در بخش دوم، نظریة واژگان زایشی معرفی می‌شود. در بخش سوم، ساختار و محتوای کتاب معرفی می‌شود و در بخش چهارم کتاب در قالب دو زیربخش الف) ارزیابی ظاهری، شکلی، و ساختاری و ب) ارزیابی محتوایی نقد می‌شود. در بخش پایانی مقاله، نتیجه‌گیری و ارزیابی نهایی اثر ارائه خواهد شد.

ابراهیم ظاهری عبدوند

در این پژوهش، به تحلیل و درون‌کاوی شخصیت، در رمان جای خالی سلوچ، براساس دیدگاه وردن در مورد مراحل و تکالیف سوگ و واکنش‌های به‌هنجار در برابر ماتم با روش اسنادی پرداخته شده است. تحلیل شخصیت‌های داستان، بر اساس این دیدگاه، نشان می‌دهد خانوادۀ سلوچ مانند مرگان، عباس و ابراو، ابتدا از طریق انکار معنی فقدان، فراموشی انتخابی، نفی روی دادن اتفاق مهم و داشتن تردید، واقعیت فقدان را نمی‌پذیرند تا درد رفتن سلوچ را بر خود آسان کنند که این امر، موجب ناهنجاری‌هایی در رفتار آنان می‌شود. در زمینۀ گذر از درد مصیبت، مرگان و عباس، درد مصیبت را انکار می‌کنند تا از خویش در برابر درد فقدان سلوچ محافظت کنند که این انکار، خود را به شکلی دیگر، یعنی رفتار نابه‌هجار خشونت، نشان می‌دهد. در ادامه، نبودِ سلوچ را می‌پذیرند و همۀ آنان، با کسب مهارت‌های جدید، با محیط بدون حضور شوهر/پدر انطباق می‌یابند. در پایان نیز با تغییر جای متوفی از نظر عاطفی، مانند عشق به فرزند و به دیگران، ازدواج کردن و عشق به کار، روزنی به سوی آینده و زندگی عادی می‌گشایند. از نظر احساس‌ها، شناخت‌ها و رفتارها، شخصیت‌های درگیر در سوگ، واکنش‌های مختلفی مانند خشم، اندوه، گوشه‌گیری، جست‌وجو، توهم و بی‌قراری از خود نشان می‌دهند و سرانجام، با پشت سرگذاشتن همۀ این مراحل، احساسات و واکنش‌ها، به زندگی معمولی باز می‌گردند. بر این اساس می-توان نتیجه گرفت که در این رمان، در کنار پرداختن به محیط اجتماعی، درون شخصیت‌های مصیبت‌دیده نیز ‌کاویده و حالت‌های مختلف آنان بازنمایی شده است.

Charlotte Joppien

ali feizollahi, علی فیض الهی, نسرین گندمی

دو ویژگی خاص و منحصر بفردزبان، یعنی عبارت پردازی و چینش واژگان در کنار یکدیگر باعث بوجود آمدن بار معنایی می شود که درک معنا نه فقط برای آنهایی که یک زبان دوم را یاد می گیرند، بلکه برای آنهایی که به این زبان صحبت می کنند، مشکل و یا حتی غیرممکن شود. ضرب المثل ها علیرغم تمایزات فرهنگی، جغرافیایی و زبانیتشابهاتی در زبان های مختلف دارند. نویسنده در این مقاله، سعی دارد تا به بررسی و مقایسه صوری و معنایی واژه های حاکم بر ضرب المثل های پرکاربرد در زبان فارسی بر اساس کتاب امثال و حکم استاد بزرگوار مهدی پرتوی آملی و معادل کاربردی آنها در زبان اسپانیایی بپردازد.هدف از این مقایسه بررسی شباهت ها و تمایزات ساختار های ضرب المثل های از نقطه نظر شیوه بیان در هر دو زبان و نیز مطالعه واژه هایی که به کرات در ضرب المثل ها در هر دو زبان استفاده شده اند. واژه های کلیدی: ضرب المثل، بارمعنائی، بسامد، زبان فارسی، زبان اسپانیایی

Sayyed Abolfazl Razavi

The present paper, paying attention to the relation between «history» and «historiography» concepts, aims to review the internal and external features of the book "Persian Historiography to the End of the Twelfth Century" which is authored by Julie Scott Meisami. Meisami studies and interprets historiographical insights of historians of the Samanid and Ghaznavid and Seljuks era from her point of view, and subject which has been elaborated by her in process of evaluation of Persian historiography. But, the point is that how much this researcher of history and literature arena could perceive the historiographical discourse of Iran in middle age, and her book came up with new horizon in historiography arena. Meisami's book has been criticized with positive and negative approaches together and from all aspects follows dynamic of history science. Thus, besides introducing the book’s subjects and expressing the surveying position, the purpose is to criticize its subjects. The problem is to see whether Meisami has methodical approaches in drafting and surveying, and if the answer is positive, how much she was committed to methodological and epistemological bases.

Ayesha Azeem

Doctor Daud Rahbar unfolds social trends, communal aspirations and culinary tastes in his characteristic poetic wit. Although he performed a considerable drill of lyrical poetry, it could not surpass his excellence in prose. However, in the most modern tradition of Urdu ghazal, his Urdu verse is such an addition which is a source of adherence to his past. In his poetry we find an artist propagating freedom of expression . His poetry is not the traditional poetry but a source of connection with his past, culture and heritage. He is not contented with whatever is there, he is always on the look out for the things out of sight , especially the people who are millions of miles away.

h Besak, m Qasemzadeh Shandiz

Molana Abdullah Hatefi is one of the poets of Timurid and early Safavid periods who has composed four Mathnavis, imitating Nizami’s Khamseh, in addition to divan of poems and Shahnameh Hazrat Shah Ismail. He is the nephew and student of Abdulrahman Jami and Jami himself encouraged him to compose Khamseh. Timornameh is his most famous work which has been composed as an imitation of Ferdowsi’s Shahnameh and Nizami’s Iskandarnameh. This historical epic describes the life of Timur Gurkan, especially his wars and battles. Novel and delicate meanings, beautiful and innovative descriptions and lexical and semantic embellishments put this Mathnavi amongst the most important historical epics of Persian literature. Also, the presence of old and rare words, Turkish and Mongolian words and idioms prevalent in the Persian language have made this work a valuable source for lexicographers. The historical aspect of this work is also of significance. The correction of this work can open a new space for broader researches on Hatefi, the style of his works and the condition of his time.

n Safabakhsh, gh Rahimi

Color is considered as a key element in fields such as painting and architecture. In Iranian poetry color is also of high importance. Having wide range of artistic words and also high poetic talent the poet depicts wonderful and imaginative pictures and decorates them with colorful elements of nature. Old age and Youth are examples of concepts which have been the focus of many poets’ attention and Nezami in particular. These concepts have been beautifully depicted in Nezami’s poems through the color element. The poet has beautifully depicted the young and old generation’s appearance characteristics using his poetic talent and colorful elements of nature. On one hand, white, black and red are examples of the colors used to describe young generation directly or indirectly. On the other hand, old age is described with respect to yellow and white colors. Nezami’s description of youth and old age is well elaborated in this research with aims at analyzing these concepts with regard to the element of color.