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Showing 52 results for Subject:
Mostafa Alipour, Habib-Allah Abbasi,
Volume 30, Issue 92 (5-2022)
Abstract
There is a difference between a historical event and the historical narrative of that event, whether it is oral or written. That is why an event is something that happened once in a specific time and place, but the historical narrative is multiple and numerous and does not completely agree with the historical event and is an interpretation of the original incident. Using the descriptive-analytical method and the intertextual approach (based on the three intertextual axes of Genette) in this article, the repetition, reconstruction, and reproduction of the past have been analyzed in two historical narratives of Zahiri Nishaburi and Rawandi about the incident of Ghoz riot, two narratives which are temporally and expressively different. Moreover, it has been shown that these two texts, which have a common theme and are related to each other have been influenced by each other and much communication has taken place between them. In addition to relying and emphasizing on the linguistic features of Rahat al-Sudur, especially its syntactic system, the intertextual relationship of the two works, similarities, and differences in the way of their reporting and narrating of Ghoz riot have been discussed. The result of the research highlights the influence of Seljuq Nameh on Rahat al-Sudur in the historical report, which accuses its author of plagiarism.
Arman Fateh Dowlatabadi, Qolam-Ali Fallah, Hamid Abdollahian,
Volume 30, Issue 92 (5-2022)
Abstract
Ferdowsi’s Shahnameh is full of stories which are rooted in myths. The characters of stories can be analyzed from different viewpoints. Keykhosrow is one of the eminent characters of myths. In this paper, relying on desk study, document and content analysis, and the adoption of Marcel Mauss’ anthropological approach and Eliade’s theory about magic doctors we have analyzed Keykhosrow and his magical actions. The findings of this paper show that the Iranian-Turanian Keykhosrow is a potential witch. He also has characteristics and actions which can be found in witches. Keykhosrow, like a king-priest who dominated Classical Elements and adept in witchcraft, conquers Afrasiab with unusual magical tricks and ends the Great War.
Half-Yearly Persian Language and Literature,
Volume 30, Issue 92 (5-2022)
Abstract
Ph.d Badrieh Ghavami, Ph.d Lida Azarnava,
Volume 30, Issue 93 (1-2023)
Abstract
Semiotics is an interdisciplinary approach that examines sign systems in a literary work; Among the approaches to semiotics is the theory of Michael Riffaterre, a French-American theorist on the semiotics of poetry. According to this approach, the reader is a very important factor in the process of reading the text; Riffaterre believes that meaning is always present in the text of a poem and only the reader should extract it. In his view, the meanings of poetry should be understood on its own, not by referring its signs to external realizations, and understanding poetry requires the reader to try to find an intertwined network of signs, and in this regard, her approach can also be considered as a reader-cantered critique. In this research, Ebtehaj's poem " Arghavan" [English Equivalent: purple] has been analysed using Riffaterre approach. The central idea of the poem is "the isolation of the poet in an inappropriate social space", which is expressed in different ways in the text of the poem. Although this idea is not mentioned directly in the poem, the widely used propositions and clichés of the language that the poet uses by repeating them in the process of "over determination" or through the "conversion" process, by modifying those propositions, or using the "expansion" process, by extending the general idea to more detailed ideas. In addition, by discovering two semantic processes of "accumulation" as well as "descriptive anthologies", which all come from the same source and guide the poem to induce a single theme, the descriptive anthology of " Azadi" (freedom) that evokes words such as "morning", "spring", "candle", "lamp", "sun", "dawn" and "sun"; In contrast to "Sharayet-e Namonaseb-e Ejtemaei" (unfavourable social conditions) that the "forgotten silent corner", "crypt" and "night of darkness" evoke the same concept.
0 Zohreh Amani, 0 Esmat Khoeini,
Volume 30, Issue 93 (1-2023)
Abstract
A large part of the impressiveness of Rumi’s words is related to his manner of expression and syntax of his words, most of which are still hidden. To discover these beauties, there is no other way than a detailed analysis of his discourse. In the present study, the authors analyzed one of the factors of text coherence by examining the frequency and syntactic function of simple and compound sentences in Masnavi. This research is based on 1372 verses of the first book of Masnavi and uses statistical methods of structural analysis and classification of sentences. From this study, remarkable results were obtained regarding the close relationship between the content of the text and its sentence structure. The results indicated that the frequency of compound sentences is more than simple sentences, and among different types of compound sentences, those consisting of “main clause + subordinate clause” pattern have a higher frequency. This style of Masnavi wording contributes to the coherence of the text and paves the way for Masnavi to make good teaching material. Additionally, it was found that Rumi actively participated his audience in receiving the meaning of the compound sentences. He sometimes removed the conjunction from the structure of the sentence and allowed the reader to select the appropriate conjunction based on the selection of each of the main or subordinate clauses. In the complex compound sentences, a sentence has both main or subordinate roles at the same time, which means that based on its preceding or following sentence, the role of the sentence changes.
Nasergholi Sarli, Akram Ghorbani Cheraghtappeh,
Volume 31, Issue 94 (6-2023)
Abstract
The researchers of mysticism and Islamic Sufism have considered the making of the language of Sufism and mystical discourse as one of the most important aspects of the history of Sufism. Especially the gradual differentiation of the language of Sufism from the language of religion and its transformation into an independent discourse has been the subject of valuable researches. The researchers have demonstrated that mystical experience and Qur'anic interpretation are inseparable at first and the language of mystical experience merely uses Quranic words, but gradually, mystical experience becomes independent and adopts the Qur'anic language/language of religion and acquires its very own language. One of the lexical features of the language of Qur'an/religion is the use of binary opposition. Binary oppositions such as Paradise/Hell, Good/Evil, this world/the Hereafter among the basic religious and Quranic teachings and are used with high frequency in Sufi texts. The use of binary oppositions in Sufi texts goes far beyond religious binary opposition, and especially in Sufi textbooks, many new terms are formed based on binary opposition.One of the distinguishing aspects of the language of Sufism is the deconstruction of binary oppositions. The deconstruction is applied both in the binary oppositions of religion and in the oppositions formed in the language of Sufism. It has various and different forms and aspects, and its analysis may provide us with the most creative and innovative aspects of Sufis' worldview and mystical experience. This linguistic invention, which is rooted in the novelty and uniqueness of mystical experience, is a sign of the authenticity of that experience. In this research, we have investigated the deconstruction and departure from binary opposition in a corpus including the most creative words of the Sufis in Persian prose texts. By analyzing and classifying the different forms of the deconstruction and going beyond the binary opposition, the article shows how this feature grants the language of Sufism a special artistic and poetic characteristic, and places it in a completely different level compared to religious texts and the language of Shariat. Going far beyond the binary oppositions is closely related to the paradoxical feature of the language of Sufism and provides the possibility of expressing more complex experiences for Sufis.
Seyed Amirabbas Setayeshgar, Habibullah Abbasi , Seyed Morteza Mirhashemi, Effat Neghabi,
Volume 31, Issue 95 (11-2023)
Abstract
The use of music is one of the most useful techniques in poetry, which poets use to convey their thoughts. Owing to their mastery in music, some poets have employed it to express their reflections and to portray poetic images more than others. The frequency of the discourse of music in the poetry of this group of poets and the imagery created through it shows their mastery over music, both in terms of theory (in topics such as organology and the study of tunes and melodies) and in terms of practice (which is performing and composing music). Using a descriptive-analytical method, the present research aimed at investigating the means of the theoretical and practical music in the divans of two of the foremost representatives of the Indian style (sabk-e Hendī) of Persian poetry, i.e. Saeb Tabrizi, the leader of the mode called delicate imageries (nazok-khiyali), and Bidel Dehlavi, the forerunner of the mode called exotic imageries (dour-khiyali). First, by giving examples, the concepts of music in the poetry of the two poets were examined and then both views were compared in the field of music. The results indicated that mastery of music would highly contribute to the decoding of secrets of the poems. In effect, without finding the musical roots (as a specialty and profession) it would not be possible to gain the correct and precise understanding of some couplets. In fact, this method of applying musical concepts is not a sign of distant knowledge of the field, but it implies a kind of scientific and close knowledge. The result of this study – which is the explanation of the combination of theoretical and practical music in the two modes of delicate imageries and exotic imageries of the Indian style – indicates the three main branches of the association network, the theoretical-practical knowledge and the link between poetry and music.
Ms Narges Bagheri, Phd Mohammad Nabi Tavallaei,
Volume 31, Issue 95 (11-2023)
Abstract
The term “trauma” is used to refer to a situation in which a person’s psyche is harmed by a traumatic event. Žižek argues that trauma is the result of unexpected intrusion of the Real (event) into the Symbolic (symbolization) and acquires meaning in the structure of the Deferred Action. People’s reaction to any traumas is acting out or working through. In the acting out process, the patient displays sign of mental disorders like nightmares, yet in the working through, the patient hides mental suffering in the subconscious and fantasies and transfers the sufferings to another place by means of creating a fetish narration. Regarding the psychological nature of the trauma, the patient is unable to convert it into the Symbolic, and this psychological problem can be recognized only by its symptoms in the person. However, psychologists believe that the only treatment for trauma is to change it to the Symbolic. This study aims to investigate the way of representing trauma in the novel The Dead Dolphin by Hassan Bahrami. The findings show that he has successfully overcome this challenge by utilizing magic realism and its imperceptible combination with trauma features. Through combining local myths with trauma and taking advantage of their dual and contradictory nature, Bahrami has created a strong link between trauma and magic realism and portrayed the character’s trauma. This study proves that magic realism is a proper technique for writing psychoanalytic novels to represent and symbolize people’s trauma.
M.s Marjān Heydari Tamrābādi, M.s Shivā Heydari Tamrābādi, Mr Vahid Vaziri,
Volume 32, Issue 96 (4-2024)
Abstract
This research takes an interdisciplinary approach to examine the role of architectural elements in the surrealist stories “The Blind Owl” and “Prince Ehtejab”. Each of the architectural elements has its own specific definition and function that shapes the physical atmosphere i.e., it creates an atmosphere limited to time and place. However, the content of these elements with their implicit meaning creates atmospheres that are not limited to time and place. As the purpose of this research is to examine the effect of architectural elements in creating the surrealist atmosphere of these stories, first of all, the architectural elements that existed in the stories were extracted and, through comparative studies, their meaning beyond the physical aspect was analyzed using a descriptive-analytical method. Ultimately, the crucial role of these elements in creating the surrealist atmosphere of the stories was elucidated. Sadegh Hedayat’s “The Blind Owl” can be considered his most important work. Architectural elements such as the narrator’s house and the buildings in the story play a significant role in shaping the story’s atmosphere. In “Prince Ehtejab”, due to the protagonist’s reminiscence of the last night of his life in his room, a surrealist atmosphere emerges. Upon closer examination, it can be said that the architectural elements in the room, carrying meaning beyond themselves, play a fundamental role in expressing the prince’s personal circumstances and exposing his weaknesses and fears.
Dr Effat Neghabi, Dr Niloofar Sadat Abdollahi,
Volume 32, Issue 97 (1-2025)
Abstract
Mohammad Ali Foroughi is considered one of the famous contemporary men in politics, culture and law. His two political and cultural aspects have caused him to correspond with many educated friends about these issues. Due to Foroughi's familiarity with ancient literature and attachment to Iranian culture, his letters have been influenced by the structures of his predecessors in addition to ancient literary works. Looking at these correspondences, one can see the influence of Farahani's letters in them. It is worth mentioning that while imitating the style of Ghaem Magham, he had innovations in his letters. This issue, article aims to reveal the extent of Foroughi's innovation and influence on Ghaem Magham`s letters by considering Ghaem Magham`s letters as an example of the return style. For this purpose, in this research, 11 letters from Foroughi's letters, collected in the Zoka-ul-Mulk's policy book, and 11 letters from Ghaem Magham institutions, which were written in three fields of friendship, politics and social; Have been analysed. By examining these letters, it was found that although Foroughi was influenced by the letter structure, literary techniques, and linguistic features of Farahani's letters, he made innovations in the field of content and concepts. Zakaul-Molk's innovations can be seen in combining the retro style with modern socio-political concepts. In writing letters, Foroughi paid special attention to the needs of the times and people's understanding. Therefore, besides being influenced by the return style, he has overcome its weaknesses with some expressive tricks and subtleties. By using this way of writing, Foroughi has achieved the two goals of attracting the audience's attention in the direction of promoting Persian culture and literature and conveying modern concepts along with reports on current issues of the society. In his political and social letters, we see imitation of difficult literary-historical texts; However, his friendly correspondences are very tender and heartwarming due to the imitation of lyrical texts. So reading these letters gives the reader more literary pleasure than social letters.
Dr. Hossein Bahri,
Volume 32, Issue 97 (1-2025)
Abstract
The Persian translation of “The Adventures of Hajji Baba of Ispahan” by James Morier is undoubtedly one of the masterpieces of Persian literature. Mirza Habib Esfahani translated this work into Persian from the French translation of the book. The fact that a translated work, through an intermediary translation, can meet such a reception by the readers in the literature of a language is considered one of the rare and exceptional cases. Since the publication of this work, researchers of language and literature, translation and other fields of humanities have studied its various aspects. However, so far, there has been no research that studies the reception of this translation by the Persian readers from a historical perspective. In this article, based on Jauss’s concept of “Horizon of Expectations” and using the descriptive-analytical method, the researcher has tried to investigate various aspects of the reception of this translation by the Persian readers before and after the Islamic Revolution through reviewing the works and examining the existing texts. To do so, from among the studies available on this work, which comprised about 50 Persian articles and books published since 1942, ten significant works (5 published before and 5 after the Islamic Revolution) were selected and the expectations within them were examined and analyzed using the qualitative content analysis method. Next, the various themes of the receptions of the Persian translation that were discussed in these ten works were extracted and compared. The findings of the study indicated that during both periods of time, the Persian translation of “The Adventures of Hajji Baba of Ispahan” was of interest to the literary taste and in accordance with the expectations of the readers, including writers, critics, and researchers, and it still continues to be widely received by the readers, which has made this work enduring and popular.
Mahnoosh Vahdati,
Volume 32, Issue 97 (1-2025)
Abstract
The current study attempts to discuss one of the most mysterious and enchanting biographical anecdotes of Bidel Dehlavi from a Lacanian psychoanalytical perspective. The primary goal is to scrutinize the psychoanalytical evolution of the story's main character based on three significant Lacanian stages of the unconscious: The mirror stage, the Symbolic stage, and the Real order. In addition, the psychoanalytical portrayal of the main character is reflected in the light of Lacanian theories of Fantasy, the Other, Lack, Objet petit a, and Castration. The Lacanian subject in Bidel's story encounters a huge void. To fill this hole, he strives to identify himself with the other or the image that has been painted by his friend, Anub. The barred subject discovers himself in the harmonious and perfect image and strains to recover his lost identity in the flawless picture. The subject is unaware that by entering the Symbolic stage, he would suffer alienation and distortion. Therefore, by clinging to Fantasy, he endeavors to keep the illusion of being complete. However, by stepping into the Real order and facing the trauma of this field and the impossibility of symbolizing his pains, he commits symbolic suicide and breaks the chain of recurring signifiers. The present article concludes that the main character passes through the Mirror stage with an imaginary knowledge of himself, then faces the alienation of the Symbolic stage, and in the Real order, as a psychotic subject, he is baffled between Fantasy and reality and commits a symbolic suicide.
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