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Showing 381 results for Type of Study: Research
Faranak Jahanbakhsh, Masroureh Mokhtari, Asgar Salahi,
Volume 29, Issue 91 (12-2021)
Abstract
Analysis of human social behavior and interaction with others is a fundamental issue in social psychology. Since literary works and anecdotes are reflections of interpersonal actions and reactions of the existing realities in human societies, it is possible to analyze social behaviors and interactions in different societies through the analysis of the relationships between characters and their dialogues. Using descriptive-analytical method and the desk research approach, the present study analyzed Jami’s Haft Awrang, a book replete with anecdotes and allegories. We utilized the theories proposed by social psychology theorists such as Otto Klineberg, Elliott Aronson, and Baron. The findings of the study revealed that the five components of mass communication and persuasion, conformity, attraction, aggression, and prejudice are more outstanding than other components in Jami’s Haft Awrang. Consequently, we can say that the structure of many social psychology components corresponds to the traditional concepts and frameworks of anecdotes, and the social beliefs and intellectual forms of society play an obvious role in the emergence of each component.
Javad Dehghanian, Mohammad Khosravi Shakib, Mahnaz Tabiatboland,
Volume 29, Issue 91 (12-2021)
Abstract
If we admit that culture is a kind of text, we must inevitably accept that “The History of Jahāngushā” is a text that is the point of contact of different ideologies, each of which forms a part of Iranian identity and culture. Contrary to formalist approaches, an attempt has been made here to revisit the text based on those approaches of literary criticism that read the text in a dialectical and interactive connection with the material contexts of its production. Therefore, first, the ideologies in the text are introduced and analyzed, and after determining their role in shaping the ideological system of the History of Jahāngushā, their discourse contradictions are revealed, and finally, the impact of these ideologies on the text is discussed. Various factors such as historical context, social, cultural, and ideological institutions have been influential in the composition of this text and its linguistic form. It seems that more than the linguistic and expressive complexities, it is the discoursal, ideological, and cultural contradictions that have caused confusion and complexity of the text. Analyzing and retrieving the ideological currents of the text not only explains the reasons for its different readings but also helps the reader to reach a new and different judgment of the literary, historical, and cultural aspects of the text.
Rahele Gandomkar, Banafsheh Mesgari,
Volume 29, Issue 91 (12-2021)
Abstract
The current paper aimed to conduct a corpus analysis of the relationship between Persian onomatopoeic words and their morphological meanings. All onomatopoeic words listed in The Dictionary of Onomatopoeic Words in Farsi (1996) were analyzed. The analysis of the morphological structure of 2570 onomatopoeic words suggests that there is a correlation between echo duplication and the concept of emphasizing. Partial reduplication indicates the continuance of the meaning of words. Total reduplication of words with a final plosive consonant represents the discontinuance of the meaning of onomatopoeic words. Double reduplications that use an interfix carry on the impression of friction. The reduplicated words that have fricative or affricative consonants suggest the idea of slight events. Echo duplication containing the interfix “va” constructs plurality and multitude. Contrary to the findings of previous studies, the intensity accompanies derivation and not reduplication. The data also suggests that Persian onomatopoeic words use phonetic as well as morphological tools to construe the meaning.
Ebrahim Vasheghani Farahani,
Volume 29, Issue 91 (12-2021)
Abstract
There is a difference of opinion about the word “Aspanwar” among the translators of Andarz i Khosraw i Ghabadan as well as other scholars of Middle Persian language and literature, lexicographers and encyclopedists at all levels of phonology, transliteration, explanation of meaning and determination of the signified. Aspanwar has been translated as: one of the seven cities of Madain; Isfahan; the horse stable; a place of rest; and a tomb. Due to the placement of this word at the top of Andarznameh and the limitation of Andarznameh to the place of Aspanwar, each reading of this word affects the totality of the audience’s interpretation of the text of Andarz i Khosraw i Ghabadan. In this article, the term Aspanwar will be studied within three domains: first, historical data; second, analysis of the lexical structure of Aspanwar; and third, the evidence of the text for the description of the text, which falls under semantics and speech functions. Also in this article, mythological narratives are used to describe Aspanwar. The result of the study reinforces the explanation that Aspanwar was made by constructing the word aspān (horse) + suffix “-war” (meaning area, border, and boundary) and means neither Isfahan nor tomb, but a structure or area associated with “horse”. Thus, it means a public square, which was the same structure that in the Islamic period had the common name “Shah Square” and has been a constant part of the Iranian palace architecture. With its development, this square has become one of the seven cities of Madain. Therefore, the meaning of Aspanwar in Andarz i Khosraw i Ghabadan was Madain Square and one of its seven cities where the most important structure of the Sassanid court, namely Arch of Madain, was built. This part of Madain is still called Asbanbar on the east bank of the Tigris and south of Ctesiphon.
Hosein Mohamnmadi,
Volume 29, Issue 91 (12-2021)
Abstract
In the seventh to eleventh centuries A.H., Muslim rulers came to power in the Indian subcontinent who were interested in Persian culture and language. Following this change, the Iranians emigrated to India for various reasons and gained a variety of political, military, and economic powers at the court of local rulers, paving the way for the growth and spread of Persian culture and literature in the Indian subcontinent. Maulana Noureddine Mohammad Zohuri Torshizi (944-1025 A.H.) was an Iranian poet from Khorasan who emigrated to India in the tenth century and served the rules of Nizam Shahi and Adil Shahi dynasties and became the poet laureate in Deccan. During his four decades of presence in Deccan (southern India), Torshizi worked hard to spread the Iranian language and culture. In the present article, by descriptive-analytical method and using library sources, an attempt has been made to explain the role of Zohuri Torshizi in the spread of Persian culture and language in the Indian subcontinent. The findings show that Torshizi, despite many obstacles, especially calumnies by the enemies of Iran and of the Shiites in Deccan, with the support and encouragement of the rulers, was able to spread Persian culture and language in the Indian subcontinent by creating valuable literary works. The results of the present article provide a realistic picture of the role of Zohuri Torshizi and his literary works and how to support and encourage Nizam Shahi and Adil Shahi rulers in the development of Persian culture and language.
Half-Yearly Persian Language and Literature,
Volume 30, Issue 92 (5-2022)
Abstract
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.
Asad Abshirini,
Volume 30, Issue 92 (5-2022)
Abstract
The narrative of The Blind Owl (Buf-e Kur) goes through scattered “writings” in which the “painter” narrator, in captivity from the burden of his “wall of the house” shoulders through the entire story and tells the “swallowing shadow” of himself. It is only in the first part of The Blind Owl that the “ethereal girl” “manifests” through the “ventilation hole” of the closet of the same “house” which is located “on the other side of the ditch”. In the present study, the psychoanalytic theories of the French Jacques Lacan, of which language-centeredness is also one of the basic premises, are effective tools that pave the way for reflection on the linguistic aspects and related symbols in The Blind Owl. What explanation Lacan’s “The Real” provides for the progress of the plot of this modern story as well as how the result of such a view sheds light on the interpretive nature of The Blind Owl and its prosaic aspects constitute the author’s concerns.
Shiva Kamali-Asl, Abdollah Zabeti,
Volume 30, Issue 92 (5-2022)
Abstract
Despite the marginalization of women throughout history, their influence remains in ancient texts. The purpose of this article is to represent the role of women and their signs of activism in three anecdotes of Marzban-Nama based on Fairclough’s approach to critical discourse analysis, and to find the answer to this question: did women, given the patriarchal rule in society, accept the status quo, or change it in their favor? If so, how did they do it and what were the components of this activism? In this study, Marzban-Nama has been examined at three levels of description, interpretation, and explanation, and the signs of women’s power and how they exerted their agency have been represented. Considering the cultural and social situation in Iran at the time of writing the book, the results indicated that women had access to a kind of latent power in these anecdotes and played an active role in the development of the anecdote process. In Marzban-Nama, women often played an active role by symbolizing prudence, wisdom, and morality. Based on the social situation at the time of writing or rewriting this work, while power inequality between men and women was evident, women had access to power as silent rulers and their active role in shaping the process of the story was manifest. In sum, many signs of women’s power and agency were found in these anecdotes, such as having the right to choose, tact and decision-making power.
Batul Vaez, Mohammad Reza Haji Aqa Babaie,
Volume 30, Issue 92 (5-2022)
Abstract
One of the areas in literary studies whose definition and principles have been subject of considerable disagreements among philosophers, writers, and linguists is poetry and its nature. Differences of perspectives in defining poetry are a result of differences in methodologies, intellectual fields, and elaboration of poetry function. The present research takes a descriptive–analytic approach to reviewing the existing definitions of poetry, and through studying different types of poetry in Persian literature and, by basing the discussion on indicators such as the speaker’s mentality, listener’s mentality, language, genre studies, various discourses of each era, the prominent literary element, and critiquing the masterpiece-oriented perspective, attempts to question the perspective which considers poetics to be a definite and non-historical phenomenon, and introduces poetics as a fluid, relative, and history-dependent phenomenon which requires a different definition in various eras based on the abovementioned indicators. Through such an approach to poetics, demarcating verse and poetry based on similar indicators and in all eras will not enjoy scientific rigor and credit. Based on the perspectives elaborated in the present research, a new poetics must be proposed in each era to be able to provide a definition of poetry in that era.
Hossain Ettehadi,
Volume 30, Issue 92 (5-2022)
Abstract
Ghalib Dehlavi is among the most famous poets of Indian style in the 13th century. As noted by some critics, he belongs to the group of poets whose speech is often ambiguous and complicated. Using a descriptive-analytical method, the present study attempts to clarify the causes of such linguistic ambiguity through analyzing the most important part of Ghalib’s works, his collection of Ghazals. The results show that creating various descriptive compounds, omitting a part of a sentence, and some lexical and syntactic inaccuracies, and specifically, creating conflict among words are the most significant components which have led to his speech ambiguity. Meanwhile, in terms of their high frequency, using innovative compounds and creating conflicts are regarded as features of Ghalib’s style. On the other hand, the great desire of the poet to present new and complex themes has led him to invent many new nominal, adverbial, and especially descriptive compounds.
Soraya Karimi, Ramin Moharrami, Mahin Panahi,
Volume 30, Issue 92 (5-2022)
Abstract
Manaqib al-Arefin, authored by Shams al-Din Ahmad Aflaki, describes the life of Mawlawi family and the elders of Mawlawiyya Order. In this book, Aflaki portrayed mythological and surreal characters of the predecessors and contemporaries. Many mystical issues of Manaqib al-Arefin are consistent with mythological concepts; and mythological beliefs play a role in the formation of the contents of this mystical biography. This research has raised the question of which components of mystical themes of Manaqib al-Arefin are proportional to the mythological themes of Eliade. In this paper, Manaqib al-Arefin has been analyzed using a descriptive-analytical method and a mythological approach based on Eliade’s perspective to explain the extent of conformity between mysticism and myth. The results show that in this work, the hero has already been designated as a savior according to the archetypes. In Mawlawi’s life cycle, one can clearly see the stages of purification, renewal of life and manifestation; he performs the ritual of holy washing before entering his subconscious domain and prepares himself to join the assembly of holiness, and on his inner journey, he transcends the human requirements and attains the witnessing of God Exalted, the angels, prophets, and spirits. Moreover, in Manaqib al-Arefin, the roof of school and the bath pool are exemplary types of the center of the world where the earthly world and spiritual world join.
Seyed Saeid Ahmadpour Moghaddam, Naser Nikoubakht,
Volume 30, Issue 92 (5-2022)
Abstract
While Nizami’s adroitness and expertise in detailed illustration and description have always been the focus of attention of the analysts of his works, so far there has been no due analysis of his artistic techniques and the various patterns he has used in description and image-creating. Choosing Haft Peykar as one of the most prominent works of Nizami and using a descriptive-analytical method, this study aims to answer the two fundamental questions of what aesthetic, rhetorical, narrative, etc. functions, Nizami’s skillful illustrations and detailed descriptions in the text are and whether it is possible to determine cogent and verifiable patterns in Nizami’s descriptions and illustrations. As a result of this research, it became clear that Nizami made his work tangible and realistic for the audience by objectifying and reifying what was described. This objective entity itself has secondary functions that can be investigated in the areas of rhetoric, aesthetics, or narrative logic in the text of Haft Peykar. Most of the descriptions and illustrations of this work can be classified under specific patterns.
Mojtaba Doroudi, Hamid Fadayi,
Volume 30, Issue 92 (5-2022)
Abstract
The present article is an analysis of a couplet from Ferdowsi’s Shahnameh, about which scholars have expressed various opinions so far. This couplet, which was also recorded by Saadi in Bustan, begins with the hemistich “mayazar muri ke danekesh ast” (Don’t harm an ant that is seed-carrying). Later, according to the recorded form of this couplet in the Florence version and two other versions containing the hemistich “makosh muraki ra ke ruzikesh ast” (Don’t kill a small ant that is daily-bread-carrying), Khaleghi Motlagh based his revised version of Shahnameh and stated that it was the closest version to the original Shahnameh. The researchers have since expressed their opinions on rejection or acceptance of this revision. While investigating other views, this study focused on Avestan and Middle Persian texts and considered the frequency of some words of this hemistich and concluded that the phrase “mure danekesh” (seed-carrying ant) is an ancient and descriptive compound that has its roots in Old and Middle Persian texts and its domain is extended into New Persian. The two other phrases “makosh” (Don’t kill) compared with “mayazar” (Don’t harm) and “muri” (an ant) compared with “muraki” (a small ant) have superiority, which correspond with one another in each hemistich. However, the phrase “mayazar” can be regarded as one of Ferdowsi’s poetic innovations.
Ashraf Seraj,
Volume 30, Issue 92 (5-2022)
Abstract
Dād (justice) is one of the abstract concepts that is not tangible in the world outside the mind and thinkers have dealt with it from various perspectives throughout history. Ferdowsi paid special attention to justice and mentioned it as one of the most important and required attributes of the kings. From the perspective of cognitive linguists, the human mind, using the metaphor mechanism, understands the abstract concepts through objective concepts. For an abstract concept, several different source domains may be used. Physical experiences, physical environment, social and cultural environment, and personal and social background are among the factors involved in the diversity of metaphors. The current research is an attempt to investigate Ferdowsi’s views about justice by studying conceptual metaphors used in six stories of Shahnameh and to identify the factors influencing the diversity of the source domains by analyzing the relationship between metaphor and types of context. The results of the research indicate that, in Shahnameh, justice, depicted as a priceless object and everlasting wealth, is spread by the king among the people and in the world. Justice leads the kingdom and state towards order and development, and it is a guardian that keeps the realm of government safe, and like water, the progress and renewal of the world and the happiness of the people depends on it.
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.
Shokr-Allah Pour-Alkhas, Leila Azarnivar, Ahmad Reza Kiani,
Volume 30, Issue 92 (5-2022)
Abstract
Death is the most definite end that can happen at any moment and at any point in life, a horrible truth that humans respond to with horror of death. Many psychotherapists, including Yalom, consider it to be the main source of anxiety, which greatly affects a person’s behavior and psyche. History has shown that poets and writers have thought deeply about death and spoken about it. Saadi, an Iranian thinker who has gained world fame by expressing his moral and philosophical wisdom, in addition to telling anecdotes in his works “Bustan” and “Gulistan” and even in his “Ghazaliat”, has discussed the meaning of death and the anxiety caused by it. Due to the importance of the subject of death, its certainty and inevitability, the current study used Saadi’s works, along with a descriptive-analytical method based on interdisciplinary studies to investigate how Saadi and Yalom help human beings to overcome the horror of death and to live happily or save themselves from its fear despite knowing about death and to face the crises and their mental and psychological problems. The findings show that facing and remembering death not only reduce death anxiety but also make life meaningful, more precious, and valuable. As a result, with such a perception, one can make death enjoyable not only for oneself, but also for others.
Mohammad Khosravi Shakib,
Volume 30, Issue 92 (5-2022)
Abstract
“Collective mobilization” is one of the most widely used models in the field of contemporary political sociology, which makes it possible to study and analyze the internal mechanisms governing social movements, revolutions, and political unrest. In the present study, the narrative of “Birds of the World” in Manṭeq-al-Tayr as well as the story of “Torquate Pigeon” in Kalile-va-Demneh are successful instances of collective action and mobilization in classical Persian literature aimed at restructuring the status quo. Therefore, it is necessary to study the quantitative and qualitative variables governing their internal organization. The application of indicators such as the principle of wise actor, the principle of public relations, the principle of structure of collective action, the principle of quantitative and qualitative coherence, and the principle of motivations and behavioral patterns, etc. reveal the structural complexity of such collective actions. In this article, an attempt is made to study the internal mechanisms governing the two narratives using qualitative comparative analysis to assess the degree of coherence as well as the explanatory and interpretive capacities of each story.
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.
Dr Milad Jafarpour,
Volume 30, Issue 93 (1-2023)
Abstract
Jamshid-nāmah is one of the unexplored epics of Persian literature in Central Asia which has presented a detailed independent and completely different account of the events of the life and reign of one of the most important mythological characters of Iran i.e., Jamshid Pishdādi. Whereas the original version of Jamshid-nāmah was written in Persian and its Turkish and Urdu translations were common and published in other regions for some time, most of the epic scholars are not even familiar with it and no mention or explanation of Jamshid-nāmah has been provided in the previous studies. To bridge this gap and using the inductive method the present paper has first introduced the textual features of the narrative in two parts, and then evaluated the elements and motifs of Jamshid-nāmah.
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