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Showing 6 results for Subject: سایر
Maryam Kasayi,
year 31, Issue 94 (6-2023)
Abstract
In Nasir Khusraw’s thought system, correspondence, which is constructing similitude and connection among constituents, stages, and domains of the world, human and Ismailism, has a special position. In his view, there are close and delicate relationships and similarities among stages of existence and existential spheres of human being with different dimensions of Ismaili doctrine. Based on a descriptive-analytical method, this study tries to find answers to the following questions: What are the areas of correspondence in Nasir Khusrawworks? What are the backgrounds and origins of correspondence in his works? And what is his objective of designing and developing the correspondence approach? This study shows that correspondence between the major and the minor worlds, correspondence between the spiritual and the physical worlds, and correspondence between the stages of the call to Ismailism and the constituents of existence are the most important areas of correspondence in Nasir Khusraw’s writings. The origin of the special attention to correspondence in his thought stems from the mythology and philosophical thinking of different nations as well as the works of grand Ismaili priests. The aforementioned domains are interrelated and Nasir Khusraw’s main objectives of his widely propounding this approach are understanding existence, explaining the human place in the world’s stages, and substantiating the truth of Ismaili teachings.
Phd Vida Dastmalchi,
year 31, Issue 94 (6-2023)
Abstract
In the series of research and psychological criticism of Sadegh Hedayat’s works, the issue of the evil mother among his various fictional characters deserves a separate study. The term “evil mother” derives from the dual aspect of the mother’s archetype in mythological psychology, which has been applied to the realm of humanities studies by the theories of Freud and Jung and their students. Hedayat depicted the evil mother and the consequences of her presence in the lives of the main characters of his stories in the novel Buf-e-kur (The Blind Owl) with the fluid character of the narrator’s mother (narrator’s aunt / narrator’s aunt’s daughter), in the short story Se ghatre khun (three drops of blood) with the character of Rokhsareh (evil woman), in Abji Khanom (Mrs. Abji), with the character of Abji’s mother, in Zani ke mardash ra gom kard (the woman who lost her husband) with the character of Zarrin Kolah’s mother and Zarrin Kolah herself, and in his two unpublished stories with the characters of the mother of the spider and the mother of the murdered man. Adopting a descriptive-analytical method, the present article investigates the power of the evil mother’s influence on the tragic fate of the characters in Hedayat’s works (mother complex, psychosis, suicide, homicide). The findings indicated that there are symbols with the supporting role of the evil mother in Hedayat’s stories. Hence, the influence of the evil mother in the lives of the main characters is predictable i.e., confrontation with the mother, psychosis, suicide and homicide are repeated fates of characters in these stories.
Javad Dehghanian, Dr. Saeed Hessampour, Sedigheh Jamali,
year 31, Issue 94 (6-2023)
Abstract
In the republishing of the Adventures of Hajji Baba of Ispahan, Jamalzadeh made changes so that the language, expression, tone and writing style of Mirza Habib Isfahani were altered. His changes in the “fragments of old phrases” and “morphology and syntax of sentences” aroused the reaction of the literary community of that time. While Jamalzadeh retained the main framework of the book, his method does not correspond to any of the technical terms for critical correction of texts. In order to understand the whys and wherefores of his method for republishing the book, the present study compared and analyzed three works: Mirza Habib Isfahani’s manuscript, Phillott’s edition, and Jamalzadeh’s reprint. Twenty percent of the volume of the book was selected for analysis: the author’s preface and fifteen chapters (five chapters from the beginning, middle and end of the work). The results indicate that the changes can be subsumed under three categories: 1. reduction through deletion or replacement; 2. expansion and finding equivalents; 3. transposition of parts of speech. The largest volume of changes in the text were created by expansions and finding equivalents for words, phrases and sentences and transpositions of parts of speech while deletions and replacements were used the least. These changes serve two main purposes: 1. strengthening the fictional elements of the book and 2. bringing the story closer to the understanding of the common people based on the capabilities of the popular language, in the continuation of the simple writing movement of the Qajar era. However, Jamalzadeh inflicted irreparable blows on the prose rhetoric of Mirza Habib’s translation.
Dr. Mahdi Nikmanesh, Dr. Sepideh Javaheri,
year 31, Issue 95 (11-2023)
Abstract
Curriculum planning has always been based on the needs, opportunities, and constraints of each academic discipline. Meanwhile, due to its indigenous roots and cultural significance, the field of Persian Language and Literature has long held a privileged position. Hence, compilation of instructional materials in accordance with established principles and rules is of significant importance in acquainting students of this discipline with classical and contemporary texts, whether in verse or prose. However, this undertaking is accompanied by constraints such as instructional time, compilation of content for pedagogic purposes, considerations related to assessment, and the like. In this research, six selected excerpts from Tarikh-e-Bayhaqi, which were compiled for pedagogic purposes, were analyzed and critiqued in terms of page layout, editing, and pedagogical aspects. The results of this analysis were presented in multiple tables for clarity. Through this study, the authors surveyed the structuring of the mentioned excerpts and explicated the principles and regulations of developing excerpts for pedagogic purposes.
Mohammad Hasan Jalalian Chaleshtari,
year 32, Issue 96 (4-2024)
Abstract
Haft-Xwân/Xâns of Rostam and Esfandiyâr are among the parts of Shahnameh, which have received a lot of public and special attention in the long history after the composition of this work. Contrary to the traditional spelling used for this series of battles of warriors in most manuscripts of the Shahnameh and most Persian works, some contemporary researchers with this argument that in these battles, the warrior goes through seven stages, believe that the correct form of this name should be without waw and it should be written in the form of Haft-Xân. Some have also considered the second part of this word (= Xwân) to be a table with this pretext that Esfandiyâr sits on feasts after every battle. This last opinion has been rightly criticized and rejected, but the first one has been approved by all the researchers. In this article, after measuring the validity of the evidence of this opinion and with the approach of historical linguistics, a different opinion, but compatible with the internal content of this series of battles, will be presented. In this interpretation, considering Haft-Xwân form to be original and presenting a new derivation for Xwân, the meaning of “battle and struggle” has been proposed for this word.
M.s Marjan Heydari Tambrabadi, M.s Shiva Heydari Tambrabadi, Mr Vahid Vaziri,
year 32, Issue 97 (1-2025)
Abstract
The present research, with an interdisciplinary approach, examines the role of architectural elements in the surreal stories of the blind owl and the prince of Ihtjab. Each of the architectural elements has its own specific definition and function, which shape the physical space and, in other words, create a space limited to time and place. But the content of these elements with their implicit meaning can create spaces that are not limited to time and place. Since the purpose of this research is to investigate the effect of architectural elements in creating the atmosphere of a surreal story; First, the architectural elements in the stories have been extracted, and based on comparative studies, their meaning beyond their physical aspect has been examined with the analytical-descriptive method, and finally their role in creating the surreal atmosphere of this story. It has been revealed. The Blind Owl can be considered the most important work of Sadegh Hedayat; In this story, architectural elements, including the storyteller's house and the mentioned buildings, have played a very important role in creating the atmosphere. In the story of Shahzad Ehtjab, the narrator of the story remembers in his personal room on the last night of his life, the surreal atmosphere of the story is formed by the room and the elements in it. With a deeper investigation, it can be said that the architectural elements in the room play an essential role in expressing the narrator's personal situations, recognizing the weaknesses and fears of the narrator.
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