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Showing 380 results for Type of Study: Research
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.
Mr Mohammad Mohammadi, Mr Mahmoud Fotouhi,
Volume 30, Issue 93 (1-2023)
Abstract
One of the common literary trends in the Safavid and Qajar historical periods was writing the poetic interpretation of the Qur’an in Persian. The intellectual and linguistic structure of this literary trend was in fact a continuation of interpretations such as Kashf al-Asrar (520 AH), especially in Nowbate Thalithah, and the Mawaheb Aliyah (Hosseini interpretation, 897-899 AH), a tradition that shifted from prose to poetry in order to establish and expand itself. The purpose of the present study is to introduce five lesser-known poetic interpretative works in Persian. This has been done by referring to library sources and accessing the original versions based on a descriptive method. The obtained results are significant for fundamental studies in the fields of Sufism literature and Quranic studies. The five newly discovered interpretations are as follows: 1. Tohfeh Al-Momenin by Molavi Karimbakhsh (1068 AH) 2. Tafsir Rashidi (written around 1300 AH) by Abolfayaz Qamar al-Haq 3. Tafsir Najm Isfahani (1335-1336 AH) by Najm al-Hokama Muhammad Mousavi 4. Tafsir Asma al-Hossna by Geda (?) 5. Tafsir Manzoom by Nazr Hassan Ibn Muhammad Ali Zaidi (1247-1366 AH
Mahdi Mohabbati, Abbas Mashoufi,
Volume 30, Issue 93 (1-2023)
Abstract
In the Sufi tradition, wayfaring in the realm of the way requires a guru who can guide the wayfarer through the obstacles and in the discovery and understanding of mystical knowledge and the experience of truth. Many books, which deal with the rites of this spiritual journey and conduct, have emphasized the necessity of the presence of the guru and the commitment of the disciple to follow him. In this guidance and leadership, a discourse is made between the guru and the disciple. A discourse that the guru tries to guide the disciple by maintaining a discipline to oblige the disciple to do it (rites of the way). Based on Michel Foucault’s theory of power discourse, the purpose of this article is to review the guru-disciple relationship and to evaluate the aspects of “subjugation” and “transformation” of the wayfarer from “known and free subject” to “subordinate and bound subject” in the Sufi culture. This article uses the discourse analysis method. The result of this authoritative discourse and the existence of “bound subjects” can be attributed to the lack of a polyphonic and dynamic culture in the Sufi tradition, guru-worship, and the formation of the ritual collection of “manners of pilgrimage of Sheiks’ shrines”.
- Yousof Asghari Bayghout,
Volume 30, Issue 93 (1-2023)
Abstract
The Holy Quran, the divine book of the Muslims, has always been reflected in the works of literary figures and mystics in different ways. Abu Sa’id Abu’l-Khayr, the famous mystic of the 10th and 11th centuries, also benefited greatly from the Qur’an. The present study, while explaining the two concepts of “Understanding the Qur’an” and “Living with the Qur’an” of Abu Sa’id Abu’l-Khayr, seeks to answer the questions of how the Qur’an and its concepts were manifested in the sayings and manners of Abu Sa’id, and what effects they had on his intellectual and behavioral habits. From the study of Asrar al-Tawhid, we find that Abu Sa’id’s knowledge of the Qur’an was beyond literacy and education. Instead of the outward appearance of the Qur’an, he tried to understand its inner concepts and meanings, and in this regard, he achieved considerable success. This level of Qur’anic knowledge was manifested in his words in various ways, such as his interpretations and subtle remarks. Living with the Qur’an indicates the deep influence of the Qur’an on Abu Sa’id’s behavior and manners. Abu Sa’id learned the Qur’an not only to read and know, but also to live with it. On the other hand, Abu Sa’id’s particular attention to the blessing verses had a direct effect on his mystical inclination. Abandoning pride and egoism, tolerance, and hope for and trust in God’s forgiveness are among the manifestations of Abu Sa’id’s living with the Qur’an in Asrar al-Tawhid.
Keihan Saeedi, Sayyed Ahmad Pars,
Volume 30, Issue 93 (1-2023)
Abstract
The present research is an analysis of Papoli Yazdi’s utopian discourse in “Shazdeh Hamam” based on the discursive theory of Laclau and Mouffe. The sample of the study consists of the first three volumes of Papoli Yazdi’s five-volume book, Shazdeh Hamam, the first and second volumes of which have been reprinted 34 times and the third volume 14 times so far. The reason for choosing this topic is the metatextual discourses of this work, which makes it distinct from similar works. Additionally, the reason for choosing Laclau and Mouffe’s theory is its effectiveness for analyzing Papoli Yazdi’s discourse. The research method is descriptive-analytical. The data was analyzed based on content analysis and using Laclau and Mouffeʼs discourse theory. Based on this theory, the present study aims to answer the following question: How is the articulation of concepts and the process of identifying the authorʼs idealistic discourse and its relationship with the dominant discourse? The results indicate that according to this theory, the authorʼs modernist discourse is formed in contrast to the dominant traditionalist discourse, and places “modernity and progress” as an empty point in place of the nodal point. It also articulates the points of culture and women’s rights around the nodal point and gives each one a new identity and meaning. In the end, the author encourages human beings as agents to act for the realization of their ideal society.
Dr Maryam Haghshenas, Dr Nematollah Iranzadeh,
Volume 30, Issue 93 (1-2023)
Abstract
The story of the descent of the soul as a symbolic language has been adopted by philosophers, mystics, and men of letters for years. The systematic investigation of this symbolic language in Suhrawardi’s works, which is often represented in the form of a story, reveals that this image is interwoven with philosophers’ reminiscence theory on the one hand and the myth of awareness and oblivion on the other hand. Suhrawardi’s distinct intellectual and ontological system turns the “image of descent” into a meaningful symbol through which the state of oblivion is depicted as man’s superior gain. The motif of descent, which is symbolized by a bird in most stories, is the tale of a wayfaring soul who has departed from its origin and descended into the corporeal world. The characters of Suhrawardi’s symbolic stories sink into oblivion after their descent, and this stage prepares the wayfaring soul to realize its limitations and abilities while many of its profound beliefs turn into frail notions. Oblivion and descent in those stories provide conditions through which the wayfarer experiences boundary situations that can lead to knowledge, excellence, and elevation. The present study adopted a descriptive-analytical approach to analyze the stories of “The Red Intellect”, “Resalat ol-Tair”, “Language of the Ants”, and “The Nostalgic Story of the West” and concluded that oblivion is some sort of pre-awareness or pre-understanding which plays a fundamental role in experiencing boundary situations.
Mostafa Mirdar Rezaei, Farzad Balou,
Volume 30, Issue 93 (1-2023)
Abstract
Most of the research conducted on the subject of “language” and its role in the field of mystical texts, has focused on the objective reflection of language (the investigation of language in speech and writing), an area that is actually regarded as second-order knowledge. It is very important to pay attention to the first-order knowledge, which is defined as knowing the nature of the language itself and every individual (mystic’s) interpretation of what it is – which is mostly neglected. That is why before the stage of proof and realization of language; the position of proof and interpretation of the language is a principle, and before the language reaches the level of realization and emergence, the manner of its interpretation and determination is formed. One of the thoughtful mystics who contemplated about the nature of language and wrote about it in his works is Imam Mohammad Ghazali. This study, based on a descriptive-analytical method, tries to investigate Imam Muhammad Ghazali’s thoughts on the field of language and its nature (first-order knowledge) in the light of some of Saussure’s linguistic ideas. The emergence and realization of language in the form of terminology and universals (second-order knowledge) is another aim of this research. The results indicated that, in explaining the subject of language, as a philosopher, Ghazali discussed the makeup and nature of language and from the point of view of a linguist, he looked into the process of language development in spoken and written forms.
Ebrahim Mohammadi, Effat Ghafouri Hassanabad, Seyyed Mahdi Rahimi, Hamed Norouzi,
Volume 30, Issue 93 (1-2023)
Abstract
Ahou Khanom (Madam Ahou’s Husband) novel, written by Ali Mohammad Afghani and its movie adaptation directed by Davood Mollapour. The noteworthy point in both works is the existence of different sense-maker layers and components in the novel and movie threshold that reveals the quality of the relationship between husband and wife in the traditional and pseudo-modern discourse. By highlighting the dispute between traditional and modern discourse, the writer and the director, invisibly and intangibly, try to present the audience the image of an oppressed and alienated woman around whom the patriarchal discourse has always formed a chain to subjugate her due to the natural differences between men and women, and has regarded her as the other and inferior and has marginalised her. So, in the present research based on a comparative-interdisciplinary approach and Laclau and Mouffe’s critical discourse analysis the structures of the thresholds of the two media were investigated. First, the micro-texts of thresholds in the novel and movie were identified, and then with the analysis of the existing point in their structure, the connection among thresholds, the nodal text and its outside world, and ways of creating meaning in different layers of micro-text were examined. Two points were revealed by studying threshold structures in Showhar-e Ahou Khanom’s novel and movie: 1. All the points found in the thresholds of both works were formed based on a macro-clash between men and women. 2. The existing points reveal patriarchally created discourse which always equates men with the nodal point, as superior, active, independent, and free, while introducing women with concepts such as marginal, inferior, passive, dependent and limited, and using the rational of the difference between men and women it excludes and rejects this rival.
Abd-Al-Rahman Divasalar, Ahmad Ghanipour Malekshah, Morteza Mohseni,
Volume 30, Issue 93 (1-2023)
Abstract
Mystical ethics is a set of epistemological models that their results and functions are manifestations of God’s attributes in the mystic and their aim is perfecting and bringing man from the lowest level of his existence to the highest level of perfection. This can be achieved through following the path of God and dwelling in spiritual homes and by abstaining from vices and adornment with virtues and through austerity and effort. Attention to this rich and prolific spiritual concept is very prominent in Jami’s Masnavi of Haft Awrang. Based on a descriptive-analytical method the aim of this study is first to define mystical ethics and then to extract and express some of the themes of mystical ethics in the Masnavi of Haft Awrang, which are proposed in three areas of “Man’s relationship with God”, “Man’s relationship with himself” and “Man’s relationship with other men” and within five domains of “ideological-epistemological”, “emotional-affective”, “voluntary”, “action” and “speech”. By studying this Masnavi, we find that Jami tried to encourage his audience to observe mystical ethics based on serving God. Thus, the themes used in this Masnavi mainly revolve around the area of man’s relationship with God.
Pouran Poudat, Maryam Sadeghi Givi, Ashraf Sheibani Aghdam,
Volume 30, Issue 93 (1-2023)
Abstract
Tārīkh-i Jahāngushāy-i Juvaynī is a historical-literary work with technical prose. One of the features of this book is the use of imagery to express political concepts. The main question of this research is what role imagery plays in Tārīkh-i Jahāngushāy to establish the political and religious authority of governments. Based on a descriptive-analytical framework, the analysis of imagery in Tārīkh-i Jahāngushāy indicated that imagery was a tool for generating power discourse and for organizing specific political thoughts. The use of all kinds of imagery and expressive techniques in Tārīkh-i Jahāngushāy was not only for the purpose of embellishing the speech and representing aesthetics, but it also served the purpose of persuading the audience and instilling political concepts in addition to reporting historical events. In his work, like other writers of prose texts, Juvaynī tried to use the persuasive and inductive functions of all kinds of imagery to political concepts such as the divinity of the source of power, the sovereignty of the sultans based on destiny, kingship, the requirements and duties of the king, absolute obedience to the sultan, the military power of the state, and suppression of enemies to instill the political and religious legitimacy of states, establish their authority, and justify their actions.
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.
Hamed Noruzi, Setareh Abghari, Seyed Mohammad Hessein Ghoreishi,
Volume 31, Issue 94 (6-2023)
Abstract
“Dirin Dirin” animation series is one of the most successful adult comic animation series, which has a critical view on various social issues and has attracted many audiences. In this article, the authors have sought to analyze the humor-creating factors in this animation. The present analysis was conducted using the general theory of verbal humor. This theory investigates humor using six sources: the knowledge of script opposition, logical mechanism, target, situation, narrative strategy, and language. For this purpose, 65 episodes of this series were randomly selected and analyzed based on the general theory of verbal humor. The obtained results indicated that the sources of script opposition (average 2.27%), logical mechanism (average 2.61%), narrative strategy, and language were found in all the episodes, and for situation source, 75% of the analyzed episodes had a situation which itself created humor. In the source of knowledge, 23 episodes had a critical purpose, and 43 episodes had an educational purpose. Based on the findings of this research, the sources of the knowledge of script opposition, logical mechanism, and language are the most important factors in creating humor in this animation series.
Maryam Kasayi,
Volume 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.
Ensiyeh Darzinejad, Ms Kosar Darzinejad,
Volume 31, Issue 94 (6-2023)
Abstract
Nefrin-e-Zamin (The Curse of the Land) is a novel by Jalal Al-e-Ahmad about a teacher who narrates his presence in a nameless village. The novel displays the transition from tradition to modernity. It takes place during land reforms of the then government. The present article is an analysis of the novel from the perspective of Henri Lefebvre. Lefebvre challenges the alleged static features of space and introduces it as vibrant and multi-layered. From this stance, the village is an active and dynamic space redefined in the course of the story. The teacher’s entry into the village, as a stranger, becomes a means to depict the multifaceted nature of the village. Lefebvre’s three-part dialectic, comprising the teacher’s perceived, conceived, and lived experiences in the village – represented in spatial practice, representations of space, and representational spaces – are investigated in this study. The teacher’s visual, auditory, olfactory, gustatory, and tactile perceptions of the village space are studied in detail. The correspondence or discrepancy of the teacher’s mental conception and his lived social experience in the village are discussed next in this paper. The fragmentation of the homogeneous space of the village and its hierarchization to exercise the power of the ruling class of the village are also investigated. Finally, the paper looks into the right of the villagers and strangers to the city and its two subcategories – the right to participate and the right to occupy. The teacher, the steward, and the painter from Shurab are the strangers in the village whose right to the city is important. From Lefebvre’s viewpoint, the village is not a neutral and passive space; rather a dynamic and multifaceted space that has significance and undergoes change and reinterpretations.
Masoumeh Mahmoudi,
Volume 31, Issue 94 (6-2023)
Abstract
Research shows that the study of literary texts about an illness, especially from a phenomenological perspective, can contribute to a better understanding of the patient and the illness and lead to knowledge of the world and the human way of thinking. Obviously, this approach increases the appeal and interest of the audience in the study of literary works and opens up new horizons for them. On the other hand, among human emotions, the expression of love and behavior related to romantic feelings is more frequent in literary works, especially in the works of female writers, and erotomania, or romantic psychosis, is one of the delusional disorders reflected in these works. This descriptive-analytical study examines how the symptoms of erotomania are described in two short stories, named “Rana” from Nazli story collection written by Moniro Ravanipour and “Bad az Tabestan” from Chahar Rah story collection by Ghazaleh Alizadeh, according to DSM-5 diagnostic criteria. The results indicate that the fictional characters in the works studied show symptoms that meet the clinical diagnostic criteria of the disorder in question. In these stories, in addition to the description of clinical symptoms, the authors have also considered sexual, social, economic, and cultural factors. This shows the ability of the writers to create realism and credibility in the plot of the story, which makes the reader better connect with the text and get influenced by it. Moreover, the description of the feelings and beliefs of these characters and their effects on their lives and personal and social relationships can help readers to better understand the way of thinking and the life experience of those people and create communication that comes from understanding a psychotic person in the real world.
Research shows that the study of literary texts about an illness, especially from a phenomenological perspective, can contribute to a better understanding of the patient and the illness and lead to knowledge of the world and the human way of thinking. Obviously, this approach increases the appeal and interest of the audience in the study of literary works and opens up new horizons for them. On the other hand, among human emotions, the expression of love and behavior related to romantic feelings is more frequent in literary works, especially in the works of female writers, and erotomania, or romantic psychosis, is one of the delusional disorders reflected in these works. This descriptive-analytical study examines how the symptoms of erotomania are described in two short stories, named “Rana” from Nazli story collection written by Moniro Ravanipour and “Bad az Tabestan” from Chahar Rah story collection by Ghazaleh Alizadeh, according to DSM-5 diagnostic criteria. The results indicate that the fictional characters in the works studied show symptoms that meet the clinical diagnostic criteria of the disorder in question. In these stories, in addition to the description of clinical symptoms, the authors have also considered sexual, social, economic, and cultural factors. This shows the ability of the writers to create realism and credibility in the plot of the story, which makes the reader better connect with the text and get influenced by it. Moreover, the description of the feelings and beliefs of these characters and their effects on their lives and personal and social relationships can help readers to better understand the way of thinking and the life experience of those people and create communication that comes from understanding a psychotic person in the real world.
Atefe Amirifar, Seyyed Ali Ghasemzadeh,
Volume 31, Issue 94 (6-2023)
Abstract
Mystical experience refers to a kind of intuitive-occult experience completely beyond the reach of the mystic-subject. Hence, the mystic is unable to fully perceive it and to repeat its quality. This inability is not merely caused by the inexpressibility and the transcendental quality of the intuitive experience, but by the semantic system governing the intuitive event and then by its narration in the language of the mystic-subject. The semantic system governing the intuitive event is based on coincidence, confronting the subject with a stressful environment and occasion without any plan or presupposition. The semantic system of coincidence is one of the four semantic systems of Landowski, which is consistent with the quality of mystical and intuitive experience along with the narrative of this experience in the mystic-subject’s verbal and non-verbal language. Based on the semantic system of coincidence, in the continuous course of life, the mystic-subject suddenly encounters an unknown and extrasensory experience, fundamentally different from the program-oriented rules of the ordinary life and affecting him in two compressive and expansive dimensions. He is not only surprised while encountering an intuitive experience, but also finds the linguistic rules insufficient for reporting its quality. Thus, the subject will produce a new form of language and meaning with his verbal and non-verbal language owing to this coincident and stressful process.
Phd Sina Bashiri, Ghodratollah Taheri,
Volume 31, Issue 94 (6-2023)
Abstract
Modern art and literature transformed the foundations of modern aesthetics by paying attention to the negative and unconventional philosophical topics that did not play an important role in classical aesthetics. “Death” is known as one of the central elements of modern literature based on the thoughts of the existentialist and post-structuralist schools. In the modern novel, death plays an essential role in the structure and texture of the story in terms of content, language, and art; and many of the aesthetic aspects of the novel revolve around it. Sadeghi, as one of the leading writers of Iran, made “death” the subject of his novel, “Malakut”, and used many of the literary aspects of his work around this concept. In this research, using the descriptive-analytical method, the aesthetic aspects of death in “Malakut” have been analyzed, which are tied to other components of modern aesthetics. The findings of the study show that the relationship between death and other components of modern aesthetics such as paradox, absence, and ambiguity has led to the importance of the dark aspects of existence as well as the rejection of the work based on the classical and conventional standards of aesthetics.
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Volume 31, Issue 94 (6-2023)
Abstract
Summoning and recalling the past is the result of social and political crises of the present. In order to legitimize and confirm the rulers, Muslim writers tried to match the schemas of ancient times with their contemporary examples. In such adaptation, the existing king was compared to the ideal king and his performance was compared to that of the Golden Age of Iran. The centralized and organized historiography of the Sassanids narrated the story of Mazdak in order to legitimize the power and performance of the Sassanids and created an ideal image of the era of Anushirvān and his justice. Khājeh Nizām al-Mulk, who was in charge of the ministry in a turbulent era, was searching for an ideal government in the era of Anushirvān. To deal with the Ismaili movement, he resorted to the example of the killing of the Mazdakians by the Sassanid government in the final part of Siyāsatnāmeh, and by reconstructing the historical patterns, he not only confirmed the killing of the Mazdakians, but also legitimized the suppression of the Seljuk opponents.
Phd Vida Dastmalchi,
Volume 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,
Volume 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.
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