دانشگاه اصفهان فنون ادبی 20088027 13 4 2021 12 22 The Types of Allegory in Manichean Literature انواع تمثیل در ادبیات مانوی 1 12 26055 10.22108/liar.2021.130147.2049 FA فرخ حاجیانی دانشیار گروه زبان انگلیسی، دانشکده ادبیات و علوم انسانی، دانشگاه شیراز، شیراز، ایران خیراله محمودی دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی دانشگاه شیراز، شیراز، ایران سمیه رنجبر کارشناسی ارشد گروه زبان انگلیسی، دانشکده ادبیات و علوم انسانی، دانشگاه شیراز، شیراز، ایران Journal Article 2021 08 23 One of the most important literary figures in Manicheism literature is simile as it was used by the Manichaeans to talk about their hidden truth so that they could properly propagate and spread their religion. Fable and parable are the impressive literary accomplishments of Manicheism literature in central Asia. As a result, in this study, we attempt to study the Manicheism simile and its different kinds used in this kind of literature. To do so, a library-based descriptive analytical approach was used where a summary of a fable is provided followed by its interpretation and a discussion of its morale. In general, a great part of the Manicheism prose written in Iranian languages consists of stories about people (parables) and stories about animals (fables) which were used by the Manicheans as a way to teach their doctrines and propagate their religion. Introduction Simile in literature is mostly used in didactic and fictional literature as a way to explain and interpret ethical and mystical beliefs and has dedicated to itself a great portion of ancient literary works. The discovery of Manichaean literature in Turpan, China, and Faiyum’s (Egypt) expedition, revealed that literary works did not merely belong to the Islamic times; but, by studying Manicheism literature, researchers were able to open up new horizons in Persian literature. Although during the Islamic times, Manichaeans did not have much presence in Iran, their allegorical stories found their way into then-Persian literature and significantly influenced it. In fact, by gathering stories and allegories, and by distributing them to other cultures, Manicheans were able to create one of the most important literary genres; and, unlike Zoroastrians who were not interested in documenting and writing books, Manicheans managed to communicate with other nations’ literature and culture, and began translating and writing books. Method This research can be considered one of the first studies focusing on allegorical texts and their types in Manicheism literature; and to do so, a library-based descriptive analytical approach was used. Discussion Overall, Manicheism prose literature written in Iranian languages occupies a great portion of allegorical literature; nearly all such works, can be considered didactic and ethical works composed in a rhetorical style. Among Manicheism works, this literary genre is replete with rapture and literal and spiritual techniques about Mani and the history of his religion, religious pieces of advice and doctrines, the creation and demolition of the universe, sprits and salvation, Jesus Christ prayers, etc. For instance, in a piece of prose written in Parti language about “Mani’s attempt to convert Turan-Shah to his own religion”, literary enchantments technique was used “to lead Turan-shah into the outer space”. Or in another piece, the allegory of a storm-stricken ship as well as the burglary of the pearls, pieces of jewelry, and the ship cargo, actually refer to the battle of the early man with the beasts, or in other words, representing the imprisonment of human’s soul in their material flesh. The Manicheism prose and allegory remained are in middle Persian languages, Parti and Sogdian languages; and at times, are so concise and succinct that can be phrased in only one sentence; just like the modern-day short stories, and, at times, they are very long and winded; like the allegory of “treat and welcome thy godsent guest with thy godsent food” or the allegory of “the princess who fallen madly in love with a boy”. In fact, in different nations and ethnicities, simile has always had a special place because it could be used as a way to guide people and promote religious doctrines and beliefs. And, this was evinced by those creative Manicheism writers and poets who were not concerned with becoming famous figures in the literature, and whose only goal was to spread their religious doctrines. Since Mani considered his religion better than and superior to other religions, and because literature had a very special and important place among the Manicheans, allegorical literature, too, become Manicheans’ most preferred and highly valued genre of literature. Even over time, Manichaeans’ allegories and stories are now among the entertaining mythical stories in modern Persian literature. Stories that include the fables of humans and animals and that the Manichaeans used them for their instructive and propagational purposes تمثیل‌ها و حکایت‌ها دستاوردهای ادبی بی‌نظیر ادبیات مانوی در آسیای مرکزی است. مانی به‌درستی از ارزشمندی داستان‌ها، در انتقال حقایق و مفاهیم آگاه بوده و همین امر سبب ایجاد ادبیات تمثیلی مانویان شده است. مانویان داستان‌سرایان بسیار زبده و چیره‌دستی بودند که برای بیان حقایق پنهانی این داستان‌ها را به‌صورت قصه بازگویی کردند. تمثیل در ادبیات مانوی به یک شیوۀ خاص تبدیل شده است. در این مقاله به بررسی گونه‌های مختلف آن در این نوع خاص ادبیات مانوی پرداخته‌ایم. مانویان از هنرهای چندگانه‌ای چون شعر، داستان، نقاشی، خوش‌نویسی، تذهیب و موسیقی بهره گرفته‌اند تا بتوانند آیین و کیش خود را به‌درستی ترویج و گسترش دهند. با بررسی تمثیل در ادبیات مانوی که یکی از مهم‌ترین گونه‌های ادبی در ادبیات مانوی است به این دستاورد رسیدیم که داستان‌ها و تمثیل‌های مانوی شامل حکایت‌های انسان‌ها و حیوان‌ها می‌شوند؛ که به‌مرورزمان افسانه‌هایی سرگرم‌کننده در ادبیات فارسی تبدیل‌ شده‌اند.

https://liar.ui.ac.ir/article_26055_152b3f6e13548562b2e754e20b798691.pdf

دانشگاه اصفهان فنون ادبی 20088027 13 4 2021 12 22 The Significational and Figurative Area of the Images of Literary Theory and Criticism Books’ ‎Cover ساحت‌‌های دلالی و رمزگانیِ تصویر جلد کتاب‌های نقد و نظریۀ ادبی 13 30 26682 10.22108/liar.2022.130730.2071 FA مجاهد غلامی استادیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه خلیج فارس، بوشهر، ایران Journal Article 2021 09 26 According to semiotic approaches, we live in a world of different sign systems. In this world, communication is primarily the task of "language" but is not limited to verbal methods and can include non-verbal methods. Images as social and cultural phenomena are among the sign systems that non-verbally communicate between human beings. In fact, with the prevalence of visual productions in modern times, part of the task of communication between humans has been assigned to images. The cover image of books is part of a system of visual cues that sometimes need to be examined in order to understand their secondary meanings through a process called "critique": "Criticism means the search for signs in their secondary meaning: pastime or Activity within the signs or about them ”(Culler, 2011: 10). Subsequent image (public) and personal image (exclusive) The cover images of literary criticism and theory books can be divided into two groups: 1) Images that follow a similar pattern and according to the publisher's idea and taste as a link in a chain of authored and translated works in are considered ; and 2) images that do not follow a certain pattern and are made by the publisher or cover designer, depending on the title and subject of the book. These images are instances of "text" and are composed of signs that can be deciphered to understand them correctly. In this article, using descriptive-analytical method and using library sources, four cases of the cover image of the books of this group are studied through semiotics: The cover image of the Persian translation of the Critical Theory Today: A User-Friendly Guide (Tyson, L.). The cover image of the Persian translation of the A Reader’s Guide to contemporary Literary Theory (Selden, R & Widdowson, P.). The cover image of the Critical Theory: An Interdisciplinary Course Book. (Payandeh, H.). The cover image of the Literary Criticism: Literary Theories and Their Application in Persian Literature. (Taslimi, A.). There is a key metaphor in the cover image of the Persian translation of the Critical Theory Today: A User-Friendly Guide (Tyson, L.): "Eat"! Eating is not just an activity to satisfy hunger and physical needs. Rather, it is a cultural activity and is very important in individual and social relations. Concerning situational context, it can be assumed that the book on the plate is either a textbook of literary criticism and theory or a work of literary creation. Either way, the concept of "eating" strongly implies the concept of "necessity." That is, just as eating food is necessary to nurture life and strengthen a person's physical strength, so is it necessary to eat a book of literary criticism and theory (= knowledge in literary criticism and theories and the ability to apply them in the text). The original image in association with the cover of the Persian translation of the A Reader’s Guide to Contemporary Literary Theory (Selden, R & Widdowson, P.) entitled "The Castel of the Pyrenees", one of the paintings of René Magritte (1967-1898), surrealist painter is Belgian. This image, which was kept in the Jerusalem Museum, is a surrealist work. One of the fundamental differences between literary criticism of earlier periods and modern literary criticism is that in literary criticism of earlier periods the literary work has only one meaning while in modern literary criticism, the literary text has multiple meanings. So what better image than a surrealistic image that is highly exposed to different readings can be effective in creating this similarity? In the cover image of the Critical Theory: An Interdisciplinary Course Book. (Payandeh Payende, H.), the books stacked on top of each other and the lantern on top of them is a metaphor for the "lighthouse". On other hand, the body of lighthouses is usually two colors, and it seems that it is made of two layers of materials of different colors (for example, black and white), which are placed one on top of the other. This type of painting is to make the lighthouses visible from the sea to the missing. It can be assumed that each of these stacked books is about a theoretical approach to literary criticism: one represents formalist critique; one is a psychoanalytic critique and one is sociological, poststructuralist and so on. These approaches to literary criticism collectively imply a beacon that is supposed to guide the wanderers across the sea of text and the perplexed to grasp the meanings of the text and bring them to a safe shore to escape this confusion. The cover image of Literary Criticism: Literary Theories and Their Application in Persian Literature, written by Ali Taslimi, implies the same meaning, which is basically open to theoretical critique. The work of the "autobiographer" is to write, and the inclusion of its image on the cover of the book suggests that literary criticism is theoretical and, consequently, the book of literary criticism which introduces the approaches of such critique, believing in the unwrittenness of the text. In modern theories of literary criticism, autobiography allows the reader to construct his or her own personal meaning and rewrite the text as he or she wishes (albeit with requirements). In conclusion, these images represent a new definition that has emerged from literary criticism: reading the text based on interdisciplinary theories to understand their secondary meanings. تصویرها ازجمله نظام‌های نشانه‌ای‌اند که به‌مثابۀ «متن»، از دال‌ها و مدلول‌هایی ترکیب یافته و علاوه بر آنکه چونان «زبان» وسیلۀ برقراری ارتباط هستند، دارای دلالت‌های ضمنی نیز توانند بود. با این ایدۀ بنیادی، پژوهش پیش رو که به‌روش توصیفی‌تحلیلی فراهم آمده، دربردارندۀ این پرسش بوده است که آیا تصویر جلد کتاب‌های نقد و نظریۀ ادبی نیز قابل تأویل به معانی ثانویه‌ای تواند بود و اگر پاسخ «آری» است، این معانی ثانویه چه می‌تواند باشد؟ هدف، بیان این نکته بوده است که این تصویرها سرسری طراحی نشده و با تلقی نوینی که از نقد ادبی در سدۀ بیستم به وجود آمده، پیونددادنی است. قرائت تصویرِ جلد کتاب‌های نقد و نظریۀ ادبی به‌شکل نشانه‌شناسانه و با ارجاع به نشانه‌شناسی سوسوری و پیرسی در کنار واکاوی آنها ازمنظر مطالعات فرهنگی و ایده‌های استوارت هال، رهیافتی به کشف ساحت‌های دلالی و رمزگانی آنهاست. پیش چشم قراردادن این تصاویر به‌مثابۀ متونی متشکّل از نشانه‌ها و سپس تحلیل دال‌ها و مدلول‌های این نظام‌های نشانه‌ای و انتخاب و ترکیب‌شان بر روی محورهای جانشینی و همنشینی، به این نتیجه رهنمون شده است که رمزگان متن در ساحت تلقّی نوپدیدی که در قرن بیستم از نقد ادبی به وجود آمده است، چگونه عمل می‌کند؛ قرائت تصویر جلد برگردان فارسی کتاب‌های «نظریه‌های نقد ادبی معاصر»(تایسن) و «راهنمای نظریۀ ادبی معاصر» (سلدن و ویدوسون) و تصویر جلد کتاب‌های «نظریه و نقد ادبی: درسنامه‌ای میان‌رشته‌ای» (پاینده) و «نقد ادبی: نظریه‌های ادبی و کاربرد آنها در ادبیات فارسی» (تسلیمی)، از منظر نشانه‌شناسی، نشانگر نحوۀ عملکرد دال‌ها و مدلول‌ها در پیوند با رمزگان نقد ادبی نظریه‌مدار در لایۀ ثانویۀ دلالت است.

https://liar.ui.ac.ir/article_26682_2577655e13f8693d80776e99f4aae9ad.pdf

دانشگاه اصفهان فنون ادبی 20088027 13 4 2021 12 22 A Representative Analysis of Alternate History Narrative in the Historical Novel Shah-e bi Shin واکاوی نمودهایی از روایت تاریخ جایگزین در رمان‎ ‎تاریخی‎ ‎شاه بی‌شین 31 46 26672 10.22108/liar.2021.127634.1983 FA حکیمه ایزدی دانشجوی دکتری زبان و ادبیات فارسی، پردیس علوم انسانی و اجتماعی، دانشکده زبان و ادبیات، دانشگاه یزد، یزد، ایران محمدرضا نجاریان استاد گروه زبان و ادبیات فارسی، پردیس علوم انسانی و اجتماعی، دانشکده زبان و ادبیات، دانشگاه یزد، یزد، ایران.‏ Journal Article 2021 03 09 In the current article, the authors tried to evaluate some aspects of alternative history narration in the historical novel, Shah-e bi Shin, written by Mohammad Kazem Mazinani. Alternative history narration is an emerging genre in Persian literature, which could lead to the creation of attractive, compelling stories, somehow opposed to the historical imaginations of audiences. Alternative history finds a new timeline for historical narrating, using ingredients like having an appropriate scenario and finding a point of divergence (POD). Alternation of historical narration includes alternation in fictional events and fictional persons. The research background belongs to the historical novel, Shah-e bi Shin, limited to literary meetings and interviews, and no detailed research has been done, except for two short articles by Majid Estiri and Maryam Goudarzi. Alternative history is a new subject in fiction literature and is sometimes confused with historical metanarrative style and post-modernism. Shah-e Bi Shin narrates a real story of the Pahlavi period about a historical character, Mohammad Reza-Shah. This narrative allows writers who are interested in adding historical novels of alternative history to Iranian fiction literature, to use examples of alternate history that happened from the story character’s viewpoint. Shah-e Bi Shin, including components of alternation history narrating in branches of birth, death, lifestyle, and finally, the metamorphosis of character helps break the boundary between imagination and reality. In this research, we tried to draw the audience's attention to create new and intact narratives using historical events, besides introducing alternative historical genres and discovering novel power and imaginary narrations in Shah-e Bi Shin the historical novel. Alternation history has rooted in the historical imagination, for it can reach more readable and idealistic works of true history. This literary art seeks historical “what if”s, to show a new history to the story and its audiences. Shah-e Bi Shin novel has been narrated from Mohamad Reza Shah’s view. So, it consists of life details, personality, and behaviors of this historical character; a defeated character who always seeks in his mind the answer of “what if”s that could change the destiny and history of his land. This component makes us look for more components of this idea, and investigate historical alternate examples in this novel from the language of Mohammad Reza Shah and his surroundings. The alternation of historical events in this novel ends with the events that belong before Shah’s exodus from Iran. Events like coup defeat, Mohammad Reza Shah and Soraya’s unsuccessful escape, Shah’s assassination in university, and finally, leaving the homeland which was among the worst choices he has made, in Mohammad Reza’s view. Alternation of the historical character of this novel almost refers to Mohammad Reza, himself. These events occurred during the period from his birth to his death that happened outside Iran. During this period, he was complaining about everything and imagining other events and occurrences, in his mind, which if they had happened, would have changed his life and the history of his homeland. The novel’s atmosphere is a reflection of Mohammad Reza's childhood and such a stifling atmosphere continues after he had just survived an illness. He was upset about his birth all over the novel. That feeling of dissatisfaction spread to his destiny. He did not like this life and wishes he were a farmer or a lawyer in one of the American cities and had a normal life rather than being a country king and deprived of those works he did like to do. Mohammad Reza was so dissatisfied with this destiny, as he likes to come to a personal metamorphosis. This can help the imagination of alternative historical genres and create a story with a surrealistic atmosphere. Death and death types are other designs and deviation points which help to break down the timeline of the story. Modification in his death type or death time could cause other historical events and movements, and create a new history for novel and story audiences. Statistically analyzing the representations of alternate historical narration in this novel, we found a high frequency of alternate characters compared with alternate events (63 to 37%). Also among representations of alternative characters, statistical data that belong to birth change has the most, and personal metamorphosis has the least quantity. رمان شاه بی‌شین اثر محمدکاظم مزینانی، روزنامه‌نگار و نویسندة معاصر ایرانی است. رمانی تاریخی که حوادث زندگی محمدرضا پهلوی را از زمان پادشاهی رضاشاه تا مرگ محمدرضا با زاویۀ ‌دید دوم شخص، از نگاه محمدرضا پهلوی روایت می‌کند؛ این شخصیت دائم در ذهن خود در پی جواب به «چه می‌شد اگرهایی» است که می‌توانست علاوه بر زندگی خود، تاریخ سرزمینش را تغییر دهد و به‌تبع آن، سیر روایت تاریخی داستان را نیز دگرگون کند. کمتر رمانی است که به شیوة تاریخ جایگزین در ایران نگارش شده باشد. این نوع ادبی جدید می‌تواند تصویر تاریخی جهان را تغییر دهد و حوادث تاریخی خاصی که می‌توانست اتفاق بیفتد یا آرزوهای بزرگ و کوچکی که می‌توانست برای شخصیت اصلی به وقوع بپیوندد، تصور کند. گردآوری داده‌های این مقاله، به روش کتابخانه‌ای و بررسی اطلاعات به شیوة توصیفیتحلیلی انجام گرفته ‌است. بنابر یافته‌های این مقاله، نویسنده با کشف نقطة انحراف از تاریخ واقعی و داشتن یک طرح مناسب، می‌تواند خط زمان داستان را بشکافد و روایت تاریخی تازه‌ای به وجود آورد. این جایگزینی در تاریخ به دو شیوة جایگزینی در «حوادث» و در «شخصیت» تاریخی نمود یافته است. نسبت شخصیت جایگزین به حوادث جایگزین در این اثر بیشتر است و حول رویدادهایی ازجمله: تولد شخصیت، مرگ شخصیت، نوع مرگ و مسخ شخصیت بیان می‌شود.

https://liar.ui.ac.ir/article_26672_c14553ef9448cbbfa177075447f22878.pdf

دانشگاه اصفهان فنون ادبی 20088027 13 4 2021 12 22 An Analytical Evaluation of Research in the Field of Figurative Language in the Literary Arts ‎Journal ارزیابی تحلیلی پژوهش‌های حوزۀ مطالعاتی فن بیان در نشریۀ علمی فنون ادبی 47 64 26681 10.22108/liar.2021.130718.2069 FA شیرزاد طایفی دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات فارسی و زبان های خارجی، دانشگاه علامه طباطبائی، تهران، ایران سمانه منصوری آلهاشم دکترای تخصصی زبان و ادبیات فارسی،‎ ‎دانشکده ادبیات و علوم انسانی، دانشگاه محقق اردبیلی، اردبیل، ایران Journal Article 2021 09 26 Scientific journals are considered as a key axis in the transfer and spreading of knowledge in various fields of study, and the promotion of research depends on the activities carried out in these journals. In Literary Arts Journal, significant and applied studies are not few. Hence, considering the scientific nature that such studies give to literary studies, they help a lot in rejecting the thinking in which literature is considered a matter of taste and being unscientific. Therefore, analytical and pathological approaches to explain the positive and negative points of the articles could be beneficial. The extent of research in the field of rhetorical sciences, especially the field of expression studies, as the most prominent form of transmission and spread of literary knowledge, highlights the importance of content and methodological analysis of suchresearch.Therefore, this research evaluates the content and structure of the articles with a descriptive-analytical approach and leads to the point that some of the articles have weaknesses in terms of structure, content, and violation of rules in using sources. The results could help provide a basis for scientific journals to include rules in their guidelines that could raise the quality of rhetorical studies on the subject of rhetoric and increase referrals to them. Introduction Rhetorical issues are considered as one of the main research approaches in the field of Persian language and literature, in which the application of literary techniques and how to express meaning are discussed. Although such an approach to literary works has a long history and is considered an ancient science, as long as the expression of emotions and actions of the human soul are endless and take a different color in each age and time, such sciences will inevitably need to progress and evolve according to it. This depends on scientific research that provides this platform with a new structure and content. Discussion In facing a text, the researcher is confronted with the outer and superficial layers on the one hand and the hidden layer of meaning and content on the other hand. Asthe effect of structure on the content and vice versa is inevitable, in designing the frameworks and general principles of literary research, paying attention to the text content is especially important. Accordingly, what forms the general principles of evaluation and analysis of research works can be examined in two areas. 2-1. Structural factors and research methodology If we consider the structure and methodology of research as a set of strategies of the research path, from the choice of title to conclusion, it is natural that each science has its structure according to the subject and principles, so that thinkers in that field, using those principles, organize the information based on the initial hypothesis or question and form new findings and ideas. In general, regarding the structural elements suitable for scientific research, several rules have been proposed by experts in this field, according to which specific structural elements can be determined for literary research. Elements such as; title, abstract, keywords, introduction, research question, research hypothesis, research method, research background, necessity and importance of research, theoretical foundations, analysis, conclusion, and references can be considered as a fixed structural model in literary research. 2-2. Important components in content analysis and specialized concepts of the text Regarding the research content, the main focus is on the achievement or role of the research work in scientific progress; in other words, in this part of the work, the researcher needs to clearly and unambiguously state the benefits and achievements of the research. If he/she cannot convey it to the audience with a certain verbal skill, the value of the achievement could not be understood by the audience. Conclusion Existing research in the field of rhetoric in the Literary Arts Journal were evaluated using the components of quality assessment of articles. The results show the following: In the title section: Despite the observance of structural principles in choosing the title, little effort has been made to innovate and take initiative in this area. Abstract: The abstract structure of most articles in the statistical community is not in line with the structural principles of the research. Keywords: In most articles, keywords are in accordance with the structural and content criteria of an original research. Introduction: The text of the introduction in the articles of the statistical community has a relatively high clarity and eloquence. Problem statement: In case studies, the problem statement is not very important and up-to-date. Research objectives: only a small percentage of articles have well stated the purpose of the research. Research questions and hypotheses: In the research, little attention has been paid to the purpose and research questions and hypotheses. Research background: Despite the emphasis of the Literary Arts Journal method on mentioning the research background, some articles i community have not mentioned it. Research method: A small percentage of have a research method. The content of the reviewed articles has high quality suggesting the sufficient mastery and knowledge of the researchers in the field of research. نشریات علمی، محور کلیدی در انتقال و گسترش دانش در زمینه‌های مختلف مطالعاتی محسوب می‌شوند و ارتقا و اعتلای امر پژوهش وامدار فعالیت‌هایی است که در این نشریات انجام می‌گیرد؛ بنابراین رویکردهای تحلیلی و آسیب‌شناختی به‌منظور تبیین نکات مثبت و منفی این پژوهش‌ها، به‌بهترین‌وجه تأثیر و کاربرد آنها را بیان خواهد کرد. گستردگی پژوهش درزمینۀ علوم بلاغی، به‌ویژه حوزۀ مطالعاتی علم بیان، به‌عنوان شاخص‌ترین قالب‌ انتقال و گسترش دانش ادبی، اهمیت تحلیل قلمرو محتوایی و روش‌شناختی این پژوهش‌‌ها را بیش‌ازپیش آشکار می‌سازد؛ بنابراین، این پژوهش با رویکرد توصیفی- تحلیلی به ارزیابی محتوا و ساختار مقالات جامعۀ آماری هدف (28 مقاله) می‌پردازد و به این نکته رهنمون می‌شود که پاره‌ای از مقالات در مواجهه با ساختار، دچار ضعف‌هایی هستند و برخی دیگر ازنظر محتوا و سطوح بهره‌گیری منابع، از اصول تخطی کرده‌اند؛ هرچند پژوهش‌های شاخص و کاربردی نیز در این فصلنامه کم نیستند؛ ازاین‌رو به سبب ماهیت علمی که چنین پژوهش‌هایی به مطالعات ادبی می‌بخشند، کمک شایانی در رد تفکری دارند که در آن ادبیات امری ذوقی و غیرعلمی پنداشته می‌شود. انتظار می‌رود پژوهش حاضر زمینه‌ای فراهم کند که نشریات علمی، اصول شاخصی را در شیوه‌نامۀ خود بگنجانند که در مرجعیت‌بخشی و ارتقای سطح کیفی مطالعات حوزۀ علوم بلاغی با محوریت علم بیان، بیش‌از‌پیش مؤثر باشد.

https://liar.ui.ac.ir/article_26681_ce327c16c32a2ed80f921354df5b2ec9.pdf

دانشگاه اصفهان فنون ادبی 20088027 13 4 2021 12 22 A Rhetorical Analysis of Image in Parodies of Mirza Abdullah Gorji Esfahani تحلیل بلاغی آرایه‌های بیانی در نقیضه‌های میرزاعبدالله گرجی اصفهانی 65 80 26078 10.22108/liar.2021.129563.2037 FA فائزه کوهی جید دانشجوی دکتری زبان و ادبیات فارسی، واحد نجف آباد، دانشگاه آزاد اسلامی، نجف آباد، ایران قربانعلی ابراهیمی استادیار گروه زبان و ادبیات فارسی، واحد نجف آباد، دانشگاه آزاد اسلامی، نجف آباد، ایران Journal Article 2021 07 14 Satirical poetry appeals to a wide range of audiences. Satirical poets look at phenomena from fresh perspectives, choosing subjects that are usually avoided. One of such windows is the imagination of a poet who creates caricature-like pictures in the form of a satire. This very thing provides the audience with a kind of delicacy and freshness and allows them to see unseen points, too. In this respect, parody is a subgenre of lyrical literature, through which the poet expresses their intentions. Parodies are composed for the purpose of satire, criticism, entertainment, and fun in most cases; they sometimes come near to red lines and even cross them when they are facetious and lampoons. One of the prominent parody poets in the era of Qajar in the 13th century Hijri is Abdollah Ibn Fereydoun Gorji Isfahani known as "Eshteha" and "Sargashteh". From the perspective of poetry, he composed around 1400 verses in Abu Ishaq Atma’eh Shirazi's style mostly in the genre of ghazal that describe foods and drinks. His collection of poems represents the culture and civilization of his time. Through his poems, he has been able to keep alive the language and culture of his society that could have been destroyed by a foreign culture and civilization and protect the idioms, expressions, ironies and foods of his time in them. Knowing he was no match for great Persian poets like Molana, Saadi, and Hafez, he wisely went for a specific genre -- parody -- so that he could display his abilities and compete with his predecessors like Atmaeh Shirazi. In addition to showing his art, Eshteha saw poetry as an opportunity to convey important concepts and themes to his readers, too. Through his poems, he has displayed his art in satire and made criticisms of the problems and decencies of his era. An investigation into Eshteha's poems reveals that this poet has paid special attention to his readers who have been mostly from the lower and unlearned classes. In addition to using simpler figures of speech, he has used their potentials, created a coherent structure, and by disorganizing the poetic system of the poems memorized by the public, he has been able to display the turmoil of his society using bitter or funny satires. Eshteha has paid attention to similes and ironies more than other figures of speech. The reason is that his readers have been from the public who can understand simpler figures of speech more easily. In order not to both lose specialist readers and voice his criticisms indirectly, he has used metaphors in his poems as well. He has utilized sensory similes containing the five senses of taste, sight, smell, hearing, and touch for foods. Regarding metaphors, he has given a sense of life and joy to foods using animation and tried to make his poems more fanciful. Eshteha has tried to make full use of ironies and has also used the literary arts of tanasob, opposites, and equivoques. It should also be mentioned that figures of speech are expressive of his mental condition and terrible living conditions as well; an unsatisfied longing for foods which had become an obsession for him and found a way into his parodies. Deprived of food, homeless, and wandering the streets, the poet used to look for a portion of food. This overwhelming yearning for food has made him choose 'Sarghashteh (wandering)' and 'Eshteha (appetite) as his nicknames. میرزاعبدالله گرجی اصفهانی (متخلص به اشتها و سرگشته) ازجمله اطعمه‌سرایان شاخص قرن سیزدهم بوده است که با استفاده از شاخه‌های مرتبط با طنز یعنی نقیضه‌گویی اشعار درخور توجهی سروده و از خلال آن، هم هنر طنزپردازی‌ را نشان داده و هم به انتقاد از کمبودها و کاستی‌های موجود در زمانۀ خود پرداخته است. نویسندگان این نوشتار به دلیل نبود تعریف واحد و مشخص از نقیضه، سعی کرده‌اند ابتدا تعریف واحدی از آن ارائه دهند و سپس کوشیده‌اند نقیضه‌های گرجی اصفهانی را از منظر آرایه‌های بیانی واکاوی کنند. بررسی نقیضه‌های اشتها نشان می‌دهد وی به مخاطبان شعر خود که عمدتاً از قشر عامه و کم‌سواد جامعه بودند. توجه ویژه‌ای نشان داده است و ضمن به‌کارگیری آرایه‌های بیانی ساده‌تر (تشبیه و کنایه) از ظرفیت‌های بالقوۀ آن‌ها استفاده کرده است و ساختاری یکدست را خلق کرده و با برهم‌ریختن نظام شعری شاعرانی که شعرشان در اذهان عموم منسجم شده است، مجال یافت تا آشفتگی‌های زمانۀ خویش را از طریق طنزپردازی‌های تلخ‌آمیز یا قهقهه برانگیز نمایان کند.

https://liar.ui.ac.ir/article_26078_3ffbac89e2c8bfae2205a3897e4ae62a.pdf

دانشگاه اصفهان فنون ادبی 20088027 13 4 2021 12 22 An Analysis of some Motifs and Association Networks in Darki Qomi’s Poetry تحلیل و بررسی بن‌مایه‌ها و شبکه‌های تداعی در اشعار درکی قمی 81 106 26456 10.22108/liar.2021.130367.2059 FA محمد رضا معصومی گروه زبان و ادبیات فارسی، واحد یاسوج، دانشگاه آزاد اسلامی، یاسوج، ایران. Journal Article 2021 09 03 Mullah Mohammad Amin-e Qomi, known also by his pen name Darki, is one of the less-known poets of the 11th century AH (? -1063 AH). An investigation of Darki Qomi’s poetry, especially his ghazals (or lyric poems) shows that his poems represent many characteristics of the Indian Style of Persian poetry. A considerable stylistic feature in Qomi Darki’s poetry is a high frequency of occurrence of motifs and the creation of a network of associations around such motifs. This research, which has been conducted in a descriptive-analytical manner by referring to library sources, deals with the study and analysis of ten particular motifs in his poetry. The results show that Darki Qomi often derives these motifs from his surroundings or the common beliefs of the people around him and makes use of them within a network of associations in order to create new motifs. Introduction In addition to the characteristics of the Indian Style such as the multiplicity of allegories and proverbs, the use of colloquial expressions and market jargon, creation of special structures, inspiration from everyday experiences and the surroundings, introduction of new themes, narrow-mindedness, imagination, etc., some further stylistic features have also been introduced as central elements of this style of poetry. One of them is the use of old and new themes or motifs and the creation of a new network of associations around such themes. Poets adopting the Indian Style often take into account a theme as the fundamental or central element of their intended image and, then, by associating words and other elements which have some kind of relationship in terms of congruence or contradiction, etc., expand the chain of associations around that theme to create a network of images whereby each element of a given theme evokes another one and that other one, in its own right, brings about another association and this process goes on. One of the Indian Style poets who pays special attention to this stylistic characteristic is Darki Qomi. Discussion In poetry, a ‘theme’ is mostly regarded as a high-frequency repetitive element in a poet’s work or as various illustrations of a given phenomenon; that is why a ‘motif’ or ‘theme’ has been attributed to whatever is the center of a network of images and a field of associations (Shafiee Kadkani, 1997). Examining the themes and discovering network of their relevant images in a poet’s poems, while it helps to better understand the poet’s poetry, is a way to get familiar with his/her attitudes and ways of thinking as well as his/her level of creativity and capability. Although poets have typically made use of many themes as fixed foundations of different styles, it is only the Indian Style in which poets have insisted on extreme use of motifs to find strange and alien meanings, to create a series of labyrinthine associations, and to create new themes. As a result, using motifs has turned into a stylistic characteristic in the Indian Style. Darki Qomi is among the less-known poets of the Indian Style who was a contemporary of Shah Abbas II. In his poems, in addition to the abundant evidence of using elements and features of the Indian Style, one may also observe such characteristics as the use of colloquial expressions and allusions, allegories, special numerical dependencies, sensory associations, specific similes, paradoxes, etc. The use and association of sequential themes may also be found in his poems in abundance. Darki Qomi, like many other Indian poets, pays special attention to natural elements and phenomena and the objects around them. Such special attention is manifested in the form of extracting poetical themes from human observations in the nature and the environment surrounding the poet; consequently, most of the themes of his poetry are sensory in nature, being the results of his own experiences and observations. Such motifs as ‘eggs of steel’, ‘cuckoo and cypress’, ‘porcelain’, ‘image’, ‘wounds’, ‘Homa’ (or ‘the bird of happiness”), ‘velvet sleep’, ‘paper flower’, ‘linen and moon’, ‘quicksand’, ‘saffron’, ‘cotton’, ‘kohl’, ‘Hindu’, ‘crazy’, etc. are among the most widely used and high-frequency components of the poems of Darki Qomi. He has employed such themes and the chain of associations around them mostly in his ghazals in order to create romantic, love-oriented themes. Conclusions Darki Qomi is an Indian Style poet who is committed to creating a network of associations around old and new motifs which are typical of the said-above style. He has employed those themes which have been prevalent in the Indian Style with a high frequency, mostly in the form of twin (pair) or multiple elements. Since he has paid the highest attention to the congruence or observance of harmonic peers in dealing with such themes, he has often had a network of associations in his mind around every motif and has used them to create poetic topics. In the present study, some of the themes and associations which are all sensory and are derived from the poet’s own environment or form the beliefs of lay folks have been explored. It was found that the motifs ‘cuckoo and cypress’, ‘image’ and ‘porcelain’ constituted the most frequent network of associations in Qomi’s poetry. ملا محمدامین قمی متخلّص به «درکی»، ازجمله شعرای کمترشناخته‌شدۀ قرن یازدهم هجری است. وی چند سال در حیدرآباد دکن زندگی کرد و بقیۀ زندگی خویش را در شهرهای قم، اصفهان و هرات سپری کرد. بررسی شعر درکی قمی به‌خصوص غزلیات او نشان می‌دهد که این شاعر پیرو سبک هندی با زبانی روان و معتدل است؛ اما اغماض و کلام معماگونۀ شاعران طرز خیال در اشعارش راه ندارد و بسیاری از خصایص رایج سبک هندی در شعرش دیده می‌شود. از عناصر سبکی درخور توجه در شعر درکی قمی، افزونی بسامد بن‌مایه‌ها و خلق شبکۀ تداعی دربارۀ آن‌هاست. این پژوهش به شیوۀ توصیفی- تحلیلی و با استناد به منابع کتابخانه‌ای؛ کاربرد ده بن‌مایه را در شعر این شاعر بررسی و تحلیل کرده است. نتایج پژوهش نشان می‌دهد درکی قمی بر کاربرد بن‌مایه‌های رایج سبک هندی و ساختن شبکۀ تداعی‌ دربارۀ آن‌ها تأکید و تکیه دارد. وی اغلب این بن‌مایه‌ها را از محیط اطراف خود یا از باورهای عامیانه برگزیده و برای خلق مضامین تازه استفاده کرده است.

https://liar.ui.ac.ir/article_26456_23bb75dc8d4e8a7141e20014f0d04be3.pdf

دانشگاه اصفهان فنون ادبی 20088027 13 4 2021 12 22 Comparing the Order of Haft Peykar Stories with the Seven Yoga Chakras مقایسة ترتیب قصه‌های هفت‎ پیکر نظامی با هفت چاکرای یوگا 107 124 26748 10.22108/liar.2022.130160.2050 FA سمانه جعفری استادیار گروه زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایران Journal Article 2021 08 20 Extended Abstract Haft Peykar is one of the symbolic works in which the arrangement and selection of fictional elements and persons follow a symbolic and upward order. One of the important parts of this work is seven stories that are defined for Bahram for seven nights. With a new look at the upward trajectory of these stories in moving from black to white and from bottom to top, this research uses a library and descriptive-analytical method to investigate the depth of seven stories in Haft Peykar and compare it with the seven chakras in yoga. The results of the study show outstanding commonalities that are more in some stories and less in others. The existence of similar cases does not mean conscious imitation of the chakras. Rather, it is rooted in the same human nature, which has an unconscious desire for perfection and attainment of the lost paradise and returns to its origin. In addition to similar cases, there are differences, the most prominent of which is seen in the color of the domes and chakras. Haft Peykar is the culmination of Nezami’s poetic art, which describes the reign of Bahram Gour and the strange events of his life. One of the most important and detailed parts of it is the stories that the seven domed queens tell to Bahram Goor. Stories have a completely symbolic structure and full of motifs, themes, and symbolic elements that put a strange and mysterious atmosphere in front of the readers and astonish them with a magical expression. Assuming the systematic nature of the seven stories in this work, this study examines the theme and its depth in comparison with the seven chakras in yoga. Of course, this comparison does not mean that he knows the knowledge of the chakras. Bahram begins its symbolic journey from Saturday and the Black Dome. The most prominent feature between the first dome and the first chakra, Sahasrara, is that the head can be a symbol of the sky, the rope a symbol for the spine, and the king sitting in the basket a symbolic representation of kundalini energy that, after being released quickly, climbs towards Sahasrara. In the second story, the common denominator is the existence of three contents available in the second chakra, which are: the unconscious mind (ignorance), the collection of consciousness of Samaskara and the remnants of ancestral relics in the form of a special attribute of an old woman and maid, the subconscious conscience of the king and the inherited attribute of a Chinese maid. The most prominent and common element between the third story and the third chakra is the two forces of good and evil, which are manifested in ‘Manipura’ in the form of the two goddesses ‘Rudra’ and ‘Lakshi’. In the story of the fourth dome, there are several similar prominent and key elements, the most important of which is the similarity of the fourth chakra ‘Anahata’ meaning ‘unbreakable’ with the impenetrable castle of the queen of the fence. The story of the fifth dome is the narrator of the extravagance and greed of a man named Mahan. This story is in fact a narration of the symbolic stages of achieving perfection and self-cultivation, corresponding to ‘Vishdahi’ which means purification and center of mental cleansing. The sixth story is about the journey of Kheyr and Shar, which continues with the removal of the two eyes of Kheyr by Shar and deals with their fate. This story has important points in common with its peer chakra, ‘Ajna’, which is also known as the Third eye, the Wisdoms eye, the Connection between three rivers, the Center between two eyebrows, and the Shiva’s eye. Another common denominator between the sixth chakra and the sixth story is the number three; Ajna is the junction of the three rivers and good fortune is the junction of the three ladies, who are a Kurdish daughter, the king's daughter, and the minister's daughter. Also, the familiar relationship between the river (water) and the woman also symbolically justifies this alternative. In the story of the seventh dome, the failed hero realizes his mistake in four stages and gives up his carnal and illegitimate desire and marries the beauty of the harpist. This dome is equivalent to ‘Sahasrara’ chakra. This chakra is the place of the mysterious union of Shakti and Shiva. The prominent participation in the seventh chakra and dome is the presence of God and the prominent role of His will in the story, which is specifically mentioned in the influences of Sahasrara. This chakra is related to the feeling of oneness and separation and our relationship with the earth as well as with our fathers. This study shows that the stories of Haft Peykar have a content link in their depth of construction and similarities can be found between the sequence of the seven stories and the seven chakras of yoga that narrate a movement. It is ascending and perfecting because both of them narrate the inner ascending course of the poet and their main goal is to achieve inner excellence and perfection. Given that the desire for perfection is an innate desire that leads human beings, consciously or unconsciously, towards perfection and transcendence, all the arts, texts, philosophical, and mystical ideas and views that express this inner desire have elements. And there are similar and common symptoms that are rooted in the human subconscious. Therefore, beyond all cultures and religious and ideological tendencies, these commonalities can be found and studied in comparison with each other. هفت‎ پیکر ازجمله آثار نمادینی است که چینش و گزینش عناصر و اشخاص داستانی در آن از نظم و ترتیبی نمادین و استعلایی پیروی می‌کند. از بخش‌های مهم این اثر، هفت داستانی است که هفت شب برای بهرام گور تعریف می‌شود. با نگاهی نو به خط سیر استعلایی این داستان‌ها در حرکت از سیاهی به سپیدی و از پایین به بالا، این پژوهش به‌صورت کتابخانه‌ای و به‌روش توصیفی‌تحلیلی به بررسی ژرف‌ساخت داستان‌های هفتگانه در هفت ‎پیکر و مقایسة آن با هفت چاکرای یوگا پرداخته است. نتایج به‌دست‌آمده نشان‌دهندۀ وجوه اشتراک برجسته‌ای است که در برخی از داستان‌ها بیشتر و در برخی کمتر است. وجود موارد مشابه، به معنی الگوگیری آگاهانة نظامی از چاکراها نیست؛ بلکه این مسئله در فطرت واحد بشر ریشه دارد که میل و گرایشی ناخودآگاه به سوی کمال و دستیابی به بهشت گمشده و بازگشت به اصل خویش دارد. علاوه بر موارد مشابه، تفاوت‌هایی نیز وجود دارد که برجسته‌ترین آن در رنگ گنبدها و چاکراها دیده می‌شود.

https://liar.ui.ac.ir/article_26748_767440d08c695c98b8203ddc43a58e5e.pdf

دانشگاه اصفهان فنون ادبی 20088027 13 4 2021 12 22 Investigating Abolghasem Halat's Sonnets using Semantic Discourse Methods غزل‌های ابوالقاسم حالت با تکیه‌بر جنبۀ فنون گفتمان معنایی 125 140 26268 10.22108/liar.2022.131364.2084 FA محمّدامین احسانی اصطهباناتی دانشجوی دکتری زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید باهنر کرمان، کرمان، ایران عنایت الله شریف پور دانشیار گروه زبان و ادبیّات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید باهنر کرمان، کرمان، ایران محمدرضا صرفی استاد گروه زبان و ادبیّات فارسی، دانشکده ادبیات و علوم انسانی، انشگاه شهید باهنر کرمان، کرمان، ایران Journal Article 2021 11 06 Introduction The semantic approach of discourse to reach semantic levels could be considered as a scientific and reliable method that gives new and remarkable findings through sentences, phrases, and finally the literary text, which is important from the point of view of literary research and provides a suitable context. It also provides a suitable context for linguistics and sociology of discourse on literary works. In terms of modern semantics, signs produce meaning in a process system. As such, sign-semantics is a term that shows the goals better. Regarding the choice of semantic approach to discourse, one should pay attention to the importance of the position of the satirist and the audience. It is necessary to make points about discourse and semantics. The concept of discourse, like concepts such as communication, interaction, society, and culture, is a concept for which there is no single definition, but common points can be found in the definitions of experts. Discourse is a form of language use, according to components such as who uses language, how, why, and when language is used. In this regard, three main dimensions are introduced: 1) the use of language, 2) communication between beliefs (cognition), and 3) interaction in social situations. Abolqasem Halat (1919-1992) was one of the most prolific and famous political satirists in the contemporary era. He was at the top of his field considering the diversity and multiplicity of his poems. Between his poetic works, three exclusively satiric books named Abol-eynak, Shookh, and Bantam were published in the time of the Pahlavi dynasty. In these books, Halat portrayed the political and social corruption of his own era with a critical view and in a plain and sarcastic tone. So far, there has been no research on Abolqasem Halat’s sonnets in the discourse system. Therefore, it is believed that the upcoming research is a novel study in this regard. The approach of sign-semantics is a new topic in the science of semiotics, which has been paid attention to by linguists and semioticians such as Grimas, Fontaine, Kurtz, and others in recent years. Therefore, the purpose of this study is to analyze the satirical poems of Abolghasem Halat using the semantic discourse approach. Materials and Methods The present descriptive-analytical study, first, deals with the lyric poems of the state based on the mentioned theory based on extracting the theoretical foundations of Garmas. In each section, according to the appropriateness of the subject processes, tables and diagrams were presented to make the concepts more objective. It should be noted that the selection of examples is random. Based on the purpose, the following hypotheses have been made: 1) Discourse in the works of Halat has caused the creation of an ‘open semantic system’; 2) he, in the introduction of the point of view, uses the technique of ‘perspective’ in order to organize the narrative information. Discussion The discourse of meaning is a new approach in literature and linguistics that, by being influenced by data related to the science of phenomenology, opens a new window in the study of semiotics. In this approach, the sign of meanings appears under the supervision of the discourse process, and in interaction with each other, it becomes fluid, dynamic, multiple, multidimensional, and tense. Abolghasem Halat's poems, due to their emotional nature, have a good potential for semantic studies. In general, “the knowledge of semiotics examines the types of signs, the factors present in the process of production and exchange and their interpretation, as well as the rules governing signs. Semiotics involves the study of the construction and formation of signs, allusions, significations, naming, analogies, allegories, metaphors, and communication codes. Signs are categorized based on the method or codes used to convey them, which can be specific sounds, alphabetic symbols, visual symbols, body movements, or even wearing special clothing. In order to convey the message, each of them must first be accepted by a group or community of people as a carrier of a special meaning” (Sojoudi, 2011, p. 128). The present study shows the appearance of meaning and the type of feeling and perception of the poet in dealing with the subject.Besides, the more hidden layers of meaning are expanded in the reader with the help of this method to get a better understanding of the effect. Conclusion The lyric of Abolghasem's songs ‘Your Song’ and ‘Depressed Heart’ is in the perceptual, emotional, and aesthetic senses. In the analysis of these two sonnets, we are faced with a perceptual sensory discourse that the flow of meaning production in these poems is fluid, dynamic, and open. The purposefulness of discourses is formed when the narrator targets the grief of losing a loved one and takes a position about it. In light of the poet's feelings, new meanings emerge from the cognitive position of loneliness and the absence of the beloved. This regret culminates during the discourse due to the cage of the beloved's house, the grief of his house, the stranger chicken being the narrator, and the discourse towards a certain meaning. In the light of the poet's worldview and the way he feels, the way to get rid of the night is to compose and speak. With the help of discourse processes in the lyric of ‘Your Song’, the poet's feeling and perception in the face of external phenomena is expanded in front of his eyes and the poet's feeling and perception directs the discourse. The poet has composed under the influence of the absence of the beloved and the feeling of loneliness. Regarding the tense processes of the two discourses, it was observed that both sonnets, due to their predominant emotional subject and the lack of sensory stimuli, bear the emotional burden with the role of sensory-perceptual agents and the emotional pressure of the absence of the beloved with increasing power. The poet has an omnipresent presence in all the discourses and has distanced himself from the surface manifestations by avoiding norms. گفتمان معنا، رویکردی جدید در ادبیات و زبان‌شناسی است که با تأثیرپذیری از داده‌های علم پدیدارشناسی، دریچه‌ای بدیع را در مطالعات نشانه‌شناسی می‌گشاید. در این رویکرد، نشانه‌معناها طی فرایند گفتمانی ایجاد می‌شوند و در تعامل با یکدیگر، به گونه‌هایی سیّال، پویا، متکثّر، چندبعدی و تنشی تبدیل می‌شود. سروده‌های ابوالقاسم حالت به‌دلیل داشتن ماهیت عاطفی از جنبۀ معناشناختی شایستۀ مطالعه و بررسی است. هدف پژوهش حاضر، تجزیه‌وتحلیل گزیده‌ای از غزلیات این شاعر در ابعاد مختلف رویکردهای گفتمانی نظیر فرایند حسی ادراکی، فرایند عاطفی و فرایند زیبایی‌شناختی است. نتایج پژوهش به شیوۀ توصیفی- تحلیلی و برمبنای داده‌کاوی کتابخانه‌ای انجام ‌شده که نشان می‌دهد روند تولید معنا در ذهن شاعر در فضایی غمناک و همراه با احساس تنهایی و غربت بوده است و شاعر تحت تأثیر گزاره‌های فقدان معشوق و ناامیدی از بازگشت معشوق به سرایش پرداخته و فشار عاطفی وی به‌دلیل نبود شوش‌گر عاطفی است. زاویۀ دید شاعر گزینشی است و در پرتو احساسات و ادراکات شاعر در رویارویی با موضوع فقدان معشوق که امری بیرونی است، جهت‌مند به‌سمت تولید معناهای بدیع و این نوع گفتمان معنا، حرکت کرده است.

https://liar.ui.ac.ir/article_26268_b605d89cc2ae97df34de07345b5f9d61.pdf

دانشگاه اصفهان فنون ادبی 20088027 13 4 2021 12 22 Investigating the Stylistic Innovations of Poetry in the Maktab-e Voqu (School of Realism)‎ نوآوری‌های سبکی شعر در مکتب وقوع 141 166 26867 10.22108/liar.2022.130696.2068 FA محمد صادق بصیری استاد گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید باهنر کرمان، کرمان، ایران 0000-0002-5566-0220 نجمه حسینی سروری دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید باهنر کرمان، کرمان، ایران 0000-0002-3866-8036 نازنین رستمی زاده دانش آموخته کارشناسی ارشد زبان و ادبیات فارسی دانشکده ادبیات و علوم انسانی، دانشگاه شهید باهنر کرمان، کرمان، ایران Journal Article 2021 09 24 Language has referential and emotional functions. It is the peak of the emotional use of language in poetry, especially the sonnet form. Emotion, imagination, language, rhythm, and form are the basics of poetry that make a work in a poetic form. In this study, the rhetorical elements of the Maktab-e-Voqu (School of Realism) are stylistically investigated. The studies conducted so far on the Maktab-e-Voqu have examined the theme, novelty, and expression and characteristics of the poetry of this school based on the poems of one or two poets. The purpose of this study is to investigate the level of poetry in the Maktab-e-Voqu, relying on the poems of famous people of this school. This research has been done using the descriptive-analytical method and through library studies. The richest poetic component of the poets of this school is ‘emotion’ and the poet's creativity is dedicated to the emotional dimension. As far as imaginary points are concerned, since the poets are looking for few words but rich in meanings, they use sarcasm a lot as well. Allegories and metaphors are simple and commonplace, and figures of speech are used frequently in their poetry. Also, the language of poetry is simple and colloquial. In music, the prosodic weights are chosen according to the poet's message and most sonnets are ‘Moradaf’ (melodious). Additionally, the poet enjoys verbal music more than spiritual music. In the form dimension, the poems have a coherent, continuous, and harmonious form that has led to a single tone. Introduction Stylistics is one of the literary elements through which different layers of a work can be examined. The characteristics of the poetic style are different. In different eras, certain stylistic highlights could be observed indicating that poetry has undergone diversity and innovations over time due to social changes and innovations in light of poets' creations. This newness distinguishes styles from each other. Humankind uses two languages to speak, sometimes with the language of emotion and sometimes with the language of reason and logic. The emotional use of language is poetry, in which we find the sonnet at its peak. In the creation of poetry, emotion, imagination, language, song, and form play an important role and contribute to the beauty of the appearance and interior of the word. Given that the school of realism is the interface between the Iraqi and Indian styles, the aesthetic aspects of poetry in addition to the correct introduction of poetry and determining the frequency of the five elements (affection, imagination, language, music, and form) shows that the school is influenced by the Iraqi style. Materials and Methods The method of this research is library studies and taking notes from sources related to the research topic and determining the statistical frequency and analyzing the quality of poetic elements. This research is inductive in the way that 100 sonnets have been selected (20 from each poet) and by examining their quantity and quality regarding the five elements of poetry in the school of realism, we have reached a general conclusion. Conclusion Based on this research, the following can be concluded about the frequency and quality of each of the poetic factors in the school of realism: Affection: The fundamental element in the formation of lyric poetry is emotion. The poetic self of poets is a personal self because the poet acts according to his mood and talks about his personal emotions. Sadness, the sweetness of the beloved, and the need of the lover, persecution of the beloved and fidelity of the lover, praise of the outer beauties of the beloved, parting, unkind of the beloved, regret and remorse and description of the wine, and wine drinking are the most frequent concepts and themes of this school that lead to the inner beauty of words and poets use them to induce their thoughts and feelings. In general, emotion is the dominant and rich element of poetry and the creation of poetry in this school is due to emotion. If there is no emotion, poetry and events become incomplete. Imagination: Poets are familiar with rhetorical science in the field of imagination and have used metaphor, analogy, and irony. But these are vulgar and the mind is not forced to search for these elements. In the research, 52 metaphors of detailed or complete messenger, 155 similes of strenuous, 4 similes of concise messenger, 30 similes of implication, 10 similes of detail, 1 simile of inverse detail, and 1 inverse or heartfelt simile were found, of which 113 similes are sensory to sensory, 61 similes are sensory to rational, 24 similes are rational to rational, and 30 similes are rational to sensory. In the study of metaphors, 179 approved authorized ones, 62 Meccan metaphors, and 1 Tahkmiyeh metaphor were obtained, which shows that the approved type of metaphors has the highest frequency. The authorized literary industry has the least use with 48 cases, and therefore it can be said that the virtual axis of the words of prominent poets is not significant. In general, the above elements have contributed greatly to the inner richness of lyrics. Language: The language of the selected poets of this research is fluent, smooth, and clear. Analyzing the poetic evidence, it was found that the words used are often familiar, tangible, and objective, and poets try to inspire their feelings and inner state by accompanying these words. The uniformity of the words along with their accessibility and attractiveness has caused the coherence of the text to be maintained. As the poems are lacking in terms of technique and linguistic techniques, they have become short-sighted. Music: Examination of the external music of the studied poems shows that the poets have used the prosody of Raml, resentment, present, uprooted, Mildif (light), jerk, and convergent types in 51, 4, 24, 8, 2, 10, and 1 cases, respectively. In the side music, the poets have used grammatical, lexical, continuous, discrete, side, and manifest rows in 5, 74, 2, 76, 78, and 78 cases, respectively. In the discussion of poetry rhyme, 573 letters are the main rhyme letters and 184 are adverbs. Also, 454 literary industries were obtained from the exploration of the domestic music section, which are: 77 parallel rhymes, 77 dichotomous rhymes, 30 balanced rhymes, 2 line puns, 5 incomplete puns, 23 different or more punctuation marks, 17 middle puns, 80 minor puns, 23 total puns, 28 derivation puns, 1 suffix, 17 verbal or all letters, 14 consonants, 34 repetitions of words, and 5 suffixes to impotence. Thus, 707 literary industries were found from the section of spiritual music, which are: 37 exaggerations, 9 additions, 23 subtractions, 7 additions with divisions, 81 observances, 209 proportionalities, 120 contradictions, 19 spiritual paradoxes, 43 allusions, 11 guarantees, 38 ambiguity, 15 confusion of proportion, 14 ambiguities, 27 recruitments, 12 regular occurrences, 2 confusing occurrences, 25 sensitivities, 6 word explanations, and 3 theological religion. In general, the song in the poems of the school of realism has been created through the method of transliteration, transcendence, repetition, simile, proportionality, ambiguity, word order, and reasoning, among which assonance parallel and reciprocal prostration, punctuation, word repetition, and observance of proportion and proportionality have the highest rank. Form: Examining the shape and form of the selected poets, in the external form, the poets have used forms such as ghazal, preference stanza, composition stanza, scalded, piece, quatrain, etc. However, ghazals are the peak of Persian poetry and are superior to other forms of poetry in terms of the transmission of the poet's emotions to others. There are situations in which the unity of sense, syntactic parallelism, and grammatical sound are manifested. زبان دو کاربرد ارجاعی و عاطفی دارد. اوج کاربرد عاطفی زبان در شعر، به‌ویژه قالب غزل است. عاطفه، تخیل، زبان، آهنگ و شکل عناصر تشکیل‌دهندۀ شعر هستند که موجب شاعرانگی اثر می‌شوند. در این مقاله عناصر بلاغی مکتب وقوع از منظر سبک‌شناسی بررسی و تحلیل ‌شده است. مطالعاتی که تاکنون دربارة مکتب وقوع انجام‌گرفته ‌است به بررسی درون‌مایه، بدیع و بیان و ویژگی‌های شعر این مکتب با تکیه‌بر اشعار یک یا دو شاعر پرداخته‌اند؛ اما هدف این پژوهش سنجش میزان شاعرانگی در مکتب وقوع با تکیه‌بر اشعار مشاهیر این مکتب است؛ بنابراین پژوهشی جدید است. این پژوهش با روش توصیفی‌تحلیلی و بهره‌‌گیری از مطالعات کتابخانه‌ای، انجام‌شده ‌است. غنی‌ترین عنصر شعری شاعران مکتب وقوع عاطفه است و تمام ابتکار شاعر در بُعد عاطفی است. ازنظر صور خیال ازآنجاکه شاعران در پی لفظ اندک و معنی بسیارند، به‌وفور از کنایه استفاده می‌کنند. تشبیه‌ها و استعاره‌ها، ساده و مبتذل‌اند و مجاز کمترین بسامد را در شعرشان دارد. همچنین زبان شعر ساده و عامیانه است. در موسیقی، اوزان عروضی متناسب با پیام شاعر انتخاب ‌شده‌اند و اغلب غزل‌ها مُردّف هستند و میزان بهره‌مندی شاعر از موسیقی لفظی نسبت به موسیقی معنوی بیشتر است. در بُعد شکل، اشعار ساخت منسجم، پیوسته و هماهنگی دارند که منجر به لحن واحدی شده است.

https://liar.ui.ac.ir/article_26867_69aa3c0b774be6bc09d79cd3a3a6079c.pdf

دانشگاه اصفهان فنون ادبی 20088027 13 4 2021 12 22 Translation Studies and Comparative Literature: New ideas in Maqamat-e Hamidi مطالعات ترجمه و ادبیات تطبیقی: ایده ای نویافته در مقامات حمیدی 167 186 26595 10.22108/liar.2022.131662.2092 FA نیکو پریمی دانش‌آموخته کارشناسی ارشد مترجمی زبان عربی، دانشکده علوم انسانی، دانشگاه دامغان، ایران مرتضی زارع برمی استادیار گروه مترجمی زبان عربی، دانشکده علوم انسانی، دانشگاه دامغان، ایران رضا قنبری عبدالملکی استادیار گروه زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه دامغان، ایران ‏ Journal Article 2021 11 28 Extended Abstract The present study investigated the book Maqamat-e Hamidi by Hamid al-Din Balkhi in order to find the possible signs of the native ideas of the translation technique. The history of translation studies is divided into three periods: pre-linguistic (literal), linguistic (linguistic), and post-linguistic (cultural). Given the recent period (linguistic or cultural), it is now thought that cultures translate according to their needs. Given that the findings of the present study trace the existence of this idea in the preface of Maqamat-e Hamidi, it should be noted that Hamid al-Din Balkhi referred to multilingual and cultural issues in translation centuries before current scholars. In the post-linguistic stage, cultural expectation determines which text to be translated, why, and how and these elements moved the translation activity from lexical, meta-lexical, and textual levels to rewriting and recreating the translator’s ideas. In order to implement the idea of a translator-author, Hamidi, based on the principles of comparative literature, rewrote and recreated the Maqamat of Hamedani and Hariri’s ideas in Persian based on the principles of comparative literature. The present study is descriptive-analytical in terms of the method and nature, respectively. The results of the study showed that Hamidi in the introduction of his Maqamat has proposed the idea of discarding faithful translations in order to satisfy the users of the target language and to strengthen the language and literature of the target community. In this way, he paved the ground to rewrite and reproduce the source texts in the target language. It should be noted that the introduction of Maqamat-e Hamidi is based on the fundamental idea that the components of a literary polysystem are in constant competition for a dominant position in language and literature. Therefore, this system is always witnessing constant challenges and tensions between the center and its peripheral environment. In other words, literary genres that are located in the periphery of this literary polysystem are constantly trying to reach a dominant position in the center of the polysystem and other literary genres that are in the center of this system (in the face of rival species) are trying to establish their dominance. On this basis, so-called less valid genres such as translated literature can be considered effective factors in the dynamics of the literary system. Translated literature can help to invent new literary techniques in the target community and this is one of the main reasons for recreating Maqamat in Persian. Finally, it is necessary to ask a key question and answer it: What were the decisions made by Hamidi in rewriting and recreating Arabic Maqamat in Persian? His decisions and actions can be classified into the following categories: 1) Innovation in choosing the title of Maqamat; 2) innovation at the beginning and end of Maqamat; 3) innovation in the illustration of the narrator and the hero of Maqamat; 4) innovation in the journey of the hero of Maqamat; 5) innovation in the structure of Maqamat with extensive use of debates and arguments; and 6) innovation in the content of Maqamat. پژوهش حاضر به‌منظور یافتن نشانه‌ای از ایده‌های بومی فن ترجمه، «مقامات حمیدی» اثر قاضی حمیدالدین بلخی را مطالعه و بررسی کرده است. بدیهی است که تاریخ مطالعات ترجمه به سه دورۀ پیشازبانی (لفظ به لفظ)، زبانی (زبان‌شناختی) و پسازبانی (فرهنگی) تقسیم‌شده است. باتوجه‌به آخرین دوره، امروزه این تصور وجود دارد که فرهنگ‌ها بر اساس نیازهایشان ترجمه می‌کنند. نظر به این‌که یافته‌های پژوهش حاضر، وجود این اندیشه را در دیباچۀ مقامات حمیدی ردیابی کرده است، باید به این نکتۀ مهم توجه کرد که قاضی حمیدالدین قرن‌ها قبل‌تر از صاحب‌نظران کنونی، به مسائل فرازبانی و فرهنگی در امر ترجمه اشاره کرده و ایدۀ مترجم مؤلف را به صحنۀ مطالعات ترجمه آورده است. موضوع این پژوهش از حیث روش، ماهیتاً کتابخانه‌ای، و شیوۀ انجام آن، توصیفی-تحلیلی است. یافته‌ها بیانگر آن است که حمیدی ایدۀ عبور از ترجمه‌های وفادار به زبان مبدأ را باهدف جلب رضایت کاربران زبان مقصد و نیز تقویت زبان و ادبیات جامعۀ هدف، در دیباچۀ مقامات خود مطرح کرده است تا زمینۀ حرکت به سمت بازنویسی و بازآفرینی متون مبدأ به زبان مقصد فراهم آید. وی برای عملی ساختن این ایده، به بازآفرینی مقامات همدانی و حریری در زبان فارسی پرداخته است.

https://liar.ui.ac.ir/article_26595_03419dcb12cf426d6d018b304766a2ff.pdf