دانشگاه اصفهان فنون ادبی 20088027 16 4 2024 12 21 49 شناسه 49، زمستان 1403 29157 FA Journal Article 2025 01 07 https://liar.ui.ac.ir/article_29157_d567a4ddadfd1bc8c5f6989488914a3e.pdf

دانشگاه اصفهان فنون ادبی 20088027 16 4 2024 12 21 Investigating and Completing Khanlari’s Theory on Metrical Units بررسی و تکمیل نظریه ارکان عروضی خانلری 1 14 28817 10.22108/liar.2024.142079.2397 FA عباس جاهدجاه دانشیار گروه زبان و ادبیات فارسی، دانشگاه پیام نور، تهران، ایران Journal Article 2024 08 02 Metrical units have a special place in the study of prosody, and as such, scholars have always paid particular attention to their scansion and naming. Parviz Natel Khanlari was one of the first to address the topic of metrical units in modern Persian prosody. Khanlari proposed ten metrical units—four of which are disyllabic and six trisyllabic—to describe the meter of Persian poetry. Despite the innovation of this new approach in prosody, some weaknesses prevented it from gaining acceptance among scholars. This research critically evaluates Khanlari’s method of structuring metrical units, aiming to identify its strengths and weaknesses. Additionally, by addressing these weaknesses and improving the theory, it seeks to enhance the effectiveness of this method. This study demonstrates that by completing and refining Khanlari’s approach, it is capable of describing Persian poetic meter, providing a novel understanding of the nature of metrical patterns, and can aid in simplifying the teaching of prosody while deepening its comprehension. For the first time, in this study, Khanlari’s units are practically applied, and the following proposals are made to complete his theory: organizing scansion based on repetition and alternation while avoiding irregular patterns, showing repetitions and alternations larger than three syllables; adding a unit to Khanlari’s six trisyllabic units; using a shortened monosyllabic unit and explaining the naming of shortened units. Keywords: Persian Prosody, Metrical Units, Parviz Natel Khanlari. Introduction Metrical units are crucial in the musical structure of poetry, and therefore, scanning the meter into units and naming them has always been a critical part of the study of prosody. Khanlari is one of the scholars who has made significant efforts to address the challenges of traditional prosody. One of the issues Khanlari tackled was the segmentation of meters into units and consequently the naming of these metrical units. While his proposal, like many of his other ideas, faced criticism, what is common in these critiques is the focus on the weaknesses of Khanlari’s method. Critiques emphasizing its positive aspects and aiming for improvement are largely absent. Two critiques stand out in the analysis of Khanlari’s segmentation and naming method: those by Najafi (2015) and Ghahramani Moghbel (2010). Khanlari’s suggested method was never fully applied by him or others, thus leaving it shrouded in ambiguity, which necessitates a practical evaluation of its strengths and weaknesses. The research pursues two primary objectives: first, to precisely describe Khanlari’s metrical units and identify the advantages and weaknesses of this type of segmentation; second, to refine, complete, and apply this method in alignment with later advancements and findings in prosody since Khanlari’s time. Materials and Methods The scope of this research is Khanlari’s theory on metrical units as discussed in the book The Meter of Persian Poetry (Khanlari, 1994). This research is conducted based on qualitative data, evaluating Khanlari’s theory through a descriptive-analytical approach. Following the identification of the theory’s strengths and weaknesses, attempts are made to refine and improve the theory consistent with new prosodical findings, with its utility evaluated post-amendments. Addressing critiques of Khanlari’s work and solving the issues raised, alongside assessing the application of Khanlari’s method in scanning and naming meters, are the main approaches used to achieve the outcomes of this research. Research Findings Advantages of Khanlari’s Method Simplicity: The greatest merit of Khanlari’s method lies in its simplicity. A set of ten metrical units (eleven after completion) suffices to name all Persian meters. Offering a Unique and Sometimes More Accurate Understanding of Meter’s Nature: Khanlari’s method has the capability to reveal alternations in meters apparently formed solely from repetitive units, and similarly, to highlight repetitions in meters seemingly established by alternation alone. Educational Benefits: When placed alongside traditional metrical units, it better highlights the conventional nature of metrical units and opens the way for a deeper understanding of the formation of meters. Emphasis on the Difference between Persian and Arabic Prosody: It is now known that the meters of Persian and Arabic poetry, despite some commonalities, are distinctly separate systems. Utilizing Khanlari’s units can put an end to the misconception of equating Persian and Arabic poetic meters. Practical Problems of Khanlari’s Theory Weakness in Demonstrating Large Metrical Structures: Khanlari’s focus on disyllabic and trisyllabic units optimizes his method for describing small metrical structures, but it lessens its power in describing larger structures. Absence of a Monosyllabic Unit: In Khanlari’s prosody, there is no monosyllabic unit. Therefore, when Khanlari encounters a monosyllabic unit at the end of a meter, he experiences confusion and difficulty. Incomplete Set of Trisyllabic Units: Khanlari’s prosody contains six trisyllabic units, which is insufficient for representing all trisyllabic units in Persian prosody, missing a unit with the syllable pattern of two longs and one short (- - U). Discussion of Results and Conclusions Completing Khanlari’s Theory and Addressing Its Flaws Adding a Marker: By adding a marker to indicate repetitions and alternations larger than three syllables (four and five syllables), the weakness in this theory in illustrating these structures can be resolved. The use of a comma is suggested, as it marks the boundary between units in pronunciation as well as in writing. This way, what lies between two pauses serves as a counterpart to the units in other segmentation methods. For example, the two units “Chame” and “Ava” in Khanlari’s prosody are equivalent to the “fa‘elatun” unit. By placing commas before and after these two units, “Chame Ava” is equated to “fe‘elatun” and will have its functionality. Shortened Units: The monosyllabic unit in Khanlari’s prosody only appears at the end of hemistiches and is always considered a shortened unit. Khanlari does not formally recognize it. To resolve this issue, the monosyllabic unit at the end of verses should be independently acknowledged. Adding a Trisyllabic Unit: A trisyllabic unit with the syllable pattern (- - U) is missing from Khanlari’s units. To address this, the unit “Avaze” is introduced following Khanlari’s naming convention. ارکان عروضی جایگاهی خاص در دانش عروض دارند و از همین رو عروضیان همواره به تقطیع و نام‌گذاری آنها توجه ویژه‌ای نشان داده‌اند. پرویز ناتل‌خانلری یکی از نخستین کسانی است که در عروض جدید فارسی به مبحث ارکان پرداخت. خانلری ده رکن را که شامل چهار رکن دو هجایی و شش رکن سه هجایی است برای توصیف وزن شعر فارسی مطرح کرد. باوجود نوآوری فروان در این رهیافت جدید عروضی، برخی ضعف‌های آن سبب شد تا عروضیان اقبالی به آن نشان ندهند. در این تحقیق شیوۀ رکن‌بندی خانلری با رویکردی انتقادی ارزیابی و سعی شد از یک سو نقاط قدرت و ضعف آن مشخص شود و از سوی دیگر با اصلاح ضعف‌ها و تکمیل نظریه، بر کارایی این شیوه افزوده شود. نتیجة این تحقیق نشان می‌دهد که شیوة رکن‌بندی خانلری با تکمیل و اصلاح، توانایی توصیف وزن شعر فارسی را دارد و می‌تواند با فرارفتن از نگاه مرسوم و شکستن هنجارهای ذهنی، درکی متفاوت از ماهیت اوزان عروضی ایجاد کند و در آسان‌سازی آموزش عروض و ژرفادادن به آن مفید باشد. در این مقاله برای نخستین بار ارکان خانلری در عمل به‌کارگرفته شد و این موارد برای تکمیل نظریة خانلری پیشنهاد شد: منظم‌کردن تقطیع براساس تکرار و تناوب و پرهیز از اوزان مختلف‌الارکان؛ نشان‌دادن تکرارها و تناوب‌های بزرگ‌تر از سه هجا؛ اضافه‌کردن یک رکن به شش رکن سه هجایی خانلری و بهره‌گیری از رکن ناقص یک هجایی و تبیین نام‌گذاری ارکان ناقص.

https://liar.ui.ac.ir/article_28817_ac3c4899cb9662936a3a8ce0af76fbb2.pdf

دانشگاه اصفهان فنون ادبی 20088027 16 4 2024 12 21 A Pragmatic Approach to Rhetorical Technique of "Exaggeration" Based on Grice’s "Cooperative Principle" خوانشی کاربردشناختی از فن بدیعی «مبالغه» براساس «اصل همکاری» گرایس 15 32 28838 10.22108/liar.2024.141157.2372 FA حسن رحمانی دانش‌آموختة دکتری زبان و ادبیات عربی، دانشکدة ادبیات و زبان‌ها، دانشگاه اراک، اراک، ایران قاسم مختاری دانشیار گروه زبان و ادبیات عربی، دانشکده ادبیات و زبان ها، دانشگاه اراک، اراک، ایران محمد جرفی استادیار گروه زبان و ادبیات عربی، دانشکدة ادبیات و زبان‌ها، دانشگاه اراک، اراک، ایران ابراهیم اناری بزچلویی دانشیار گروه زبان و ادبیات عربی، دانشکدة ادبیات و زبان ها، دانشگاه اراک، اراک، ایران. محمود شهبازی دانشیار گروه زبان و ادبیات عربی، دانشکدة ادبیات و زبان ها، دانشگاه اراک، اراک، ایران. Journal Article 2024 04 09 Exaggeration is among the most prominent rhetorical techniques that has long been of significant interest to linguists and scholars, specifically under the discipline of Badi (rhetorical embellishment). What is important about this rhetorical technique, like any other rhetorical technique, is the process by which it was created and how it is received and read. This study adopts a descriptive-analytical approach to answer this fundamental question and utilizes Grice's "Cooperative Principle" from pragmatic theory to analyze the structural-semantic process of this rhetorical technique. The results indicate that the creation of the rhetorical technique of exaggeration is fundamentally based on the non-observance of what Grice calls the Maxim of "Quality" because, in the process of creating this technique, the person refuses to provide correct and arguable information to the audience, thus refusing to comply with The Maxim of "Quality". Of course, it should be noted that the failure to comply with the Maxim of Quality in this process was intentional and in some way obvious and recognizable [= Flouting the Quality Maxim] and not with the purpose of deceiving or misleading the audience [= violation the Quality Maxim]. Rather, he does this with the aim of guiding him to "Conversational Implicature".This study can be considered an accurate criterion for distinguishing exaggeration from lying. Keywords: The Science of Rhetoric, Exaggeration, Pragmatics, Grice, Cooperative Principle, the Maxim of Quality, Conversational Implicature. Introduction Badi, the art of eloquence, strives to teach us the method of fine speaking. Despite its value and importance, we observe that the beautiful and captivating visage of this science has long been covered in the dust of antiquity and obsolescence, with little effort made to scientifically explain its subtleties and delicacies. Therefore, the current research aims to utilize contemporary linguistic data to delve into the rhetorical technique of Badi and present a more scientific image of this technique to the audience. The rhetorical technique of "exaggeration" (Mubalaghah) is one of these notable techniques. Given its extensive application in literary and everyday language and its ambiguous proximity to false speech, it deserves to be examined and read more thoroughly than any other rhetorical technique. The crucial aspect of this rhetorical technique, like other techniques, is understanding the process by which it is created and received. Undoubtedly, a scientific response to this question can provide a clear picture of the technique of exaggeration for the modern audience and potentially cleanse this rhetorical technique from the ignominy that has been attributed to it by some linguists for many years. Materials and Methods This research is based on a descriptive-analytical method and has been conducted with reference to library sources. To achieve the intended objectives, we utilized one of the prominent theories in the "Pragmatics" approach called the "Cooperative Principle", and based on it, we analyzed the structural-semantic process of the rhetorical technique of exaggeration. Furthermore, we have endeavored to analyze examples containing this rhetorical technique in both Arabic and Persian languages, based on the model derived from the structural-semantic process of exaggeration, and provide a new perspective on them. Research Findings The study of the rhetorical technique of exaggeration shows that this technique is created and finds meaning within a fully communicative context [speaker®audience]. In the process of creating this technique, the speaker (=A) amplifies or diminishes the specific characteristic of a person or thing beyond its actual reality in the external world and presents it to the audience (=B) (=Norm-Breaking); thus, claiming the utmost possession of that specific characteristic by that person or thing (= intentionality). Discussion of Results and Conclusion By aligning the above content with what Grice proposes under the Cooperative Principle and its four maxims, it can be understood that the creation of the rhetorical technique of exaggeration fundamentally relies on the "Flouting the Quality Maxim". In fact, during the creation process of this rhetorical technique, the speaker (=A) is required to provide information that they know is false or cannot substantiate, thus "Flouting" the Quality Maxim. In doing so, the speaker guides the audience (=B) towards "conversational implicature". This research emphasizes that what happens regarding the non-observance of the "Quality Maxim" in the process of creating the rhetorical technique of exaggeration is a " Flouting" that occurs in a conscious, explicit, and recognizable manner; rather than a "violation" which is non-explicit, unrecognizable, and intended to deceive or mislead the audience. This distinction can be considered a precise criterion for differentiating exaggeration from lying. مبالغه ازجمله برجسته ترین شگردهای کلامی است که از دیرباز توجه بسیاری از زبان پژوهان را به خود جلب کرده و به‌گونه‌ای ویژه در ذیل علم بدیع طرح یافته است. آنچه دربارة این فن بدیعی، مانند هر فن بدیعی دیگری، مهم است آنکه طی چه فرایندی آفرینش یافته و چگونه دریافت و خوانش شده است. پژوهش حاضر برای پاسخ به چنین پرسش بنیادینی، روش توصیفی‌تحلیلی را در پیش گرفته و با بهره مندی از نظریة کاربردشناختی «اصل همکاری گرایس» به تجزیه و تحلیل فرایند ساختی- معنایی این فن بدیعی پرداخته است. نتایج حاکی از آن است که آفرینش فن بدیعی مبالغه در اساس بر رعایت‌نکردن آنچه گرایس قاعدة «کیفیت» می نامند، استوار است؛ چراکه در روند آفرینش این فن، متکلم از اینکه اطلاعاتی درست و استدلال‌پذیر در اختیار مخاطب قرار دهد، خودداری‌کرده و بدین گونه قاعدة کیفیت را رعایت نمی کند؛ البته باید توجه داشت که رعایت‌نکردن قاعدة کیفیت در این فرایند عامدانه و به گونه ای آشکار و تشخیص پذیر بوده [= نقض قاعدة کیفیت] و متلکم نه با هدف فریب‌دادن یا گمراه‌ساختن مخاطب [= تخطی از قاعدة کیفیت]، بلکه با هدف رهنمون‌ساختن وی به «تضمن مکالمه ای» دست به چنین کاری می زند. این مطلب می تواند معیاری دقیق برای تمییز مبالغه از سخن دروغین قلمداد شود.

https://liar.ui.ac.ir/article_28838_945ca8e3061a97f919b1d2fb9111d332.pdf

دانشگاه اصفهان فنون ادبی 20088027 16 4 2024 12 21 Dramatic and Cinematic Potentials of the Fifth Dome in Nizami's Haft Peykar ظرفیت‌های نمایشی و سینمایی گنبد پنجم هفت پیکر نظامی 33 48 28937 10.22108/liar.2024.141924.2388 FA حیدر علی دهمرده دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه زابل، سیستان و بلوچستان، ایران حجت اله رئیسی کارشناس حوزه معاونت آموزشی، دانشگاه زابل، سیستان و بلوچستان، ایران. Journal Article 2024 06 29 In contemporary eras, considerable emphasis is placed globally on the adaptation of literary works. Artists in various fields, including performing arts, cinema, visual arts, etc., each employing their unique approaches, have drawn inspiration from these works, resulting in the creation of notable and prominent pieces. Among these artistic endeavors, cinema, being a comprehensive form of art with enhanced capabilities relative to other media, has played a significant role in the realm of literary adaptations. Nevertheless, in Iran, despite its wealth of literary works, there has been relatively limited attention devoted to literary adaptations. An exemplary instance of adaptation characterized by imagination and allegory is Nezami's Haft Peykar. Given the allure that works featuring elements of imagination, allegory, and symbolism hold for adaptation in visual arts, particularly in cinema, this study aims to explore the potential for theatrical and cinematic adaptation within the framework of Nezami's Haft Peykar, focusing specifically on its ‘Fifth Dome’. The diverse array of imagery, vivid descriptions, robust narrative structure, exceptional characters, and engaging conflicts and suspensions collectively contribute to rendering this narrative amenable to a compelling and respectable film adaptation. Keywords: Theatrical Aspects, Cinematic Adaptation, Haft Paykar, Fifth Dome, Imaginary-allegorical. Introduction Nizami Ganjavi, a 12th-century poet, gained widespread recognition through his quintet known as "Five Treasures" (Panj Ganj), among which Haft Peykar shines prominently. This poem is celebrated for its unique structure—a story within a story—and is considered by many poets and scholars, both in Iran and globally, as one of the most exquisite poems in the Persian language. Haft Peykar blends fiction with historical events from the life of Bahram Gur, skillfully weaving reality with poetic creation. It can be broadly categorized into two main sections. The first section encompasses the beginning and ending of the book, detailing the life of Bahram V, a Sassanid emperor, from his birth to his death. This part employs a historical narrative style. The second central section of the book diverges into the realm of fiction, presenting seven tales narrated by Bahram’s seven wives. These wives are princesses from the seven different climes, each representing a unique cultural background. Nizami crafts Bahram, the protagonist, as a multifaceted ruler—wise, intelligent, prudent, chivalrous, just, passionate, and optimistic. The narrative unfolds with Bahram falling in love with these princesses upon seeing their portraits. After his ascent to the throne, he ambitiously pursues their affections, eventually succeeding in marrying each one. For each wife, he constructs a distinct palace where, nightly, one of the princesses regales him with a story, weaving a tapestry of narratives that enrich the overarching plot. Interestingly, each palace in Haft Peykar is uniquely characterized by a specific color, which extends to the princesses' attire and the palace furnishings. These colors correspond to different days of the week, enhancing the thematic richness of the narrative. After listening to the stories each night, Bahram embraces the storytelling princess and falls asleep. The colorful domes of the palaces recall the walls of Ecbatana as described by Herodotus in his accounts of the Median kings, suggesting a continuation of this aesthetic preference and opulence in ancient royal courts. Similarly, the varied hues in the king's clothing echo historical accounts of past monarchs’ colorful attire. Furthermore, the association of colors with the days of the week draws on ancient superstitions and traditions about celestial bodies. The tales spun by the princesses are highly imaginative, imbued with elements that stretch the bounds of belief. In many scenes of literary adaptations, characters seem to float ethereally, as if moving within a realm of dreams. Since the earliest days of cinema, adapting literary works has been a vital bridge between literature and film, contributing significantly to the development of the cinematic arts. Forms of art that share a close relationship with literary narratives, like cinema, benefit greatly from this connection. Numerous scholarly works, including books, articles, and theses, have addressed the dramatic and adaptable aspects of classical literary texts. Notable among these are Dramatic Aspects of Masnavi by Kohansal (2011), Tarikh-e Bayhaqi: A Cinematic Narrative by Pourshabanian (2013), and Dramatic Aspects of Kalila and Dimna by Shirmardi (2016). However, there appears to be no existing research specifically on the dramatic aspects of the fifth dome of Nizami Ganjavi's Haft Peykar for adaptation into an imaginative-allegorical film. This study may, therefore, represent the first investigation of its kind in this area. Materials and Methods In this research, a descriptive-analytical method was employed. The study began by reviewing a range of sources related to literature, theater, cinema, and literary adaptation, taking detailed notes from these materials. Virtual space resources also proved invaluable in supplementing the findings. Subsequently, we classified and analyzed these notes to develop a systematic framework for the research. This structured approach facilitated a thorough exploration of the topic at hand. Research Findings As a relatively new art form, cinema has forged a deeper link with literature than many other arts, due to its novelty and its inherently linear and literary narrative structure. Today in Iran, with its rich cultural and literary heritage, there is a clear need to explore the dramatic potential of Persian literature for producing compelling and content-rich films. This need is particularly urgent given the technical advancements in cinema and the scarcity of original and engaging subject matter. Adapting literary works not only preserves cultural heritage but also enriches the cinematic landscape with profound and captivating stories. Although the connection between literature and cinema emerged in Iran alongside other parts of the world, Iranian filmmakers have historically paid little attention to adapting the country's classical and valuable literature. Compared to global efforts, adaptations from Iranian literature have been relatively sparse. Despite this, the story of the fifth dome in Nizami Ganjavi's Haft Peykar holds significant potential for transformation into a notable theatrical and cinematic adaptation. Discussion of Results and Conclusion This particular story, with its imaginative and allegorical nature, features a coherent and strong narrative that is crucial for successful adaptation. The presence of common elements of story and drama, such as characters, plot, ideas, setting, and the use of successive and sometimes nested narratives, could greatly enhance the suspense and overall appeal of the work, making it a compelling candidate for adaptation into film or theater. Moreover, the vivid imagery and scenes that highlight the imaginative aspect of the work, along with fantastic creatures and surreal environments, could pave the way for a fantasy film rich in engaging narratives and strong dramatic elements. Exciting sequences, paired with a captivating storyline and sophisticated special effects, could culminate in an artistic and popular film. This adaptation would not only transport audiences into a poetic realm but also remain true to the poet's original vision of crafting a meaningful story replete with vivid imagery. Additionally, the intense suspense and conflicts inherent in the story make it an ideal candidate for transformation into a compelling imaginative-allegorical film, likely to resonate with contemporary audiences. This combination of suspense and conflict underscores the potential for this narrative to become a standout cinematic experience that captivates modern viewers. امروزه در همه‌جای جهان نگاه ویژهای به اقتباس از آثار ادبی میشود، به‌گونهای که هنرمندان هنرهای تجسمی، نمایشی، سینما و ... هرکدام به نوبۀ خود از این آثار اقتباس کرده و آثار فاخر و شایان توجهی خلق کرده‌اند. در این میان سینما به‌مثابه یکی از هنرهای فراگیر که امکانات بیشتری نسبت به سایر هنرها دارد نقش مهمی در اقتباس‌های ادبی داشته است؛ اما در ایران با توجه به آثار ادبی غنی، به این شکل از اقتباس ادبی، کمتر توجه شده است. یکی از کتابهایی که میشود از آن به‌صورت یک نمونۀ اقتباسی بسیار خوب از منظر تخیل و تمثیل استفاده کرد، هفت‌پیکر نظامی است. ازآنجایی‌که آثاری با جنبه‌های تخیل و تمثیل وجه اقتباسی قدرتمندی در هنرهای تصویری به‌ویژه سینما دارند، در این نوشتار تلاش بر این است تا گنبد پنجم هفت‌پیکر نظامی را به‌دلیل ساختار و محتوای منحصر به فرد و روایات و تصاویر جذاب که ذهن مخاطب را به چالش می‌کشد، در کنار ماجراهای فانتزی و موجودات خارق‌العاده که زمینه‌ساز گرایش و توجه به آن برای تولید اقتباسی یک اثر ماندگار و جذاب سینمایی-نمایشی می‌شود از منظر جنبههای نمایشی و سینمایی بررسی و پژوهش شود. تنوع تصاویر و توصیفها، ساختار روایی قوی، شخصیتهای خارق‌العاده، کشمکش و تعلیقهای جاندار، زمینه‎ساز ساخت داستان یک فیلم اقتباسی سزاوار و درخور می‌شود.

https://liar.ui.ac.ir/article_28937_728f3aa1034b5a81a0507fbceb90112a.pdf

دانشگاه اصفهان فنون ادبی 20088027 16 4 2024 12 21 The Harmony of Meter and Emotion in the Odes of Anvari Abivardi (With a Look at the Poems of His Master, Abol Faraj Runi) هارمونی وزن و عاطفه در قصاید انوری ابیوردی (با نگاهی گذرا به اشعار استاد وی، ابوالفرج رونی) 49 70 28800 10.22108/liar.2024.141084.2370 FA مریم خلیلی جهانتیغ استاد گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه سیستان و بلوچستان، زاهدان، ایران محمد بارانی دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه سیستان و بلوچستان، زاهدان، ایران لیلا شکیبایی دانشجوی دکتری زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه سیستان و بلوچستان، زاهدان، ایران Journal Article 2024 04 02 In this study, harmony is used in the general sense of compromise, coordination, and unity. Music is one of the constructive elements in the formation and structure of poetry, which highlights the speech and has a close relationship with the poet's emotions and intentions. By choosing an external melody that matches the meaning, that is, rhythm as one of the branches of music, the poet increases the effect of his poem and promotes its artistic and literary value. This leads to the communication of the meaning and the veiled emotion, in the deep structure, of the poem. Consequently, it will form spiritual coherence and phonetic melody by employing other poetic musical devices. The purpose of this research is to investigate the quality and quantity of the types of bahrs (prosodic meters), and specifically, to analyze the degree of their coordination with the emotions and feelings of Anvari in his odes. This research is done using the descriptive-analytical method and library sources. In the selected odes, 9 bahr (prosodic meters) and 37 meters are used, with the highest frequency, respectively, for Ramal, Khafif, Hazaj, Mozare, and Mojtath. Metric variations, arrangement of syllables with distinct quality, that is, paying attention to the type of syllables in the speech structure, such as long and elongated syllables or short and moving syllables, and the low use of poetic license has resulted in admirable coordination with the poet’s emotions of contemplation and hesitation, sadness, and delight. The use of the above cases in Anvari’s poetry has led to the rise of emotions in both individual and social aspects, giving his poetry the opportunity to get out of the shadow of pure imitation and praise. This, even, prevents him from imitating a leading poet, Abol Faraj Runi, in changing his poetic style. Abul Faraj's intellectual horizon only appears in the domain of eulogy and personal gain; however, Anvari is not indifferent to social issues and events. Thus, he, unlike his master, has established a sort of coordination between meter and emotion. هارمونی در این مقاله با اندکی تسامح به معنای کلی سازش، هماهنگی و وحدت به کار می رود. موسیقی یکی از عناصر سازنده در شکل‌گیری و ساختار شعر است که کلام را برجسته می‌کند و رابطه‌ای تنگاتنگ و نزدیک با عاطفه و اغراض شاعر دارد. شاعر با گزینش موسیقی بیرونی متناسب با معنا یا همان وزن به‌عنوان یکی از شاخه‌های موسیقی ، تأثیر و ارزش هنری و ادبی شعر خود را افزایش می‌دهد و این امر به انتقال معنا و مفهوم و عاطفۀ نهفته در شعر به‌عنوان ژرف‌ساخت اثر باعث انسجام معنوی و همچنین هماهنگی آوایی در ترکیب با سایر عوامل موسیقی‌ساز خواهد شد. هدف این پژوهش بررسی کیفیت و کمیت انواع بحرها و اوزانشان و به‌طور خاص تحلیل میزان هماهنگی آنها با عاطفه و زبان دل و احساس انوری در کل قصاید می‌باشد که با روش توصیفی‌تحلیلی و استفاده از منابع کتابخانه‌ای انجام شده است. در قصاید بررسی شدة انوری، 9بحر و 37 وزن عروضی به‌کاررفته است که از این میان به‌ترتیب بحرهای رمل، خفیف، هزج، مضارع و مجتث و وزن‌های رمل مثمن مقصور/ محذوف و خفیف مسدس مخبون مقصور/ محذوف از بسامد بالا و شایان توجهی برخوردار هستند. تنوع وزنی، همنشینی هجاهایی با کیفیت خاص، یعنی توجه به نوع هجاها در ساختار سخن، همانند هجاهای بلند و کشیده یا هجاهای کوتاه و متحرک و نیز استفادة کم از ضرورات و اختیارات شاعری، سبب تناسب بسیار خوب این عوامل با عواطف و احساسات او همچون تأمل و درنگ، غم و اندوه و هیجان و نشاط شده است. توجه به این موارد و رعایت آنها، بروزعاطفه در هر دو جنبة فردی و نیز اجتماعی را در قصاید انوری باعث شده است، امری که شعر او را از سایة تقلید و مدحِ محض بیرون کشیده و حتی از اقتدا به شاعری پیش‌رو در تغییر سبک چون ابوالفرج رونی که انوری خود را شاگرد وی ‌می‌داند، دور و مستقل کرده است؛ زیرا افق فکری ابوالفرج فقط در حوزة مدح و کسب منفعت شخصی مجال ظهور و بروز پیدا می‌کند؛ اما انوری نسبت به مسائل و اتفاقات جامعه بی‌توجه نیست و بین وزن و عاطفه ارتباط و تناسب برقرار کرده و در این‌باره به استاد خود اقتدا ننموده است.

https://liar.ui.ac.ir/article_28800_f48b5b984ffed075a6374fe59f36f7af.pdf

دانشگاه اصفهان فنون ادبی 20088027 16 4 2024 12 21 The Interaction of Metaphor and Metonymy in the Interpretation of Persian Complex Verbs Containing Loanwords برهم‏ کنش استعاره و مجاز در برآیند معنایی افعال دارای جزء وام‏ واژه‏ای در زبان فارسی 71 94 28938 10.22108/liar.2024.141731.2383 FA فاطمه بهرامی استادیار گروه زبانشناسی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید بهشتی، تهران، ایران Journal Article 2024 06 04 Metaphor and metonymy are applied routinely as ongoing linguistic phenomena in meaning extension. The present study, paying attention to Persian complex verbs, i.e. compound and phrasal verbs containing loanwords, examined the metonymic and metaphoric meaning shifts of the loanwords in Persian light verbs. Evidence is mainly extracted from the Persian Dictionary of Secret Words and is analyzed based on the cognitive model proposed by Ruiz de Mendoza and Galera-Masegosa (2011). The results showed the independence of metonymic processes and the dependence of metaphors on the metonymic shifts. It was also found that the processes involved in Persian are far more complicated. A total of twelve patterns were categorized, eight of which were unique to Persian. Among these, three patterns were based solely on metonymy and others were obtained from the interaction of metaphor and metonymy, namely: metonymic expansion of the metaphoric domain, metonymic reduction of the metaphoric domain, a successive chain of expansion and reduction of the domain, metonymic expansion of the source domain and metonymic reduction of the target domain, metonymic reduction of source domain and metonymic expansion of target domain, double reduction of source and target domain, metaphoric amalgams of two target domains in a single source domain, and metaphoric chain with metonymic reduction of the first source domain. The other four patterns corresponded to ones proposed by de Mendoza and Galera-Masegosa (i.e. metaphoric expansion of source domain, metaphoric reduction of source domain, metaphoric reduction of target domain, and metaphoric amalgams). A total of nineteen patterns were obtained, which shows that human language has a high capability in the interaction of metaphor and metonymy. تغییرات معنایی واژه‏ ها بر پایۀ استعاره و مجاز در زبان، امری همواره در جریان و البته مورد توجه است. ازآنجاکه وام‏ واژه ‏ها بستر مساعدتری برای تغییرات معنایی دارند، نوشتۀ حاضر با التفات به آن دسته از افعال غیربسیط فارسی که حاوی وام‏ واژه‏ هستند، به بررسی نحوۀ تغییرات معنایی مجازی و استعاری وام ‏واژه ‏ها به‌مثابۀ جزء غیرفعلی و همکرد هم‌نشین آنها پرداخته است. شواهد زبانی، اغلب از فرهنگ لغات مخفی زبان فارسی (1400) استخراج و بر مبنای الگوی شناختی روئیز و گالرا (2011) تحلیل شده است. نتایج نشان داد در زبان فارسی گرچه مجاز می‏ تواند مستقلاً عامل تغییر معنایی فعل غیربسیط باشد، استعاره استقلال عمل ندارد و همیشه همراه با مجاز است. همچنین، مشخص شد فرآیندهای دخیل در تغییرات معنایی در فارسی به‌مراتب پیچیده‏ تر است. مجموعاً دوازده الگو دسته ‏بندی شد که هشت مورد آن منحصر به شواهد زبان فارسی بود. از این میان، سه الگو تنها بر پایۀ مجاز و سایر الگوها از برهم‏ کنش استعاره و مجاز حاصل آمده بود که عبارت است از: 1. گسترش مجازی دامنۀ حوزه؛ 2. کاهش مجازی دامنۀ حوزه؛ زنجیرۀ متوالی گسترش و کاهش دامنۀ حوزه؛ 3. گسترش مجازی حوزۀ مبدأ استعاره و کاهش مجازی حوزۀ مقصد؛ 4. کاهش مجازی حوزۀ مبدأ استعاره و گسترش مجازی حوزۀ مقصد؛ کاهش مجازی هر دو حوزۀ مبدأ و مقصد استعاره؛ 5. تلفیق حوزۀ مقصد دو استعاره در یک حوزۀ مبدأ و در نهایت زنجیرۀ استعاری با کاهش مجازی حوزۀ مبدأ استعارۀ نخست. چهار الگوی دیگر منطبق با ساختارهای پیشنهادی روئیز و گالرا شامل گسترش مجازی حوزۀ مبدأ استعاره، کاهش مجازی حوزۀ مبدأ استعاره، کاهش مجازی حوزۀ مقصد استعاره و تلفیق یک استعاره در حوزۀ مبدأ-مقصد استعاره دیگر است. از مجموع مشاهدات روئیز و گالرا در انگلیسی و نگارنده در فارسی، مجموعاً نوزده الگوی تغییر معنایی حاصل آمد که نشان می‏ دهد زبان بشری در کاربرد تعاملی استعاره و مجاز ظرفیت بیشتری دارد.

https://liar.ui.ac.ir/article_28938_977ec8bc0d7f8ee938c6ca4fa4f37b96.pdf

دانشگاه اصفهان فنون ادبی 20088027 16 4 2024 12 21 Intersemiotic Translation: From Medieval Poetry to Modern Movie ترجمۀ بینانشانه‌ای: از ادبیات کهن به نمایش معاصر 95 116 28957 10.22108/liar.2024.142443.2399 FA لیلا نیک نسب استادیار گروه زبان های خارجی، دانشکده علوم انسانی و هنر، دانشگاه حضرت معصومه (س)، قم، ایران Journal Article 2024 08 14 Jacobson )1959) divides translation into three categories: intralingual, interlingual, and intersemiotic, and considers adaptation as a form of intersemiotic translation. This descriptive-analytical study aims to investigate the relationships between a classical narrative—the story of Sheikh San'an from Attar’s Conference of the Birds—and a modern movie—The Forbidden Fruit written/directed by Hassan Fathi in the 2000s. The study seeks to demonstrate, through various examples, that this movie is influenced by the story of Sheikh San'an and it is a kind of adaptation. Thus, in the process of converting the semiotic system of an ancient text into an audiovisual system, which is considered a form of intersemiotic translation, the existing intertextual relationships are decoded. The results show that, according to the classification provided by Andrew (1984) for adaptation, this intersemiotic translation is of the first type, with borrowing evident in many structural and thematic elements. In this adaptation, the filmmaker did not aim for complete fidelity to the original text, nor was its originality fully preserved. Instead, many elements of this ancient literary work were borrowed and modified to suit the constraints of the medium, cater to the preferences of the audience, and align with the objectives of the film. Keywords: Adaptation, Intersemiotic Translation, Intertextuality, Semiotic System, Sheikh San'an. Introduction Jacobson (1959, p. 16) divides translation into three categories: intralingual translation, interlingual translation, and intersemiotic translation. a) Intralingual translation, or rephrasing, involves translating verbal signs using other signs within the same language. b) Interlingual translation, or proper translation, involves translating verbal signs using another language. c) Intersemiotic translation, or transformation, involves translating verbal signs using signs from non-verbal sign systems. Andrew (1984) describes the relationship between film and text, or adaptation, in three ways: borrowing, intersection, and the fidelity of transformation. Borrowing is the most common method of adaptation, in which the content, idea, or form of a prestigious literary text is utilized. In the second type, called intersection, the original text retains much of its authenticity in the film. The third type is the fidelity of transformation, which means the reproduction of the important aspects of the original work in cinema. In this way, the original work is compared with the film. Fidelity to both the form and the spirit of the work will be considered, and aspects of the literary work will be clearly expressed in each version of the film. The following two research questions are discussed and examined in this study: In the process of intersemiotic translation from the narrative of Sheikh San'an to the screenplay of The Forbidden Fruit, what similar and different elements can be identified in the transition between these two semiotic systems? Which type of Andrew's (1984) adaptation method does The Forbidden Fruit screenplay follow in its adaptation of the story of Sheikh San'an? In Attar's works, many long and short stories can be found, which have been repeatedly adapted for the stage both inside and outside the country. Some studies have been conducted in the fields of "adaptation of Iranian literature both domestically and internationally" and "intersemiotic translation" of various texts. However, there are few, if any, studies relevant to the topic of the present study. Materials and Methods This study has been conducted using a descriptive-analytical method. The literary text in question is the story of Sheikh San'an, selected from the narrative section of The Conference of the Birds by Attar, and it has been compared with the screenplay of The Forbidden Fruit, directed by Hassan Fathi and shown in the 2000s. Given the scope of the study, certain structural elements such as plot, character development, beginning, ending, time, and setting, as well as thematic components like symbols, conflicts, themes, and motifs have been examined in two different semiotic systems, revealing intertextual connections. Research Findings In this intersemiotic translation from narrative to movie, given the scope of the present study, some intertextual semiotic relationships are analyzed, with greater emphasis placed on the narrative aspects of the work. The key story elements examined in this movie are as follows: Plot (narrative structure) Character and characterization Story progression Setting (time and place) Symbols and signs Dialogue Themes and motifs The story of Sheikh San'an, who fell in love, is one of the beautiful mystical stories, and Sheikh Farid al-Din Attar elegantly narrates it in verse in his Conference of the Birds. Most of the elements of the Sheikh San'an story can be found in The Forbidden Fruit. The tale revolves around a pious man, on the verge of old age, who suddenly, while dealing with worldly matters, distances himself from spirituality and becomes entrapped by the love of a young woman. Forced to abide by the conditions the girl sets for union, he loses everything, but in the end, with divine grace and guidance, he repents and finds the right path. In both stories, the girl ultimately attains faith. Sheikh San'an—as a religious man who has spent his life in the pursuit of religion and faith but becomes infatuated with a Christian girl—was considered an unusual tale. Similarly, in the movie, there is a scene where "Jalal", the elder son of the pious man in the story, informs his mother about his father's possible transgression. The mother, shocked and astonished, rejects his claims. Discussion of Results and Conclusion Since the narrative has manifested in the form of a movie, it naturally incorporates elements of imagination and dramatic aspects. Some events, actions, reactions, and themes are repeated in the screenplay by the filmmaker, while others have been altered in terms of the storyline and contemporary culture, and some parts have been creatively added to the script. Therefore, the different elements can be classified as follows: Addition of secondary characters Time and setting of the story Social and moral themes Language and literature Incorporation of subplots alongside the main story Multiplicity of characters and different conflicts It can be said that this adaptation falls under Andrew's model of "borrowing". The viewer does not witness a direct and complete adaptation of the story. The director has made an effort to ensure that the appeal of the screenplay, the audience's engagement, and the success of the movie are indebted to the elements borrowed from the tale of Sheikh San'an. یاکوبسن ترجمه را به سه دستۀ درون‌زبانی، بینازبانی و بینانشانه‌ای تقسیم می‌کند و اقتباس را نوعی ترجمۀ بینانشانه‌ای می‌داند. این پژوهش به شیوۀ توصیفی‌تحلیلی درصدد است روابط بینانشانه‌ای را میان داستان شیخ صنعان از منظومۀ عطار نیشابوری به‌عنوان «روایت کهن» و مجموعۀ تلویزیونی میوۀ ممنوعه به کارگردانی حسن فتحی «نمایش معاصر» بررسی کند. در این پژوهش سعی شده است با ذکر نمونه‌های گوناگون نشان داده شود که این نمایش تلویزیونی معاصر متأثر از داستان شیخ صنعان بوده و اقتباس صورت گرفته است. بدین ترتیب، در جریان تبدیل نظام نشانه‌ای متنی کهن به نظام دیداری‌شنیداری معاصر که نوعی ترجمۀ بینانشانه‌ای به شمار می‌آید، از روابط بینامتنی موجود رمزگشایی می‌شود. نتایج نشان می‌دهد که برطبق دسته‌بندی ارائه‌شده ازسوی اندرو (Andrew,1984/1382) اقتباس از این ترجمۀ بینانشانه‌ای از نوع اول است و وام‌گیری در بسیاری از مؤلفه‌های ساختاری و محتوایی دیده می‌شود. در این نمایش اقتباس‌شده وفاداری کامل به متن اصلی مدّنظر اقتباس‌گر نبوده و اصالت آن نیز حفظ نشده است؛ بلکه بسیاری از مؤلفه‌های این اثر ادبی کهن در نمایش وام گرفته شده و به اقتضای محدودیت‌های رسانه‌ای، نوع مخاطبان و هدف فیلم با تغییراتی همراه بوده است.

https://liar.ui.ac.ir/article_28957_a059f7304b5edfa193d5ce73081d15da.pdf

دانشگاه اصفهان فنون ادبی 20088027 16 4 2024 12 21 Examining Psychological Elements in the Works of Khaled Hosseini کالبدشکافی آثار داستانی خالد حسینی با تمرکز بر عناصر روان‌شناختی 117 138 28988 10.22108/liar.2024.141570.2379 FA شقایق تمیزی فر دانشجوی کارشناسی ارشد گروه زبان و ادبیات فارسی، دانشگاه پیام نور تهران، ایران محمد ابراهیم ایرج پور دانشیار گروه زبان و ادبیات فارسی، دانشگاه پیام نور، تهران، ایران زهرا آقابابایی استادیار گروه زبان و ادبیات فارسی، دانشگاه پیام نور، تهران، ایران Journal Article 2024 05 29 Khaled Hosseini, the acclaimed Afghan-American novelist, is renowned for his poignant narratives that delve beyond mere storytelling into the complexities of psychology and sociology. His novels, which resonate with diverse audiences, are celebrated for their rich character development and strong themes, capturing the attention of literature enthusiasts. These works skillfully speak across generations, unveiling the intricacies of familial bonds, secrets, and legacies, appealing to readers captivated by multi-generational tales and the dynamics of complex characters. Moreover, Hosseini's works offer profound insights into the culture, history, and social norms of Afghanistan. By evoking emotions ranging from the anguish of betrayal to the joy of connection, his writing fosters empathy for the characters, setting his prose apart from other literary works. The masterful intertwining of psychological themes with cultural authenticity solidifies his standing as a distinguished literary figure. This study aims to dissect various aspects of Hosseini's work with a focus on analyzing psychological elements. It seeks a deeper understanding of the intricate relationship between literature, psychology, and sociology depicted in Hosseini's prominent works, highlighting literature's power to touch the human heart and soul. خالد حسینی، رمان‌نویس تحسین‌شدۀ افغان-آمریکایی، به‌دلیل روایت‌های تکان‌دهنده‌اش شهرت دارد که فراتر از داستان‌سرایی صِرف به پیچیدگی‌های روان‌شناسی و جامعه‌شناسی می‌پردازد. رمان‌های او که با مخاطبان مختلف طنین‌انداز می‌شود، به‌دلیل پروراندن شخصیت‌های غنی و درون‌مایه‌ای قوی مورد توجه علاقه‌مندان ادبیات است. این آثار به‌طرز ماهرانه‌ای از نسل‌های مختلف سخن می‌گویند و پیچیدگی‌های پیوندهای خانوادگی، رازها و میراث‌ها را آشکار می‌کنند و برای خوانندگانی که مجذوب روایت‌های داستانی میان چندین نسل و پویایی شخصیت‌های پیچیده هستند، جذاب می‌شوند. علاوه‌بر این، آثار حسینی نگاهی عمیق به فرهنگ، تاریخ و هنجارهای اجتماعی افغانستان دارد. رمان‌های او با برانگیختن احساسات و عاطفۀ مخاطب که از رنج خیانت تا لذت ارتباط ادامه دارد، سبب ایجاد حس همدلی با شخصیت‌های داستانی می‌شود و همین امر نثر او را از دیگر آثار متمایز می‌کند. درهم‌تنیدگی ماهرانۀ مضامین روان‌شناختی با اصالت فرهنگی جایگاه او را به‌عنوان شخصیت برجستۀ ادبی تثبیت می‌کند. هدف این مقاله کالبدشکافی جنبه‌های مختلف آثار داستانی حسینی با تمرکز بر تحلیل عناصر روان‌شناختی است. این مقاله به‌دنبال درک دقیق‌تری از رابطۀ پیچیده بین ادبیات، روان‌شناسی و جامعه‌شناسی است که در آثار برجستۀ حسینی به تصویر کشیده شده‌ است تا شاهدی بر قدرت ادبیات در لمس قلب و روح انسان باشد.

https://liar.ui.ac.ir/article_28988_05b4d03f484a6051d47a3d5a1087a59b.pdf