Cheng Wang
Abstract
The Word "Samandar" which means a mythical Eurasian animal has been mentioned in the form of various animals in Chinese, Persian and Western historical texts and literature. In Western texts, this animal was usually described as a "tailed amphibian that lives in fire", which is actually considered the ...
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The Word "Samandar" which means a mythical Eurasian animal has been mentioned in the form of various animals in Chinese, Persian and Western historical texts and literature. In Western texts, this animal was usually described as a "tailed amphibian that lives in fire", which is actually considered the "salamander" in biology today; However, in Islamic and Chinese texts, this animal was mostly recorded as a "fiery animal whose hair can be woven into a cloth that does not burn in fire", which the authors meant was "fireproof cotton", and in Chinese texts it has another name "Hu Huan" Fabric. In this article, the author has tried to examine the similarities and differences between people's understanding of "salamander" in the West and the East in ancient times by sampling the descriptions of "salamander" in various texts; And by focusing on the similarity of the "salamander" feature in Persian and Chinese texts, to explain the flow of promotion of the "salamander" myth from the western regions (Iranian and Arab lands) to China and to emphasize the fact that the transfer of the "salamander" myth from the west to The East is one of the important examples of cultural exchanges between Chinese and Iranian-Islamic civilizations.
Bayrammorad Moradi; Abbas Nikbakht; Abdollāh Vāsegh Abbāsi
Abstract
"Existence" and "being" are fundamental concepts in Islamic philosophy and mysticism. These concepts have been extensively addressed in the history of Persian literature and thought in many mystical and philosophical works. This includes the works of the Safavid period, which are no exception. In particular, ...
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"Existence" and "being" are fundamental concepts in Islamic philosophy and mysticism. These concepts have been extensively addressed in the history of Persian literature and thought in many mystical and philosophical works. This includes the works of the Safavid period, which are no exception. In particular, Rasā’el-e Dehdār and Osul al-maʿāref, representing the Iranian and Shia currents of thought in the Safavid period respectively, delve into the important cognitive concepts of God, existence, and being. These concepts are depicted through conceptual metaphors within these two works. This study adopts a descriptive-analytical approach to examine the prominent existential metaphors present in Rasā’el-e Dehdār and Osul al-maʿāref, and explores their connection to the social and intellectual discourse of the Safavid period. The central hypothesis of this article posits that ideas of graded unity, numerical unity (Oneness), and existential unity have emerged and manifested themselves in the form of metaphors such as the sun, the spot, and the sea. By examining and comparing these metaphoric images and their clusters, we aim to shed light on the shared intellectual foundations of these three schools of thought, which reflect the ideas of Iranian Shia Sufism.
zahrasadat mosavikhorram; shahin ojaghalizadeh
Abstract
Jakobson’s model of language functions categorizes effective acts of communication into six distinct functions: referential, emotive, conative, phatic, metalingual, and poetic. According to Jakobson, artists can influence the audience by utilizing these functions to channel their message. The functions ...
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Jakobson’s model of language functions categorizes effective acts of communication into six distinct functions: referential, emotive, conative, phatic, metalingual, and poetic. According to Jakobson, artists can influence the audience by utilizing these functions to channel their message. The functions of language, alongside their orientations toward the addressee, addresser, message and other components, play a crucial role in determining the writer’s mode of expression and the portrayal of the world around them, which can result in distinct representations of the same subject. This study focuses on examining and analyzing the effects of language functions in Hāfez’s ghazals based on Jakobson’s communication process, utilizing a descriptive-analytical method and library resources,. The research takes a predominantly structuralist approach, with the Ghani-Qazvini edition of Hāfez’s poems serving as the base source. By incorporating linguistic findings and the poetic function of language, the research aims to illustrate the poetic manipulations of language employed by Hāfez in his ghazals. It is these intentional manipulations of language that contribute to the lasting appeal and endurance of Hāfez’s poems. The findings of the research highlight that, considering the linguistic and thematic characteristics of Hāfez’s ghazals, each language functions, according to Jacobson’s theory of communication, can be examined through three axes: 1) structure, 2) theme, 3) audience. The analysis of sentence structures, such as bipartite, tripartite, and quadripartite sentences, reveal that primary and secondary elements encompassing subjective, complementary, objective, predicative, and adverbial functions, all play a role in conveying the poet’s intended message in most verses.
zeynab shahsavan toghan; Masomeh Khodadadi mahabad; Tahereh Khabazi
Abstract
Persian poetry has long reflected nature and its manifestations, using a language that beautifully illustrates the close connection between natural phenomena and poetic thought. The mode of expression in these poems skillfully convey this connection through vivid description of nature, the incorporation ...
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Persian poetry has long reflected nature and its manifestations, using a language that beautifully illustrates the close connection between natural phenomena and poetic thought. The mode of expression in these poems skillfully convey this connection through vivid description of nature, the incorporation of symbolic imagery, and allegories drawn from the natural world. However, the advent of the industrial revolution and the subsequent rise of machinery, which affected various aspects of human existence, significantly altered the bond between humans and nature. As humans positioned themselves as superior to nature, an imbalanced and one-sided relationship ensued. In response, ecocriticism has emerged as a discipline aiming to explore the intricate relationship between literature and the surrounding natural environment. Ecocritical scholars deploy diverse approaches to examine how nature and its manifestations are depicted in literary texts. This article specifically delves into the linguistic features of two notable Persian poets, Nimā Yushij and Manuchehr Ātashi, in their representation of nature and its manifestations. Nimā believes that no word possesses inherent poetic qualities; rather, its usage and function determine its poetic merit. On the other hand, Ātashi employs a rich and evocative language imbued with warm climatic emotions, using beautiful poetic interpretations, fresh expressions, thematic exploration, and novel metaphors that encapsulate the vibrant environment of the southern regions. Ātashi’s poetry incorporates archaic words to convey strength, while the inclusion of Arabic words enhances the natural rhythm of colloquial speech. Both poets showcase innovative styles influenced by their respective local dialects. In Nimā’s poems, natural elements serve as symbols representing cultural and social concepts, whereas Ātashi’s use of regional vocabulary intends to familiarize the readers with the specific characteristics of the southern environment and its conditions. In Ātashi’s poetry, readers encounter a juxtaposition of native violence and poetic delicacy. Words such as sabakhzār, kahareh, and titermuk evoke imagery reminiscent of dārug and mākhulā found in Nimā’s poetry, while simultaneously conjuring up images of the southern landscape in the reader’s mind.
Faranagis Abbaszadeh; Bahman Gorjian
Abstract
Allusion is a discursive tool which operates on the semantic congruity of words and plays a crucial role in advancing the speaker’s objectives. This study delves into the discursive significance of “religious allusions” in the context of courtroom interaction between judges and defendants ...
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Allusion is a discursive tool which operates on the semantic congruity of words and plays a crucial role in advancing the speaker’s objectives. This study delves into the discursive significance of “religious allusions” in the context of courtroom interaction between judges and defendants from a forensic linguistics perspective, drawing insights from McMenamin’s framework. Employing a descriptive-analytical research approach, this study examined a corpus consisting of 50 video clips featuring courtroom proceedings from Iranian TV programs and documentaries. The findings revealed that religious allusions are commonly employed in these legal settings. Furthermore, the findings highlighted notable difference in the usage of religious allusions between judges and defendants. Judges predominantly draw upon Quranic and hadith allusions, whereas defendants tend to rely on historical, narrative, and folklore references, reflecting their distinctive perspectives and cultural backgrounds. The implications of this investigation suggest that legal professionals would benefit from educational workshops to enhance their understanding of this linguistic phenomenon, ultimately fostering smoother court proceedings.
Marjan Aliakbarzade zehtab
Abstract
This research aims to elucidate Lakoff’s Women’s Language theory and explore the presence of its components in the play Kurosh Kabir by Pari Sāberi. Through a descriptive-analytical approach, the main focus is on identifying and analyzing women’s language components, as outlined in ...
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This research aims to elucidate Lakoff’s Women’s Language theory and explore the presence of its components in the play Kurosh Kabir by Pari Sāberi. Through a descriptive-analytical approach, the main focus is on identifying and analyzing women’s language components, as outlined in Lakoff’s model, within the context of the play. The significance of this study lies in delving into the gender linguistics theory of Lakoff and the literary merit of Kurosh Kabir. The research investigates the presence of women’s language indicators in the work, guided by Lakoff model. It hypothesizes that the play contains a substantial number of women’s language components worth investigating. The evaluation of the play occurs on three levels: linguistic (lexical and syntactic), literary, and intellectual. Despite the limited number of female characters (4 female characters compared to 29 male characters), the dialogue of these few women exhibit several women’s language components. The overall language of the play is also influenced by the female playwright’s language style, showcasing distinct feminine features. Moreover, these feminine features are also noticeable in the language of male characters, accentuated by the choir serving as narrators. Their role in depicting dramatic scenes further enriches the portrayal of Kurosh Kabir by Sāberi with prominent women’s language components. Notable features include the use of intensifiers, word repetition, prayer sentences, poetic language, and a significance emphasis on body language throughout the work.
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