Journal of Kavoshnameh in Persian Language and Literature
Year:2010 | Volume:10 | Issue:19|Papers Count:12

By historical (diachronic) studies in language, we ca be had a historical approach about the language alterations. These alterations are often suitable visible of cultural transfer appearance in various societies, during history. The results of these studies have been affected on anthology and anthropology progress. These results can be agreed to mythologist, the important information for interpreting and discovering the symbolic meanings and confirming their theories. This article first begins by an introduction about the connection between language and myth and the mention of some theories respecting this case. Then present the analyses of some ancient Iranian myths, by this approach and using of incorporating the language study and mythological semi logy and searching the connection between lingual texture and mythological theories. For example, conformity Jamshid and Kiumarth words with first human and first twin patterns, since present the connection between Farvardin and foreteller cap, and issue describe the cultural transfer appearance about meaning changes in Kavi and Kianian words.In this paper, we try to present using of historical studies in language, for discovering the symbolic meanings and content analysis of myths.

"Yousef and Zoleikha" is one of the famous stories in Persian literature and its one of Jami’s "Haft-Ovrang". This story has been caused the great reflection in the Persian lyric poetry.The original story has come inBible, but also it has come in Holy Quran (sure Yusof) with some differences and called "Ahsan-olqisas".It’s only story of Quran which makes a complete "sura". About 90 verses works have been made in Persian & Turkish literature of this story. However these works have differences from original narration in Quran.In this article, writers try to analyze three Persian narrations of these verses and also compare them. In this way, will specify the quantity of similarities and differences and also clear how much the persian poets are bound to the original narration in Quran. These three narrations are as follows: Toghanshahi "Yousef and Zoleikha" (5th. or 6th. century), Jami's "Yousef and Zoleikha" (9th.Century), Khajeh masoud Qomi's "Yousef and Zoleikha" (9th. century).In the second part of this article, common motifs of the three narrations are compared and analyzed to clear the similarities and differences of the narrations.

The subject of this paper is to analyze the relationship between the subject and author's approach and the nature of the language of the text. An attempt has been made to answer why sometimes in a literary prose text, like the mystical interpretation prose of 3rd edition of Kashf-Alasrar of Abolfazl Rashid-Aldin Meybodi, one is faced with different proses with different languages. First some plans have been considered to categorize the subjects. Finally a plan which is able to categorize an apt subject to the 3rd edition has been chosen. categorizing the subject, the author's approach towards the subject in interpreting the characteristics of language of different prose has been brought to light. Finally based on the findings, the different proses of mystical interpretation of Kashf-Alasrar have been classified in five groups: didactic interpretative prose, pedagogical prose, mysterious prose, lyrical prose and descriptive intuition prose.This classification is based on the comparing the differences of these five kinds of prose in terms of eight common points: lexicon syntactic structure of sentences, the meaning of the sentences, emotions, imagination, music, the application of verses, holy traditions, poetry, narration and quotes from well-known religious figures.The findings show deep, complicated, multidimensional and decisive effects on the author's subject and approach towards the subject and characteristics of language.

In Holiday’s theory the connective factors are discussed as one of the factors of textual coherence or the factors of connection between sentences of a text.These are the factors, that place between two sentences or the first part of them and connect them with each other. The most famous of all these elements in Persian language are the conjunctions; but also other elements such as adverb and prepositions operate as the connective factor in a text that their operation is exatly the same as the conjunctions. Generally, we can devide the connective factors into four groups: A) additional connection, includes: naive, compound, couplet, explicative, allegorical B) contrastive connection, includes: naїve, compound, couplet C) casual connection, includes: prosaic, reverse D) temporal connection, includes: sequential, synchronic, referential, teleological. In this article we just have discussed the latter factor, the temporal connective factor. In this factor, the time and temporal sequence play an important role in connecting the sentences of a text with each other. Also these elements sometimes connect the sentences structurally which doesn’t affect on the coherence.

Khaghani's Quasidas follow different purposes, ranging from eulogy to reproof and exhortation. Apparently, this implies inconsistency and paradox; but the controlling voice of Khaghani, with his characteristic subtlety and precision of mind, endows his work with an organic unity in which language and content are inseparably joined. To discuss the nature of this unity we have examined the exclamatory sentences applied in his Quasidas. Exclamatory sentences are considered very important in semantics. Our particular interest in exclamatory sentence is due to the fact that they have no truth value. Referring to no external fact, and expressing only its speakers thought and emotion a exclamatory sentence provides no ground for any discussion of its truth or falsity. We have classified the exclamatory sentences of interrogation and imperative into two categories of the grammatical and the semantic. Only occasionally has Khaghani used exclamatory sentences in their original meaning. Most of these sentences express a secondary meaning. In this paper Khaghani's exclamatory sentence are classified into different categories of semantic functions assigned to them by their speaker. A statistical analysis of the frequency of different semantic functions assigned to Khaghani's exclamatory sentences provides an explanation of the author's style and his purpose in composing Quasidas on different matters.

In this article, we classify and search for Makhzan al-Asrar andTohfat al-Ahrar 's similes from different point of view, topics, sides of the comparison, point of resemblance, words of comparison, etc. We show the theoretical and statistical resol utions of those two, after comparing the two poet's similes.One of the purposes of this research is statistical studing the similes of these poets and showing the amount of Jami 's initiative and imitation.Another purpose of this paper is to ob tain a complete view about the kind and classifications of their similes.These poets have a tendency for human personalities and spiritual natures.

Study of the reflection of the theological in literature-mystic texts, including in Mevlana Djalaledin (604-672 Lunar Hijra) is important from various aspects.Approaching the spiritual and religious views basis of the Gnostics and literati will be helpful in better understanding of their works and their master in using theological and religious terms concepts.The present study intends to search various views on the word of God, as one of the most contentious Divine attributes while studying Divine attributes in most important Islamic theological sects. Meanwhile it tries to find Mevlana's views; as very special character that has combined theological and religious issues with Islamic mysticism and has presented to the desirous ones by coloring it with Persian Literature. It wants to show if his views about "The word of God" could be coincide one of the Islamic sects.

Comparison is highly employed in Masnavi, whether as a technique of simulating one thing to another or in its expressional sense as a device of lexical reasoning. However, disagreement with it is a major feature of Movlan`s mystical teachings specifically on the issue of recognition. Camparison as used in Masnavi sometimes means rational reasoning, sometimes conjecture, and sometimes serves as an expression in logic. Whatever the case, it is invariably oppesed to by moulana. As the major caves of human errors in recognition, it underlies many anectodes of Masnavi so that, in the ferst chapter, the reader faces different usages of this erroneous technique which are often denounced.The present article deals with Movlana`s concern about comparison by bringing in its different meanings and looking at a number of anecdotes in Masnave. As a poet, Moulana is supposed to have dealt with similarities, however, as a mystic speculator, he has just focused on differences and previlages. This indicates his poetic skill combined with speculative capability as well as mystical commitment by virtue of which he views comparison wrong and as a seurce of error. This is particularly true when he speaks of metaphysical facts and experiences, entities that are solely at the disposal of a mystic. In spite of all this and quite interestingly, Moulana is found at time to give up to comparisons when explaining certain moral and mystical issues.