JOURNAL OF LANGUAGE AND LITERATURE FACULTY OF LETTERS AND HUMANITIES
Year:2003 | Volume:36 | Issue:2|Papers Count:14

This paper studies the process of wh-word movement in Persian according to the universal principle of Move-a, based on the Government-Binding Theory (Chomsky, 1981, 1986). The analysis centers on the optional movement of the wh-word in simple, embedded, and complex interrogative sentences. In this analysis, the principles and syntactic conditions ruling over this syntactical process are determined. Next, the occurrence of the wh-word movement and its A/non-argument nature are substantiated. Also, on the landing -site of wh-word phrase the onset of sentence is demonstrated to be the most suitable and economical syntactical position for the wh-word to attach to in simple and. embedded Persian sentences.

Seraaj Al-din Alikhan Aarezoo can be regarded the most knowledgeable literary figure in stylistics. His historical analysis and classification of style as well as his analysis of elements of style are scholarly. He maintains that style is the result of the high frequency of a stylistic element. Hence, he maintains that eminent figures like Ferdowsi, Manoochehri, Naaser Khosrow, Attaar, Mowlavi, etc. have had no role in the development of style.

This article aims to answer the central questions: What is the relationship between the poets personality and his poem? and also How much can we learn about a poets personality by reading his poems? In this article, poetry is first divided into two types: self-conscious and self-unconscious. Next, layers of the poet"s personality are described followed by a discussion of historical and poetical personality. The conclusion is that self-unconscious poems deal with the hidden layer of personality and therefore, can only assist us in finding out about that layer and no more, while self-conscious poems deal with the outer layer of personality and can partially help us to learn about the historical personality of the poet. The historical personality and the poetical one must not be mixed up. To learn about the former, we ought to refer to memoirs and biographies and to find out about the latter, we should look into the poet"s poetry.

Nay va Bad is one of the most exquisite works of the Lebanese poet, Khalil Halvi. It embraces the most enchanting and profound rhymes of the tale of Sinbad. Halvi"s poetry is the outcry of a generation, and the symbolic illustration of the misery and agony of contemporary man, who is constantly suffering amidst the conflicts caused by the shackles of his self. Sinbad, who is his most significant legendary character, symbolizes the restlessness and turbulence of the poets (or mankind"s) soul and the endless quest in the unknown realm of existence. This marvelous symbolization is achieved superbly in Nay va Bad. Sinbad is the embodiment of the poet himself and the image of Arabs in a land where prominent characters rose.

Some scholars believe that Baroque and Indian style resemble each other. These two styles accidentally came into existence at about the same time but in totally separate contexts. In this article, Baroque style is initially introduced. Next, the writer examines the points of divergence and convergence between the two styles and concludes that the similarities between them, as perceived by some European orientalists, are superficial and that on closer examination the two styles originate from two widely separate cultures and differ radically in nature.

Ernest Hemingway is a writer who was known in Iran during his lifetime and had many readers. The first person to introduce Hemingway to the Iranian literary community was Ebrahim Golestan. After him, other translators attended to his works so much so that by the time of his death, nearly all of Hemingway"s works had been translated into Persian. Translators took advantage of the popularity of his works and translated them more than once. However, there are some of his works which, for any reason, have not yet been translated. In this article, the course of the translation of Hemingway"s works has been classified into four periods: 1) The first translations, 2) Translations in the 1330__s, 3) Translations in the 40s and 50__s, 4) Post-Revolution translations.

In the Romantic period, substantial changes occurred in representational arts and narratology. Bakhtin refers to these changes as the carnival spirit, and one of the causes of the democratization of art. This article looks at Goethe and Byron and the bifocal and polyphonous influence of Hafiz"s poetry on their thought. It is then argued that the efforts made by these writers to learn about other cultures and literatures are one of the main sources of the carnival spirit. Also, by making reference to their writings and journeys, which acquainted them with new horizons, an effort is made to analyze the nature of the key concepts, bifocality and polyphony, as the main causes of the democratization of art and the merging of literary styles and genres in England and Germany in the late 18^th and early 19^th century. Next, the possible influence of Byron on Goethe in cross-cultural dialog is discussed.

Sufis weltanschauung is noticeably dialectical. This finds expression in mystical works, particularly the Masnavi, but in diverse symbolic and metaphorical molds. This article aims at a hermeneutical interpretation of The Fortress of Images, one of the most symbolic tales of the Masnavi, resting on this bedrock. If this interpretation proves to be what has been designated the "fusion of horizons" by Gadamer, the writer has achieved his goal.

The reader of the Masnavi finds it hard to grasp the notion of reason at the outset. According to what sect has this notion been defined? Is it that of philosophers, ethicists and Sufis, each of whom has his own definition of the term, or is it something else? What are the different kinds of "reason" cited in the Masnavi, and what are the characteristics of "reason"? Rumi has made contradictory statements about "reason", praising it at one time and disapproving of it at another. How can these contradictions be made sense of? This article aims to provide answers to the above questions to the extent possible.

The Persian language is agglutinative, not inflecting. However, in some rare cases, the structure of the verb stem of some words which are derived from the present stem breaks up and an element is inserted in the middle, or one element changes to some other element(s), such as bar (بار) which is derived from the present stem bar (بر). The way the present stem of such words breaks up resembles the Arabic inflectional process. In this article, the term inflectional present stem has been assigned to these stems and some evidence has been presented for its structures and applications.

Imam Ali"s speech is the second best in the Arabic language after the verses of the Koran, and of profound influence on world culture, particularly that of Muslim nations. His words have had a significant effect on the Arabic language and literature by enriching its content and concepts and adding everlasting literary constructions to it. The existence of his words in Arabic prose and poetry is a symbol of his all-pervading vilayat. This article aims to depict the lofty status of Imam Ali"s words in Arabic poetry as asserted by eminent scholars, and portray different facets of this influence on discourse. A literary analysis of his words in sermons, orations, letters and aphorisms along with a probe into the impact of his miraculous language on renowned Arab poets (as evident in their poetry) constitutes the core of the article.

This article looks at the life, thought and literary works of Buhturi, an eminent Arab poet, and illustrates the status of this great poet among Muwallad poets.

This article introduces and expounds on a qasida by Qajar, which is in 47 lines (4 verses composed totally in Arabic, 25 lines in Persian and 18 lines in Molama"e). Like Shanfari and Toghrai, in this qasida, the poet complains about the cruelty of his kith and kin, the callous world, and so on. The poet lived in the Qajar period, and his gasida rhymes in l, hence the title of this gasida.