ADAB PAZHUHI
Year:2011 | Volume:5 | Issue:16|Papers Count:8

Passive verb has taken different forms during the history of Persian Language. The following structures are the essential forms of the passive verb since the early times: root/verb stem + passivizing suffix, past participle/infinitive + auxiliary verb, and third person plural of agentless transitive verbs.In contemporary Iranian languages and dialects each of the above-mentioned forms continues to live independently, but sometimes all forms accompany one another. This article by focusing on a number of Iranian languages and dialects, studies the ways of making passive verbs, and then, based on the existing sources, examines the evolution process, ways, and possibilities of producing passive structures in modern Iranian dialects.

Literature has always attempted to make the best use of musical elements, and the novel, compared with poetry, has the capacity to perform a symphony by adjusting the various instruments for creating harmonious monophonies and polyphonies. This symphony can be heard through a contemplative reading of Dowlatabadi’s Kalidar, and is formed by such elements as choice of well-formed words, harmonious use of phonemes and syllables, variety of sentence structures, contextual usages of words and phrases, diverse manners of expression, observing the prerequisites of literary genre, relation between the worldview and diction, balance between amplifications/concisions and the narrative rhythm, direct link of different subplots with narrative rhythm, intense accord of structure and types/classes, and the harmony of major and minor notes to form the music of the text.

This article, following the Metrical Stress Theory of Bruce Hayes, studies the nature of meter in Persian folk poems. The accentual-syllabic meter of these poems is formed by the repetition of accents in equal syllabic distances. Metrical Stress Theory is a branch of generative phonology that has the capability of determining the poem’s rhythm and displaying them in tree diagrams. This article after explaining the Metrical Stress Theory, represents the rhythmical hierarchy of Persian folk poems - lines, half-lines, feet - in tree diagrams and presents the rules for accentual-syllabic meter in folk poems.

Initiation, in its broadest sense is the proper performance of the expected and unexpected trials of life, since the very birth of an individual up to his death in order to lead him to his psychological and sociological maturity. In the domain of mythology, initiation ends in a symbolic death and rebirth. This article by following a double approach of psychology and sociology investigates the mythical epics, particularly those of Shahname, and describes the initiation forms of the mythical heroes. We believe that such an approach to initiation has no previous records.

Although linguistic signs such as "hmm", "bale", "jeddan", "mm", occur  frequently in conversation, they have not been studied linguistically up to now. These sounds, named back channel responses, influence the ongoing conversations. Back channel is a verbal or non-verbal response provided by the listener to show his/her participation, and though it seems to be insignificant communicatively, misunderstandings arise if they are misused. Therefore, their overlooking in conversation analysis has dramatic effects on the results obtained. This research studies back channel responses with respect to their form, function, degree of influence and prosodic features.

A remarkable part in Nezami’s verse is his Me’raj names (Books of Ascension), produced by imitating Sana’i. Nezami, in describing this great religious and historical event, though following an artistic expression, has benefited from the tradition of hermeneutics. The significant point in Nezami’s Me’rajname is some symbolic and archetypal ideas which are difficult to understand. Meanwhile, the images depicted by the poet are related to the oldest prototypes. An example of Nezami’s artistic descriptions concerns Boragh, a pseudomythical horse of the prophet of Islam, which is impossible to understand unless the reader is provided with sufficient knowledge of symbols and archetypes. These concepts are embodied in miniatures depicting Me’raj.

The archetypal images are products of man’s collective unconscious that are actualized by the creativity and sensitivity of the artists. The present article intends to give a Jungian analysis of “Some Other Place” by Goli Tarraghi because the writer herself has spoken about the significant role of archetypes in her stories. The research, through investigating the archetypes such as ego, anima, animus, journey, wise old man, persona, shadow, individuation process, and rebirth, proves that the plot and character functions of the story give it a capacity for a Jungian reading in which the very “some other place” of the story can be considered as an archetype. In fact, as one is needed to get to this place through an internal journey and a rebirth, it is called “some other place”.