JOURNAL OF PERSIAN LANGUAGE AND LITERATURE
Year:2010 | Volume:1 | Issue:1|Papers Count:8

Thinkers have had point of views about human being, God and Universe. We may find common principal points in their thoughts. Many thinkers either have influenced each other or they have had these commons based on telepathy. Our discussion is on the comparison of similes and purifying expressions between these two great thinkers. One of them was a mystic poet from Ghazneh which belonged to the territory of Iran at that time, and another is a mystic poet who grew up in Andalusia. We discuss about Sanaee, a poet from fifth Century after Hijra, and Ibn Arabi, a thinker from seventh century after Hijra. Even though these two thinkers lived in two different places and times, they have the same ideas about similes and purifying expressions. The present paper is an attempt to show these similarities.

The objective of this study was to analyze three translations of the “Death of a Salesman” drama by Arthur Miller.Translators always have problems in translating some aspects of dramatic texts such as performability. Therefore, analyzing translated texts is very helpful for interested translators in the literary field. In this research, the used strategies for translating this drama were studied to determine the rate of using each of them among translators. Three important parts of the drama (dialogue, stage direction and footnotes) were selected for doing this research. Overall, 850 samples of dialogues and 185 samples of stage directions were analyzed with regard to the 9 criteria of “studying and criticizing translation’s criteria” by Hasan Hashemi Minabad and Hamid Reza Doulatabadi (1379). All of the existing samples in the book were analyzed for the footnotes. Based on the results of the study, the numbers of footnotes were 217, 4, and 3 in the Qaneefard, Bahram Beigi, and Noorian’s translations respectively. In the dialogue and stage direction, statistics including frequency and percentage showed that Bahram Beigi and Qaneefard used ‘addition’and Noorian, ‘omission’ more than other criteria. In fact, addition and omission were the most used strategies.

From the 10th century after Hijra, along with ruling of Safavids` kings having an ideology which combined religion with politics and literature, the old tradition of training poets experienced a drastic change. Many of the Persian poets moved to India due to financial and spiritual supports of `Gurakanis` kings. Due to this event, the Persian center which had begun its activities from the time of Mahmud of Ghazne was reinforced.Certain areas and cities began to play new roles in the interaction of two varieties of Persian. a) Persian language spoken by Indians. The language spoken by Lahuri, Bidel Azim Abaadi, Ghani Kashmiri and Ghaleb Dehlavi b) Persian language spoken by Iranians who had gone to India due to this country’s attractions. This language spoken by scholars such as Orfie of Shiraz, Naziri of Neyshabur, Saebe Tabrizi and Kalim Kashani. It is evident that the interaction of these two varieties of Persian particularly in the areas of literature and literary imaginations caused certain discrepancies between Iranian and Indian scholars.This paper is an attempt to delineate literary geographical areas of the time with an emphasis on the centers of Persian speakers` gatherings, the role of regional and local courts in India, Sufi monasteries, mosques and theology schools in spreading Persian literature and scrutinize on the differences between Persian language spoken by Iranians and Indians.

Rudaki Samarghandi (942 AD) is one of the greatest poet of Samanid era famous for Ghaside (an elegaic ode). Few of his many poems have survived. Though the remaining ones, is an indication of his uniqueness in his time. His style is Khorasani which had been dominant in those days. The features of Khorasani style are clearly observed in Rudaki`s poetry in a sense that one can consider Rudaki as a fully fledged representative of this style in Persian poetry.This paper scrutinizes fifty features of Khorasani style in Rudaki`s poems and occasionally compares these features with poems of the following eras. These features are presented in three categories as follows: Literary, cognitive and lingual.

A consequence of the constitutional revolution was attention to the problems and rights of women. It is well manifested in literature including both prose and poetry. This contemporary literature, therefore, is considered as a rich source of information on women and naturally the poems compose by women are worthy of close attention. The present paper studies WOMAN in the poems of three outstanding contemporary poets: Parvin Etesami, Simin Behbahani and Forough Farrokhzad and is an attempt to explain the mentality of these poets in this regard.

One of the elements through which a poet can raise the effect of imagination is allusion. Hossein Monzavi and Behbahani are two of the contemporary lyricists who have made frequent use of allusions in their works, which, in turn, has led to enrichment of allusive imagery in their poems.These two lyricists, have enhanced fantasy in their poems by resorting to different kinds of allusion and by so doing have created novel meanings. Thus, what the current research aims at, is a probe into the different kinds of allusion in the poems composed by the above – mentioned lyricists.

Great well-known persian poets and writers have never been neglegctful of the circumestances of their societies.But contents with sheer focus on society, whose turning point should be sought in nima youshij`s poetry, started a gradual rise since the constitutional revolution. There are three phases observed in nima`s poetry. The first phase was from 1920 to september 1941. In this phase, which mainly overlapped reza khan`s dictatorship, his works were highly symbolic. september 1941 is the beginnig of the second phase which appears to have many fluctuations. Nima`s style of poetry receives approval in this period. The final years of this phase coincided the fears of and hops for Mosaddeq`s stepping to power which Nima specifically has referred to in his poem “Bird of Amen”. Nima was particularly prolific in this period. The last phase stretches from 1953 to the end of his life. Past the coup d`etat, he experienced a gloomy atmosphere in this period. Nima`s tipple periods are accompanied by a kind of symbolism with traces of romanticism. His symbols mainly depict the oppressed social conditions that he constantly suffered from. In fact, the dominate air in Nima`s poetry is based on national identity from a modern perspective, of course, and with a compeletly social approach. That is the reason we come to know him as a pioneer in terms of form and content, and remember him as a social poet.

Sadegh Hedayat and Guy de Maupassant are both outstanding writers. Sadegh Hedayat is well known among literary circles in France not only for what he wrote in French, but also for the fact that a major part of his works, if not all, have been translated into French. Maupassan is also well recognized by Iranian readers. A supporting evidence for this is that Hedayat himself was one of his readers.For the readers of these two writers, suicide as both a subject matter in their works, and in their actual lives, is a noticeable issue. It is obvious that these two do not just concern themselves with suicide in their writings. However, the variety of their works dealing with suicide, and their detailed analysis of such an act, led us to survey eleven works of these two writers to scrutinize their characters and narrators` mental preoccupations with suicide.