JOURNAL OF THE FACULTY OF LETTERS AND HUMANITIES (KERMAN)
Year:2015 | Volume:17 | Issue:36|Papers Count:16

The most creative works in Manichaean Iranian languages are what have been called the Hymn-cycle. The hymn-cycles are long narrative poe~s with mystical content in which the Manichaean poets have depicted-the story of the soul's separation and its longing for heavenly home. One of these hymn- cycles is Huyadagrnan. This poem has been composed in Parthian language and has known one of the most important specimens of pre-Islamic poems.Among the Manichaean manuscripts, two fragments of these hymn-cycles have been discovered that Mackenzie edited, transliterated and translated into English. The present fragments of Sogdian poems are taken from Manichaean manuscripts. These fragments are also of some interest from the linguistic and literary point of view. They also give us a clear idea of the religious and mystical thoughts of the Manicheans. In this article, the transcripts of these fragments are written and they are translated into Persian, and are studied linguistically, mystically, and literally.

Penname (Takhalos) is one particular of Persian poetry. It has been used since the early periods of Persian poetry.Penname was used in all Persian poetry forms, but using penname in sonnet (ghazal) is a custom that flourished in the sixth century.Persian poets believed that penname is very important because poets come to be known by it. Biographies, especially recent ones, have also considered penname as significant.This article examines the importance of penname, the basis for its selection, its area of meaning, the relation between poet and his penname, the relation between poet's style and his penname, and change in penname; it also mentions some poets with more than one penname.

Virayesh (editing) is a derivative of the infinitive "virastan" (to edit) and refers to the act of modifying or proofreading a text and making it ready for publication. Setting the policy for publications, interconnecting publishers and authors, in-depth analysis of book contents and guaranteeing their precision, accepting the work, and getting it ready for publication are all steps of editing.Based on this definition, books and papers were collected and evaluated, and the 503 analyzed sources afforded valuable pieces of information as to editing and its process and outcomes in Iran.The general information extracted from these sources belonged to the four categories of (a) source types, (b) some methods of editing, (c) some issues of editing, and (d) outstanding figures in editing.In all of these areas, in addition to a description of the present state of affairs and the advantages of each, the shortcomings and disadvantages were also pinpointed, and an attempt was made to advance the literature on editing and to suggest practical steps for the intensification and advancement of editing in the areas of education, publishing, research, and practical application for both public audience and professionals.Putting these suggestions into practice will enhance the quality of editing in the area of publication of textbooks and books of other areas, media and the press, and the whole Persian language community; it will also have a great impact on the correct usage of the structure and form of the language.Virayesh (editing) is a derivative of the infinitive "virastan" (to edit) and refers to the act of modifying or proofreading a text and making it ready for publication. Setting the policy for publications, interconnecting publishers and authors, in-depth analysis of book contents and guaranteeing their precision, accepting the work, and getting it ready for publication are all steps of editing.Based on this definition, books and papers were collected and evaluated, and the 503 analyzed sources afforded valuable pieces of information as to editing and its process and outcomes in Iran.The general information extracted from these sources belonged to the four categories of (a) source types, (b) some methods of editing, (c) some issues of editing, and (d) outstanding figures in editing.In all of these areas, in addition to a description of the present state of affairs and the advantages of each, the shortcomings and disadvantages were also pinpointed, and an attempt was made to advance the literature on editing and to suggest practical steps for the intensification and advancement of editing in the areas of education, publishing, research, and practical application for both public audience and professionals.Putting these suggestions into practice will enhance the quality of editing in the area of publication of textbooks and books of other areas, media and the press, and the whole Persian language community; it will also have a great impact on the correct usage of the structure and form of the language.This study can also show the direction for the development of this field of Science.

Containment schema is one of the most important image schemas indicating the presence of something inside something else. Through the experience of being placed in places with volumes, human presumes his body as a containment which can be placed into abstract containers and creates containment schema. From literary viewpoint, Sa' di is a realistic poet. This article has examined his realism within three containment schemas of head, eye and heart. Head schema reminds the conflict between reason and love. Love can be known as the representative of inferior people.The victory of love over wisdom is a metaphor representing the dominance of people on cruel kings, and it is regarded as a reflection of Sa' di's realism in his sensory and extrovert view, and his judging and thoughtful look. The orientation of conceptualization of schemas, indicating congruency of the lover's heart power with the beauty of the beloved, and the characteristics of Sa' di's sorrow refer to the universality of his heart.

Satires and satirism have a long history in verbal and written literatures of Iranians. Due to the extensive scope of satire, skit, witticism, ans sarcasm, and also since it is imposible to analyze all types of sat! re in such a limited space, this study attempts to examine political satire in literary works of the period between the 4th the end of 8th century AH. The focus is on those parts dealing with prominent satirical issues including the criticism of the rulers; and through presenting critical views of poets and authors in this period, new doors will open to the criticism of governments, and the notion that political satire is the product of contemporary changes will be rejected.

Archetypes are handed down from man' s ancestors, generation after generation, and have remained in the unconscious of man. These forms have shown themselves in the natural variety of symbols before reaching the frontiers of self-consciousness and are appealing in artists' work.By means of archetypal criticism of the texts as mystical texts it is possible to gain the common language of literature, mystical experience and psychology. This study examines those archetypes that appear in Attar Neishabourislvlantiq-o Tayr; some of the most important of these archetypes are as follows: anima, shadow, wise old man, persona, rebirth, voyage, and self. Also, the birds' characters (personality types) have been investigated on the basis of action and motivation.In addition, familiarity with Jungs analytical psychology has been explained and examined in structural manifestations of archetypes. It is demonstrated that one can obtain self-identification in the mystical texts through an archetypal approach. The individuation process leading to the wholeness of self is an archetypal megastructure of growth that unites all symbols and archetypes employed in the narration and interpretation of Mantiq-o Tayr.

According to Qur' an and Hadith, the Holy Quran has an outward appearance and an inward aspect, and those whose concern is the inner world of Quran have always tried to get to its meanings, through a m.eaning-based approach.One of these approaches is interpretation, the legibility of which has been a controversial issue among Muslims from the past.Muqatta' at of Quran have been among these controversial issues since the very advent of Islam, and different schools and sects have written abundantly as to their references. Among them are the mystical and individualistic interpretations presented in Sufism by such figures as Meybodi.

History as a science has enjoyed a high position in Iran. Hundreds of historical works have been written in different periods, a movement that has lasted and proved to contain a characteristic style in Persian language, influenced, to some degrees, by Arabic historiography. However a great part of it is a reflection of the ideas of Iranian historians. Much has been written on historiography so far; new ideas could be found as: ' well. In the final decades of the reign of Nasser-e Din Shah, traditional historiography faced transformation which was a valuable result of contact with modern Europeans thinkers. MirzaFataliAkhundzadeh was among the first Iranian intellectuals who established the new wave of modern historiography in Iran, and MirzaAqakhanKermani (1270-1314 of Solar Calendar) elevated it to its height and gave it a scientific frame. The purpose of this study is to investigate the historiographical views of MirzaAqakhanKermani and his criticism of traditional historians of Iran.The research method is analytical- descriptive, using library documents.

Jalal Al-e Ahmad is a well-known writer who has experienced many fields of authorship such as journalism, and monolog.He belongs to the third period of contemporary Persian prose, and at times, writes from a social leader' s point of view. Criticism of style is evident in his prose work. He tries to alter contemporary prose, and is a pioneer in spoken prose style. Through violating traditional grammar, he tries to near spoken and written language to the extent that one cannot distinguish between the two. His innovation could be the reason for the endurance of his style.This study tries to examine the stylistic characteristics of Jalal Ai-e Ahmad, and introduces it as easy and close to ordinary speech.

The relation between myth and language and literature appeared a long time ago in human history, and it is visible yet in artistic form in numerous contemporary works of poetry and prose. Our fiction has been aplace for the reflection of different types of myth from the ancient times until now. One can refer to a lot of celebrated works of fiction of the past and present that have made use of myths. Hedayat's "The Stray Dog" is a good example that artistically reflects myth in connection with "the dog background" in Iranian mythology, "archetype", "anima", and "Oedipus complex". This study tries to discover and analyze the hidden layers of myth, with regard to these elements and the views of the author, in the short story of "The Stray Dog".

This article is specified to investigate the grammatical function of subject in two lines (one beyt) of Shahnameh.This controversial beyt has been used in the Rostam and Sohrab' s story. In some commentaries "sadhezarsepardar osavar-e joshanvar" is known as subject, some others consider "separdaran 0 joshanvaran" as subject; yet, another group believe that "sad hezarsavaresepardar 0 joshanvar" is the subject. In this application, most Shahnameh scholars consider "shemordeh", which is derived from the infinitive "shemordan", with the meaning of "to be counted" and also as an adverb of emphasis for "sad hezar". This paper attempts to offer some suggestions which are based on pre-stated evidence.1. According to diachronic grammar, and based on the rule of agreement or disagreement between modifier and modified, "sadhezarsavaresepardar 0 joshanvaran" has been considered as a subject.2.In Persian language "shemordeh" means slow, deliberated when it is used with verbs such as come, slapping, overriding, say, etc., and from grammatical point of view, it is considered as a verb relative and an adverb of state. This term has entered into Shahnamehfrom spoken language and some traditional Quran' s translations. Accordingly the meaning of this debating beyt is as follows: "Sad hezarsavar-e separdar 0 joshanvar (joshanpoush), ahestehvasan j idehbelashkargahamadand".

Rudbar-zamin" is a vast region in the south of Kerman province, including Anbarabad, Faryab, Riidbar-e-Janub, Kahnuj, Manujan, and Qal' e-ganj.There are many different dialects spoken in this region of which the main and the most common is "Rudbari".It is one of theBashkardi dialects and one of the southwestern Iranian dialects.Although, Riidbari and Persian belong to the same group of Iranian languages, the mutual understanding between their speakers is not possible.Numerous of geographic varieties of Rudbari are used in Rudbar-zamin with lexical, phonological and in some cases, morphological and syntactical differences between them. This research is concerned with the linguistic study of Riidbari as spoken in Riidbar-e-Janub. In this article, the phonetic, syntactic, morphological and lexical issues are studied. The author has tried to make a short but an exact description of this dialect by mentioning the important features of it especially in contrast with Persian.

Among Nezami's works, Makhzan-olAsrar is different from others. This difference is either in content or in linguistic features. This work can be divided into three parts.The first part is in the praise of God and prophet Muhammad. In the second part, Nezami writes of his recluse, and the third part contains some fables. In each part, based on the subject matter, the language differs. In the first part the language is religious because the poet is speaking about his religious ideas. In this part the function of language, besides that of literary, is religious. In the second part, in which the poet describes his mystical experiences, the function of language is literary and mystical. In the second part literary function is perfectly obvious.In spite of these differences in subjects Nezami has been able to use literary language for all subjects.This study tries to examine the linguistic similarities and differences in each part of Makhzan-olAsrar, and to characterize religious and mystical language of Nezami.

Saadi' sGulistan is one of the Iranian classic literary master works. After many centuries, Golestan has maintain~.d its.position in the Persian speaking community. For sustaining and enhancing this position, it seems indispensable to simplify Golestan to make its moral and social teachings understandable for all people particularly for children and young adults. This process can be possible if systematic and scientific rules of text simplification and regeneration are followed. The use of modern language, rules of simplification and current story-writing techniques can make the stories of Golestan interesting and appealing toyoung adults. This study attempts to introduce some of the most interesting stories of Golestan which were rewritten and simplified by JafarEbrahirniShahed, and suggests the most suitable structural patterns of story rewriting and simplification. In this regard ten stories of Golestan were analyzed in comparison to its simplified and regenerated counterparts. The findings reveal that there are not a lot of differences between the rewritten stories and the original ones. The writer only simplified the language of the stories and left the themes and points of view untapped.

Sound balance is one of the main characteristics of synergistic formulation in formalism. This concept appears through verbal repetition which is the main factor in producing sound balance. In a literary work (poetry), this artistic technique could happen in the two cases of prosody (sequence ofrepeated long and short syllables), and vocal harmony (repetition of consonants and vowels).The music, which is aimed for emphasizing feelings and emotions through repeating sounds and words by the poet, consciously or unconsciously, makes poetic language outstanding, compared to standard language. Hence, formalists consider it as the cause of the formation of literary works, especially poetry. This study tries to examine the poetry of ManouchehrAtashi regarding sound balancing, a method of defamiliarization, from traditional and modem (Nimaee) prosody point of view, and also in relation to assonance and consonance. This study tries to investigate whether, according to the desired vocal harmony, ManouchehrAtashihas been able to apply an artistic aesthetics to his poetry, and to defarniliarize it or not; it is also investigated whether the reader is capable of distinguishing other linguistic levels of poetic language like the relation between repletion of sounds and emotions.