Literary Research
Year:2019 | Volume:16 | Issue:65|Papers Count:6

The translation of Molanachr('39')s books as a one of the greatest literary works of Persian literature is considerable with the modern theories of translationchr('39')s skills, structurally and contently. Antoine Berman with his theory "Endances eformantes" (deconstruction tendencies), emphasized on the importance of the others and underscored the main text and he believed that the translators must be respect the first text and be faithful toward it. In this paper, we examine the Arabic translation of Diwan Shams by Ibrahim Al-Dosooghi Shatta, with using the seven parameters of Bermanchr('39')s theory: Rationalization, Clarification, Ennoblement, Glorification, and the Destruction of underlying Networks of Signification, Quantitative and Qualitative impoverishment. The conclusion shows that the main reasons of deviation in Arabic translation from Diwan Shams of Molana belongs to: translatorchr('39')s lack of acquaintance to Persian language, the grammatical and lexical differences between Arabic and Persian and naturally it is resulting from the unconformity of culture, civilization, and tradition of these two nations.

Khaqani Sharvani is one of the prominent and prolific speakers of the sixth century. Khatam al-qarayeb or Tohfat al-Iraqin is one of his well-known works that has been studied extensively so far. Despite these researches, and in particular the numerous corrections made available to this text, some of the existing ambiguities have not been answered scientifically accurately and some shortcomings in the text have not been addressed. This research can be seen. This essay attempts to address some of the contradictions and ambiguities in this field by descriptive / analytical approach and to address some of the deficiencies; and its different names are discussed. Since the subjects of this research have long been the subject of controversy among classical scholars and scholars in the field of classical literature, it has been attempted in each section to first review and critique existing views and then to review and critique them with the knowledge of each sectionchr('39')s background. This essay has attempted to address these issues away from some inappropriate but famous remarks, relying solely on the in-text evidences of Khaqanichr('39')s works and historical references, and in the end provide a proper and correct answer to the existing questions.

The main question of this article is accurate definition of Hekayat, based on the specific function of the elements as dominant. Because how to use story elements, result in different story genres. specific function of the story elements, being didactical and coherente. distinguishes Hekayat genre from the other story genres. This article redefinition of Hekayat by using a comparative analysis method and examining the differences between these two literary genre. According to the reviews of this article Hekayat genre distinguishes from the other story genres by this elementes: Specific function of the story elements, Special features of the truthtfulness, being didactical and less coherente. Finally, thess discussions, are an introduction to discussions as contexts of the appearance of traditional story genres in Iranian culture. More over can explain reasons for decline in contemporary era.

All actions and reflections of behavior in interpersonal and social interactions are the result of the quality of communication. The non-verbal communication channel, with its emphasis, complementary and substitution functions and. . ., makes it possible to communicate more deeply with the channel of verbal communication. The book of Kelile and Demne Nasrollah Monashi, which is one of the results of ancient India and one of the most important Persian literary texts of the sixth century, has used many signs of non-verbal communication in constructing its anecdotes. The authors of this article have decoded non-verbal communication symptoms in three channels of visual cues (70 signs), phonetic cues (22 signs), and physical distance cues (12 signs) and demonstrated how Nasrallah Manashi was consciously using body language-The authors of this article have decoded non-verbal communication symptoms in three channels of visual cues (70 signs), phonetic cues (22 signs), and physical distance cues (12 signs) and demonstrated how Nasrollah Monshi was consciously using body language-Even some animal states have provided the context for increasing the storytelling capacity of their stories. The analysis has shown that body language codes in Kelile and Demne are not merely voluntary and voluntary in origin, but some of these states, like frontal states, are more hereditary and involuntary. In addition, it was shown in this decoding that the use of nonverbal cues in the book of Kelile and Demne not only revealed the moods and emotions of the characters, but also as an important element leading to some major events in the anecdotes.

The present paper investigates the poets of the Persian poetries of Tarikh-e Yamini. The explanations that are given in the introduction and conclusion of the book about the quotation are misleading. This difficulty is based on the explanations of Jorfadeghani and in the following of the author, Jafar Shoar, the editor that claimed that Mostofi is the poet of the Persian poetries. This paper introduces the poets of the Persian poetries in Tarikh-e Yamini and criticizes Jorfadeghani and Shoar’ s views and the ambiguities about quotation in this book.

Poems of Rudaki Samarghandi, a famous poet of the Samanid era, have come to us through some of the old sources. The Divan of this poet, although according to the confession of some authors, historians and poets, was over a hundred thousand verses, but today we have not gotten a handful of it. In the present research, authors examined some of these recorded poems that have been linked as an independent piece of poetry in printed Divans. Each of these poems has a serious drawback; the first one is “ discontinuity” of the verses and the second is the dubiosity of “ attribution” of one or more verses to Rudaki. The source of these poems in the existing printed Divans, is the book the biography of Rudaki and his poems, a notable book by Nafisi. This editor has quoted and created a single poem, by referring to lexical and rhetorical sources, analects, and other early and late sources, scattered verses which are consistent in terms of rhythm and rhyme, merely because they are related to a long or short poem of Rudaki; although, none of these poems are related to each other in terms of content. Nevertheless, by reviewing these sources and referring to some of the new sources, the authors, for scientific reasons, have reviewed the two problems in some of the existing poems and provided new insights.