MODARRES HUMAN SCIENCES
Year:2000 | Volume:4 | Issue:3(Tome 16)|Papers Count:8

The German Christian Mysticism is an introvert and religious movement which has been shaped during Gotic age from twelfth to fifteenth century, and its flourishing age is in thirteenth and fourteenth centuries This religious insight, as its name indicates, was developed in Germanspeaking lands, and its compiled works are in German language. The favourable condition for the integration of German Christian Mysticism was provided by the collapse of cavalier culture of the courts on one hand, and phenomenon such as natural disasters on the other hand. The social transformation in question, was grounded upon the religious knowledge of the Christian saints, scholastic philosophy and neoplatonic mysticism, while it was evolved by the Dominican orden. The above mentioned movement was prevalent, first among clergy women and men, particularly in monasteries. But gradually it encompassed clergies outside monasteries and non-clergies. In this respect, womens mysticism is speculative and intuitive. Among the mystic women, Mechthild von Magdeburg and Hildegard von Bingen sould be mentioned, while Meister Eckhart is the most famous mystic male of this movement, and he had disciples such as Heinrich Seuse and Johannes Tauler.

Throughout the years of writing Anna Kamina there was a great change in Tolstoys view point which had a serious impact on his life and works. The emergence of this change served as a source of the authors decisive views regarding religion and ethics. This article first presents the trend of this change, the reasons behind its emergence, and the time of its fruitfulness. Then it looks at the character of Anna, the heroine of the story, whose name is also the title of the novel. It also examines the cause of the gradual change in her character from a religious-ethical point of view.

This article presents a kind of word-formation process in the lexical domain of Persian language which is subject to syntactic relations, specifically those syntactic relations defined by x-bar theory. The syntactic-morphological structure of simple denominal verbs as lulid-an (wriggle), kuchid-an (migrate), busid-an (kiss), and khoshkid-an (wither), and their corresponding compound verbs as lul-khordan (wriggle), Kuch-kardan(migrate), bus-kardan (kiss), and khoshk-kard an (wither), which are both derived form the relevant nouns, lul (wriggle) kuch (migration), bus (kiss), and khoshk (withered) will be analyzed in this atricle. The standard theory of word-formation in the generative grammar (as in Selkirk 1982, Lieber, 1983,...) will be compared with the morphosyntactic theory of word-formation and compounding as proposed by Hale & Keyser (1983) and Baker (1988) to analyze the formation and structure of the two sets of verbs. We will notice that the second theory can better describe the internal structure, derivation and the similarities of the two sets of denominal verbs.

"Behind the Vanity-Land" of Sepehri is the story of the departure of a poets look who turns his back to the "Vanity-Land". This same shooting of the glance to remote places makes the poet a singular subject, prominent, and superior. Among the particularities of this singular subject, after reaching this worthy land, is that he summons others, that is the plural subject left behind in the vanity-land, to the experience of the valuable living of "departing for behind the Vanity-Land". Even this summoning may lead to the downfall of the "Behind the Vanity-Land" and the fall of the poet into the "Vanity-Land". Thus, the story of "Behind the Vanity-Land" is the story of becoming one-Itself once and becoming our-"selves" again.

Tarjomeh is an Arabic term whose correct pronunciation is tarjama, which is commonly pronounced tarjomeh. The term is said to stand for: 1. expressing discourse form a language to another; 2. interpretation, hermenutic study, and explanation; 3. biography, to state characteristics, morality, and predecessors of an individual. The method to be adopted in Arabic-Persian translation is just ordinary translation, proved that the translator has a good command of Arabic grammar. The good method of translation is to consider Arabic morphology and syntax as well as other things such as correct pronunciation, rhetoric, and finding the right lexical equivalents. In another part of the article translating strategies and methods are practically presented by using the blessed verses of the holy Quran, Sonnat and so on.

Literary criticism is a branch of literature which deals with explanation, evaluation and judgement of literary works. Arabic literature has been known to have a long, deep-rooted, highly valued and rich tradition in this regard. Ibn Salam AI-Jomahi, an eight-century literary critic, through his Tabaqat-o-Shoara (Categories of Poets), pioneered in copmiling treatises in literary history and literary criticism. In Tabagat, he has made use of categorization as his major criterion in discussing the geneology of poets in question and in elaborting on their moral characteristics as well as their personality traits. The techniques although rooted in literary criticism of the pre-Islamic and the Ummavi periods, were highly drawn upon in later periods by his successors. Admittedly, some of these techniques are still currently in use in literary criticism.

In this article the aim has been to study the Al-Entifadhah poetry as a new phase in the poetry op Palestine, and to show in a content based analysis that in this phase of Arabic and Palestinina literature, in spite of UPS and downs in the works of the earlier or newer poets two principle factors, namely hopefulness and combativeness, are significant. These views become clearer if one views the past of the poetry of resistance and feels the tiredness and the disappointment form the present situation of Palestine, and an unclear hope for a better future. Appearance of a new generation (i.e. the stone-thrower children), duf to whom the recent movement of the Palestinians (AL-Entifadhah) i: called "Childrens Revolution" (thawrat-al-Atfal), is a principle subjecl matter and is one of the basis of the hope for future in this type of poetry. The poetry of AI-Entifadhah expresses the poets admiration and hi rich inspiration of the appearance of such a generation. On the othe hand, it naturally shows the poets dispise regarding the reconcilation and surrender to the enemy, and represents the people of Palestine- as they are shown in the harration and analysis of some examples of these poems. It encourages them to fight the enemy empty handedly.