On discussing translating, a number of issues come to be taken for granted, as a result of which despite their importance they may never be discussed, and thus remain ambiguous. Some of these issues are theory-based and some others, disregarding theoretical dimensions, merely deal with practical aspects.There is a strong possibiliy that dealing with this aspect of the practice, can pave the way for solving the problems regarding translating through practice and take a positive measure with respect to teaching translating.Directionality seems to be one of these issues which is almost never probed into.It is the objective of this paper to investigate linguality in translation, so as to put forth a discussion in relation to determining the objectives of teaching translating.

Background: This study offers a robust framework for the classification of autonomic signals into five affective states during the picture viewing. To this end, the following emotion categories studied: five classes of the arousal-valence plane (5C), three classes of arousal (3A), and three categories of valence (3V). For the first time, the linguality information also incorporated into the recognition procedure. Precisely, the main objective of this paper was to present a fundamental approach for evaluating and classifying the emotions of monolingual and bilingual college students. Methods: Utilizing the nonlinear dynamics, the recurrence quantification measures of the wavelet coefficients extracted. To optimize the feature space, different feature selection approaches, including generalized discriminant analysis (GDA), principal component analysis (PCA), kernel PCA, and linear discriminant analysis (LDA), were examined. Finally, considering linguality information, the classification was performed using a probabilistic neural network (PNN). Results: Using LDA and the PNN, the highest recognition rates of 95. 51%, 95. 7%, and 95. 98% were attained for the 5C, 3A, and 3V, respectively. Considering the linguality information, a further improvement of the classification rates accomplished. Conclusion: The proposed methodology can provide a valuable tool for discriminating affective states in practical applications within the area of human-computer interfaces.

During 1990s, certain trends appeared in Persian poetry, which were generally different in terms of both language and method of expression and content from those from the previous periods. The common aspect of all the poetical trends from the 1990s was transcending beyond the common and normal language and expression of Persian poetry. One of the most important and most influential poetic trends from 1990s was “ the Language poetry” trend, pioneered by Reza Baraheni. In this study, the Language Poetry trend is analyzed. The theory of “ linguality” proposed by Baraheni is briefly introduced, in the first place, followed by figuring out the main indicators of Language poetry from among his viewpoints. The most important indicators of the language poetry are syntactical discordance, de-semanticization, multiphonicity, projective dislocation, polylogia or lingual lunacy and so forth. It is argued that there is a gap between poetical theory and poetical implementation in the poetry of Baraheni as in Nima and Shamlu.

AbstractIn his Masnavi, Mawlānā Jalāl al-Dīn Muḥammad Rūmī strives to render the subtleties of mysticism accessible by developing an empathetic language, primarily through allegory. While the premise that allegory can create empathy is plausible, it requires a logical explanation. This article employs a descriptive-analytical method, grounded in reasoning and logic, to substantiate this claim. The study demonstrates, through ten distinct logical sequences, how Mawlānā systematically transformed allegorical language into an empathetic—or mystical—language. This transformation ultimately fosters a state of co-linguality (a shared discourse) and co-poetry (a collaborative poetic experience) within his audience. These ten processes are: 1. Reasoning, 2. Rational Imagination, 3. Shaping, 4. Semanticism, 5. Creating Beauty, 6. Persuasion, 7. Purification, 8. Empathy, 9. Colinguality, and 10. Co-poetry.1- IntroductionAllegory is a language of empathy and multilayered expression; consequently, it possesses the capacity to articulate profound mystical concepts. It has consequently been a favored expressive mode utilized by both divine and non-divine religions to convey their teachings. As stated in Christian doctrine, "The foundation of wisdom and the teachings of Christ are predominantly found in the parables of Jesus and his disciples, which are compiled in the first three Gospels" (Gere, 1387: 123). Furthermore, the significance of this rhetorical device is prominently featured and highly functional within the prose and poetic corpus of mystics and Sufis, particularly those who engaged with extensive audiences. Given that allegory serves a Gnostic function and possesses a philosophical or wisdom-based (Hikmi) foundation, the speaker who employs this method endeavors to persuade audiences across all social strata and intellectual capacities.Therefore, limiting the audience for allegory is not completely aligned with the philosophy behind its emergence and application. This is because allegory, originating from the teachings of divine religions, has consistently served as a tool for the moral and spiritual improvement of both the elite and the general populace, enabling individuals to grasp religious and mystical doctrines according to their respective intellectual capacities. This article endeavors to answer the fundamental question: How does Rumi (Mawlana) transform the language of allegory into a language of empathy, thereby facilitating the comprehension of profound mystical concepts in the Masnavi? This process is systematically elucidated and analyzed across ten distinct stages, adhering to the research methodology of this article, which is descriptive-analytical and founded upon a rational and logical framework.2- Research BackgroundWhile numerous independent studies have examined allegory and Rumi (Mawlānā), and various combined works have explored allegory within the Masnavi, the existing literature reveals a gap in the systematic and logical analysis of allegorical language as a language of empathy across ten distinct stages. Crucially, this gap persists specifically regarding the Masnavi and the application of a descriptive-analytical methodology founded upon a rational-logical framework. Only a few examples of seemingly related studies are cited below:Toloui Azar. (1980). "The Morphology of Mystical Allegories with a Focus on the Poetry of Sanai, Attar, and Rumi." pp. 55-69.Behbahani. (2008). Allegory, the Mirror of Society (A Journey through Allegories in Mystical Literature in the Works of Attar and Rumi). pp. 43-76.Mirsadeghi. (2010). "The Role of Allegory in Expressing Rumi's Mystical States (Mawajid) in the Masnavi." pp. 83-102.Najar Noubari. (2020). "An Analysis of Mystical Allegories in Fihi Ma Fih." pp. 231-250. 3- Research MethodThis methodology entails describing the research phenomenon—specifically, Rūmī's allegorical language—followed by a critical analysis of its function. This analysis is fundamentally grounded in a rational and logical approach, systematically employing both deductive and inductive reasoning to interpret the subject matter.4- ConclusionMawlana Rumi's use of allegorical language and its transformation into a language of empathy—which is inherently mystical, leading ultimately to unison and co-singing—proceeds through a ten-stage logical process.In the first stage, allegory uses the faculty of imagination and image creation to establish the groundwork for intellection (ta'aqqul), thereby mobilizing dormant and stagnant intellects through an accessible path. Since the power of imagination is stronger among the general populace, allegorical imagery stimulates sluggish minds to transition from imagination toward intellection. Thus, allegory possesses an underlying rational-imaginative basis where the imaginative element provokes rational thought. In the second stage, the activation of the stagnant intellect results in the supremacy of reason over the perceptive faculties, especially the imagination, leading the audience's mental imagery to acquire a rational form.The third stage involves controlling the imagination, rescuing the mind from confusion and distress, and allowing it to assume a logical structure. With the formation of a logical mind in the fourth stage, the foundation for comprehending mystical meanings is established in the audience, which consequently sparks mystical fervor (shouq) and aesthetic pleasure (zouq). In the fifth stage, the art of allegory presents mystical beauties, intensifying this mystical pleasure and fervor. Through mystical tasting and enjoyment (eltizāz) in the sixth stage, the individual reaches the level of conviction (iqnā), which is the state of heartfelt peace and spiritual tranquility experienced by the mystic.Conviction is a principal concern across educational, religious, and mystical domains, as it forms the basis for the purification and cleansing of the heart (tahārat-e qalb). If the heart achieves purity, it reaches the stage of Intuition/Witnessing (shuhūd), the language of the heart, in the eighth stage. This "language of the heart," as characterized by mystics and Rūmī, functions as the language of empathy. It is the means through which the heart, grounded in its primordial nature and before its alienation from the spiritual self, intuitively apprehends fundamental truths without the need for discursive or verbal articulation.Rumi refers to this language as the language of the realm of expansion (ʻālam-e inbisāt), the language of sincerity/uniformity, belonging to all human beings, and a universal and timeless language unaffected by the conventions of languages. In this stage (the ninth phase), individuals become of one tongue (ham-zabāni); through this linguistic unity, they attain co-singing (ham-sarā’ī) in the tenth stage, thereby assuming a central role in the creation of the work—similar to Hesām al-Dīn in the Masnavi. Consequently, by choosing the language of allegory, Rumi easily removes both linguistic constraints and self-imposed limitations (mahṣūrāt-e nafsānī) from the audience's path, guiding them toward the language of empathy.

Introduction: Studies have repeatedly stated the importance of individual differences in the problem of emotion recognition. The primary focus of this study is to predict Heart Rate Variability (HRV) changes due to affective stimuli from the individual characteristics. These features include age (A), gender (G), linguality (L), and sleep (S). In addition, the best combination of individual variables was explored to estimate emotional HRV. Methods: To this end, HRV indices of 47 college students exposed to images with four emotional categories of happiness, sadness, fear, and relaxation were analyzed. Then, a novel predictive model was introduced based on the regression equation. Results: The results show that different emotional situations provoke the importance of different individual variable combinations. The best variables arrangements to predict HRV changes due to emotional provocations are LS, GL, GA, ALS, and GALS. However, these combinations were changed according to each subject separately. Conclusion: The suggested simple model effectively offers new insight into emotion studies regarding subject characteristics and autonomic parameters.