Research Paper
الادب المقارن
Kamal Rasoulian; Fatemeh Modarresi
Abstract
Introduction:It is evident that Hegelian dialectics has is based basis principles of thesis, antithesis, and synthesis. Hegel Has Explained has elaborated on these three principles in detail in his work. entity (thesis) has summarily an a corresponding and by the through of these both, a result ...
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Introduction:It is evident that Hegelian dialectics has is based basis principles of thesis, antithesis, and synthesis. Hegel Has Explained has elaborated on these three principles in detail in his work. entity (thesis) has summarily an a corresponding and by the through of these both, a result is created. produced.Two prominent fiction writers from Iran and Egypt, Hossein Saedi and Najib Mahfouz, address significant in the contact their respective works titled both conducts descriptive-analytical way based on investigation of both authors, utilizing its three axes. The beggar axes as a framework. Saedi's the narrated of view perspective woman who elderly the who, of her husband, none of her finds herself unwelcome in her children's homes turns is compelled to resort and acting.Al-Shahath is a significant narrative from the third decade of Najib Mahfouz's life, illustrating a portion of the life of the protagonist, Omar Hamzawi, who represents the intellectuals of Egyptian society. Respect for family and elders is a traditional value in Eastern cultures, where older individuals are afforded special honor and respect, and many issues are resolved through their guidance. By emphasizing this principle, Mahfouz delves into the underlying layers of his text to depict the disrespect and insults directed at an elderly mother by her children. This portrayal not only highlights the problem but also underscores the societal pain of his time, inviting reflection on the broader implications.The contrast between the bustling city and the tranquility of the village is one of the manifestations of modernity in Najib Mahfouz's The city continually seeks to attract immigrants to satisfy its insatiable economic demands through the influx of capital. Consequently, urban congestion becomes a defining characteristic of modern society, contributing to the exacerbation of materialism. Another prevalent theme in the two stories discussed is absurdity.Absurdity does not exist in the life of the old lady (khanom bozorg) with the same clarity and directness found in Najib's story. Additionally, the intense fear and anxiety experienced by Saedi's protagonist are not present in this narrative.Examining these two characters can assist the researcher in analyzing this matter. Omar Hamzawi is an intellectual with philosophical inclinations, and the concept of life is one of the primary concerns for thinkers like him. However, Omar struggles to grasp this complex idea. In contrast, the character of Khanom Bozorg lacks the knowledge and cultural background necessary to seek the meaning of life, ultimately arriving at a nihilistic conclusion. In her view, the meaning of life is reduced to fulfilling basic instincts and needs, which are satisfied in various ways despite the accompanying challenges.Method:This research has been conducted using a descriptive-analytical approach, and its findings indicate that the central theme in these two novels is its antithesis is on this framework, various confrontations and conflicts have emerged, such as the clash between urban and rural life, the tension between science and art, and the balance between familial responsibilities and individual freedom.Results and Discussion:The studies conducted in relation to the aforementioned stories reveal that the synthesis of these narratives highlights a conflict and antagonism faced by the main characters, Khanom Bozorg and Omar Hamzawi, in modern society. As a result, these characters experience feelings of loneliness, despair, anxiety, and confusion. The reader observes the disintegration of family foundations and numerous issues, including a disregard for societal values. The protagonists in both of peace and comfort within modern society, which, unfortunately, remains elusive.Conclusion:The statistical data obtained from the research in these two stories indicate that the traditions and societal issues related to family dynamics are significant. The focus on the village as a safe haven, the portrayal of villagers as naive and simple individuals, and the emphasis on their religious beliefs are prominent themes in both Egyptian and Iranian societies. Central to these narratives is the collapse of societal values, the disintegration of the family unit, and the proliferation of corruption and disorder within these institutions, which serve as contrasting points of view.It is through modernity, and by examining Hegel's dialectic alongside a historical analysis of society, that this tradition cultivates a seed of modernity within itself, leading to a historical conflict. As a result, Saedi effectively portrays Iran's traditional society through the character of the grandmother, highlighting its struggles. Similarly, Najib Mahfouz illustrates Hamzawi's confusion, moral dilemmas, and illness as manifestations of the conflict between tradition and modernity. This emphasizes the concept of dialectical synthesis.
Research Paper
الادب المقارن
Abdolbasit Arab Yousofabadi; Faezeh Arab Yusofabadi
Abstract
Gothic is a style in art and literature renowned for its exploration of themes such as horror, fear, and dread. This genre has carved out a significant niche in storytelling by incorporating bizarre characters and blending mysterious elements with violence, often depicting scenes of crime and desolate, ...
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Gothic is a style in art and literature renowned for its exploration of themes such as horror, fear, and dread. This genre has carved out a significant niche in storytelling by incorporating bizarre characters and blending mysterious elements with violence, often depicting scenes of crime and desolate, uninhabited environments. Ahmed Khaled Tawfiq (1962-2018) and Rambad Khanlari (1983) are two contemporary Arabic and Iranian novelists who have contributed notable works within the Gothic tradition. The collection of stories The Story of Room 207 (2008) by Ahmed Khaled Tawfiq shares significant similarities in both content and structure with the collection “Cancer of thhe genie” (2007) by Khanleri. The purpose of this research is to conduct a comparative study of the Gothic elements present in The stories of “the story of the room 207” and cancer of the genie. The methodology employed for this research is descriptive analysis, which was carried out through library notes. The results indicate that the primary common elements of Gothic literature in the collection of stories Story of Room 207 and are, in order of importance: characterization, a mysterious atmosphere, unbelievable events, possession, and violence.
Introduction:
The term “Gothic” originally referred to the architectural style that flourished during the European Middle Ages, characterized by pointed arches, ribbed vaults, and flying buttresses. The first work to explicitly label itself as Gothic was Horace Walpole's 1764 novel, The Castle of Otranto, which was later subtitled Gothic Story. This novel laid the foundation for the genre. Gothic fiction, sometimes, referred to as Gothic horror, is a captivating literary genre defined by an atmosphere of mystery, terror, and the supernatural. Gothic novels often unfold in eerie, decaying environments, such as castles, monasteries, crypts, and other remnants of the past.
Gothic fiction evokes claustrophobia, emphasizing feelings of fear and dread. Ruined buildings serve as tangible reminders of a once-thriving world now in decay. Common themes include vengeful persecution, imprisonment, murder, and supernatural occurrences. The horrific events depicted in Gothic fiction often symbolize deeper psychological or social conflicts. These stories are frequently convoluted, featuring tales within tales, shifting narrators, and framing devices such as discovered manuscripts. Elements like sleep-like states, death-like experiences, doubles, obscured family ties, nocturnal landscapes, and dreams contribute to the eerie atmosphere. In summary, Gothic fiction remains a captivating blend of fear, mystery, and historical echoes, significantly influencing literature, art, music, and even subcultures.
Ahmad Khaled Tawfiq (born 1962) and Rambod Khanlari (born 1980) are two contemporary novelists from the Arabic and Iranian literary traditions, respectively, who have contributed to the Gothic genre. Ahmad Khaled Tawfiq is often referred to as the father of Arabic horror literature due to his extensive body of work in horror and Gothic fiction. Khanlari is also well-regarded in this field.
His first collection of stories, titled Cancer of the Genie was a finalist for the Jalal Al Ahmed Award and won the Mehrgan Award for the best two-year story collection in 1992-1993. The story collection The Story of Room 207 (2008) by Ahmad Khalid Tawfiq shThe present research aims to compare the techniques employed by Arabic and Persian Gothic writers in evoking fear and terror related to unrealistic and imaginarares significant similarities in content and structure with Cancer of the Genie (2007) by Khanleri. The presence of such similarities, coupled with the lack of comprehensive research examining the Gothic elements in these two works, prompted the authors to conduct a comparative study of the tThe present research aims to compare the techniques employed by Arabic and Persian Gothic writers in evoking fear and terror related to unrealistic and imaginary themes. Given the numerous similarities between the Arabic and Persian languages, which stem from their historical interactions, examining the fictional works in these two languages significantly contributes to understanding and comparing the narrative styles of both cultures. This analysis also provides an opportunity to identify commonalities and differences within their literary traditions.
Method:
The current research method is analytical-descriptive and is based on comparative literature reviews of the American school. The authors of the forthcoming research first gathered information related to the study using library methods, and then organized the common data for the main stage of the comparative review article. Comparative literature is an academic field that explores examines works across linguistic, national, geographic, and disciplinary boundaries. Comparative literature is a vital interdisciplinary field that transcends linguistic and cultural boundaries, allowing scholars to examine literary works within broader global contexts. Its significance lies in uncovering shared themes, influences, and diverse artistic expressions across cultures. For Arabic and Persian literatures, which share deep historical, linguistic, and cultural ties, comparative studies provide critical insights into their symbiotic relationship. Focusing on Gothic fiction- a genre rich in psychological and societal symbolism- allows for a nuanced exploration of how fear, the supernatural, and cultural anxieties manifest differently across various traditions. This analysis not only enhances our understanding of cross-cultural literary dynamics but also underscores the unique contributions of each tradition to the global Gothic discourse.
Results and Discussion:
Gothic literature in Arabic and Persian traditions exhibits distinctive structural, thematic, and stylistic features that reflect a blend of cultural heritage and universal Gothic tropes. Structurally, both traditions favor non-linear narratives, often employing framed storytelling or episodic structures, as exemplified in "One Thousand and One Nights" and the Persian "dastan" tales.
These narratives generate suspense through fragmented revelations, reflecting the Gothic focus on mystery and ambiguity. Thematically, both literatures delve into existential dread, the supernatural, and the interplay between fate and free will, drawing from Islamic mysticism and pre-Islamic folklore. Common motifs include haunted spaces—such as deserts, ruins, or labyrinthine palaces that symbolize psychological or spiritual desolation.
In terms of narrative elements, both traditions feature archetypal characters such as the tormented hero, the spectral femme fatale, and the malevolent demon, embodying cultural anxieties regarding morality and the unknown. The sublime, a key element of Gothic literature, manifests through awe-inspiring yet terrifying natural or cosmic imagery, including stormy skies and vast, desolate landscapes. Stylistically, Arabic and Persian Gothic tales utilize ornate language and poetic devices, enhancing the eerie atmosphere with vivid sensory descriptions and rhythmic prose.
Techniques such as foreshadowing, unreliable narrators, and intertextuality—drawing on religious texts or classical poetry—enhance the complexity of the narrative. These shared characteristics, rooted in a synthesis of cultural specificity and Gothic universality, render Arabic and Persian Gothic literature a rich area for comparative literary analysis, particularly in examining how regional traditions reinterpret global Gothic conventions.
The tormented hero, frequently weighed down by inner conflict or societal expectations, embodies universal struggles with identity and duty—consider Rostam in the Shahnameh or Hamlet in Shakespeare’s tragedy. The spectral femme fatale, a seductive yet perilous figure, represents anxieties surrounding female agency and the unknown, as illustrated by characters such as the enchantress in Persian folklore or the ghostly women in Gothic novels. Similarly, the malevolent jinn or demon, whether in Islamic mythology or Western tales such as Faust, symbolizes the chaos of the supernatural and humanity’s fear of losing control. These archetypes reflect cultural values, with Persian stories emphasizing honor and cosmic balance, while Western narratives often explore themes of individualism and existential dread. Together, they illuminate shared human concerns regarding morality, power, and the mysteries that lie beyond the veil of the known.
Conclusion:
In both story collections, characterization serves as the primary Gothic element. The characters can be broadly categorized into two types. The first group consists of timid individuals who are overwhelmed by feelings of isolation, apprehension, and ambiguity, perpetually haunted by vague anxieties and preoccupations. These characters frequently hold beliefs in vivid, and at times, violent hallucinations, which lead to delusions of being pursued by others, conspired against by organizations, or tormented by demons and supernatural entities. The second group consists of malevolent beings endowed with extraordinary powers, exerting a profound influence over the first group. These sinister figures typically emerge suddenly and mysteriously, instilling tension and insecurity through their violent and terrifying actions. They possess grotesque features—such as unnatural organs or horrifying visages—that starkly deviate from human norms. Both authors skillfully create an atmosphere of ambiguity and mystery by weaving eerie sounds and vivid descriptions of shadowy settings, including enigmatic dungeons, cellars, secret corridors, basements, and foreboding cemeteries. Through these elements, the authors imbue their narratives with a dual, ambiguous quality that challenges readers' perceptions of reality. This approach not only heightens suspense and evokes awe but also provides literary pleasure by captivating the audience's imagination.
Research Paper
الادب المقارن
Zohreh Ghorbani Madavani; Amir Mesgar
Abstract
Jacques Derrida, influenced by the uncertainty approach that emerged in the 20th century, began to establish a foundational perspective in the West. Following the New Criticism's success in diminishing the impact of external relations on the text, the focus shifted to the text itself, along with its ...
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Jacques Derrida, influenced by the uncertainty approach that emerged in the 20th century, began to establish a foundational perspective in the West. Following the New Criticism's success in diminishing the impact of external relations on the text, the focus shifted to the text itself, along with its form and structure, as the primary subjects of criticism. Consequently, critics increasingly concentrated on the text, while interest in the reader and the addressee diminished. But by proposing his theory, Derrida emphasized the essential role of the reader, thereby prompting a critique of traditional reading practices. He argued that it is impossible to ascribe a definitive meaning to a text. Given the diverse audiences and the inherent contradictions present within the same text, readers can derive multiple interpretations. Derrida believed that the intellectual and cultural background of a text's audience plays a crucial role in its analysis, contributing to the varied and sometimes contradictory interpretations of the same text. Furthermore, the denial of inherent meaning within the text also results in diverse interpretations. Introduction:Deconstruction is a method of textual analysis and interpretation that originated from the ideas and philosophy of Jacques Derrida, a prominent French philosopher of the twentieth century. This approach challenges the conventional understanding of language and meaning, particularly the belief that texts have fixed, stable, or singular meanings.According to Derrida, language is inherently unstable, and the meaning of any given text is perpetually deferred through an endless chain of signifiers. Words do not point to stable, referential realities; instead, they refer to other words, which in turn refer to additional words, creating an infinite process of deferral and difference—a concept Derrida termed "différance."This indicates that any effort to derive a definitive or conclusive interpretation from a text is inherently flawed. The meaning is not embedded within the text, waiting to be uncovered by the reader; rather, it is generated through the act of reading itself.In this context, deconstruction not only challenges the authority of the author but also questions the validity of traditional interpretations that seek to establish a single "correct" reading. It encourages readers to actively engage with the text, to interrogate its underlying assumptions, and to reveal the internal contradictions and tensions that undermine its claims to unity and coherence.Thus, from a deconstructive perspective, the act of interpretation shifts from uncovering hidden truths within a text to exploring the myriad possibilities of meaning that arise through careful and critical engagement with language. This form of reading celebrates multiplicity, ambiguity, and the playful nature of language. Importantly, this approach does not seek to obliterate meaning entirely; rather, it aims to illuminate the complexity and contingency involved in the production of meaning.From this perspective, deconstruction can be understood as a reader-centered or audience-centered approach to reading, in contrast to earlier schools of criticism such as New Criticism, which emphasized the autonomy of the text and sought to isolate it from the author, reader, and historical context. While New Criticism directed attention to the "text itself," focusing on its formal qualities and internal coherence, deconstruction shifts the focus to the reader. It asserts that meaning arises not solely from the text, but from the dynamic, contextual, and open-ended interaction between the text and the reader.To define deconstruction succinctly, we can say that it is a method that rejects binary oppositions (such as presence/absence, literal/metaphorical, or center/periphery) as fixed and stable. Instead, it reveals how these oppositions are constructed within texts and how they can be reversed, displaced, or rendered unstable. Deconstruction aims to challenge the ideological foundations of a text, dismantling the structures that support a singular or dominant meaning.In doing so, it liberates the text from the confines of a central, fixed interpretation, allowing for alternative readings and multiple perspectives.In light of these theoretical foundations, this article aims to apply the method of deconstruction to two odes: one by Mohammad Al-Maghout, a prominent Syrian poet known for his satirical and revolutionary style, and another by Ahmad Shamlou, the renowned Iranian poet and intellectual. The purpose of this analysis is to uncover new ideological dimensions by dismantling the textual and semantic structures that seem to uphold a singular ideological perspective.Method:The methodology of this study is grounded in the theoretical principles of deconstruction, with a specific emphasis on its implications for ideological critique. By analyzing two selected odes through this lens, we aim to uncover the internal contradictions and tensions that undermine the superficial ideological messages of the texts.The selection of Al-Maghout and Shamlou is not arbitrary; both poets are regarded as voices of resistance and revolution within their respective cultural and political contexts. However, as deconstruction reveals, their poetic language may not always align seamlessly with their ideological intentions. In other words, the form and structure of their language can generate unintended meanings that challenge or complicate their ideological objectives.Results and Discussion:Our analysis of the two poems revealed several key insights into the relationship between language, ideology, and meaning. One of the most significant outcomes of employing a deconstructive approach is the acknowledgment that texts do not convey a single, unified message. Rather, they are open to multiple interpretations, many of which may contradict the author's apparent or intended message. In both Al-Maghout’s and Shamlou’s poems, there is a stark contrast between the poets' revolutionary aspirations and the passive or complicit attitudes of the people. In Al-Maghout's poem, this contrast is vividly illustrated through the speaker's desire to instigate societal change, which is met with the apathy and inertia of the masses. Similarly, in Shamlou’s work, the speaker conveys frustration and even disdain toward the people, lamenting their unwillingness to rise and transform their reality. This duality—between the poet's idealism and the people's indifference—is not merely thematic but also structural, embedded in the very language of the poems.What becomes evident through deconstruction is that both poets, despite their intentions, use language that is not entirely aligned with their ideological goals. They employ metaphors, imagery, and nuanced expressions that subtly undermine the narrative of transformation and progress. This linguistic dissonance creates an opportunity for alternative interpretations, suggesting skepticism, disillusionment, or even resignation. In some cases, the poets inadvertently introduce contradictions that lead to the interpretation that change is unattainable, or that the poet’s vision is inherently flawed or naive.Moreover, deconstruction enables us to challenge traditional hierarchies within the text. While the poet may seek to privilege one side of a binary (e.g., poet vs. audience, change vs. stagnation, speech vs. silence), a deconstructive reading reverses or complicates these oppositions. In doing so, it reveals how the text depends on what it seeks to exclude or suppress, thereby exposing its internal reliance on the very ideas it seems to reject.Another crucial observation is that language, in both poems, does not function as a transparent medium for conveying ideology. Instead, it serves as a disruptive force, continually destabilizing meaning and rendering it impossible to settle on a single, coherent ideological message. This phenomenon is not a result of a lack of poetic skill or clarity; rather, it is an inherent characteristic of language itself, as Derrida argued. Meaning is always in flux, and the poet's control over language is never absolute.Conclusion:In the end, by finding contradictions in the structure of these phrases, we were able to easily understand new meanings. And according to the perception of new meanings, we were able to extract a new ideology from the odes of the Arab traveler in the stations of space and curse. While both poets were looking for the ideology of change and revolution in their odes, but the language structure they used was not completely in the service of this ideology, and it made us able to break this new ideology structure, which is the lack of change and transformation. extract from the text.
Research Paper
الادب المقارن
Ahmad lamei Giv
Abstract
Throughout history, the development of relationships between different nations and people has been influenced by various factors, including geographical proximity, trade, and the prevailing political and social conditions of the time. These relationships have fostered cultural and familial ties that ...
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Throughout history, the development of relationships between different nations and people has been influenced by various factors, including geographical proximity, trade, and the prevailing political and social conditions of the time. These relationships have fostered cultural and familial ties that significantly impact the language and literature of the people, resulting in a rich diversity of speech and vocabulary. The governments' interest in science and knowledge, along with scholarly and literary gatherings, has further contributed to cultural fusion, particularly in the realms of vocabulary and expression. The exchange of ideas and cultural practices between nations has created opportunities for foreign and unfamiliar words to enter languages, resulting in a dynamic and ever-evolving linguistic landscape. Today, the Arabic and Persian languages, which share similar alphabets, have profoundly influenced one another. Consequently, loanwords from each language have become integral to everyday speech and the literary culture of their speakers. This exchange of language and cultural practices has fostered the emergence of new linguistic forms, enriching both languages and contributing to their ongoing evolution. This study specifically examines the influence of Persian-Arabic loanwords on Arab poetry in the Khorasan region, using Tha'labi Nishapuri's "Yatimeh al-Dahr" as a foundation for analysis. The findings indicate that Arab literature in Khorasan, particularly poetry, is rich with imported and Arabicized loanwords. This phenomenon can be attributed to the favorable scientific and cultural environment that prevailed during the fourth and fifth centuries, as well as the poets' affinity for this region, especially Nishapur. Contemporary poets in the Khorasan region continue to draw upon this rich linguistic heritage, incorporating loanwords from Indian, Greek, Arabic, Turkish, and Persian-Arabic into their works. The influence of Persian literature on the dialect of the local populace is evident in the use of these loanwords across a diverse range of subjects. Overall, the study underscores the profound impact of cultural and linguistic exchange on the evolution of languages and their literature. Introduction:Khorasan, a vast geographical region in Iran, has held a significant and notable position since the dawn of Islam's arrival in this land. It played a crucial role in the emergence and presence of Islam within the social, cultural, and belief systems of its people. This region facilitated the entry of Arab-speaking tribes, as well as commercial exchanges, connections, and interactions with Iranians. Over time, these relationships deepened, profoundly impacting various aspects of life, including social and religious structures, customs, language, speech, and writing. It is evident that in such an environment, intricately interwoven with the Persian language, there would be considerable effects on poetic expression and dialects.One can confidently assert that the primary reason for the incorporation of loanwords into the poetic works of the Arabic-speaking literati in this region is rooted in the linguistic intermingling and its reciprocal influences.In examining the surviving literary heritage of the Arabic-speaking population of Khorasan, particularly in the works of the unparalleled scholar and literatus of that era, Neishaboori, especially his invaluable work Yatimeh al-Dahr, we discover a wealth of loanwords from various languages, including Hindi, Greek, Turkish, and Kurdish, as well as Persianized terms evident in the verses of poets. This phenomenon is notably more pronounced in poetry than in the prose of that period.Method:In this article, an attempt has been made to examine the proposed topic based on a descriptive-analytical method, utilizing reliable primary sources, especially the fourth volume of Yatīmat al-Dahr by Tha'ālibī Nīshāpūrī. The Arabic poems of the Khorasani Arabic-speakers in the fourth and fifth centuries will be studied and scrutinized, and the Persian loanwords in the Arabic poetry of this period will be extracted.Conclusion:The Persian loanwords found in the poetry of Arabic-speaking poets from Khorasan primarily consist of terms that were prevalent and widely used in spoken language during that period. While these words are not entirely unknown or unfamiliar today, their colloquial usage in both speech and writing has diminished. Through the study and reading of these poems, readers can clearly identify the presence of Persianized words and their meanings. It is important to note that these words relate to various aspects of the culture, social dynamics, and individual lives of the people from that era, as well as their natural environment, thereby reflecting the customs and traditions of the broader community. In this analysis, an effort has been made to identify ten primary topics from the most frequently occurring themes in the Arabic poetry of the Khorasanis. The Persianized words associated with each topic are presented, along with examples from the poets' works. The results obtained, which take into account the frequency percentages of topics and loanwords, indicate that the Arabic-speaking poets of Khorasan were influenced by the rich Persian culture in their poetic discourse and thematic exploration. Instead, they utilized it in various contexts and situations as a valuable means of conveying their identity in poetry and expressing their Iranian heritage. Furthermore, the themes they focused on in their discourse were prevalent in the individual and social lives of the people of Khorasan. Even today, we can observe traces of these themes in traditional Iranian culture. Undoubtedly, the influence of the Persian language, particularly in the realm of vocabulary, is undeniable in the Arabic language. In numerous instances, Arabic literature has drawn upon the wealth of Persian literature, to the extent that many poets have turned to it for inspiration in their panegyrics and descriptions. This engagement, beyond fostering literary innovation, has contributed to the elevation of Persian literature.
Research Paper
الادب المقارن
Ezat Molla-Ebrahimi; Saeed Parvaneh
Abstract
Arabic and Persian cultures and literatures have interacted significantly throughout various historical periods, owing to the numerous connections between the peoples of these two regions. The influence of Iranian and Arab poets on each other's cultural and literary traditions is one of the most evident ...
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Arabic and Persian cultures and literatures have interacted significantly throughout various historical periods, owing to the numerous connections between the peoples of these two regions. The influence of Iranian and Arab poets on each other's cultural and literary traditions is one of the most evident manifestations of this interaction. Nizar Bani al-Marjah, a Syrian poet, is one of the contemporary Arab poets who reflects the influence of Persian culture and literature in his work. This literary interaction is evident in his poetry, where he references renowned poets such as Saadi, Hafez, and Khaju. Additionally, he alludes to several historical cities and locations in Iran. The authors of this research employed a descriptive-analytical method to investigate Iranian characters and places in the poetry of Nizar Bani al-Marja. They also examined the influence of this poet on Persian culture and literature, identifying the most prevalent symbols of Persian literature within his works. Persian culture and literature, with its profound significance, have transcended geographical boundaries, intertwining with the heartfelt expressions of contemporary Arab poets. This fusion is beautifully exemplified in the poetry of Nizar Bani al-Marja. Introduction:This article explores the interaction and mutual influence between Persian and Arabic literatures, emphasizing how they have enriched one another through historical and cultural exchanges. Persian literature, known for its rich content and exquisite imagery, has significantly impacted Arabic literature. Conversely, Arabic literature has also been shaped by Persian culture, with several Arabic poets drawing inspiration from their Persian counterparts and incorporating Persian elements into their own works. This research focuses on the Syrian poet Nizar Bani al-Majra, who is renowned for his fascination with Persian culture and literature. Bani al-Majra has composed works that reference Persian poets such as Saadi and Hafez, and he describes the city of Shiraz as a symbol of Persian cultural heritage. Additionally, he has alluded to various other cultural and literary figures from Iran in his poetry, seeking to engage his readers through these references. The research underscores the significance of comparative literature studies in comprehending the influence of one literary tradition on another. It points out that these studies can help identify authentic elements within a literary work and contribute to the revitalization of contemporary art. Additionally, the article emphasizes the necessity for further research on the impact of Persian literature on Arabic poetry, particularly in the works of Nizar Bani al-Majra.This article offers background information on Nizar Bani al-Majra, detailing his education, career, and literary accomplishments. It highlights that he has received several awards for his poetry and has occupied various literary and professional roles. Additionally, it notes that Bani al-Majra advocates for the harmony between medicine and poetry, asserting that his scientific background has enriched his literary creativity. The research concludes by emphasizing the significance of studying the influence of Persian literature on Arabic poetry, particularly in the works of Nizar Bani al-Marja. It notes that such studies can help identify authentic elements within a literary tradition and contribute to the revitalization of contemporary art. Additionally, it highlights the need for further research in this area and discusses the impact of renowned Persian poets on the poetry of Nizar Bani al-Marja, focusing on Hafez, Saadi, and Khajoo. The research underscores how these poets have been celebrated globally and have inspired numerous writers, including Bani al-Marja.Bani al-Marja's poetry reflects his profound engagement with Persian literature and his admiration for its poets. He has composed poems that pay tribute to these literary figures, incorporating their names and themes to express his love for the city of Shiraz, which is closely associated with them. Saadi, renowned for his simple yet profound language, is portrayed as a poet whose works have significantly influenced Persian literature. Bani al-Marja's poem "Nama al-Ghazal" serves as a tribute to Saadi, depicting him as a gentle gazelle in search of rest and peace. Additionally, Bani al-Marja writes about Saadi's impact on Shiraz, describing the city as a source of happiness and justice. Hafez, another prominent poet, is celebrated for his mastery of the ghazal form and his profound influence on Persian poetry. Bani al-Marja's portrayal of Hafez underscores his role as a guardian of the people's well-being, both spatially and temporally. Furthermore, Bani al-Marja highlights Hafez's distinctive style and his ability to encapsulate the essence of Persian culture in his poetry.Khajoo is renowned for his poetic talents and his connection to Shiraz. Bani al-Marja's poem about Khajoo portrays the poet as a lion resting on a mountain of love, symbolizing his profound influence and the beauty of his verses. The text concludes with a depiction of Khajoo's tomb and the natural beauty that surrounds it. The research explores the admiration that Arab poets, particularly Bani al-Marja, have for Iranian cities and historical sites. These poets drew inspiration from Iran's rich culture, ancient monuments, and stunning natural beauty, which motivated them to compose poetry on these themes.Bani Al-Marja, in his poem, repeatedly mentions Shiraz, highlighting his deep affection for the city. He praises Shiraz as a city of poets, springs, and ancient history, dedicating his work to it. The poet describes Shiraz's vibrant markets, unique beauty, and the presence of a member of the Prophet's family, emphasizing the city's spiritual and cultural significance. He also references Persepolis, the ancient capital of the Achaemenid Empire, as a symbol of Iran's rich cultural heritage. The poet portrays Shiraz and Persepolis as cradles of civilization, underscoring their historical and spiritual importance.Mashhad, another significant city, is home to the shrine of Imam Reza (A.S.). Bani al-Marja captures the city's spiritual atmosphere, the devotion of its visitors, and the familiar faces of the faithful, creating a vivid and poignant portrait of the shrine and its pilgrims. In conclusion, Bani al-Marja's poetry reflects a profound appreciation for Iranian culture, literature, and spiritual sites. His works emphasize the influence of renowned Iranian poets such as Saadi and Hafez, as well as the lasting allure of cities like Shiraz, Persepolis, and Mashhad.
Research Paper
الادب المقارن
Parvane Mehrsereshtan; Abdul Ali Owaisi; Abdullah Wathiq Abbasi
Abstract
Onomatopoeia, a type of word that originates from the concept of nouns, encompasses both natural and artificial sounds that surround humans. It represents a dynamic element of language and is relevant to any community or nation that utilizes language. Shihab al-Din Muhammad Zaidary Nasavi, the author ...
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Onomatopoeia, a type of word that originates from the concept of nouns, encompasses both natural and artificial sounds that surround humans. It represents a dynamic element of language and is relevant to any community or nation that utilizes language. Shihab al-Din Muhammad Zaidary Nasavi, the author of "Nafhat al-Masdur" (7th century), extensively employs linguistic features, particularly onomatopoeias, along with a wealth of rhetorical devices in this work. Due to its integration with the Arabic language, "Nafthat al-Masdur benefits from numerous Arabic onomatopoeias in addition to Persian ones. This study begins by introducing Persian onomatopoeias, followed by Arabic ones, and then analyzes their impact on the text. The aim of this research is to explore the influence and significance of Persian and Arabic onomatopoeias in a literary-historical context, considering their remarkable frequency. Emotional and non-emotional onomatopoeias in this text are employed to depict historical events, personal grievances, and social complaints, significantly enhancing the visualization, concretization, and communication of concepts filled with discontent. Non-emotional onomatopoeias include animal names, their sounds, natural phenomena, objects, and sounds produced by humans. The arrangement of Arabic onomatopoeias featuring human-origin sounds highlights the author's emphasis and the effectiveness of this linguistic tool. Introduction:Onomatopoeia refers to the natural sounds produced by humans and their surroundings, including the sounds made by human limbs. Examples include expressions like and the sounds made by people or animals. One of the features of language that assists humans within the linguistic system is its effective role in facilitating communication and conveying messages. For example, consider the phrases “In confrontation with this natural phenomenon,” “autumn,” “waterfall,” and “the wind and storm,” as well as onomatopoeic expressions like “Khes khesh,” “Shorshor,” and “Hoo hoo.” These descriptions cannot be used as intelligible conveyances without the maximum effect that is required. The meanings of these phrases are common and lack onomatopoeic qualities. To convey a more specific meaning and enhance its impact, it is essential to utilize words that serve as names, thereby achieving the intended goals of employing onomatopoeia. Zaidari, the author of the book, has greatly benefited from the diverse Persian and Arabic onomatopoeias relevant to the content. From the outset, he has enhanced his work not only with literary devices but also with this linguistic richness. Analyzing the Persian and Arabic onomatopoeias in Zaidari's work provides a deeper understanding of the connection between language and the sensory and perceptual experiences conveyed in the text. We can understand how onomatopoeic language serves as a crucial element in conveying emotions, imagery, and experiences. These studies also foster a deeper appreciation of various languages and cultures. The purpose of this research is to introduce Persian and Arabic onomatopoeias and examine their impact on text, as well as to explore the temporal and spatial experiences embodied in Zaydri's works from past centuries. Additionally, this research aims to understand sensory experiences such as fear, anger, and sorrow during the author's time, while also expressing the cultural and social nuances present at the time of the book's authorship.Method:The present research was conducted using a descriptive-analytical method based on the text of Nafthat al-Masdur. Initially, Persian onomatopoeia was introduced, followed by Arabic onomatopoeia, focusing on the origin and reference of sound production. Subsequently, the study examined and analyzed their effects on the text and the audience, as well as the reasons for their inclusion.In the analysis of Persian onomatopoeias and their classifications, Vahidian Kamyar's Dictionary of Onomatopoeias serves as a foundational resource. For the study of Arabic onomatopoeias, Mujam al-Aswat by Muhannad Munzir al-Hajj Yasin, along with Arabic phonetics dictionaries and related texts, has been utilized as references.Results and Discussion:"Linguists and scholars of literature and poetry use the term 'onomatopoeia' in a broader context, defining it as any word that possesses a natural or intrinsic relationship between its form and meaning (Vahidian Kamyar, 1996, p. 10). "In the Persian language, the names of certain animals and their distinctive sounds serve as a source of onomatopoeia—words that have not been created through linguistic rules, but whose sounds have naturally, rather than conventionally, integrated into the vocabulary.""The discussion of onomatopoeic words (asmāʾ al-ʾaṣwāt) in Arabic holds significant importance alongside linguistic studies. Linguists and grammarians have not overlooked its classification, origin, and the various theories proposed in this regard. In this context, they have expressed differing views on the topic of onomatopoeic words and their origins, leading to the presentation of numerous theories regarding their grammatical inflection.Onomatopoeia used in the text can be categorized into emotional and non-emotional sounds. Emotional sounds are utilized in a limited manner. The names of non-emotional Persian sounds, derived from objects, animals, humans, and nature, respectively, exhibit the highest frequency. Non-emotional Arabic onomatopoeias are frequently employed in succession. A sequence of these onomatopoeias is utilized to evoke an effect that transcends the conventional meanings of signifiers and signifieds, guiding the audience toward a deeper understanding and appreciation. The origins of non-emotional onomatopoeias commonly found in Persian and Arabic include animals, objects, nature, and human sounds. "Among Persian onomatopoeic words, those derived from animals, such as 'kalaagh' and 'kaagh'; from human sounds, like 'joosh' and 'cheshchesh'; and from nature, such as 'khas-o-khaashaak,' can be mentioned—all of which the author has skillfully employed in the text to enhance its impact." In Arabic onomatopeias, the author uses all kinds of human sounds: (weeping: boka, Awil, Ranna, anin, noha, zahak: gahgaha...In a row and a variety of natural onomatopoeias: tlatom, rash, qatra, Sarsar, Saeqah...) the most It has had an impact on the transfer of the author's desired concepts. The place of onomatopeias in the historical-literary text with the content of complaint and complaint, according to the special atmosphere of the text, has caused the induction of thought, the ease of the hadith of the writer. Atmospheric creation, objectification of descriptions of battle scenes, creation of musical, acoustic and foregrounding effects are the results of the author's choice of various and numerous Persian and Arabic onomatopeias. The author deliberately and consciously employs Persian and Arabic onomatopoeic words as a means to penetrate deeper into the reader’s perception of historical events such as the Mongol invasion, to depict scenes of battle, and to express his own laments about the indifference of various social groups.Conclusion:The role of onomatopoeias in historical-literary texts that convey themes of complaint and grievance, in accordance with the specific atmosphere of the text, has led to the induction of thought and facilitated the writer's narrative. The creation of atmosphere, the vivid depiction of battle scenes, and the generation of musical, acoustic, and foregrounding effects are the results of the author's selection of diverse and numerous Persian and Arabic onomatopoeias."The author has intentionally employed Persian and Arabic onomatopoeia to deepen and enhance the understanding of historical events, such as the Mongol invasion, the depiction of battle scenes, and his own laments regarding the indifference of various social classes.".
Research Paper
الترجمة
zahra hadavi khalilabad; Ali Bashiri
Abstract
Translating texts that include specific vocabulary, common expressions, and cultural or social issues from the source language presents numerous challenges. Consequently, these translations require the translator to engage deeply with similar texts and possess a comprehensive understanding of them. The ...
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Translating texts that include specific vocabulary, common expressions, and cultural or social issues from the source language presents numerous challenges. Consequently, these translations require the translator to engage deeply with similar texts and possess a comprehensive understanding of them. The translation of Jalal Al-e Ahmad’s stories is not exempt from this challenge. This study will employ a descriptive-analytical approach to critique the Arabic translation of Jashneh Farkhondeh, one of the short stories in the collection “Five Stories” by Jalal Al-e Ahmad, using Newmark’s Theory as a framework. The findings of this research are based on an analysis of comparable samples from Abd al-Wahhab Mahmud Allūb’s translation, evaluated in the context of Newmark’s Theory. The translator has employed suitable equivalents in translating various words, expressions, and cultural references. However, there are instances where he could have translated certain terms that lack direct one-to-one equivalents, such as slang and onomatopoeias, more effectively. Metaphors have been translated literally, in accordance with Newmark’s recommendations for addressing this literary device. Newmark also advises explicating omitted verbs and other words to enhance clarity. Ellipsis is one of Jalal Aleh-Ahmad’s signature techniques, and the translator has successfully preserved this feature in his translation; therefore, there is no indication that these ellipses have been explicated in his work. Introduction:This study is dedicated to critiquing and analyzing the story from the book by Jalal Al-e-Ahmad. Jalal Al-e-Ahmad is a contemporary writer whose work primarily focuses on the life and culture of common people. Consequently, the language and expressions of everyday individuals, along with their cultural beliefs and the economic and political conditions of his time, are vividly reflected in his stories. This article examines the Arabic translation of this story through the lens of Newmark’s theory.Based on the existing literature, very few studies have been conducted on the critique of the Arabic translation of Jalal Al-e Ahmad’s stories, particularly in relation to critical theories. While numerous studies have examined the cultural aspects and the methodologies necessary for translating these works according to Newmark’s frameworks, there is a notable absence of literature addressing the critique and analysis of the cultural elements in the Arabic translation of the story Jashneh Farkhondeh through the lens of Newmark’s theory.First, it is important to note that translating Jalal Aleh-Ahmad’s works presents challenges due to the unique characteristics of his prose. Consequently, translating his writings necessitates extensive reading and a profound understanding of the culture and language of the era in which the author lived. When a translation is evaluated through a critical theory, various aspects of that translation—such as omissions, errors, strengths, and weaknesses—are brought to light. Newmark’s theory serves as a valuable framework for analyzing and critiquing cultural texts.Jalal Aleh-Ahmad’s stories can be regarded as cultural texts. Newmark defines culture as the way of life of a specific social group, utilizing a particular language as a tool. He argues that translating short stories is generally easier than translating poems, as the latter often contains literary devices such as metaphors and other figurative language.He presents eighteen techniques for translating cultural texts, which include cultural equivalent, functional equivalent, descriptive equivalent, synonymy, calque (loan translation), shifts/transposition, modulation, recognized translation, translation label, compensation, componential analysis, reduction and expansion, paraphrase, couplets, notes, literal translation, and deletion.Newmark asserts that colloquial words pose significant challenges in translation and recommends consulting the original writer or individuals familiar with those terms. If such individuals are not available, he suggests utilizing a bilingual or multilingual dictionary to obtain adequate information. According to Newmark, cultural words can be classified into five categories: ecology, material culture, social culture, organizations and customs, and gestures and habits. This research will analyze the translation of Jashneh Farkhondeh by Jalal Aleh-Ahmad, as translated by Mohamad Allūb. It will categorize samples from this translation into the aforementioned cultural word categories and critique them based on the techniques introduced by Newmark. The findings of this study will be presented through charts and figures.Among the cultural lexicon, the category of ecology encompasses elements of nature, including flora, fauna, mountains, and more. Material culture comprises food, clothing, housing, and urban environments. The concepts of work and leisure, along with organizations, customs, and various activities and movements, also reside within the social, artistic, political, institutional, and religious dimensions of this theory. Additionally, gestures and movements during speech, such as head movements, are integral to these concepts.In the translation of cultural terms related to ecology, Mohamad Allūb incorrectly translated the term for a pigeon’s foot, which is feathery, as “Halghe.” However, he accurately translated the song of the pigeon as “Hadil.” In the realm of material culture, which encompasses food, clothing, housing, and urban environments, he employed several inaccurate equivalents. A variety of techniques is recommended for translating this section. Nonetheless, his correct translations of “Yaqe” and “Charqad” should also be recognized.In the section discussing institutions, customs, activities, and similar topics, no references to political, institutional, or artistic elements were identified. The translation in the religious section is notably successful, likely due to the translator's familiarity with the religion, which arises from shared religious practices between the writer and the translator. The translation choices in this section were informed by the use of couplets and culturally equivalent techniques. Similarly, the translational choices in the gestures and movements section also appear to be accurate and appropriate.In total, the story Jashneh Farkhondeh contains 32 cultural terms. Among Newmark's translation techniques, there are 15 instances of cultural equivalents, 4 instances of functional equivalents, and only 1 instance each of couplet and compensation. It is also noteworthy that there are 11 instances of incorrect equivalents in this translated text.We can conclude that the use of colloquial language and expressions, along with references to the social, political, and cultural context of his time, makes translating Jalal Al-e Ahmad’s works particularly challenging for translators. Among the techniques outlined in Newmark’s theory, the cultural equivalent is the most frequently employed in Mohamad Allūb’s translation.Additionally, among the categories of cultural words, material culture is the most prominent in this translation. The translator could have enhanced the translation by utilizing the couplet technique to identify more suitable equivalents. Furthermore, including a brief introduction or endnote for each story, along with its cultural and social context, could help mitigate many of the issues present in such translations
