فهرست مطالب ali mohammad haghshenas

The aim of this study is to describe the inflectional structure of Persian verbs based on the theory of Words and Paradigm. We aim to clarify the nature of paradigm or verb inflectional patterns in Persian and the way the multiple roles of inflectional patterns such as person and number can be separated and transparently expressed. Therefore, we extracted sentences from Persian grammar books and analyzed the structure of their verbs. These structures include Person and Number, Participle, Voice, Infinitive and Mood. Results showed that one-to-many or many-to-one correspondence of the inflectional properties of Persian verb can be described using Word and Paradigm model. This model is different from Item and arrangement or Item and Process models, due to the fact that words are considered as a totality for analysis .In the frame of the two mentioned models, words are divided into a sequence of discrete units. In addition, it became clear that the inflectional structures of the verb in Persian are of a morpho-syntactic nature and considering a layered structure for the verb helps to separate the multiple functions of the inflectional structure of Persian verb. Therefore it is possible to describe the characteristics of Persian Verb in the frame of Word and Paradigm model.

This paper aims at studying the meters which are common between Arabic and Persian poems. To this end, we examine and discuss the theory of Golston and Riad (1998) about classical meters. These classical meters in turn are driven from the theory of metrics by Khalil Ibn Ahmad, the famous grammarian and the founder of Aruz (prosody). Golston and Riad's theory is one of the well-known theories in scientific interpretation and classification of Alkhalil meters, and is written in the framework of prosodic metrics. Though this theory is essentially for Arabic meters, it's vividly applicable to Persian meters, too. Metric units of this theory are: syllable, foot, metron, and hemistich the dominant property of which is "binarity". Here we first examine the different dimensions of the theory and then study the theoretical implications of it in the realm of Persian meters. Findings of this research show that the distinct appreciation of the Arab and the Persian about their respective verses has its roots in phonology.

In this article, I have tried to see whether one can find any signs of Mowlavi's influence in the poetry of Hafez. Two considerations have made me deal separately with the form and the content of works of the two poets; a) the deeply static and change resistant nature of the Persian traditional culture, which makes it difficult to say whether one is facing a case of shared culture or one of poetic influence; and b) the need for use of two theoretical standpoints (intertextuality and metaphor v. metonymy) to deal with content and form respectively. The results I have come up with are as follows: 1. As regards the content, one can detect more of an empathy arising from cultural unity rather than any trace of influence of one upon the other. 2. As for the form, one cannot help noticing that Hafez is exceedingly conscious of form, whereas Mowlavi pays little attention to it. 3. Whiltst Hafez leans heavily upon metaphor, Mowlavi is greatly inclined towards metonymy; one tends to ascension, the other to movement forward along the same route. 4. Finally, Hafez does not seem to have made any greater use of the form and content of Mowlavi's poetry with an eye to emulation than of the poetry of other poets, both previous and contemporary with him.