hasan meghyasi

Deviation from norms is one of the concepts  studies in contemporary literary criticism, which emanates from the ideas of Russian formalism. Although formalism originated from the west in the realm of literature, it has its own place among different nations in the province of literary criticism. Men of letters and critics of other countries through translation, definition, and the fundamentals and principles of formalism have familiarized their own literary men with this literary school of thought and they, in turn, criticized the important poetic and literary works. On this basis, this article aims at investigating a comparative study of the translation of the Russian formalist thoughts regarding deviation from the norms in Persian and Arab literature. Authors and researchers in the literature of the two nations have paid much attention to deviation from norms via formalist criticism of the works. The investigation and evaluation of translations help in genuine understanding of their sources. Through its analytic-descriptive method, the present study intends to discuss deviation from norms in literature and literary criticism — in Iran and Arab countries — and presents the existing differences in the translation. It also attempts to probe the factors which are relevant in the interpretation of these differences. It is self-evident that some different factors such as culture, language, and ethnicity have affected and shaped a variety of different perspectives.

The Holy Quran, as a representation of profound grandeur and magnificence, is not only remarkable and miraculous in its content and essence, but also in its linguistic mechanisms and structural elements. The spaces between verses illustrate some of the most effective and captivating methods that, apart from the musical structure and rhythmic melody, establish harmony and coherence in communicating the message and substance of the verses. The organization of the final letters of verses (Al-Rawi letters) in forming connections and harmonies with the internal aspects of a verse sometimes adopts a disruptive and dissimilar structural shape. Examining and analyzing the variations in the final letters of verses becomes crucial from a sound perception standpoint. This research methodology emphasizes the aesthetic and semantic beauty that aims to affirm the textual beauty based on the endings of verses. Initially, the lexical and terminological meaning of the term "gap" and the explanation of the types of converging harmonies in pronunciation are discussed in Arabic. Subsequently, the primary focus is on the dissimilar and alternative aspects at the end of verses, with the presentation of examples and evidence of various types, indications, and semantic functions of sounds. The findings suggest that the realm of dissimilarity of converging end letters in the gaps has been accompanied by similar indications in a manner where they have presented the same indication by breaking down into details but have emerged in a dissimilar expressive style. In essence, changes in the surface structure, viewed from the perspective of converging end letters, are evident in similar indications, but the addressing style shifts from direct to absent or different assertion. Consequently, the gap in the Quran not only enhances the musicality of the verses but instigates changes that deviate some combinations, indications, and expressive styles from the norm. Hence, through varied linguistic structures, the connection, coherence, and systematic nature of the lines of Quranic chapters are interlinked.

One of the points which should be received attention in the translation of literary texts is the function of expressive and rhetorical nuances; these nuances both have an influence upon the readers on the one hand, and create the sonority of the meaning. On the other hand. Since literary writers pursue purposes by making use of the literary language, the nuances of the source text should be taken into account in the translation of the texts alongside adhering to translation principles and choosing the appropriate way of expression with respect to the target language. As a text, the Noble Quran includes the expressive devices in a pleasant and purposeful way. Irony is one of the most delicate rhetorical devices, which has a significant presence in many Quranic verses. By doing so, the readers can enjoy the beauty of the verses, while the verses themselves can have a more profound influence over the readers, too. In this study, the performance of the translators of the ironic verses of the 30thjuzʼof the Quran is investigated, and after that, the capability of each translator in comprehending the ironic meaning and transferring it into the target language is assessed. A brief look at the translations of the Quran demonstrates that their translators have not found the correct ironic meaning of the verses, and have used either a literal translation, and/ or the Arabic verses, hence making their works more like semantic translations. Therefore, no translation can be selected as the one having provided correct translations for all the verses discussed in this study. In fact, the translators have translated the ironic verses in a roughly similar way, neglecting the ironic aspects of the verses from time to time, and using the primary meaning of the words instead

From the formalists' viewpoint, verbal repetitions and the way they are used in the structure of artistic and aesthetic poetic texts have a great effect on the prominence of words. In literary texts, choosing the right words, the type of arrangement in the sentence, how words relate to each other in word structure, Pay attention to the sounds and music hidden in the letters that make up them it is effective in creating music and creating a harmonious atmosphere in literary texts. Repetition in new Arabic poetry has its particular form and structure and it is displayed at different levels of speech including the repetition of letters, vocabulary, sentences. The way these repetitions are placed in the texture of an ode shapes different forms in the structure of repetitions in the architecture of the ode which the  has a strong relationship  with the content of poetry and the poetic experience of the poet and is considered as an important foundation in appearing phonemic balance and melody of speech. This article aims at scrutinizing geometric repetitions in the poetry of Amal Donqol via analytic. Descriptive method. In Donqol's poem one can encounter different kinds of scholarly technical and with certain objectives. In a way that syntactic semantic cohesion of Donqol's odes is to a great extent. Based on geometric repetitions. Repetition in Donqol's poems aims at developing meaning, emphasis and stabilizing the message in the mind of the addressee, picturing and high lighting the concepts meant by the poet.

Modern poets express many of their poetic concepts in expressive formats and use rhetorical criteria, in such a way that without using literary Devices, their poetic meanings are crude and lack inductive power. Rhetorical elements in modern poetry, due to the nature of poetry, have passed the stage of classical rhetoric devices and arrays, and have been linked to the features and elements of contemporary literary criticism in the form of a set of criteria that interact with literary language and reflect in poets' works.  This paper attempts to probe the Aesthetic Criteria in the Ode La vaghta lelboqa (there is no time for crying) by Amal Donqol using the descriptive-analytic method. Criteria and rhetorical techniques in this poem are expressed in three levels: phonetic, semantic, and lexical, and in the form and content of the poem, it has artistic and semantic functions. Rhetorical elements in the text of Danqal’s poem are not only responsible for the arrangement of words and creating beauty, but also, they have semantic meanings appropriate to the content and semantic structures of the poem. They, Moreover, play an essential role in depicting the poetic experience and interpretation of his thoughts and emotions.

Among the valuable works of the Innocent Imams (AS), the prayers and supplications of Imam Sajjad (AS) have an important place and are considered one of the prominent examples of Arabic texts, and its translation has long been considered by translators, but the important point is the importance of translation methodology as one of the most important parts of the translation process. Therefore, the present study aims at investigating the methodology of translation of Sahifa Sajjadieh from the perspective of Fayz al-Islam and Ayati. The research method is descriptive-analytical. The data has been collected using library sources. After examining the method of the two translators in translating the Sahifa, the principles and foundations and finally the process of translating Sahifa Sajjadieh have been analyzed. The results of the research indicate that Feyz al-Islam has provided fluent translations using the literal and free method and Ayati with the literal method. In the translation of Fayz al-Islam, the translation of metaphorical terms and expressions, extra-textual reference, and the presentation of an interpretive description are preferred over verse translation. In recognizing linguistic elements, the aesthetics of translations counterfeit, Ayati's translation is preferred. The translation of the element of pre-reference, in-text reference and translation of the attributes of God's creation have been done correctly in both translations

One of the most important kinds of ironies is verbal irony which has been utilized in the level, and in this oral method which words meaning, consciously and unconsciously, opposite their real meaning. it is a type of bidirectional and contradictory state in the speech in which words and surface structures lose their dictionary meaning and, implicitly and ironically, are opposite to the narrator’s intended speech. this kind of irony which in Arab literature is known as verbal irony has been applied ridiculously and satirically which some of its uses can be seen in Jāhiz’s fables. This paper investigates the narrations of Albukhala using descriptive-analytical method and evaluates Jāhiz’s wording in describing the parsimonious people and their characteristics from the view of verbal irony in the template of mock, sarcasm, humor, pseudo humor and etc. in order to ridicule the parsimonious people and criticize his contemporary community.

Holy Quran has been translated into Persian several times and on the other hand, a lot of criticism and review have been done concerning the Persian translations of the Quran. Meanwhile, the Tenth-Century Translation of Quran has not been studied so far, in spite of its attractions and strengths. So in this regard, the authors of this paper seek to introduce and explain this unknown translation based on the descriptive - analytic method to assess the success of the translation in conveying the divine message to Persian language. The results show that this translation is not often faithful to the grammatical structures of the Holy Quran. The most important strengths of the Tenth-Century Translation are as follows: exact Persian equivalents, precise meanings of Quranic words, considering the deep structures of Holy Verses in translation, paying attention to the morphological and literal and rhetorical characteristics of the Holy Quran.

The bilateral relationship between structure and content in all valuable literary works is undeniable. Paying attention to and looking into this issue as well as proving such a bilateral relationship is one of the main goal of Abdulghaher Jorjani’s school, which has been propounded and focused on in the new criticism by Russian formalists. The Holy Quran as the peak of literary works has enjoyed this characteristic perfectly. Hence it requires a particular thinking. In this study, adopting a descriptive-analytic method, it has been attempted to examine a small part of the structural beauties of Quran on the basis of two theories: Construction and defamiliarization, showing the effect of linguistic mechanisms and that of the structural aspects on content. Taking the abovementioned goal into consideration, we primarily examine the theory construction and the similarities between the theory and the formalism, the principle of Agenda-setting. Then we try to examine the linguistic structure of Surah “Layl” as well as their relation to the content of the surah according to the content of the surah. Surah “Layl” has linguistic and musical structures which are purposeful, orderly, and cohered. The orderly syntactic structure and use of repetition as well as agenda-setting is observable in the surah in terms of phonetic, syntactic, and lexical balance.