فهرست مطالب hosein imanian

"The Anxiety of Influence" is a theory proposed by Harold Bloom that discusses the effectiveness of poets. It is based on intertextuality and focuses on the relationship between contemporary poets and the past, as well as their fear of their own effectiveness. The theory suggests that poets modify their speech in order to conceal their effectiveness and present themselves as creative individuals. This concern or fear of effectiveness is evident in many poems and reports from the third and fourth centuries of Arabic literature. This essay takes a comparative-analytical approach to examine the mindset of these composers by analyzing their poetic compositions, historical-literary reports, and the opinions of orators from that time period. It aims to explore their worries and concerns regarding topics such as innovation and imitation. Additionally, using Bloom's theory as a guide, it examines the strategies employed by Abou Al-Tayeb Motanabbi to present his historical statements in a new light. The research demonstrates that these composers' confrontations with the limited opinions of their predecessors and contemporaries are rooted in psychological impulses and mental worries, rather than personal competition or militancy. Furthermore, the rhetorical approaches used during that time period added to the psychological pressure they experienced. Therefore, further research is necessary. The composers mock others while boasting about their artistic talent, which reveals their anxiety and worry about efficacy. They employ techniques such as brevity, exaggerated imagery, reversing repetitive concepts, using distant metaphors, and implicit or explicit analogies instead of weak examples to make repetitive forms and objects feel fresh and establish themselves as innovative poets.

translating between two languages is a very difficult, time consuming and requires experience. It is a complete mistake to think that by learning a language in a few years, one can translate any text from that language. In addition to the two important principles of "familiarity with the first and second languages", the principle of "knowledge of the subject" and science and research in it, it is also very valuable; The principle that some Persian-language translators seem to show in the translation of books written about the history and culture of Iran and Islam in European languages is underestimated when writing the Proper Nouns (people, things, books, etc) shows itself and clarifies the level of expertise and knowledge of the translator. In the present article, first, the mistakes of Persian-language translators in writing the Arabic-Islamic Proper Nouns when translating texts from Latin languages (especially English, French and German) are mentioned, the losses and causes are discussed, and In the end, the ways to get rid of this problem are explained. The research method was analytical and based on mistakes that the author found while reading some translated books and suggested ways to get out of such mistakes as he found from personal experience. The most important reason for such mistakes is the translator's ignorance or lack of knowledge of the subject matter; Looking at the expertise in translation and choosing an expert editor by the translator and publisher will help to translate the translated text, to a large extent,...

one of these ceremonies, hardly mentioned by historians and scholars, is Shadgoli, which was popular in the Abbasid era in Iran, Iraq and Syria (Sham). Applying the descriptive analytical approach, the aricle incorporates reports containing Shadgoli. The details of this ceremony according to the available historical-literary data are then explained. The information obtained shows that Shadgoli has been a royal celebration dedicated to the rich and little participation of  common people is vividly seen. This ceremony is mentioned in Arabic sources as Shazkoli, Shazkola, Shazkolah, Eide Nathr-Alward and Eid Al-Jolessan. It seems that it has been held in spring, in the time of the abundance of flowers and blossoms. Considering the available Persian texts it can be said that Golestanjashn, Golrizgan, Golafshani and Ordibeheshtgan are other names for this ceremony.

More than being a "tool" for translating knowledge and awareness from one language to another, translation is a "process" for reflecting cultural and social concepts. To improve the quality of such reflection, new perspectives on translation, linguistics, and discourse can be used. One of the new perspectives on translation is the proposal of the Spanish Carmen Garcés (1994), which has four levels: "semantic-lexical", "syntactic-word-constructive", "discourse-functional" and "stylistic-practical". With the help of these four levels, it is possible to investigate the increase, maintenance, and decrease the original text information in the translated text. By counting the positive and negative features of translation, the adequacy and acceptability of translation are also evaluated in this theory. In the following article, based on this theory, we critique the translation of Habibullah Abbasi from the book "Sufism and Surrealism" written by Adonis. Although the translator has increased the volume of the translated text by adopting the method of "synonymy" and bringing more or fewer captions, according to the criteria set by Garcés, his translation has the feature of preserving the information of the source text. In spite of the criticisms that can be leveled at the translator's method of translating terms and the type of word-for-word translation, in general, his translation has a degree of adequacy and acceptability as stated in Garcés' theory.

Mousavi Garmaroodi's translation of Sajjadiyeh scripture is one of the most accurate translations of this prayer book into Persian. And because of the large number of relative clauses in the Arabic text, the critique of the translation of this word has been the subject of the present speech. Using the descriptive-analytical method and after extracting and arranging the equivalents of this type of Relative “Ma” from the script in Garmaroodi translation, the authors have focused on the first category in two categories without "من " and with "من". Because of relative clauses without what has a vague meaning, the translator must use the context or descriptions of the text to find the right equivalent, and this requires the translator's artistry, linguistics, experience, and extensive knowledge of the language and Literature is Persian and Arabic. It follows from this research that Garmaroodi has taken two methods for relative clause without what: either to keep the rhyme and brevity in the original text, he has kept it vague and has given him equivalents such as "which [آنچه]", or has turned to equalizing and bringing clear words from the Persian language. In order to find a suitable equal, he has used the context of the words and phrases back and forth of relative clause and apparently some of the descriptions on the Sajjadieh scripture. In any case, this combined method is a testament to the translator's meticulousness, research, and fidelity, and his aesthetic taste, and has placed his translation into a literary and beautiful prayer in Persian.

Arabic poets in the early centuries, especially those who described wine, in addition to talk about wine, its pleasures and drunkenness, also described the bar, cupbearer and even the cups of wine. In describing the cups, they have not neglected to describe the images or drawings on them. These paintings, which, like the customs and traditions of drinking wine and different types of wine, are associated with pre-Islamic Iran, usually reflect images inherited from the traditions of the Sassanid period. Although the surviving cups from the Sassanid period are very few and it is not possible for us to see these paintings, but the poems of Arabic poets, especially in the Abbasid period, depict some of these paintings for us in the form of words. Representation of these types of paintings may make us more familiar with the art of painting in Iran and Iraq at the beginning of the Islamic period, which undoubtedly follows the tradition of Sassanid painting. In the following article, after a brief introduction about the paintings on buildings and other tools, which are mentioned in Arabic poetry, the most important themes of the paintings on wine glasses (cups) in the poems of the Abbasid era are discussed and these paintings are compared with the paintings of existing antiquities. This article is an attempt to show a part of Sassanid painting on wine cups that has been displayed in the poems of Abbasid poets with an interval of two to three centuries. These Images usually express the situation of the Sassanid court in joy and war.In their research on the characteristics of Iranian art, Iranian and Orientalist scholars have not paid much attention to Persian and Arabic literary texts and poems. Arabic literature in Abbasid times clearly shows the life, society, thought and art of pre-Islamic Iran. Although the reports of the Arabic poets of this period from the drawings on the cups may not be completely true, but because we have received few cups from that time, these reports can also be trusted.The research that Iranian and orientalist artists have done on patterns on clothes and dishes is based more on surviving concrete examples from the past and less on texts, especially Arabic texts. Therefore, we suspect that the issue raised in this article has not been comprehensively addressed so far. The value of this article goes back to the fact that Arabic-speaking poets may have spoken of images that are not concrete examples in museums or elsewhere and are new to researchers of Sassanid art. This research answers the following questions: How did Arabic poets in the Abbasid period and the Middle Ages AH describe wine glasses? What were the most important themes or motifs of the images on the wine cups in these periods?This research shows that, paintings on the wine cups of the Abbasid period And the Middle centuries, the ones in the hands or in front of the poets, were very much influenced by Sassanid art and reflected the favorite images of Iranians, which has become an important subject for poetic illustrations in Arabic poetry.The method of this research is descriptive-analytical and based on reading the remaining poetic texts from the first and middle centuries AH; where the poets also spoke of images on wine cups. After a brief reference to the history of describing the images of objects in Arabic poetry from the pre-Islamic period to the Abbasid period, the author deals with the general characteristics of the images on the vessels left from the Sassanid era, then extracts the images of wine cups from ancient Arabic poetry Has categorized and tried to compare them with existing objective and ancient examples.The main subject of the pictures on wine cups in the Abbasid period, the Sassanid kings, their courtiers and their political connections with Roman kings, are scenes of hunting, drinking, feasting, horseback riding and warfare, and there is almost no religious scene, family scene of the Sassanid court and herbal design.These images include the following images: Sassanid king, wine drinking, throne sitting, obeying people, the scene of the Sassanid army fighting, horsemen archery, Kasra and Caesar sitting together, Roman emperors surrendering in Kasra's palace, Kasra's captivity with the Roman emperor, predatory lions and dancing women, etc. Looking at the examples of cups inscribed with Sassanid images that we brought in this research, it can be said that most of these cups were depicted by poets living in Iraq and Iran in the second to fourth centuries AH. After this, the most abundance is related to the poets of the sixth to eighth centuries in the Levant and Egypt, and we see only one or two examples in the poems of the poets of the region of Andalusia (Islamic Spain) in the sixth and seventh centuries.Arabic literature in the Abbasid era and the Middle Centuries AH clearly reflects the life, society, thought and art of pre-Islamic Iran. Although the reports of Arabic poets about the designs on the cups may not be completely true, but because we have received only a few cups from that time, these reports can also be useful and reliable. Considering the abundance of these images in the poems of Iraqi poets in the second to fourth century, it can be said that from this time, the subject of cups painted with the image of Kasra and his Army in war and celebration, has become a famous poetic motif. Egypt in the sixth to eighth century, using imitations of Iraqi poets in previous centuries, used this issue; In other words, it is possible that they did not see these painted cups, but used this theme, imitating previous poets. As for Andalusia, it can be said with more certainty that the Andalusian poet spoke only on imitation of the poets of the East (Iraq) on many subjects, including the same cup with Sassanid motifs. The titles of the images that have been on the wine cups and the poets of the Abbasid period and the Middle Centuries have spoken about it are as follows: Kasra and Caesar together, Archery horsemen on horseback, the scene of the Sassanid army battle, the ceremony of visiting Kasra, the hunting of Kasra and his cavalry, the drinking of Kasra, the obedience of the people to Kasra, the surrender of the Roman emperor to Kasra, the captivity of Kasra to the Roman emperor, the welcome of the Roman emperor, the Christian religious leaders, the predatory lions and the singing women.

Man has always adhered to his national, ancient, mythical, and religious traditions and ceremonies; he also has placed great value on them and tried to preserve them. Some traditions are so much parts of a culture that even political and religious revolutions have not been able to challenge them or break with them, even though they may have been given new names. One of these traditions is the ceremony of Omar-Koshoon, which is probably a modified version of an old Iranian ceremony. This tradition which is still cherished, though more secretly, has a history of several centuries in some cities of Iran, especially Kashan. What is called "Omar-Koshoon Show" in this article is based on an older form practiced in Kashan and several other cities in Iran, not the form that is now held in many cities in Iran. In this article, we first refer to the roots and historical backgrounds of Omar-Koshoon in Iran and Kashan and, then, compare it with some other Iranian and Babylonian celebrations. Afterwards, we compare it with Mire Nowrouzi. It seems that Omar-Koshoon and its Shiite-like form has been rooted in Mogh-Koshi ]Megaphonia[ (or Mire Nowrouzi in Islamic era). There are some similarities between these two ceremonies in terms of performance, manners, and the clothing of the organizers, while both rejoicing and breaking away from legal and religious constraints on the days of the performance

Surah Yusuf is one of the surahs of the Qur'an which has narrated the whole story of the Prophet Yusuf (pbuh) from the beginning to the end in a novel way. This surah was revealed at the end of the Meccan period when the pressure on the call to Islam reached its peak, and therefore, in a didactic way, it addressed the Prophet of Islam directly and all the believers indirectly. This paper attempts to examine the translation of parts of Surah Yusuf by using the theory of situational context in Halliday's systemic functional grammar and the need to pay attention to it in understanding the text and to find whether both translators were successfully translated the source text from Arabic to Farsi or not. Therefore, in the first step, we examine the elements of the Holliday situational context (field, mode and tenor) in the Arabic text of a part of the surah, then we point out the extent to which translators regard to this situational context in their translation. It seems that our translators in this article (Saffarzadeh and Ghorab) have paid less attention to this Arabic textual context, and have translated more by looking at the appearance of the text. Therefore, the reader of the Persian translation cannot be well aware of the ideational, interpersonal, and textual metafunction of the original language (Arabic) and the position of the actors in the story of Yusuf.

Nowruz has been the most prestigious and celebrated custom of the Iranian holiday since the ancient times, for which Iranians have always done preparation before the beginning of the New Year, and have spent days holding rituals as a sign indicating their eagerness and enthusiasm. The advent of Islam, which entailed the conversion of many Iranians to Islam and their adherence to its rituals, never diminished the prosperity of this holiday, but added a touch of Islamic glamour to the event, encouraging a more glorious celebration. Arabic texts of the first centuries (AH) highlight the name of an itinerant group called “As’hab al-Samajah”, who staged comic and entertaining performances in Baghdad, Syria, and Egypt. We believe that these are the very Mirs of Nowruz. Many of the rituals performed during the Mir Nowruzi ceremonies in Baghdad and Cairo may have been forgotten, and therefore, we would have a clearer picture of this Iranian celebration if we investigate these rituals. In this article, we went through a brief background of the Mir Nowruzi, and then dealt with the etymology of the word “Samajah”, which we think has its roots in the Persian word “Simache”, meaning ‘a mask’, which has also been used in the Arabic texts in this sense. Then, we have mentioned the reports of the Arabic texts about this category and have studied the rituals that had taken place in this carnival atmosphere. It is ascertained from these reports that the masked people had their public performance on stage in the first three days of Nowruz, where the caliphs and the other key figures had occasionally supported them and at times imposed sanctions on them.

The religious, historical, and political links between Arabs and Iranians could be observed and thoroughly explored through various dimensions, and there has also been many works written in this area. These links as well as a bilateral influence could clearly be seen in many religious and literary fields. The image of historical and legendary Iran in Arabic literature, whether in poetry or prose, is considered as one of these signs, which clearly asserts the cultural, social, and political role and dominance of Iran before Islam, especially during the Sassanid era, over the cultural and political outlook of Muslims during the first centuries. The names of Iranian characters could be seen all throughout the works of Arab poets during the Abbasid era. Naturally, these characters have been portrayed positively in the works of patriotic Iranian poets; however, since these characters are also portrayed positively in the poetry of Arab poets who are devoid of any patriotic feelings for Iran, the subject appears to require a different, more precise investigation. Given how an Arab poet having no Iranian origin calls on such Iranian names with different religion and nationality, it is essential to examine why and how these poets would portray these outsiders; is it due to personal motives? Or is it the result of collective, all-inclusive motivations leading these poets to create such works? Here the majestic, glorious portrayal of Iranian characters before Islam through the words of patriotic Iranians as well as their negative, undermined portrayal in the poetry of biased Arabs are irrelevant. What is presented here is a generally positive image of Iranian outsider figures offered by Arab poets of the post-Islamic eras, particularly the Abbasid period. The present inquiry was conducted through the descriptive-analytical and statistical methods. In this regard, following the extraction of poems in which Iranian characters before Islam are mentioned, it is attempted to examine and analyze the portrayal of these Iranian outsiders. Then, using the statistical method, these figures along with their period were classified. Given how the study inevitably requires referring to historical reports, the approach for this study is historical-literary. The sociopolitical challenges between Iranians and Arabs during the first centuries have been demonstrated rather inconspicuously, while Arab poets and scholars often praised Iranians and their prominent figures. Not only the image of outsiders is not omitted in the Arabic poetry of the Abbasid era, but also it is manifested in a glorious manner. Here, it could be understood that the implications on being the enemies of Iran during the early centuries have been nothing but a disadvantageous, failing advertisement, whereas Arab poets and people had believed and accepted Iranian outsiders before Islam. For instance, by looking at books written during the early Hijra centuries under the title of “Al-Mathaleb” in which the shortcomings of nationalities, including Iranians, Arabs, Turks, and Romans, are presented, it could be observed how they are incompatible with the image of these nations portrayed in Arabic and Persian poems. On one hand, the examination of motives and reasons for the presence of pre-Islamic Iranian figures in Arabic poetry of early centuries shows the extent to which the Iranian heritage before Islam had remained known to Arabs and Arab Muslims; on the other hand, it denotes the importance and value of this heritage during the first centuries of Islam. The majority of these figures are of historical nature (religious and political), who have been listed amongst mythical, artistic figures of ancient Iran. This is easy to understand considering how Islamic rulers, particularly during the Abbasid period, have attempted to follow the conventions of Sassanid Kings in their approach for governance. Consequently, everyone including poets who were considered as the intellectuals of the society were fairly familiar with such figures. In this regard, there have been a number of books translated from Pahlavi into Arabic. Nevertheless, the familiarity between Muslims and Iranian religious figures has been clearly insignificant in terms of religious aspects, whether willingly or unwillingly. As this society had apparently rejected Iranian religious conventions, it had neither a compromising response to Manichaeists, Mazadakists nor even to Zoroastrianists. Seemingly, a few number of these people are from the Sassanid, Parthian or Achaemenid empires. The Sassanid, who regarded themselves as superior over previous reigns due to perhaps reasons such as the history of this dynasty and its magnitude for the Muslims of early centuries, have been portrayed more prominently compared to other Iranian rulers before Islam.

SLL necessitates conditions, needs and prerequisites which will, if not provided for the teacher or the learner, retain them from achieving the ultimate goal of this knowledge, bringing about hatred and unwillingness in SLL. It would not be an exaggeration to say we are observing too much unwillingness to learn Arabic language. Some of the causative factors, emphasized in this article include new learner's dependence on the archaic and complex texts and formal words and expressions bearing no spirit and freshness on the one hand, and having no more appropriate function than communicating formal language with others, on the other. The language learner does not apply the words or expressions appropriate for the conventions popular among the Arab community, hence is not able to establish an emotional atmosphere and amicable relationship with others. In other words, the learner depends on a type of expression, preferably called “controlled language”, with the help of which he can only get his message across in the simplest form possible not being able to exploit the common idioms and expressions as well as the various styles prevalent among the Arabs. We believe reading the contemporary Arabic texts, especially dialogue-based plays and stories is more productive for teaching the non-native learners of Arabic language in both oral and written interpretation. Such texts offer the learner a vast volume of everyday and informal words and expressions fit for standing upon ceremony and establishing appropriate amicable relationships. The mentioned texts will introduce the learner to the Arab social and public culture bearing an excessive disciplinary function as well as reflecting the overall culture of the contemporary Arab world. The present study will investigate the role of story and play and also its common compounds and expressions in teaching the Arabic language to the Iranian university students. One of the most important advantages of the Arabic texts in story and play for the foreign learner is giving his speech fluency and liberating him from telegraphic speech and of a language well call controlled one.

Poetry of the ignorance era which is undoubtedly not free from artificiality, is a transparent mirror reflecting the dust of ignorance of the Pre-Islamic society and its people's unthoughtful behaviors and beliefs. A genuine image of such society is only to be found in the poems of the abandoned and opposition parties like Negro poets, Mawali, Slaves, and Saalik and especially in the Quranic verses. The poems of Antarah Ibn Shaddad, the originally Abyssinian blackish poet, have two prominent characteristics: on the one hand he unveils the racism as well as the importance of Arabic or the tribal originality of that period and on the other, he associates his lyrics with epics. While expressing the beauty of his beloved "Ablah" and being away from her, he remembers the battle field and his own bravery confronting the enemy. He brings a new genre preferably called epic sonnet. Being called epic is not a narcissistic act but it is due to bearing some certain features of the epic. After investigating Antarah's motives in her epic and lyric poem, the present study expresses the most prominent characteristics of such poems. According to some epigrammatists the epic-associated sonnet images is derived from the Persian poems through the masculine sonnet discipline. The present paper indicates the imageries of martialism and amour in the Arabic poetry and in the feminine sonnets existed long before the Persian poetry; however, the generating agent and foundation of such poems are different in both literatures.