جستجوی مقالات مرتبط با کلیدواژه "مقابله" در نشریات گروه "ادبیات و زبان ها"

One of the most significant Persian histories is Jami’ al-Tawarikh by Khajeh Rashid al-Din Hamadani. It includes the chronicles of different ethnic groups and nations. Its “history of Iran and Islam section” was textually criticized by Mohammad Roshan based on the manuscript of the Archive and Library of the Topkapı Palace Museum in Istanbul, No. 1653, and published by Mirath Makhtub Publishing House. This manuscript is a collection of chronicles by Hafez Abrous that Mirath Maktub has published its translation. There are several errors and slips in the textually criticized text. The proofreader could not read words, he replaced them with dotted lines. In the present article, the errors were corrected, and some words replaced by dotted lines were identified. The correction method is comparative: Roshan’s textually criticized text was compared with the translation of (Majma ul-Tawarikh) and the correct forms of some of the wrong words were retrieved. In the cases of dotted lines, the text was supplemented. The research result shows that the number of errors in the textual critic’s manuscript and the number of cases left blank are considerable. Apparently, one of the main reasons that caused the textual critic to slip in reading some words or leave them blank is that most of the words in the manuscript were the basis. This article aims to make the next edition of this section more complete by showing these flaws and errors, presenting the correct forms, and completing the parts with dotted lines.

The present paper seeks to correct some historical errors in Jamichr('39') al-Tawarikh (history of Persia and Islam), edited by Mohammad Roshan using a content analysis technique and a comparative approach. In correcting those errors, we referred to Tarikh-i Muchr('39')jam, which is one of the sources of Rashid al-Din Fazlullah in the comprehensive compilation of histories, and researchers to this day have neglected this matter. The expressions taken from Jamichr('39') al-Tawarikh were confronted verbatim with the terms in Tarikh-i Muchr('39')jam, as an auxiliary version to correct these errors. According to the meaning and significance of the expressions, the correct forms of Jamichr('39') al-Tawarikh were shown under Pishdadi and Kiani figures. Besides comparing the terms, in some cases, the ellipse of some phrases in the printed Jamichr('39') al-Tawarikh, distorted and illegible in the copy used by the editor, was completed. The result is that Jamichr('39') al-Tawarikh is not a precise correction of the final form of this book, and with the application of these corrections, later editions of this book will be more revised.

The literary term of contradiction has been the most controversial concept in literature. Some of the main literal and rhetorical techniques such as contradiction, confrontation, paradox, ambiguity, and probability implicit in contradictory words, failures ... are mostly based on contradiction and confrontation. In this article, which is done based on the descriptive-analytical method, with a content analysis approach, first, we review the contradiction and paradox in rhetorical books, and then we explain the application of such techniques in Molavi's 50 lyric poems. The results show that in most of the newly written rhetoric books, there are more accurate definitions and segmentations about the literal symbol of contradiction; besides, its importance has been taken into account more seriously than before, while paradox has been noticed only in some of the recent rhetorical books. The contradictions are of high frequency in Molavi's lyric poems based on the documentary method. The relatively high use of paradox in Molavi's sonnets reflects his innate genius, creative thinking, artistic and rhetorical deep understanding of the artistic capabilities and rhetorical techniques, and is commensurate with his mystical attitude, and ecstasy. The Research process on the contradictions and paradox of the view of rhetoric books is as follows:  

 the artistic and creative works of Iran and the world have been using contradiction and contrast in their foundation. Contradiction and paradox are the two most important concepts of Molavi's work that have not yet been the subject independently. 1-1. Statement of the Issue: Firstly, how have these contradictions and contradictories (paradox) been used in rhetorical books? And secondly, how did Molavi use them in Divan-e Shams in a rhetoric way?  1-2. Background Research: there had been some researches done to study contradiction and paradox such as: "Reflection of contradiction in Masnavi"; "Contradiction and its types in Persian Literature"; "Contradiction at the same time of unity"; "Study of the components of mystical paradox in Hakim Sanai's Ghazals"; "Paradox language"; "Contradictory phenomena of aesthetics"; "Paradoxical critique and analysis of historical and rhetorical process"; "Mystical experience and paradoxical expression"; "Content paradox in Persian Poetry"; but the surveys show that there has been no research yet on the role of contradiction and paradox in Divan-e Shams. 1-3. Necessity and Importance: Considering the importance of contradictions and paradox in Molavi's sonnets and the fact that these two concepts and their types in rhetorical resources, including the different species of contradiction and paradox in Molavi's ghazals, have not been discussed in the researches mentioned above, it seems like that is necessary to investigate in this regard. 1-4. Research

 in this study, the library research method has been used, and the data collection was descriptive-analytical. 2. Discussion  2-1. Contradiction and paradox in rhetorical books 2-1-1. Contradiction: firstly, the development of contradiction in rhetoric books is explained in a timely order from Tarjoman Al-balaghe (from the end of the 5th century) to Naghd-e Badi’ (1379). The research shows that "contradiction" has been named one of the most beautiful and efficient literary arts as tazad, motabeghe, takafu, motabegh, tabagh, etc. Rhetorical scholars believe that the basis of contradiction is the usage of contrary words. Some of them has only confined to define the meaning of paradox by providing a few examples, while others believe that "the presence of beauty" is the necessity of using this array, and some others believe that the presence of a sense of contradiction – even without using contradictory words- can be named "contradiction". Others have only mentioned examples for "contradiction" without explaining its different species. Although some scholars, especially more recent scholars, have paid more attention to explaining the various species of contradiction and their definition, divisions, and their aesthetic aspects, they divide it into a contradictory noun, verb, aphesis, opposition, the ambiguity of contradiction, eftenan, paradox and sensational.  2-1-2. Paradox: It has not been mentioned as an array in rhetoric books because it has been introduced to us by western literature.  In this article, 50 lyrical poems of Ghazaliyat by Shams-e Tabrizi have been randomly selected and studied based on the content analysis to explain the rhetorical contradiction and paradox in Molavi's sonnets. The conclusion of the study of Molavi's ghazals, based on the divisions in rhetoric books, shows that paradox has appeared in 9 ways in Molavi's ghazals. The frequency of types of contradictions in this study is as follows:     Contradiction types Paradox Explicit contradiction Opposition Inexplicit contradiction Semantic contradiction Verbal contradiction Contradiction of reversion aphesis Contradiction of ambiguity Percentage 30.3 25.2 17.8 14.9 4.4 4.4 1.5 0.75 0.75   2-1-3. Opposition (18%): this type of contradiction has third place in Molavi’s work because his forethoughtfulness dissuades him from prejudice; in a way that he displays every aspect in addition to its contradiction.  Half hemistich Three half hemistich One redoubled hemistich One hemistich One couplet Two couplets Types of Opposition 11.1 5.5 33.33 16.6 27.7 5.5 Percentage  

 contradiction has been more and more attractive to rhetorical scholars by the day. Most of the newly written rhetoric books have paid more attention to the divisions of contradiction, its aesthetic role, and rhetoric effect. "Contradiction” has a high frequency and different types and styles in Divan-e Shams attributed to Molavi. Every type of contradictions displays the meaningful relation between contradictions and inherent genuine, intelligence, and mystical ecstasy of the poet's mind. The paradox with 31% usage shows his mystic language. The "explicit contradiction" with 26%, because of its persuasive nature, and the "opposition" with 18% displayed in 6 different styles, show his intelligence and creativeness. For example, using contradiction in one redoubled hemistich, the confrontation of one side of contradiction in three half hemistich with its other side in one-half hemistich causes transferring excitement and spiritual feelings to the audience that makes them more enthusiast to understand the meaning of the poem. You can say that in this regard to the opposition, one army battles with three armies. "Inexplicit" contradictions with 15% show his open and creative mind for displaying spiritual concepts. The rest of the contradiction types are not highly frequent. This characteristic is due to that they don't give the audience help understanding the meaning. The reason for this factor can be the concepts discussed further: First of all, Molavi's great interest in the use of much contradiction rooted in his mystical and philosophical insight; Second, the widespread use of paradox is due to his mystic skepticism and the natural homogeneity of paradox with the specific language of mysticism; Thirdly, the frequent use of the "inexplicit" contradiction expresses his genius, creative mind, and literary taste, and all this is one of the factors of Molavi's sonnet's charm and verbal and spiritual value which shows the rhetoric of the contradiction in his ghazals.

In its very long history، Persian literature has had many scholars، men of letters، and poets، many of whom are famous all over the modern world. One great poet is KhaqaniShervani (520 H. G.) who used a plethora of hard-to-understand similes and metaphors. A reader should try hard to understand his poems. The present article studies a line from a poem by Khaqani. This line displays his vast knowledge of astronomy. The term opposition، one of the \ «five theories،\» is a phenomenon in which the sun and the moon are in the same line. It occurs when the moon is full.

In this article the author has attempted to contrast two Dēnkart, the sixth manuscripts marked K-3 and D-10 ‘a’. The comparison depicts that some of the maxims/sayings are not recorded, have verbal differences, and contain errors in one of the two manuscripts.