جستجوی مقالات مرتبط با کلیدواژه « پهلوی » در نشریات گروه « ادبیات و زبان ها »

In this research, the name of the book Shikand Gumānīk Vichār and the reason for naming the book with this name are examined. As Mardān Farōkha mentioned in the 10th chapter of his book, he traveled to India, and it can be assumed that he wrote the book after his trip to India and gave the name of the book in Hindī or Gujarātī language. In this research, the name of the book and the reason for its naming will be searched and investigated in Hindī and Gujarātī languages and Dastur Neryosang's Sanskrit translation. According to the findings, after traveling to India, Mardān Farōkha has settled there and has written the book in India and he named the book in Gujarātī as Skaṇdagumānīgujāra, and the reason for writing and naming the book, which Mardān Farōkha mentioned as pa gumą vazārī i nō āmōžagą, also gumān vicārī/wacārī is in Gujarātī language. It was also found in this research that specific names such as "Ādarpādyāvandān", which Mardān Farōkha mentions from his book as one of the sources he used, and the name of the author himself and a person named "Mihirayār" who raised questions in the book, are among the names of the Pārsīs of India.

War story is one of the important genres in contemporary Persian literature. One of the motives in these stories is referring to some aspects of Iranian and Arab nationalism. In this research, various aspects of this motive are studied. In this research, the ideological aspects of the representation of narrators of the stories about the Iran-Iraq war in relation to Iranian nationalism (including the Pahlavi discourse) and Arab nationalism (including the Baath discourse) are investigated. For this purpose, articulation of nationalism or challenging it in a corpus including thirty thousand pages of fictional works about the war (including works that are classified as "sacred defense stories" and works that have a different approach) is examined qualitatively in the framework of critical discourse analysis. Studying these works clarifies the link between the identity of discourse participants (producer and consumer) and their representation and interpretation methods. Analyzing these works shows that works of the revolutionary authors challenge Iranian and Arab nationalism; constructing Islamic/Iranian opposition and supporting the Islamic side, opposing modernism and Westernism in Iranian nationalism (and the Pahlavi discourse) are the important aspects of challenging this discourse. In some other works, where the authors have an Islamic-Iranian identity and do not make the opposition between Iranian and Islamic identity, the Pahlavi discourse, which articulates extreme Iranian nationalism, is challenged in terms of moderate and minimal nationalism. In some cases, some signs of extreme Iranian nationalism are articulated in the revolutionary works. In some other works whose authors' identity includes aspects of cosmopolitanism, the extreme Iranian and Arab nationalistic values are mainly ignored and authors concentrate on cosmopolitan values or moderate and minimal nationalism.

Zoroastrian narrations, which contain jurisprudential and legal issues of Zoroastrian religion, have been collected over the years by various narrators from India and Iran and have been compiled in a collection called Zoroastrian narrations or Darab Hormozd narrations. Several copies of this book are available in Indian and Iranian libraries. In this research, the version of the parliament library has been studied in terms of structural, intellectual and literary features.

This descriptive-analytical study was conducted to identify the characteristics of the book and the effect of Avestan, Pahlavi, Persian and Arabic scripts and languages on its language and writing, as well as the content of narrations and its literary style.

The script and language of this book are slightly influenced by the script, language and style of the tenth century and the use of Arabic words and more inclined to the script and language of Pahlavi and Avestan and Zoroastrian words. In terms of calligraphy, it prevails with continuous writing, and in terms of the use of words, Old Persian and Zoroastrian words and the Avestan language prevail, and in many cases, the Avestan script and language have been used directly in it. The handwriting of the book is also different in different places and in some pages it is ugly and irregular, which shows multiple scribes and adding content at different times. The content of the book also includes the doctrinal issues of the Zoroastrian religion, which has been quoted from authentic books through questions and answers and attention to the narrations of different narrators. From a literary point of view, no specific style can be considered for this book because It has no aesthetic basis and its features include syntactic shifts and deletion of verbs as well as repetition, a bit of simile and allegory. Poetic narrations do not have poetic features and do not have an aesthetic and original structure.

This book has different scripts and languages due to the use of different narrations from different sources and quoting various narrators, and the writing is not uniform, and its most important feature is the style of thought that expresses many dimensions of Zoroastrian religion in different languages.

Metonymy is one of the literary devices produced by people and therefore has good compatibility with Colloquial language in folk poetry. A review of the characteristics of metonymy in the Colloquial poetry of the past century that historically covers the constitutional revolution, the Pahlavi period, and the era of the Islamic Revolution shows a comprehensive utilization of this device.

Essential data for this research has been obtained through study in library resources. Then, these data are examined by descriptiveanalytical method.

The colloquial poems of the Pahlavi period are twice as visual as those of the pre-and later eras and the most ironic language of colloquial poetry also belongs to this period. In contemporary Persian colloquial poems, the most widely used form of imagination is "metonymy". Considering the variety of types of metonymy based on its functionality for the public and the clarity or the secrecy of them, linguistic and lexical types are more suitable for colloquial poetry. Poets' inventive metonymies can also be used in such poems provided that the relationship between the present and absent sides of the speech is not complicated and so does not disturbs the basic philosophy of colloquial poetry, which is the simplicity and easy communication of the audience with the subject. The cooperation between proverbs and ironies in contemporary colloquial poems indicates a kind of harmony between these two elements, since both have their roots in ordinary people's understanding.

Colloquial poems people-friendly poems utilize the literary capacity of metonymy to make softer contact and a deeper connection with the reader. If a folk poet uses both metonymies and proverbs in his literary text, the effect of his words will be more, and it is a common technic that Colloquial poets of the previous century (2021-1920) have utilized very commonly.

In this research, the words that are given in the first five chapters of ShikandGumānīkVichār by the author of the Pāzand text from Hindī and Gujarātī in the Pāzand text, along with Pāzand, Pahlavi form, Persian translation of words, etymology and their ancient form, are examined. The book ShikandGumānīkVichār was written by Mardānfarōkha, the son of Hōrmezddāt, after his trip to India and became acquainted with the Pārsī Gujarātī language during his travel to India, and also the author of the text of Pāzand of the book was one of the Pārsīs of India,that is why many words from Hindī and Gujarātī are mentioned in all the chapters of this book. The authors of this article, who are fully acquainted with Hindī and Gujarātī, have found and studied all these words in Hindī and Gujarātī. In this study, it was found that the author of the book and the author of the Pāzand, because their language was Pārsī Gujarātī, they used the Hindī and Pārsī Gujarātī forms for many words, and all the pure Hindī and Gujarātī words that existed in the first five chapters were examined, and the transliteration forms were also examined because they are given in Indian transliteration with Avestan script and for each word, the grammatical and gender category that the word has in Hindī and Gujarātī(masculine,feminine,neuter)was given, and notes were provided for each word separately. This article is the result of a discovery made for the first time in the world by its responsible author.

Škand Gumānīg Wizār is a Pahlavi polemical text of the ninth century CE, when that language had lost its former political support, while its daily usage among people was declining, and Arabic and Persian were gradually replacing it in all respects. In such a time, the author of this work, while avoiding loan words to express complex concepts, began to write this polemical book, and of course, he was wonderfully successful in accomplishing this task. This raises the question as to whether the Pahlavi suffixes, used in this text, were of especial type quantitatively and qualitatively. Research on this text reveals the suffixes used by the author were far less than Persian suffixes, while all but one or two were used in Persian.

In the constitutional and Pahlavi periods, when there were extensive changes and transformations in the political, social and cultural spheres of Iran, Gilan was one of the regions that was directly involved in these developments. Gilani intellectuals communicated with the people mainly through publications and newspapers, and criticized power and political and social unrest. The most famous newspapers of the Constitutional and Pahlavi eras that were published in Gilan and enjoyed unparalleled public popularity due to their special satire were: Khair al-Kalam, Jangal, Nasim Shomal, Tolo, and Hafgaz. In this article, the most important mechanisms of creating humor in the mentioned newspapers have been analyzed and studied.

The present article intends to analyze the most important techniques of creating humor in these newspapers by analyzing five newspapers of the Constitutional and Pahlavi eras and examining the characteristics of their humor style in a descriptive-analytical manner.

All five newspapers used different and almost similar tools in creating humor. Humor in these newspapers is often used to criticize the political, social, economic and cultural situation and has been used to rectify the situation. At the same time, the biting arrow of humor in these texts has targeted not only the conditions, but also the persons and institutions that are causing these conditions.

The main mechanisms of satire style in the newspapers of this period are: 1) the use of proverbs; 2) the use of colloquial language; 3) the use of titles and titles; 4) use of ironic tricks; 5) Ignorance; 6) Fable; 7) contradiction; 8) language games; And 9) neglect.

The present study has been conducted on the place of mysticism in the literature of sacred defense poetry. The main purpose of this study is to answer the question of whether mystical terms and teachings have been used in the literature of the sacred defense system or not; If so, how did poets use mystical terms?

This research is of theoretical type, relying on qualitative content analysis. The research method is a library method based on the study of books and articles related to the subject, which has carefully extracted and evaluated the required data from sources using the method of taking notes.

Among the studied poems, those that had a mystical approach were extracted, and based on this, it was determined that the poets of the Holy Defense often used mystical teachings and terms in their poetry, and it was also determined that the poets were mystics. Practically and theoretically, they have also taken different positions in dealing with mysticism.

What is the result of this research is the certainty of the connection between mysticism and its concepts with the literature of sacred defense (poetry) and also the fact that the diversity of views and diversity of usage in relation to mysticism, combined with intensity and weakness, in the poems of observation poets Has been.

Ardā Vīrāf Nāmag or Ardā Vīrāz Nāmag is one of the most well-known Pahlavi works that has been translated into different languages, one of these translations, included in Darab Hormazyar's Persian Rivayats, is a Zoroastrian Persian version composed by Anoshirvan Marzban Kermani in seventeenth century A. D. There are other Persian versions of it in verse and prose, including Ardā Vīrāf Nāme versified by Zartusht Bahram Pjjdu, which according to Anoshirvan was not complete and parts of which he has left unsaid; Therefore, in order to complete the text, Anushirvan himself versified it with the same rhythm of Zartusht’s. There are subjects in Anoshirvans’ Ardā Vīrāf Nāme that are not found in any other versions. He has paid more attention to topics such as myths and mythical characters than the Pahlavi and Persian versions. Anoshirvans’ Ardā Vīrāf Nāme is very important as one of the examples of Zoroastrian Persian poetry, whose content, literary and linguistic features have been studied in this research.

Mādayān ī hazār dādestān is a text that belong to late Sassanid era, the 7th century AD,and covers legal issues in the pre-Islamic period. Analyzing two chapters of this text reveals the steps of asset transfer and its rules. One of them is related to the transfer of assets, which describes how to transfer assets from one person to another. The next chapter has been described how the recipient will accept the asset. The purpose of this research is to describe the steps of asset transfer and its rules. And it tries to answer the question, what are the steps for the transfer of assets and what were the rules for it? According to this text, everyone had the right to give something of their property to someone. In the first step, the person expressed his desire to transfer, and the so-called declaration of ownership. Then, the asset was taken out of the custodian's possession and given to the recipient; But the condition of the final ownership was that the recipient would accept and declare that he had accepted the asset. This had to be carefully explained and recorded, and in that case the transfer and acceptance was completely legal.

The buried remains of the ruins of Sar-Mashhad represent a great city that belonged to the Sassanian-Islamic era. In 1979, Whitcomb succeeded in identifying the ruins of the ancient city ofGhandijan in the south of Kazeroon and the historic route of Shiraz to Tawwaj. Today, it is definitely clear that Ghandijan is the same as Sar-Mashhad, which is 84km. south of Kazeroon. Considering the remains of the ancient site, it seems that this city had thrived during the Sassanid era, at the beginning of the Islamic era, and during the second and third centuries, but was emptied during the seventh and eight centuries. The purpose of this article is to provide another interpretation of the mint mark GWDAN on a number of Arab-Sassanian coins dating back to the reign of Calipha Umar ibnUbayd Allah ibnM’mar.. However, if this mint mark instead signifies GNDAN, then it would correspond to the ancient city of Ghandijan according to linguistic and archaeological evidences, which is located in the Pars province near the city of Tawwaj.

Symbolism is one of the ways of expressing the views of Pahlavi poets in protesting the atmosphere of tyranny and repression. Persian poetry and poetry during the Constitutional Revolution managed to link the political and social issues with the political and social issues, but it did not last a long time in the form of poetry, but with the Pahlavi era and the beginning of the era of tyranny, poetry and Persian literature for The expression of the political, social, and protest views turned to symbolism. Although poetry and literature have always been symbolic, but in this period poets such as Nima, Shamloo, Ebtehaj, Akhavan-Saleh and ... although they did not have a political personality themselves, however, were able to use it in the form of new poetry using symbols such as darkness, blackness , Cold and winter, and ... »express the realities of their time. The poems of this kind of poetry originate from issues that are directly related to politics, but poetry itself has little to do with politics. This poem criticizes and protests the status quo before the Islamic Revolution, and tries to change the political situation of the people and encourages the people to confront the Pahlavi regime. A protester is one who considers the course to be extremely unfavorable, and the future in that particular sense has it.

Resistance is one of the basic concepts in the context of each nation. Since long time ago, many people have resisted against oppression, injustice and cruelty. So it can be said that the history of resistance literature goes back to the distant past. Although the term "resistance literature is for contemporary centuries.By looking at history of the word literature you can easily find numerous samples of this literature among the ancients' works. Expressing pains and sufferings of innocent people who are autocratic systems victims is one of the basic concerns of writers and poets of this literature. This article explores the biography of two of the great resistance writers “Ghassan Khanfani” and “Gibran Khalil Gibran” and also studies their efforts and motivations, to realize their freedom that was lost. By recognizing similarities between the biography of these two writers and the symbols that they used in their works, readers will find out resistance has a sweet test, either it succeeds or not. Since people understand that they have made their best effort to advance their desires.

The Pahlawi Inscription of Azarshab known as Niroogahe Sicle Tarkibi (Kazeroon fourteen) is one of the late Sasanian gravestones (iethe year 6 of Yazdgerdi, according to the sixth year of Yazdegerd reign,the last Sassanid king). It have been discovered in the year 1384 (H.) during the excavation near the combined cycle power plant tower In East Kazeroon. The content of the such inscriptions are to in troduce the Dakhma orgravestonesof the deceased and his father and the name of person who ordered to build the gravestones and asked forgiveness for the deceased. The inscription is in the form of a rectangular cube of side columns and the Pahlawi text is written on either side of it. In this paper, first I have proposed a new reading for the title "Azarshab" instead Sicletarkibi!, then I have suggeste dreading of a few words that were not previously read.

Wisdom has a main and central role in Zoroastrian thought and is the same as the Great creation. The creation of the world from beginning to the end is led by wisdom. In this paper, the wisdom is studied first in ancient texts (Old Persian, Old Avestan (Gahan) and New Avestan), and in then Pahlvi texts such as (Bundahishn, Wizidagiha i Zadisparam and the handwriting text of M.O. 29). Four kinds of wisdom (omniscience wisdom, growing wisdom, The pious wisdom, and instinctive wisdom) in Avesta and Pahlavi are compared.

Despite their scattered and shallow references to the past cultures and traditions، travelogs include some details as to these traditions، rarely found in other sources. Therefore، travelogs could be of great help to researchers dealing with cultural features. Since clothing is considered as a cultural element by the travelog writers، the present study، briefly، examines the clothing of kurdish women mentioned in the travelogs of the Safavid period up to the end of Pahlavi era، and deals with the development، and the influential factors of these clothings from the viewpoint of travellers. In the end، the classification of clothing is examined.

طThis article looks at the development process of the two variants of MP abstract noun suffixes -išn and -išt, also MP infinitive suffixes -dan/-tan. Historical considerations and the same origin make it possible to deal with both -išn and -dan/-tan simultaneously. Also we take a glance at NP element شن ° in words like. پاداش