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

"Attavassol elattarassol" and "Mesbaholrasayel va mesbaholfazayel" are two works of type of origin with technical style. The first of which is a collection of correspondence and the second of which is in the etiquette of correspondence.Undoubtedly the works with the same literary type and historical period are matched style. but sometimes a unique work emerges and is followed, or the similarity of the two works is such that it is worthy of attention. Attavassol elattarassol is also one of the excellent texts, which Mesbaholrasayel , of the valuable secretarial books and of the first works written in correspondence, with a unique resemblance to it.This article seeks to show the practicing of Movaffagh ebne Mohammad Majdi (author of Mesbaholrasayel ...) to the style of Bahaeddin Mohammad e Baghdadi (author of Attavassol ...) and the unique similarity of their work.Therefore the two mentioned works are compared with comparative and analytical method, its upshot is expressed based foundations of stylistics and mentioning the evidence in this speech.The results show that "Movaffagh ebne Mohammad e Majdi" followed writings of "Bahaeddin Mohammad e Baghdadi" as a model and wrote the principles of writing in accordance with the religion contained in his writings. Through this research, the factors that differentiate the two works in question have also been revealed. The available evidence shows that the difference between the two arises from the different subject matter of these books and sometimes the personal interests of their authors.

The school of Ahmad Ghazali, his beliefs and interpretations in the context of mysticism, have gained a special aspect of form and meaning. Ghazali's avoidance of directly and openly dealing with the field of mysticism, apart from the heterogeneity of the textual context of his works from other mystical works, has also caused ambiguity in the textual context. In the book of Ghazali's accidents, countless double confrontations can be seen at the surface level; however, due to the transformations that have occurred in the level of relationships and other levels related to them, the authority of the text of love stories has turned into a temporary and transitory situation. Therefore, at the level of deep construction, aligned with Derrida's logic, sometimes by deconstructing the strains of dual oppositions and transferring them, the levels of reality have been transformed into other levels of abstraction, and by creating new links between them, the arena of single meaning and certainty Meaning is challenged. This method has sometimes been associated with changing the value of signifiers, and sometimes by using both this and that style, instead of either this or that style (replacing difference instead of distinction), has caused the creation of a new level based on paradox. In the following article, after understanding terms such as: authority, familiar and foreign boundaries, difference and distinction, levels of abstraction, connection and difference, based on the descriptive-analytical method, the types of paradoxes in Ahmed Ghazali's accidents have been investigated.

This article focuses on the concept of rhizome and its relation with ‘bio-power’ in Kamila Shamsi’s Home Fire (2017) through the perspective of cultural studies. Deploying Faucauldian concept of bio-power and focusing on the techniques of adaptation, the article tries to discuss how the post-colonial West has imposed the biopolitical discourse through ‘norms’ and concepts like social purity, ‘collective identity,’ and ‘ethnic ontology.’ To this end, notions of ‘difference,’ ‘deterritorialization,’ and ‘reterritorialization’ have been explored. It is argued that with domination of ‘exceptional situation,’especially after September 11th, the silence imposed upon the minority groups, and their banishment into ‘bare life,’ terror and religious fundamentalism seem inevitable outcomes. Shamsi’s work is an attempt to challenge western bio-politics at a time when heterogeneity is the rule of the day; rhizome and polyphony the inalienable features of life, and ‘becoming’ rather than ‘being’ the very essence of man. At this time, in Shamsi’s view, the source of one’s identity should be located in ‘difference,’ and hierarchical discourses should succumb to horizontal equality.

The current study explores the similarities and differences between Central Kurdish and Farsi languages. Both of them share highly similar origins with regard to social relationships and linguistic affinities. Basically both languages were utilized by Aryan community and they are categorized as Iranian and Zagros family languages. Kurdish and Farsi languages were spoken by both Aryan race people as their homelands. This study draws from library method and linguistic documents and, accordingly, proves through examples that Kurdish and Farsi languages are in one language group or family. Therefore, there are linguistic similarities between them. However, there are stark differences. Finally, grammatical and historical documents helped prove that although both have the same origin and they have had a common historical trend with many similarities, Kurdish and Farsi are regarded as two different neighboring languages and each of them is considered to be an independent national language.

Ana Lily Amirpour was born in 1980 from Iranian Parents in England, and moved to Miami, Florida with her family when she was young. She attended San Francisco State University as an art major for her undergraduate degree, and then graduated from UCLA School of Theater, Film, and Television. Although she has experienced a few short movies, A Girl Walks Home Alone at Night (2014) is her first long movie. A Girl Walks Home Alone at Night happens in an imaginative city named Bad City. A lawless city which its location is not specified, but surrounded with industrial ugly oil companies. The time and place of this movie are not recognizable and although it has both Iranian and American signs you cannot certainly say whether it is Iran or America. In this movie, Amirpour integrates the cultural signs of both countries (America as a host and Iran as an immigrant). According to Nojoumian, identity is always under construction and reconstruction, he defines it from semiotics perspective "as a signifier between an individual and his community". On the one hand, in order to relate himself to his community, an individual should construct an identity; on the other hand, each community should have a specific identity to accept individuals as its members. Nojoumian believes that understanding the sign system is related to the identity and that like any other sign system is based on "differences". The second identity theory believes in "identity theme" rather than one single identity. Each individual by the help of his identity theme represents different aspects of his identity in different situations. The third identity theory is "the identity process". Nojoumian states that identities are always in a neverending process of change and evolution. Identities also have a kind of signifier/ signified relationship in each sign system; however, the signs are constantly shaped and reshaped. Immigration experience is always accompanied by tension and conflict. In other words, the immigrant is always under a double paradoxical command. The host asks the immigrant to assimilate into its culture, yet simultaneously it orders him to keep a distance which results in the "paradox of assimilation and difference". Therefore, the immigrant will be in an impossible situation: on the one hand he has to actively participate in the assimilation process; on the other hand, he should keep his distance from the host culture. The immigrant artist is not allowed to create a kind of art which is completely related to his culture because it is not readable and understandable in the host country, neither is he allowed to create some kind of art which is completely related to the host culture since that place is reserved for the artists of the host country. The aim of this article is to show how her shattered identity as an immigrant artist is represented in her art. A Girl Walks Home Alone at Night portrays the impossible situation of an immigrant artist since she is always under a double command of the host culture (American). This double command asks Amripoure to assimilate with American culture yet warns her at the same time to keep her distance from the host culture. On the one hand, as an immigrant artist, she is not allowed to create a movie which is completely according to Western- Vampire genre. On the other hand, she is not also allowed to produce something which is in complete accordance with her native Iranian culture since in that case, it is not understandable and attractive for American audiences. Although this impossible situation seems very painful at first glance, it is beneficial for the immigrant artist. In this hybridized space, she creates a kind of art which is innovative and unique, because she is not completely preoccupied with the Hollywoodian clichés imposed by the host culture.

Developing the imagery and imagism in poetry implies exploiting all capacities of language. One of the means of producing and developing imagery is to consider the contrastive nature of lexemes in culture and language.Based on the contrastive theory of language, when mind encounters a signified, the mental popularity of one is transferred to the popularity of the second. Hence the relation between words, expressions and signs in a language system and structure is revealed. In most cases a network of various images, obtained from different fields of science and skills, has been closely intertwined in Ḵāqāni's poetry. Contrastive relation is one of the main factors in this network, which strongly functions in horizontal axis of Ḵāqāni's poetry. This structural pattern in Ḵāqāni's poetry has been investigated and classified in different scopes, in order to find a way to the mind world and poetic thoughts of Ḵāqāni.

The issue of the possibility and creditability of present concept, that is, manifestation of Shkolosky's Defamiliarization haunts in some of Keats’poems; in them he trys to avoid the traditional logic and conventional ways of looking at the objects in order to make a difference in the locus of their observation. Privileging here the hermeneutics of suspicion, the function of differences or contrasts refers to what Derrida extrapolated as Differance or to differ. These innovative ways of looking at the world, pave the way for new perceptions which are not revealed promptly, instead, challenges and penetrates the readers to discover the new conception which further makes some lingering in the new perception. In this sense, the slowness of new perception can become the other manifestation of Derridaian term, Différance(defer). Considering such a postmodern prospective in mind, this study is to illustrate these manifestations in some of the poems by John Keats.

Cultural differences and diversity of linguistic concepts normally force interpreters to change the sentence structure in the sake of safeguarding its main purpose and meaning. In fact, they recreate the texts either in a new grammatical structure or through the selection of words with a rather different meaning of their normal use. The question is to what extent the translator is allowed to sacrifice the form and structure of sentences for keeping the soul of the original text? Is this problem linked by the proximity of the two cultures and languages? Apart from literal translation of words, is an interpreter obliged to a cultural intermediation as well? And finally, is it possible in principle to learn the language of a country independently from its society and culture? We are of opinion that apart from learning the language, an interpreter should also know and understand the cultural concepts of that country, since in the absence of a general dominance of different dimensions of a culture, one might fall in multiple ambiguities

Proceeded difference in opinion of grammarians Led to the capacity of thought in grammar of Arabic language, and cause to the conflict in thought of the grammarians. This research aims to study the difference between grammarians in modern grammatical matters, which is similar to that difference that took place between grammarians in Basra and Kufa in matters of Arabic grammar. The present research, therefore, had take the method of descriptive and analyzing to study the opinion of the modern grammarians on several sections grammatical study’s methodology, parts of speech, definition of sentences, and the means of meaning discrimination in nouns and verbs. The difference in opinion of grammarians is for finding the way which corrects grammar approach that led to the complexity and difficulty. So, some modern grammarians adopt the grammar of Kufa, because he saw that is easy, others taking what is easier to the process of education.

Most of the Persian literary studies investigate one or more text. But in these researches، the problem of selecting the text has usually been neglected. The text، as only a material of the study، and its selecting by author usually is considered without any communication with methodological aspects. However seriously and problematic study in this subject can enhance the research aspects of the investigation. In This article، we are aimed to evaluate the importance of selecting the text as a methodological element instead of the other criteria in the Persian literary researches. It seems that attention to the text as a methodological element is related to researcher’s awareness of the relationship between the selected text and other texts، and their differences and similarities. Indicating the importance of researcher’s information and his assumptions، this view emphasis on the function of the text ant it’s selecting in the results of the study

This article studies the binary significations of Hafez/Zahed (Pious) in Hafez’s lyrics through a Derridean deconstructive approach. In order to do this, first we outline the deconstructive reading as the theoretical framework of the study. Within this framework, we would explain the Platonic binary oppositions, its effect on Saussurean binary linguistics, and Derrida’s treatment of the oppositions, specifically the binary of the signifier and the signified. Then we deconstruct the binary of Hafez/Zahed and conclude that this binary opposition is unstable and Hafez’s poetry is a self-deconstructive text.

Traditionally, Buddha and Ibrahim Adham have been considered two effective characters in mystical thoughts of Iranians and Indians. Buddha was born in North India and selected a rule of life later called the Middle Way once he was finished with sheer austerity. Ibrahim is also attributed to the Bakr Ibn Vaael trible settling in Balkh. His heroic act of leaving worldly attachments and resorting to destitution and piety made him a popular and distinguished figure compared to other Sufis. Similarities in spiritual vicissitude and life style have made people subscribe to the view that Ibrahim is an Islamic Buddha. Thus, this paper is aimed to carry out a complete review of these two mystic’s life in addition to their similarities, differences and distinguishing features sited in reliable texts. Finally, we came to this conclusion that specific signs in their characters and life imply their differences not similarities.

This essay began with the definition of fable, allegory and the situations in which they were created. Then both stories were introduced according to their theme. After that the motivation of writing of Animal Farm and bringing Kelileh to Iran were discussed. Social Symbolism in these two stories came next. Animal Farm was a picture of a communist society and each of the animals represented a special type of people who were living in that society. Lion and cow depicted, in some ways, the characters of the Sasanian's court, their misbehaviors and conflicts. Then every character in each story was introduced and his characteristics were extracted from their conversations to find a counterpart for each animal by analysis of these features in the meantime. Finally, from a comparative point of view, the common and different features of all the characters were analyzed.

The affixes in a languague are a masive web of morfolexical elements formed by two bases; the root and the bound. The combination of these two link the meaning of a word with a concept. The aim of the present paper is to study the similitud and dissimilitude in the funtion of these suffixes in both Spanish and Persian languages. We will study and compare the formation of new words across affixes and the convergences and existing differences between both mentioned languages.