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

Abu Mu'in Nasser bin Khosrow bin Harith Qabadiani Balkhi is a well-known poet who lived in the late 4th and early 5th centuries AH. He composed his poems in the service of religion. Nasser Khosrow believes that poetry should only serve religion and religious leaders. For several reasons, his anthology has not received much attention from commentators, and a complete explanation of it has not been published so far. A book that partially explains the poems of Nasser Khosrow is "From Qabadian to Yamgan" written by Mohammad Reza Yousefi and Ruqieh Ebrahimi of Shahrabad and published by Al-Mustafa International Translation and Publishing Center. An important goal of an author to explain a text is to solve a problem in that text for the readers as far as his or her knowledge goes. For this reason, different contents should be considered in the explanation of texts. In this article, we will carefully examine the book "From Qabadian to Yamgan" to show how successfully the authors have commented on it and whether they have really solved any problem of Nasser Khosrow's poetry.

Diwan Naser Khosrow is one of the diwans whose parts have been described and published under different titles. One of these works is a book entitled "Dor LaFez Dari" in which Mr. Kazem Dezfulian has described a poem. This book is written in 200 pages and published by Talayah Publishing House. And we will criticize this book and we will express some points about some parts of it. In this article, some of the problems and mistakes of the book have been pointed out. With detailed investigations in this article, we will see that the author has many aspects of the poem. Nasser Khosrow has not paid attention and in some cases he has not explained some verses correctly; Therefore, this description is one of the incomplete descriptions that has not solved any of the difficulties of Nasser Khosrow's poetry, and it is necessary for the author to correct the mentioned items and add unexplained aspects in the next editions.

Criticism and its types have been referred to as judgment, evaluation, identification, analysis, review, interpretation, and the like, all of which regard criticism as an interrogative encounter with produced text aiming to explore and examine it. This is while the purpose of this article is to emancipate criticism from the common posterior definitions and as the result to create a fundamental understanding based on text criticism as a priori act in the production process. For this purpose, this article focuses on pre-linguistic and meta-linguistic elements in terms of a non-structural approach and a context for actual production of text as possible conditions. These are meta-historical data which contain the whyness and howness of text formation. Possible conditions are objective and meta-linguistic preconditions. They are different from explanation and interpretation as the realm of mind. Possible conditions are at the heart of historical theory (Historik) and are in relation with long-term processes, playing role in text from the beginning of its formation. Observing possible conditions, as meta-textual conditions make the text actual. It is while criticism, as a possible condition in the creation of text and as a priori and beyond the linguistic narration and hermeneutic features, protects and supports it against any kind of posterior review and judgment. This article attempted to look at the criticism from a different perspective. This led to the extraction of results different from the common ones and to the context required for the actual production of the text event.

Proverbs are the extract of culture, ethics and worldview of a nation, whose analysis and criticism leads to the explanation of current thoughts and opinions among the people of a society. Negative proverbs, along with proverbs that indicate positivity, have a significant frequency in literary sources and among people, and this type of proverbs is also reflected in Dehkhoda"s proverbs and sayings. In this research, criticism of negative proverbs in Dehkhoda"s proverbs and decrees has been discussed and the intellectual coordinates of these proverbs have been analyzed.

This article is written in an analytical-descriptive way and its type is library.

The prevalence of negative proverbs imperceptibly and unintentionally leads to the spread of negativity in the society. From the point of view of language, the negative proverbs in Dehkhoda"s proverbs and sayings have a bitter and stinging language, and from the point of view of style and intellectual context, they are full of negativity and sometimes include violations of moral norms and lead a person to adopt a negative approach in life.

The research results show that negative proverbs have a high frequency in Dehkhoda"s proverbs and sayings. The negative proverbs in Dehkhoda"s proverbs and sayings mainly include themes such as incompatibility, ignorance, anxiety, threats and caution, bad past, conflict, fear, futility, destruction, unfortunate events, despair, violence, oppression, bullying, insults, death thoughts, They are teasing, talking, lying, sarcasm, sedition, deception, bullying, superstition, reproach, humiliation and threats, fault-finding and self-praise. Among the above cases, ignorance has the highest frequency with 1456 cases (12.3 percent) and self-praise has the lowest frequency with 50 cases (0.42 percent).

Criticism of methodology and analysis of literary works is one of the important topics in the field of scientific and research works, which can shed light on the intertextual influence of literary texts, especially in fiction. In the present study, the authors, using the method of content analysis and comparative comparison, found one of the ways of espionage in the war in seven famous literary and historical stories "King of Jahud and Nasranian" in Masnavi and Hayat Al-Hayvan Demiari, "Boom and Ghorab" in Kelileh. and Demeneh, "Firouzshah and Hitalian" in Tabari's history, "Shaghad and Rostam" in Ferdowsi's Shahnameh, "Zaba and Qasir Ebn-e Saad" in Balami's history, "Bibi Seti and Abu Muslim" in Abu Muslimnameh. The results showed that the method of espionage in the story of King of Jahud and the Christians in Masnavi and Hayat al-Haiwan is stronger than other stories in terms of structure and content. The method of penetrating is based on a kind of cognitive warfare, which without any military conflict, and only with mastering the power of knowledge and identifying the religious beliefs of the enemy, created differences among the fearful and destroyed them. This principle has not been observed in other stories.

There is no doubt that determining the quality of a translation depends on putting it to, The test of Criticism and Analysis, There is no desire to correct the defect in it, hence there was an urgent need to set reliable standards to judge the quality of Translations, which led to the introduction of more Theories and interviews to determine these Standards, Among these Approaches is the  Garcec Model Criticism, Which brings together the various currents presented in the arena of translational research, the model includes four levels: the Semantic linguistic level, The grammatical Morphological level, The functional discursive level, and the Stylistic Pragmatic level, Several procedures fall under each level. This model was applied with an analytical, descriptive, and statistical approach to Adel Abdel Moneim’s translation of the novel The School Principal by the Iranian writer Jalal Al Ahmed. Let us discover that the translator was successful at the linguistic and grammatical levels, and his translation was sufficient, but he did not achieve success at the functional and stylistic levels. His translation was not accepted.

The book of literary sciences and techniques is a dedicated resource for teaching Persian literature in the second secondary school for the fields of literature and humanities and Islamic sciences and education. As the beginning part of this book, the history of literature section is one of the most important lessons that students sometimes do not want to learn due to the high volume and similarity between some materials and the memorization of the lesson, and generally refuse to read it. The authors of this book, despite simplifying and reducing its volume compared to the book on the history of literature of the old system, have not observed some important issues, and this has caused the book to be criticized in terms of structure, content, science and meaning.Reviewing and rewriting the book based on the two approaches of genre or literary type and flowology is a method that can provide useful information for students and teachers in addition to the ease of learning literary history. The method that has dominated the history of Persian literature in textbooks is mostly about biographies and naming the works of poets and writers, and sometimes it has brought up things that are not very important and useful. In this research, in addition to criticizing the history of literature section of each of the three books of literary sciences and techniques, we separately discuss the proposed design of the history of Persian literature based on two approaches of genre (before Islam to the 12th century)

In recent years, the identification and correction of the Nakkali of Shahnameh scrolls have greatly impacted the view of Shahnameh-scholars toward the scrolls. The findings indicate that the Nakkali scrolls were not just a product of the mind and imagination of the bards; even in some cases, the scrolls date back to the pre-Islamic or, at times, the Islamic era preceding the compilation of the Shahnameh, by Hakim Abulqasem Ferdowsi. On the other hand, the corrected Nakkali scrolls differed in language and style from what the bards recited in a bardic assemblage. Consequently, the correction of the Nakkali scrolls should be done in a specialised manner and in accordance with the correct scientific standards so that the results could lead to a better understanding of the scrolls and their sources. Edited by Jalil Doostkhah and published in 1396 [2017], Shahnameh Nakkalan is among the best researched Nakkali Shahnameh scrolls. This article investigates Shahnameh Nakkalan from two perspectives: the first part will explore the mistakes and contradictions of the author, Murshid Zariri, and the second part conducts a thorough investigation of Jalil Doostkhah’s editing methodology. This critique concludes that both the authorship and curation have been unfaithful to some sections.

According to intertextuality, every text is influenced by other texts, and the author, consciously or unconsciously, is affected by previous texts. this theory was introduced by Western theorists and has also gained prominence in Arab literary criticism. The utilization of previous texts in Arabic poetry is quite prevalent. In this context, the Quran stands as an ever-flowing source for Arab poets. By incorporating its blessed verses into their works, they enrich their creations. The utilization of the Quran isn't exclusive to Muslims; poets of other religions have also drawn inspiration from it. alQaravi, is a Lebanese Christian poet who migrated to South America. Nonetheless, one of the most notable characteristics of his poetry is his significant inspiration from Quranic verses. The Quranic interpretations and concepts are ingeniously woven into his poetry, adorned with literary elegance. For this purpose, the present research employs a descriptive-analytical approach to delve into the exposition and analysis of various forms of intertextuality in the Quran, as well as the poet's objectives in utilizing Quranic verses. It aims to examine techniques employed in his poetry's structure. The results indicate that alQaravi had a comprehensive familiarity with the Quran, and he utilized it for various purposes. the parallel negation has the widest scope, followed by general negation, and finally, partial negation has the least scope.

One of the theories applicable to the Holy Quran is the theory of Michel Cuipers, who has introduced a new approach to the order and coherence of the Quran by using the method of symmetrical and inverse order. He divides the text into different levels, then divides the various forms of symmetry, i.e., sequential parallelism, contradictory parallelism, authorial or evolutionary parallelism, axial order or circular composition, inverse order or mirror composition, and photographic contrast with the help of convergent authorial indicators. It discusses and examines duality, synonymy, contradiction, similarity, repetition or similarity, phonetics or consonantal allegory, morphological similarities, and identical syntactic structure. After explaining the theory, its comprehensiveness and efficiency have been examined in Surah Al-Hadid by applying the rules provided by Cuipers, and it is concluded that the rules mentioned cannot be applied to all verses in this Surah at sub-section, section, and part levels, but they can be applied to all verses at maghta' and mafsal levels.

What causes the formation of the poem is the form; Form industries and how they are used at the level of language show the level of its literacy. But the form alone does not guarantee the durability of the works. The present study aims to provide some points related to poetry criticism. This research is based on the fact that in criticizing the works, one should pay attention to important issues such as: sound and uniform language, lack of stylistic anxiety, the way of using formal industries and fairness in criticism. It should also be noted that not every work can be criticized. There are many works that do not get the privilege of criticism. Therefore, to criticize a work, a minimum level should be considered. It should also be kept in mind that the mere use of literary arts does not create art.

As various fields of knowledge develop, interdisciplinary studies become more prominent. During the recent five decades, the concept of social capital has drawn high attention in humanities including literature studies. Literature like a mirror reflects the characteristics of social relationships among individuals in a society. The purpose of this research is to reveal the manifestations of social capital in the novel " Sayyidat al-Qamar" written by "Jokha Al-Harithi", a contemporary Omani writer who was born in Oman in 1978, and his novel won the "Man Booker" international prize in 2019. The focus of the novel " Sayyidat al-Qamar" is the life of three sisters, their families, and social changes in Oman. This research was conducted based on the descriptive-analytical method using the content analysis method. Findings indicated that almost all the components of social capital as norms were found in the text. Furthermore, some norm indicators such as cooperation and social support had higher frequency compared to other indicators.

One of the notable topics in mystical texts is the investigation of the relationship between mystics and the rulers of the time and how to deal with them. It seems that mystics are alien to politics, and mysticism, which is from the category of meaning, discovery and intuition, solitude and trance, cannot be collected with politics, which is an external, general, social phenomenon and related to the life and livelihood of humans; there is no relationship between spirituality and mysticism and politics. The examination of mystical texts shows that mystics' interest in the destiny of man and his happiness and misery, which is somehow related to the way of running the country, has made them to react against politics and government. Many of the elders of Mysticism (Erfan) have addressed political resistance in their works and expressed their views on political issues and government leaders. Regarding elements such as recommending rulers to justice and being anti-tyranny, criticizing rulers, telling the truth against tyrannical rulers, resistance against ruling powers, expressing criticism and objection to the behavior of rulers and the political resistance of mystics, the fifth century is considered as one of the eventful and influential centuries. Political developments and social conflicts provided the ground for the activity of mystics and Sufis. The establishment of schools of religious sciences, and the spread of monasteries and mystical writings caused the spread of Sufism. The period between the fifth century and the whole of the sixth century and the beginning of the seventh century is the most important period of activity of mystics in Iran.

If we consider language not as a mirror reflecting struggles, but as the subject and tool of struggles, then we should use the signifier of discourse, which makes the concepts of power and language understandable in a continuous and inseparable conceptual entanglement. This article aims to analyze the text of Tarikh-e Beyhaqi as one of the most influential classical texts of Persian literature with a discursive method. In other words, by placing this text in its discursive context and its dialectical relationship with power, and understanding this text as the field of conflict between powers and conflicting discourses of society, a new understanding of it can be achieved. In order to achieve this goal, Fairclough's critical discourse analysis method is used to perform micro-textual analysis, and Laclau and Mouffe's discourse theory is used to perform macro-discourse analysis of Bayhaghi era. The text of Tarikh-e Beyhaqi, as shown, does not reflect the true struggle, but itself, is part of the struggle process. This text is influenced by the chain of ruling discourses and is used against peripheral discourses. Tarikh-e Beyhaqi, under the influence of the discourse that pulls the bipolar mind of the text to a directional representation of the flow of affairs, highlights the ruling discourses and marginalizes the peripheral discourses.

One of the factors behind the complicated and abstruse nature of Bidel Dehlavi's works is the avoidance of conventional linguistic and grammatical traditions as well as ambiguous anti-syntaxes and the use of alien and defamiliarized structures leading to the formation of a personal and unique style in the heart of macro styles. One of these personal stylistic features is the presence of “specific simile pronouns” as one of the most uncommon and ambiguous features of his style. In these types of compounds, the pronoun that is used as a possessive does not belong to the possessor but is the possessor itself. In this paper, the researchers have investigated specific simile pronouns through descriptive and analytical method. The results of the research indicated that Bidel Dehlavi used separate and attached first person and second person personal pronouns in his works, unprecedently and frequently, as tenor and for objectification. The aim of using such similes is to objectify Bidel's most fundamental mystical principle, that is, the helplessness and impotence of the human kind against the eternal lover. To do this, Bidel uses elements such as dust, bubbles, dew, drops, etc. In the meantime, the use of the first person attached pronouns (=م __) and separate pronouns (= منman and maما =) have the highest frequency, and the second person attached pronouns (=__ ت) and separate pronouns (= توto) have a lower frequency than the first person pronouns.

One of the signs of nostalgia and resentment of scholars and rationalists about the system or the order of existence of their time is their complaints reflected in the mirror of literature. Criticism of lack of an appropriate social status proper to one's knowledge and art, nostalgia for poverty, lack of freedom of speech and action to express scientific and philosophical views, ignorance of citizens, etc., whose speech is constantly accompanied by projections such as attributing difficulties to the sky, rooted in Zarwani culture and is referred to as  Destiny, implying the the will of God Almighty. Almost nobody admires the corruption, hypocrisy and coercion that dominates these poets’ social milieu. Therefore, occasionally the rationalists fail to grasp order and discipline in the universe.  Some wise people have examined the issue through the lens of wisdom and philosophy, and some from the perspective of religion and mysticism. It is a pity that the role of men of power and statesmen is less well-addressed regarding these shortcomings. Some have called it the religion of the sea and others have labelled it as the law of whirlwind. The author of this article tries to study (descriptive-analytical) some of the annoyances of the artists and to point out their origins.

This research aims to provide a framework for the theory and criticism of young adult literature, which is different from children and adult literatures. Hubert Hermans' Dialogical Self Theory (DST), in conjunction with the field of adolescent psychology and philosophical ideas related to adolescence, offers a promising approach to progress in this direction. To this end, it is necessary to first conceptualise "adolescence" and understand the issue of young adult literature. The article then proceeds to discuss the implications of this symbiosis for the theory and criticism of young adult literature which conceptualises the adolescent as a dialogical and polyphonic being. The problem of young adult literature lies in the interaction between internal and external voices of adolescents, specifically in terms of dialectical movements of centralisation and decentralisation within the self. This interaction occurs within the tensions of the self, which can ultimately lead to self-development. This framework has implications for the theory and criticism of young adult literature, including the differences between this literature and children's literature. Furthermore, it invites a reconsideration of the definition of young adult literature. Drawing upon typical devices in Dialogical Self Theory, it provides an approach for the criticism of young adult literature.

Young adult literature scholars investigate the expansion of the theoretical horizons of Young Adult literature. As Karen Coats maintains, Young Adult literature has been instrumentalised, as if it were a house one passes on the way and not a destination in and of itself. Coats believes that to recognize the independence of YA literature, it is necessary to theorise it as a type of literature with its unique objectives and subject matters, the ones that distinguish it from children's and adult literatures. In other words, the theory and criticism of YA literature require endogenous approaches. This article aims to address such a need. Hubert Hermans' Dialogical Self Theory (DST) in symbiosis with theories of adolescent psychology and philosophical ideas about adolescence (which can be aligned with DST) identifies the concept and problem of adolescence. It will be revealed how this symbiosis contributes to the theory and criticism of YA literature. The present research investigates the contribution of this symbiosis to YA literature theory and criticism and takes a fresh look at the ‘philosophy of adolescence.’

This qualitative study employs an abstract-interpretative approach. The method of data analysis is inductive, as it extracts the concept of adolescence and orientation towards theory and criticism of adolescent literature in light of Hermans’ view in conjunction with adolescent theories.

This research draws upon Hubert Hermans’ Dialogical Self Theory (DST). Hermans, a Dutch psychologist and a well-known scholar in narrative psychology, developed his theory in the 1990s. DST provides a conceptualisation of the self and fluid identities. In this theory, the self is originally social and potentially dialogical. It consists of multiple "I-position" or multiple and dynamic voices that maintain dialogues in the self. Re-positioning itself spatially and temporally, the self continuously adapts I-positions or the voices of the society and others, and the acquired voices or positions are always in the process of becoming and reconstructing in the self. Positions in the self, are analogous to people’s behaviour in a community: some cooperate and form a coalition with common purposes or values, whereas others are more competitive and less tolerant toward the others (Hermans, 2002: 149). This theory is in line with Pragmatist traditions about the self and literary and philosophical traditions about dialogue.

In Hermans’ theory, the major problems in adolescence are ‘dialogue and polyphony.’ They are intersects where the adolescent and YA literature meet. In the theory and criticism of YA literature regarding adolescence concerns, the knowledge of theory and criticism of YA literature joins these two subjects and forms an interconnected triangle. Through I-position, meta-position, etc., DST explains the mechanisms and processes of power representation, subjectivity, identity, conflict, growth, maturity, and abjection as prevalent issues in YA literature. One of the implications of DST in symbiosis with adolescent theories for endogenous theory and criticism of YA literature is a fresh interpretation of the difference between children's and YA literature. In this light, the differences between the two need to be seen in the quantity and quality of children’s and adolescents’ internal voices or positions, the types of dialogue they have with each other, and the way the voices play their role under the influence of the two fundamental structures of development, i.e., centralising and decentralising forces. Re-defining YA literature in light of this development and search for meaning and identity are intersubjective processes between adolescents and adults and are among the central concerns of the present study.

‘Voice’ is a fundamental motif in adolescence and YA literatures. Given the fact that the concept of voice as a process and is always in change and reconstruction, and YA literature is a manifestation of this process, the critics and researchers of YA literature need to pay special attention to the existing and emerging voices in YA literature.
While most YA literature theories consider the process in which the adolescent character reaches maturity after dealing with different voices as bildungs literature, in accordance with DST, maturity and the search for identity are intersubjective; this renders the development of the self ‘relational.’ In this process, people of all ages might achieve a more mature mental state.
The difference between adult and YA literatures is in the quantity and quality of the repertoire of voices and manifestations of centralising and decentralising movements.
DST provides an appropriate framework for the analysis of emotion as a marginalised issue in YA literature. In a detailed analysis of emotion, one should identify interactive voices, the process of emotion/cognition interaction, the relation between them, the orientation of the author regarding their authenticity, and the position of the implied adolescent on the rational/emotional scale.
When analyzing YA literature, the critics need to focus on voice devices embedded in literary work and assess such devices as I-position, third position, enhancing positions, de-positioning, combination, etc.

The previous custom in correcting the texts was that the most archaic manuscript was absolutely the basis, and except for gross errors in the oldest manuscript, they did not consider it permissible to deviate from the oldest recording. Although this method was correct in most of the revised texts, the nature of Hafez’ poems and the variety of his sonnets were such that in the work of correcting his poetry, relying only on the oldest manuscript does not lead to a superior recording. On the one hand, Hafez was constantly in the process of completing various aspects of his poetry and possibly changing and modifying them, and on the other hand, he did not collect his poems himself, and the oldest written copy of Hafez’ Divan is dated after his death, which is said to have been collected by Mohammad Golandâm. It is possible that other people have been assigned to collect and edit Hafez’ sonnets. Based on this, in addition to the fact that we are faced with several original copies, the existence of numerous secondary manuscripts as well as the distortions of the scribes in his Divan, and the number of recordings in some verses and disagreements about them have caused that only referring to the older manuscripts will not cause these disagreements to disappear. In such a case, one of the ways is to examine disputed verses based on textual/semantic documents and rhetorical techniques

One of the characteristics of religious poetry in contemporary literature is containing critical-instructive tenors conforming to the political and social evolutions, viewed from Constitutionalism era up to the Islamic Revolution in Iran in this article, Manqabati poems written by poets describing the Imams of the Infallibles have been studied with the aim of examining critical educational concepts.

The method for data collection was using library and index cards and data analysis was descriptive and analytic. The content of analysis was selected from the eulogies of the poets from Constitutionalism era up to the Islamic Revolution in Iran.

Findings of the study revealed that the poets used the religious poems as a basis for demonstrating critical-instructive concepts in order to reform the society and instruct and moralize the readers and audiences. Criticizing the disorders of society, recommending the correction of the affairs relying on the religious instructions, criticizing the demeaning of religion in the society, Gnosticism, recommending the resistance and being faithful against absolutism and colonialism, devotion to Immams, seeking help from Immams to solve personal and social problems, freedom to Qods and Palestine, and awakening the Islamic World are the concerns of panegyric poets.

Contemporary panegyric poets do not see eulogies as just praising and lamentation of Innocent Immams. They made this type of poem for criticizing people"s morals, the rulers" imprudence, correcting the affairs of nation, resistance and being faithful against absolutism and colonialism, inviting to campaign and hopefulness of relief of problems.

Face, an image a person adopts for himself/herself in social interactions, can be lost, maintained or boosted and is of two aspects: (positive: will to be self-operative and Negative (will to be approved of by other). In any instance of interaction, face, which is tightly related to power, comes into play. Power has been traditionally set in the males’ hands and this made it easy for them to threaten the face of their inferiors, though this has been sometimes contested. Comparing the FTAs Mahmud Shaygan and his wife do in “Monji dar Sobhe Namnak” (Savior in a Damp Morning) based on Brown and Levinson’s (1987) model, the present article shows how the female character is different from the gender-cliché’s we have in mind. The findings show that the woman threatened her husband’s face more through disagreement, criticism and confrontation. In other words, the more the male character commits acts that threatens the face of his wife, the more the woman does FTAs to threaten the face of her husband.