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

In the interdisciplinary researches of recent decades, much attention has been paid to the relationship between philosophy and literary theories. However, the characteristic of this type of research has been mostly a kind of "general" and "imprecise" encounter with "philosophy" and "literary theory". The current research, by adopting an interdisciplinary approach, shows that "European" literary theories can be divided into two types of theories that are in interaction and dialectic relationship with "analytical" and "Continental" philosophies. Theories such as reader response, phenomenology, psychoanalysis, etc., are oriented towards "Continental philosophy" (European) due to their interpretive and subjective approach, while theories such as formalism, structuralism and its subcategories, such as narratology and structural anthropology, have affinities with analytical philosophy. This article will show that analytical philosophy, through features such as concreteness, objectivism, experimentalism, precision, repeatability and fixed results, and its distance from subjectivism and relativism, has commonalities with "Russian Formalism" and "Structuralism" and the key terms of the theories of formalism (the dominant element) and structuralism (common patterns) are integrally related to Thomas Cohen's scientific-analytical approach and his key terms, paradigm and normative science.

This article delves into the definition, performative lineage, and, notably, the three origins—mythical, religious, and socio-political—of ta'ziyyeh. The primary inquiry is the roots of ta'ziyyeh and the reasons behind its formation within the Shi'a discourse. The research employs a qualitative-explanatory approach, utilizing available library tools and drawing from diverse Iranian and non-Iranian primary sources. From a mythological perspective, ta'ziyyeh is associated with ancient Iranian rites, including the "lamentations of Mithra", "the legacy of Zoroastrian Zerir" and, notably, "the mourning of Siavash", all falling under the overarching title of "Divine Martyrdom." From a religious standpoint, the article explores the ties between ta'ziyyeh and Islamic teachings, particularly the fundamental ideology of the dichotomy of good and evil.Additionally, the potential connection between ta'ziyyeh and the representation of the sufferings of Christ in medieval Christian traditions is discussed. From a socio-political perspective, the article examines how the Shi'a discourse, driven by the belief in the usurpation of divine governance by oppressors, has historically endeavored to assert its rights through uprising. It explores how ta'ziyyeh, as a religious performance, intertwines with its Iranian national traditions and rituals to emphasize the eternal confrontation between good and evil. These three mythological, religious, and socio-political origins lay the groundwork for establishing the connection between ta'ziyyeh and tragedy in further research.

In this article, the causes of 19-20th-century’s English audience's considerable attention to Hafiz poems are studied regarding the reader-oriented Reception Theory. This approach had special social, cultural, and literary causes defined in the Reception Theory as paradigms. By identifying the social-literary paradigms of England, the literary and social Horizons of Expectation in this period are explained. The Horizon of Expectation is the most important discussion in Reception Theory of Robert Jauss, which includes all literary and social factors which stimulate readers to refer to a literary work. The readers identify their expectations according to these horizons. If their expectations from the text are satisfied, they continue reading; otherwise, the text is considered as a "dead". In the case of Hafiz poems in 19th-20th century, we consider the combinations of horizons and readings. The results show that in these centuries, the social-literary paradigms in Britain were so developed that Hafiz poems could satisfy the social-literal expectations of England and even go beyond them.

The Indian style is one of the most distinctive poetry styles in classical Persian poetry. It has distinctive differences with its preceding and following styles. As such, it enjoys its own principles and traits. As a case, the high frequency of allegory application is one of its most distinctive elements. There is a consensus that the poets following this particular style drew their special attention to allegory and the function that this literary device might play in the structure and meaning of their poems. In this paper, the researcher argues that the underlying reason of the high frequency of allegory in the Indian-style poetry can be clarified using the ideas of Thomas Kuhn, who is a prominent philosopher of science. This approach can raise our awareness that any paradigm is framed in one or more frameworks that shape the possibly accepted propositions and norms in any specific period. Findings of this study represent three different patterns, namely synthesis, secularism, and symmetry, which are the main observed patterns shaping the meaningful propositions in Safavid era.  Since allegory is embedded with all patterns related to this period in their own structure, the poets following this specific style perceived allegory as an appealing and attractive one and, hence, they applied it extensively.

Transition from common and prevalent dual substructure and superstructure and crossing political, social well known situation as main motives and vanables in formation of subject and concepts providing a possibility in literary criticism in order to regard. Contexts from different angles and through this reveal contexts semantic layers. Regarding this issue, in questing theoretical basis of Sadegh Hedayats nihilistic thoughts we can point another important factor and motive besides regarding the role of important components such as economic, social and political components and in the light of it present an explanation for the thoughts of this prominent author. In this article Sadegh Hedayats Thought that indicate an absurd world, meaningless and purpose and full of Multidimensional and Complicated Contradictions, are being readout in the light of a “Scientific revolution”. What is meant by scientific revolution in this article is a concept that is used by Thomas Samuel Kuhn the theorist of Philosophy of Science In the twentieth century, in order to explain the some of the most important intellectual and social changes in Western traditions. He believed that scientific revolutions would create new paradigms. The results of this research that are obtained from studying some of Sadegh Hedayats short stories, scripts and articles, indicate that dominant mentality of this contemporary author and intellectual in confronting with world and generally the theoretical basis of his thoughts, are conformated by confrontation with Charles Darwins materialistic and evolutionary thoughts. From this perspective Hedayats absurd world and his dominant mental axes, are rooted in an evolution and revolution in the field of experimental science. This revolution which in the result proposed the new and novel narratives of mankind, world, and god against Traditional grand narrative and Cliché narrative were leaded to engender a type of epistemological rupture and the present article tries to make understand Sadegh Hedayat in this important rupture.

Thomas Kuhn, the well-known theorist of philosophy of science, believes that the development of a science happens when its paradigms fail and it is replaced by the principles of its rival. According to Kuhn the development of a science is not uniform but has alternating ‘normal’ and ‘revolutionary’ (or ‘extraordinary’) phases. Kuhn’s theory is so flexible that it can be used to explain revolutionary developments in any other area including literature. Accordingly, it is viable to analyze how traditional Persian poetry changes to modern poetry in light of Kuhn’s theory. The question is whether the transformation created by Nima in Persian poetry has the characteristics of the Kuhnian revolutionary phase. If not, Should we doubt his title “ the father of new Persian poetry”? The present article investigates the revolutionary or non-revolutionary features of Nima’s poetry according to Kuhn’s theory. It is suggested that his poetry can be positioned as having the characteristics of the “crisis phase” than including those of the “revolutionary phase”.

There is a process in Persian language in which Middle period's single paradigm are not recognized as a paradigm, but are accepted as a simple element, and not derived, in the verbal system and are re-conjugated. The reason is that with the loss of some verbal features in Persian such as verb determinates, several paradigms constructed by using those features, and still existing in language, have turned into simple and fixed words; the features constructing those paradigms are also unknown. On the other hand, affected by the analogy rule, irregular paradigms gradually move toward regulation. This historical process can be observed at two levels: 1. Lexical- Morphological level, 2. Morphological level. In Lexical-Morphological level two third person singular single paradigms, and the imperative verb of "to be" (būdan) have been considered as stems and re-conjugated in the new period: 1. hast, 2. bāš. In Morphological level, two verbal constructions, in general, and not from a specific infinitive, have been re-conjugated: 1. third person singular of the implicit verb; 2. optative verb.

In traditional Typology languages are classified according to whether they are inflectional or non-inflectional. This classification does not provide the means to demarcate languages; on the other hand, there is no uniform inflectional pattern. The concept of "canonical inflection" can offer some specific definitions to define the scope of inflectional and non-inflectional structures. Then different inflectional patterns can be investigated and as a result the deviation from the concept can lead us to find the non-canonical inflection. In this study the paradigm of one word along with different words of the same inflectional class will be studied. Deviations from the canonical inflection will be classified and as per canonical inflection two specific types of deviations i.e. deponency and syncretism will be studied in Persian language.

Indian style has obvious differences in comparison with previous styles (i. e. Iraqi and Khorasani)، and most experts and critics regard Indian style as a break in literary development whereby Farsi tradition experienced a distinct and incomparable period. The authors of the present article believe that incommensurability and distinction of Indian style can be clarified through the theory of Thomas Kuhn، eminent philosopher of science، and its nature and its causes can be accounted for. Thus، Indian style cannot be taken as a sequel of Iraqi style; rather، it has its own paradigm and its practitioners obey a certain set of shared rules and principles different from previous periods. Accordingly، themes، methods and observations of these poets differ from their predecessors، making this style incommensurable with other styles.

This research concerns the study of the canonical approach in morphology of Persian, some of its dialects and some of the other Iranian languages, based on a typological perspective. Canonical approach involves taking definition to build theoretical spaces of possibilities. The canonical instances are not necessarily the most frequent ones, and may indeed be rare, but they fix a point from which occuring phenomena can be calibrated. Two major morphological phenomena in this approach are syncretism and suppletion. Although these are rare in Persian, some exceptional cases are seen in it. Studies of other languages and dialects in Iran show that syncretism is a prevalent phenomenon in paradigms of Kermanshahi Kurdish, Kazaki, Mahabad Kurdish, Sistani, Khorasan Kurmanji, Kakhki, Khanyki and Ferdowsi. This phenomenon in Lori and Turkmen is not very prevalent. But there is not any syncretism in Taybadi, Kashmari, Roqhei, Shouylashty, Khafi, Delbari, Ramsari, Esfahan and Jewish Esfahan. Acquiring the hierarchy of paradigm is one result of this research. It also became clear that it is possible to apply some canons of defining the canonical samples in Persian. There are few cases of suppletion in those languages and dialects as well.

The first exposure of Arabic world to the western world may be traced at the final years of 18th century simultaneously with Napoleon‘s Invasion to Egypt that played an essential role in awakening of western world. Literature is one of the areas that have been extremely influenced by this issue where it has been dramatically affected in terms of content by emergence of some great literary figures like Baroodi and Ahmad Shoghi etc while it did not exceed from this extent. But after 1947, by advent of poets such as Nazek Al- Malaekeh and Badr Shakir Al- Siab, poetic structure has broken and Free Verse is designated. One of poets that have played crucial role in this field is Salah Abdul Saboor, who has broken structure of classic Arabic verse under the influence by T.S. Eliot and he make every effort to transform the content as well and to serve literature for the sake of human and humanity. This essay is intended to explore and analyze some of foremost innovative components in his verses by employing his poems and analysis on them that is: Paradigm- Phobia, characterization by existansialistic and realistic persepective toward human’s problems in society and traditional heritage