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

The district of Fešgeldarra, assessed here in historical context, also forms a distinct unit within the linguistic mosaic of the western Alborz, between Qazvin and Tehran, where an array of transitional dialects lies between historical Caspian and Tatic language families, now influenced by Turkish and Persian overlays. In the toponym (§6), the curious element p/fešgel is analysed as *pēš ‘front’ + *gar ‘mountain’, equivalent to the piš-kuh commonly used today.  This paper describes the dialect of Ziārān, the seat of the district, with an emphasis on its distinctive features. Consonant stops consist of two phonemic pairs: palatal /ҟ ǥ/ and velar /k g/; while q and γ, otherwise typical in Iranian, are absent in Ziārāni (§1.1). The word order is head-final, with the ezafe linker -i in noun-noun and -e in adjective-noun phrases (§2.2). Possession is expressed through has three constructions (§2.5), reflecting the hybrid nature of the dialect. In verb morphology, the past-stem formant -est- is productive across both transitive and intransitive verbs; it occurs in the past participle used in perfect forms as well as in many past forms (§3.2). The preterit and present perfect are distinguished by inflection: bénǥatem 'I threw' vs. benǥetám 'I have thrown' (§3.7). Posture verbs show an overt distinction between stative and dynamic aspects: ništám 'I have been sitting' vs. beneštám 'I have sat down' (§3.9), contrasting with Persian aspect-neutral nešastéam. The section on typology (§5) identifies thirteen grammatical isoglosses within Caspian and Tatic domains. The outcome reveals striking agreements with Caspioid Taleqani on the north, as well as Sāvojbolāḡi on the east, whereas the prevalence of past-tense formant -est- positions Ziārāni with the Tatoid varieties of Qazvin Kuhpāya on the west, as well as Tatic in general.

Darvish Mohammad Dehaki, one of the settlers of Dehak village in the suburbs of Qazvin, was a Sufi poet contemporary of Jāmi and Amir Ali Shir Navāii in the ninth century. Dehaki or Darvish was his pen-Name. There is no certain information of his life. His tomb is said to be in Qazvin near the Shāhzādeh Hosseinˈs. His Diwān includes 15 Mokhammases, one Mostazād and nearly 1236 Ghazals. There are two manuscripts of his Diwān, One in Istanbu l university and the other one in the national library of Russia. The present article consists of the points we gained editing this Diwān. We used the Istanbul manuscript as the basis of this edition and then compared it with the manuscript in Moscow. Dehakiˈs poem is full of pure poetical moments. He has managed to recite admirable poems paying attention to other great poets like Saadi, Salmān, Hāfez , Jāmi and the others. Imitating these poets, using the folkloric language and expressions ,considering the details and also using the rhetorical methods of speech, made him a pioneer to the Indian style of Persian poem.

By “broken form” we mean the written form of a colloquial Persian word, affix or clitic which firstly reflects the colloquial pronunciation of that form, and secondly has an equivalent formal form with different pronunciation in formal Persian. Here are some examples of Persian broken forms and their formal equivalent forms: اگه/اگر; می تونم/می توانم; رو/را. Broken forms were introduced firstly into Persian modern literary works such as novels and dramas especially to show the actual and colloquial dialogues of their characters. This paper deals with Persian broken forms in Persian dictionaries. We try to answer such frequently asked questions as follows: 1) Are we allowed to enter the broken forms into dictionaries as independent entries? If yes, then why? and 2) Which forms have to be entered in dictionaries? Based on a detailed corpus prepared from real Persian literary texts we conclude that there are just a few words that necessarily have to be entered into dictionaries. We also discussed about the way these items have to be entered into general Persian dictionaries. The present contribution aims to portray a descriptive analysis of “broken forms” in Persian, a Persian-specific category which should be described in its own terms. Therefore, the explanation being argued here seems to be superior to framework-bound analyses and is presented in a framework-free manner. It has been discussed and suggested that all broken forms used in Persian Novels and dramas must be included in Persian general dictionaries as independent entries. The independent entries may be  reduced ones, in the sense that the reader may be referred to the formal entry for all the related information including meaning, example, part of speech, and so on…), however  two points are strongly expected to be included in the reduced entry: 1. The stylistic label, and 2. The pronunciation. Generally-speaking, there are three types of broken forms: 1) Stylistic free forms; 2) Verbal Forms; and 3) Clitic Forms. It is proposed that the stylistic free forms are the most current broken forms which are produced by some more and less productive phonological rules. Based on our corpus they are as follows:آ/ آقا sir؛ آتیش/ آتش fire؛ آروم/ آرام rest؛ آق/ آقا sir؛ ابرام/ ابراهیم Abraham (proper noun)؛ اروا/ ارواح ghost؛ امبر/ انبر clamp؛ الان/ الآن now؛ اوس/ استاد master؛ اوسا/ استاد master؛ اوسا/ استاد master؛ بادام/ بادوم almond؛ بام/ بوم roof؛ باهار/ بهار spring؛ البت/ البته of course؛ برا/ برای for؛ پمبه/ پنبه cotton؛ پوس/ پوست skin؛ په/ پس then؛ پیرن/ پیراهن shirt؛ تموم/ تمام all؛ تو/ توی in؛ تومن/ تومان tuman (Iranian Currency)؛تیکه/ تکه part؛ جاهاد/ جهاد sacred war؛ جمبه/ جنبه Friday؛ جیگر/ جگر liver…The verbal forms are divided into two types :a)verbal endings; such as بخوابه[1]/ بخوابد orبخوابین[2]/ بخوابید  or بخوابن[3]/ بخوابند…and b)stylistic alternations of present verb stems, such as بینم[4]/ ببینم; بدم[5]/ بدهم … and finally the clitic forms being just a few but highly frequent are clitic broken forms in Persian language which may be divided into four groups: a) Endings of the verb to be (بودن); b) forms of topic marker را; c) types of pronominal clitic; and d) adverbial clitic  هم/ م (also/ too). None of the four clitic forms can have an independent entry in dictionaries because they are not free morphemes, therefore they are briefly introduced in explanatory tables in dictionaries. Our analysis is based upon a corpus of 11200 broken forms (tokens) extracted randomly from the dialogues of 112 contemporary Persian published novels and dramas (1917-2017), i.e. 100 broken forms from each work. Looking up the extracted forms in some general Persian dictionaries, we noticed that nearly not a single broken form has been entered the dictionaries as an entry. The pertaining and significant   hindrances arise when foreigners learning Persian language need to find the meaning of these actual forms but cannot find them in any general Persian dictionary, however Persian lexicographers, editors and grammarians are biased to ignore such forms so that they usually don't take them into consideration. Notwithstanding such old and strong negative attitudes, Persian novelists and playwrights make use of the broken forms vastly and freely. We discussed and suggested here that all the broken forms used largely in Persian contemporary novels and dramas should be entered into general Persian dictionaries with a stylistic label such as 'COLLIQUIAL' or 'BROKEN' or so on. In this paper, based on our limited corpus discussed previously, we attempted to extract a list of Persian broken forms. “Broken forms” are written forms of a colloquial Persian words, affixes or clitics. A broken form, therefore, reflects the colloquial pronunciation of each form, and has an equivalent formal form with different pronunciation in formal Persian. Broken forms were introduced firstly into Persian modern literary works such as novels and dramas especially to show the actual and colloquial dialogues of their characters. It has been discussed in this paper that broken forms, especially those used vastly in Persian modern literature, must be recorded in Persian general dictionaries. Based on a detailed corpus extracted from real Persian literary texts we conclude that there are just a few words that necessarily have to be entered into dictionaries.

[1]. He sleeps

[2]. You sleep

[3]. They sleep

[4]. I see

[5]. I give

In some Arabic historical sources and literary collections, a story has been related about fellowship of Hajjaj ibn Yusuf’s three soldiers who participated in conquest of some northern lands of Iran. Their close friendship and carousing have been mentioned in sources. When their army arrived at Khozzaq village of Kashan, two of these comrades died and the third, pouring draughts on their dust, lamented and mourned excessively at their graves inasmuch as he himself also died and buried alongside of them. The importance of the story lies in mentioning Kashan of end of the first century. Although not all the sources declared Kashan and Khozzaq village of Ravand region as the location of this story and for example, some recorded "Khazazi" or "Jawatha" instead of Khozaq and stated "Qazvin", "Sistan", or "Saman" instead of Ravand, it may —based on the reasons argued in this article— almost doubtlessly be said that Khozzaq of Kashan has been the place of the story. Nowadays, Khozzaq is not a division of Ravand anymore and is a separate district, but since it is recorded as a part of Ravand in sources, we also mentioned it as such.

Semiotics is concerned with the study of sign systems in social life. Semiotic theories are quite functional in the domain of analyzing artistic and pictorial works. In analysis of a visual text and style of works of art, semiotics approach shades of meanings of a text. Artistic creation objectifies beauty and in Persian painter’s view the realm of beauty is synonymous with the ideal world. Space in Persian painting is a manifestation of the divine space and the artist in expressing it does not use a realistic language since his language is a language of sign and symbol. The purpose of this article is the comparative study of three paintings with the common title of “Bahram Gur kills a dragon” in three Shahnamehs, Sultan Abu Saeid (dated 730 HG), Shiraz School Shahnameh (dated 771 HG Kept at Top Kopi museum in Istanbul), and Mashhad-Qazvin School Shahnameh (dated 988 HG) respectively using semiotic and stylistic approach. First theideal world and its influence and reflection on the illustrations are discussed, then symbolic signs, figures and profiles in them are studied and in between, implicit meanings of dragon and theme of dragon killing are analyzed. Also Bahram’s character in myth and history are dealt with. The nature of this research is comparative, descriptive, and analytic. The outcome of the study shows that although the painter in portraying the original poetry is faithful, meanwhile he has not been a mere follower of the text but with choosing a selected part of the poem, he mingles it with imagination and artistic traditional values of his own era and in this way he presents his own creative portrayal of these themes

Created in 8th century A.H., Daqayeq al-She?er is one of the most important rhetoric texts has ever been written. Little attentions have been paid to it due to the published unreliable correction. The present paper is going to offer, using some reliable handwritten versions, some new-found information about the author, Taj al-Halvani, the place it was written in, and the life and the works and poems of important dignitaries such as Baha al-Din Zangani, Shams Sajasi, Qadi Sajas, Rafi? al-Din Abhari cited in it. And so, some mistakes and errors entered in recent versions have been recognized and corrected.