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

Recitation is a kind of epic storytelling using screens on which are displayed illustrated scenes drawn from epic, mythological, and religious stories.  Putting together three elements of speech, picture, and performance made this art to be counted as the most influential and dramatic form of epic storytelling in between the traditional Iranian arts.  However despite possessing unique characteristics, by comparison to other Persian arts recitation has not been studied thoroughly.  This article is an attempt to deal with the recitation origins of this dramatic art of illustrated storytelling and the manner of its performance, and also examine its epic aspects.  The results obtained show that its history and origin goes back to the period before Islam in particular to the time that Mani, the Persian painter prophet emerged.  After Islam and in particular in Safavid era recitation received ample attention and this art was developed since due to retaining epic aspects, it was assumed as a unifying art.  Based on the researches, this epic aspect of this ancient art were drawn from Ferdowsi’s Shahnameh narrative and religious epics, being the main source for naqqals’ narratives.  The epic present in the narrative conveyed epic aspect to the other two chief components of the recitation that is painting and performance in such a way that one can name recitation the epic art of illustrated recitation.

Focusing on the relationship between calligraphy and Arabic writing, this paper studies the effect of Ottoman calligraphy on Arabic grammar. It also deals with the rules of Ottoman calligraphy, mentioning some of its forms and modifications. The paper, moreover, studies the relationship between Quranic readings and Ottoman calligraphy as well as between grammatical mistakes and calligraphy and word play.
Quranic calligraphy did not differ from common calligraphy during the Prophet's times. Modifications of Arabic calligraphy took place afterwards. Linguists accepted the modifications that Ottoman calligraphy has undergone; however, they have disagreed, both in the past and recently, over Quranic writing using modern rules. Some totally rejected the new writing; some mildly accepted it; some others thought it should be adopted. Ottoman calligraphy was not consistent; some words were in one place in one form and spelled differently in another place. Moreover, Ottoman calligraphy was influenced by different linguistic schools and there are differences between Bousris and Koufis in Quranic calligraphy.
Ottoman calligraphy has exclusive advantages, including specification of different readings; supporting the right recitation; preservation of the Quran and shielding against deviation and change, with the result of every generation handing over the same form of the Quran, leading to unanimity of writing and pronunciation. Other advantages include the provision of information about some forms of Standard Arabic and indexing the origin of the letters and sounds in the words.

The best method to trace the recitation of Hafs from Asim in the traditional Persian translation of the holy Quran is to investigate individual recitations of Hafs. i.e. investigation of the verses that Hafs is alone in their word/words recitation. Thus, it will be specified that the mentioned translation is based on Hafs recitation or not. By inspection of the individual recitation of Hafs in the famous translation in the 4th to 10th century (Tabari, Cambridge, Taj-alTarajem, Nasafi, Rawz-alJenan, Kashf al-asrar, Jala-alazhan, Mawaheb Aliyah, Manhaj al-sadeghin, the translation of the holy Quran in the 10th centuty belongs to an unknown translator), it will be verifiable that translators which have translated the holy Quran based on the prevalent recitation of that period in their area, have not translated the holy Quran based on the Hafs recitation. Among the 163 inspected cases, 144 cases are clearly translated based on other recitations, not Hafs and just 19 cases are based on Hafs recitation that it seems also to be due to editor’s activity. Furthermore, it shows Hafs has not complied the public recitation as some of the current Quran scientists imagine.

In the contemporary world, how to speak a foreign language has become the most controversial category, and many theorists have used various tools to stress on it. Recitation is one of those tools that has been used in past decades in our country. Especially in international bilingual schools there have been frequently used. And at the academic record of students, these grades were inserted for that course. However after the victory of Revolution and the following of abolition of such schools recitation was out and gradually was forgotten. In this essay by the use of free research we have tried by the citing statics and experiences of some of the students that have studied at that schools and now are teaching foreign languages at colleges or institutes, and also with utilization of this method in French classes of Hakim Sabzevari university, between two groups of students, one by recitation and the other without it, show the undeniable contribution of this tool and emphasize on using this method again as before.