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

In Persian, compound words that are produced by the structural pattern of “word + and + word = word” are called vāzhahʿaṭf, and naming the word as such emphasizes the compound nature of this type of construction in contrast to combination and coordinate syntactic group. In view of the linguistic and grammatical studies that form the background of the present study, which have investigated the structural and semantic features of this compound structure and explained the relationships between its coordinate constituents from various aspects, vāzhahʿaṭf often has a compound meaning and creates a clear mental image, and it is used for the purposes of neologism and categorization in Persian. The present research, while paying attention to these features, describes and qualitatively analyzes the applications of this grammatical construction in a corpus consisting of several literary texts. Findings show that the constituents of this compound construction, due to its syntactic construction, have lexical collocation and performative independence. These features has led to the widespread practice of displacing, separating and changing such constituents and their order in the narrative literary texts. Nizami has frequently used the conjunction type in his Khamsah, Mowlana has distinctly made use of the itbāʿī compound and phonetic conjunctions in his poetry, and the phonetic conjunctions are frequently employed in Nīmā’ī and contemporary lyric poetry. In addition, the similarity of the structure of vāzhahʿaṭf and coordinate syntactic constructions in literary texts in such works as Saʿdi’s poetry and Hafez’s ghazals, and the syntactic arrangement and distribution of words in order to create proportion is such that the distinction between conjunctions and coordinate syntactic group is blurred.

Correct positioning and order of adjectives is one of the important factors affecting the correct translation of a word or a phrase. Not paying attention to the adjective order can completely change the meaning of a sentence or a phrase. In this study, based on 320 examples collected from Russian-Persian dictionaries and the Russian National Corpus, we attempt to consider and compare the order of adjectives in Russian and Persian languages. In the present study, we are trying to answer this question that what the rule for adjective order in Russian language is and whether there is a certain and constant model for their translation from Russian to Persian. The results of this study can be impressive for the improvement of the translation process as well as the training of translation from Russian to Persian and vice versa. The analysis of the collected examples indicates that only in half of the cases the order of adjectives in Russian and Persian languages is fully compatible, and in the other cases their translation from Russian to Persian does not follow a constant model.

Today, linguistic corpora play a crucial role in solving different types of linguistic issues thanks to emerging computer technology. Bilingual parallel corpora aligned at sentence and word level can be retrieved for single-word as well as multi-word units making easier further applications in different computer and language areas. In this paper we address the problem of exploiting English-Persian parallel corpus in making an efficient bilingual concordance using mutual information measure. Here, a mutual information statistics is used to add word level alignments between English and Persian sentence pairs in our parallel corpus. A parallel corpus with alignments on the word level has certainly many applications among which phrase-based translation memory software, terminology management, cross-language information retrieval, statistical machine translation system and the like. We conducted an experiment using our algorithm and compared alignment outputs with manually aligned sentences. Experimental results revealed that our concordancing program gained the accuracy rate of 75% which seems very encouraging.

The innuendo is one of important methods of expression in all languages and it has used widely in language and literature of all peoples، including the Arab nation. considering that the Quran speaks in the language of their people، has benefited from all of expressive elements especially innuendo for expressing different purposes. In this article، we analyze six innuendoes in the Holy Quran; the innuendoes that some translators or interpreters have interpreted it so that most Persian speakers can’t understand the meaning of the verses by studying them. After mentioning the verse، we''ve expressed commentators'' comments about the ironic phrases in that verse، thenby“describing and analyzing’’ method،andaccordingto reliable sources and review of Fouladvand and Ayati''s translations، the preferred mean of ironies is explained as the main purpose of this article. The necessity ofthis research is the failure in the translations of some commentators، pay attention to only literal meaning in some contemporary translations and sometimes lacking of full understanding ironic meaning of the verse.

Any language، based on its needs، borrows words from other languages. The Persian language is not an exception. Among the languages، Arabic has influenced Persian more than other ones. During the 14th century، many words entered to the Persian language. Entering Arabic language to Persian poetry has not been limited to a particular period of time or poet and almost all of Persian poets have used Arabic in their poems. Naziri Neishaboori، the Persian poet، who lived in India on the 16th and 17th centuries A. D. has a collection containing different types of poems in which sonnet is being manifested more than any other types. Naziri Neishaboori used the Arabic words terms and phrases in his poems. He has served Persian language well and used these items masterly therefore the reader Does not feel alienated. Using these terms proves that he was familiar with Arabic and also knew the Arabic rhetoric and brevity. Utilizing Quran verses and Prophet’s words has created the Inter textual phenomenon in his poems. The used method in this paper is descriptive-analytic. It is been attempted to express how the poet has used the Arabic language and how the poet has made the coordination between Persian and Arabic.

In Persian, focusing triggers scrambling in which the focused element moves to the specifier of focus projection either in spell-out or in logical form. The results of a study which checked this hypothesis showed that first of all contrastive reading is not the only reading of the focused phrase when focusing happens in spell-out; secondly, contrary to what is reported in the related literature, when focusing happens in LF, both the focused phrase and the focused feature are able to move; and thirdly, the movement of more than one non-inherently focused element is permissible in surface structure of sentences in Persian.

It has been tried in this paper to linguistically evaluate semantic and structural characteristics of some special expressions of the language normally referred to as allegory, apothegm, idioms, proverbs, hermeneutics, metonymies and similar expressions, normally studied from different literary, anthropological, cultural, and folkloric viewpoints in a branch of linguistics entitled as phraseology in Russian and, to some extent, in Western linguistics. Later in the paper, the Persian term عبارت شناسي (ebaratshenasi) has been suggested as an equivalent to the term phraseology and the reasons for this choice have been explained. The paper also criticizes what has been presented in Russian language curriculum in Iranian universities under the subject title of "Hermeneutics & Expressions" and suggests that the title change to phraseology. The ultimate goal in the paper is to open a new door to find an answer to the following fundamental question: What is the accurate Persian equivalent of phraseologie in both French and German, and фразеология in Russian?

Dependency nominal phrases are among the main kinds of nominal phrases. These phrases have spread in kinds and types. In this paper¡ we investigate these kinds of phrases in the whole text of Tarikh-e-Balámi from the historical grammar perspective. This work is indeed one of the first remained Dari Persian manuscripts. More specifically¡ we study issues that have historical aspects or are semantical and considered as stylistic features. The method adopted in this study is based on the definitions and divisions that late professor Farshidvard who wrote extensively on these nominal groups. Also¡ we use other grammar books¡ whenever they are relevant to our discussion. The main goal of this article is providing an accurate historical recognition of dependency nominal phrases that are subtle issues in syntax and are considered as frequently used syntactic groups in discourse. It is assumed that the scientific investigation of grammatical subjects in a specific text may enrich the historical grammar and also may shed lights on old texts.

Palilology is one of the commonly used embellishments in poetry that aims to easily impart or convey intentions and views of poets. Critics focus on utilizing this rhetoric in their literary analyses to explore the ideas and attitudes of the author. Al-Motannbi, a brilliant and incomparable Arabic poet has not been the exception as he frequently benefited using this skill in his works.To further highlight Al-Motannabi’s aesthetical creativity in poetry, the present paper tries to study palilology in his works by classifying its applications into three ways: 1- Repetitive use of letters to emphasize on meanings and to improve rhythm, 2- Repetitive use of words in one or multi-beat and 3- Repetitive use of phrases and sentences in order to prepare readers to understand and experience the feelings of poet through establishing different impressions.

This article is interested in the problems of the translation of the figurative language; we develop and explain these problems through examples drawn from Persians literature books translated into French. Generally, the goal of translation of the literary texts goes beyond the simple transfer of the meaning. It is necessary to also transmit the style of the writer and to reflect on words, phrases, metaphors and irony expressed in the text. Thus it is impossible to translate Djamalzadeh or DowlatAbadi without considering proverbs, images or irony which determine also their style.