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

The Layzangi dialect is in many linguistic aspects similar to the Lurish dialect, though still distinct from it. Since a great number of the inhabitants of Layzangi believe themselves to have originally come from various points from across the vast land of Iran, a kind of cultural integration can be observed in this rural community. Hence, this dialect can be conceived of as an amalgamation of several dialects and accents, but whose Lurish features are more perceptible. This study focuses on simple verbs in Layzangi dialect, investigating hundred and nine such verbs. Among the many results obtained were that there is a high number of verbs in this village and that the past and present roots of these verbs has led to numerous linguistic generations. In addition, the speakers of this village obtain the past and present forms in various ways, indicating that each of the families have come to settle in that village from different areas, bringing with them the cultural and linguistic features of their own native lands. Moreover, due to the pervasiveness of phonetic changes such as assimilation and elision in the Layzangi dialect, many infinitives and verb roots have features that are specific to this dialect.

The style of exaggeration, as one of the most frequent syntactic styles, with many latent meanings, has always been the focus of translators. Examining the translation of this style in Nahj al-Balagha, which is a book mixed with eloquent and eloquent expressions, is very important. On the other hand, Catford's theory, as a precise and meticulous theory in translation, can be a good criterion and scale for the semantic analysis of translations of Nahj al-Balagha in the style of exaggeration. This style is used in morphological, syntactic and rhetorical structures; But since one of the cases of use in syntactic structures is in the limitations of present tense and distinction and absolute object, this research has tried to extract these structures from Nahj al-Balagha with descriptive-analytical method and apply them to this theory to determine the degree of conformity or not.The conformity of the existing equivalents in the Persian language to the emphatic structures of the Arabic language in the two translations of Shahidi and Foladvand - as two translations that have a special place in literature - should be determined. After the analyzes carried out in the translation of these two structures, it was observed that, despite the countless cases of distinguishing the subject from the subject or the object, the present tense and the absolute object in Nahj al-Balagha, with the semantic load of exaggeration; Based on this theory, translators have not been able to transfer the meaning of exaggeration from the source language to the target language well

It is widely accepted by traditional grammarians and linguists that Persian verbal roots fall into two forms depending on their tense feature: present stem and past stem. In contrast to this traditional view, the present study considers an alternative notion of allomorphy, indicating that a few verbs use a basic form, called “morph”, in all morphosyntactic contexts while some other roots allow for having two or more allomorphs. Within the framework of Distributed Morphology, especially on the basis of underspecification condition, I will review the empirical evidence adduced in favor of the hypothesis that the tense feature has no role in producing and selecting the so-called present and past stems. In this approach, the systematic distribution of verbal allomorphs like /suz/ and /sux/ (derived from “ÖSUZ” = burn) is constrained by some other formal features, such as adjacency to the morphophoneme {D}, absorbing the causative suffix (“-ān” or its free variation “-un”) or appearing in the boundary of a word. Finally, to avoid terminological and empirical confusion, I will suggest that we should avoid the use of the term “stem” altogether and speak of root, morph and allomorphs only. It should be added that the different variations in phonetic shape of lexical roots are divided into two classes: the first one follows from the phonological rules and the second one is affected by the morphophonological (or readjustment) rules. Phonological changes are predictable and produce automatic alternations, but unpredictable morphophonological changes lead to non-automatic alternations. Following the general trend of DM, I restrict the term “allomorphy” to those cases in which the variation in phonetic shape of a morpheme does not follow from the automatic phonological rules of the language. This analysis raises the theoretical question of whether language-specific readjustment rules (i.e. the alteration of root or affix phonology) are needed for morphological theory. Rejecting readjustment rules, I show that allomorphs of verbal roots are independently stored in Vocabulary.

"Dora Bruder"‌ is one of the important books ‌of French author contempory, Modiano. In this work, He narrates the life of a young girl named Dora by portraying the status of exiles during the war with the most accurate way possible. He creates a unique novel by eminisces about his past in critical situations of war and during the occupation of France and by linking the present to the past, he presents an enigmatic world to the reader. The novel is different from other contemporary works in narration. Using the descriptive-analytic method, the present paper analyzes the novel Dura Bruder according to theories of the French structuralist critique, Gerard Genet, it analyses the function of narrative and its temporal characteristics, to explain the role of the element of time in creation of the narrator of the story and relationship between past and present in the process of events. For this purpose, after the presentation of the novel, it is analyzed relying on Genet’s narratives theories (time, order, continuity, frequency). Along with reviewing this topic, we will have a glimpse into the subject, and style of the author's writing. The main purpose of this paper is to examine the function of the element of time in the narrative of the work. The most important finding of this research is that the element of time plays a significant role in Dora Brouder's narrative, and the author, in reliance on time games and reviewing his past memories, relates the present to the past.

Proverbs are particular types of discourse that function similar to phrases and despite of polylexicality، they possess certain rigidity where the concept، semantically، is stable and has been restructured. However، the most remarkable and considerable aspect is that how proverbs produce the time of experience once addressee listen or read them? And how proverbs create different temporal conditions? Since the process of statement is dynamic and dynamism inevitably has a temporal dimension، how addressee of proverbs، in this interaction، arrives at a new situation? To respond to the above research questions، the current paper has used the semiotic-semantic approach that was propounded by semioticians of the Paris School as «Temporality in Discourses». Relying on this approach as well as using philosophical phenomenology، the temporal system in proverbs would be analyzed. The research intends to show as how addressee of proverbs could transform from the existing stage of suspension to the stage of connection that is an agent of the experience and similarly reaches to the consciousness level so that he could understand the moment. Finally، how the grammatical time where speeches are in «present form» intervenes this process.

The most important thing we are trying to accomplish is to identify the echo of the past and present in Gamaa poetry and its utility and testimony to him. And to what extent he is fully aware of the nature of philosophical or historical context in which that poetry was accomplished, or was it merely simulate and tradition. As a conclusion Gamaa tried as much as possible the formulation of the past in a manner consistent with his new experience of poetry. As he did not consumed the present in a haphazard way and that really his poetic experiment is not conducive to a strict philosophic or ideological vision, but at the same time it clearly indicate an obvious the poetic features and traits.

The goal of this article is to study the idea of universality of music; especially its status in mystical viewpoint.An analytical-descriptive methodology has been adopted in this article and the related data have been gathered from libraries and existing documents.The most important achievement of this study is that a number of musical works have attained a symbolic and spiritual format and have drawn the attention of people toward the supernatural world. Also, many musical instruments have been a symbol of spirituality. Mystical figures, in their musical works, have taken into consideration the manifestations of God Almighty

Arabic language has become a global language in a significant period of time and has been distributed all around the world by developing Islam in the world. This language moved to China, Middle East, Egypt, and north of Africa and finally arrived to southwest of Europe. The people of Arabian Peninsula have flattened the path of civilization by Quran’s language so that other genius nations of the world have learned this language eagerly. Persian Dari was blossomed in the 3rd century and the signs of poetry were appeared. Roudaki-the famous Iranian poet-was the ringleader of this difficult path