جستجوی مقالات مرتبط با کلیدواژه « Va » در نشریات گروه « علوم انسانی »

Vamegh-va-Azra is one the five Masnavis by Mirza Mohammad Sadegh Nami in imitation of Nezami’s “Khamseh”. In the present paper¡ the similarities of the two lyrics composed by Nezami and Mirza Mohammad Sadegh Nami entitled “Khorsrow-va-Shirin” and “Vamegh-va-Azra” respectively have been analyzed by library and descriptive-analytic methods. Considering the significance of expressing human affections in lyrical poems especially in “Khosrow & Shirin” and “Vamegh & Azra” and the necessity for deep recognition of the Persian classic literary and lyrical texts ¡ these two works were studied comparatively. In both works¡ two prosperous and fortunate princes fell in love with two beautiful and virtuous girls¡ but in the above mentioned Mathnavis since the girls were chaste and modest¡ they did not met their lovers’ desires. Therefore¡ the lovers became disappointed of them and any of them married another woman by free will or by obligation. But ultimately¡ they reached their main beloved by their destiny. Although in both stories¡ the lover and beloved were ruined and died after union. In spite of existing similarities¡ there are some differences in these two poems such as the way of characters’ falling in love¡ Shirin was a princess and Azra a nomad¡ Khosrow was braver than Vamegh¡ the presence of Farhad as the rival in Khosrow and Shirin and lack of such a character in Vamegh-va-Azra. In general¡ the narrator in both stories is omniscient and the scenery is the same in both¡ but Nami Esfahani’s work compare to Nezami’s¡ is simpler and less coherent and mature which makes his work a superficial one.

Flood is a natural hazard that takes place more frequently in recent years. In order to better flood mitigation and control, it's needed to recognize flood production factors and determine the high potential flood areas. Hydrological model is a simplified representation of natural system and the rainfall-runoff model is one of the most frequently used events for flood simulation. HEC-HMS is one of the computer models and for its ability in simulating short time events become very popular. The aim of this research is to investigate spatial prioritization of flooding in Beheshtabad sub-catchments using HEC-HMS software.
Material and Behashtabad Basin located in Chaharmahal-va-Bakhtiary Province, Iran, is 3866 km2 and its mean altitude is 2317 meter above sea level. It is divided into 6 sub basins according to 6 hydrometric stations. Land use categories of study basin extracted using ETM Images for 2009. Using 170 ground control points land use map of Beheshtabad basin was prepared with total accuracy of 99.34 and Kappa Index equals to 0.81. Rangelands covers most of the study area. Soil Hydrological groups and land use data used for mapping sub basin's curve number considering antecedent moisture of past five days as well. The mean curve number of study basin is 72.69. Daily precipitation data of 6 rain gauges in study area used for analyzing maximum 24 hr precipitation in different return periods. Rainfall hyetographs of flood events derived from recording rain gauges data. CN method used for estimating initial loss, SCS method used for runoff hydrograph simulation, and Muskingum method used for flood routing simulation. HEC-HMS model was calibrated using 2 Flood hydrographs and corresponding hyetographs for each sub-basin and validated for 1 flood event.
Rainfall loss in Beheshtabad sub basins varies from 0.13 to 0.19, curve number varies from 69.73 in Kooh-Sookhteh sub-basin to 73.71 in Kharaji sub basin, and lag time varies from 0.99 hr in end Beheshtabad to 5.72 hr in Kharaji sub-basin. Using optimized rainfall loss index derived from calibration stage, HEC-HMS validated for one flood event for each sub basin. Model validation shows very little difference (below 1%) between estimated and recorded data in all sub-basins. Among sub basins, Darkesh-Varkesh has the most and end Beheshtababd has the lowest peak discharge in all return periods. Priorization of sub basins according to their areas show that bigger sub basins havent essentially highest amount of the rate of Qsub/Qtotal. In this comparison Darkesh-Varkesh sub basin with a rate of Areasub/Areatotal of 0.13 has the highest rate of Qsub/Qtotal. Flood routing in streams showed that the rate of participation of sub-catchments in output flood is not proportional to sub-catchment peak discharge. Therefore, in order to eliminate the effect of area in participating sub-catchments, the rate of influencing each unit of sub-catchment area in output flood was calculated as well. The results of prioritization with respect to peak discharge, based on having participation of each sub-catchment in output location of watershed, indicates that Darkesh-Varkesh and Beheshtabad sub-catchments with 29.16 and 2.5 percent, have maximum and minimum of participation in output flood peak discharge of watershed, respectively Results of prioritization based on reducing discharge per unit area show that Beheshabad sub-catchment with having lowest area in comparison to other sub-catchments has highest participation and Tange-Dehno has lowest role and contribution.
In the present study, rainfall-runoff modeling is carried out using HEC-HMS hydrologic model. Results of simulation in 18 events and comparison of simulated and observed hydrographs showed that the model can applied for simulation of rainfall-runoff in study area. Other researches like Kumar and Bhattacharjya (2011) and Hegdus et al (2013) have same results as our findings. Ranking sub basins according peak discharge without flood routing show that Darkesh-Varkesh has the most and end Beheshtabad has the lowest peak discharge. According contribution in total discharge also results are the same. Soleimani et al (2008) and Zehtabian et al (2010) also found the same results. Finally, according to decrease in total Q per unit area, ranking show that end Beheshtabad sub basin despite of having the smallest area, has the highest contribution in total Q per unit area Nasri et al (2011) also concluded that areas are located near the outlet of study basin have the most contribution in flood production. This research show that the Darkesh-Varkesh sub basin need the most attention in selecting management practices especially in optimizing flood control and flood mitigation solutions.

Khorshid-Va-Mahpareh, by Mirza Mohammad Saeid Tabib Ghomi, one of the poets of 11th century, as a Persian romantic collection in which some pieces are from folklore type, deserves a consideration by many folklore, analytic theories such as Propp''s theory of narrative structure. The importance of the present study is that it helps us to get familiar with the structure of an unknown or a little-known writing, as a part of our lyrical literature. Propp''s theory hunts for the main components of the folktales which resulted in deciphering 31 basic functions in Russian folktales. In reviewing the present tale, using the descriptive-analytic method and Propp''s theory, it has been concluded that the story has most of Propp''s functions with the same definition and sequence, except for two functions which are not usually observable in the most Persian lyric collections.

Love is one of the most important conceptsin exploring the human condition in literature. Nezamis“Leyli-Va-Majnoon” is one of the most prominent literary examples in which the presence of this humanistic concept has been demonstrated intelligently. Everyone has attempted to interpret the meanings and reasons ofthis concept, regardinghis or herown notion, either deep or shallow. Modern thought, including psychoanalysis, presents strategies to avoid generalization and choose a clear way to proceed with our quest. This study aims to investigate hidden dimensions of anabnormal love that are linked together like a chain. This kind of love begins with narcissism and continues with hypochondria and self-abuse and will lead to mortal thought orientation. In addition, concepts such as” The lost ideal“,in which the inaccessibility of“Object” (the exterior beloved) is accentuated and also is one of the other aspects of narcissism, will be considered. As a result, many of the love patterns, which seem to be perfect, are not so in practice and they are accompanied by some types of psychosis and anti-social behaviors.

The story of Zal-va-Roudabeh is Ferdowsi's first love story in Shahname that is lyrical-epic and in which the romance is reflected naturally and logically. It should be noticed that in such stories‚ the poet doesn’t usually interfere in narrating and transferring the ancient's heritage to the next generations and he reveals his feelings and emotions less; but from the view of description and imagination forms that state the poet's skill and ability in composing the poem‚ he tries to state the happenings of the story in an artistic style. In the present study, the structure of Zal-va-Roudabeh story, regarding its lyrical aspect, have been examined in two parts using the descriptive – analytic method. The first part allocates to the combination and the context of the story which includes: the form‚ the topic and the way of expression‚ conversations‚ characters and heroes of the story and contains all the elements of a lyrical poem. In the second part of the story‚ the role of the forms of imagination in making epic or lyrical story is described. In some cases‚ such as metonymy and simile‚ the story has kept its epic – lyrical form in accordance with their frequency but considering the metaphor‚ lyrical aspects are dominant and most of the metaphors are devoted to the beloved (Roudabeh). Considering the allusion, the allusions with the epic concept are dominant.

Khosrow-va-Shirin is the second poem collection in Mirza Muhammad Sadeq Nami Isfahani's Khamseh (1204 AH), which was written imitating Nezami's Khosrow-va-Shirin. In spite of possessing a common theme and identical rhythm and format, this writing differentiates with its counterpart in many points. The number of Nami's Khosrow-va-Shirin verses are almost two-third of those of Nezami's and deleting many events and scenes, has declined charisma and charm of the story. Nami has changed many events, stirred their arrangement and removed and added some; because he claimed that he created a poem collection equal to Nezamis. In the present study, These cases were investigated using the library and descriptive- analytic methods. Although Nami's creativity, his ability to create these changes and using artistic combinations and poetic images- which encourage the researchers to study his works- cannot be ignored, it must be acknowledged That he has not been particularly successful in narrating the story of Khosrow-va-Shirin.

In the Greimasian semiotic discussion, in order to know the stages of production and apprehension of the meaning, deep structure of the narrative is to be analyzed according to a variety of processes and patterns of discourse. Since studying and recognizing the mechanisms of meaning production in the lyrical poems seems necessary; In the present study, semiotic features and processes of the meaning production in Nezami’s Khosrow-va- Shirin have been considered and analyzed based on Greimas semiotic theory and using the descriptive-analytic method. The purpose of this article is to clear the issue that to what extent the Greimas theory, which is universal and flexible for analyzing a variety of texts, is adaptable to lyrical poems? Moreover, it is discussed that how the[sensory-emotional form affects semantic actant and results in production of the meaning. The results demonstrate that the meaning in lyrical poems is produced in the template of action and l̛état. The narrative of Khosrow-va- Shirin doesn’t follow Greimas proposed patterns for production of the meaning and in this path it is faced with some challenge in which The time actant, along with the temporal segmentation and expectation actant, have leading roles in realization and production of the challenging narrative meanings.

Nezami’s Khamseh as one of the most significant masterpiece texts among the Persian storytelling, was under the influence of the previous traditions and at the same time affected the following works. Imitation means that an author or a poet follows another ones in creation of his or her works. The tradition of imitation highly appeared after Nezami and developed by Amir Khosrow Dehlavi in India. Khosrow-va-Shirin by Nezami was imitated by Hatefi during the reign of Soltan Bayghara named Shirin-va-Khosrow. The relation between these two narrations is “hypertextuality”. This article has addressed Hatefi’s storytelling as a hypertext (B text) in comparison with Nezami's as hypotext (A text). The methodology for analysis of similarities and differences of the same story in these two texts is structuralism narratology. It can be concluded that Nezami used complex storytelling techniques, strong and coherent plot, erotic delineation and moral epilogues. These cases less has been found in the narration by Hatefi.

The term Morphology, as a method of analyzing and categorizing text elements, emerged in the field of structural analysis, first with the studies of Vladimir Propp on one hundred Russian folk tales. This method is very convenient and useful for functions recognition, specific functions and text movements and the combination and relationship of the elements. Jami’s Leili-va- Majnoon is one of the valuable narrative texts of the 9th century so that the narrative aspects of this poem could be analyzed in the area of Structuralist literature. In this study, it has been attempted first, to determine the functions and specific functions in Leili-va-Majnoon story and then to categorize its structural elements by considering functions and the way they are related, for the main purpose of indicating story movements and then demonstrating the morphological structure of Leili-va-Majnoon story.

Nezami, is one of the greatest story-teller poets of Persian literature whose poems are always followed and welcomed by other poets. Zaari, a Kurdish poet, is one of those who has translated Nezami's “Leyli-va-Majnun” poem into Kurdish language. In this paper, “Leyli-va Majnun” of both Zaari and Nezami have been comparatively studied and our research is conducted in three parts: elision and conciseness, accretion and alteration. In the first part, called elision and conciseness, some of the anecdotes within the Nezami's “Leyli-va- Majnun”, are being omitted in the Kurdish translation, and some of the descriptions have tendency for brevity as well. In the second part, accretion - being just two instances- it seems to be the further justification of the two events of the story that makes the poet add these two parts. In the last part which is the alteration, it is found in the details of the story, not in the general structure or the sequence of its events.

The comparison and Analysis of the two stories of Shams-va-Ghamar and Khosro-va-Shirin from the structural point of view, reveals the climax of Nezami's artistic talent and eloquence in creating love stories. Khajeh Masoud Ghomi should be considered as one the unsuccessful followers and disciples of Nezami. Although his works in a simple, primary way contains all the story elements including plot, characters, point of view, scene-setting, etc. they lack the qualify and refinement of the successful stories. This research using the documentary and library methods, seeks to Structurally examine and analyze Khajeh Masoud Ghomi's Shams-va- Ghamar story which has been written based on Nezami's Khosro-va-Shirin poem and used the original work's poetic rhythm. It also spells out short comings and points of weakness in Khajeh's Shams-va-Ghamar and highlights Nezami's superiority in processing his artistically precious piece of Literature.

The tale of Nakhjīrān va shīr is one of the long and complicated stories of Masnavi which has a bilateral structure. This symbolic story has a surface structure and deep structure which demand structural patterns to be analyzed. Therefore, the surface structure of the story which is the very short tale of “Kalila and Damna” has been studied due to Propp’s method concluding to this fact that the story is folk which is comparable to that of Propp’s fairytales will be studied. Whereas this story is beyond a simple surface structure, there is some complications so much that Propp’s method is not able to be provided in it, therefore the deep structure of Tzvetan Todorov and Greimas are necessary. The analysis of this story due to two forementioned patterns cause to compare the structure of two different works, the features and other capacity of the story.

Fromancient times، one ofthe fourtypes ofliterature which has been– by common consensus –emphasized among outstanding nations in culture and civilization is Didactic Literature. Didactic Literature is a kind of literature in which the creator of the work indirectly places two concepts of good and evil against each other while trying to teach the ethical and moral implications to human beings that، in the classical literature of the world، is generally stated through the language of animals (i. e. fable) in the form of advice. Among didactic works of the world، two are more-than-others involved in the ethics and morality; Aesop myths and Kelileh-va-demneh، the former is in the west whereas the latter is belonged to the east. Therefore، the present study aims at reviewing and analyzing some of the ethical principles in Aesop myths and Kelileh-va-demneh which have venerable place in the history of world literature and which are emphasized by a lot of ethic-oriented thinkers in the realm of didactic literature. It should be mentioned that these two works، in their teachings، have dealt with religious، social، and political issues more than other fields in society.

With the aid of his genuine poetic imagination, Nizami Ganjavi created an everlasting masterpiece in Persian literature through a local story named ‘Leyli-va-Majnoon’. His fantastic achievement inspired many poets to follow his model. On the other hand, William Shakespeare picked the story of “Romeo and Juliet”, which was well-known in Elizabethan England, transforming it to a celebrated romantic tragedy. The assumption of the present paper is that by taking a naratological approach especially Griema's actantial model of narratology into account, the narratives of Nizami's Leyli-va-Majnoon and Shakespeare's Romeo and Juliet can be compared. It may be prudent to first intoduce the two narratives before specifying their narratological similarities along the axes of Griema's model. Simultaneously, the attitudes of the two works toward the woman will be discussed.

This paper discusses comparative investigation in Nezami's narrations used in Khosro-Va-Shirin with some historical works. The main aim of this paper is to investigate the extent to which Nezami's narrations in Khosro-Va-Shirin reflect the historical realities. In fact, the most important purpose of this article is to determine Nezami's uses of historical texts and his changes in narrating the historical events. The research has been done by a content analysis method and the results showed that Nezami has created some parts of his work by referring to historical texts and the others are the results of his literary reflections and changes that he has created in historical texts by his poetic imagination.

Transactional analysis is a theory for recognizing people's behavior, feeling, and subjectivity in the context of character's relations in which an image of human's psychological structure is offered and the triple pattern of carnal states, that is, parent, adult, and child is used for human behaviors analysis. In this article, components such as triple dimensions of the structure of character, chain of relations among characters, defensive mechanism which an individual uses for being away from behavioral and psychological tensions are analyzed through generalization to fictional community in Shir-va-Gav (lion and cow) story, one of Kelile-va-Demne stories. This article elucidates how characters of this story behave in different situations, how they reveal their personality in the form of their behaviors and which mental and psychic tensions can be considered as the source of their behaviors. The purpose of this study is to propose a behavioral typology of characters of Shir-va-Gav story and analyze them based on Eric Bern's pattern in order to figure out character's mental and psychological characteristics. The results of the analysis of the components of transactional analysis in Shir-va-Gav story show that the character's relations have continuity, and among triple aspects of the character's structure, Kelile’s, Demne’s, and Shir's behaviors are assessable in the form of adult, parent, and child, respectively. Transactions among characters are of complementary kind in the beginning but throughout the story they turn into interaction of crossed kind and cause disorder in behavior.

In order to focus on the analysis of the Mehr -o- Māh story in this paper, a number of issues, literature reviews and different versions of narratives as well as fiction structures and its elements are rendered. Moreover, it is considered to review some related topics such as language, character, narrator, the point of view, the structure chain and plot, theme, setting and time. As a result, the whole book considered as a long story with numerous characters promoting the events. The structure of the sentences and its style of writing are uncomplicated and technical simultaneously. Furthermore, 45 characters with usually proper names play a role in the narrative, while most of them are magicians and fairies (24.30 %) or women and girls (22.2 %). The narrator, additionally, is unclear and vague, so the story is narrated in the third person point of view. The paper aims to study the story based on the 31 acts which mentioned by Propp and also considering his classification in 6 stages, including preparation, complication, transference, struggle, return, recognition. At the end, it is worth mentioning to know that narrative pattern of the story is as following:α γ φ δ β ↑ ε λ F A C λ E G G K D H F C B E B O λ H K M Ex φ Pr U K E Pr O T L K W QN I Rs ↓Moreover, the characters could be classified in 7 distinct groups of act, which extraordinary events as the main elements of the story play a great role. In more details, the time of the narrative is unclear; some of the locations are realistic, while some of them virtual, such as China, India, Mecca, Sham, Egypt and Morocco.

One of the main elements of narratology is time, Which is also the prevalent theme in su-va-šun. Events in real life happen in a definite order- the order of time, but storytellers have an enormous power to shape our experience of time. For example, they may alter the ordering of events; they can draw out or compress the duration of events; they can repeat actions or bring us back to the same point multiple times in the process of experiencing a particular plot; they may simultaneously confront us with multiple time-spans; and all these are represented by Simin Daneshvar (b. 1921) in her fiction, su-va-šun. The present article examines the element of time in su-va-šun from narrative point of view.