نشریه زبان و ادب فارسی
پیاپی 8 (پاییز 1390)

Compound words include two or more lexical morphemes which at least contain two bases both of which are words or considered as stem of morphemes. Transparent words are words which their meaning form can be guessed from their sounds or constructions. There are some relations between  the  sounds  or  the  constructions  of  these  words  and  their meanings. This can be illustrated by examples in Persian as "chek chek" and  "khod  nevis".  Opaque  words  on  the other hand are words whose meanings cannot be guessed, e.g. "Kaghaz". Various definitions of semantic transparency and opacity were explained in this research. In the section of data analysis, five hundred compound words derived from “Dehkhoda” dictionary and were studied and analyzed with respect to semantic transparency and opacity. Six criteria were determined in this study as follows: 1- The frequency of head and modifier 2- The syntactic relation between two parts of the compounds 3- The criteria of indicators 4- Referring meaning, 5- Being independent or non--independent of the head 6- The whole meaning of the compound. Also, three categories were studied in the beginning of data analysis: 1- adverb + verb stem 2- noun + verb stem, 3- adjective + verb stem. It was shown being full indicator, the existence of opposition and the existence of syntactic relation between two parts and being referential will be effective in semantic transparency and opacity.  Then  the  degrees  of  semantic  transparency  and  opacity  were studied  and  it  was  shown  that  there  are  fourteen degrees  in  semantic transparency and opacity with respect to determined criteria.

Analysis  of  the  inspiration  of  poets  verses  are  from  the  most significant subjects in literary criticism. Appreciating their effectiveness, Shafiei Kadkani's poems are considered as traditional and contemporary poems.  At  his  early works,  Shafiei  Kadkani  was  influenced  by many traditional and contemporary poets, but studying his Shabkhani collection of  poems    shows  that  how  he  was  inspired  by  Iranian  poet,  Mehdi Akhavan Sales more than others. He was influenced by Akhavan's conscious and language so much that his thoughts and method of explanation can be found identical. The present research aims at analyzing and appreciating the Shafiee’s ideology and language in the Shabkhani collection and finding the common motifs and similarities in language and thought with Akhevan's poem. Therefore, mentioning the poetic evidence, this paper tries to analyze and investigate the way Shafiei Kadkani has been influenced and inspired by Akhavan’s poetic language and thought.

Conceit is one of most deceptive Literary- rhetorical moral techniques that despite having high artistic value, it hasn’t been paid attention to a lot yet.  According  to  the  studies,  there  is  no  material  about  the  conceit renewal in Shafiee Kadkani's Poems. The purpose of this study is to show how conceit has turned to be a new Writer by Dr.Vahidian Kamyar definition, has classified the conceit in Shafii Kadkani poems in two collections as "a mirror for the voices" and "second millennium of mountain deer " in associated with recitative techniques, simile, personification   ,symbol   and   the   rhetorical   techniques:   Oxymoron, Allusion, paradox and has analyzed the renewal of it and is concluding that conceit in association with Literary- rhetorical techniques as made from his creative mind or as archaic that recreated it, has took the new form.

Mastooreh Ardalan and Ayesheh Teimoor are contemporary poets and authors lived in the same period in Iran and Egypt. In spite of the fact that the complications of their time limited women's activity in literary and scientific fields, they found their ways to the Persian and Arabic poetic circle, and they composed the most delicate and stunning poems. Both poets were born from Kurd descendants provided their common concepts in religion. Obligation to Islamic creed and morality are common motifs in their poems. They both emphasize on Islamic cover (Hejab) for women and strongly believe in its dignity. Also, they both have allusions to characters from holy Quran in their poems. Mastooreh has continuously praised Islam's prophet's intimate family members in his poems. Similarly, mystical prays and using Quran lexicons are other association between these two poets. Using library and critical research, this paper aims at comparative study of common religious motifs in poems of these two less recognized poets.

Translation is considered as one of the most effective means in making every nation’s literature known to the world; although, regrettably, some formal and semantic aspects of the source texts dissolve by the ideological manipulation applied by the translator, even to such an extent that it can culminate in the distortion of the writer’s philosophy and ideology. The translator's manipulation results in obliteration of the true image of the writer  presented  to  other  nations.  Hence,  a  manipulated  image  of  the writer, based on the translator’s own ideology or the dominant ideology of his time is introduced into the readership. The present study, first, seeks to investigate the Edward Fitzgerald’s rewriting of Khayyam’s Rubaiyat from a theoretical viewpoint on his ideological manipulations; and then using concrete instances in the translation of Khayyam’s Rubaiyat, illustrates the translator’s exploitations from such well-known Persian poets as Hafiz, Sa’di, Jami and Attar.

Literary criticism, text analysis and their effect on the world literary and art creativity, texts relationship or intertextual topics from the view of literary critics and thinkers, since the twentieth century have become very important and have had different reflections in the cultural world. Some experts believe that all the texts are somehow related and no new text will come into existence without any relationship to previous texts. They think the individual knowledge and awareness is the product of the group knowledge and awareness. The meaning of any literal text, either prose or verse, cannot be fully understood without being aware of the governing traditions over the previous related texts. In other words, all the texts, including literary and nonliterary texts do not have an independent identity. This process which is called intertextuality, deals with the presence of a text in another text and  with  the  omission  of  some  concepts  such  as  author,  history  and society, it studies the text independent of the author but dependent on other  texts.  However,  in  intertextual  relationship  studies  finding  these traces are not enough and we should see what the author has done with the elements taken from other works. This article tries to investigate the intertextual relationship in subversions and commercials.

Light and darkness are original codes in philosophical intuition of Suhrawardi. God, in this system of philosophy, created the universe from the type of light source called Nvralanvar from top to bottom. The top down creation cosmology is an incarnation of supreme power of God and its Truth which is unified with the Light and Being called Mlvmyt, Nvryt and Mzhryt respectively. The creation of the world from Suhrawardi's philosophical point of view is light source, Nvralanvar. Suhrawardi's ontology-based  system  is  the  expression  of  devotion.  God,  unique holiness, is absolute devotion to the light and the light is absolute and the other lights are shining in terms of intimacy to the absolute light. Almost all philosophical ideas and theories of Suhrawardi are based on this fundamental view on light source which considers his ontological interpretation and explanation. This paper, first, aims at studying metaphysical foundations, light and darkness ontology and cosmology in Suhrawardi philosophy. Light divisions and other provisions related to the ideas of light and darkness and Suhrawardi's explanation on them are also studied in this paper.

Shamsedin Ahmad Ebne Soleyman Roomi known as Ebne Pasha or Kamal Pasha was a poet, historian and writer of 10th century in the realm of Ottoman Empire. He was hardworking author writing texts in Turkey, Farsi, and Arabic languages. His texts deliberate on subjects like history, literature, grammar, linguistics, speech, Islamic jurisprudence, as well as several dissertations. Some of his works have been published; however, most of them are neglected in the word libraries in manuscript copy forms. One of the precious and unknown works of Kamal Pasha that is an imitation of Saadi's Golestan is Newgarestan in the form of prose and verse. This literary work hasn’t been introduced and published yet. The present paper tries first of all to introduce this work completely and then to explain briefly six newly found manuscript copies which are being kept in different libraries of Iran.