The International Journal of Humanities
Volume:28 Issue: 3, 2021

This study, is a semantic attempt to find out if there is a significant difference in the linguistic representation of Iranian and British war literature in the Iran-Iraq war (known as The Imposed War (of Iraq against Iran)) and World War II. Authors chose these two wars for two reasons: 1. In both cases, the war was defensive for both countries, and 2. both wars lasted for almost the same period: The Imposed War lasted for 8 years, and World War II lasted for 6 years. Given the aforementioned similarities, we seek to compare the linguistic representation of ideologies that had governed in Iranian and English societies (i.e. Islamic ideology vs. liberal democracy and the monarchy). In this study, we ask if there is a significant difference in the linguistic representation of these two wars. We seek to 1. Describe the linguistic iconization of war based on the source domains of metaphors, and 2. Describe the ideological similarities and differences of war using linguistic representations. The views of Sigmund Freud, Alfred Adler, and Carl Gustav Jung have been used in the psychoanalytic analysis of these novels.

A study of hidden and obvious angles of Iranian works of art, including the discovered artifacts of the ancient Marlik region, shows the rich heritage of this land. The ancient hill of Marlik, despite its tools and utensils, and especially its clay sculptures, is still explored due to its special elegance and beauty. The aim of this study is to have a measure of fit and linear range in Marlik pottery and to get acquainted with its hidden angles. In this regard, the question arises as to how the use of golden proportions and the visual element of the line (as a range) appear in dimensions and sizes of the clay figures. In this regard, 6 index statues have been excavated from Marlik Cemetery and the results showed that 3 clay statues follow the golden ratio of √2, √3, √4 and √5. And they have a good linear range and balance, exaggeration and harmony can be seen in them. In this process, the other 3 statues are not attractive in terms of size and dimensions and do not have the elegance of construction and design. In addition, the two factors of proportionality and linear expansion are in complete unity, and the role of positive and negative space to achieve balance is obvious. The research method here is descriptive-analytical and in the data analysis, the golden proportion approach has been used, as well as the collection of information is documented.

Salt-man No.4 is the 4th natural mummy discovered in the archeological excavation in Chehr-Abad salt mine located in the western Iranian city of Zanjan in 2005. The mummy was a complete body, fully clothed and with leather boots, a silver earring and a few gadgets such as a metallic knife, ceramic pots and an oil lamp. Radiocarbon dating revealed that the mummy dates back to Achaemenid era 330-550 B.C. Total coverage and clothing as well as anatomy of the mummy including its forearm, delicate fingers and lack of beard and mustache raised some questions about its gender. In the light of the physical status of the mummy at its burial time, the other question was the cause of its death. It was necessary to get information about physical conditions and the severity of the damage incurred to the mummy in order to take conservation and preservation measures. X-Ray radiography and CT scan revealed the gender of the mummy as being a 15 to 16-year-old boy who had died as a result of crushing caused by the collapse of heavy stones at the mine that buried him underneath. The sudden death was caused by multiple bone fractures (trauma) and heart compression and rupture as a result of crushing falling stones.

The present research explores the reasons why contemporary theoreticians of adaptation studies spurn “fidelity criticism.” With an increase in the production of adaptation with the advent of the cinema, there appeared a critical approach known as “fidelity criticism” in which the extent of the fidelity of the adapter to the adapted was investigated. Since this approach considers the adapted as a touchstone to evaluate the adapter and since it implicitly acknowledges the superiority of the former over the latter, postmodern critics, who frequently advocate alternative views and readings, struggle to release the adapter from being overshadowed by the adapted in order to let them express their unique message in the modern era. By referring to contemporary theories, the present research explores the whyness of the necessity for avoiding “fidelity criticism” as a touchstone for the evaluation of adaptation. To this end, the question of adaptation is expounded in the light of canon, logocentrism, and minor literature in order to study the likelihood of the ideological working of “fidelity criticism” as an apparatus in the hands of power. While the fact that “fidelity criticism” cannot be an appropriate criterion for the evaluation of adaptation has been frequently pointed out, the howness of its contribution to power discourse is an issue that has not been investigated in a coherent research, an attempt that can lead to a better understanding of the whyness of the rejection of “fidelity criticism.”

It is well documented that the Mongol rule in the thirteenth and fourteenth centuries fostered the direct exchange of ideas and practices between diverse cultures and religions. From this point of view, while the Mongols believed in shamanism, they embraced other religions for several reasons, ranging from a personal desire for the spiritual gains to issues of control and political and social cohesion. Hence, century of Mongol domination in Great Iran (1256-1353 CE) witnessed the practice of Buddhism, Manichaeism, Zoroastrianism, Judaism, Christianity, and Islam. While the importance of the Ilkhanid period for the architectural history of the Islamic World has generally been acknowledged, explanations for the appearance of rock-cut buildings in Iran under the Mongol dominion, in contrast with Islamic architecture, are not very satisfying. By focusing on field studies, the aim is to catalogue rock-cut architecture of Ilkhanid Iran with certain parallels with Buddhist architecture, isolate construction phases of monuments of this type in northwest Iran. According to the results, while an investigation of Buddhist architecture in northwest Iran would reveal a vibrant portrait of life in Ilkhanid Iran by illustrating how Ilkhanid architecture responds to various faiths and traditions, it would be possible to have a fresh look at the sociopolitical history of Islamic Iran in collision with the Mongol culture.

Masjid i-Kabud was built upon the order of Jahan Shah, the ruler of the Kara Koyunlu dynasty, in Tabriz, Northwest Iran. This building is among the most important remains of Islamic architecture and has repeatedly been the object of research by historians of architecture. While the configuration of this building finds a corresponding prototype in Timurid Iran, in the view of a wider audience the construction purpose of this building conceptualizes the theme of Anatolian architecture. Thus, there remain several controversies about the inception of architectural layout that need to be further explored. Using a comparative-analytical method, the aim is to trace back the architectural predecessors of Masjid i-Kabud. Unlike recent studies that attest a Perso-Ottoman interaction in shaping this monument, material evidences confirm beyond any doubt that this was built under the guidance of a master-architect who came from Central Asia a short time before its construction in Tabriz, a grand new capital. According to the results, it is possible to point out a general architectural consistency from the Timurid Empire to the Turkoman era that is largely visible in this building: a tomb in the rear of the central dome aligned with an axial portal, while auxiliary rooms surrounding the main dome on the three sides is a modification of the old traditional Iranian form and might have a close relationship with changes occurring within the religious doctrine in providing adequate space for pilgrimages and educational purposes.