فهرست مطالب جاناللهکریمی مطهر

Symbolism is one of the prominent schools of Russian literature in the early twentieth century, in which some of its representatives composed outstanding works inspired by mysticism and teachings of the poets of the ancient land of Iran, including Hafiz. Vyacheslav Ivanov and Mikhail Kuzmin, two representatives of this school, were active members of an association founded in 1905 by Ivanov in his apartment in Hafez's honor, named Hafez's disciples.  This clique, known as Bashnya (Dome), was considered the most important literary and philosophical center of its time. The members of the association were lovers of Hafez and Hafez's teachings in this place became the source of inspiration for mystical poems. The purpose of the present study is to examine the linguistic and lexical units that Ivanov and Kuzmin have used in connection with the thoughts of Hafez and his mysticism in their poems. An attempt was made to answer these questions: How did the Russian symbolist poets understand Hafez's poems? Which linguistic elements of Hafez did they use to express their thoughts and what common linguistic units and vocabulary did they use? Examining the poems of Ivanov and Kuzmin in connection with the subject under discussion, we conclude that despite cultural and linguistic differences, they have combined Eastern and Western symbols in their poems and, like Hafez, they have used a combination of earthly and metaphysical vocabulary, symbols, contradictions, metaphors, polysemous words, and paradoxical concepts to express ontological thoughts. The vocabulary used in their poems, such as Hafez's poems, include the concepts of love, dialogue, call for unity between nations and religions, "other-praising", as well as an understanding of the beauty of the universe.

Khayyam is one of the most famous Iranian poets. His poems are famous not only in Iran, but all over the world. Khayyam's quatrains have been translated many times into all living languages of the world, including Russian. This research was done with the aim of familiarizing Iranian researchers with the nature of Khayyam studies in Russia. And he has discussed the translations of Khayyam's quatrains and the important views of Russian critics about the poems of this great poet. Preliminary studies show that until now Iranian readers are only familiar with the theory of "Wandering Quartets" by Valentin Alekseevich Zhukovski, which is mentioned in most of the books, and to some extent with the view of Yevgeniy Edvardovich Berthels, a Russian orientalist. In this article, an attempt has been made to analyze the views of other Russian critics and researchers about Khayyam's personality and quatrains with a descriptive and analytical method. Since Omar Khayyam's character and method are still the subject of serious scientific debates in the universities of the world, we intend to answer these questions in the present research with a descriptive

What is Khayyam's position among Russian translators? How is Khayyam depicted in the translations of his quatrains in Russian?




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The name is a part of the human identity chosen for the baby under the influence of various factors. Generally, others take a name at birth or before that. But in literary works, the author selects a name for the hero based on the subject and his discretion. Based on different reasons, authors choose a non-native name for their heroes. The names of literary characters are very diverse and numerous; depending on the type of incident, moral characteristics, and the role of the hero in the works made up by the author, they can borrow from different nations, get some religious roots, or follow a certain literary current, Etc. By naming heroes, the author gives identity and human life to them. Exploring the naming issue will make you more familiar with the idea of literary work. 

This study has done by descriptive analysis method and using library research. The present study is very immodest to comprehend and understand the characters of heroes in literary works through understanding their names. The purpose of this study is to answer the questions like: "What is the reason for choosing Eastern names by Russian writers in their works?", "What is the reason for choosing Russian names in Persian literary works?" and "What is the basis of choosing the names of heroes in Persian and Russian works, including the works of Anton Chekhov, Nikolay Gumilyov, and Bozorg Alavi?". Works used in this study include The role of specific names in the literary works by Mikhailov V.N., The poetics of names in the works of Bunin. I.A by Bazhenova. Y.V, Memoirs of Bozorg Alavi by Ahmadi. H. and Review of Chekhov's early stories: "Death of a Government Clerk", "Fat and Thin" and "The Chameleon" by Yahyapour. M. and Karimi Motahhar. J. 

The present study will explain why the heroes are named in some Russian and Persian literary works and will help to comprehend the works of Russian and Iranian poets and authors by expressing new opinions. The names of literary characters are very diverse and numerous. Reasons for choosing a non-native name can vary. For instance, after the evolution of 1941 in Iran, the intellectual community, besides following political and social currents, was heavily influenced by Western and Russian translations. Authors, especially those who have lived for some time in a foreign country, based on their interest, picked a non-native name for their heroes in stories; we can mention the non-native names of the heroes (Babushka, Marfinka, Margerita) in the works of Bozorg Alavi. The transition period and currents after September 1941 had a superior impact on the hero name chosen in Persian literature, especially in the works of Bozorg Alavi. Due to his political tendencies, thoughts and ideas, association with Russians, and interest in Russian literature, Bozorg Alavi was able to create works that make you feel the atmosphere of Russian and Western society, so naturally, taking Russian names for heroes helped him in this matter. The presence of heroes with a Russian name, Russian originality or growth by Soviet Union rules, also references to the works of two famous Russian writers (Pushkin and Dostoevsky) indicate Alavi's great interest and enthusiasm toward Russian literature. There is a connection between the name and heroes’ characteristics, and also the purpose and reason for choosing such a name by the author, by identifying the reasons for using a non-native name in his works. Living abroad and reading foreign authors' literary works in the original language, particularly Russian, helped him create a new style of fiction writing. This issue also happens in Russian literature. In the nineteenth and twentieth centuries, Russian writers and poets, like Europeans, paid attention to the culture and literature of the Eastern countries, especially Iran, which is why Eastern names often were found in their works. For example, Twentieth-century writer and poet Nikolai Gumilyov also created works wherein he gave his heroes non-native names (Hafez, Darvish, Peri) due to his travels to Eastern countries and his acquaintance with Iranian poets. Gomilyov's interest in Eastern and Persian literature is due to his frequent traveling to some Eastern countries and his association with the poets and writers of the Bashnya (Dome) in Saint Petersburg; these interests led him to create Eastern-based work and use Eastern names and mythological characters. Choosing the Eastern name in his works indicates his interest in Eastern mysticism.  

As previously mentioned, the transition period and currents after September 1941 had a superior impact on the heroes’ name choices in Persian literature, especially in the works of Bozorg Alavi. Bozorg Alavi was able to create works that made you feel the atmosphere of Russian and Western society due to his political tendencies, thoughts and ideas, association with Russians, and interest in Russian literature. Therefore, it was natural for him to choose Russian names for his heroes. By identifying the reasons for using non-native names in his works, we realize that there is a connection between the name and the character of the hero, as well as the purpose and reason for choosing such a name as the author. Living abroad, and reading foreign authors' literary works in the original language, helped him create a new style of fiction writing. Gumilyov also chose non-native names for his heroes due to his interest in Hafez, Eastern mysticism, and his presence in Eastern and Muslim countries. Choosing the Eastern name in his works indicates his interest in Eastern mysticism. Thus, the most influential factors in taking the non-native name for the heroes are political and social currents, as well as the tendency and interest of authors in the literature and culture of the "Foreign".

The late eighteenth and early nineteenth centuries were the time for the formation of new schools of art in Europe. The rise of realism was the result of fundamental changes in the understanding of the world and a fundamental revision of the relationship between man and the world. In post-labor Europe, the approach of writers and poets, previously based on reason (classics) or on individual fantasies (romantics), changes dramatically and the individual's confrontation with his surroundings became the main subject of this literary school. Realism portrayed the collective feelings and realities around it. This literary school was divided into different branches, including magical realism, bourgeois, critical, surrealism, and so on. The traces of this literary school are also evident in the works of Iranian writers. Iran underwent fundamental political, social, and cultural changes in the late nineteenth and early twentieth centuries. Therefore, literary movements in Iran have undergone important changes.  Following the Constitutional Revolution, land reform, the entry of the printing industry, translation of literary works, etc., the language and style of writing in Iran changed. Folk, fluent, simple, and humorous language replaced the court and official language. Short stories, footnotes, and socio-historical novels replaced didactic literature and mystical theology.

Ivan Buninchr('39')s "Cursed Days", which covers the events following Russian October Revolution at 1918 and 1919, features different discourses such as literary, political, historical, social, criminal, critical, and citation, and has been written as a diary compilation. Linguistic elements of "Cursed Days" reflect the biography of the author, the narrator of the book, as a chronicler, critic, and descriptor of the events and interpersonal relationships that he had with various strata of the Russian people throughout the Civil War. Bunin believes that the October Revolution had led to the destruction of culture and the use of abnormal words and phrases in the Russian language. Bunin describes the period using terms "devilish, damn, and cursed," and addresses the Bolsheviks leader as "animal". The present study, in addition to reviewing the procedure and date of "Cursed Days" publication and its genre, discusses the comments from Bunin, critics and experts regarding the book, the events following the October Revolution and its negative aftermath on the Russian language and literature. Bunin believes that the October Revolution caused the deterioration of people’s morals, language and literature, and resulted in the socio-cultural abnormalities. Bunin considers the Bolsheviks sabotages as irreparable damages to the Russian language that had delivered writers such as Alexander Pushkin and Leo Tolstoy to the society.

Poems by Mikhail Lermontov, poet of the Russia 19th century, still among the critics and litterateurs have a valuable place. In Russian literature, Lermontov is known as a despondent peccable and romantic poet. One of the prominent features of his poetry is a contradiction, contrast and distressing hesitation in understanding the concepts. Lermontov by his poems creates an annoying duality in the reader. In this article the exciting themes and prayers of the poet's poetry and their features is mentioned. During the years 1829 to 1839 he created four poems entitled "Molitva / Prayer". A distinctive feature of these poems is that the poet speaks to God in his own unique way ("My Prayer"). By examining his prayerful poems we find that the poet, sometimes stands up to the God, even with his bite and rebellious nature (Poems of 1829 and 1833). The impression is that the hero of the work is grumbling and confronting the God or has no desire to ignore the thirst for poetry and earthly desires. But the two poems of 1837 and 1839 differ from his earlier poems in the way of speaking to the Creator of being. In this article we compare poems related to prayer and Lermontov's four poems which are entitled Molitva. By examining Lermontov's poems of prayer, we come to the conclusion that the first two poems (entitled "Molitva") are in doubt and contradictory to the creator, but the next two poems (also called "Molitva") characterize the poet's poise before God. They represent and express the spirit of the seeker, the religious beliefs and the true form of worship of a religious person, and the mystical spirit of the poet is expressed in them. Examination of these poems illustrates how the hesitant poet reaches self-knowledge and then theology through nature.

Khayyam, a poet from the "saffron shores" with worldwide fame, is on the top of Russian poetry and literature because of his charming, thoughtful, and philosophical quatrains, along with other poets of the "ancient land" of Iran. The present article aims at introducing and criticizing the translations of Khayyam’s quatrains into Russian and showing the influence of his poems and ideas on Russian translators and poets. Russian translators, Iranologists, diplomats, and poets played a significant role in introducing Khayyam to the Russian society. Book of poems of Toreverov, Chachikov, Surkov, Kedrin, Ivanov, Sannikov, Vinokurov, Plisetsky, Yesenin, and Gamzatov devoted some pages to Khayyam. Studies indicate that in addition to praising Khayyam, Russian poets sometimes began to express the idea of ​​their work with a word from Khayyam as the epigraph of their poems. Studies indicate that for most thinkers, Khayyam’s quatrains are the source of inspiration for philosophical and mystical ideas and a source for saturating the spiritual void, understanding the "mysteries of eternity", solving the riddle of the "ancient world" and cosmology. Investigating the poems studied in the article indicate that Khayyam’s quatrains opened the mysterious doors of the universe to most Russian thinkers and readers and let them taste the wine of the universe, although some of them had different interpretations of Khayyam’s poems due to contradictions in his poems.

Abstract In the semiotic-semantic approach, the process of creating meaning is linked to the perceptual sensory conditions. Therefore, this paper presents a semantic-semiotic analysis of the loneliness discourse in the Sonnets of Hafez and the poems of the Russian poet Afanasy Fet. The perceptual sensory approach of this paper involves all features of discourse including Perception, Intuition, integrity of meaning, discourse stress, sensory-perceptual contemplation center, indicative operations, tension space, tensions, effective values, rhythm, emotional representation, perspective and prophylaxis, stimulation and emotional readiness, affective emotionality, excitement and evaluation (value dimension). Since no discourse can be independent and separate from the other collective discourses before it, and the Russian poet has also translated Hafez’s poems into Russian and has had a deep knowledge of the Eastern culture, the present research intends to analyze the creation process of the fluid flow of the meaning of loneliness in Hafez’s and Fet’s poems. The research results show that both Russian and Persian poet have induced the belief and created the process of narrative-tension of loneliness in their poems by using all the elements of perceptual discourse which include effective verbs, lexical and emotional scenes, outwards and inward, pre-tension and post-tension, hence two emotional and cognitive types are placed into interaction with each other. This leads to complaining about loneliness and the formation of a value system (bliss in privacy).

Khayyam is one of the most famous Iranian poets whose poetry is well known not only in Iran but in the whole world. Khayyam's quatrains have been translated into many languages ​​in the world, including Russian, and have been reprinted many times. The purpose of this research is to introduce Iranian scholars to the quantity and quality of Khayyam'sresearch in Russia and to translate Khayyam's Rubaiyat and important Russian critics' views on this great poet's poems. It is noteworthy that Iranian readers so far have only been familiar with Zhukovsky's "wandering Rubaiyat" theory, as well as to some extent with the Russian Orientalist Yevgeny Berthels' perspective, which has been attempted here with a view. Other Russian critics and scholars also know about Khayyam's personality and Rubaiyat. In this article we have mentioned some Russian translations of Khayyam's Rubaiyat. The first person to introduce Khayyam to the Russians was Vilichka, after whom many poets and literary translators turned to Khayyam's Rubaiyat, many of which are still in use. The best and most complete biography of Khayyam in Russian is also from Rosenfeld and Yushkevich.

Teaching different foreign languages and related literature was nearly started since establishing universities in Iran. But Linguistics Departments were developed nearly half a century ago. After a while, the syllabi were reviewed; new fields have been started; and lots of works were published and thus the development of the studied happened. It is clear that due to the increase of the number of students (admission rate) and adding up the number of related works, reviewing and criticizing them could be useful. In this article, the ratio of the students in Linguistics and all foreign language studies to all other students were estimated. Then, the importance of reviewing the references in the fields of study were highlighted. Finally, some suggestions for a better academic development of Linguistics and foreign languages studies will be mentioned.

The article first makes a brief reference to the origin of prayer that is influenced by individual and social beliefs, and then goes into the literary works and how they are expressed by Persian and Russian writers and poets. Prayer literary works are often influenced by the beliefs of writers and poets. There is a lot of information about prayer in ancient and contemporary literary texts. Prayer has many forms, and in prose and poetry literature, it often carries the message of theology and human connection with the divine realm, and in fact the writer and poet are left with a God. Many writers and poets from Iran and Russia have addressed this issue in their works, such as Rumi, Saadi, Hafez, Farabi, Attar, Pushkin, Lermontov, Bonin, and others. Some are based on the themes of the religious texts or under the influence of the wonders of the universe. Persian worship literature begins with the praise of God, such as Ferdowsi's Shahnameh, Sa'adi’s Golestan and Bustan and Attar's Poetry Divan. Various centuries of Russian literature have also seen works of worship in various forms. The present study deals with the case of the prayer in Alexander Pushkin's poetry, which is influenced by his religious beliefs. Prayer in Pushkin's poetry is in the form of literal praise or praise to God and seeking blessings. His prayers for God, his neighbor, are the duty of poet and poetry. The spiritual peak of Pushkin's poetry is the emergence of the "Divine Verb". He leaves the material world with art and with the help of religious anthropology and then moves on to the supernatural world.

In this article, first we will give a brief reference to the history of Sonnet Genre and the crown of sonnets and how it entered into Russian literature. then, we will referred to the origin of the sonnet in the world literature, and then in Russia. We will review the effect of the Minarets, a crown of sonnets by Valery Mitrokhin, a poet from Crimea, that was founded on this basis. After Pushkin, the creator of the poetry Fountain of Bakhchisaray and the poem "To the Fountain of the Palace of the Bakhchisaray", in  poems of the other Russian poets, Crimea's irreplaceable space, his talent, geopolitical sensibility and his love to Crimea are tangible. The traces of the poems of the Pushkin Bakhchisaray are also seen in Mitrokhin's Minarets. The main hemistichs of the "Minarets" of Mitrokhin are artistic reflection of the Pushkin Bakhchisaray. The main issue in the "Minarets" of Mitrokhin is the peaceful life of people with various and prevailing opinions about the religions in the Crimea. By using this kind of literature, he focuses on geopolitics. So by criticizing the "Minarets" of Valery Mitrokhin, we can conclude that he follows Pushkin's will and, like him, believes in maintaining unity among the peoples of the Crimea, and the historical and natural symbols of geopolitics of Crimea has influence on the creation of his sonnets.

In the article, meanwhile introducing Konstantin Balmont, the symbolist poet of the twentieth century of Russia, known as Poet Laureate in Russian literature, has been devoted to his oriental themes in the context of the Russian Symbolist School. Balmont is one of the founders of the Russian Symbolist School. The idea of divine religions, which only body of man, is destroyed by the death and the man return to God, is also the basis of Russian symbolism, which is frequently seen in Balmont's poetry. Then, will be mentioned in the origin and form some of the eastern themes. The four elements (fire, water, earth and air) are the main themes of Balmont's poems. Balmont was familiar with Iranian poets such as Maulana, Khaghani, and Hafez, and it seems that his poems have been composed of the elements by Persian poets. He tries to find "Shams" in this world under the influence of the Holy Quran, the Holy Prophet (pbuh) and the mystical Iranian-Oriental works, the Sufism of Hafez and Maulana, and the poems "Do not Forget: The Quran is the Book of Avoidance", "From there", "Star of the Desert", "Silence", "Jalal Al-Din Rumi", "advice", "Andalib" ... based on the oriental themes and poems of Iranian poets. The themes that influenced the formation of the mystical and Sufi thoughts of the Russian poet and the poet's main attention are in the "world of existence" and the concept of " pre-existence and eternity".

Leo Tolstoy is one of the greatest renowned writers of the world who, in his works, adopts a special stance regarding issues of philosophical and mystical nature. This is quite visible in the story “The baptized son” which might be of clear conceptual resemblance for the oriental audience, especially those from Iran.
While dealing with this story, the present article strives to maintain a conceptual interpretation of the elements that have caused a resemblance between the aforementioned story and the post-Islamic literature and mysticism of Iran. It also tries to disclose these similarities and at the same time clearly illustrate that the “Baptized Son” is an allusion to some Quranic stories. It also focuses on portraying the fact that concepts like sin and repentance enjoy a special place in the Iranian mysticism just as they do in this story. As this great author pictures, the main theme of the story is the ever-lasting struggle between vice and virtue, one of the major themes both in Islam and in Persian literature.

Pushkin is an extraordinary phenomenon in Russian and also the world literature with works on which the global ideas shine in. Nobody is able, just like Pushkin, to demonstrate a man of other nations and to speak on behalf of him so authentically. His ability in describing Iranian culture and also Iranian genius poet, Saadi, was so that Prince Shalikov, the publisher of “Damskii zhurnal”, called him “The Young Saadi” in 1824, after publishing “The Fountain of Bakhchisaray” poem with a frontispiece of Saadi's words, because for the first time in Russian literature, Pushkin showed, through his fascinating poems, the way one should describe the Iranian genius poet Saadi. Pushkin and Saadi are being compared with each other, in present essay, and the valuable and key role of Saadi’s words in Pushkin’s expressing his ideas in his poem “The Fountain of Bakhchisaray” and some of his other works are studied. Some of Saadi’s ideas like those in frontispiece to “The Fountain of Bakhchisaray” are adopted from the first chapter of his masterpiece Boostan, and have been repeated frequently in many of Pushkin’s works and correspondences, in addition to his novel “Eugene Onegin”, and have been used by Russians as proverbs. These ideas, in Pushkin's works, recalled the memory of his Decaabrist friends and also expressed a sense of the poet's nostalgia as a result of separation or losing them.

Human’s aspirations and wishes have been always promising to the life and future because human without hope and wish is not able to continue the life. This is an intrinsic part of human life that has been appearing in the literature, too. In the play "The Seagull" which has been called the most personal art work of Chekhov, we faced to heroes who have high wishes and aspirations in their mind; they talk   about their ideal very well and dream a better life, but do nothing to achieving the desired objectives. In this play, Chekhov also describes human beings who do not have the ability to face the truth and the life and accept their fate, but on the other hand, he describes heroes who by all the suffering and setbacks of life do not stop and find their way to happiness and victory.

In the middle of the 19th century, Iranology was developed as a scientific discipline in many European countries. The new period of the relationships between Russia and the East began from the time of the reign of Peter the Great in early 18th century. In fact, the first scientific endeavors of Russians in the field of Orientalist studies are all connected with the name of this Emperor. During the late 19th century, owing to the efforts of Valentin Zhukovski, the prominent Russian Iranologist, the study of Persian literature, as one of the important academic branches of Iranology, entered St. Petersburg School of Russia. In the 20th century and after the October Revolution in 1917 in the former Soviet Union, a series of new subjects and problems were propounded in Orientalist studies, such as in Iranology. More than anything else, the ideological change in the Soviet State resulted in the rise of new methods in research on Iranology. Many of the related problems, not only those related to recent periods, but also those which were rooted in ancient history, culture, and written sources, were studied following the Marxist-Leninist approach. In this paper, while examining the history of Russian Iranology in short, the writer has tried to clarify the place of Persian literature in the Iranology of the late 19th and early 20th centuries in Russia.

Among the works of Yevgeny Zamyatin، the novel “We” is of significant importance. The novel was authored in 1920، but was not published in the Soviet Union until the year 1988 due to its “anti-revolutionary” content. This article will first touch upon the topics discussed in the works of Zamyatin and will then provide the viewpoints of the author regarding the system of government in the Soviet Union after the October 1917 Revolution. In the novel “We”، Zamyatin provides a futuristic perspective of the Soviet Union thousands of years ahead and portrays the socio-political situation of the union in case the pledges made by the leaders and theoreticians of the Communist system are realized. The novel “We” by Zamyatin is a novel with a critical theme in which the author endeavors to bring to mind the impacts of submersion in materialistic affairs and failing to heed moral and human values. The image Zamyatin provides of the utopia drawn by the theoreticians of the Soviet system is one in which the people live an affluent lifestyle and enjoy equal welfare but are not prosperous in the absence of creativity and religious and human values. They feel confined by the world of materialism.

The present paper would firstly present the characteristics of critical realism in brief. Critical realism is a phenomenon belonging to the golden era of Russian literature. Some Iranian writers such as Mohammad Ali Jamalzade، Bozorg Alavi، Jalal Ale Ahmad and Mirza Fathali Akhondzadeh created their eternal works much impressed by this school. They used a simple language to expound people''s social and cultural problems. Afterward، we would analyze the realization of critical realism in the works of Akhoondzadeh، in particular his comic play «The Attorneys». The writer has pointed his bitter criticism at the judiciary of his time (the Qajar era) and the mechanism of dealing with people''s judicial cases. Considering the ideas of the greatest Russian writers and the Russian critical realism، Akhoondzadeh in his «The Attorneys» has depicted his own picture of the social issues of the time