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جستجوی مقالات مرتبط با کلیدواژه "ادبیات تطبیقی" در نشریات گروه "ادبیات و زبان ها"

تکرار جستجوی کلیدواژه «ادبیات تطبیقی» در نشریات گروه «علوم انسانی»
  • سارا ذبیحی، محمدعلی خزانه دارلو *، رضا چراغی
    زمینه و هدف

    ادبیات کودک و نوجوان پیش از دریافت ماهیت مستقل در بستر دانشگاهی و علمی، در مقابل ادبیاتی که با مخاطبان بزرگسال مواجه است، گفتمان مغلوب محسوب میشد. بزرگسالان از امکان مندی و پذیرش ادبیاتی مختص مخاطب کودک و نوجوان به عنوان دانشی مستقل امتناع می ورزیدند و ادبیات بزرگسالانه خود را غالب میدانستند تا اینکه گذار و تغییر و تحولات، به استقلال معرفت شناختی آن انجامید. ادبیات کودک و نوجوان با مخاطب شناسی ویژه خود، در ارتباط بینارشته ای با ادبیات تطبیقی، ادبیات تطبیقی کودک و نوجوان را برمیسازد. این پژوهش به وضعیت این ساحت و قلمرو آن میپردازد.

    روش ها

    نوپایی این ساحت در عرصه جهانی، کمبود منابع و ضرورت پژوهشهایی را نشان میدهد. ادبیات تطبیقی کودک و نوجوان، در مباحث مختلف نظری که به شکل گیری چهارچوب و شناخت این دانش می انجامد، با ادبیات تطبیقی ارتباط بینارشته ای و ترامتنی دارد که هر یک از انواع روابط بینامتنی، پیرامتنی، سرمتنی، بیش متنی و فرامتنی در پژوهشهای مستقل قابل مطالعه است. رویکرد میان رشته ای و بررسی بینامتنی و تطبیقی با روش توصیفی از نوع تحلیل محتوا و واکاوی منابع نظری مدنظر است.

    یافته ها

    در این مطالعه، مفهوم ادبیات تطبیقی کودک و نوجوان در بستر دانشگاهی ایران، میان رشتگی و صورت بندی قلمروهای پژوهشی این حیطه در چشم انداز بینامتنی و تطبیقی ادبیات تطبیقی و حوزه های پیشنهادی اسالیوان که تنها پژوهش مستقل ترجمه شده در ایران است، برساخته شد تا در مجموع خلا نظری مفهوم شناسی، مسئله سازی و قلمروپژوهی این ساحت نوپا برای پژوهشهای آتی کاهش یابد.

    نتیجه گیری

    در پژوهشی دیگر، پژوهشگران به شاخصهای ثابت و متغیر و نیمه متغیر این دانش پرداختند تا در مسئله شناسی و مسئله سازی به پژوهش در این حیطه یاری رسانند. با توجه به وضعیت ادبیات تطبیقی کودک و نوجوان در دانشگاه و قلمرو پژوهش آن، اهمیت دارد که پژوهشگران ماهیت ویژه و حوزه پژوهش در این ساحت را نسبت به ادبیات تطبیقی بزرگسال مدنظر قرار دهند.

    کلید واژگان: ادبیات کودک و نوجوان, ادبیات تطبیقی, ادبیات تطبیقی کودک و نوجوان, بینارشتگی, قلمرو پژوهش
    Sara Zabihi, Mohammadali Khazaneh *, Reza Cheraghi
    BACKGROUND AND OBJECTIVES

    Before receiving the independent nature in the academic and scientific context, Children’s and Young Adult Literature was a Defeated discourse in front of the literature that faces adult audiences. Adults refuse the possibility and acceptance of literature specific to children as an independent knowledge and they consider adult literature to be dominant over Children’s and Young Adult Literature. the exploration of new angles of this field became prominent with transition of changes and transformations to the independence of knowledg. Children’s and Young Adult Literature with its special audience-study, in Interdisciplinary relationship with comparative literature, makes Comparative Children’s and Young Adult Literature. The newness of this field in the global arena shows the lack of resources and the necessity of theoretical research. This research deals with the condition of this field and its territory.

    METHODOLOGY

    The Comparative Children’s and Young Adult Literature, in various theoretical topics that lead to the formation of the framework and understanding of this knowledge, has a Interdisciplinary and Transtextual relationship with comparative literature, it can be studied in independent researches. An interdisciplinary approach and intertextual and comparative analysis with a descriptive method of content analysis and analysis of theoretical sources is considered.

    FINDINGS

    In this study, the concept of Comparative Children’s and Young Adult Literature in the academic context of Iran, Interdisciplinary and the formulation of the Territoriy of Researchs of this field are built in the intertextual and comparative shadow of comparative literature and the proposed fields of O’Sullivan, to reduce the theoretical void of Conceptology, Problem-Creating and Territory-Research of this nascent field for future researches.

    CONCLUSION

    In another research, the researchers looked at the fixed, variable and semi-variable indexs of this knowledge to help the research in this field in Problem-Analysis and Problem-Creating. Considering the situation of the Comparative Children’s and Young Adult Literature in the university and its scope of research, it is important that researchers consider the special nature and scope of research in this field compared to the comparative literature of adults.

    Keywords: Children’S, Young Adult Literature, Comparative Literature, Comparative Children’S, Interdisciplinary, Territoriy Of Research
  • مونا سادات جلالی، علیرضا ناصری فرد *، علیرضا نعمتی

    این مقاله به بررسی استعاره های مکانی و زمانی در آثار بیژن نجدی می پردازد و تلاش دارد تا نقش این استعاره ها را در بازنمایی تجربیات زیسته شخصیت ها در مواجهه با جهانی شدن و مهاجرت تحلیل کند. یافته های پژوهش نشان می دهد که نجدی با به کارگیری خلاقانه از استعاره های مکانی مانند "خانه"، "مرز" و مکان های بی نام و ناآشنا، توانسته است حس بیگانگی، ناپایداری و عدم تعلق را به خواننده منتقل کند. این استعاره ها بازتاب دهنده تاثیرات اجتماعی و روان شناختی ناشی از جهانی شدن هستند که مفهوم مکان را به فضایی نامطمئن و غیرقابل پیش بینی تبدیل می کنند. از سوی دیگر، نجدی با استفاده از استعاره های زمانی که زمان را به صورت لحظات پراکنده و گسسته به تصویر می کشد، حس عدم قطعیت و سرگردانی را نشان می دهد. این استعاره های زمانی بازتابی از تجربه انسان معاصر در مواجهه با تغییرات فرهنگی و اجتماعی اند، به ویژه در بستر مهاجرت و جهانی شدن. تحلیل های این پژوهش، پیوند میان استعاره های مکانی و زمانی را به عنوان ابزاری برای نمایش چالش های هویتی و احساسی شخصیت ها در آثار نجدی برجسته می کند و نشان می دهد که این ترکیب استعاره ها به خواننده این امکان را می دهد تا با تجربه های شخصیت ها از جهانی شدن و مهاجرت همدلی کند. این پژوهش با رویکرد ادبیات تطبیقی و نظریات بین فرهنگی به تبیین این استعاره ها پرداخته و به درک عمیق تری از تاثیرات جهانی شدن و مهاجرت بر ساختارهای ادبی فارسی کمک می کند. یافته ها نشان می دهد که آثار نجدی با بهره گیری از این استعاره ها به بازنمایی پیچیدگی های زیستی و روانی افراد در دوران معاصر پرداخته است.

    کلید واژگان: بیژن نجدی, استعاره های مکانی و زمانی, جهانی شدن, مهاجرت, ادبیات تطبیقی, ادبیات فارسی, تحلیل بین فرهنگی
    Mona Sadat Jalali, Alireza Naseri Fard *, Alireza Nemati

    This article explores spatial and temporal metaphors in Bijan Najdi's works, analyzing their role in representing characters' lived experiences in the context of globalization and migration. Findings indicate that Najdi creatively employs spatial metaphors like "home," "border," and nameless, unfamiliar places to evoke a sense of alienation, instability, and dislocation in the reader. These metaphors reflect the social and psychological impacts of globalization, transforming the concept of place into an unpredictable and insecure space. On the other hand, Najdi uses temporal metaphors, portraying time as fragmented and disjointed moments to convey uncertainty and confusion. Such temporal metaphors resonate with the modern human experience in confronting cultural and social changes, especially within the scope of migration and globalization. This study highlights the interplay between spatial and temporal metaphors as tools for representing the identity and emotional challenges of characters in Najdi's works, demonstrating how this blend of metaphors allows readers to empathize with characters' experiences in a globalized and migratory world. Adopting a comparative literature and cross-cultural theoretical approach, this study offers an in-depth understanding of the impacts of globalization and migration on Persian literary structures. Findings suggest that Najdi's works, by utilizing these metaphors, intricately portray the existential and psychological complexities faced by individuals in contemporary times.

    Keywords: Bijan Najdi, Spatial, Temporal Metaphors, Globalization, Migration, Comparative Literature, Persian Literature, Cross-Cultural Analysis
  • نگار سروری ستوده، سمیرا ساسانی *

    ادبیات جهان در مورد آثار ادبی که فراتر از فرهنگ بومی جریان می یابند، تحقیق می کند و آنچه که همزمان مشابه و فاقد شباهت به نظر می رسد را نمایش می دهد. ادبیات جهان، یک بنمایه مشخص را مورد مطالعه قرار داده و چگونگی نمودهای فرهنگی اش را تصویر می کند. کهن الگو ی پرنده یونگ، آن وجه مشترکی است که در این بررسی تطبیقی مورد تحلیل قرار گرفته است. پرواز پرنده، صعود و تعالی متافیزیکی را آشکار می کند. به علاوه،کهن الگوی پرنده معانی دیگری همچون مرگ، تولد ثانوی، بیداری، آگاهی، روشن ضمیری و معرفت را نیز دربرمی گیرد. این مقاله به بررسی و تطبیق کهن الگوی پرنده در اثر منظوم منطق الطیر (1971) عطار، منظومه دریانورد کهن (1992) کالریج، و شعر «سانکوفا» (2008) اگبی مبایس می پردازد. دلیل چنین گزینشی این است که، با وجودی که این آثار به اعصار و میراث ادبی مختلفی تعلق دارند، اما هر سه سفری در جهت کمال فرد را به تصویر می کشند. این شعرا، با استفاده از کهن-الگوی پرنده، معانی کهن الگویی سیمرغ، آلباتروس و سانکوفا را به ترتیب در فرهنگ های ایرانی، انگلیسی و آفریقایی آشکار می کنند. پرنده، کهن الگوی متحد کننده ای است که از طریق روش تطبیقی و بر اساس «فرآیند فردیت» کهن الگویی یونگ، نمایان گر کهن الگوی "خود" (سلف)، در واژگان تخصصی یونگ است. با پیوند اشعار این ملل، کهن الگوی پرنده، به وسیله سفری خودشناسانه، مسیرکمال جویی، تعالی، و وحدت انسان با کل، را نشان می دهد.

    کلید واژگان: یونگ, کهن الگوی پرنده, فرآیند فردیت, ادبیات تطبیقی, ادبیات جهان
    Negar Soroori Sotoodeh, Samira Sasani*

    World literature investigates literary works that circulate beyond their cultures and demonstrates what like-but-unlike is. It considers a certain motif and sees how it represents its cultural aspects. . The Jungian archetype of the bird is the common thread that has been analyzed in this comparative study. Bird’s flight sheds light on metaphysical ascendance and transcendence. Moreover, the bird archetype conveys meanings associated with death, rebirth, awareness, consciousness, enlightenment, and wisdom. This article compares the archetype of birds in the poetry of Attar’s The Conference of the Birds (1177), Coleridge’s The Rime of the Ancient Mariner (1992), and Agbemabiese’s “Sankofa” (2008). The reason for such a choice is that, although they belong to different ages and literary heritages, all three portray a journey toward an individual’s Self-perfection.  These poets utilize the bird archetype to manifest how Simurgh, Albatross, and Sankofa, reveal their archetypal meanings in Persian, English, and African cultures. By a comparative method based on Jung’s archetypal “process of individuation”, the bird is a uniting archetype, that represents the “Self” in Jung’s terminology. Binding the poetry of these nations demonstrates that through a self-realization journey, the individual can achieve perfection or become one with the whole.

    Keywords: Jung, Bird’S Archetype, Individuation, Comparative Literature, World Literature
  • مژده حاج احمدی پور رفسنجانی، فرزاد قایمی*، مجید هوشنگی

    ادبیات تطبیقی، رویکردی پژوهشی در دوره معاصر است که به مقایسه، بررسی و تحلیل آثار ادبی و در مفهوم توسع یافته آن، آثار هنری ملل و فرهنگ های مختلف پرداخته و تشابهات و تفاوت های این آثار، همچنین تاثیرات و تبادلات ادبی و فرهنگی ملل را می کاود. این علم یا رشته بر آن است که «خودی» را در آینه «دیگری» ببیند و بشناسد. این مسئله، ناقدان ادبی را بر آن داشت تا با بررسی آثار ادبی در ارتباط با یکدیگر، به فهم تکاملی و تطبیقی از نشانه های متن دست یابند. از سوی دیگر «کوش نامه»، روایت «کوش پیل دندان»، قهرمانی شوم و اهریمنی در حماسه های ایرانی است که در بررسی تطبیقی آن، بسامد تشابهات و همسانی های روایت کوش با اسکندر مقدونی در روایات اساطیری- تاریخی با تباری غیر ایرانی، ذهن ناقدان را بر آن وامی دارد که به بررسی لایه ها و شاخص های خویشاوندی این دو روایت و سرفصل های اصلی و مبنایی آن بپردازد. از این رو این پژوهش تلاش کرده است تا با روش توصیفی- تحلیلی و بررسی تطبیقی آنها، به کشف نظام دلالت های دو متن بپردازد. از نتایج این پژوهش برمی آید که این دو داستان به سبب هم سویی و هم پوشانی در ساحت هایی چون شخصیت پردازی، کنشگری، تبیین حالات و ورود به روایت های یکدیگر، بی شک در یک نظام تاثیر و تاثری واقع شده اند و این تاثیرپذیری از روایت اسکندر به کوش، بیشتر موضوعیت دارد و می توان در بخش های متعددی، شخصیت کوش به عنوان قهرمانی ایرانی را بازتابی استحاله شده از شخصیت اسکندر غیر ایرانی دانست و روایت آن را دگردیسی گزینشی از مجموعه ای از داده های منتشر در ادب عامه و روایات مکتوب اسکندر تلقی کرد.

    کلید واژگان: ادبیات تطبیقی, اقتباس, کوش, اسکندر و کوش نامه.
    Mojdeh Haj Ahmadipour Rafsanjani, Farzad Ghaemi *, Majid Houshangi

    Comparative literature is a contemporary science or research field that focuses on the comparison, examination, and analysis of literary works and, in its broader sense, the artistic works of different nations and cultures. It explores the similarities and differences among these works, as well as the literary and cultural influences and exchanges between nations. This discipline aims to see and recognize the "self" in the mirror of the "other." This issue has prompted literary critics to study literary works in relation to each other in order to achieve an evolutionary and comparative understanding of the signs within the texts. On the other hand, the "Koush-nama" narrates the tale of "Koush Pil-dandan," a dark and demonic hero in Iranian epics. A comparative analysis of this tale reveals the frequency of similarities between the narrative of Koush and that of Alexander the Great in non-Iranian mythological-historical accounts. This encourages critics to explore the layers and indicators of kinship between these two narratives and their main foundational themes. Therefore, this research has sought to discover the system of signification between the two texts using a descriptive-analytical method and comparative study. The findings of this research indicate that these two stories, due to their alignment and overlap in areas such as characterization, action, emotional states, and intertwining narratives, are undoubtedly part of a system of mutual influence. This influence from the narrative of Alexander to Koush is particularly significant, suggesting that in various aspects, the character of Koush can be seen as a transformed reflection of the non-Iranian figure of Alexander. Furthermore, this narrative can be interpreted as a selective metamorphosis derived from a collection of data found in popular literature and the written accounts of Alexander

    Keywords: Comparative Literature, Adaptation, Kush, Eskandar, And Kush-Nama
  • مصطفی گرجی*

    بررسی و تحلیل تقابل/ تعامل/ تضارب اندیشه متفکران و صاحبان تجربه هنری موضوعی است که در مجموعه ساحت های پژوهش های ادبی می تواند بستر و زمینه ساز درک بهتر گفتمان فکری صاحبان متون - با وجود همه تفاوت های فرهنگی - تلقی شود. در این بستر مولوی و کازنتزاکیس، دو متفکر بزرگ جهان اسلام و مسیحیت هستند که آثار آنها از منظرهای مختلف و در حالت مقایسه ای و با انگیزه های گوناگون قابل تامل است. یکی از مهم ترین این انگیزه ها، نوع اندیشه در باورمندی به ساحت های نفسانی به ویژه ساحت باورها و اعتقادات، احساسات و عواطف، خواسته ها و نیازها است که این مقاله بدان پرداخته است. نویسنده در این مقاله با روش تحلیلی- انتقادی مهم ترین عناصر مشترک فکری این دو متفکر را با تاکید بر پنج ویژگی شخصیتی مشترک از یک سو و بارزترین عناصر و مولفه های فکری، عواطف و خواسته های مشترک از سویی دیگر واکاوی و تحلیل کرده است. دستاورد این پژوهش نشان می دهد با وجود همه نگره های غیرهمسو، هر دو بر اصل رسیدن به سعادت و شادکامی مستمر پایان ناپذیر اهتمام ورزیده اند و با توجه به ذوابعاد دیدن انسان بر ساحت نفسانی در قالب نسخه ها و دستورالعمل های مختلف توجه کرده اند.

    کلید واژگان: روان شناسی ادبیات, ادبیات تطبیقی, ساحت های نفسانی, مولوی, کازنتزاکیس
    Mostafa Gorji *

    The review and analysis of confrontation/ interaction of thinkers thought and the artistic experience owners is subject that in set of literary researches can be considered –in spite of cultural differs - underlie of better understanding of discourse thinking of authors. Mewlana and Kazantzakis in this ground are two important thinkers of Islam and Christianity world that can be analyzed their texts in various aspects by attitude of comparative. One of the most important attitude, was thought variety in the selfish field especially beliefs, feelings and emotions, desires  ground that present article analyze and scrutinize this problem. Writer in this article analyzed the most significant common elements of texts mewlana and Kazantzakis emphasis on character natures on one hand and the most obvious thoughts, emotions, desires elements on the other hand by analytical- critical method.  The results of this research shows in spite of uncommon attitude, both of them figure on principle of endless prosperity  and happiness and pay attention to selfish ground by life prescriptions by regard to different dimensions.

    Keywords: Literature Psychology, Comparative Literature, Selfish Square, Mewlana, Kazantzakis
  • سیده دلارام کاسی نوده، مهسا رون*

    رمان های فارسی دهه سی و چهل مشتمل بر مضامین مشترکی همچون تنهایی، ناامیدی، سرخوردگی، ترس و سوءظن به روابط فردی و اجتماعی است. تقی مدرسی یکلیا و تنهایی او را، متاثر از فضای سیاسی اجتماعی دهه سی، بویژه اوضاع پس از کودتای 28 مرداد 1332، نوشت. ردپای آشنایی نویسنده با کتاب مقدس نیز هم در سبک نوشتار و هم در محتوای این رمان مشهود است. فضای خفقان بار آن دوران نویسنده را ناگزیر کرده تا دغدغه های سیاسی خود را در پس اسطوره و زبان نمادین بیان کند. میخائیل لرمانتوف، شاعر روس، نیز متاثر از اوضاع سیاسی اجتماعی روسیه، پس از شکست قیام «دکابریست ها»، برای فرار از سرخوردگی و ناامیدی و طردشدگی قشر روشنفکر، به اسطوره های توراتی پناه برد و منظومه روایی «اهریمن» را که بازتابی از سرخوردگی های او بود سرود. شباهت خاستگاه سیاسی اجتماعی خلق این دو اثر، افکار و عقاید دو نویسنده، مضامین مشترک و بهره گیری خالقان هر دو اثر از عهد عتیق و قصه «تامار»، ضرورت پژوهشی با رویکرد تطبیقی بین این دو اثر ادبی به روش توصیفی تحلیلی را تقویت می کند. این مطالعه نشان می دهد مدرسی برای خلق اثر خود از داستان «تامارا» در سفر آفرینش و لرمانتوف از داستان قسمت دوم سموئیل از کتاب مقدس بهره گرفته اند و مضامین مشترکی همچون ناامیدی، تنهایی، طردشدگی، اعتراض، عشق و...، متاثر از اوضاع اجتماعی زمانه خالقان اثر، در هر دو روایت دیده می شود.

    کلید واژگان: ادبیات تطبیقی, مضمون شناسی, یکلیا و تنهایی او, تقی مدرسی, اهریمن, لرمانتوف
    Seyedeh Delaram Kasi, Mahsa Rone *

    Persian novels of the 1930s and 1940s contain common themes such as loneliness, despair, disillusionment, fear and suspicion of personal and social relationships. Taghi Modarresi wroteYakolia & her solitude under the influence of the social-political atmosphere of the 1950, especially the situation after the coup of August 28, 1953. The traces of the author's familiarity with the Holy Book are also evident both in the writing style and in the content of this novel. The suffocating atmosphere of that time forced the writer to express his political concerns behind the myth and symbolic language. Mikhail Lermontov, a Russian poet, was also affected by the political and social situation of Russia, after the failure of the Decembrists' uprising, to escape from the disappointment and rejection of the intelligentsia, he took refuge in biblical myths and composed the narrative poem "Devil" which was a reflection of his frustrations. This research with a comparative approach between these two literary works in a descriptive-analytical method is important, because of The similarity of the social-political origins of the creation of these two works, the thoughts and opinions of the two authors, the common themes and the use of the creators of both works from the Old Testament and the story of "Tamar". This study shows that Modarresi and Lermontov used the story of Tamara in book of Creation and the second part of Samuel from the Bible to create their works, and common themes such as: despair, loneliness, rejection, protest, love, etc

    Keywords: Comparative Literature, Thematology, Taghi Modarresi, Devil, Lermontov
  • سید فضل الله میرقادری*

    ادبیات تطبیقی از گرایش های جذاب و بسیار با ارزش و مفید عرصه نقد ادبی است و چون شیوه های پژوهش در ادبیات تطبیقی مختلف و متعدد است؛ به گونه ای که هر پژوهشگر بر اساس شیوه پژوهش خویش، مکتب یا منهج مناسب را برمی گزیند. با پیدایش نظریه دریافت در سال 1989م ، به نقش خواننده توجه بیشتری شد و منهج تلقی یا دریافت محوری، رسمیت یافت. از  موضوعات پژوهشی در عرصه نظریه دریافت، برداشت صاحبان فن و ادیبان عربی زبان از شعر فارسی است. در این زمینه، حافظ شیرازی توجه ادیبان و پژوهشگران عرصه ادبیات در زبان های دیگر را جلب کرده است و ادیبان عربی زبان در برداشت از شعر حافظ، سهم بسزایی دارند. ابراهیم امین الشواربی و علی عباس زلیخه از ادیبانی هستند که به شعر حافظ توجه ویژه ای داشته و برداشت خویش را به صورت شعر و نثر عرضه داشته اند. در این پژوهش دریافت دو ادیب از غزل 175 حافظ (بر اساس نسخه غنی قزوینی) عرضه شده و مورد بررسی و تحلیل و مقایسه قرار گرفته و در نهایت برداشت نگارنده نگارش می شود. بطور عموم می توان گفت، دریافت الشواربی از ابیات غزل حافظ، جامع تر از دریافت زلیخه است؛ ولی از نظر عاطفی و احساسات، دریافت زلیخه برتر از دریافت الشواربی است.

    کلید واژگان: ادبیات تطبیقی, فارسی و عربی, نظریه دریافت, حافظ شیرازی, الشواربی, زلیخه
    Sayed Fazlollah Mirghaderi*

    Comparative literature is one of the attractive and very valuable and useful trends in the field of literary criticism, and because the methods of research in comparative literature are different and numerous, there are different schools; In such a way that each researcher chooses the appropriate school or method based on his research method. With the emergence of the theory of reception in the last decades of the 19th century, more attention was paid to the role of the reader and the approach of central perception or reception was formalized. One of the research topics in the field of perception theory is the perception of Persian poetry by Arabic language writers and artists. In this context, Hafez Shirazi has attracted the attention of writers and researchers in the field of literature in other languages, and Arabic-speaking writers have a significant contribution in understanding Hafez's poetry. Among the writers who have paid special attention to Hafez's poetry and presented their views in the form of poetry and prose are Ebrahim Amin Al-Shwarabi and Ali Abbas Zulikha. In this research, two writers' interpretations of Hafez's Ghazal 175 are presented and analyzed and compared, and finally, the writer's opinion is presented as the final opinion. In general, it can be said that Al-Shwarabi's interpretation of verses is more comprehensive than Zuleikha's, but in terms of emotions and feelings, Zuleikha's interpretation is superior to Al-Shwarabi's.

    Keywords: Comparative Literature, Persian, Arabic, Theory Of Perception, Hafez Shirazi, Al-Shwarabi, Zuleikha
  • محمداکبر دهانی*

     بلوچی و فارسی شاخه هایی از خانواده زبانهای ایرانی هستند که در درازنای تاریخ در فلات ایران و در همسایگی و تعامل با همدیگر بودهاند. یکی از کارکردهای ادبیات تطبیقی، بررسی تاثیر و تاثرهایی است که میان ادبیات زبانهای گوناگون وجود دارد. نظر به غلبه فرهنگی زبان و ادبیات فارسی در ایران و نفوذ گسترده آن در میان اقوام مسلمان، تاثیرات این زبان و ادبیات آن بر ادبیات و شعر بلوچی نیز آشکار و قابل توجه است. تاثیرپذیری شاعران دوره دوم ادبیات بلوچی و مکتب ملاها از فارسی به اوج میرسد. مولوی عبدالله روانبد از شاعران نامدار بلوچی و از نسل آخرین شاعران این مکتب است. او شاعری دوزبانه است که در شعرهای بلوچی او نیز تاثیر زبان و ادبیات فارسی قابل توجه است. این نوشتار با بررسی شعر بلوچی روانبد به روش توصیفی-تحلیلی در پی روشن کردن چنین وجهی در سروده های او بوده است. شعر روانبد از نظر تاثیرپذیری از زبان و ادبیات فارسی یکدست نیست، گاه شعر او با آن که از لحاظ مضمون و عناصر خیال به شدت متاثر از فارسیگویان بزرگی چون سعدی است، از لحاظ زبانی، روان است و بدیع مینماید و گاهی نیز چنان فارسیانه بلوچی میسراید که مصرعها با تغییر یا تعدیل یک واژه، فارسی میشوند و حتی برخی از آنها را میتوان کاملا فارسی دانست.

    کلید واژگان: ادبیات تطبیقی, بلوچی, فارسی, شعر بلوچی, مولوی عبدالله روانبد
    Mohammadakbar Dehani*

     Balochi and Farsi are branches of the family of Iranian languages ​​that have been in the Iranian plateau and in the neighborhood with each other and interacted with each other throughout history. One of the functions of comparative literature is to investigate the effectiveness and influence between the literature of different languages. Considering the cultural predominance of Persian language and literature in Iran and its widespread influence among Muslim nations, its effects on Balochi literature and poetry are obvious and significant.. The influence of Balochi poets on Persian reached its peak in the second period of Balochi literature and the school of Mullahs. Mawlavi Abdollah Rawanbod is one of the famous Balochi poets and the last generation of poets of this school. He is a bilingual poet whose Balochi poems are influenced by Persian language and literature. This article has analyzed the Rawnbod’s balochi poems with a descriptive-analytical method and has shown this aspect in his Balochi poems. Rawanbod's poems are not uniform in terms of the influence of Persian language and literature. Even though his poems are strongly influenced by Persian poets like Saadi in terms of theme and fantasy elements, but in terms of language, they are fluent and original. And sometimes he is so influenced by Persian in writing Balochi poetry that the stanzas become Persian with a slight change or adjustment of a word, and even some of them can be considered completely Persian.

    Keywords: Comparative Literature, Balochi, Persian, Balochi Poetry, Mawlawi Abdollah Rwanbod
  • فروزان بهرام زاده، شراره الهامی*، رضا برزویی
    طرحواره تصویری، یکی از رویکردهای معناشناسی شناختی است که در آن تجارب آدمی از دنیا، ساخت های مفهومی را در ذهن می آفریند که قابل انتقال بر سطح زبان هستند. از این رو، تجاربی تجسم یافته در درون نظام مفهومی، منجر به تولید طرحواره های تصویری می شوند. پژوهش حاضر بر آن است با رویکردی تطبیقی برخی از فرایندها و ساخت های مفهومی در معنا شناسی شناختی را در قالب طرحواره های تصویری در سروده های کودکانه فارسی و کردی بررسی کند تا نشان دهد که در ادبیات کودکانه این دو زبان، ساخت های مفهومی چگونه به درک حوزه های انتزاعی در شعر کودکان کمک می کنند. یافته های پژوهش نشان می دهند که بیشتر طرحواره های تصویری در سروده های کودکانه فارسی و کردی از نوع حرکتی است که دلیل آن را می توان در مضمون سروده ها یافت؛ زیرا مفاهیمی چون بازی یا کار، نیازمند جنبش و فعالیتند. جایگاه دوم را طرحواره تصویری قدرتی می گیرد که این هم به دلیل رویکردهای تربیتی است که به کودکان آموزش داده می شود تا برای دستیابی به دنیای آرمانی موانع را از پیش رو بردارند. طرحواره حجمی در جایگاه سوم قرار می گیرد که دلیل آن هم به بیان دستیابی به مفاهیم انتزاعی همچون غم، آرامش و شادی در ظرف مکانی ملموس و محسوس برمی گردد.
    کلید واژگان: ادبیات تطبیقی, ادبیات کودک, نظریه معناشناختی, طرح واره تصویری
    Forozan Bhramzadeh, Sharare Elhami *, Reza Borzoiy
    Image schema, a concept within cognitive semantics, posits that human experiences shape conceptual structures in the mind, which can be expressed through language. Therefore, tangible and embodied experiences within the conceptual system lead to the production of image schemas. Through a comparative lens, this study explores cognitive processes and structures related to image schemas in Persian and Kurdish children's poetry. Specifically, it investigates how these conceptual structures facilitate the understanding of abstract themes within the children's literature of these two languages. The findings indicate that the predominant image schemas in both Persian and Kurdish children's poems are movement-based. This prevalence can be attributed to the thematic content of the poems, where concepts such as play and work inherently involve movement and activity. Following this, the power image schema ranks second, reflecting educational frameworks that encourage children to overcome obstacles in pursuit of an ideal world. The volume schema ranks third, relating to the expression of abstract concepts such as sadness, peace, and happiness within tangible spatial containers.
    Keywords: Comparative Literature, Children's Literature, Cognitive Semantics, Image Schema
  • رویدا احمدی، علی اصغر باباسالار *، علی محمد موذنی، روح الله هادی
    زمینه و هدف

    ادبیات تطبیقی به عنوان یک شاخه مجزا و مستقل در مطالعات ادبی، در قرن نوزدهم ظهور کرد. با توجه به همزبانی و همجواری دو ملت ایران و افغانستان، طبیعی است که شباهتها و تفاوتهایی در ادبیات معاصر این دو مشاهده شود.
    ایران و افغانستان، افزون بر یکسانی زبان، در حیطه فرهنگ و ادبیات نیز همانندیهای بسیاری دارند و تاریخ تحولات اجتماعی و ادبی این دو کشور در جاهایی با هم مشابه و قابل مقایسه است. پردازش مضامین شعر، میتواند ما را با برخی زوایای شخصیت شاعر، آشنا کند. این تجلی، به مرزهای سیاسی و جغرافیایی محدود نیست، از این رو در حوزه ادبیات تطبیقی میتوان به مقایسه مضامین شاعران پرداخت تا همسانیها و ناهمسانیهای شخصیت آنان را تا اندازه ای درک نمود. باوجود مضامین یکسان در شعر برخی ازشاعران، گاه دو شاعر از دو سرزمین را از یک محیط میپنداریم. در این مقاله، کوشیده ایم به مقایسه اشعار دو شاعر نامدار و همعصر افغانستانی و ایرانی یعنی ملک الشعراعبدالحق بیتاب و ملک الشعرای بهار ازجهت درونمایهای اجتماعی بپردازیم.

    روش ها

     این پژوهش، با روش تحلیلی توصیفی و با تکیه بر رویکردی تطبیقی و با توجه به اجتماعیات، مطالعه اشعار بیتاب و بهار پرداخته و تشابهات موجود در شعر آنان را جست وجو کرده است. در این بررسی، بر موضوعات اجتماعی اشعار این دو شاعر تاکید شده است.
    یافته‏ها: طبق یافتها آنچه شاعر یا نویسنده در آثار خود میآورد، مستقیم یا غیرمستقیم بازتابی از اوضاع و احوال جامعه ای است که در آن زندگی میکند. دوران معاصر ایران و افغانستان، به علت حوادث پرفراز و نشیب و دگرگونیهای که برخاسته از ورود مدرنیته به خاورمیانه بود، تاثیری بس شگرفتر و عمیقتر از دوره های دیگر بر شاعران و ادیبان گذاشت. دوره مشروطه نقطه عطفی در تاریخ ملت ایران است. ادبیات نیز در این دوره همقدم با مشروطه‏طلبان حرکت نموده و به یاری آنها شتافته است؛ از این رو مطالعه اجتماعیات در ادبیات معاصر، یا بررسی ادبیات معاصر با رویکردی جامعه شناسانه، به فهم و درک اوضاع آن دوران کمک میکند.

    نتیجه

     بر این اساس مشخص شد مفاهیمی از قبیل وطن دوستی، وحدت مسلمانان، عدالت، آزادی، مفهوم پیشرفت و ترقی در شعر هر دو شاعر به اشکال گوناگون بازنمایی شده است. با توجه به اینکه بیتاب، در مقایسه با بهار، کمتر ‏‏سیاسی بوده است، مفاهیم سیاسی در شعر او کمتر نمود یافته است.

    کلید واژگان: ادبیات تطبیقی, ملک الشعرای بهار, ملک الشعراعبدالحق بیتاب, شعر معاصر افغانستان, شعر دوران مشروطه
    Royda Ahmadi, Ali Asghar Babasalar *, Ali Mohammad Moazzeni, Roholah Hadi
    BACKGROUND AND OBJECTIVES

     Comparative literature emerged as a separate and independent branch in literary studies in the 19th century. Considering the common language and proximity of the two nations of Iran and Afghanistan, it is natural to see similarities and differences in the contemporary literature of the two nations.
    Iran and Afghanistan, in addition to the same language, also have many similarities in the field of culture and literature, and the history of social and literary developments of these two countries are similar and comparable in places. Processing the themes of the poem can introduce us to some aspects of the poet"s personality. This manifestation is not limited to political and geographical borders; therefore, in the field of comparative literature, it is possible to compare the concerns of poets to understand the similarities and differences of their personalities. Despite the same subjects in the poems of some poets, sometimes we think of two poets from two countries coming out of the same environment. In this article, we have tried to compare the poems of two famous and contemporary Afghan and Iranian poets, Malik Al-Shaara Abd al-Haq Bitab and Malik Al-Shaarai Bahar, in terms of social themes.

    METHODOLOGY

     This research has studied the poems of Bitab and Bahar with a descriptive analytical method, relying on a comparative approach and with regard to societies, and has searched for similarities in their poems. In this review, the social issues of the poems of these two poets are emphasized.

    FINDINGS

     According to the findings, what the poet or writer brings in his works is a direct or indirect reflection of the conditions of the society in which he lives. The contemporary era of Iran and Afghanistan, due to the ups and downs and transformations that arose from the arrival of modernity in the Middle East, had a greater and deeper impact on poets and writers than other periods. The constitutional period is a turning point in the history of the Iranian nation. In this period, literature also moved in step with the constitutionalists and rushed to their aid. Therefore, studying societies in contemporary literature, or examining contemporary literature with a sociological approach, helps to understand the situation of that era.

    CONCLUSION

     Based on this, it was found that concepts such as patriotism, unity of Muslims, justice, freedom, the concept of progress and advancement are represented in the poetry of both poets in various forms. Due to the fact that Bitab has been less political compared to Bahar, political concepts have appeared less in his poetry.

    Keywords: Comparative Literature, King Of Spring Poets, King Poet Abdul Haq Betab, Contemporary Poetry Afghanistan, The Poetry Of The Constitutional Period
  • محمود حیدری*

    فرهنگ و تاریخ عرب پس از ظهور اسلام همواره مورد توجه مسلمانان در جای‏جای گیتی بوده است و مسلمانان با فراگیری علوم اسلامی، با فرهنگ و تاریخ عرب نیز آشنا شده‏ اند. یکی از وجوه تاریخی عرب، جنگ‏ های قبیله ‏ای فرسایشی همچون جنگ «بسوس» و «داحس و غبراء» بوده که اکثرا کنشی به زندگی سخت و صحرانشینی آنان بوده است. «رند و لاشار» نیز از حماسه‏ های عامه بلوچسستان است که شباهت‏ های انکارناپذیری با جنگ‏ بسوس در دوران جاهلی دارد. این پژوهش با رویکرد تطبیقی تاریخی و به شیوه تحلیل محتوا به بیان مشابهت‏ های تاریخی این دو حماسه‏ و جنگ‏ می ‏پردازد. فرضیه پژوهش بر این اصل استوار است که حماسه رند و لاشار در مواردی متاثر از جنگ‏ بسوس میان دو قبیله بکر و تغلب در دوره جاهلی است و اقلیم مشابه و ساختار اجتماعی و خصوصیات اخلاقی یکسان، راه را برای این تاثیرپذیری هموار کرده است. نتیجه تحقیق با اثبات این فرضیه نشان می ‏دهد که آتش جنگ بسوس و حماسه رند و لاشار با کشتن شترهای «بسوس» و «گوهر» شعله ‏ور می ‏شوند و این دو زن، شخصیت‏ های محوری این جنگ‏ ها بوده‏ اند. وجه دیگر این تاثیرپذیری در علل این جنگ‏ هاست که انتقام‏ خواهی و حمایت از مهمان، انگیزه اصلی هر دو جنگ به شمار می‏ روند.

    کلید واژگان: حماسه رند و لاشار, جنگ بسوس, ادبیات تطبیقی, ادبیات عامه بلوچ, ادبیات جاهلی
    Mahmoud Hreydari*

    Arab culture and history have always been the focus of Muslims everywhere after the arising of Islam, and Muslims have become familiar with Arab culture and history by learning Islamic sciences. One of the historical aspects of the Arabs has been the erosive tribal wars such as the war of "Basous" and "Dahes and Ghabra", which were mostly a reaction to their hard life and desert living. "Rand and Lashar" is also one of the popular epics of Balochistan, which has undeniable similarities to the Basous war during the Jahili period. This research, with a comparative historical approach and content analysis method, expresses the historical similarities of these two epics and wars. The hypothesis of the research is based on the principle that Rend and Lashar's saga is in some cases influenced by the Besous war between the two tribes of Bakr and Taghlib in the Jahili, and the similar climate and social structure and moral characteristics have paved the way for this influence. The result of the research, proving this hypothesis, shows that the Basous war and Rend and Lashar's saga were ignited by killing the camels of "Basous" and "Gohar" and these two women were the central characters in these wars. The other side of this impact is the causes of these wars, in which revenge and supporting the guest are the main motivations of both wars.

    Keywords: Rend, Lashar Epic, Basous War, Comparative Literature, Baloch Popular Literature, Jahili Literature
  • حامد مولایی کوهبنانی*، روح الله روزبه، لیلا بهزاد فرخی
    مکتب طبیعت گرایی مدعی است که هنر و ادبیات باید جنبه علمی داشته باشند و تلاش می کند روش تجربی و جبر علمی را در ادبیات رواج دهد. در ایران، صادق چوبک یکی از نویسندگانی است که گرایش های طبیعت گرایانه مشهودی در آثار خود بروز می دهد. مشابه چنین تصوری، در ادبیات آمریکا برای جک لاندن وجود دارد. بااین حال، ادعای تعلق لاندن در ادبیات آمریکا و چوبک در ادبیات معاصر ایران به مکتب طبیعت گرایی موردبحث پژوهشگران ادبی بوده است. پژوهش حاضر بر آن است با بهره گیری از برخی اصول دستور نقش گرای نظام مند هلیدی، تحلیلی از داستان های «مردی در قفس» و «افروختن آتش» داشته باشد تا براین اساس میزان تعلق دو نویسنده به گرایش های طبیعت گرایانه را مورد سنجش قرار دهد. در مرحله نخست، فراوانی رخداد متغیرهای مقوله فرایندهای فرانقش اندیشگانی و مقوله های وجه نمایی و زمان داری فرانقش بینافردی تعیین شدند. سپس، براساس ساختار بند و اصول دستور نقش گرای نظام مند، تحلیلی آماری از میزان فراوانی مولفه های موردنظر ارائه شده و با استناد به متن دو داستان تبیینی کیفی از میزان گرایش های طبیعت گرایانه دو نویسنده ارائه شده است. یافته های پژوهش در پیوند با مولفه فرآیندهای فرانقش اندیشگانی نمایانگر آن است که سه فرایند مادی، رابطه ای و رفتاری در هر دو اثر بالاترین فراوانی را دارند که این خود تاییدکننده بازنمایی ویژگی های طبیعت گرایی در این آثار است. همچنین، فراوانی پایین فرایندهای کلامی و وجودی در هر دو اثر نشان از نگاه واقع گرا و طبیعت گرایانه نویسندگان دارد. افزون براین، مقایسه داده های به دست آمده از بررسی وجوه بندهای دو داستان نیز نشان می دهد که وجه خبری با اختلاف چشمگیری نسبت به دیگر وجه ها در بالاترین جایگاه قرار دارد که این ویژگی، قابل تعمیم به بیشتر آثار روایی است. گفتنی است که فراوانی رخداد دیگر وجه ها ناچیز بوده و نتیجه گیری بر مبنای آن ها پشتوانه محکمی نخواهد داشت. اگرچه به نظر می رسد فراوانی کم وجه هایی همچون شرطی و آرزویی در دو اثر را می توان ناشی از نگاه خالی از ناامیدی نویسندگان دانست. یافته های مربوط به مقوله زمان داری نیز نشان داد که در هر دو داستان زمان گذشته بالاترین میزان رخداد زمان دستوری را دارا است که با توجه به ماهیت روایی داستان های کوتاه، تاییدکننده این حقیقت است که نویسنده روایت گر وقایع طبیعی در زمان گذشته است. افزون براین، به نظر می رسد بتوان درصد پایین فراوانی کاربرد زمان آینده در دو داستان را نشانه ای از نامیدی به عنوان نماد بارزی از ویژگی های مکتب طبیعت گرایی دانست.
    کلید واژگان: ادبیات تطبیقی, دستور نقش گرای نظام مند, مکتب طبیعت گرا, داستان کوتاه
    Hamed Mowlaei Kuhbanani *, Rooholah Roozbeh, Leyla Behzadfarokhi
    Stylistics is a branch of applied linguistics that connects linguistics and literature, functioning like as a bridge between the two. This shows that studying literary text is not limited to literature. Generally, the analysis of literary texts is based on two methods. The First method, used by literary experts, is mainly based on traditional and modern literary criticism, as well as determining the type of literary text. The second method, which is based on objectivism and the use of demonstrability methods using the foundations of other disciplines, is employed in linguistics. Different linguistic approaches such as formalism, structuralism, and cognitive linguistics can provide the framework for literary analysis. Among these, functional linguistics is one of the most efficient approaches in stylistics due to its emphasis on context.Functional theories of language consider language fundamentally as a tool. In this case, it is reasonable to assume that language structure could be analyzed with reference to the functions they carry out better. There are various approaches in functional linguistic schools; one of the most famous one is Systemic Functional Linguistics (SFL). SFL views language as a social semiotic system. The present study aims to aply Halliday’s Systemic Functional Grammar (SFG) to investigate the thematic features of two short stories ‘Mardi dar qafas’ (A Man in the Cage)” by Sadegh Chubak and “To Build a Fire” by Jack London through a comparative approach. In this research, their devotion to naturalism has been considered as the most important common point of Sadegh Chubak and Jack London. As far as we know, Chubak’s literary works have not been investigated separately or comparatively in Halliday’s SFG. Therefore, no  research directly related to the topic exists. Furthermore, based on the review of previous studies, it seems that Jack London’s literary works have not served as a basis for comparative studies with Iranian writers.
    Keywords: Comparative Literature, Systemic Functional Grammar, Naturalism School, Short Story
  • سارا ذبیحی*، محمدعلی خزانه دارلو، فرزانه آقاپور

    ادبیات تطبیقی کودک و نوجوان ساحتی تازه در قلمرو ادبیات تطبیقی است که در ارتباط بینامتنی ادبیات کودک و نوجوان با ادبیات تطبیقی برساخته می شود. ارتباط بوطیقا و تطبیق با شناخت، هردو را در زمره روش های شناختی قرار می دهد.تبیین پیکره پژوهش در این ساحت، در آثار دیگر پژوهشگران بررسی شده است؛ اما شناخت روش های مسئله شناسی و مسئله سازی نیز از گام های ضروری در این فرایند شناختی محسوب م ی شود که تاکنون نادیده گرفته شده است؛ از این رو در این جستار، منطق ساختاری ارتباط مولفه ها، شاخصه ها و عناصر متون در یک صورت بندی منسجم بررسی می شود. علاوه بر آن، پاسخ به این پرسش که چگونه و چه مسئله هایی را می توان در قلمروی ادبیات تطبیقی کودک و نوجوان قلمداد کرد، دغدغه نوشتار حاضر است. هدف از این مطالعه، تبیین روش شناسایی و ساخت مسئله پژوهشی در ساحت ادبیات تطبیقی کودک و نوجوان به کمک الگوی بینامتنی نظریه ترامتنیت ژنت و پیشنهاد مدلی ساختاری و بوطیقایی با مولفه های بینامتنی است. دو مدل پیشنهادی طراحی می شود که در اولی، با ترکیب الگوی ارتباطی یاکوبسن و چپمن، مدل پیشنهادی انتخاب عنصر برای شناسایی و ساخت مسئله مطرح می شود و در دومی، با نمودارسازی شاخص های نامتغیر، نیمه متغیر و متغیر، مدل بوطیقای روش شناختی ادبیات تطبیقی بزرگ سال و ادبیات تطبیقی کودک و نوجوان طراحی می شود. مدل های بدیع پژوهش می کوشند از خلا نظری ساحت نوپای ادبیات تطبیقی کودک و نوجوان بکاهند.

    کلید واژگان: روش شناسی مسئله پژوهش, ادبیات کودک و نوجوان, ادبیات تطبیقی, ادبیات تطبیقی کودک و نوجوان, بینامتنیت ژنت
    Sarah Zabihi *, Mohammadali Khazanehdarloo, Farzaneh Aghapour

    The Comparative Children’s and Young Adult Literature, a new area of comparative knowledge, is built in the intertextual relationship between Children’s and Young Adult Literature with comparative literature. The relationship of the Poetics and the comparison with the knowledge, puts both of them in the category of Cognitive methods. The explanation of the Territory of Research in this field has been examined in the other article of researchers, but knowing the methods of Problem-Analysis and Problem-Creating is also considered one of the necessary steps in this process of epistemology that has been ignored. Therefore, in this article, the structural logic of the relationship between the components, indicators and elements of the texts in a Coherent formulation is examined. In addition, answering to the question of how and what issues can be considered in the field of Comparative Children’s and Young Adult Literature is the concern of this article. The purpose of the article is to explain the method of identifying and creating a research problem in the field of Comparative Children’s and Young Adult Literature with the help of the Intertextual model of Genette's Transtextuality theory and to propose a structural and Poetics model with intertextual components.

    Keywords: Methodology Of Research Problem, Children’S, Young Adult Literature, Comparative Literature, Genette’S Intertextuality
  • محب الله مجاهدی، لطف الله لطیف پور، سید عظیم الله عصمتی*

    در این پژوهش از روش تحلیلی- توصیفی استفاده صورت گرفته است. هدف بنبادی ما در تحقیق حاضر نشان دادن میزان استفاده از فرایند عدد، معدود، ممیز یا تمییز عدد و یاهم روشنگر در نظامندی دستوری و جایگاه نحوی زبان های مزبور بوده است که به گونه ی تطبیقی انجام یافت. یافته های این پژوهش حاکی از آن است که عدد، معدود، ممیز، یا روشنگر در زبان عربی و فارسی دری تفاوت های میان دستوری را دارد؛ که در دستور زبان عربی مطابقت ها الزامی بوده و نقش آفرین از دید نحوی در جملات نیز مخصوص را دارد. ولی در زبان فارسی دری مطابقت میان آن ها الزامی نیست بل که به شیوه ها و اسلوب های متفاوت مورد بحث قرار گرفته است، پرسش اصلی که بدان پرداخته شده بررسی تطبیقی عدد در زبان عربی و فارسی دری از دید هم سویی و اختلاف کاربرد لفظی و معنایی بوده است، که به راه اندازی این پژوهش می توان به نتائج ذیل دست یافت که عدد در زبان های فارسی دری وعربی اسم یا صفتی است که بر مقدار چیزها یا بر ترتیب آنها دلالت می کند مطابقت معدود با عدد در زبان عربی حتمی بوده ودر زبان فارسی دری معدود همیشه مفرد میآید.عد در زبان عربی بر دو نوع اصلی و فرعی دسته بندی شده است؛ و در زبان فارسی دری به پنج گونه تقسیم شده است ک. . در زبان عربی تمیز عدد برای رفع ابهام میاید که همین گونه در فارسی گاهی به اسم روشنگر و ممیز برای رفع ابهام معدود نیز می آید.

    کلید واژگان: عدد, معدود, زبان عربی, فارسی دری, ادبیات تطبیقی
    Mohibullah Mujahid, Lutfullah Latifpour, Sayedazimullah Esmati *
    Introduction

    Among all the languages of the world, words combine naturally and systematically to form syntactic chains based on specific patterns. One of the functions of grammar is to define the rules governing the collocation of words within various structures. Thus, the processing of numbers is a key and important grammatical topic that forms the basis of understanding and comprehending grammatical rules. Therefore, this article first defines numbers in both Persian and Arabic and then examines the types and categories of numbers in the grammar of both languages in detail, which will facilitate a better understanding of numbers from a grammatical perspective in the mentioned languages. The significance and necessity of this research lie in the comparative study of numbers and their quantifiers in both Persian and Arabic in a scientific and investigative manner. The exploration of data and highlighting points regarding the characteristics of numbers in both languages can provide better insights for the comparative understanding of numbers from a grammatical standpoint. The primary objective of this research is to elucidate this topic for scholars in this field and to explain the grammatical relationships between Persian and Arabic. Accordingly, this research seeks to answer questions such as: What are the grammatical differences in numbers between the mentioned languages? Is the usage of numbers in both languages the same or not

    Methodology

    In this study, a descriptive-analytical method was employed using library resources, primarily drawing on both classical and modern grammar books. Ultimately, a comparative discussion and conclusion were reached regarding the use of numbers in the grammar of Arabic and Persian. This began with data collection, where a diverse array of literary, scientific, and conversational texts from both languages was gathered to provide a comprehensive representation of numerical usage in each language.Additionally, structural analysis was conducted, examining the syntactic and morphological structures of numbers in both languages. This included the investigation of cardinal and ordinal numbers and their roles in sentences.The comparative analysis systematically examined the collected data to identify structural and functional similarities and differences in the use of numbers in both languages. Cultural context was also explored to understand how the usage of numbers in each language is influenced by their respective cultures and traditions, which aids in bettercomprehending the meanings and applications of numbers.Validation of findings was carried out through consultations with linguistic experts and peer reviews to ensure the accuracy and reliability of the results. This methodology has contributed to a deeper understanding of the functions of numbers in Arabic and Persian, addressing the overall objectives of the study. The findings indicate that there are differences and similarities in the usage of numbers in Arabic and Persian, with each language's grammatical structure uniquely influencing their application.

    Discussion

    Interpretation of Results and Their Implications for Linguistics and Language Education,The comparative analysis of numerical structures reveals that both Arabic and Persian possess unique numerical frameworks. In Arabic, numbers typically change according to grammatical rules and must agree with the gender and number of nouns. In contrast, Persian exhibits a simpler structure, with numbers being less influenced by the gender and number of nouns.Semantic Application:The results indicate that numbers play a significant role in conveying the meaning of sentences and facilitating communication in both languages. In Arabic, certain numbers have specific meanings that are not present in Persian.Cultural Differences:Numbers relate not only to linguistic aspects but also to the cultures and traditions of each language. For example, the use of numbers in poetry and literary texts in both languages may reflect distinct cultural characteristics.Implications of Comparative Analysis for Linguistics:Deeper Linguistic Analysis:This study can assist linguists in achieving a better understanding of the linguistic structures and grammatical rules of each language. Recognizing the differences and similarities may contribute to the development of linguistic theories.

    Research in Related Languages:

    The findings can provide a solid foundation for further research in other related languages and aid in identifying common linguistic patterns.Implications of Comparative Analysis for Language Education:More Effective Teaching Methods Learning the differences and similarities in numbers between the two languages can help language teachers develop more effective teaching strategies for learners. This understanding can also help prevent common errors in learning numbers.Development of Educational Resources:The results of this study could lead to the creation of new and effective educational resources for learning Arabic and Persian. For instance, textbooks and educational materials that address numerical differences in each language could be beneficial.Cultural Awareness:Teaching language alongside an understanding of numerical differences can help learners become more familiar with the culture and customs associated with each language, facilitating more effective intercultural communication.Types of Numbers:Numbers, as nouns or adjectives that denote quantity or order, can be divided into two main categories: cardinal and ordinal.Cardinal Numbers: These can be singular, compound, and include contractual forms. Each type has its specific grammatical rules.Ordinal Numbers: These also can be singular, compound, and include contractual forms. Ordinal numbers typically follow the nouns they modify and agree with them in grammatical case, definiteness, and indefiniteness.Differences between Persian and Arabic:In Arabic, the noun (معدود) agrees with the number and can be singular or plural, while in Persian, the noun is always singular. This characteristic has varied historically, with instances where the noun would agree with the number.Types of Numbers in Persian:There are five types of numbers:Ordinal (descriptive) numbers, Cardinal numbers,Composite numbers, Distributive numbers, and Fractional numbers, which can be divided into two categories: auditory (سماعی) and analogical (قیاسی).Clarifiers (Modifiers):Clarifiers are words that follow the number and clearly specify the meaning of the noun, such as تن (ton), نفر (person), راس (head), etc. These clarifiers can indicate quantity, unit, time, and type of the noun.Numerical Indicators:Cardinal numbers have both nominal indicators and descriptive indicators. Ordinal descriptive adjectives are formed using specific suffixes (م and مین).Determining Grammatical Class:Determining the grammatical class of cardinal numbers can be challenging due to their nominal and adjectival features. Additionally, ambiguous numbers in cases where the noun is situated between two or more ambiguous numbers begin from the smaller number.In conclusion, the examination of numbers in Arabic and Persian illustrates the complex and diverse structures of these two languages. A precise understanding of these features not only aids in a better comprehension of linguistics but can also lead to improvements in language education.

    Conclusion

    After conducting a comparative analysis of numbers in Arabic and Persian, we have reached the following conclusions The discussion of numbers in Arabic is a practical topic that exhibits various changes in grammatical and syntactic aspects of the nouns they modify, possessing specific grammatical functions. Moreover, the agreement between numbers and nouns in Arabic is mandatory, a characteristic that is not observed in Persian.In both Persian and Arabic, numbers serve as nouns or adjectives that denote the quantity or order of objects, with the counted entity referred to as "معدود" (ma‘dud). In Arabic, the agreement between the noun and number is obligatory, whereas in Persian, the noun always remains singular.Numbers in Arabic are divided into two types: primary and secondary. The primary numbers are categorized into singular, compound, contractual, and coordinated forms. In contrast, in Persian, numbers are divided into five types: ordinal (descriptive) numbers, cardinal numbers, composite numbers, distributive numbers, and fractional numbers, with fractional numbers further divided into auditory and analogical categories. Therefore, if we consider added numbers as the fifth type in Arabic, there is no significant difference in the classification of numbers between Persian and Arabic.Ordinal or descriptive numbers in Arabic, like primary numbers, are classified into four forms: singular, compound, coordinated, and definite. In Persian, the ordinal numbers are primarily treated as adjectives or simple cardinal numbers, such as those from 1-9 and multiples of ten (20, 30, 40, etc.), or composite forms like eleven and twelve up to twenty, six hundred, and seven hundred, etc.The indicators for primary numbers in Persian sometimes function like adjectives, as in: "approximately ten days." In terms of meaning, they align closely with adjectives such as "very," "few," and "little," for example: "a very good book." Additionally, like any adjective, they can modify the meaning of nouns. In many instances, the indicators for nouns also serve as indicators for certain adjectives, as many adjectives, including demonstrative, interrogative, exclamatory, and some descriptive adjectives, precede their nouns, such as: "this book," "which pen," "a good person," and "a bad man." However, in Arabic, the noun itself holds the grammatical and syntactic roles of both adjective and noun, with the number's grammatical case, definiteness, and indefiniteness conforming to that of the noun preceding it.In Persian, numbers and nouns are articulated under various titles, such as ambiguous numbers, modifiers, primary numerical adjectives, and ordinal numerical adjectives, which are specific to the Persian language and do not have direct counterparts in Arabic.In Arabic, the distinction of numbers is used to eliminate ambiguity, similar to how, in Persian, terms like "روشنگر" (roshangar) and "ممیز" (mumayyiz) are employed to clarify ambiguous nouns.Overall, the examination of numbers in Arabic and Persian reveals the complex and diverse structures of these two languages. Understanding these features not only enhances our comprehension of linguistics but can also contribute to improvements in language education.

    Keywords: Number, Quantifier, Arabic Language, Persian Language.Comparative Literature
  • انتها فیروزی، جهانگیر امیری*، علی سلیمی، یحیی معروف
    توجه به «دیگری» شالوده ارتباط میان فرهنگ های مختلف با موضوعات متنوع است؛ از این رو دیگری ایرانی، یکی از آن «دیگری»ها به شمار می رود. رمان المایسترو رمانی دیالوگ محور است که در آن فرهنگ های متفاوت به چشم می خورد. نظریه خود و دیگری میخائیل باختین، فضای مناسبی برای حضور پررنگ دیگری در شکل دادن به خود است. تصویرشناسی یکی از نظریه های بسیار گسترده حوزه ادبیات تطبیقی است که در آن  «دیگری» نقش ویژه ای دارد. همچنین میان تصویرشناسی نظریه خود و دیگری، میخائیل باختین ارتباط تنگاتنگی وجود دارد. سعد القرش، نویسنده برجسته مصری است که رمان المایسترو را با ترکیبی از فرهنگ های گوناگون نوشته است. دیگری ایرانی یکی از مصادیق فرهنگ های پرداخته شده در رمان المایسترو است که اهمیت دیگری در برابر خود را مورد تایید قرار می دهد. در این پژوهش «خود» مفهوم سیالی دارد؛ به گونه ای که گاهی ایرانی و یک عرب به عنوان خود در برابر دیگری است؛ همان گونه که یک غربی به مثابه خود در برابر دیگری قرار می گیرد. این پژوهش بر آن است تا با روش توصیفی تحلیلی، دیگری ایرانی را در رمان المایسترو با تطبیق بر نظریه خود و دیگری میخائیل باختین نقد و بررسی کند. از مهم‎ ترین یافته های این پژوهش آن است که میان تصویرشناسی و نظریه باختین، پیوندی ناگسستنی برقرار است؛ بنابراین رمان المایسترو بستر مناسبی برای مطالعات نقد فرهنگی و میان رشته ای، به ویژه فرهنگ ایرانی به شمار می آید که در آن ایدئولوژی های مخالف و موافق، بدون دخالت نویسنده آورده شده که از برجسته ترین مبانی نظریه باختین است. این پژوهش، خوانشی نو از ادبیات تطبیقی براساس نظریه خود و دیگری باختین در رمان المایسترو ارائه می د هد.
    کلید واژگان: دیگری ایرانی, رمان المایسترو, نظریه خود و دیگری, میخائیل باختین, تصویرشناسی, ادبیات تطبیقی
    Entha Firouzi, Amiri Jahangir *, Ali Salimi, Yahya Marof
    The attitude towards "the other" forms the foundation of cross- cultural communication on diverse issues. The Iranian other becomes one of those "others" in the novel El Maestro, a dialogue-oriented novel in which different cultures come into contact with one another. Mikhail Bakhtin's theory of the self and the other is a proper space for the colorful presence of the” other” in the process of shaping one’s identity and self. Imageology is one of the most extensive areas in the field of comparative literature in which the "other" plays a special role, and there is also a close connection between the imageology and Bakhtin’s theory of the self and the other. Saad al-Qorash is a prominent Egyptian writer whose novel El Maestro is a meeting place of different cultures. The Iranian other is one of the examples of the cultural others discussed in the novel, affirming the importance of the other in contrast to the self. In this research, the "self" has a fluid meaning, in such a way that sometimes an Iranian and an Arab confront as the self, and sometimes, as the other of each other, similar to a westerner being placed against another person as the self. Thus, the present research aims to analyze the Iranian other in the novel El Maestro by applying Bakhtin’s theory of self and other via a descriptive-analytical approach. The findings of the research prove that there is an inseparable connection between imageology and Bakhtin's theory. El Maestro is a proper space for critical, cultural and interdisciplinary studies, especially  a study on Iranian culture in which opposing and supporting ideologies are present without the involvement of the author, a situation which is a prominent foundations of Bakhtin's theory. Therefore, this research offers a new comparative reading of El Maestro based on Bakhtin's theory of the self and the other.
    Keywords: The Iranian Other, El Maestro, Theory Of Self, Other, Bakhtin, Imagalogy, Comparative Literature
  • کمال رسولیان*، فاطمه مدرسی

    سروده های دو شاعر مورد بحث به دلیل وجود همسویی های فکری و ادبی فراوان در بیشتر زمینه ها از جمله در حیطه آزادی، همواره باب طبع دوستداران اهل پژوهش بوده است. بررسی تطبیقی اشعار این دو سراینده، نشان می دهد که مضامین مشترک وافر و شایانی در پندار آنها وجود دارد. در جستار پیش رو با تکیه بر متغیرهای گفتمان ون دایک به تبیین مهم ترین نمودهای آزادی و جلوه‎ های آن در اشعار دو سخنور ایرانی و مصری، بهار و شوقی، و همچنین تحلیل رویکرد ایشان بر پایه تفکرات ون‎دایک می پردازیم. با استناد به یافته های تحقیق از میان اضلاع چهارگانه مربع عقیدتی ون دایک، توجه به داده های مشتمل بر نکات مثبت درباره گفتمان خودی و نیز عنایت به دانسته های حاوی نکات منفی در ارتباط با کانون دیگران، در هیات مولفه هایی چون: آزادی، آزادی سیاسی، فرزانگی، مناسبات اجتماعی، آزادی معنوی، آزادی زنان، آزادی قومی و ملیتی، آزادی بیان و اندیشه و... مبنای جهت گیری های سیاسی بهار و شوقی را شکل می دهند. هدف آن است که با تطبیق مفهوم آزادی، درک تازه ای از انسجام ادبیات با اوضاع سیاسی و اجتماعی در حوزه درک بیشتر تعامل ادبی و فرهنگی ایران و کشورهای عربی، به ویژه مصر حاصل شود .روش این تحقیق از نوع توصیفی-تحلیلی است و اطلاعات لازم برای سنجش نمونه ها به شیوه کتابخانه ای و بررسی مستقیم متون و با تمرکز بر شرح و تفسیر درون مایه های موجود حاصل شده است

    کلید واژگان: بهار, شوقی, گفتمان ون دایک, ادبیات تطبیقی, آزادی
    Kamal Rasoulian *, Fatemeh Modarresi
    Introduction

    Discourse analysis is an interdisciplinary method that analyzes and studies the functions of language in the field of society and politics. In this process, language is an ideological and social phenomenon and emphasizes the way of reproduction of social and political power through text. From the point of view of Teun Van Dijk's, discourse analysis deals with a methodical research in the direction of language communication in social and cultural contexts. Among the key aspects of Van Dijk's approach to discourse analysis, we can mention things such as: emphasis on the role of context, analysis of power relations, interdisciplinary approach, critical perspective and the need to pay attention to cognitive processes. Sincerely, Van Dijk's discourse analysis provides a nuanced and critical approach to understanding the complex interplay between language, power, and social context. Critical discourse analysis is also an interdisciplinary approach that studies the way of applying, reproducing and social resistance through text and speech in the field of society and politics and focuses on how language as a social phenomenon can create unequal power structures and social relations preserve and legitimize it. The main issue of this article is to investigate and compare the concept of freedom and its manifestations in the poems of the two mentioned poets, and to find the roots of the discourse of freedom using Van Dijk's discourse analysis approach, as well as to identify the similarities and differences in the way the concept of freedom is addressed in the poems of these two Iranian and Arabic poets. Examining the social, political and cultural context of the time of writing poems, analyzing the power relations and the social status of poets, as well as distinguishing the goals and intentions of the two poets in question are other topics that we will pay attention to. In the following, we will discuss the cognitive analysis, that is, the examination of the perception and representation of the concept of freedom, and the examination of the poets' arguments and mental constructions about freedom, and finally, the examination of the role and effect of poems in society and its reflection in public opinion, as well as the analysis of how the poems relate to each other. We will mention the poet with the social issues of the day.
     

    Methodology

     From Teun Van Dijk's (2003) point of view, discourse analysis deals with methodical research in the direction of language communication in social and cultural contexts. Among the key strains of Van Dijk's approach to discourse analysis, we can mention things such as: emphasis on the role of context, analysis of power relations, interdisciplinary approach, critical perspective and the need to pay attention to cognitive processes. Sincerely, Van Dijk's discourse analysis provides a nuanced and critical approach to understanding the complex interaction between language, power, and social context.    In this article, relying on the American school of comparative literature and in the form of discourse analysis, and relying on Van Dijk's socio-cognitive perspective as one of the basic and efficient methods, we first evaluate the concept of freedom in the two great Iranian and Arab poets, Bahār and Shawqi, Attention has been shown; Then, we have examined the topic from the point of view of ideological strategies. Relying on Van Dijk's critical discourse analysis approach, we will compare the manifestations of freedom in the poems of the two mentioned poets, and by emphasizing the role of context, power relations and cognitive processes, we will identify and compare the way the concept of freedom is represented in the poems of the poets. Discovering interdisciplinary connections between language, power and socio-political contexts of the two mentioned poets is one of the other goals of this research. Then, using the theoretical framework of Van Dijk's discourse analysis, we try to present a critical and interdisciplinary perspective on the theme of freedom in Bahār and Shawqi's poems.

    Discussion

    In Bahār and Shawqi's poems, freedom is repeatedly mentioned as a high value and a transcendent goal. Both of these poets have praised and glorified freedom and its manifestations and considered it a gift from God, which, as a noble ideal and a vital desire, plays an important role in the destiny of the nation. The word freedom is in the sense of "breaking the determinism of one chain of causes and effects with the help of another chain" (Haghshenas, 2004: 56). In Latin, the word Liberation or sometimes Freedom is derived from it. The interpretation of freedom means the ability to use the goals that a person or social system undertakes at its own will. If a person is able to realize all his choices and no person or organization threatens his work, he enjoys unconditional independence. At first glance, absolute freedom seems very desirable, but the truth is that because humans live socially, they cannot fully benefit from it; Because the unlimited freedom of one person causes the waste and destruction of the freedom of other people. That is why every society, by formulating its own social, political and legal norms, both protect the freedom of the members of the society and consider an end for it. Freedom has two positive and negative aspects: "Negative freedom means that we have certain rights that impose limits on the amount of government intervention in our lives. Positive freedom also means that we have certain opportunities and choices with which we can realize our human capabilities" (Robinson, 2021: 164). The word freedom is a common interpretation, among its types in the world today, the following can be mentioned: freedom of religion, economic freedom, social freedom, freedom to vote and free elections, political freedom, ethnic and national freedoms, civil liberties, freedom of speech, freedom of the media and press and freedom to criticize the power. A considerable part of the mentioned types is reflected in the poetry of Bahār and Shawqi, which we try to compare as much as possible and express their commonalities, in addition to dealing with its most prominent cases.

    Conclusion

    Both poets have praised freedom seekers such as Bahār Mamdouh,s Sattar Khan and Sheikh Mohammad Khiabani. Shawqi also praises Saad Zaghloul. Bahār's view in this field is completely national and patriotic and his heroes are Iranian; However, Shawqi went further and chose his admirers from Arab fighters - both Egyptian and non-Egyptian. Bahār and Shawqi, with a reformist and critical point of view, have put their poetry in the service of generalizing freedom and favoring it. Also, the issue of women's freedom is one of the common concerns of Bahār and Shawqi, with the difference that its frequency is more in Shawqi's poetry than in Bahār's poems. Shawqi and Bahār envision an ominous fate for the enemies and opponents of freedom. Based on the findings of the research, Bahār and Shawqi, as two popular/patriotic poets, have never been indifferent and passive to the socio-political transformations of their time. These two have continuously fought against these changes and have reacted positively to them. Based on the most concrete socio-political discourses, Bahār and Shawqi's poems can be described in the description of the unconditional and petty society towards the government of the time and passive intellectuals, as well as various manifestations of freedom. Examining the socio-political aspects of the poems of the mentioned poets based on Van Dijk's critical discourse analysis approach, it is determined that the great approaches of Bahār and Shawqi are in favor of their own discourse and in contrast with the discourse of others in several strategies of Van Dijk's ideological square such as: negative presentation, emphasis and reduction, polarization, positive appearance. The goal is the positive self-arrangement of oneself and the negative presentation of others. Shawqi uses allegorical stories to show the results of the terror ruling the society and censorship. In these allegories, animals and birds are symbols of human society.Women's freedom is one of the common concerns of Bahār and Shawqi. Bahār is against women's observance of the outer hijab and considers chastity and honor to be the true hijab of an Iranian woman. Ahmed Shawqi also mentions the Prophet's way of respecting women's rights and activities such as learning science, business, politics, etc. on his part. Shawqi's sensitivity about women's hijab and the extent to which it is addressed in the poem is much more than Bahār's.

    Keywords: Bahār, Shawqi, Van Dijk's Discourse, Comparative Literature, Freedom
  • محمدعلی کاظمی نصرآبادی، علی اصغر قهرمانی مقبل*

    سبک در نویسندگی، به معنای شیوه نوشتن است و آن در واژگان به‎کاربرده شده، جملات، ساختمان دستوری و لحن نویسنده نمود پیدا میکند. سبک را می‎توان از جنبه‎های مختلف معنایی، زبانی و روانشناسی بررسی کرد. دو عامل معنایی و زبانی (شکل) در این دو داستان مورد توجه قرار گرفته است. پژوهشگران با روش تطبیقی مبتنی بر مکتب آمریکایی به بررسی شباهت‎ها و تفاوت‎های سبکی دو نویسنده می‎پردازند. محمدعلی جمال زاده در داستان «کباب غاز» با قلمی طنزگونه که سرشار از تشبیهات و ضرب‎المثل‎های گوناگون است به مسائل فرهنگی و اخلاقی جامعه پرداخته و کوشیده است از این ضرب‎المثل‎ها و کنایات در جای‎جای داستان بهره ببرد. محمود تیمور نیز در داستان «فی القطار» با لحنی جدی به مسائل اجتماعی تاثیرگذار می‎پردازد و از آن رو که موضوع این داستان «عمومی کردن آموزش» است، ایجاب می‎کند که لحن داستان جدی، خشک و عاری از طنز باشد. او همچون جمال زاده ضرب‎المثل‎ها و کنایات را دست‎مایه متن خود قرار داده و از آن‎ها در موقعیت‎های مختلف داستانی بهره است. هر دو نویسنده زبانی ساده، روان و عامه‎پسند دارند و همین سادگی در نثر به ماندگاری این دو داستان در اذهان مردم کمک شایانی کرده است و نیز کاربرد تلمیحات و تضمینات دینی، متناسب با سیاق جملات، به چشم می خورد. از دیگر تفاوت‎های سبکی در داستان دو نویسنده، می‎توان استعمال کلمات عامیانه توسط جمال زاده و اجتناب تیمور از این نوع کلمات اشاره کرد.

    کلید واژگان: ادبیات تطبیقی, سبک نویسندگی, داستان کباب غاز, محمدعلی جمال‎زاده, داستان فی القطار, محمود تیمور
    Mohammadali Kazeminasrabadi, Aliasghar Ghahramani Moghbel *
    Introduction 

    This research examined two semantic and linguistic factors (form) in the stories"Kabab-e Ghaz" and Fi al-Qatar". To what extent did we notice the connection between the narrative text and the concept of meaning (use of proverbs, terms, allusions, etc.) and form (simple or complex words, use of literary matrices, author's dialect, etc.)? Which of these cases is most prominent in the author's pen? By studying these cases, the author's writing style can be understood and considered as a signature of his work. The aim of the current research is not only to express the similarities or differences in the style of the two writers, but also to study the stylistic innovations of the authors, which were present in the prose of their predecessors. This research seeks to answer the following two basic questions: -What are the similarities and differences between the writing style of these two authors in the two mentioned stories? - How were these two authors, as contemporary novelists, able to cross tradition in their writing style and enter modern fiction?

    Methodology

    In this research, the researchers studied the writing style of these two authors from the point of view of meaning and form, using a comparative approach based on the American school. 3. Discussion Every writer's writing style constructs different sentences are all related to the author's writing style. "Style is actually the type of author's use of mental images, conscious and unconscious signals, as well as the assumptions that the author puts in his mind immediatelyis unique to them. How an author uses words back and forth and after the reader's perceptions. Similaritys a) The simplicity of the sentence structure in the two stories b) The brevity of the sentences in the two stories c) The emphasis on the Quranic verses in the two stories d) The reference to religious issues in the two stories e) The use of proverbs in the two stories Differences a) The use of colloquial terms in the story of “Kabab-e Ghaz” , by reading Jamalzadeh various books, the author's interest in colloquial terms can be clearly observed. b) The use of humor in the story of “Kabab-e Ghaz” , in the story of “Kabab-e Ghaz” , the issue of people's failure to deal with societal issues is raised, such as: the termination of the contract, fruitless customs, and superstitions prevalent among the researched people c) The author's use of a serious and dry tone in the story of the train There are characters such as Rafay (a depressed character), the Sheikh (a religious character), the student (a polite and serious character). (Character) the Circassian (a violent and ill-tempered character).) It is necessary The mayor (a political figure) should be serious and dry, far from humor and jokes, according to his job, behavior, and mental and psychological characteristics. 

    Conclusion :

    1- In the comparative study conducted between the writing style of JamalZadeh and Mahmoud Taimur based on the American school, a clear similarity was found, including: simplicity of sentence structure, brevity of sentences, use of proverbs and affirmations, and Quranic and religious allusions appeared in the stories written by the unique authors. Stylistic differences can also be observed between these two authors, such as: the humorous tone and use of colloquial words in the story of “Kabab-e Ghaz” , and the serious tone devoid of humor of Mahmoud Taimur in the story of the train. 2- In the study conducted between the writing style of the authors, Jamalzadeh focused in the story of “Kabab-e Ghaz” on preserving the Persian language, which is evident in the use of expressions, paradoxes and proverbs. However, Mahmoud Taimur in the story of the train, in addition to his interest in preserving the language, can be considered based on his adherence to the official text even in dialogues, as well as the use of proverbs and allusions, and the basic social issues of his time, such as: considering the farmer equal to the master in education and knowledge, were expressed in the serious tone of the text and the spoken language. 3- Traces of tradition can still be seen in the story of Jamalzadeh's roast goose. By concluding his story and using the phrase "from us to us". He made the story closer to the story. As we have seen in stories, a conclusion is reached at the end. However, the passage of tradition can be seen in Jamalzadeh's story. Using humor that contains many words hidden in its layers, and using the element of suspense in the plot of the story to attract the audience and attention to the characters in the story. Therefore, although Jamalzadeh could not completely distance himself from the classical novel, he put himself on the path of the modern novel. There is no trace of the classical Arabic novel in Mahmoud Taimurs story. By using the open ending formula, Taimur completely separated his story from classical fiction. Because the open ending is one of the characteristics of the modern story that considers the audience as a white reader and allows him to take a personal point of view of the story. Such a thing was not common in the style of classical writers. 4- Among Jamalzadeh innovations in the story of Kebab Gas, we can mention the combination of cultural and moral issues with humor. The author has narrated cultural and moral issues with a humorous pen full of similes and allusions. Such as Mustafa’s betrayal of the narrator’s trust and his failure to promise not to eat the geese, which has educational and moral roots. Mahmoud Taymour also in the story of the train, since the topics covered in that story are serious, touching and meaningful. Even in the parts of the story where sarcasm is presented, especially in the dialogues, it seems as if he is escaping from those situations by using routine words or interrupting conversations so that the sentences of his story do not make the audience laugh. From the beginning of the story to the end, the author narrates the stories in a serious, dry and, of course, hopeless tone in some parts.

    Keywords: Comparative Literature, Writing Style, Kabab Ghaz Story, Mohammad Ali Jamal Zadeh, Fi AL-Qattar Story, Mahmoud Taimur
  • فاطمه معین الدینی*

     بین آثار برجسته ادبی ملت های مختلف شباهت ها و تفاوت هایی وجود دارد. همانندی های ادبی یا ناشی از تاثیر و تاثر مستقیم است و یا به علت تجربه های مشابه دو ملت و نیز فطری بودن برخی مفاهیم، در میان شاعرانشان به وجود می آید. وجوه ناهمانندی آثار مشابه بیشتر ناشی از تفاوت های زیستگاه، ادیان، اساطیر و نوع تجربه شاعران است. بین اشعار قیصر امین پور و شاندرو پتوفی شباهت ها و تفاوت های انکار ناپذیری وجود دارد که نمی توان آن ها را ناشی از ارتباط تاریخی ادبیات فارسی و مجار دانست. لذا در این پژوهش با رویکرد نقد تطبیقی و مبتنی بر اصول مکتب ادبیات تطبیقی آمریکایی، به تحلیل محتوایی اشعار آن ها پرداخته شد و این نتیجه به دست آمد که هر دو شاعر برای شعر تعهد و التزام قایل هستند و آن را در خدمت بیان مفاهیم انقلابی، آرمان های اجتماعی و وسیله ای جهت دفاع از وطن، آزادی، استقلال، صلح، و شرف انسانی قرار داده اند. هر دو شاعر با نگاه رمانتیسم اجتماعی و با زبانی ساده و در عین حال عمیق و نمادین، شعر را در خدمت روشنگری اجتماعی قرار داده اند و پاره ای از پیام های آن ها چنان روشن و درخشان است که می توان آن ها را در شمار جهانی های ادبیات محسوب نمود. با این حال، دامنه، تنوع و زیبایی شعر قیصر به مراتب بیش از پتوفی است.

    کلید واژگان: ادبیات تطبیقی, امین پور, پتوفی, پایداری, رمانتیسم اجتماعی
    Fateme Moinadini *
    Introduction

    Iranian resistance poetry, while drawing from its national, religious, historical, and regional sources, has also directly and indirectly benefited from the world resistance literature due to the wisdom of its great poets. The way poets from different nations address and reflect mythical and national elements, religious beliefs, and their unique experiences of their homelands, along with their purpose in writing this type of poetry, provides the ground for the differences among poets. Resistance poets around the world are counted as committed and dedicated poets. They intend to express the universals of resistance and sustainability by writing poems with particular narratives and themes. Qeysar Aminpour is a prominent Iranian poet with a global reach delving into the essence of defense and war to encompass themes, inner meanings, and messages that are considered important for all people worldwide.Sandor Petofi, a freedom-loving Hungarian poet made worthy use of poetry as a tool to incite the Hungarian fighters and nation during the wars of independence and freedom in Hungary. His poetic themes are so great that he has been bestowed with the title of “Poet of the Nation and Poet of the Revolution”. His global recognition is such that in 1973, on the recommendation of UNESCO and in celebration of his 150th birthday, he was honored worldwide. Petofi is a committed and dedicated poet who has eloquently expressed his military experiences in a sophisticated and inspiring manner through influential poems.There are similarities between the poetry of Qeysar and Petofi due to the positioning of the two nations, Iran and Hungary, in similar situations, as well as the fundamental presence of resistance concepts in the nature and temperament of all humans, regardless of their religious, national, or ideological tendencies. These similarities and resemblances are worthy of consideration; however, they are not of an imitative nature but rather accompanied by changes, transformations, and differences. Therefore, the present study aims to investigate the similarities and differences in the poems of these two poets.

    Methodology

    This study analyzed the common themes in the poetry of two great poets (Aminpour and Petofi), who do not have a historical connection, using a comparative approach. The research method was based on the theory of the American School of Comparative Literature. The findings of the study were classified and analyzed based on the similarities and differences in the poems of the two poets using qualitative content analysis, and the results are presented in an analytical-descriptive manner.

    Discussion

    The similarities and differences in the poems of Qeysar Aminpour and Sandor Petofi are numerous. The positioning of the two nations, Iran and Hungary, in similar situations, has led their poets to turn to shared poetic and literary themes.It is difficult to definitely answer the question of whether Qeysar knew Petofi and was consciously influenced by him or not. It should be noted that Qeysar Aminpour, in addition to his poetic art, was also a master in literary theory. The book “Tradition and Innovation in Contemporary Poetry” by Aminpour (2004) demonstrates that he was familiar with Western literary criticism schools, major Western poets, and the influence of translation on the change of style and perspective of contemporary Persian poets. Moreover, he was indirectly familiar with Petofi’s poetry through Mehdi Akhavan-Sales (a great contemporary Iranian poet), who borrowed the theme, content, and even the title of his poem ‘Dogs and Wolves’ from Sandor Petofi (Pirnia, 2021:501). Nevertheless, it is worth noting that sometimes the positioning of two nations in similar situations leads them to turn to common poetic and literary themes. The similarities and differences between the two poets are typically observed in their poetic style, which is predominantly a combination of social romanticism, social symbolism, and writing sociopolitical poems aimed at creating resistance poetry. Both poets used symbolic and simple language. Similar to romantic poets, they drew most of their poetic images from nature and then, infused them with emotional meaning so that they could convey enlightening and motivational thoughts in the political and social realm. The key similarity between the two poets lies in their common poetic themes. A religious perspective dominates the poetic themes of Qeysar Aminpour, while nationalistic and patriotic sentiments prevail in the poems of Petofi. This has led to significant differences between the two poets in rendering common themes such as patriotism, death awareness, martyrdom-seeking, describing martyrs and war heroes, freedom, perceptions of war and peace, and idealism.

    Conclusion

    Common poetic themes among different nations are not always the result of influence, imitation, adaptation, or borrowing, but in many cases, they have their roots in common innate grounds and the positioning of two nations or two poets in similar and identical situations. The similar conditions of Iran and Hungary, on the eve of the formation of revolutions with mass cultures against autocratic governments, have unconsciously led to similarities in some of the poems of Qeysar and Petofi.The most important reasons for the thematic similarities in the poems of the two poets can be classified into three main categories: human nature and disposition, the positioning of Iran and Hungary in similar situations, and the established ethical principles that guarantee the dignity of humans and shape their national and human identity. The dissimilarities and differences in these triple commonalities are not inherent and essential but rather are mostly due to the determination of instances, differences in national and mythical elements of the two nations, their resistance goals, and religious and spiritual backgrounds and ideals.Regardless of these differences, all the main and important themes of resistance are common among the two nations because human nature and disposition do not tolerate injustice and tyranny. Therefore, their opposition to oppression and injustice is manifested as protest, aggression, rivalry, confrontation, and conflict, and concepts such as freedom, patriotism, independence, honoring national heroes, death awareness and martyrdom-seeking, fighting against social corruption, waiting for a savior and a better future, etc. are considered sacred by both poets and have become the foundation of their literary creations. In these common themes, sometimes the perspectives have become completely identical, while regional, cultural, and temporal differences have at times given rise to disparities in their works.Both poets have expressed their content in a symbolic and simple yet deep and meaningful language, and both are committed and dedicated. By adhering to the principles of social romanticism, they have infused their poems with epic and social consciousness, blurring the line between love and emotion and social struggle. Both poets have similar poetic structures. However, the poetry of Qeysar is much more artistic and diverse than that of Petofi, conveying broader global messages

    Keywords: Comparative Literature, Aminpour, Petofi, Sustainability, Social Romanticism
  • زهرا لشگری، بهناز پیامنی*، مریم زمانی

    محتوای ادبیات تطبیقی شامل مفاهیمی است که در تجربه بشری ارزشمند است؛ این مفهوم از مطالعه ‏تطبیقی متون مختلف که بر عناصر وحدت در تنوع تاکید دارند و از بررسی میان مفاهیم مشترک و ‏منشاء آن پدید آمده است. تراژدی به عنوان یک ژانر نمایشی، شامل چند بخش مقدمه، بحران و گره، ‏گروه کر، شخصیت و پایان بندی است. این ساختار از دیرباز تاکنون به عنوان یک الگوی ارسطویی در ‏یک تراژدی وجود داشت. فردریش شیلر ازجمله فیلسوفان و شاعرانی بود که تراژدی را از منظر ‏ساختار و محتوای درونی بررسی کرد و الگوی ساختاری خود را در مواجهه با الگوی ارسطویی بیان ‏نمود. ازآنجاکه «سیاوش» و «هیپولیتوس» هردو ازنظر وقایع و حوادث برای قهرمان تشابهات فراوانی ‏دارند، لذا پژوهندگان در این مقاله که به شیوه تحلیلی-توصیفی انجام شده، با رویکرد ادبیات تطبیقی ‏به مقایسه این دو اثر با تکیه بر آرای شیلر پرداخته است. روش جمع آوری مستندات و منابع در این ‏مقاله به شیوه کتابخانه ای بوده و در پایان به این نتیجه رسیده اندکه هر دو تراژدی سیاوش و هیپولیتوس ‏دارای مولفه های اصلی یک تراژدی یعنی مقدمه، کشمکش های متوالی، خطاها از روی غرور و ‏جوانی، عناصر ترحم برانگیز مانند ناکامی در زندگی، تهمت های ناروا، هجرت به سرزمین بیگانه و در ‏پایان مرگ اندوه بار هستند که ازنظر شیلر این نمودار یک تراژدی موفق از آغاز داستان تا پایان برای ‏نویسنده و مخاطب خواهد بود..‏

    کلید واژگان: ادبیات تطبیقی, تراژدی, سیاوش, هیپولیتوس, شیلر. ‏
    Zahra Lashgari, Behnaz Payamani *, Maryam Zamani
    Introduction

    Comparative literature is a type of literary research that has emerged in a modern form in recent years among Europeans and has gradually found numerous followers in Iran. "Comparative literature emerged in the early twentieth century among professional historians; François Simiyan and especially Marc Bloch, presented two projects to the College de France in 1928 and 1933, which of course led to the establishment of a chair in the history of comparative European societies in the early days. This type of literature has evolved in synchrony with the contemporary era. In other words, comparative literature is defined as examining national literature and its cultural and historical relationships with literature of other nations. It involves analyzing the deep connections between cultural, historical, political elements in a way that allows for the transfer of culture or other elements to other nations. Examining the deep connection between cultural, historical ,political and so on. So that other cultures or elements can be transferred to other nations. What is internalized throughout this comparative literature is a picture of the concept of transition and relationship. Any Similar narrative among two cultures in different forms can be examined in the field of Comparative Literature. Hippolytus describes the death of the hero after confronting his stepmother Federa, the second wife of Theseus. Cursed by Aphrodite, Federa falls in love with Hippolytus so much that he becomes physically ill and decides to end her suffering through suicide. He tries to save her by revealing her secret to Hippolytus and encouraging her to mutual love, but Hippolytus responds with horror and disgust and humiliates Federa. He, who has been deprived in despair and does not want to accept the real reason for ending her life, hangs herself and leaves a note to Theseus accusing his son Hippolytus of raping her. Theseus, furious, uses one of the three wishes Poseidon, his father had given him, Theseus asks Poseidon to kill Hippolytus, who escaped from the palace to hunt. Poseidon sends a sea monster to terrify Hippolytus' chariot horses that become uncontrollable and throw their master out of the chariot. Hippolytus, trapped in a leash, is dragged to death. Artemis reconciles the father and son by telling the facts and comforts the dying Hippolytus promising to include him as a holy person in religious acts so that his memory may live on forever. In the story of Siyavash, soudabeh , keykavoos wife, falls in love with Siyavash, and after successive attempts to deceive Siyavash, fails and accuses her; this causes Siyavash to be rejected by his father again after passing the fire and successfully testing, and goes to war with Afrasiab and leaves the palace. After the conquests and defeat of afrasiab's Army, siyavash is driven from the palace and takes refuge in afrasiab for not killing the hostages and disobeying the command of keykavos, and after many ups and downs, he is finally killed by afrasiab. The purpose of this article is to examine the components of a real tragedy in the two myths of Siyavash and Hippolytus of Europide, so that by comparing the play Hippolytus and Siyavash 's epic, the decisions arising from the excitement of both heroes, errors, successive events in the form of a tragedy, and to look for the cause of tragic events. 1-the hypothesis of the researchers is that love as a destructive element has influenced the power of reason and wisdom and has dominated the role of reason and has led to wrong decisions on both sides with destiny and fate. 2-researchers believe that both  the tragedy of Siyavash and Hippolytus have the main components of a tragedy, the introduction, successive conflicts, errors of pride and youth, compassionate elements such as failure in life, false accusations, migration to a foreign land and at the end of a sad death, which Schiller considers a successful tragedy from the beginning of the story to the end for the author and the audience.

    Methodology

    The research method is based on the mythological and narrative nature of it, conducted on original texts using analytical and descriptive methods and library collection. In this method, Schiller's theoretical concepts are first examined based on the structure of tragedy and then a comparative analysis of the two tragedies "Siyavash" and "Hippolytus" (comparing events and discourses) is carried out.

    Discussion

    Aristotle's points on the principles of literary forms, dramatic literature and the art of playwriting in this book were among the most advanced theories in world literature until the 18th century. Although thereafter, many doubts and criticisms were raised over Aristotle's opinions and the new style of narrative play was proposed by Bertolt Brecht, the new theories did not exclude the value of Aristotle's views (starmi, 201:2015). As mentioned earlier, Schiller has repeatedly described the issue of beauty in poetry and drama in several plays and letters he wrote about aesthetics. Beauty is something that increases our thinking power and invites abstract imagination, strengthens the mind for any kind of resistance, but makes it harder in the same proportion and deprives us of talent in the same proportion that helps us in more mental activities (Schiller, 2006:131).  According to Schiller, the main elements of any tragedy are the creation of fear and anxiety by the narrator so that the audience feels in harmony with the hero and reaches an understanding of absolute beauty and pleasure. ‏1- in tragedy, certain events are presented to the imagination or senses of the poet at the time of realization. These fantasies are present, and the audience immediately sees them without third-party intervention.‏ 2- tragedy is the sequential narrative of events, of a heroic act. Tragedy should not only represent tragedy by imitating people's feelings and emotions, but also show the events that trigger these feelings and the relationships in which these emotions are manifested.‏ 3- tragedy is a separate event from the heart of events, although it may often seem tragic, it is not a tragedy in itself. To achieve a successful tragedy, several events are required, one over the other, such as cause and effect and appropriately connected to form a whole. In the interpretation and analysis of data according to the Schiller paradigm, it should be said that in both the epics of Siyavash and Hippolytus, there is a narrative of failures, sorrow and regret, destiny and a tragic ending in common. The hero in tragedy must come from a well-known family or be accompanied by the blood of the kingdom. From the very beginning of the story, the deviation and the wrong decisions of the hero of good and evil form the main form of tragedy. The Hippolytus show, unlike the story of Siyavash, which begins at the birth of the hero, is a story that begins at the moment of Federa's blame for the seduction of Hippolytus and the rebuke of Federea servant by Hippolytus. "When Federa first begins to tell her secret to her servant, she speaks of her mother pasephia and sister Ariana and identifies her memory and inheritance, while Federa knows this is the point where she is close to Hippolytus. Both idealists are young, and each remembers a mother who has tasted the cruelty of Aphrodite. In the tragedy of Hippolytus, the end of the story is told in the language of Artemis. The first tragic form is an introduction that presents the end of the story to the audience from the beginning. From the very beginning of Federa's death, the language of Aphrodite is expressed as a general drawing. After Aphrodite, another scene is drawn. The prayer and recitation of the choir gathered to praise Artemis.

    Conclusion

    Love in the tragedy of Siyavash and Hippolytus on the part of women is a destructive and devastating factor that kills the hero to death. Forbidden love in a colorful way in the story creates an introduction to a sad narrative that begins the crisis and knots of the story. In Ferdowsi's speech, there was a complaint of fate and fate, and the narrator has a questionable state, but in Europe, the fate of the hero is certain for his father, because until the end of the incident, the father is suspicious of the son. The sequence of events in Siyavash's story proceeds chronologically and longitudinally, but in the Hippolytus tragedy, the scene of Hippolytus worship and Federa's tragic songs of love begin. The story of Siouxsie continues after his death with the Revenge of the Iranians, but the story of Hippolytus ends with the scene of his death and the dialogue of Artemis. The ending in the Hippolytus tragedy is very simple and shaped by the tragedy of the hero's death, but Ferdowsi in the Shahnameh continues the story of Siyavash with sweet revenge. The arousal of compassion in both works has taken a successful path for the hero, leading to the aesthetic phenomenon and the pleasure of the audience according to Schiller's theory, and until the end of the story, the audience does not lose a sense of solidarity with the hero.

    Keywords: 'Literature', ' Tragedy', 'Siavash', 'Hippolytus', 'Schiller'‎
  • فاطمه گوشه نشین*، فرزانه دستمرد، مریم شفیعی تابان

    تصویر پردازی یکی از شگردهای ادبی است که برخی از شاعران زبردست از آن بهره می برند تا از این رهگذر بتوانند با انتقال بهتر مفاهیم مورد نظر خویش، خوانندگان را تحت تاثیر قرار دهند. در پژوهش پیش رو که با رهیافت توصیفی تحلیلی و استناد به منابع کتابخانه ای نوشته شده است، تلاش شده تا کارکرد تصویر پردازی هنری نزد یک شاعر عرب یعنی عمر ابوریشه و یک شاعر فارسی زبان یعنی مهدی سهیلی مورد واکاوی قرار گیرد. عرصه ی بررسی تصویر پردازی در این پژوهش، قصیده ی ملحمه النبی از عمر ابوریشه و شعر طلوع محمد از مهدی سهیلی است. نتایج به دست آمده حاکی از آن است که هر دو از فن تشبیه، استعاره و کنایه بهره بردند؛ با این توضیح که عمر ابوریشه به دو فن ادبی تشبیه و کنایه و مهدی سهیلی به دو فن استعاره و کنایه بیشتر نظر داشته اند. همچنین نباید فراموش کرد که این دو شاعر از عنصر مجاز بهره نبرده اند.

    کلید واژگان: ادبیات تطبیقی, تصویرپردازی, &Laquo, ملحمه النبی&Raquo, طلوع محمد&Raquo
    Fatemeh Gooshehneshin *, Farzaneh Dastmard, Maryam Shafieetaban

    Imagery is one of the literary techniques that some skilled poets use to impress readers by better conveying their desired concepts. In the current study, written with a descriptive-analytical approach and referring to library sources, an attempt was made to analyze the function of the artistic imagery of Umar Abu Risha as an Arab poet and Mehdi Sohaili as a Persian poet. Imagery in the study is examined in the ode of "Malhamma al-Nabi" by Umar Abu Risha and the " Dawn of Muhammad" poem by Mehdi Soheili. The results showed that both used simile, metaphor, and irony, explaining that Umar Abu Risha used two literary techniques, simile and irony, and Mehdi Soheili used metaphor and irony more. it should also not be forgotten that These two poets did not use metonymy. it should also not be forgotten that These two poets did not use metonymy.These two poets did not use metonymy

    Keywords: Imagery, Comparative Literature, Malhamma Al-Nabi, Dawn Of Muhammad
نکته
  • نتایج بر اساس تاریخ انتشار مرتب شده‌اند.
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