پژوهشنامه نقد ادبی و بلاغت
سال نهم شماره 1 (پیاپی 17، بهار 1399)

Translation as one of the main factors in universalizing a work of art plays a significant role in the relationship between various nations and cultures. It offers an interactive context for two thoughts, and opens up new intellectual horizons for them. Kalila and Dimna, written by Ibn al-Muqaffa and Translated by Abu’l-Ma’ali Nasrallah from Arabic into Persian, is one of the most important texts of Persian literature. It has attracted the attention of a large number of researchers. Having been translated in different stages of history, translators have manipulated its text to suit their tastes. One kind of manipulation is explication which was first introduced and theorized by Jean Darbelnet as one of the strategies of translation. This study examines the process of explication in Abu’l-Ma’ali Nasrallah’s translation of the story of “The Lion and the Ox” in Kalila and Dimna. Research findings demonstrate that the translator has employed all types of explication in the levels of meaning and discourse, namely replacement, reference, deletion, coherence, and elaboration. Furthermore, they show that elaboration is the most frequent type of explication.

Psychoanalysis can be an approach for better understanding of literary works. In this approach, topics such as the conscious, the sub/preconscious, and the unconscious are of great importance,because literary works are important manifestations of the unconscious, including the suppressed desires or repression that have come to pass over to ego and take place there as time passes.The artist who is the poet here, sublimating his desires by using artistic tricks and figures of speech, and is trying to represent them in his/her literary works in a way that even the reader will experience the same pleasure, and that is why all works of art, especially literary works, are a very good platform for psychoanalytic criticism. In this descriptive analytical study, a brief description of the five categories of psychoanalysis, namely masochism, sadism, voyeurism, homosexuality and fetishism is assumed, and then their implicit and explicit applications in Saadi’s sonnets is extracted and classified. It is concluded that, first of all, Saadi was represented them in his sonnets with relatively high frequencies and second of all by using poetic artistry and rhetorical tricks he has tried to recite and sublimate them in the best possible way. So sublimating can be named as one of the important factors in creating pleasure by reading Saadi’s poems.

Jacques Lacan knows the language as the “Trojan horse” which is given to us by the “other,” but within it, there are some soldiers hiding and occupying all our existence. He not only considers a linguistic structure for the unconscious, but also believes that it is born of language. Unlike Freud’s theory of the unconscious, which is based on biological drives, the most important paradigm of Lacanian “linguistic unconscious” is the concept of “meta other,” which, during the child’s development, spreads in the imaginary order, symbolic order, and real order respectively and overshadows the existence of fundamental concepts such as unconscious, language, superego, ego-ideal, and desire. Since applying the theory of the linguistic unconscious to literature is a post-structuralist approach and the purpose of post-structuralism is to reread the text, the purpose of this study is to reread Phoebe Gilman’s Something from Nothing based on the paradigms of this theory and the metaphors in the visual text and written text of the book. Critics’ neglect of interdisciplinary approaches to children’s literature, their one-dimensional and merely figurative view of metaphor instead of using it to analyze stories, and most importantly, the scarcity of research in the field of analytical critique of children’s literature in Iran, call for research in this field. Thus, the present study employs Lacanian psychoanalysis to answer two fundamental questions regarding Something from Nothing: What are the metaphors and tropes based on the linguistic unconscious that make rereading of the text possible? Through what mechanisms do these metaphors and tropes lead to the production of meaning?

Amīr Khusrau Dehlavī, the Indian Persian-speaking mystic and musician, is the link between three the rich Iranian, Islamic, and Indian cultures. In order to understand the link between the poetic traditions of Persian language and music properly, it is important to recognize his invaluable contributions to poetry and music and his combining these two for articulation of concepts. Nine Skies, Dehlavī’s masnavi, is among the most reliable works and is replete with musical terms. Musical ambiguity is one of the outstanding rhetorical figures in Nine Skies. Thus, it significantly helps us recognize the effect of music on Dehlavī’s elaboration of poetic concepts. The present study intends to address musical ambiguity as a literary device in this work.

Shafiei Kadkani is famous for employing images that make his poetry more coherent. These images are called chained images in the present study. In this type of imagery, the final part of each stanza is repeated in the initial part of the following stanza and the repetition is conducted repeatedly. The scholars of rhetoric refer to this type of figure of speech as a verbal stylistic device and name it as “motetabe,” “tashaboh al-atraf,” and “zubatnein.” These terms have some drawbacks, as they do not represent the characteristics we intend to assign to Shafiei Kadkani’s imagery. The examples appearing in traditional books on rhetoric tend to be naïve and artificial while Shafiei Kadkani merges images with a novel perspective and deep philosophical world-view. These chained images have links with the poet’s characteristics such as his cultural awareness and social and naturalistic ideas. This type of imagery dates back to classical Persian poetry and prose and folk literature, but is employed even in modern Persian poetry and world literature. In chained imagery the higher the number of loops used, the higher the poem’s musical value would be. However, the number of loops should not be more than four or five, as the reader would be confused otherwise. The present study attempts to investigate the chained images in Shafiei’s poetry in detail.

The aesthetic appeal of Quran has always been one of the main reasons for fascinating its readers. Adaptation is one of the rhetoric means to grant credit, richness, and admissibility while fascinating more audiences and, eventually, persuading and satisfying them. Khazaen al-Anvaar va Maaden al-Akhbar (meaning “Treasuries of Lights and Sources of Stories” in English), a mystical and literary exegesis which has been published, surveyed, and corrected in recent years, was written by Mir Mohammad Reza ibn Mohammad Khatoun Abaadi during the Safavid era. The book’s preface, which contains 14 “treasuries,” is of special importance. In fact, these treasuries define perquisites and requirements for exegesis of Quran. In the third treasury, Khatoun Abaadi discusses novel literal, spiritual, and expressional instruments in detail and then, explains Quranic sciences. Hence, from this perspective, this book is a significant example for writing prefaces. This research aims to perform a quantitative and qualitative analysis of the usage of adaptation in Khatoun Abaadi’s book. Results of the research demonstrate that by artistic use of sound and music and literary devices such as pun and allusion, Khatoun Abaadi presents a novel and effective form of adaptation.