نشریه پژوهش های ادبیات تطبیقی
سال هشتم شماره 4 (پیاپی 26، زمستان 1399)

"Nothingness" is one of the complex philosophical and mystical issues which its meaning can answer one of the most important ontological problems, namely the beginning and end of the world. The reflection of the meanings of nothingness in Islamic mysticism and Buddhism can be considered. Rumi as one of the great Islamic mystics, has used the Nothingness in many meanings. In Buddhist texts, Prajñāpāramitā and Mūlamadhyamakakārikā, which are considered as important educational texts of Buddhism, nothingness and its meaning is one of the main and central issues. In this research, a descriptive-analytical method has been attempted Rumichr (chr(chr(chr('39') 39chr('39'))39chr(chr('39') 39chr('39')))39 chr(chr(chr('39')39chr('39'))  39chr(chr('39') 39chr('39')))) s view on nothingness in Masnavi with its meanings in these two texts should be examined. It also introduces two important Buddhist texts. The result shows that to consider nothingness the nature of the phenomena of the universe has been raised in Masnavi and these two texts. But to consider that nothingness is the beginning and the end of phenomena, God or absolute Truth and the ultimate goal of the seeker, are meanings that are mentioned with differences in the texts. The root of these differences can be found in the type of knowledge and ontology of Islam and Buddhism. In Islamic mysticism,God is the creator of the existence and the end of the seeker; whereas in Buddhist texts the world comes from nothingness and goes to nothingness And the seekerchr(chr(chr(chr('39')39chr('39'))39chr(chr('39')39chr('39')))39chr(chr(chr('39')39chr('39'))39chr(chr('39')39chr('39'))))s goal is to get rid of suffering and reach Nirvana.

This article attempts to answer the following questions in a descriptive-analytical way: What is the reason for Baumgarten`s use of poetry to demonstrate the independence of aesthetics? What are Kantchr(chr('39')39chr('39'))s views on the place of poetry in aesthetics? and what are the differences between them on this issue? The purpose of this article is to clarify the superior art of one of the followers of the rationalist school by looking at Kantchr(chr('39')39chr('39'))s view. The results show that due to the beliefs of many aestheticians the words and the sounds are one of the most important aspects of the human soul`s motivating. In the Age of Enlightenment, Baumgarten continued by examining the influence of words and its effect on the emotions, passions by referring to the Christian belief, especially in one of the pietist`s campaigns the Protestantism. Kant separates poetry from rhetoric as a whole, he thought about his attitude, especially about the beauty associated with fine arts such as poetry, the relation between form and content of words, the rich content of words, and the grandeur of content and dignity similar to Baumgarten. The prominent difference is in the free play that Kant considers the poetry between sensibility and understanding and in the natural beauty with regard to form and the independent beauty in the fine arts. Free play has not come to Baumgarten`s ideas. Nor is there any trace of Baumgarten`s perfection in the beauty of the pure form or the free beauty in the Kantian approach to poetry.

Gilgamesh is the first epic in the world that the most fundamental human issues can be find in it. The Homeric community of Greece was familiar with and influenced by Eastern and Mesopotamian culture via the Mycenaean and eastern Greeks; therefore Gilgamesh has clearly influenced Homerchr(chr('39')39chr('39'))s Odyssey. Comparative literature enables us to have a deep understanding of texts. This paper compared to investigate the similarities between the two epics of Gilgamesh and Odyssey Homer by descriptive-analytical method. The two epics have common motifs such as supernatural creatures, alike gods, and philosophies. They also have characters who are similar in their functions. Holy woman and Nausicaa in love with the hero. Ishtar and Circe are capable of transforming humans into animals. Gilgamesh and Ulysses fight monsters. They have missed opportunities by neglect, crossed the sea, have a great personality, are complacent, have traveled to the underworld and to unknown lands, endured suffering to get help from the guide, mutinied, disappointed, killed the friends of gods and holy cow and slept inopportune.

Imagology or representation of the “other” provides the opportunity for the nations to see their face in the mirror of the “other”. Through imagology, the conversations begin, and identification of the “other” leads to recognition of “self”. Alterity and the necessity of recognizing “other” are significant keys in self-awareness. Examining several layers of travelogues represents a way to discover the underlying meaning of the text, with regard to the imagological keywords such as I, the other, classified view, judgment, and stereotypical thinking. These layers are read in four stages in Sharh-e Zendegani-ye Man by Abdollah Mostowfi (1878-1950), in which he explains his journey to Russia. The first layer is read, regarding the difference between “I” and the “other”, and the influence of the “others” on the author’s life. In the second layer, the classified view of “I” (Mostowfi) upon “other” is studied. The third layer refers to Mostowfi’s consideration of the reality of Russia and the effect of his stereotypes and mental concepts thereon. The fourth layer includes his linguistic structure and descriptions. Ultimately, Mostowfi’s journey to Russia is affected by his view and mentality, and it is not an account of the absolute and certain reality. By clarifying his way of thinking and living, his time, and the political and cultural relations between Iran and Russia at that period, along with his presuppositions and mental concepts, we can grasp a relative understanding of Mostowfi’s picture of Russia.

In this book, Ebrahimi tells the story of a love, rooted in the childhood friendship of two people and flourished at the young age, and the book once again describes the city I loved. This relationship owes more to space than to time. In human societies, the city is known as the center of events, and Ebrahimichr(chr('39')39chr('39'))s story takes place in a city that, at first glance, bears no resemblance to the city that will be narrated later. This can be examined and analyzed from the point of view of thematic critique and literary geography, which believes that it narrates the inside out. In this study, we use the theory of Michel Collot to see the transformation of the city that changes with the narrator / hero, and the reson of this change is in the characterchr(chr('39')39chr('39'))s life. In fact, this method makes it easy to study the geography of the text, access and comprehend the world of the text, but at the end we will see that the city is active and present like a hero and can be considered as one of the principle characters.

Nowadays, experts in the field of translation studies agree that translation is one of the most characteristic patterns of interaction between two cultures that cannot be limited to a purely linguistic process. In the field of translation, theorists such as Berman, Venuti, Schleiermacher, Ricoeur ... emphasize representation and alienation of the other and consider it as a superior strategy. They warn the translator against any "sacredness of the mother tongue" and believe that he should introduce the other culture to the target language readers without any interference. But in reality this is not always the case. Sometimes the translator uses semantic substitution instead of acquainting the destination reader with the foreign culture. Sometimes it even involves deleting and changing content. Can alienation be considered a superior strategy regardless of the situation? What factors prioritize strategies? Is not choosing such a so-called superior strategy simply rooted in the translatorschr(chr(chr('39')39chr('39'))39chr(chr('39')39chr('39'))) view of the translation process? What factors influence translator choices and differentiate different translations of a work? What effects can these choices have on the target language reader? This article examines the factors affecting translator choices in translating culturally oriented elements.  It then examines the impact of these choices on target language readers.