پژوهش نامه انتقادی متون و برنامه های علوم انسانی
پیاپی 103 (خرداد 1401)

Modern Arabic literature, because of its important role in transferring the contemporary culture and thoughts of Arabs, enjoys a special status in the curriculum of Arabic language and literature majors in Iranian universities. As a result, to introduce contemporary Arabic literature, various courses entitled contemporary Arabic poetry and prose have been offered at different educational levels. Besides, to achieve this goal, many books and textbooks have been written in Iran and in the Arab world. Undoubtedly, criticizing and reviewing these books is a major step in fulfilling the objectives of teaching contemporary literary texts. Therefore, the present study intends to evaluate the book “Al-Adab Al-Arabi Al-Hadith; ….” authored by Muhammad Saleh Alshanti, using a descriptive-analytical approach. While introducing the book, the article tried to address both its strong points and weaknesses in two domains of form and content. The findings indicate that with regard to form, the book suffers from certain shortcomings such as lack of defining terms, using personal judgments in analyses, compiling rather than composing, mixing didactic and critical issues, and incoherence of literary approaches.

Reader-response criticism is a new method of critique which tries to investigate the reader and the literary texts through a new attitude. The birth of this theory was the result of the intersection of the author-centered approach and the text-centered approach. The contemporaneity of the subject indicates the necessity of examining the subject and Hassan Mustafa Sahloul tries to answer this necessity in “nazaruyat alqira'at walta'awyl al'adabii waqadaya” book. The criticism of “nazaruyat alqira'at walta'awyl al'adabii waqadaya” with a descriptive-analytical method shows that Hassan Mustafa Sahloul scrutinized the reader-response criticism approach. This book is written in an introduction and six chapters with in a small number of pages. The contents of the book are simplified in a way that is easily understood by the audience but a large number of chapters and titles has caused the dispersion and incoherence of the most important issues in this theory and in practice, the reader of the book cannot have a coherent classification of this theory and its related branches. There is no precise reference in the text of the book and this makes the reader of the book not know which sources to refer to for the rest of the study in this field. Also, the author has not examined the origin of this theory and its thinkers, and the ideas of some thinkers in the field of reading criticism have also been neglected.

Curriculum planners are always looking to revise curriculum content. The "Arabic language teaching" curriculum in 2016 was revised by Farhangian University and replaced the "Arabic language and literature secretary" curriculum. Considering the effect that the curriculum has on improving the level of knowledge, skills and attitudes of students, it is necessary to be scrutinized. Therefore, the present study seeks to address the pathology of the curriculum in this field. The research information was obtained through documentary studies and by using quantitative and descriptive methods and using the researcher-made questionnaire in a statistical population consisting of professors of Farhangian University of Tehran, in a purposeful and comprehensive manner. The results show that the most important quantitative changes have been the reduction of the share of specialized units from 93 units to 54 units and the increase of the share of educational courses. A significant reduction in the units of texts and history from 46 units to 8 units, and the reduction of language skills units from 36 units to 20 units are among the new weaknesses of the new program. Increasing the internship units from 4 units in two semesters to 8 units in four semesters and defining thematic-educational courses and teacher work experience are among the strengths of this program.

This study examines the translation of Mohammad Baher from the book "Literary Criticism of Principles and Methods" by Seyyed Qutb, from the perspective of information transfer. The question is, what are the most important challenges of information transfer in translating the book? and in what areas is the translator's performance in terms of information transfer and why is it damaged? The study method is descriptive-analytical, and the Arabic book has been adapted to the Persian translation then the cases in which the translation has been damaged in the transmission of information have been extracted. The order of these injuries is then identified and the injuries are categorized. Under each category, injuries and their occurrence and causes are analyzed. The theory behind the study is Katrina Rice's "text typology" theory. This analysis shows that the translation is damaged in terms of information transfer in five areas: term, word, word combination, sentence, and inter-sentence relations. Finally, it will be concluded that the main challenge of translating the book is the fluctuation of language between the role of information and expression, and the other is the testimony of the various texts quoted in the book.

The research method is one of the fundamental courses that has been grown well in recent decades and has been well received; but unfortunately, despite the emphasis today on the research method and its proper application in various fields of science, we are witnessing less attention to this issue and its methods and principles in student research. Since most universities focus on research and research programs, they try to increase the student's awareness and knowledge of research methods in specialized fields. The book "Concise of the Approach to Scientific Research on Education and Anthropology" written by Dr Saif al-Islam has tried to explain the method of scientific research and the principles of dissertation writing to students. In the present study, this book has been reviewed and criticized with a descriptive-analytical method and has enumerated some of its advantages and shortcomings. Based on the findings of the current study, the author's ability to explain the content, coherence and order of topics, emphasizing the need to use a computer in scientific research, and observing writing marks are among the most important strengths of the book. However, lack of attention to in-text citations, lack of use of sources, and lack of comprehensiveness of some content and lack of explanation of the difference between methodology and research methods are the shortcomings of the book.

Teaching Arabic has recently attracted a lot of attention inside and outside of the country leading to the publication of a pile of Arabic teaching textbooks including “Arabic Language Teaching Methods A Critical Approach” (Compiled by a group of authors), which attempts to review and analyze the most recent Arabic teaching approaches. The present study enjoyed an analytical-critical approach to examine the formal, structural, and content-related aspects of the textbook. The results of the study indicated that the textbook, with all its merits, suffered from some shortcomings in mechanics of writing, editing and even content-related items. The major weakness of the textbook was having no integrated approach in developing the chapters of the book. It may have happened because a group of authors has developed the textbook. Such an inconsistency can easily be observed in the lack of formal and content integrity in some parts of the textbook. Instances of such an imbalance can be located in taking an unclear approach to clarify some topics, repetition of some texts with similar wordings, and lack of cohesion in some texts when analyzing the topics.

Syllabus of the subject as a guideline and determinant policy of each course plays an important role in achieving its goals and competencies. The “Creative writing” course is one of the general courses of Farhangian University at the aim of improving learners’ ability to write fluently and creatively.  This study criticizes the existing syllabus and emphasizes obviating shortcomings to achieve the objectives. it is believed with minor changes, especially in the budgeting of existing course contents and the emphasis on high levels of learning, and it is possible to increase learners’ ability to create creative writing genres and to increase writing creativity in general. The statistical population of this study is the student-teachers in the field of educational sciences, the entrance of 1397 in Farhangian University of Mazandaran. The samples are three homogenized groups from among the 9 groups of students in this field. This study is applicable, and it has compared two experimental groups trained with changes in the topic of the control group who was trained exactly according to the topic by incorporating quasi-experimental method. The results showed that the scores of the experimental group in both writing creative literary types and in each element of creativity were significantly improved compared to the control group by emphasizing the need for changes or revision on the existing syllabus.

The book “Sociological Research in Modern Persian Fiction” is the translation of the book “A Study of Recent Persian Prose Fiction with Special Reference to the Social Background” written by Reza Navabpour, which is one of the most accurate books on the analysis of contemporary Iranian fiction. By the dialectic examination of literature and history, from the Constitution revolution to the 1979 revolution, the author has studied not only major historical events, but also micro-political events with a deep critical looking, and how they have Influenced fiction. Despite the socio-historical approach to contemporary fiction, relying on no sociological theory, but in the method of new historicism critics, it examines contemporary fiction in relation to heterogeneous and conflicting discourses and shows the implicit positions of the text in relation to those discourses. But the characteristics of the translation of the book by Abolghasem Serri; Including the inconsistency of the type of translation with the text and subject of the book, linguistic, structural and content nonchalance, misleading and unpleasant purism, which may inadvertently involve the reader in the language of the text, has led to an inaccurate translation.

Many lexicographers, commentators and correctors of Shahnameh have considered the words "Junagh" and "Junna" as one word and have used them instead of each other; However, paying attention to the contextual context, in-text cues, and a comprehensive look at the verses in which these two words appear, indicate that in Shahnameh these two words are not one word but are two words with two different meanings. Although the main purpose of this study is to correct verses from the scientific-critical correction of Jalal Khaleghi Motlagh, the authors, referring to other corrections of Shahnameh such as: Moscow, Jules Moll, ancient letter and Azizullah Jovini Shahnameh, tried to show and eliminate the errors in these corrections. Through this study, it was concluded that the words "Jenagh" and "Jana" have the ability to associate with the words "Leopard (Palang)" and "Choob e Khadang", respectively, and not paying attention to the different meanings of these two words, their companion capacity and avoiding relying on the Florence version, Khaleghi Motlagh did not follow the right path in correcting two verses in which these two words appear. In this research, in addition to correcting those two verses, the problems found in other corrections of Shahnameh were also pointed out. Also, in line with the discussion, a verse of Barzunameh of Shamsuddin Mohammad Kosaj was corrected.

The emergence of the genre of temperament in Iran by Ebrahim Tawfiq, Seyed Mehdi Yousefi, Hesam Turkman and Arash Heydari with good ideas tries to study and categorize the content about the temperament of Iranians from the constitutional period to the years after the victory of the Islamic Revolution, the elements and components of a " Extract the "genre" from it. This article has tried to study the book in four axes of form, language, structure and content through the documentary-critical method. The results of this study show that although the authors of the book have collected very extensive and accurate information from various sources and sometimes examined it, they have not been very successful in determining the boundaries of the "genre". Nevertheless, the content of the book is full of useful but scattered data. The authors' opinions on the subject, etc., have been reorganized and made more useful for the audience in this field.

“Ruh ol-Arwah fi Sharh Asma al-Mulk al-Fattah” by Shahab al-Din Abu al-Qasim Ahmad ibn Mansour Sam'ani (487-534 AH) is the oldest independent work in Sharh Asma' Allah in Persian, which has had a direct impact on some literary and mystical works, including Kashf ol-Asrar Meybodi. The prose of this book is fluent, smooth, and at the same time poetic, and sometimes it has used melodic or eloquent prose to express mystical concepts. This book is full of literary, lexical, linguistic and mystical benefits. Najib Mayel Heravi first published this book based on five manuscripts in Elmi va Farhangi publications in 1368, which has been reprinted several times. Unfortunately, this correction is not without its flaws, and there are many bugs in it. The present paper has tried to carefully confront the printed text with the corrected copies and to show some of the main drawbacks of this correction, including inclusions, misreadings, corrections and non-observance of the principle of fidelity in correcting texts. The result of this research indicates that due to the numerous problems that have arisen in the text of the Spirit of the Souls, it is necessary to correct it again.

This paper attempts to extend Ladislav Kesner and Richard Elbridge's insights toward collectivist explanation in art historiography in response to Branko Mitrovic's critique in “Rage and Denials”. A counterexample situation in architectural historiography is propounded to elucidate how a collectivist explanation in a moderate realist form is not only apt but, in some cases, inevitable. It relies on our primary claim, the possibility of some non-essentialist, non-ideological, non-deterministic and non-egocentric collectivist explanations, regarding the main faults assigned to collectivist stances in art historiography by Branko Mitrovic. The Counterexample situation explains the possible actions not implemented and decisions not taken in designing a building. In addition to the choices that led to the final formulation of the artwork, one must also consider the other options available, those possible choices that were left out, to clarify feasible limitations and, conversely, the choices that led to the emergence of the work. Even considering that all final decisions merely result from chemical interactions in actors' brains, one cannot judge alternative options the same way, some of which did not even occur in the artist's mind or the network of agents involved. The repetition of dismissing these alternative options during a long-durée, thus the formation of a pattern, cannot be explained by the individualistic stance proposed by Mitrovic.

Realism is a powerful materialization of art that appeared in 19th century in literature and painting and is still ongoing. A realism artist creates logic and relations in a work of art that comes from new sciences and social relations related to modern society. Meanwhile, Cinema as modern era art has close connections with realism for image recording and we know that from the earliest films of Lumiere brothers. with the addition of sound and color to basic silent movies, this relation continued and from mid 20th-century attitudes for social realism were increased which was reflected in works of Iitalian Neorealists and “Andre Bazin” theories. This article is a survey of the book “ A Review of Realism, Cinema and Religious Concepts” that was written by Vahid Hayati that surveyed the capacities of cinema realism to express religious concepts and it is about distinguishing the common realism that reaches its climax at Neorealism movement, and a form of realism that is common to express religious concepts. In this article, Hayati’s opinions about the religious realism concept were shown. He believes this manifested in the works of Majid Majidi and especially "Children of Heaven". It criticized his point of view about similarities between realism in Islamic and religious concepts and cinematic concept and differences based on epistemology.

The current article presents a review, translation, and analysis on the brief and invaluable Kitāb al-Nagham of Yhaya ibn alMunajjim - a scientist in third century - in which there is Isḥāq alMawșilī’s account on the "Old School of Qina". This School, which existed before translating Greek books and is largely inspired by the pre-Islamic music, is much different, regarding the culture, from what alFarabi introduced. The core of this treatise is first to study the number the main notes and position them on the Oud and then explicating the notion of "Majrā" which was innovated by Isḥāq alMawșilī‘s analysis of the notation system indicates that the system is founded on ten notes which can develop into two Majrās: Binsir and Vustā consisting of eight and seven notes respectively. These two are different in at least two notes and have the other notes in common. The analysis also disproves what has been asserted so far and that Majrā is similar to mode and scale. The term “Imād” is introduced as the standard note to tune instruments accordingly. Terms such as “Saut” and “Tabaqa” which are used in the text have different meanings than what they denote today. The treatise also discusses the number and the purpose of oud’s strings. This treatise is one of the oldest works in theoretical music which has adopted an analytical approach and at the same time is similar to the practical tradition of music. This current article includes a translation of the original text in Persian, based on which a text-oriented analysis and an explication of alMunajjim’s ideas along with criticism of older accounts are presented.

Ajā'ib al-makhlūqāt is one of the illustrated manuscripts available in the Central Library of Astan Quds Razavi. This book was written by Qazvini in the encyclopedic order in the seventh century AH. This research has selected version 35212 from among three illustrated copies available in Astan Quds library and has examined its human-icon from among the icons. In the selected version, 23 images belong to human-images, which are classified into two categories. The first category consists of male or female constellations that appear in the period and have a natural structure, and the second category is imaginary creatures derived from myths and folk tales in the form of a combination of human-animal is depicted. The paintings are drawn in the style of the Jalayri School. Although the school was influenced by Chinese painting, it took on Iranian culture and, in addition to innovation, played an important role in the development of the Herat school, which was the pinnacle of Iranian painting. In this research, an attempt is made to investigate the degree of adaptation of the text with the drawings in the selected version. The research has a descriptive-analytical method and has been done through documentary and field research. The results show that the illustrations serve the text and help the reader to identify the text's descriptions and understand them better. Wherever the artist feels the need to break the boundary between fantasy and reality, the images are more appealing. The figures are all facing west and east, with none facing each other. The figures are usually in a frame that separates them from the text.

This research is based on a structured analysis of the book written by Pierre Bourdieu, called "Photography, a Middle-brow Art". This study is a descriptive analysis of the different sections of the book from different perspectives. In this research, we considered the Persian translation of the book. Moreover, the origin of the work and the effectiveness of its contents after more than half a century from its publication, along with its advantages and disadvantages were discussed. We also compared the Persian translation to the English version. The translation of the work was also examined, which revealed that the book has a decent translation quality, despite detecting a few errors in some sections. It can be concluded that due to the long time since its publication and the speed of change in its concerning fields, namely sociology and photography, most arguments in the book can no longer be cited. Also, because the book contains discontinuous articles and does not have an explicit conclusion, it does not have the desired unity in general, which might result in the fact that each section can be read independently.

This article, which is a descriptive and analytical research and its qualitative data has been collected through the research method of libraries, has been organized with the aim of studying the stylistic developments of Iranian art after the Mongol invasion and while trying to review the book “Seven Decorative Principles of Iranian Art” written by Yaghoub Azhand and to answer the basic question why in Qazvin school of Safavid period, these themes are mentioned as seven principles of Iranian art? It seems that the drawing of these motifs to the position of the "Seven Principles" was done in line with the policies of Shah Tahmaseb and with the aim of limiting the power of the Ghezelbas. The findings show that in order to achieve this goal, first the royal workshop and library of Tabriz were dissolved as an influential centers and promoters of Ghezelbashi thought, and in the next step, the visual elements of Iranian painting were regulated in two main and sub-areas. Placing elements such as mobility, coloring, and composition in the field of Iranian painting subdivisions meant reducing the importance of the principles governing the Ghezelbashi method, and in contrast emphasizing the arrangement under the heading of the "Seven Principles of Iranian Art" while setting the policy. The nascent Qazvin school in a different direction from Tabriz II school, gave it special credit.

The cultural identity of a society is influenced by many factors, including religion, customs, art, and especially architecture. Moreover, the practical aspect of architecture in human life has made it important in the formation of civilizations such as Islam. The objective appearance of this civilization in the form of valuable artistic structures is due to the knowledge and skill of prominent architects like Sinan. Therefore, to get acquainted with architects and their unique perspectives, studying of remain historical cited texts is considerable. Due to Sinan's special place in the development of Ottoman architecture, as well as Islamic architecture, exploring the texts related to him, especially what was said by Sinan, is fruitful. Regarding this article, the Persian translation of his two valuable treatises in the form of the book "Tezkiretü'l-Bünyan and Tezkiretü'l-Ebniye: Mimar Sinan Memories" has been reviewed. So, after presenting formic characteristics of the book, historical aspects of pre-modern architecture and architects of Islamic world, the life and works of Sinan, his Biography, his treatise’s introduction and finally a comparison between them and a similar text, Risale-yi Mimariye are discussed; Hence this comparison will be effective in better understanding the thoughts of the architects of that time, especially Sinan.

In the present study, the goals of art education in the content of the eighth-grade culture and art book have been studied. The goals of art education include art production, aesthetics, art criticism and art history. The use of these goals and their types are specified in different parts of the book. The main question that the authors seek to answer is; what are the goals of the art education used in the content of the eighth-grade culture and art book? This research is a descriptive and survey type that has been done with a questionnaire using a simple random sampling method among 54 art teachers in Shiraz. The findings have been analyzed quantitatively. The findings of this study show that the goals of art education in the total content of the book are moderate and the design chapter has the most application compared to other chapters of the book. "History of art" as one of the goals of art education in the design chapter and the purpose of "art production" in the chapter of illustration, photography and calligraphy have been most used. According to art experts, the most important goal of art education is to cultivate creativity.

"Transcendental Style in Cinema, Ozu, Bresson, Dreyer" by Paul Schrader, the famous American critic, writer, and director, is one of the few books that explores the relationship between cinema, religion, and related elements beyond various fields such as Semiotics. This book was translated in 2003 by Mohammad Gozarabadi in Iran. The second edition of the book that was published in 2018 included the introduction of slow cinema and Schrader's revision of some of the concepts of this style. The importance of this book could be seen in the method of studying and confronting religion and its elements. Using profound philosophical concepts and Christian background, Schrader establishes stylistic stages in which the most important movies could be read and analyzed through them. This style aims to discover the state in which the transcendental and spiritual manner is expressed in cinema. Therefore, firstly the book and the author are introduced and then by considering both editions, all the concepts in the book are discussed and finally the book is criticized from different aspects. The results will demonstrate that the main criticisms on this book can be seen in the levels of method and content.