نشریه پژوهش ادبیات معاصر جهان
پیاپی 52 (تابستان 1388)

In recent decades, “figurative language” has gained the interest of a large number of Russian linguists as a source of lexical enrichment. Persian and Russian manifest, are more or less, a different image of a movement. Nevertheless, these verbs share a number of linguistic features, although they belong to two diverse languages. Due to the high frequency in the function of movement verbs in the stable verbal-nominal phrases it is investigable in every mode of usage. Among the Persian grammarians, Khosro Farshidvard has explored this case as “compound verbs”, “verbal phrases”, or “translational verbal groups”. The main focus of the present paper concerns a comparative study of the function of movement verbs (????-??????) both in the figurative mode and in stable phrases.

Abd Allah B.Sa’d, believed in Islam and for a short time recorded divine revelations; but then he lost his faith. Historical studies prove that his apostasy has no relation to writing celestial words. But story-writers who often lack an analytical mind, perhaps credulously or tendentiously connect his blaspheme to the act of recording sacred verses. These unfounded stories have entered history books and even crossed the seas. A 20th century Italian writer (Italo Calvino) comments on this story according to his narrative theories. Centuries earlier, a Persian Sufi (Rumi), in accordance with his mystical believes has interpreted the abovementioned story. As a comparative study of literature, this article attempts to introduce an example of interactions between Iranian culture and the occidental world.

A remarkable part of foreign cultural products is the audiomedial texts like feature films and TV series. They have a more extensive addressee circle on the basis of the medium, through which they are transferred. These products fascinate many people and therefore play a very vital role within intercultural relations. There are many people who are not able to speak other languages except their own. Many ethnic, moral and political elements of the imported films, which form the cultural characteristics of a nation, can not be introduced directly and unaltered into the goal culture. These facts necessitate film translation to be established as a subdiscipline of the translation science in the course of time. The present work takes into consideration certain theoretical opinions relating to the above-mentioned subjects and gives a short overview over translation problems specific to a particular culture, such as, the transfer of dialects, accents, religious names, and the translation of the wordplay.

Throughout history several translators with different motives and styles have tried to translate the Holy Koran. The study of their goals and styles/ their strong and weak points can be a way to present improved translations of the Holy Koran in the future. Focusing on the Hamd Sura, this article studies three well-known German translators of Koran (Salomon Schweigger, David Friedrich Megerlin, Friedrich Rückert). The article begins with a probe into the history of translation of the Holy Koran into the German language, followed by a deep study of these trauslations. With the obtained results, new methods of translating the Koran will be presented regarding objectivity, style, and types of translation.

The main priority in literary criticism, is defining a structure and abstaining from imposing personal views. In the framework of discourse analysis theory (style, intonation and punctuation marks are considered) and on the basis of contrastive linguistics, the author has tried to criticize the translation of a story “French lessons” written by Valentine Rasputin and translated by Mrs. Maryam Shafaqi. Next, we have shown that Mrs. Shafaqi with her vast knowledge of vocabulary managed to transfer only the informal style of the story in the best possible way. But in the case of narrator and character intonation, she was unable to achieve a proper result, Finally, she failed to pay enough attention to punctuation marks, which is rather crucial in translation.

What we mean by alliteration of homogeneous words is that such alliteration is based on two or more lexical basis that is conspicuously coordinative and homogeneous with each other. They are homogeneous in that their form, structure, and tone, are similar. We can name two homogeneous words, two bases of homonym. It is evident that such words, though homogeneous from one hand, should necessarily be dissimilar and heterogeneous, if not they will no longer be two or more words, and will be considered as one word but with a different meaning. From the threshold of the repetition of words, that is use of two homonymous words (two bases of homonyms), is created a rhythm, which causes the budding and manifestation of rhetoric, which is more than ups and downs of words. Homonym in Russian and Persian languages has different types, which is created due to dissimilarity of two bases of homonyms. When their dissimilarity is in their writing, these two words are homophone, and when it is in their structure they create compound homonyms. In this article we have endevoured to make such words more tangible for the readers by analyzing the reasons for the formation of homophone and compound homonym in Russian and Persian languages.