دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 17 68 2025 02 19 Description, Descriptor, and Descriptee in the Poem The Eagle: A Descriptology-Based Analysis توصیف، توصیف‌گر و توصیف‌شنو در شعر «عقاب» پرویز ناتل خانلری بر پایۀ نظریۀ توصیف‌شناسی 1 39 18951 10.48311/lcq.17.68.5 FA احمد احمدی شیخلر فارغ التحصیل دکترای زبان و ادبیات فارسی دانشگاه مازندران 0009-0002-5972-1059 Journal Article This research aims to explore the role of description in Parviz Natel Khanlari's poem The Eagle using the framework of Descriptology. By critiquing previous perspectives on description and offering a fresh view on the nature of description in literature, this study seeks to answer key questions, such as the roles of the descriptor and descriptee, the distinction between the descriptor and the narrator, and the difference between the descriptee and the narrative audience. Additionally, it examines the impact of description on the style and success of a literary work. Employing a combination of analytical philosophy and Descriptology, alongside statistical data analysis, the poem The Eagle is meticulously analyzed. The findings reveal that description plays a crucial role in creating mental imagery, conveying concepts, and establishing a connection with the reader. The study also refines and expands the typology of description, investigates the relationship between narrative and descriptive elements, and evaluates the quantitative and qualitative aspects of descriptions within the text. The results demonstrate that Descriptology, with further development, can become a powerful tool for comprehensive and in-depth analysis of literary works. This research enhances the understanding of The Eagle and its complexities, offering valuable insights for literary critics, theorists, researchers, writers, and those involved in AI-based linguistic modeling. Introduction In literary research, description is often regarded as a tool for establishing context for events or portraying characters. Prominent writers and writing instructors emphasize its importance. However, the boundaries between description and related concepts continue to remain ambiguous. Descriptology, as a field of study, seeks to define and categorize various types of description within literary texts, providing a structured framework for analyzing texts from a descriptive perspective. This study draws on analytical philosophy, which is prominent in academic departments across regions such as Britain, North America, Australia, and Scandinavia, to explore the nature of description. The poem The Eagle by Khanlari, considered one of the ten best contemporary poems by Shafiei Kadkani, is chosen for its rich descriptive elements and literary success. Research Questions What is description? What are the types of descriptors and descriptees? How is Khanlari’s The Eagle critiqued and evaluated from a Descriptology perspective, particularly through the lens of descriptor and descriptee? Literature Review Descriptology, initially developed in relation to the story of Rostam and Sohrab, has since been applied in various studies to critique and analyze literary texts. Previous research has explored description in historical novels, contemporary stories, and other texts, often relying on the theoretical frameworks provided by Descriptology. Discussion The study delves into the nature of description, distinguishing between its linguistic and literary definitions. In analytical philosophy, description is seen as a symbolic representation of reality, while in literature, it often serves to create vivid imagery and convey deeper meanings. The research identifies various types of descriptors and descriptees, categorizing them based on their roles within the narrative. In The Eagle, the third-person narrator often serves as the descriptor, providing detailed descriptions of the eagle, its surroundings, and other characters. The poem’s rich descriptive language enhances its emotional and visual impact, creating a multi-layered narrative that engages the reader on multiple levels. Conclusion The study concludes that description is an integral element of language and literature, far from being a mere static or ornamental feature. Descriptology offers a new horizon for literary analysis, offering precise and insightful methods for critiquing and interpreting texts. The findings highlight the importance of hidden descriptions, which often carry deeper meanings and contribute to the text’s overall impact. این پژوهش با هدف بررسی دقیق نقش توصیف در شعر «عقاب» پرویز ناتل خانلری، نظریۀ توصیف‌شناسی را به کار گرفته و با نقد دیدگاه‌های قبلی دربارۀ توصیف و ارائۀ نگاهی تازه دربارۀ چیستی توصیف در ادبیات، به دنبال یافتن پاسخ‌هایی برای پرسش‌هایی مانند نقش توصیف‌گر و توصیف‌شنو، امکان‌سنجی تفاوت توصیف‌گر و راوی و تفاوت توصیف‌شنو و روایت‌شنو و همچنین تأثیر توصیف بر سبک و موفقیت اثر است. با استفاده از روش تلفیقی فلسفۀ تحلیلی و نظریۀ توصیف‌شناسی، همراه با روش داده‌کاوی آماری، شعر عقاب خانلری، به‌طور دقیق تحلیل شده ‌است. یافته‌های این پژوهش نشان می‌دهد که توصیف در شعر عقاب نقش بسیار مهمی در خلق تصویر ذهنی، انتقال مفاهیم و ایجاد ارتباط با خواننده دارد. همچنین، این پژوهش ضمن اصلاح و تکمیل گونه‌شناسی توصیف، به بررسی ارتباط بین عناصر روایی و توصیفی و ارزیابی کمی و کیفی توصیف‌ها در متن پرداخته است. نتایج نشان می‌دهد که نظریۀ توصیف‌شناسی با تکامل و توسعه، می‌تواند به ابزاری قدرتمند برای تحلیل عمیق و همه‌جانبۀ آثار ادبی تبدیل می‌شود. همچنین، به درک بهتر شعر عقاب و پیچیدگی‌های آن کمک می‌کند. یافته‌ها می‌تواند برای منتقدان و نظریه‌پردازان ادبی، پژوهشگران و نویسندگان و همچنین در تحقیقات مرتبط با هوش مصنوعی مبتنی بر مدل‌های زبانی مفید باشد.

https://lcq.modares.ac.ir/article_18951_6cb8e079d5ee909af340f303c1a2d8be.pdf

دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 17 68 2025 02 19 Remembrance and Recreation of Human Lost: Reading Humanoid through Memory Studies یادآوری و بازآفرینی انسان از دست‌رفته: بررسی رمان آدم‌نما از منظر مطالعات حافظه 41 82 18952 10.48311/lcq.17.68.3 FA زهرا جان‌نثاری لادانی دانشگاه اصفهان Journal Article This article examines Zoha Kazemi’s novel Humanoid through the lens of memory studies and pursues two goals: first, to delve into the effects of advanced technologies on the dystopian society depicted in the novel, particularly their effects on characters’ memories and the transformation of their human identity; second, to examine the interplay between narrative, memory, and its functions, as well as their role in shaping political action and social reform. This research is necessary as Humanoid came into being in an era of rapid technological change whereby the impact of these developments on mind, memory, individual and collective identity, and culture is inevitable. Thus, the investigation of these concerns in the crucible of literature is a timely response. This study adopts theories from the field of memory studies and provides a close reading of parts of the novel whenever required. This study explores key issues, including declarative and procedural memory, the relationship between memory, technology, and identity formation, as well as the intersection of memory, politics, and narrative within the novel. The results show that modern technologies in the field of biology in the dystopian society of Humanoid are tools to control and shape the human identity, steering it toward a post-human state. Conversely, narrative emerges as a tool for preserving human identity whereby it leads to political action, and moves the society towards awareness, resistance and change. Keywords: Humanoid, memory (studies), narrative, politics, Zoha Kazemi, technology, identity. Introduction Zoha Kazemi (b. 1982) is a distinguished Iranian sci-fi author known for her acclaimed novels Humanoid (2010), The Juliet Syndrome (2019), and Death Industry (2020). Her works blend local Iranian culture with dystopian themes, critically examining futuristic scenarios. Humanoid raises the question: “What if memory manipulation and immortality technology became biopolitical tools?” Kazemi’s dystopian worlds reflect warnings for humanity, merging science fiction with critical thought on social, political, and human issues. Her achievements include the 2019 Noufeh Prize and Golden Dragonfly Medal for Rainborn and the 2020 award for Death Industry. This study analyzes Humanoid’s key theme—memory’s role in shaping identity and its socio-political use as a tool for control and transformation. It investigates: 1) how advanced technologies reshape characters’ memories and identities; and 2) how storytelling fosters political action and change. Review of Literature Considering the stated objectives and questions, the search for relevant sources to address these inquiries revealed that no academic research has been conducted on this work. Therefore, this study is regarded as the first scholarly examination of the novel Humanoid. Methodology This study adopts a qualitative, analytical approach, utilizing interdisciplinary methods to examine the themes of memory and identity in Zoha Kazemi’s novel Humanoid. Drawing on theoretical perspectives from memory studies and speculative fiction, the research emphasizes the dynamic interplay between advanced technologies, memory manipulation, and narrative construction within a dystopian context. To explore the research questions, the analysis integrates concepts of episodic memory and its reconstructive nature (Tulving, 2002; Campbell, 2014). The study also references the overlap between memory and imagination, which is crucial in understanding utopian/dystopian narratives (Hansen, 2020). The approach considers Kazemi’s depiction of memory as both a tool of domination and a means of socio-political change. Primary analysis focuses on Humanoid’s portrayal of biopolitical technologies and their impact on the characters’ memories and identities. Narrative structures within the text are evaluated to understand their role in fostering collective consciousness and political transformation. By combining traditional, progressive, and moderate views from memory studies, this methodology ensures a comprehensive understanding of the novel’s thematic complexity. Through close reading and textual analysis, the study highlights how Kazemi’s work engages critical discourses on power, identity, and the human condition within speculative literature. Discussion Zoha Kazemi’s Humanoid presents a compelling narrative examining the entanglement of memory, identity, and political power within a speculative dystopian framework. Through the lens of key theories in memory studies, the novel interrogates the dynamics of explicit and procedural memory (Tulving, 2002; Antze, 2003), cultural memory (Jan Assmann, 2010), and the ethics of memory (Ricoeur, 2004), illustrating their significance in shaping human identity and resisting oppressive regimes. At its core, Humanoid explores the dual nature of memory as both a source of individual agency and a target for control. Kazemi portrays memory as deeply embodied, aligning with Katherine Hayles’ (1999) posthumanist perspective that cognition and memory extend beyond the brain, integrating with embodied and technological systems. The novel reveals the vulnerability of explicit memory – representing conscious recollection of events – to erasure and manipulation by Churchill’s authoritarian government. However, Atwood’s retention of procedural memory, which encompasses unconscious skills and emotional responses, underscores memory’s resilience and its role in preserving core aspects of identity despite external attempts at control. Aligned with Pierre Nora’s (1984) concept of “sites of memory,” Kazemi critiques the weaponization of memory for state interests, as seen in Churchill’s systematic erasure of pre-Horse history to sever citizens’ connection to their cultural past. This act also aligns with Edward Said’s (2000) assertion that memory and its representations are inherently political, intertwined with identity, nationalism, and power. In Humanoid, the government’s monopolization of historical archives highlights the suppression of collective memory as a tool of domination, while characters like Luther and Atwood represent counterforces, preserving suppressed cultural practices and counter-narratives. Kazemi’s emphasis on narrative’s role in organizing and giving meaning to memory draws on the ideas of Singer and Blagov (2004), who describe “narrative processing” as a means of integrating sensory, cognitive, and motivational subsystems into coherent autobiographical stories. Atwood’s storytelling becomes a political act, challenging official narratives while fostering solidarity and alternative visions for the future. His utopian and dystopian writings resonate with Marianne Hirsch’s concept of post-memory (2008), transmitting the emotional resonance of past traumas across generations. Furthermore, Kazemi aligns with Ricoeur’s notion of the ethics of memory, advocating for fidelity to the past as a measure of responsible action in the present and future (Ricoeur, 2004). In Humanoid, the interplay of cultural memory, embodied knowledge, and procedural memory underscores memory’s multifaceted nature, revealing its critical role in resisting dehumanization and envisioning emancipatory futures. Ultimately, Humanoid bridges theoretical insights with literary imagination, exemplifying dystopian literature’s ability to confront pressing ethical and sociopolitical challenges. Through its nuanced portrayal of memory’s contested terrain, Kazemi’s novel underscores its moral and political imperatives, inviting reflection on humanity’s resilience in the face of technological and ideological threats. این مقاله به بررسی رمانِ آدم‌نما، نوشتۀ ضحی کاظمی، از چشم‌انداز مطالعات حافظه می‌پردازد و دو هدف کلیدی را در نظر دارد. هدف نخست، کنکاش در تأثیر فناوری‌های پیشرفته در جامعۀ پادآرمان‌شهریِ آدم‌نما بر حافظۀ شخصیت‌ها و تغییر هویت انسانی آن‌هاست. هدف دوم بررسی ارتباط عمل روایت‌پردازی و روایتگری رمان با حافظه و کارکردهای آن و در نگاه گسترده‌تر ارتباط آن با شکل‌گیری عمل سیاسی و ایجاد تغییر در اجتماع است. ضرورت این پژوهش در آن است که آدم‌نما در دورانی نگارش می‌یابد که پیشرفت‌ِ پرشتاب فناوری‌های گوناگون خواه‌ناخواه به دغدغه‌های بسیاری پیرامون تأثیر این پیشرفت‌ها بر ذهن، حافظه، هویت فردی و جمعی، و فرهنگ دامن می‌زند، و به این ترتیب، بررسی این دغدغه‌ها در بوتۀ ادبیات پاسخی طبیعی و بهنگام است. در این راستا، مطالعۀ حاضر از چارچوب نظری موجود در حوزۀ مطالعات حافظه بهره می‌برد و به فراخور نیاز، خوانشی نزدیک از بخش‌هایی از رمان ارائه خواهد کرد. به این ترتیب، موضوعات کانونی چون حافظۀ آشکار و حافظۀ روندی، ارتباط حافظه با فناوری و شکل‌گیری هویت، و نیز پیوند حافظه با سیاست و روایت در رمان تبیین خواهد شد. نتایج این پژوهش نشان می‌دهد که فناوری‌های نوین در حوزۀ زیست‌شناسی در جامعۀ پادآرمانیِ آدم‌نما ابزاری برای مهار و شکل‌دهی به هویت انسانی است که او را در مسیر تکوین به سوی وضعیت پساانسان قرار می‌دهد. در مقابل، روایت می‌تواند ابزاری برای حفظ هویت انسانی محسوب شود و با خلق نگرش و کنش سیاسی، جامعه را به سوی آگاهی، مقاومت و تغییر پیش ‌برد.

https://lcq.modares.ac.ir/article_18952_2328fb211593bf76f1e22ff0554cb420.pdf

دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 17 68 2025 02 19 Literary Perspective is not a Literary Theory دیدگاه ادبی نظریۀ ادبی نیست 83 125 18953 10.48311/lcq.17.68.4 FA مهرداد زارعی دانشگاه خوارزمی Journal Article Literary theory is a systematic study of the essence of literature and a way to analyze literary phenomena. Although the literary theory has been widely used in Persian literature research in recent years, it seems that its semantic and empirical realm has not been well established; because in some research conducted in the field of Persian literature, individuals’ literary opinions have been mistakenly read as literary theory. In the following article, to show the difference between literary theory and literary perspective, five specific characteristics of literary theory have been explained and described; which includes these items: “Arising from a philosophical mindset”, “Systematic and coherent”, “The result of reflection on the text”, “Providing a new perspective” and “Using in criticism”. In the following, the extreme point of view that believes in the similarity between some opinions in Persian classical texts and Western theories on the existence and even the precedence of theories in its past has been criticized. And it is clear that basically the discovery of these views in past scientific and literary texts was due to familiarity with western ideas. In the end, the result shows that because of the inefficiency of the literary opinions collected by the researchers from the characteristics of a theory, the term “literary theory” is not correct and accurate for their opinions and literary opinions. It is better to use the term “literary perspective” to make the field of knowledge of Persian literature more precise about such opinions and theories, so that this term has its own specific definition and examples. Keywords: Literary theory, literary perspective, characteristics of literary theory, theory and criticism, theory and philosophy. Introduction The history of the emergence of “literary theory” in the West dates back to the ancient Greek period; however, the majority of literary theories in the West have emerged since the late 19th century. In Iran, the history of literary theory dates back to the time of familiarization with Western theories. In previous decades, Iranian critics and writers paid more attention to literary theories in order to use them for the criticism and analysis of various texts and had a purely practical approach, but in recent years, literary theories themselves have become the subject of discussion. In the field of modern theoretical sciences, some researchers are still not sufficiently familiar with the foundations of that science; for this reason, they sometimes make fundamental mistakes in their research. Such mistakes are also seen in the discussion of literary theories; including in the nature of literary theory and its examples. Results and Discussion Literary theory is a way of thinking about literary works in a way that helps us understand how to create a work, its content, and its form and format. The goal of theorizing is to access convincing methods by which literature can be understood, interpreted, described, and analyzed, and to propose criteria and standards for understanding the form and meaning of literature. It can be said that the word “theory” is an inclusive term for all scientific approaches to reading texts. When theories are removed from their transcendental-abstract state and placed at the service of reading texts, they lead to “literary criticism” and in this case take on a more practical form. Beyond its definition and function, literary theory is distinguished by five key characteristics that “literary perspectives” lack: Theory, whether literary or non-literary, is the result of a philosophical mindset. Theory is the result of continuous thinking, and although poets’ literary perspectives are the product of their thought and poetic thinking, they lack the rational-philosophical support of theory, and for this reason, it can be said that they lack its richness, structure, stability, and inclusiveness. Theory is inherently coherent, methodical, and it has a formulation. Although a framework and rules can be considered for it by analyzing tradition, the sum of these rules can be called “literary tradition,” not theory. Also, due to the lack of the condition of “unity of time” in these views, after collecting and organizing the scattered opinions of poets, there is a possibility of contradictions emerging, which logically any theory should lack. One of the characteristics of literary theorizing is to emerge from the literary text by thinking about its various aspects and its formulation. Literary texts are a rich source of ideas for theorizing. Although the perspectives of the poets may be the result of their literary experiences and thoughts about poetry; however, the views they express are mainly about aesthetic issues or the mission of poetry and art that originate from their taste and are not a coherent theory that has emerged from reflection on the text and has become a way of looking at texts in a new way. Theories are inherently informative and new knowledge is formed in their light. Literary theory seeks to understand a text from a specific angle and to create a new impression of the text. Literary perspectives lack this feature and mainly deal with the nature of poetry and aesthetic issues, and in this respect are closer to the poetics, which is the systematic aesthetic study of literary works. The capacity of theories to illuminate the hidden aspects of literary works has led literary criticism to rely mainly on them, with researchers applying theories in the criticism of texts. If criticism is not based on theory, it will be weak, scattered, subjective, and fragile. Unlike theory, what some researchers have gathered from the perspective of poets under the title of “theory” does not provide a specific framework and model with which to criticize a text. From them, we can only understand the aesthetic views of individuals, which are mainly formed on the basis of tradition. In the field of theory and theorizing, there is another view among a number of researchers that can be criticized. Some researchers who are often fascinated by nationality and national identity, by comparing some of the opinions and views expressed in the books of their the ancients with the theories of the modern era of the West, conclude that such theories were expressed centuries ago by our own thinkers and poets, but since these comments have not been paid attention to, historical gaps have eliminated them. These people are oblivious to that thought and opinion do not arise in a vacuum and that their creation and growth require a favorable context and space. With this assumption, we can no longer expect theory to emerge in the absence of that context and space. Another noteworthy point is that ideas and perspectives in the works of our ancestors, which resemble those of later Western theorists, often become apparent only when the reader is already familiar with Western examples. Basically, our understanding and perception of theory is “Eurocentric.” Conclusion Theory has a philosophical foundation and its source should be considered a philosophical system; a system that, due to its formation within the framework of rational and logical rules, gives coherence and order to thought. Theorizing requires a problem-solving mindset that, when reading texts, can discover another layer of the text or look at the text from a new angle. If this mind benefits from philosophical training, it can, by utilizing previous theories, present this discovered layer or new perspective by explaining and formulating it in the form of a coherent literary theory, with which to criticize texts from that perspective. Since the literary views of poets collected by researchers lack the characteristics outlined in this article, it is neither correct nor accurate to label their opinions as “literary theory”. It is better to use the term “literary perspectives” for such opinions and theories so that the term “literary theory” has its own specific definition and application. نظریۀ ادبی بررسی نظام‌مند ذات ادبیات و شیوه‌ای برای تحلیل پدیدۀ ادبی است. نظریۀ ادبی با اینکه در سالیان اخیر کاربرد وسیعی در پژوهش‌های ادبیات فارسی داشته است، اما به‌نظر می‌رسد قلمرو معنایی و مصداقی آن به‌خوبی تثبیت نشده، چراکه در برخی پژوهش‌های صورت‌گرفته در حوزۀ ادبیات فارسی، آرای ادبی افراد به‌اشتباه نظریۀ ادبی خوانده شده است. در مقالۀ پیش رو برای نشان دادن تفاوت میان نظریۀ ادبی با دیدگاه ادبی، پنج ویژگی خاص نظریۀ ادبی اعم از «برآمده از ذهنیتی فلسفی»، «نظام‌مند و منسجم»، «حاصل تأمل در متن»، «ارائۀ دیدی تازه» و «به‌کارگیری در نقد» تبیین و تشریح شده است. در ادامه دیدگاه افراطی‌ای که به صرف تشابه میان برخی آرا در متون کلاسیک فارسی با نظریه‌های غربی بر وجود و حتی تقدم نظریه‌هایی در گذشتۀ خود معتقد است نقد و مشخص شده که اساساً کشف این آرا در متون علمی و ادبی گذشتۀ نیز به‌واسطۀ آشنایی با نظریه‌های غربی بوده است. درنهایت نتیجۀ به‌دست‌آمده بیانگر آن است که به‌دلیل بی‌بهرگی آرای ادبی جمع‌آوری‌شده توسط پژوهشگران از ویژگی‌های نظریه، اطلاق اصطلاح «نظریۀ ادبی» بر آرا و عقاید ادبی آنان درست و دقیق نبوده و بهتر است برای دقیق‌تر کردن قلمرو دانش ادبیات فارسی درمورد این قبیل آرا و نظریات از اصطلاح «دیدگاه‌های ادبی» استفاده کرد تا این اصطلاح تعریف و مصادیق خاص و مشخص خود را داشته باشد.

https://lcq.modares.ac.ir/article_18953_bc1cd298247f3f23db7249e6fc53f83c.pdf

دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 17 68 2025 02 19 Conversation with Myself, Mixed Genre Autobiography «گفت‌وگوی با خودم»، ‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌خودزندگی‌نامه آمیغی 127 168 18954 FA سعید شفیعیون دانشگاه اصفهان Journal Article In addition to his role as a teacher, performer, and composer in the field of music, Arshad Tahmasbi has also established himself as a distinguished and familiar name in the realm of scholarly writings on Iranian music. Recently, he has authored a book about his own life—one that, given his delicate and sensitive artistic spirit, his research-oriented approach, and his ethical perspective, as well as his bold and candid expression, stands as the most significant source of insight into the innermost currents and key figures of Iranian music over the past half-century. Furthermore, this compelling book, in terms of its creative literary structure, serves as an example of the hybrid genre of autobiographical writing. This work, structured as an imagined interview, blends elements of a diary, autobiography, confession, travelogue, and critical essay. Since the author of this article claims that this book marks a new development in literary genre classification, the introduction first explores the generic nature of the work—clarifying its boundaries with adjacent genres—before proceeding to an analysis of its genre-related aspects and its artistic and thematic merits. Centering on the author’s interactions with influential Iranian musicians such as Lotfi and Alizadeh, as well as other figures in this domain, the book, enriched by the author’s meticulous and insightful commentary from various perspectives—particularly ethnic and professional—proves to be both profoundly engaging and highly enlightening. Extended abstract Arshad Tahmasbi, a virtuoso of the tar and setar, a teacher, composer, and, above all, a distinguished scholar in the realm of Iranian national music, is a name that resonates deeply within the musical and literary spheres of Iran. His scholarly pursuits in narrative literature, travel writing, and memoirs, along with his tireless dedication to writing, have endowed him with a pen that is both elegant and profound, surpassing even the most esteemed of his peers. Recently, he has penned a remarkable work—a book chronicling his life. Given his direct involvement in contemporary movements of Iranian national music, his meticulous documentation of events, and his candid, ethical portrayal of influential teachers and figures, this work has become an essential resource for both general and specialized audiences interested in Iranian music. Tahmasbi’s sharp memory and analytical voice, woven through the pages of his book, alongside his disciplined and almost archival approach to storytelling, have created a work that is as much a social and historical study of Iranian culture as it is an exploration of the inner worlds of Iran’s literary and artistic giants. His spirit of inquiry, shaped by his dual roles as a teacher and a researcher, has led him to regularly engage with, critique, and reflect upon music-related writings, sharing technical insights drawn from the teachings of his own masters. One of the strikingly novel features of this work is his life story written as an imagined dialogue. The subtle difference between an interview-based biography and a self-written autobiography lies in the blend of the interviewer's prose with the spoken style of the subject, which—although edited—does not stray far from the realm of autobiography. While these questions are sometimes the result of the interviewee's own thoughts or their interaction with the interviewer, they still maintain the integrity of the autobiography genre. This highly readable book, in terms of writing creativity, is also an excellent example of the intertwined literary genre of autobiography. It is a fusion of diary, self-written autobiography, confession, travelogue, and critique, and the writer of this article, based on these merits, claims that this book marks a new development in literary genre classification. According to the writer of this article, a self-written autobiography “is referred to as an independent or implicit work, in which the author thoughtfully reflects upon certain moments or stages of their life, relating them to their own self, in the form of a documentary or documentary-like monologic narrative, created either spontaneously or, rarely, in dialogue, and sometimes in response to external requests”. To substantiate the novelty of this work, the writer first delves into the genre itself, examining the boundaries that separate it from its counterparts. Following this, he offers a thorough analysis of its typology, highlighting the artistic and thematic virtues that elevate it to a work of both historical and cultural significance. Focusing on Tahmasbi’s interactions with trailblazing Iranian musicians—figures such as Lotfi and Alizadeh—alongside other prominent voices in the field, the book offers keenly observed reflections that open new vistas on ethnic, professional, and artistic rivalries. These personal and cultural encounters, presented with remarkable candor, create a compelling narrative that deepens the reader's understanding of Iranian music and its key figures. Conversations with Myself, subtitled Memoirs of Arshad Tahmasbi, spans 736 pages and is published by Mahoor Publications, accompanied by a cover illustration of Tahmasbi by Ahmad Vakili. This article’s author has made an effort to analyze the book from linguistic, artistic, historical, anthropological, and professional perspectives, providing excerpts from the text to offer the reader a brief understanding of its content and the author's multifaceted perspective—one shaped by Iranian multicultural upbringing and reflective of various encounters, whether religious conflicts between Sunni and Shia, ethnic differences such as Kurds, Turks, and Lurs, or professional rivalries in the arts like the dominance of singers versus instrumentalists. These dynamics are presented openly and unreservedly for the reader's judgment. ارشد طهماسبی علاوه بر جایگاه معلمی در عرصه موسیقی نوازندگی و آهنگ‌سازی، در حوزه نگارش‌های پژوهشی موسیقی ایرانی هم نامی آشنا و برجسته کسب کرده است. او به‌تازگی کتابی در باب زندگی‌ خود نگاشته است که نظر به روحیه لطیف و حساس هنری و منش و روش تحقیقی، همچنین نگاه اخلاقی و بیان صریح‌ جسارت‌بارش و ضمناً تجربه نوشتاری ارزنده و انسش با ادبیات داستانی به‌ویژه، مهم‌ترین منبع آگاهی برای شناخت درونی‌ترین جریان‌‌ها و شخصیت‌های مهم موسیقی این نیم‌قرن به‌شمار می‌آید. افزون بر این‌ها این کتاب خواندنی از باب خلاقیت نوشتاری، نمونه‌ای از گونه ادبی آمیغی خودزندگی‌نامه‌نگاری است. این اثر او در قالب مصاحبه خیالی، ترکیبی از روزنوشت، خودزندگی‌نامه، اعتراف‌نامه، سفرنامه و نقدنامه تولید شده است. از آنجا که نویسنده این مقاله مدعی است که این کتاب اتفاقی تازه در گونه‌شناسی ادبی است، نخست در مقدمه‌ای به ماهیت ژانری این اثر و تدقیق بعضی زوایای این بحث اعم از مرز این گونه با گونه‌های هم‌سنگش پرداخته، سپس به تحلیل گونه‌شناسی آن و بیان ارزش‌های هنری و محتوایی آن کوشیده است. کتابی که با تمرکز بر مراوده نویسنده با چند موسیقی‌دان جریان‌ساز ایرانی، یعنی لطفی و علیزاده و نیز دیگر اهالی این وادی به همراه اظهار نظرهای بسیار باریک‌بینانه نویسنده کتاب از منظرهای متنوع خاصه قومی و صنفی بی‌اندازه جذاب و آگاهی‌بخش است.

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دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 17 68 2025 02 19 An Exploration of Iranian Intellectuals and the Language Issue صحبت جانکاه غوغایی زبان (اشارات و تأملات و اقتراحاتی در کتاب روشنفکران ایرانی و مسئلۀ زبان ) 169 184 18955 FA حبیب‌الله عباسی Journal Article Copyright© 2025, the Authors | Publishing Rights, ASPI. This open-access article is published under the terms of the Creative Commons Attribution- NonCommercial 4.0 International License which permits Share (copy and redistribute the material in any medium or format) and Adapt (remix, transform, and build upon the material) under the Attribution-NonCommercial terms. In the book Iranian Intellectuals and the Language Issue: Approaches of Iranian Intellectuals from the Qajar Period to the Present, the author explores the issue of the Persian language from the time of the Constitutional Revolution, and slightly earlier, in five sections, including an introduction and an afterword (or, in the author’s words, a preface and an epilogue). The author examines the perspectives of intellectuals over this broad period, collecting and classifying the diverse and sometimes contradictory views and opinions, primarily of the enlighteners rather than the intellectuals themselves. The author does this in a highly intelligent and critical manner, introducing and explaining the different approaches of intellectuals in dealing with the category of language, particularly the Persian language, over a period of more than two hundred years. The analysis observes historical periods, paying special attention to the dominant discourse, episteme, and the formation of knowledge and the epistemic space of each era. While the author follows a chronological order, this approach has led to the inclusion of individuals in certain groups who might have been more appropriately placed in another. نویسنده‌ در کتاب روشنفکران ایرانی و مسئلۀ زبان؛ رویکردهای روشنفکران ایران از دورۀ قاجار تا عصر حاضر توانسته مسئلۀ زبان فارسی را از روزگار مشروطه، کمی پیش‌تر از آن، در ۵ بخش با مقدمه و مؤخره‏ای یا به تعبیر خودش پیش‏گفتار و پی‏گفتاری از منظر روشنفکران در این بازۀ زمانی فراخ بکاود و نظرها و دیدگاه‌های متفاوت و گاه متضاد عمدتاً روشنگران را، نه روشنفکران، خیلی هوشمندانه و منتقدانه گردآوری و طبقه‌بندی کند و رویکردهای متفاوت روشنفکران را در مواجهه با مقولۀ زبان و زبان فارسی، طی بازۀ بیش از دویست ساله، ناظر به دوره‌های تاریخی و توجه عمده بر گفتمان مسلط، اپیستمه و صورت‌بندی دانایی و فضای معرفتی هر عصر، معرفی و تبیین کند. رعایت ترتیب زمانی موجب شده در هر رویکرد افرادی قرار بگیرند که اگر در گروه دیگری جای می‏گرفتند بایسته‌‏تر بود.

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دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 17 68 2025 02 19 The Characteristics of the Tazriq Style in the Poetry of Foqi Yazdi ویژگی‌های اسلوب تزریق در شعر فوقی یزدی 185 223 18956 10.48311/lcq.17.68.7 FA ریحانه عسکری دانشگاه تربیت مدرس 0000-0002-7894-4613 غلامحسین غلامحسین زاده دانشگاه تربیت مدرس 0000-0002-8826-016X ابراهیم خدایار دانشگاه تربیت مدرس Journal Article “Tazriq" style is one of the sub-styles of poetry in the popular period of Indian style. But this style did not become popular even during the Indian style era. Therefore, only a few verses of “Tazriq” style poetry are left. And there is little information about this style in biographies. So, with the information written in the biographies, it is not possible to understand what Tazriq poetry is and what are its basics. In the contemporary era, several articles have been written about Tazriq But most of the researchers, without paying attention to the historical, social and literary background of Tazriq, have studied it with new approaches of literary theories. So the previous ambiguities and questions have not been resolved yet. In this research, we want to find out the basics of Tazriq poetry with a descriptive-analytical method, considering the historical context, especially by studying Tazriq poetry and the opinion of Tazriq poets about Tazriq poetry. For this purpose, we have chosen the manuscript of Otuznameh by Mollah Foqi Yazdi, which is the largest and best source available in this field. Foqi Yazdi stated in the introduction of the book and in the text of the Otuznameh that he wrote all the poems and sentences of his work in the Tazriq style. He gave explanations about the reason for choosing the Tazriq style, based on which we can explain the fundamentals of Tazriq. Introduction Tazriq is one of the literary styles that has been less recognized than it should be. It is one of the literary styles that were developed in the Safavid period, within the framework of the Indian style. Due to the complexity of the texts, there is a limited literature about it in contemporary researches. Tazriq relies on linguistic playfulness, disproportionate similes and metaphors, parody, and the use of invented or rarely used words. It also has a social and cultural critical aspect. The only complete text of this tradition that remains today is Otooz Nameh, written by Mulla Foqi Yazdi. In this paper, we analyze this manuscript in the context of the Indian style to understand what Tazriq is. Literature Review The most important works related to Tazriq are as follows. Zarrinkoob considers Tazriq to be folk poetry. Akhavan considers it a parody. Fotoohi and Tarbiat examine, albeit very briefly, the stylistic and linguistic features of Tazriq. Shafieyoon considers it meaningless. Zamani and Rzaei focused on Foqi and uncovered some, but not all, aspects of his work. Methodology The method is descriptive-analytical and based on the manuscript of Ottz Nameh. At one point, we use a comparative approach to compare Foqi’s poem with those in the Indian style. Stylistic Features of Tazriq 1.Content features Humor and satire: Tazriq makes extensive use of humor and satire to express social and cultural criticism. In the introduction to Otooz Nameh, Foqi explicitly states that his aim in the book, in particular, and in his works, in generl, is to question popular beliefs, mainstream thinking, social injustice, and abnormal behaviors in society through humor and satire. In this part, he follows poets like Anwari, Soozani and Zakani. Parody: Foqi parodies Shirin and Farhad (by Nezami Ganjawi) and Khosro and Shirin (by Vahshi Bafqi). In these parodies, he reconstructs and even deconstructs the structure of these classical stories for the sake of social and cultural criticism. Eros: Many of Foqi’s poems contain erotic and sexual content. Erotic imagery is part of his parody and humor. He uses these images and situations mainly to achieve one of his main goals: social criticism. 2. Linguistic features Invented and unusual words: One of Foqi’s techniques for creating parodic situations is to construct new sentences and phrases that have not been used before in literary texts or even in ordinary language. Paired words: Foqi uses paired words, some of which are used in folklore, such as ‘chep chep’, ‘mech mech’. These words help enhance the humor, satire, and parody in Foqi’s works. Foreign words: Foreign words are used very frequently in Foqi’s poems. These are from Indian, Turkish, Arabic, and many others. Irrelevant similes, metaphors and codes: Foqi used a lot of similes and metaphors that were not used before him. It is common for these clauses to contain inconsistencies and irrelevancies. Examples include ‘hemorrhoid of jealousy’ and ‘sourness of pleasure’. Dropping and adding letters: In Ottoz Nameh, Foqi often adds or omits some letters in some words to set rhythm and meter, such as adding “i” to “atash” and omitting “r” from “bi-kar”. 3.Tazriq against Indian Style Although Tazriq is a subgenre of the Indian style, it has its own distinctive features. Some of these features can be found in Indian style, but in Tazriq they are taken to an extreme. These features include irrelevant similes, metaphors and imagery, the extranormal pursuit of novelty in content and language, and complex and enigmatic imagery. In addition to these common features, Tazriq also has the following distinctive features: an emphasis on humor, satire, and parody. Conclusion In this paper, we provide textual and contextual evidence to show how we should understand Tazriq poetry, based on Mulla Foqi Yazdi’s book Otooz Nameh. As we argued, based on what Foqi explained in his work, Tazriq is not a meaningless style of poetry, but has its own thought and artistic structure. Its structure is made up of some linguistic features (such as use of invented and unusual words, paired words, foreign words, irrelevant similes, metaphors and codes, deletion and addition of letters) and content factors (such as humor and satire, parody, eroticism). In addition, it has distinctive features that distinguish it from the Indian style: a focus on humor, satire and parody for social and cultural criticism. طرز «تزریق» یکی از زیر سبک‏های شعری در دورۀ رواج سبک هندی است. از آن‏جا که حتی در آن دوره نیز این شیوه چندان فراگیر نشد، ابیات اندکی از شاعران تزریق‏گو به ما رسیده و اطلاعات مختصری دربارۀ شعر تزریق در تذکره‏ها موجود است؛ بنابراین صرفاً با اتکا به مطالب مندرج در تذکره‏ها نمی‏توان به‌درستی چیستی تزریق و مبانی آن را تشخیص داد. در دوران معاصر نیز با وجود آنکه چند مقاله دربارۀ تزریق نوشته شده است، به‌دلیل آنکه غالب پژوهشگران بدون توجه لازم به بستر تاریخی، اجتماعی و ادبی تزریق‏گویی را صرفاً با اتکا به رویکردهای جدید علوم ادبی بررسی کرده‏اند ابهام‏ها و پرسش‏های پیشین کمابیش به قوت خود باقی است. ما در این پژوهش برآنیم تا با روشی توصیفی ـ تحلیلی مبانی تزریق‏گویی را با اتکا بر زمینۀ تاریخی، به‏خصوص با بررسی خود متون تزریقی و نظر خود تزریق‏گویان دربارۀ شعر تزریق دریابیم. جهت نیل به این مقصود نسخۀ خطی اُطوزنامه سرودۀ ملافوقی یزدی را که پرحجم‏ترین و بهترین منبع موجود در این زمینه است برگزیده‏ایم. فوقی در مقدمۀ اطوزنامه اذعان داشته تمامی اشعار و عبارات اثر خود را به طرز تزریق سروده و دربارۀ علت تزریق‏گویی خود توضیحاتی داده است که براساس آن‏ها دست‏کم می‏توان مبانی تزریق‏گویی را براساس کامل‏ترین مجموعۀ موجود شعر تزریق بررسی و تبیین کرد.

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دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 17 68 2025 02 19 The Hidden Text of Abu Bishr Mattaâs âThreshold Translationâ of Aristotleâs Poetics سنت، متن پنهان «ترجمۀ آستانه‌ای» ابوبشر متی از بوطیقای ارسطو؛ نمایش‌گونگی، نقطۀ پیوند کمدی و هجو 225 270 18957 10.48311/lcq.17.68.2 FA ابراهیم محمدی دانشیار زبان و ادبیات فارسی دانشگاه بیرجند. 0000-0003-1801-5713 Journal Article Advanced research based on the model of “contextual interpretation” and relying on the rule of “tradition as context” to investigate the reflection of the “tradition of reciting poetry” in the language of the first surviving Arabic translation of the Poetics, that is, the translation of Abu Bishr Matta and specifically the translation of comedy to satire. The premise of the research is that the reciting of poetry has a dramatic nature in the tradition and Abu Bishr Matta has paid attention to it; therefore, the art of reciting poetry should be regarded as the “textual texture” that dominates his mind and perception, and the “hidden text” of his translation language of Aristotle’s Poetics. The study shows that the rendering of word “comedy” to “satire” in the translation of Abu Bishr Matta has roots in two things: a) the connection of comedy and satire in the textual network of source language, that is, the Greek language and literature, referencing the historical fact that signs of satire can be seen in ancient Greek comedies. b) dramatic nature of reciting satire in the target textual network i.e. Arabic language and literature, referring to numerous reports about the dramatic pattern of poets in reciting satire. The distinction of Matta’s work is his combination method in translating the specialized terms of the Poetics, such as “comedy”; a method that has led to preserving the dramatic nature of comedy in translation; The translation of comedy into satire is a “hybrid and threshold” translation and is close to the linguistic-literary context of source and target, that is, has roots in the cultural, literary and social contexts of both. Introduction This article does not seek to confirm or reject Abu Bishr Matta’s work in translating comedy into satire, rather, it attempts to employ the model of “contextual interpretation” and situate Abu Bishr Matta’s translation within its linguistic, literary, and historical context to highlight a question: What relationship existed between comedy and satire (in the source) and al-Hija and drama (in the target) that led Abu Bishr to translate comedy as al-Hija? This question itself rests on one principle and two presuppositions. the principle: Abu Bishr Matta, in the interpretation of Bassnett and Lefevere (Bassnett, 2015; Lefevere & Bassnett, 2013), has transferred a cultural asset from one textual network to another, and in analyzing the nature, manner, and even the rationale behind this transfer, in addition to the nature of the cultural asset itself, the target textual network must also be carefully examined; Can one truly analyze Matta’s choices of equivalents without considering the linguistic, literary, and cultural traditions that shaped his mind and language? Presupposition One: Satire in the target textual network was performative or at least possessed some characteristics of the art of performance. Presupposition Two: Matta’s translation is integrative, hybrid, liminal, and threshold-like, where the source and target textual networks intertwine and coexist in a third space, breathing side by side. Questions What relationship existed between comedy and satire (in the source) and al-Hija and drama (in the target) that led Abu Bishr to translate comedy as al-Hija? Which Arabic and Persian literary traditions played a role in the formation of this translation? Literature Review Abd al-Rahman Badawi considered Abu Bishr Matta’s equivalence of comedy with satire to be a “mistake” (Aristotle, 1953, p. 55-56), Zarrin-Koub as a “misunderstanding” (Aristotle, 2002, p. 105), Zarqani as “the indigenousization of foreign poetics” (2011, p. 284-286), and the translators of the Poetic Treatises of Muslim Philosophers (2014) and Aristotle’s Poetics as Narrated by Islamic Sages (2021) as “misunderstood” and “mistaken.” When examining the background of Ibn Sina’s treatise (Dahiyat, 1974, p. 3-7), Dahiyat considers Abu Bishr’s translation to be literal and the translation of comedy into satire (and tragedy into praise) to be a type of circumlocution, that is, translation with the addition and expansion of words and meaning. In general, it can be said that the “consideration of error” in equating comedy with satire is a common point among most critics. Studies show that the background of the work suffers from two shortcomings: first, the ideological bias of those who have translated the poetic treatises of “Muslim” philosophers or “Islamic” sages into Persian; this group, due to relying on an unjustified selection criterion, namely the author’s religious belief, has discarded Abu Bishr’s treatise, because he was a Christian and outside the circle of Islam. This is despite the fact that Matthew’s translation “was copied word for word from the Syriac translation into Arabic, and the Syriac translation was based on an older Greek text, so some translators and correctors of the book of poetry have corrected the Greek manuscripts based on it” (Aristotle, 1958, p. 22-23). Second, the analytical avoidance of those who, by merely stating that Abu Bishr’s translation of comedy into satire is a “misunderstanding, misinterpretation, misconception, and error,” have closed the door to dialogue about the origins of this translation. This means that they have fundamentally overlooked the core issue. But truly, wouldn’t it be better to reflect on the reasons behind the formation of this “error”. Results and Discussion This article seeks to demonstrate, with scientific caution, that satire in tradition, at least in its reciting, possessed elements of theatricality, and the translation of comedy into satire in Matta’s work stems from this aspect of the target textual network. In other words, Abu Bishr Matta attempted to understand comedy both in terms of its original nature in the source and Aristotle’s discourse, while also adapting it to the linguistic-literary traditions of the target language, presenting it in Arabic as a hybrid and liminal translation. Based on the comprehensive model of reciting (Inshad) poetry that is mentioned in the eulogy and naturally includes satire, we can accept the theatrical nature of satire, but here, for the sake of discussion and to further clarify the issue, it is added that the body of reciting in comedy/satire, both in the West and in the East, sometimes had more specific theatrical features. In the West, comedic masks were ridiculous and unusual, and had exaggerated features, such as staring and repulsive eyes, wide noses, and open mouths that were stretched out to both sides in a sneer, and in this way, human faces were distorted and deformed for greater comic effect (Kamali, 2022, p. 27-28). In the East, poets sometimes exaggerated in the distortion of form and appearance, in the disfigurement of the face, and even in the ugliness of their appearance; Hassan ibn Thabit “dipped his moustache and the hair between his lips and chin with henna without dyeing the rest of his beard, so that at first glance it looked like a lion licking blood with both sides of his tongue” (Al-Rafi’i, 2000, vol. 3, p. 25). Or the poet would make special movements while reciting satire, like Bashshār ibn Burd Tokharistani who “when he got angry and wanted to recite satire, he would clap his hands together and spit to his left and right” (Al-Rafi’i, 2000, Vol. 3, p. 70). In addition to all that has been said, what makes the performative aspect of satire more plausible is a recurring performative pattern in the recitation of satire, which was executed with attention to scenic details and actions to enhance the impact of the words. We can understand this from an ancient and very famous narration that is mentioned in various sources with examples: A pre-Islamic poet when he wanted to satire his enemies and his tribe; - He would retreat for days and nights (or at least for hours) like someone who wants to perform the rituals of worship. - The act of composing satire concludes in that space filled with prayer and supplication, with the hope that the curses raining down upon the enemies will be accompanied by the approval of God (or the gods). - He would choose a mocking mask to increase the function and effectiveness of the satire. - He shaved his head (like the pilgrims). - He left two braids of hair in front of his head unshaven and hung them down. - He greased one half or one side of his head with oil. - He wore a special robe and clothing (like the pilgrims’ Ihram robe) or the special clothing of priests. - He wore a pair of sandals (heel shoes). - He loosened the belt and hung it as if it were falling. - He stood in front of the audience - In a special place. - And accompanied by special behavior and movements. - He recited or performed satire (Al-Sharif al-Murtaza, 1954, Part One, p. 189-192; Ali 1993, Vol. 9. P. 85-87; Al-Rafi’i, 2000, Vol. 3, p. 23; Muhammad Hossein, 1947, p. 59; Al-Alusi, (n.d), Vol. 3, p. 407; Nicholson, 1907, p. 73; Nicholson, 1970, p. 128; Zaif, 2005, Vol. 1. P. 197; Zaif, 1972, p. 98; Zaif, 1997, p. 115-116). Most sources have only quoted the pattern itself, but Shawqi Zaif has also added some interpretations to it (Zaif, 2005, Vol. 1, p. 197). The aforementioned pattern can be considered close to a type of drama or play called “Closet drama”; “drama suited primarily for reading rather than production” (Merriam-Webster, 2025): a play that is primarily suited for reading or recitation rather than production or construction. Conclusion There is a secret in translating comedy into al-Hija, the trace of which must be sought in Abu Bishr Matta’s translation method, a method that can be considered a combined method in translation or a combined translation. In this method, Matta, as a translator who thinks both about preserving the dramatic nature of comedy in the source text and about preserving the dramatic nature of the tradition of satire in the target language and literature, tries to link the dramatic nature of satire with the dramatic nature of comedy and create a correct translation in which the colors of both the source and the target language are simultaneously evident. Satire in the tradition has had the motifs of drama and performance, and Abu Bishr Matta could not fail to see these dramatic motifs, however small, in translating Aristotelian comedy into al-Hija, that is, he could not fail to see the background of the word and the literary type of al-Hija in the target language and literature, and especially the tradition of poetic satire and its dramatic motifs. He could not fail to see the background of Aristotle’s text and work, and for example, he could not fail to pay attention to the central drama and central tragedy of Aristotle’s Poetics, or even to the connection between comedy and satire in Greek Poetics. He saw both of these and tried, by keeping both in mind, not to de-dramatize Aristotle’s Poetics, but to use and perpetuate the sign of drama in some of the target literary genres in his translation; thus, in his threshold translation, Matthew was able to create hybrid texts and words that reflect both worlds or both textual networks of origin and destination. References Al-Alousi, A.M. (n.d). The maturity of the Arabs in the knowledge of the Arabs. edited and recorded by Mohammad Behjah Athari. [in Arabic] Al-Rafei, M.S. (2000). History of Arab customs. Beirut: Dar al-Kitab al-Alamiya. [in Arabic] Al-Sharif al-Murtaza A.A. (1954). Amali Al-Mortaza; Gharr al-Fouad and Darr al-Qalaid. The research of Mohammad Abolfazl-Ibrahim. Cairo: Dar Ihya Al-Kitab-Al-Arabiya. [in Arabic] Ali, J. (1993). Al-Mufasal fi Tarikh al-Arab before Islam. second edition. Baghdad: Society of Baghdad / [Bi-Na]. [in Arabic] Aristotle (1958). The art of poetry (Poetics). Translated by Fathullah Mojtabai. Tehran: Andisheh Publishing Company. [in Persian] Aristotle (1953). The art of poetry. Translated from Al-Yonaniyyah and Commentary by Abd al-Rahman Badawi. Cairo: Maktaba al-Nahda al-Mesriyyah. [in Arabic] Aristotle (2003). Aristotle and the art of poetry. Translated and written by Abdul Hossein Zarin Koob. Third edition. Tehran: Amir Kabir Publications. [in Persian] Bassnett, S. (2014). Culture and translation. In Cultural Turn in Translation Studies. Mazdak Boluri translation. Tehran: Nashr -e Ghatreh, 69-43. Dahiyat, I. (1974). Avicenna’s Commentary on the “Poetics” of Aristotle: A Critical Study with an Annotated Translation of the Text. Leiden: Brill. Kamali, M. (2022). A sign of the mask of ancient Greek dramas in the book Asas al-Aqtabas. Ayene Miras. 20(2), 11-34. [in Persian] Lefevre, A. & S. Bassnett (2012). “What stage are we in translation studies?”. How are cultures made? Translated by Nasr Allah Moradiani. Tehran: Nashr Ghatreh, 70-49. Merriam- Webster. (2024). Closet drama. In Merriam- Webster dictionary. Retrieved August 25, 2024, from http://www.merriam-webster.com/dictionary/ closet%20drama. Mohammad Hossein, M. (1947). Al-Hija and Al-Hijaoon in Al-Jahiliyyah. Cairo: Al-Jamamiz School of Al-Adab. [in Arabic] Nicholson, R.A. (1970). The history of Arabic literature in Jahiliyyah and Sadr al-Islam. Translated and researched by Safa Khulusi. Baghdad: Al-Maarif Press. [in Arabic] Nicholson, R. A. (1907). A Literary History of The Arabs. New York: Charles Scribner’s Sons. Yusuf Thani, M. (2021). Aristotle’s Poetics according to Islamic sages. Second edition. Tehran: Research Institute of Hikmat and Philosophy of Iran. [in Persian] Zaif, Sh. (2005). History of Arabic literature. Qom: Dhavi-al-Qorba manifestos. [in Arabic] Zarqani, S.M. (2010). Classic poetics. Tehran: Sokhan. [in Persian] Zarqani, S.M. and M.H. Hassanzadeh Niri (2013). Poetic treatises of Muslim philosophers. Tehran: Sokhan. [in Persian] پژوهشِ پیشِ‏رو بر پایۀ الگوی «تفسیر بافتمند» و با تکیه بر قاعدۀ «سنت به‌مثابۀ بافت» به بررسی بازتاب «سنت انشاد شعر» در زبان نخستین ترجمۀ عربی برجای‏مانده از فن شعر یعنی ترجمۀ ابوبشر متی و مشخصاً ترجمۀ کمدی به هجو می‏پردازد. پیش‏فرض پژوهش این است که انشاد شعر در سنت ماهیت نمایشی داشته و ابوبشر متی به آن توجه داشته است، از این ‏رو هنر انشاد یا برخوانی شعر را باید «بافت متنی» چیره بر ذهن و ادراک او و «متن پنهان» زبان ترجمۀ‏ او از فن‏ شعر ارسطو دانست. بررسی انجام‏شده نشان می‏دهد که برگردان کمدی به الهجا در ترجمۀ ابوبشر متی در دو چیز ریشه دارد: الف) پیوند کمدی و هجو در شبکۀ متنی مبدأ یعنی زبان و ادبیات یونانی با استناد به این واقعیت تاریخی که در کمدی‏های یونان باستان گاه نشانه‏های هجو دیده می‏شود، ب) نمایش‏گونگی انشاد هجو در شبکۀ متنی مقصد یعنی زبان و ادبیات عربی با استناد به گزارش‏های متعدد دربارۀ الگوی نمایشی شاعران در اجرای هجو. امتیاز کار متی، روش تلفیقی او در ترجمۀ اصطلاحات تخصصی فن شعر و ازجمله «کمدی» است، روشی که به حفظ ماهیت نمایشی کمدی در ترجمه انجامیده است؛ برگردان کمدی به هجو، برگردانی «دورگه و آستانه‏ای» و به بافت زبانی ـ ادبی مبدأ و مقصد نزدیک است؛ یعنی در زمینه‏های فرهنگی، ادبی و اجتماعی هر دو ریشه دارد.

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دانشگاه تربیت مدرس فصلنامۀ نقد ادبی 2008-0360 17 68 2025 02 19 The Zero Time of History and Narrative: Micronarratives Deconstructing the Grand Narrative in Beyzaiâs Death of Yazdgerd زمان صفر روایت: شالوده‌شکنی کلانروایت به‌وسیلۀ خرده‌روایت‌ها در نمایشنامۀ مرگ یزدگرد اثر بهرام بیضایی 271 302 18958 10.48311/lcq.17.68.6 FA سعیده مظلومیان دانشگاه خوارزمی بهاره جلالی فراهانی دانشگاه خوارزمی 0000-0001-6381-7016 Journal Article In the play Death of Yazdgerd, Bahram Beyzai challenges the conventional historical narratives surrounding the death of Yazdgerd. The characters improvise both plausible and implausible micronarratives about the king’s murder. The play investigates, on one hand, the grand narrative in which divine power grants the king the authority to govern the populace, and on the other hand, the micronarratives that challenge the logic of this absolutist monarchy. The research also demonstrates Beyzai’s techniques to deconstruct the grand narrative and recontextualizing it within the level of micronarratives. در نمایشنامۀ مرگ یزدگرد، بهرام بیضایی صحت روایات تاریخی دربارۀ مرگ یزدگرد را زیر سؤال می‌برد. شخصیت‌ها به بداهه‌گویی دربارۀ خرده‌روایت‌های نا/پذیرفتنی دربارۀ مرگ یزدگرد می‌پردازند. مقالۀ حاضر از یک سو کلان‌روایت تاریخی را بررسی می‌کند که قدرت ایزدی به یزدگرد شاه حق سلطنت بر مردم را داده است و از سوی دیگر خرده‌روایت‌هایی که منطق این سلطنت مطلقه را به چالش می‌گیرند. این پژوهش همچنین به بیان شگردهای روایی بیضایی می‌پردازد که شالودۀ کلان‌روایت فراتاریخی را می‌شکند و آن را تا حد هم‌ارزی با دیگر خرده‌روایت‌ها فرو می‌کاهد.

https://lcq.modares.ac.ir/article_18958_3347efd591f95b516252b9a131a088ab.pdf