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Volume 8, Issue 1 (3-2017)
Abstract

Language is considered as the basic material in research on literature & mysticism. For the linguistics can enable researchers to achieve functional approaches. Although the presupposition was accounted in the past issue of the more basic subjects in domain of linguistics and newer approaches have shown little interest about this phenomenon by logical analysis, but reflect on some of these issues can assist in the analysis of invisible aspects of the meaning which was usually neglected in generative grammar. The research methodology is descriptive –analytic. It should consider the presuppositions as the specific kinds of conversational implicatures that, particularly, by means of the connectors of the discourse, such as conjunctions (but, so, in addition, etc) transfer the cognitive value of the propositions to the audience. This paper tries to respond to this question that how the presuppositions can figure the evolution of mystical principles in Sama' through its association with the requirements of ontological, epistemological and cultural context of the subject.

Volume 8, Issue 3 (6-2019)
Abstract

Five fungicides, with active ingredients azoxystrobin, imazalil, thiabendazole, azoxystrobin + difenoconazole and fludioxonil + difenoconazole, were tested against two isolates of Fusarium solani and two isolates of F. oxysporum, causing potato dry rot in Mashhad region. PDA media amended with the fungicides significantly inhibited the mycelia growth of all Fusarium isolates incubated at 25 °C for 7 days; however only Imazalil and Thiabendazole completely stopped the mycelia growth of all fungal isolates even at their lower concentration (40 and 5ppm respectively). The mean penetration of F. solani FPO-67 and F. oxysporum FPO-39, the more virulent of the four isolates, after 21 days of incubation at 25-27 °C indicated that imazalil and thiabendazole at concentrations of 1.5 and 2/1000, completely inhibited the penetration of F. oxysporum FPO-39 into potato tubers, but in the case of F. solani FPO-67 all treatments (1, 1.5 and 2/1000) significantly reduced the development of dry rot compared to untreated control. In natural condition, tuber treatment with Imazalil and Thiabendazole (2/1000), prior storage, reduced F. solani FPO-67 development by 68 and 71.69% respectively. According to the results, these fungicides could play a role in integrated pest management against tuber-borne fungal pathogens.
 
 

Volume 8, Issue 3 (7-2020)
Abstract

Aims: Allelopathy and salinity stresses are known as major abiotic factors which limits the growth and production of plants. Environmental stresses such as salinity and allelopathy can affect the growth and establishment of rangeland species; however the interaction of such environmental stress and inter-plant competition (i.e., allelopathic effects) associated with arbuscular mycorrhiza rarely understood. Therefore, this study aimed to investigate the effect of arbuscular mycorrhiza on physiological traits and nutrient uptake of Poa bulbosa L. under the influence of allelopathy and salinity stress.  
Materials & Methods: A factorial experiment was designed with a completely randomized design with three replications. Factors include allelopathy extracted by Artemisia persica Boiss root (treat vs. control), salinity (control, 1, 4, and 8mmol/kg NaCl) and mycorrhizal fungi (mixed and unmixed). The experiment was set up in Malayer University greenhouse in a completely randomized design with factorial layout and 3 replications.
Findings: The stem and root of the studied plant species were higher than those found in non-inoculated treatments at low salinity and allelopathy treatments (p<0.05). Also, in severe stress conditions, mycorrhizal dependency was significantly higher (50.87). Proline content does not show variation under all studied treatments (p<0.05). Chlorophyll content decreased significantly with increasing salinity and allelopathy, but in the presence of mycorrhizal fungi, the rate of reduction was significantly lower and mycorrhizal fungi increased chlorophyll well. Plant nitrogen and phosphorus contents also coincided with the mycorrhizal fungi, showing the highest yield (3.7% and 2.6g kg-1 for total nitrogen and phosphorus respectively).
Conclusion: The growth, establishment and physiological properties of the Poa bulbosa L. are improved under the influence of mycorrhizal application. Thus, the use of mycorrhizal fungi can be a useful biological method to reduce the destructive effects of environmental stresses such as salinity and allelopathy.


Volume 8, Issue 34 (6-2012)
Abstract

Emam Mohammad Ghazali is one of the main thinkers of the World of Islam and two of his books, including “Kimiaye Sa’adat” are the most important books on Islamic ethics and mysticism. The mentioned book covers mystical and ethical thoughts. The ethics considered by Ghazali is based upon religious ethics, which has its roots in Holy Quran. The topic of spirit is one of the most important ethical and mystical topics which Ghazali has studied in his mentioned book. In this study, we elaborate on the issue of spirit in the viewpoint of Ghazali, and we intend to study the roots of his viewpoints. Ghazali was evidently influenced by a number of thinkers and mystical figures such as Avicenna, Abu-Taleb Macci, and Qoshiri. This analytical-descriptive article researches on the views of Ghazali about the spirit in relation to his aforementioned book. Obviously, the study of all of the ideological foundations of an author is not possible. However, research in this regard can relatively reveal the foundation of his ideas and thoughts

Volume 9, Issue 1 (5-2021)
Abstract

In all types of literature, dreams and related phenomena are among the most important foundations of poets and writers, which have been viewed from different angles. In most cases, Rumi does not express his message naturally and is based on a structure based on linguistic habits and the Sufi system of thought. The dream is also intertwined in Rumichr's mind with a multifaceted attitude and finds a different manifestation every moment. In this research, with a descriptive-analytical method and a library method, by examining Rumichr's lyric poems and Levinaschr's book "From Existence to Existence", the concept of a night owl and sleep aversion from the perspective of Rumi and Emmanuel Levinas from the perspective of the American school has been studied. The results of the study suggest that both thinkers believe that drowsiness is one of the first features in the course and behavior and the basis of movement. The invitation of Rumi and Levinas is an invitation to go beyond the situation of a captive human being in the world and to abandon theoretical customs and to engage in true conduct with the help of true awakening and to address the "other". Levinas substitutes another God for an infinite position, and in the opinion of another Rumi, the same is the beloved, and Shams in the position of the beloved is for Rumi a mixture of earthly and heavenly attributes and is similar to what Levinas says about another

Volume 9, Issue 3 (11-2021)
Abstract

This study aims to consider ghazal/sonnet from conceptual metaphor perspective (Lakoff, 1980). The corpus used in the study contains 24 poems (189 couplets) in Persian, Azerbaijani Turkish and English. The results of the paper show that the most frequent target domain in ghazal is “love”. Moreover, central conceptual metaphors in “love” are: A) in Persian: LOVE IS JOURNEY, LOVE IS WINE, LOVE IS TIE, LOVE IS FIRE, LOVE IS AWAKENING, LOVE IS DEAL. B) in Azerbaijani Turkish: LOVE IS OPPRESSION, LOVE IS WAITING, LOVE IS TURNING/TAWAF, LOVE IS SPRING, LOVE IS WINE, LOVE IS SERMON. C) in English: LOVE IS LIVE, LOVE IS UNSTABLE, LOVE IS PARADOX. This study also confirms that linguistic form has a direct influence on conceptual metaphor occurrence in ghazal. According to the findings of the current paper, the central conceptual metaphor plays a key role in versification. That is, central conceptual metaphor in ghazal seems to be the stimulus to the poet.
Nasrolah Emami, Ghodrat Ghasemipour, Ghodrat Zarouni,
Volume 10, Issue 38 (8-2017)
Abstract

From past till now the formation of the ghazal have a constant form and defintions and glint in the persian literature. According to this definitions, ghazal is a form that the first hemistich have a same rime with even hemistich. in this period and simulataneously with popularity of the nimas new poetry efforts began to evolve into the field of a ancient forms including ghazal. This innovations mainly occur for dynamics of these formation and their adaptation to the changes with time. One of the most important and original course in the ghazal course is the new ghazal field that there is in the country in a literary atoosphere In this years we have seen a lot of changes in the field of content and form in ghazal. In this research basd on form transformations we try to describe the types of innovation in the form of the appearance of ghazal but the finding of this study show that the most important of them are: 1.change in the form of writing and the system of ghazal lineage. 2. Nimas ghazal formation. 3. Take ghazal visitingly. 4. Put the synonym beyt together. 5. Blending with other formation. 6.Writing the beyt regulary, 7. Bring two hemistich in one beyt, 8. Use of punctuation makes in the frame of the ghazal, 9. Divide the ghazal into several part, Finishing in ghazal technique, This is a research article to survey this techniques, aesthetic and provide examples and analyzes around them and finally a brief discussion a bout the pathology of this techniques. Different.

Volume 10, Issue 47 (12-2022)
Abstract

The biography of Amir Pazvari, the most famous vernacular poet of Mazandaran, is accompanied by many speculations due to the lack of documents in history and literature, and the attribution of collected Amiris to Amir Pazvari is also debatable. Therefore, this paper aims to provide a different representation of this vernacular poet and his poems by examining the studies conducted on Amir Pazvari and Amiri. Criticism and analysis in various studies show that due to the vagueness of the poet's life, the uncertainty of the time and place of his death, and the doubts about the accuracy or inaccuracy of the attribution to Pazvar, the identity of the poet who became famous as Pazvari should be viewed doubtfully. Since there is no historical document showing Amir to be from Pazvar, the last name Pazwari was replaced with Mazandarani due to laxity and negligence. Also, in the oldest and most detailed version found, there is no famous Amiri to be cited as a representation of the poet's origin in Pazvar. The Amiris collected in Kanzalasarar Mazandarani, which was later published under the name "Amir Pazvari Divan", are not composed by Amir Pazvari himself. The existence of poems by other poets with reference to Mazandarani's Kanzalasarar, the study of Amiri's stylistics, especially the contrast between the antiquity and the novelty of using verbs and words, the disagreement of researchers on the rhythm and format, as well as the difference in the number of Amiri's published, confirm this idea.
 

Volume 11, Issue 1 (3-2020)
Abstract

A significant part of the Iranian dialectology literature consists of older researches which are still referred to and utilized; such as Oranski (1960), Mackenzie (1966), Blau (1989a & 1989b). Nonetheless, their achievements need to be re-examined through detailed documentations, within modern theoretical frameworks and methodologies as well. The older studies on Hawrami by western linguists should also be placed in this collection. The speculations about the status of Hawrami within the Iranian languages family have always been needed to be scrutinized and accredited. There is adequate evidence that reveals historical relationship between Hawrami and different Iranian Languages, which in turn furnishes us with new speculations on the status of Hawrami within the Iranian languages. For instance, we can refer to similar behavior of Hawrami and Baluchi in retaining the historical “labialized voiceless uvular fricative” [Xw] in the form of a “labio-velar approximant” [w]; compare: [wQS] ‘good’ and [w«́n+i] ‘blood’ in Hawrami with [wQS] or [wQSS+ín] ‘sweet’ and [w«n] ‘blood’ in Baluchi.
Another observation discussed in the present article refers to the geographical area of Zagros, and the similar behavior of Hawrami and some south western varieties of Iranian languages. In the mentioned southwestern varieties, underlying alveolar plosives /d/ and /t/ in certain contexts appear as different variants of a voiced dental fricative [D]. This segment has been called ‘Zagros [d]’ and shown by [d] symbol (Windfhur & Arbor, 1989: 251-262). It is the same segment referred to as ‘Zal/Dal Muˊjam’ in older Persian texts (see Natel Khanlari, 1988:50-52). In the present article, compelling evidence is presented to extend the domain of Zagros [d] in order to include Hawrami as well. But, it should be noted that Zagros [d] or ‘Zal/Dal Muˊjam’ in Hawrami has some differences with the southwestern variants that are explained in detail.
In order to maintain validity and reliability, the research is limited to the city of Paveh, which is the largest speech community of Hawrami speakers. The present research, in a descriptive-analytic way, utilizes the theory and methodology of the ‘Rule based Generative phonology’ to explain the regularities under discussion (see Kenstowicz, 1994 and McCarthy, 2007). The problem first discussed in Naghshbandi (1997); nevertheless, its description is not precise and complete. For this reason, in the present article, a new phonetic description of Zagros [d] in Hawrami, its underlying representations, the phonetic context, and an updated analysis and explanation of this phonetic segment are presented. Hence, the following questions are answered here: a) what is the relationship between Hawrami and other varieties of Iranian Languages and what is the status of Hawrami in this regard? b) What is the status of ‘velarized alveolar approximant’ [¨ì] within the sound system of Hawrami?
One of the exclusivities of Hawrami sound system is retaining Zagros [d], manifested as ‘velarized alveolar approximant’ [¨ì]. This segment has some relation with /d/ and /t/ in this language variety. This finding can be as evidence for the close relationship of Hawrami with some southwestern varieties; a relationship has not already been paid attention.  The relation of ‘velarized alveolar approximant’ [¨ì] with [d] and [t], within the sound system of Hawrami is also explained based on ‘Rule based Generative phonology’. By investigating the corpus, we can find that [¨ì] alternates with [d] and [t].
[¨ì] and [d] appear in the following contexts:

For example in words: [dwÁrd+i] 'scissors', [/a¨ìÁ] ‘mother’, and [nawí¨ì] ‘Navid (proper noun)’
 
 
[¨ì] and [t] appear in the following contexts:

For example in words: [goùSt] ‘meat’, [tHutHá]’dog’, [phatlìá] ‘wheat meal’, [góùS+«¨ì] ‘your ear’, and [di+¨ì] ‘you saw him’.
Based on ‘corpus internal and external evidence’; and the criteria of ‘frequency of occurrence’, ‘phonetic plausibility’, ‘phonological naturalness’, and ‘universal tendencies’ /d/ and /t/ are conclusively underlying the different realization of [¨ì].
In conclusion, [¨ì] in Hawrami is considered as a contextual variant of /d/ and /t/, and it is a remnant of Zagros [d] or ‘Zal/Dal Muˊjam’. This finding proposes new aspects in the relationship between Hawrami and other Iranian languages. It also challenges the claims on the relationship between Hawrami and Caspian border languages or Central varieties.
 

 


Volume 11, Issue 3 (7-2020)
Abstract

In the story of the Edrissis' House, social perceptions and habits, apart from being able to form a historical study, depict social causes and reflect the author's mentality and social situation. The main points of the story are wandering characters who are immersed in the foggy and bitter memories of their past as if reviewing these memories is sweet or very annoying and painful for them. Mrs. Edrisi, the owner of the ancestral home (Edrissis' House), is still stunned by the fantasy of her youth and her love for the fire brigade. In this story, spatial, temporal, and narrative themes are the tools to describe realistic and critical structures. After the Bolshevik and workers' revolutions, Mrs. Edrisi, a member of the aristocracy, has witnessed profound changes in the urban situation amid popular discontent. The narration in this story is an excuse to describe and explain the linguistic structures and meanings that lie on the one hand and social realities and political conflicts on the other. In the context of Edrissis' House, "meaning" plays out the form and content of the narrative, to remove the potential of Alizadeh's language from the linear barrier and to define the subject in the heart of a dynamic and out-of-structure process. Therefore, to clarify the game of narration from the perspective of semiotics in this story, the position of the sign and its structure must be identified to some extent. For poststructuralists, language systems, events, and events are formed over time. Kristeva, a Bulgarian psychoanalyst, linguist, and poststructuralist philosopher, reviewed her linguistic structures by writing her first book, and investigated the Semantic features , emphasizing literary and poetic texts in historical and social contexts. She showed the dynamics of sing by which processes change themselves. Chora is a symbol of Kristeva's energy, dynamism, and vibrancy, her inner drive, and signifier of language. Thus, the identification of linguistic cues for Kristeva is "the study of the mechanisms of production, transmission, and reception of meaning". In this article, we will try to answer questions about the analysis of symbolic structures and sign language in the novel of the Edrissis' House and pave the way to research in similar contexts. Although we see the presence of both realms in the story, it is a symbolic realm that deeply affects "meaning" in Alizadeh's view. As mentioned above , the destruction of the linear course of the narrative in the story, affects the linguistic structure of Alizadeh and shows the linguistic reality before the author's consciousness.
The novel Edrissis' House, always depicts a few unfinished and wandering stories, the realistic appearance of which contains analytical and obscure signs of the past. This is the realm of signs that leads the nests and the amalgam to the language. In other words, this emotional and fragmented dimension of language is fluctuating, it requires identity and signification for itself, and it puts the subject's consciousness in suspense, so that the meaning is not of the material and conscious type, but based on the inner motivation and drive of production. Thus, the unveiling of emotional and emotional structures and the penetration into the inner layers of motivational language, a reflection of the field. It is a language that has been suppressed and needs to return. Alizadeh prioritizes the nature of language and re-represents its nature to provide the reader with the conditions for understanding and recognizing it. In fact, Alizadeh shares her experiences in the context of narrative and social contexts - which also include language itself. Retrieves - gives meaning and, by searching for intra-cultural links, shows semio-semantic functions for textual structures. Thus, in semiotic analysis of Alizadeh's text, the signifiers lose their order and become dynamic and irregular to evoke the return of the blind or the "command of oppression." Hence, the suppression of female mental beauty shows the focus and symbolic structure of Alizadeh's language. This process itself becomes the originator of language. A language keeps emotions stored and registered in the subconscious layers of meaning. A language in which the interaction with the environment takes the form of unconscious reactions. In the story of the Edrissis' House, Alizadeh, amid its sharp and biting realism, is deeply influenced by the field of symbolism, because the symbols transform its subjects. The emotional burden of the narrative language becomes more and more imposed on readers.
The novel of Edrissis' House is the story of the Tsarist Russian Bolshevik Revolution, which illustrates these two linguistic areas well. And the position of Alizadeh's heroes is manifested not only in language but also in physical motivations. In this story, the environmental space of the Edrissis' House represents the symbolic space of language, which dominates the ample space and profoundly influences the process of signification. In fact, according to Alizadeh, language as a social act necessarily has these two tendencies of symbolism and semiotics because these two linguistic domains produce meaning.  Therefore, according to Alizadeh, this matter and the feminine (symbolic) domain is the reproductive text that forms the masculine (symbolic and lawful) matter of the apparent text and precedes the cultural, social and historical rules. The subject of Alizadeh, inspired by her feelings and energy in the heart of nature and the unconscious, creates a system of signification and discourse. Overall, the linguistic signs in this story are unstable, repressed, spontaneous, and emotional. This rupture reproduces the symbolism of "meaning" and, according to Kristeva, is revolutionary in the realm of signification and semantics. Hence, language and subjectivity are intertwined for Alizadeh’s point of view. For this reason, the realm of symbolism is the style and representation of unwanted signification. 
 


Volume 12, Issue 1 (6-2022)
Abstract

The purpose of this study was to examine and identify the perceptions of employees on the eve of retirement of the electricity industry about retirement to achieve a deeper understanding. Accordingly, using Zaltman's metaphorical extraction technique, the cognitive structures of employees have been studied and analyzed. The study participants were 12 people and were selected among the employees on the verge of retirement in the electricity industry using the concept sampling method. Then individuals were asked to select images for the interview session that they considered to mean retirement. In the interview session, questions related to the images were asked and then the answers were analyzed in order to discover the concepts. A total of sixteen structures were extracted, including "inevitable", "starting again", "fear and excitement of entering a new life challenge", "separation from work and loss of role", "rest, discovery and pursuit of individual interests", "Freedom and release from the cage" and "Emotional deprivation" were identified as the main structures in the consensus plan. According to the consensus plan, "start again", "separation from work and lack of role" and "inevitable", causal structures, "emotional deprivation", "fear and excitement of entering a new life challenge" and "rest, discovery and pursuit of individual interests" were considered as affected structures. The consensus map shows that the organization should take into account the relationships between structures, while strengthening the positive mentalities, change the negative mentalities of employees on the verge of retirement, and repair the retirement challenges associated with it.


Volume 12, Issue 3 (12-2024)
Abstract

Criticism of new historicism has been formed in opposition to traditional historicism. Contrary to traditional historicism, which speaks of the one-sided influence of history on literature, new historicism believes in the mutual influence of literature and history on each other. The story of Bahram and Golandam is one of the remarkable poems in Kurdish literature, which are called "Beit". Beits are syllable-weighted folktales recited by beit readers. It can be said that there are some similarities between the stories of Bahram and Golandam and Zal and Rudabeh. Therefore, it is possible to measure these two stories with each other. In this research, relying on library and documentary studies and with an analytical-comparative approach, we have tried to give a reading of the two stories in question based on the concepts of new historicism. The findings show that although both stories are apparently romantic and the conflicts are about love and marriage; But inside the story, power and discourse interests are fundamental issues. Every discourse tries to maintain its political and social interests.
 

Volume 12, Issue 56 (5-2024)
Abstract

Culture and worldview form the foundations of a society’s existence and knowledge, which are transformed by various external and internal factors. One of the platforms that embodies these infrastructures in every culture is folklore narratives, the analysis of which can be used to recover sources that are less visible in historical documents. According to historical evidence, matriarchy culture in Zagros was the dominant social phenomenon before the widespread presence of Aryan peoples in the Iranian Plateau. Such phenomena bring with them certain subcultures and social customs that are represented at different social and literary levels. Exogamy is one of the characteristics of matriarchal culture, which can be found in the oral literature of Kurdistan. While examining the data on exogamy based on the worldview of matriarchy by using its data, the present study analyzes the content of three popular Kurdish oral narratives in an analytical-descriptive manner and shows that action and conflict in these narratives are the result of the clash of two cultures of exogamy (ex-marriage) and endogamy (in-marriage).
, Parsa Yaghoobi Janbeh Saraee,
Volume 13, Issue 50 (5-2020)
Abstract

Considered as the climax of the text-narrative, the ending of a text often includes the resolution. However, depending on the dominant epistemology of the text and the status of textual subjects, the ending can also lead to other implications. Among classical Persian texts, the endings of some mystical texts, including the ghazals in Dīvān-e Šams, are distinctive. In this paper, the endings of the ghazals in Dīvān-e Šams have been interpreted in a descriptive-analytic way. The analysis showed that the narrator-lover of the ghazals, in line with the epistemology of the text, appears as the temporal subject of the text at the beginning, but rejects the role at the end and by employing silent speech acts, retracts to the prelinguistic world. In other words, in nearly most of the ghazals the narrator-lover represents the anxiety and longing for the lost unity at the beginning, but in the end, by employing two sets of silent speech acts (“silence as not speaking”, and “silence as speaking for other”), renounce to the present moment. Therefore, the studied ghazals do not come to an end and by using a circular structure, they perplex the reader-participant with an unfinished experience, allowing the reader to feel as part of the represented experience.


Volume 13, Issue 54 (8-2015)
Abstract

Crucian carp (Carassiu sauratus) is one of the economic species of Anzali wetland. In recent years, the demand of high consumption was found, because of its low price and high level of catch. This study focused on accumulation of heavy metals(Cd, Pb and Zn) in the edible tissues of Crucian.Sampling were done in 3  stations (West,Center and East) of Anzali  wetland in 1391. In this study 10samples were collected from each site in the standard weight by grill net, randomly. After separation of tissues, preparing of samples were conducted by using of wet digestion method and  mixed acid ( HNO3/HCLO4).After filtration, the prepared samples were determined for Cd, Pb and Zn by  using a flam atomic absorption spectophotmeter (AA),SHIMADZU model 680.The levels of metals were compared with the standard of American Food and Drug Administration (FDA)  and the world Health Organization (WHO). The average concentrations of cadmium in the soft tissue of crucian were 0.07 , 0.05 and 0.05 μ g / g dry base for West, East and Center of Wetland. For Zinc, average concentrations for West,Center and East were 58.45, 46.4 and 49.7 μ g / g dw, respectively. The result showed that,there were not significant differences (P>0.05) between stations about the Cadmium, Lead and Zinc in the tissues of Crucian. Concentrations of Pb and Zn were higher than of standars levels of WHO and FDA.

Volume 14, Issue 4 (10-2023)
Abstract

The present article aims to analysis Rumi's discourse in Shams's Ghazaliyat based on "Interpersonal Transcendence" within the framework of Halliday's role orientation. In studying and examining the texts, what is important is to understand the message and the author's main purpose of writing that text. In literary texts, the speaker's meaning is not always what it seems to the audience at first glance. Rather, concepts and layers of hidden meaning are brought behind the apparent words that contain the main purpose of the author. Reaching the author's intellectual world and worldview creates a deep and different mental space for the reader. This research answers these questions, how is Halliday's role-oriented systematic order efficient in the analysis of literary texts. In the interpersonal trans-role, how to deal with a larger structure than the text, and the possibility of analyzing the text is created. The hypothesis of the research is that the transpersonal role increases the interaction between the speaker and the audience and creates a more open space for discourse analysis. The statistical population is ghazaliyat Shams and the method used is analytical-descriptive. This research has shown that Halliday's role-oriented systematic theory is efficient in the qualitative and quantitative analysis of the text, in the discourse analysis. Based on the interpersonal role, the speaker's interaction with the audience and the characteristics of Shams's ghazaliyat have been determined, and the possibility of discourse analysis has been established.

 
Sepide Aghababaei Roodbari, Jalil Moshayedi, Hassan Haidary, Mehrdad Akbari Gandomani,
Volume 15, Issue 57 (7-2022)
Abstract

Simin Behbahani, Hossein Manzavi, and Mohammad Ali Bahmani, together forming the new Persian Ghazal (short lyric poem) triangle, made significant changes in contemporary Persian Ghazal. Iranian poetry and prose quickly incorporated symbolism into their poetry and prose as one of the essential schools of modern literature. In this study, the researchers have analyzed about 400 symbols in the new Ghazal of the mentioned poets, according to Mahmoud Fotouhi's division of symbols into three categories: micro-, macro-, and structural symbols. They include the analysis of statistics and frequency of symbols, the origins, the concepts, the factors of creation, and the analysis of samples. Among the 326 micro-symbols studied, nature with 73% is the most important source, with a frequency of 326 applications. There are about 14% human symbols and about 11% human-made structures. The Ghazals of the period make little use of macrosymbols. Nevertheless, the organic symbols that have developed into a new art form in contemporary literature appear frequently in Ghazals of Simin, appearing 69 times, making her work distinguishably different from others.
Extended Abstract
Introduction
Symbolism is based on axes such as ambiguity and polysemy, and symbols are signifiers that, in addition to explicit concepts, also refer to implicit concepts. The French philosopher and writer Paul Ricoeur, in defining the symbol, says that every signifying structure, has not only the specific and direct primary and literal meaning, but also another meaning which is indirect, secondary and virtual, and this other meaning is obtained only through the primary meaning (Ricoeur, 1974/a, p. 12).
In contemporary literature, symbolism is one of the important schools that has quickly opened its place in Persian poetry and prose. New poetry has been a pioneer in this field with the initiation of Nima Yooshij, and as a result, classical poetry, including the form of ghazal and then the new ghazal, has seen such developments.
Simin Behbahani, Hossein Monzavi and Mohammad Ali Bahmani, as the three sides of the new ghazal’s triangle, made fundamental changes in contemporary ghazal. Among these changes, these poets approached symbolism by implicit expression of political and social issues in order to avoid the consequences of frankness and clarity of speech.
Symbols are generally divided into artistic and non-artistic ones according to the nature of their function. Rhetoricians divide symbols into different categories in terms of their innovation or circulation, the most important of which are conventional or public symbols and individual, personal or innovative symbols. Mahmoud Fotouhi considers the relation of symbol with the texture of poetry to be studied in three parts with a structural and conceptual view. In this article, the authors have analyzed the symbols in the new ghazal, according to its three categories in the book of “rhetoric of image” with the titles of micro-symbols, macro-symbols and organic symbols.
Methodology
The methodology of the current study is based on the nature of data in accordance with the descriptive and analytical model and the purpose of selecting this model was to identify the symbols and then to analyze the content from statistical, stylistic, structural, aesthetic and categorical perspective.
Results
By studying the collection of ghazals of the pioneers of new ghazal, Simin Behbahani, Hossein Manzavi and Mohammad Ali Bahmani, the authors have extracted about 400 symbols and analyzed them in three sections of micro-symbols, macro-symbols and organic symbols based on Mahmoud Fotouhi's categorization. And in fact, this article looks at categories that include: statistical and frequency analysis of symbols, their origins, their concepts, innovations, factors of creation, comparison and analysis of samples and data. In the study of micro-symbols, with a frequency of 326 applications, the element of nature with about 73%, has the most important origin. Human symbols with about 14% and human handicrafts with about 11% are in the next stages. Macro-symbols have been used sparingly in the ghazals of this period, but the organic symbols that have formed a new artistic form in contemporary literature, have a significant frequency in the ghazal of Simin Behbahani with a frequency of 69 items. It can be considered as one of the special features and distinct characteristics of her ghazals.
Conclusion
The result of this article can be divided into four categories:
1. Origin: Organic symbols have more than two origins, human and nature, but micro-symbols of this period are notable in terms of their high frequency.
a) Nature: In the study of the micro-symbols of the new ghazal, the element of nature has a more significant frequency, which has appeared respectively in Behbahani, Monzavi and Bahmani’s ghazals. Among the various elements of nature, the element of color and nature in its general meaning, and in the next stage, the element of time, are the most frequent.
b) Human: Micro-symbols with human origin of ghazals of this period are not very frequent. In this section, dominator is symbols with mythological origins and the most important reason for its emergence is the political and social content of the ghazal of this period and its goal is motivating the audience.
c) Human handicrafts: Micro-symbols of this period with the origin of human handicrafts have been found to be less frequent than other patterns. What seems remarkable in this area is the fifty percent use in Bahmani's ghazals.
2. Innovation: The micro-symbols of this period, although considered new in contemporary literature, are not personal; and symbols that are more personal, sometimes had occasional uses in the poems of others. However, in this section, the organic symbols of Simin, such as Koli, Sara, Ilkhan va Zohre, Khar haye zesht, Neyzar, etc. can be considered as personal and private symbols of the poet.
3. Concept: Symbolism in Persian poetry and literature is fundamentally different from its western version, which is based only on artistic arrangements, emphasizing on the doctrine of "art for art's sake”. In the ghazals of this period, the symbol is considered as one of the dominant artistic functions among the various forms of imagination. But of all these rhetorical techniques, none has found more anti-oppressive function.
4. Factors of creation: The factors of creating the micro-symbols of this period are mostly socio-political issues of the poet's time and artistic requirements, then intellectual, philosophical, spiritual and psychological factors. In organic symbols, domination is with socio-political factors that we sometimes see the combination of various factors in Simin's personal symbols in which both political and social issues, intellectual and philosophical ideas, even issues and psychological sufferings of this group are discussed.
 


Volume 16, Issue 5 (11-2016)
Abstract

Aromatic aldehydes are toxic compounds present in different waste-waters coming from the chemical and petrochemical industries. Their environmental fate may end up by their occurrence in the ground water through the infiltration/deep percolation processes of rain and snow water. Therefore, this kind of substances is contained not only in various industrial wastewaters, but occasionally also in drinking water. Hence, the degradation of such compounds in water and wastewater is still of special interest for many researchers. Benzaldehyde is an aromatic aldehydes used chiefly as a precursor to other organic compounds, ranging from pharmaceuticals to plastic additives and it has been classified as a hazardous substance by the United States Environmental Protection Agency. As a result, the use of alternative treatment technologies, aiming to mineralize or transform refractory molecules into others which could be further biodegraded, is a matter of great concern. Among them, advanced oxidation processes (AOPs) have already been used for the treatment of water and wastewater containing recalcitrant organic compounds such as pesticides, surfactants, colouring matters, pharmaceuticals and endocrine disrupting chemicals. Moreover, they have been successfully used as pretreatment methods in order to reduce the concentrations of toxic organic compounds that inhibit biological wastewater treatment processes. The main mechanism of AOPs function is the generation of highly reactive free radicals. Hydroxyl radicals (HO•) are effective in destroying organic chemicals because they are reactive electrophiles (electron preferring) that react rapidly and nonselective with nearly all electron-rich organic compounds. They have an oxidation potential of 2.33 ev and exhibit faster rates of oxidation reactions comparing to conventional oxidants such as O3. The diverse methods used for generating these radicals are photo catalysis and sonochemistry methods. A new alternative sonochemistry approach offers a solution for combating the persistent water and wastewater organic pollutants. Sonochemical degradation could be used for organic pollutant removal in aqueous solutions. The advantages of using ultrasound irradiation are the simplicity of its use , the ultrasound does not require additional chemicals, and it can be used for treatment of turbid solutions. In this research, ultrasonic/H2O2 advanced oxidation process has been studied for degradation of aqueous solution of benzaldehyde. The effect of key parameters such as ultrasonic frequency, ultrasonic amplitude, time, pH of solution and initial concentration of the benzaldehyde on the removing rate of benzaldehyde are investigated. Different concentrations of benzaldehyde and H2O2 were prepared and the solutions were exposed to ultrasonic treatment (UP 400S model). The experiments was carried out in a batch reactor for 60 min and each 5 min an aliquot was taken from the solutions. Absorbance of sampling solutions was recorded by UV-Vis spectrophotometer of Hack (DR 5000-15 V model). The results show that, the removal rate increases with the increase of time, ultrasonic frequency and amplitude and decreases with the increase of solution pH, H2O2 and benzaldehyde concentrations. As data shown, the degradation of benzaldehyde in ultrasonic/ H2O2 process best fitted by pseudo first order kinetic. It can be conclude the combined of ultrasonic/ H2O2 led to 91% degradation of benzaldehyde after 60 min.
Seyed Mohammad Hosseini-Maasoum, Hamid Reza Shairi, Marjan Akbari,
Volume 16, Issue 64 (12-2023)
Abstract

Passing from classical structuralist narrative semiology with a text-centered view and deterministic meanings towards semiotics is a transition from action and programming towards interaction. In classical semiology, the current of meaning is exclusively shaped through action and predetermined program and toward gaining the value object. But in semiotics, meaning is formed by creating a sensory-perceptual relationship with the phenomena, and is perceived through interaction with another person or co-subject. Such a meaning cannot be investigated only with semantic regimes of classical semiology, i.e. action and manipulation. Therefore, Landowsky proposed two complementary regimes, i.e. adjustment and accident. The present research probes to find what actions by the characters in Zal-and-Rodabe show the adherence of actors to Landowsky's regimes of interaction. It was found that when faced with challenges, some characters first follow a specific regime of interaction, but later, become inclined to other regimes. Others continue to adhere to a single regime. Examining the interactions shows the transition from the classical narrative regime based on action and program to the modern narrative based on interaction, which ultimately results in the unification of the characters towards the realization of a forbidden love.
Introduction:
Passing from classical structuralist narrative semiology with a text-centered view and deterministic meanings towards semiotics is a transition from action and program-centeredness towards interaction. In classical semiology, the stream of meaning is exclusively shaped through action and a predetermined program and toward gaining the value object. In fact, what is obtained is external to the actor and is the end that the actor intends to achieve. Therefore, it can be considered extrinsic and goal-oriented. Movement is also included in this regime because one place must be left and some stages must be passed so as to reach the place where the desired object is.
But with the turn of semantic studies towards phenomenology and the emergence of a new field called semiotics, we witness the introduction of new words such as "body", "perception" and "sensory-perceptual relationship" into meaning studies. In semiotics, meaning is formed by creating a sensory-perceptual relationship with the phenomena and is perceived through interaction with another person or co-subject. Such a meaning cannot be investigated only with semantic regimes of classical semiology, i.e. action and manipulation. Eric Landowsky’s introduction of the two complementary semantic regimes of adjustment and accident happened in line with this turn.
In the semantic regime of adjustment, a bilateral interaction is formed between related narrative factors as a consequence of a sensual affair. In fact, the two parties involved in the interaction feel each other and transmit this feeling to each other and sometimes to the entire narrative. In the regime of accident, which is based on luck and fortune, the interaction is realized by accident; the system is meaningless, and luck is shown in its purest form.

Method:
Linguistics provides scientific tools for the study of language and literature. Indeed, literature is a place for the manifestation of language in different forms and through the interaction of linguistics and literature, the discovery of meaning becomes possible. Therefore, re-examining ancient texts, trying to find patterns and semantic regimes, along with the use of linguistic theories facilitate the discovery of the meaning formation mechanisms.
As a classic work and a great example of an epic narrative, Ferdowsi’s Shahnameh has various micro-narratives that are the objective manifestation of this phenomenon. The formation of meaning in these micronarratives is the result of the integrated function of these four regimes. One of the most interesting of these micronarratives is the story of Zal and Rudabeh. The present research was carried out using a descriptive analytical method and samples were selected from all parts of the story.
The researchers first investigated the important and prominent parts of the story and then extracted the behaviors and reactions of the characters in the story when faced with the events. These reactions were analyzed based on Landowsky’s four semantic regimes. In this regard, the narrative was divided into three important periods in the life of the protagonist: Zal’s birth and isolation, taking him back from Simorgh (phoenix), and Zal’s love for Rudabeh. Then, the lines of the poem were anallyzed to identify the challenges and tensions of each period. The behavior of the main narrative characters against those challenges and tensions was reviewed in order to determine the degree of conformity of each performance with Landowsky's four semantic regimes. Since events in the story of Zal and Rudabeh contradict the wishes of the main actors, and because their thinking and action fail to solve these problems, the narrative stream pushes them towards adjustment and sometimes accident and thus becomes the solution to the challenge and tension.
In the present paper, an attempt is made to find manifestations of these four regimes in the behavior and reactions of the narrative characters. In more precise terms, the main problem of this research is to examine the degree of conformity of the narration and the interactions of the actors and the characters in the narrative Zal and Rudabeh with the fourfold semantic regimes proposed by Landowsky. In this research, we are trying to see which of Landowsky’s semantic regimes corresponds to the meaning-making process in Zal and Rudabeh narrative when the main characters or actors face challenges.

Results
Using semantic regimes is one of the methods of creating meaning in narratives. These semantic systems help the narrative actor to advance narrative goals and overcome challenges and tensions. In the story of Zal and Rudabeh, two challenging tensions in the course of the story encourage each of the characters to act and apply these semantic regimes. Some of the characters of the narrative follow a specific semantic regime at the beginning, but in the middle of the story, they tend to shift to other semantic regimes. Still, some others continue to adhere to a single semantic regime. What can be raised at the end of this research is that the characters reach a consensus in order to achieve the fruit of love, which happens against the general norms of society. In fact, the course of events in the narrative has proved the ineffectiveness of action and program and reveals the necessity of creating bilateral communication and interactions in order to solve the narrative challenges. In the end, the outcome of the events in this story is towards the interactions of the actors and reaching the fusion.
This merging takes place through the actions of the actors to interact with each other, i.e. Zal’s letter to his father, Sindokht’s visit to Sam, and Sam’s letter to Manouchehrshah. In the end, this chain of communication and interactions causes feelings and sensory connections to emerge in the form of consensus towards the acceptance of a forbidden love. This finding of the research can be considered a new achievement in the criticism and analysis of the narrative of Zal and Rudabeh.
One of the most interesting points in the analysis of such narratives is the change in the structure of the narrative and the movement from the classical narrative to the modern narrative (cf. Shairi, 2019. b). Therefore, this convergence is the result of the movement from the classical narration to the modern narration. The turning of the narrative is from mere programming towards interaction and creating a sensory relationship. The actors who, in the course of the narrative, were striving to obtain value or objects in the outside world, simultaneously reveal aspects and ways of living differently and looking differently through interaction and agreement with each other.
Keywords: semiotics, narrative, regimes of interaction & meaning, Eric Landowsky, Zal and Rudabe
 


Volume 17, Issue 7 (12-2015)
Abstract

In the present study, the effect of two species of AMF, Glomus mosseae and Glomus intraradices, alone and in combination, was evaluated on the growth criteria, chlorophyll content, and root rot disease caused by Fusarium solani f. sp. pisi, on chickpea (Cicer arietinum L.) under greenhouse conditions. Chickpea seeds were sown into pots containing 100 g of AMF inoculum (more than 1,000 propagules g-1) and, after four weeks, root of seedlings were inoculated with conidia suspension (106 conidia mL-1) of F. solani f. sp. pisi. Six weeks after pathogen inoculation, shoot and root dry weight, shoot height, chlorophyll content and mycorrhizal and Fusarium colonization were measured. Results showed that inoculation of G. mosseae was more effective than G. intraradices and dual inoculations (G. intraradices+G. mosseae) on the above criteria. Inoculation of F. solani f. sp. pisi without AMF treatments reduced shoot height, shoot and root dry weight, and chlorophyll content significantly compared with the control. In the presence of AMF, root colonization by F. solani f. sp. pisi and disease severity decreased and individual inoculation with G. mosseae was more effective than the other treatments. Inoculation of G. mosseae and G. intraradices caused a significant increase in plant height, shoot and root dry weight, and chlorophyll content of pathogen-inoculated plants compared with inoculated chickpea plants with F. solani f. sp. pisi. Based on the results, application of G. mosseae was found to be the best for reducing the root rot disease and improving plant growth parameters of chickpea, followed by G. intraradices and dual inoculations.

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