per
دانشگاه یزد
کاوشنامه زبان و ادبیات فارسی
2645-453X
2645-4548
2018-02-20
18
35
1
29
1092
Research Paper
استعاره مفهومی؛ الگوی ادراکی تجربة عرفانی سهروردی در «عقل سرخ»
A Study of the Relation between Mystical Experience and Metaphorical Language in Suhravardi’s “Aghl-e- Sorkh”
نعمت الله پناهی
panahi_947@yahoo.com
1
دانشجوی دکترای زبان و ادبیات فارسی دانشکده ادبیات و علوم انسانی دانشگاه فردوسی مشهد
نظریۀ معاصر مدّعی است نظام ادراکی انسان اساساً استعاری است و استعاره بهشکل ناخودآگاه و غیراختیاری، در زندگی روزمرّۀ انسان بهکرّات بهکار میرود. این دیدگاه را نخستینبار در سال 1980 جورج لیکاف و مارک جانسون با انتشار کتاب استعارههایی که با آنها زندگی میکنیم مطرح کردند. نگرش استعاری سهروردی در روایتهای شهودی خویش عنصر بلاغی مسلّط بر سبک شخصی اوست. بر این اساس در این مقاله ابتدا به دستگاه فکری و نظام معرفتی «حکمت اشراق» پرداخته شده است. همچنین تجربۀ عرفانی سهروردی در رسالة «عقل سرخ» که در قالب زبان استعاری ظهور یافته، طبق نظریۀ استعارة مفهومی بررسی شده است. درنتیجه با تبیین مفهوم «تجربۀ عرفانی» و تحلیل زبان استعاری، نظام استعارهپردازی شیخ اشراق حول دو کلان استعارۀ «تن قفس است» و «روح پرنده است» و استعارههای وابسته به آن قابل شناسایی است. همچنین نشان داده میشود که زبان استعاری سهروردی در رسالة «عقل سرخ» کوشش خلّاقانهای است برای تجسّم بخشیدن به عالم مثال که از ابداعات اصلی اوست.
The new outlook on metaphor opposes the traditional outlook. The new idea of the outlook rejects the idea that metaphors have an absolutely linguistic and literary nature. This outlook introduced by Lakoff and Johnson in their work called "Metaphors". Liveby (1980) believes that people make use of metaphors in their daily lives. Metaphorical attitude of Suhravardi makes allegory a dominant rhetorical element in his style. To show his theosophical world, Suhravardi mostly used metaphoric concepts. In this paper, by referring to the ontological system of Suhravardi which is known under the name of “Hikmat-I Ishragh”; the relation between mystical experience and metaphorical language in Suhravardi’s "Aghl-e- Sorkh" is examined. The theory of conceptual metaphor is being used as theoretical frame work. In conclusion by recognizing the function of “"God is light” and “Spirit is bird” as macro metaphors it is possible to analyze the metaphorical system and cornerstone of thoughts of Suhravardi. Metaphorical mapping makes appropriate categories for Suhravardi 's abstract analysis and shows intratextual coherence of "Aghl-e- Sorkh" with primary mapping.
https://kavoshnameh.yazd.ac.ir/article_1092_d427cce12c3dd32e6d5bcc4a5777ad5c.pdf
استعارة مفهومی
تجربۀ عرفانی
عقل سرخ
شهابالدّین سهروردی
عرفان اسلامی
Mystical experience
Conceptual metaphor
Suhravardi
Aghl-e- Sorkh
Lakoff and Johnson
per
دانشگاه یزد
کاوشنامه زبان و ادبیات فارسی
2645-453X
2645-4548
2018-02-20
18
35
31
60
1082
Research Paper
مؤلّفههای مفهوم سکر در متون عرفانی
Different Aspects of the Concept of Sūkr in Mystic Texts
بهروز سلطانی
behrouz.soltani@yahoo.com
1
محمدکاظم یوسف پور
yusofpur@yahoo.com
2
دانشجوی دکتری دانشگاه گیلان
دانشیار دانشگاه گیلان
منابع دست اوّل و دوم عرفانی در توصیف مفهوم سکر، از مؤلّفههای مختلفی بهره بردهاند که باعث ابهام و اختلاف زیاد در فهم آن شده است. این مقاله با رویکردی مفهومشناختی از طریق توصیف و تحلیل، به ریشههای نظری و تأویلی سکر در قرآن، حدیث و روایتهای اسلامی و عرفانی و عرفی پرداخته و پس از شناسایی 12 مؤلّفۀ مفهوم سکر در منابع عرفانی، آنها را به مؤلّفههای اصلی و جوهری و فرعی و فرعیتر تقسیم کرده است. نتایج تحقیق نشان میدهد که تنها مؤلّفۀ جوهری و اصلی سکر، مؤلّفۀ وحدت و اتحاد با محبوب است و سایر مؤلّفهها عارضیاند. در این میان مؤلّفۀ فجأه بودن سکر نشانگر حال بودن آن در تقسیمبندی اصطلاحی عرفانی است. کرامت و کرامتتراشی و اسطورهشدگی از مؤلّفههای فرعیتر سکر است که بیشتر در پندار عامیانه و دریافتهای سطحیتر از مفهوم سکر، به آن نسبت داده میشود. پایان این نوشتار، به بازتعریف مفهوم سکر میپردازد.
On the notion of Sukr, well-known mystical sources have drawn upon an array of different features. Synecdoche and metonymy, componential plurality and heterogeneity, proximity, overlapping, and the essential complexity of mystical concepts have caused much confusion and uncertainty in the process of the interpretation of the notion of Sūkr. Using a concept-based approach and a description-analysis method, the present article investigates the analytical and theoretical dimensions of Sūkr in the Quran, Hadiths and Islamic, mystical, and traditional narratives. The article also investigates twelve aspects of Sūkr in mystic texts and divides them into the four categories of the fundamental, the essential, the peripheral, and the more-peripheral. These aspects are as follows: the unity and union with the beloved, the “Mohebbin's” status, irrationality, shirking duty, discursive speech, the exhaustion of patience, secret divulgence, bewilderment over vice and virtue, the “Samā”, disqualification as a leader or a guide, spontaneity of Sūkr as regards the beloved, consecration, and myth-making. This study has benefited from the theoretical elements associated with these notions in the speculative system of mysticism and Sufism. The results of the study indicate that the only substantial and essential aspect of Sūkr is the unity and union with the beloved and other aspects are superfluous. The spontaneity of Sūkr, as one of its characteristic features, implies that in the classification of the bits of jargon linked with Sufism.
https://kavoshnameh.yazd.ac.ir/article_1082_b4a5ec74b204c04b3ef860836dd01b0a.pdf
سکر
ایضاح مفهومی
عرفان اسلامی
وحدت و اتّحاد
Sūkr
and Unification and unity. Sūkr
and Unification and unity. Sūkr
Conceptual elucidation
Integral and peripheral features
and Unification and unity
per
دانشگاه یزد
کاوشنامه زبان و ادبیات فارسی
2645-453X
2645-4548
2018-02-20
18
35
61
89
1083
Research Paper
جلوههای گوناگون تکرار در رباعیّات مولانا
Various Effects of Repetition in the MowLana's Robayat
سواد سواری
nasim.savari@gmail.com
1
محمدرضا صالحی مازندرانی
salehi@yahoo.com
2
پروین گلی زاده
dr_golizadeh@yahoo.com
3
دانشجوی دکتری زبان و ادبیات فارسی دانشگاه قم
دانشیار دانشگاه شهید چمران اهواز
دانشیار دانشگاه اهواز
یکی از عوامل مهمّ ایجاد زیبایی و غنای موسیقایی شعر، تکرار است. آرایههای بدیع لفظی را با نوعی مسامحه میتوان ذیل تکرار آورد. تکرار واژه را در شعر میتوان از دیدگاههای مختلف ادبی بررسی کرد که در این مقاله رباعیّات مولوی از دیدگاه بدیعی و زیباییشناسی مورد تحلیل قرار گرفتهاست. از میان شاعران فارسیزبان، جلالالدّین محمّد مولوی(604-672) در رباعیهای خود انواع تکرار را به شیوهای بسیار زیبا، هنرمندانه و شاعرانه و با بسامد زیاد مورد استفاده قرار داده است. این تکرارها، علاوه بر ایجاد زیبایی، شور و شیدایی مولانا را از بارقههای معنوی به نمایش میگذارد و گاه رباعیّات او را تا حدّ یک قطعة موسیقی پرطنین و طربناک متناسب با عوالم معنوی نزدیک ساخته است. غالب این تکرارها در رباعیّات مولانا از طریق تکرار حرف، هجا، کلمه و عبارت عمدتاً در قالب آرایههای بدیع لفظی همچون انواع جناس، ردّالعجز علیالصّدر، اشتقاق، موازنه و ذوقافیتین تجلّی یافته است. در این جستار با آوردن نمونههایی از انواع تکرار در این قالب شعری مولانا، بررسیها و تحلیلهای لازم به شیوههای آماری و با بهرهگیری از جداول صورت گرفته است.
Repetition is one of the most important elements of beauty and musical tune of poetry. In Mowlana's Robayat, verbal "array" can be listed as one form of repetition. Mowlana has made use of various forms of repetition in his Robayat in a very artistic way. This has led to the beauty of his works. It also has shown a mystical taste in his Robayat. In the elevation of his work to a good piece of music, repetition has also played a significant role. In Mowlana's Robayat, repetition has been made through repetition of letters, syllables, words and phrases, mostly in the forms of exquisite verbal "arrays" such as derivation, balance, patience, and pun. Based on statistical analysis, the authors of the paper have considered several forms of repetition in Robayat in this study.
https://kavoshnameh.yazd.ac.ir/article_1083_c6895e9712a5a2839b1492ca6196598b.pdf
مولانا
رباعیّات
تکرار
موسیقی
آرایة ادبی
Mowlana's
Robayat
repetition
Music
Array
per
دانشگاه یزد
کاوشنامه زبان و ادبیات فارسی
2645-453X
2645-4548
2018-02-20
18
35
91
120
1084
Research Paper
ابوعلی رودباری: عارف جوانمرد
Abu Ali Roodbari: A Mystic of Chivalry Manner
امیرحسین مدنی
m.madani9@gmail.com
1
استادیار دانشگاه کاشان
یکی از عارفان گمنام قرن سوم و اوایل قرن چهارم هجری، ابوعلی رودباری است که با القابی همچون «حافظ حدیث، ادیب، فقیه، امام قوم، ائمّه و شاعر صوفیان»، در کتب تذکره و انساب از او یاد شده است و مشایخ و بزرگان بسیاری چون «ابوعلی کاتب، ابویعقوب نهرجوری و خواجه عبدالله انصاری»، از وی به نیکی یاد کرده، تقوا و اخلاق و دانش و هنر شاعری و حافظة شگرف او را در حفظ احادیث، ستودهاند. با وجود این، شخصیّت، اندیشهها و میراث تصوّف رودباری، بسیار مهجور و ناشناخته مانده و در نوشتههای معاصر، گاه کوچکترین اشارهای به وی و دیدگاههای عرفانی و سلوک جوانمردیاش، نشده است. این در حالی استکه با کمترین تأمّل در زندگی و سلوک عرفانی ابوعلی و حکایتهای منقول از وی -بویژه در زمینة فتوّت و جوانمردی- به نتایجی شگفت و بدیع در زمینة پیوند میان «تصوّف و فتوّت» میرسیم و صفات و اخلاق جوانمردانة رودباری را شایستة تحسین مییابیم. در این مقاله کوشش شده است که در دو قسمت مجزّا(سخنان و رفتار)، برای نخستینبار، اندیشهها و رفتارهای جوانمردانة رودباری به عنوان «عارفی جوانمرد» بررسی و بیان شود؛ سخنان و رفتارهایی همچون: ارکان سهگانة فتوت، اهمیّت شرم و حیا در سلوک جوانمردانه، رفق و مدارا با درویشان، اهمّیّت سپاس-گزاری، جوانمردانِ پاکباز، گذشت و چشمپوشی از لغزشهای دوستان و دشمنان، ضیافتها و مهمانیهای پرهزینه و سرانجام بذل و بخشش بدون قید و شرط بی منّت به فقیران.
Abu Ali Roodbari is among the least known mystics from beginning of the fourth century (AH). He is more known with titles such as scholar, jurist, Imam, Imam of Sufi, and Sufi poet in biographical studies. A number of great people such as “Abu Ali Kateb, Abu Yaghoob Nahrjuri, and Khajeh Abdollah Ansari have praised his virtue, morality, knowledge, art of memory, and his prodigious memory in memorizing knowledge. Furthermore, the character, beliefs, and Sufi heredity of Roodbari have been unknown and sometimes the slightest attention has been paid to his mystic views and chivalry manners. While with the slightest reflection on his life and his mystic manners, a careful and meticulous reader discovers wonderful and new consequences in the realm of correlation between chivalry and Sufism and praises his morality. In this article, an effort has been made to analyze the beliefs and chivalry manners of Roodbari such as “chivalrous mystic” in two separate parts. And behaviors such as triple pillar of generosity, the importance of modesty in conduct of chivalry, tolerance with Dervish, the importance of gratitude and integrity, ignorance over the slip of friends and enemies, costly banquets and parties, giving and unfailing kindness and forgiveness to the poor are stated.
https://kavoshnameh.yazd.ac.ir/article_1084_6520277d20d0458e90aec39d32f125d6.pdf
ابوعلی رودباری
عرفان قرن چهارم
عارفان ایرانی
آیین جوانمردی
Abu Ali Roodbari
Mystic
Chivalry
Speech acts
per
دانشگاه یزد
کاوشنامه زبان و ادبیات فارسی
2645-453X
2645-4548
2018-02-20
18
35
121
142
1085
Research Paper
تقابل زیستجهان «سوژه» در چند داستان مدرن و پسامدرن فارسی
A Comparative Study of the concept of "world life" in Some Iranian Stories
from Modern to Postmodern Era
فرزاد کریمی
frzkarimi@gmail.com
1
سعید حسام پور
2
دانش آموخته دکتری زبان و ادبیات فارسی دانشگاه شیراز
دانشیار دانشگاه شیراز
مفهوم زیستجهان از مفاهیم بنیادین در فلسفة معاصر، بویژه پدیدارشناسی هوسرل است. در چنین فضایی موضوعات فلسفة مدرن قوام مییابد. موضوعاتی از قبیل سوژه، فضای میانذهنی، دیگری، آگاهی و.... از طرفی وجوه عمدة تمایز میان ادبیّات مدرن و ادبیّات پسامدرن، همین موضوعاتِ ذکرشده است. بنابراین توجّه به زیستجهان و تفاوت سوژهای که در زیستجهان حضور دارد با سوژهای که فارغ از این فضاست، مبنای مناسبی برای تحلیل سیر ادبیّات داستانی ایران از مدرن به پسامدرن است. برای رسیدن به این مقصود، سه داستان مدرن و سه داستان پسامدرن ایران، از منظر موضوعات مطرح در مفهوم زیستجهان در این مقاله بررسی شده است. رمانها و داستان مدرن عبارت است از: "مونالیزای منتشر"، "شبیه عطری در نسیم" و "وقتی مادر کل کشید". داستانهای پسامدرن عبارت است از: "داستان دودقیقهای"، "نون و قلم" و "دختر و جنگ". به نظر میرسد عوامل سازندة زیستجهانِ مدرنِ سوژه، در گذار به ادبیّات پسامدرن، از بین رفته یا تغییر ماهیّت دادهاند؛ عواملی چون دیگری، انسجام هویّت، و میانذهنیّت. درنتیجه میتوان گفت که زیستجهان در پسامدرنیسم فلسفة وجودی خود را از دست داده است. بنابراین سوژه در ادبیّات پسامدرن، در فضایی نامحدود قرار گرفته، رو به هیچ مرکز یا غایتی ندارد. ماهیّت وجودی چنین سوژهای نیز مورد تردید جدّی است.
The concept of “world life” is one of the fundamental concepts in the contemporary philosophy, especially in Husserl’s phenomenology. The modern philosophical topics are also shaped in this type of conceptualization. The subjects such as "intersubjectivity space, the other, awareness" are distinctive features of the modern and postmodern literature. Therefore, considering the "world life" and the differences of the subjects living in the "world life" would be a suitable topic for the analysis the evolutionary process of Persian modern stories to postmodern ones. In this regard, three modern and three postmodern short stories are selected and reviewed in the present study. Regarding the issue, it seems that the constructive components of modern view of "world life" of a subject, such as "the other, identity coherence, and intersubjectivity", have been destroyed or drastically changed in the stream of postmodern literature. As a result, it can be assumed that the concept of "world life" has lost its existentialistic philosophy in post modernism. Thus, the subject, in the postmodern literature, is located in an unlimited space, facing no focus or center. The existence of such a subject would be suspected as well.
https://kavoshnameh.yazd.ac.ir/article_1085_6ca0fe404d2ee3acba30d0bad6b8b5db.pdf
ادبیّات پسامدرن ایران
ادبیّات مدرن ایران
پدیدارشناسی هوسرل
دیگری
زیستجهان
سوژه
فضای میانذهنی
"Iranian modern and postmodern literature"
"Intersubjectivity Space". "Iranian modern and postmodern literature"
"The Other"
"World Life"
"Subject"
"Intersubjectivity Space"
per
دانشگاه یزد
کاوشنامه زبان و ادبیات فارسی
2645-453X
2645-4548
2018-02-20
18
35
143
178
1086
Research Paper
تحلیل و مقایسة پیرنگ خسرو و شیرین نظامی و یوسف و زلیخای جامی
A Comparative Study of the Plot in
Nizami's Khosro and Shirin and Jami's Yousef and Zoleikha
سکینه رسمی
rasmi1378@yahoo.com
1
عباس تابان فرد
ataban4@gmail.com
2
دانشیاردانشگاه تبریز
دانشجوی دکتری زبان و ادبیات فارسی محض دانشگاه تبریز
یکی از محوریترین عناصر داستان که طرح کلّی داستان بر اساس آن شکل میگیرد، پیرنگ است. در شناخت عناصر داستان، شناسایی عوامل مؤثّر بر انسجام پیرنگ و انطباق آن با عناصر داستانی اجتنابناپذیر است. حیاتیترین وجه پیرنگ، تحلیل شبکۀ علّی و معلولی در طول محور عمودی داستان است؛ به هر میزان که این شبکه در بافت داستان نفوذ داشته و پیشبرد داستان را بر عهده داشته باشد، طرح داستان از انسجام بیشتری برخوردار است. در پژوهش حاضر، با تحلیل دو متن داستانی خسرو و شیرین نظامی و یوسف و زلیخای جامی- که متأثّر از آن است-، پس از انطباق عناصر پیشبرندۀ طرح داستان مشخّص گردید که پیرنگ داستان یوسف و زلیخا بهعلّت وجود شبکۀ گستردۀ علّی و معلولی و بسامد زیاد حوادث و اعمال داستانی از انسجام بیشتری برخوردار است، درحالیکه متن داستانی خسرو و شیرین به دلایل: حجم زیاد عنصر گفتگو، تعدّد اتّفاقات تصادفی، وجود حوادث به دور از واقعیّت که عنصر حقیقتمانندی داستان را به پایینترین سطح کشانده است، تعداد زیاد ابیات حاشیهای که با متن داستان بیارتباط است، عدم وجود حالت تعلیق در متن داستان و... دارای پیرنگ گسستهای است.
Plot is one of the most fundamental elements of the story that forms its general plant. It is inevitable not to recognize the effective factors on plot's consistency and cohesion and its acquaintance with contemporary story elements if one wants to find out about the elements of story works. The most crucial function of plot is analysis of the cause and effect network in the course of the story. The more this network penetrates in the context of the story and promotes it, the more coherent the story plan will be. Recognition of this determinate factor in old stories which are now clichés for some reasons and their analysis and conformity with contemporary story elements can cause to be addressed more. In this study, two story texts one Yousef and zoleikha by Jami and the other one khosro and shirin by Nizami have been critically studied. After collating the promote elements of the story plan, it was determined that the plot of "Yousef and zoleihka,s" story was more coherent because it included vast network of causes and effects and a big frequency of accidents and story actions while the story of khosro and shirin had an incoherent plot. It was recognized that it was due to the load of conversation element, excess of accidental events, existence of unreal happenings which has declined the authenticity level of the story to the lowest level. It was also due to the huge amount of over plus verses which are irrelevant to the story text, lack of indetermination in the story and some other factors which are discussed elaborately. What moves the story plan of "Khosro and Shirin" forward, is the conversation element and accidental events while the story of "Youseof and Zoleikha"is more coherent because of the lack of determination and more active role of components in the content of the story and existence of events and actions in it which are the result of previous happenings. Plot is one of the most fundamental elements of the story that forms its general plant. It is inevitable not to recognize the effective factors on plot's consistency and cohesion and its acquaintance with contemporary story elements if one wants to find out about the elements of story works. The most crucial function of plot is analysis of the cause and effect network in the course of the story. The more this network penetrates in the context of the story and promotes it, the more coherent the story plan will be. Recognition of this determinate factor in old stories which are now clichés for some reasons and their analysis and conformity with contemporary story elements can cause to be addressed more. In this study, two story texts one Yousef and zoleikha by Jami and the other one khosro and shirin by Nizami have been critically studied. After collating the promote elements of the story plan, it was determined that the plot of "Yousef and zoleihka,s" story was more coherent because it included vast network of causes and effects and a big frequency of accidents and story actions while the story of khosro and shirin had an incoherent plot. It was recognized that it was due to the load of conversation element, excess of accidental events, existence of unreal happenings which has declined the authenticity level of the story to the lowest level. It was also due to the huge amount of over plus verses which are irrelevant to the story text, lack of indetermination in the story and some other factors which are discussed elaborately. What moves the story plan of "Khosro and Shirin" forward, is the conversation element and accidental events while the story of "Youseof and Zoleikha"is more coherent because of the lack of determination and more active role of components in the content of the story and existence of events and actions in it which are the result of previous happenings. Plot is one of the most fundamental elements of the story that forms its general plant. It is inevitable not to recognize the effective factors on plot's consistency and cohesion and its acquaintance with contemporary story elements if one wants to find out about the elements of story works. The most crucial function of plot is analysis of the cause and effect network in the course of the story. The more this network penetrates in the context of the story and promotes it, the more coherent the story plan will be. Recognition of this determinate factor in old stories which are now clichés for some reasons and their analysis and conformity with contemporary story elements can cause to be addressed more. In this study, two story texts one Yousef and zoleikha by Jami and the other one khosro and shirin by Nizami have been critically studied. After collating the promote elements of the story plan, it was determined that the plot of "Yousef and zoleihka,s" story was more coherent because it included vast network of causes and effects and a big frequency of accidents and story actions while the story of khosro and shirin had an incoherent plot. It was recognized that it was due to the load of conversation element, excess of accidental events, existence of unreal happenings which has declined the authenticity level of the story to the lowest level. It was also due to the huge amount of over plus verses which are irrelevant to the story text, lack of indetermination in the story and some other factors which are discussed elaborately. What moves the story plan of "Khosro and Shirin" forward, is the conversation element and accidental events while the story of "Youseof and Zoleikha"is more coherent because of the lack of determination and more active role of components in the content of the story and existence of events and actions in it which are the result of previous happenings.
https://kavoshnameh.yazd.ac.ir/article_1086_5cc89cca6c17879fd8158c88f40b3331.pdf
پیرنگ (طرح داستان)
خسرو و شیرین
یوسف و زلیخا
گفتگو
اعمال داستانی
تعلیق
Plot (plan of story)
Yousef and Zolikha
Khosro and Shirin
Conversation
Fiction acts
State of suspension
per
دانشگاه یزد
کاوشنامه زبان و ادبیات فارسی
2645-453X
2645-4548
2018-02-20
18
35
179
197
1087
Research Paper
نمیرد همیشه ... (پژوهشی در بارة قیود استمرار وکاربرد آنها در جملات منفی در زبانهای ایرانی با توجه به مصراعی از حافظ)
A Study of the Use of the Adverbs of Continuity and Permanency in the Meaning of “Never” in Iranian Languages
محمد حسین جلالیان چالشتری
1
استادیار دانشگاه تبریز
از مهمترین مناقشات و مجادلات علمی در باب شعر حافظ، بحث دربارة وجوه مختلف قرائت ابیاتی از دیوان اوست، و از جملة معروفترین موارد آن میتوان به اختلاف نظر در مورد تعلّق قید «همیشه» به یکی از دو جملة پایه و پیرو مصراع دوم در بیت معروف «از آن به دیر مغانم عزیز میدارند/ که آتشی که نمیرد همیشه در دل ماست» اشاره کرد. اغلب حافظپژوهان و مصحّحان دیوان او، در این مورد قائل به تعلّق قید «همیشه» به جملة پایة «که آتش[ی] در دل ماست» هستند. در پژوهش حاضر، با استخراج شواهدی از کاربردهای معنایی مختلف قیود دیمومت و استمرار از قبیل «همیشه» و مترادفات آن، در انواع مختلف جملات منفی در متون فارسی دری، و دستهبندی آنها و اثبات وجود معنای «هرگز» در برخی شواهد و با اشاره به سابقة وجود چنین ساختاری در زبانهای باستانی و میانة ایرانی، ضمن طرح دیدگاههای گوناگون در باب وجوه قرائت دوگانة بیت مذکور و نقد آنها، چنین نتیجه گرفته شده است که با توجّه به سوابق و شواهد موجود، نه تنها اشکالی بر فرض تعلّق قید «همیشه» به فعل «نمیرد» وارد نیست، بلکه به احتمال قریب به یقین شاعر به تعلّق این قید به جملة موصولی (نمیرد همیشه) بیشتر نظر داشته است.
One of the most important scientific controversies about Hafez’ poetry is the debate about the different readings of the verses of his Divan. Among the most famous cases of such disagreement is about the belonging of the adverb “همیشه” (always) to the main or the subordinate sentence of the second hemistich of the verse از آن به دیر مغانم عزیز میدارند//که آتشی که نمیرد همیشه در دل ماست. Most of the Hafez researchers and editors have considered the adverb as a part of the main sentence (که آتشـ[ی] در دل ماست). In this study the evidences of various uses of the adverbs of continuity and permanency, such as “همیشه” and their cognates in various negative sentences in modern Persian are extracted. After categorizing them, the meaning “never” for such words is proved and the history of such structures in old and middle Iranian languages has been traced. After presenting the various ideas about the double reading aspects of the verse in question, it is concluded that not only it is not wrong to assume the adverb as relating to the verb “نمیرد”, but also it is more probable that the poet has considered it as the adverb of relative sentence (نمیرد همیشه). Keywords: Adverb of the continuity and permanency, Negative sentence, Adverb of always and never. One of the most important scientific controversies about Hafez’ poetry is the debate about the different readings of the verses of his Divan. Among the most famous cases of such disagreement is about the belonging of the adverb “همیشه” (always) to the main or the subordinate sentence of the second hemistich of the verse از آن به دیر مغانم عزیز میدارند//که آتشی که نمیرد همیشه در دل ماست. Most of the Hafez researchers and editors have considered the adverb as a part of the main sentence (که آتشـ[ی] در دل ماست). In this study the evidences of various uses of the adverbs of continuity and permanency, such as “همیشه” and their cognates in various negative sentences in modern Persian are extracted. After categorizing them, the meaning “never” for such words is proved and the history of such structures in old and middle Iranian languages has been traced. After presenting the various ideas about the double reading aspects of the verse in question, it is concluded that not only it is not wrong to assume the adverb as relating to the verb “نمیرد”, but also it is more probable that the poet has considered it as the adverb of relative sentence (نمیرد همیشه). Keywords: Adverb of the continuity and permanency, Negative sentence, Adverb of always and never. One of the most important scientific controversies about Hafez’ poetry is the debate about the different readings of the verses of his Divan. Among the most famous cases of such disagreement is about the belonging of the adverb “همیشه” (always) to the main or the subordinate sentence of the second hemistich of the verse از آن به دیر مغانم عزیز میدارند//که آتشی که نمیرد همیشه در دل ماست. Most of the Hafez researchers and editors have considered the adverb as a part of the main sentence (که آتشـ[ی] در دل ماست). In this study the evidences of various uses of the adverbs of continuity and permanency, such as “همیشه” and their cognates in various negative sentences in modern Persian are extracted. After categorizing them, the meaning “never” for such words is proved and the history of such structures in old and middle Iranian languages has been traced. After presenting the various ideas about the double reading aspects of the verse in question, it is concluded that not only it is not wrong to assume the adverb as relating to the verb “نمیرد”, but also it is more probable that the poet has considered it as the adverb of relative sentence (نمیرد همیشه). Keywords: Adverb of the continuity and permanency, Negative sentence, Adverb of always and never. One of the most important scientific controversies about Hafez’ poetry is the debate about the different readings of the verses of his Divan. Among the most famous cases of such disagreement is about the belonging of the adverb “همیشه” (always) to the main or the subordinate sentence of the second hemistich of the verse از آن به دیر مغانم عزیز میدارند//که آتشی که نمیرد همیشه در دل ماست. Most of the Hafez researchers and editors have considered the adverb as a part of the main sentence (که آتشـ[ی] در دل ماست). In this study the evidences of various uses of the adverbs of continuity and permanency, such as “همیشه” and their cognates in various negative sentences in modern Persian are extracted. After categorizing them, the meaning “never” for such words is proved and the history of such structures in old and middle Iranian languages has been traced. After presenting the various ideas about the double reading aspects of the verse in question, it is concluded that not only it is not wrong to assume the adverb as relating to the verb “نمیرد”, but also it is more probable that the poet has considered it as the adverb of relative sentence (نمیرد همیشه). Keywords: Adverb of the continuity and permanency, Negative sentence, Adverb of always and never. One of the most important scientific controversies about Hafez’ poetry is the debate about the different readings of the verses of his Divan. Among the most famous cases of such disagreement is about the belonging of the adverb “همیشه” (always) to the main or the subordinate sentence of the second hemistich of the verse از آن به دیر مغانم عزیز میدارند//که آتشی که نمیرد همیشه در دل ماست. Most of the Hafez researchers and editors have considered the adverb as a part of the main sentence (که آتشـ[ی] در دل ماست). In this study the evidences of various uses of the adverbs of continuity and permanency, such as “همیشه” and their cognates in various negative sentences in modern Persian are extracted. After categorizing them, the meaning “never” for such words is proved and the history of such structures in old and middle Iranian languages has been traced. After presenting the various ideas about the double reading aspects of the verse in question, it is concluded that not only it is not wrong to assume the adverb as relating to the verb “نمیرد”, but also it is more probable that the poet has considered it as the adverb of relative sentence (نمیرد همیشه). One of the most important scientific controversies about Hafez’ poetry is the debate about the different readings of the verses of his Divan. Among the most famous cases of such disagreement is about the belonging of the adverb “همیشه” (always) to the main or the subordinate sentence of the second hemistich of the verse از آن به دیر مغانم عزیز میدارند//که آتشی که نمیرد همیشه در دل ماست. Most of the Hafez researchers and editors have considered the adverb as a part of the main sentence (که آتشـ[ی] در دل ماست). In this study the evidences of various uses of the adverbs of continuity and permanency, such as “همیشه” and their cognates in various negative sentences in modern Persian are extracted. After categorizing them, the meaning “never” for such words is proved and the history of such structures in old and middle Iranian languages has been traced. After presenting the various ideas about the double reading aspects of the verse in question, it is concluded that not only it is not wrong to assume the adverb as relating to the verb “نمیرد”, but also it is more probable that the poet has considered it as the adverb of relative sentence (نمیرد همیشه).
https://kavoshnameh.yazd.ac.ir/article_1087_b196e27fed9de249e5484010650c3668.pdf
قید
دیمومت و استمرار
حافظ شیرازی
همیشه
هرگز
Adverb of the continuity and permanency
Negative sentence
Adverb of always and never
per
دانشگاه یزد
کاوشنامه زبان و ادبیات فارسی
2645-453X
2645-4548
2018-02-20
18
35
199
244
1088
Research Paper
بی بی منجّمه، بیجة منجّمه و نهانی هروی
Bibee Monajemeh or Bijeh Monajemeh and nahani heravi
محمدرضا نجاریان
reza_najjarian@yahoo.com
1
ندا حاتم پور
neda_hatampur@yahoo.com
2
استاد دانشگاه یزد
دانش آموخته کارشناسی ارشد دانشگاه یزد
بیبی منجّمه سمنانی، بانوی نامدار و ستاره شناس ایرانی در قرن ششم از اهالی نیشابور، دختر کمال الدّین سمنانی رئیس فرقة شافعیّة نیشابور و منجّمباشی سلطان محمّد خوارزمشاه بود. او به دلیل مهارت در علم نجوم، در دربار سلطان جلال الدّین خوارزمشاه و علاءالدّین کیقباد از جایگاه ویژهای برخوردار شد. بیجة منجّمه، از زنان شاعر، منجّم و ادیب اواخر قرن نهم و اوایل قرن دهم هجرى است. وی به ماه کرمان شهرت داشت. معاصر با مولانا عبد الرّحمن جامی، امیر علیشیر نوایی و سلطان حسین بایقرا(875 -912 ق) بود. بیجه با مولانا جامی مطایبات و مهاجات داشت. بعضی از مورّخان بی بی منجّمه سمنانی را بی بی منجّمه نیشابوری ثبت کردهاند، در حالیکه نام وی در میان مشاهیر سمنان به چشم میخورد. بعضی از تذکرهها نیز به لحاظ شباهت اسمی بیجة منجّمه را همان بی بی منجّمه خواندهاند؛ به این دلیل که بیجه را مخفّف و تصغیر شدة بی بی میدانند؛ نیز بیجة منجّمه را نهانی هروی از زنان شاعر قرن یازدهم هجری به شمار آورده، تخلّص بیجه(ماه) را به نهانی دادهاند. در این مقاله تلاش برآن است تا پس از معرفی بیجه، پرده از ابهامات گوناگون در بارة این شخصیّت تاریخی- ادبی برداشته شود
Bibee Monajemeh was a famous woman and a Persian astronomer in the sixth century (AH). She lived in Neishaboor, Iran. Her father is Kamaloddin Semnani, head of the Shafeeyeh of Neishaboor and acted as the astronomer of Sultan Muhammad Kharazmshah. Because of her skill in astronomy; she had a high position in the King royal family. However, there is an issue over the name of Bibee Monajemeh confused with Bijeh Monajemeh. Bije Monajemeh was Maulana Aladdin Kermani’s daughter as one of the women in the ninth century. She was a scholar, poet and astrologer of the early ninth century (AH). Her pseudonym was Mah (moon) of Kerman. She was also living at the time of Jami, Amiralishir Navaee and Sultan Hussein Baighara. In the present study an attempt has been made to clarify the life and the historical and literary character of Bijeh Monajemeh.
https://kavoshnameh.yazd.ac.ir/article_1088_17b6c4037672dc59758428dbc9b273a8.pdf
بی بی منجّمه
بیجة منجّمه
نهانی هروی
زنان شاعر
شعر سدة نهم
Bibee Monajemeh
Bije Monajemeh
Women poets (6th and 9th century AH)