Literary Criticism
rasool khammar; seyyed mahdi nouri; Abbas Ganjali; hossein shamsabadi
Abstract
In contemporary literature, poets, writers and artists have shown special attention to symbols in their literary works, including poems, stories, plays, etc. One of the manifestations of symbolism is the calling of various historical, religious, mythological, etc. figures in contemporary Arabic poetry. ...
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In contemporary literature, poets, writers and artists have shown special attention to symbols in their literary works, including poems, stories, plays, etc. One of the manifestations of symbolism is the calling of various historical, religious, mythological, etc. figures in contemporary Arabic poetry. A contemporary poet, like a historian, does not look at history only through the lens of historical data and their logical connection, but adds dimensions to historical characters from his own experiences and according to the current conditions of his society, and thus spiritual concepts and dynamic implications. It conveys what it wants to the mind of the reader. One of the characters that has a meaningful presence in the poetry of some contemporary poets is Meysam Tammar, the companion of the Prophet and the faithful friend of Imam Ali (AS). In the present article, the symbolic appeal of this character in the poetry of two contemporary Arab poets, namely " Jasim al-Sahayyeh " from Saudi Arabia and "Hasan AleHatit al-Amili" from Lebanon, has been analyzed in a descriptive-analytical way. Since no research has been done on the invocation of Maysham Temar's character in contemporary Arabic poetry, it is important and necessary to investigate this issue. The results of the discussion show that Maisham's character traits such as righteousness, truth-telling, frankness of speech, persistence against oppressors and their scandalization have made contemporary poets, including the two mentioned poets, make his character the center of their poems. These two poets identified themselves with Maitham and called him in their poetry and tried to explain the problems and political and cultural disturbances of the society and their experiences, concerns and reform ideas beyond Maitham's personality.
Hussein Shamsabadi
Abstract
Extended Abstract
Introduction
The issue of translating Arabic dramatic texts into Persian has been sparsely treated among critics. For instance, little is known about the basic strategies required to translate such texts. The differences in the syntactic structures of languages deter the adoption ...
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Extended Abstract
Introduction
The issue of translating Arabic dramatic texts into Persian has been sparsely treated among critics. For instance, little is known about the basic strategies required to translate such texts. The differences in the syntactic structures of languages deter the adoption and application of suitable criteria and modules while transferring these structures, even after the proper and suitable lexical items have been selected. Sometimes the structure of the source language is not correctly reflected according to its expected use in the target language and is not properly arranged. Making mistakes at verb-tense level is one example where the simple tense is used instead of simple continuous or when statements are used instead of other sentence types. Since the structures of the source and target languages are different, it is natural that the translation should be based on the structure of the target language. On the other hand, paying attention to the style and eloquence of the source text is one of the constraints imposed on the translator while choosing equivalents in the target text, and the same applies to treating the differences between historical, romantic, and intimate texts.
Therefore, the current research has attempted to come up with the possible solutions a translator of dramatic texts can resort to in dealing with: 1) structure (the value of the message in the structure of the source language, the translation of the structure into structure, intertextuality, and misunderstanding of the message); 2) texture (textual coherence and its governing factors, punctuation marks, and the factors influencing the meaning); and 3) language varieties (differences in style or manner of expression), which examines the practical examples in four selective plays, and provide and recommend a translation for each sentence under study.
The results of the survey indicate that there are various methods in the translation of dramatic texts, such as giving direct attention to the construction, texture, and style of the sentence, and the translation of wrong language selection.
Theoretical Framework
The reason for the complexity and difficulty of translating dramatic works is related to the performativity of these literary works and the fundamental role of dialogue. One of the issues that always engages the minds of these translators is the strategy that should be followed?
In general, the fundamental difficulties involved in translating a play are the vocabulary and structure of the sentences that the protagonists of the plays choose to express their thoughts and feelings. In fiction, we usually encounter a lucid language where the writer adheres to syntactic and structural principles. But in drama, although utterances are produced by the authors, they may suppress the words of a particular character in a specific play. This is because the translators may not be familiar with the protagonists' dialects and may not find their words in any glossaries.
Method
The current research attempts to answer the following questions. What are the translation-related solutions in translating dramatic texts? How can the language as one of the interconnected parts of the text convey the perspective of identity?
The present researcher intends to find a suitable answer to the above questions through a descriptive-analytical method along with their individual knowledge and concludes that the translator should translate the text of the play into a literary text. Therefore, the translator should pay attention to the expressions or the structures of the Persian language used while translating Arabic sentences in order to decide what structure, texture or style is more appropriate to reflect the intended interpretation.
Accordingly, by studying plays such as Isis (translated by Abdulmohammad Ayati), Taht Al-Mizalah (translated by Mahdi Shahrokh), As-Sit Huda (translated by Zeynab Khademi Haetan), Wal Shaytan Y‘aiz (translated by Muhammad Javaher Kalam), the various applications and adaptations of the structure, context and language varieties have been examined, while their observance in translating dramatic texts from Arabic into Persian has also been analyzed to compare the proposed translations with other possible equivalents in order to measure the accuracy or proximity of these translations to the original texts.
Results and Discussion
All in all, paying attention to the style and eloquence of the source text is one of the constraints imposed on the translator while choosing equivalents in the target text, and the same applies to treating the differences between historical, romantic, and intimate texts.
Since the structures of the source and target languages are different, it is natural that the translation should be based on the structure of the target language. But the problems of translating dramatic texts are not limited to lexical and grammatical issues; finding semantics equivalents is more difficult than arriving at lexical-grammatical equivalence. In fact achieving equivalence in all these areas is perhaps so crucial and valuable as the context of performance goes far beyond the structure to the issue of understanding the text and reaching the exact meaning. This extends the visibility of the reader to the point where it is safe to say that texture also incorporates effective phonetic elements in the formation of speech, beyond the comprehension of the surface of the text.
Since texture-equivalence, especially in dramatic texts, explores the exact meaning of the text through the semantic link between sentences besides other structures such as words, the reader may sometimes have to take into account the linguistic context and the link between two or more texts and styles.
Conclusion
In the translation of a dramatic text, one comes across the close interconnection and working of various textual elements such as grammatical links and sentence structures (i.e. the arrangement of words, tense, verbs, etc.), and most importantly, textual and inter-sentence links (i.e. pronouns and referents, semantic links between sentences, paralinguistic elements, punctuation, stress and intonation, underlining) and the all emphasize part(s) of the message in the text and convey the message to the audience. Disregarding any of the aforementioned elements would confirm that translating literary and dramatic texts in particular, is a very difficult, if not an impossible task.
mohammad ghafouri
Abstract
Extended Abstract
1- Introduction
Stylistics is a realm of literature that is used as a means to evaluate the value of literary works. The knowledge of stylistics provides a ground upon which the effect of a work of its readers can be assessed with reference to linguistic features and the literary ...
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Extended Abstract
1- Introduction
Stylistics is a realm of literature that is used as a means to evaluate the value of literary works. The knowledge of stylistics provides a ground upon which the effect of a work of its readers can be assessed with reference to linguistic features and the literary prowess and expertise of the author. The unique stylistic features serve as a factor that distinguishes a work of literature from others. In other words, such stylistic features can be seen as the identity of a text that sets it apart from similar works of literature.
2- Theoretical Framework
One of the important issues that is considered in stylistic analysis of a literary work is the analysis of phonetic features of the text language or its phonetic style. Phonetic stylistics deals with the value and application of sounds and their aesthetic effect and role in the speech style. It yields clear and concrete results with regard to the analysis of music in the poetry or prose as well as the literary style of the author (Fotouhi, 2012).
Sermons of the Nahj al-Balaghe exemplify a religious text that is worthy of analysis in terms of phonetic stylistics, for one of its striking stylistic features is lexical and musical arrangement of words or musical elements. This paper is an attempt to study the phonetic style of sermons of Nahj al-Balaghe, hoping to make artist and literature readers more familiar with the phonetic style of Amir al-Momenin and thereby shed further light on its aesthetics and values to offer a new insights about these sermons.
3- Method
In this paper, a descriptive analytical method based on a reference to sermons of Nahj al-Balaghe (the version translated by Dashti) has been adopted.
4- Results and Discussion
One factor that marks the distinction between different styles is the phonetic or musical level that contributes to the beauty and impact of a text.
The analysis of phonetic style of texts helps appreciate their nature and discover their beauty. Moreover, it contributes to exploring emotional and spiritual reactions intended by the author by using specific sounds and music, because it is obvious that sound is a manifestation of inner feelings, and passivity naturally leads to the diversity of sound and voice (Al-Rafei, 1997). In other words, the inner emotions of the author have enabled him to exploit particular sounds and words to create a musical effect that magnifies the impact of the work on its readers (Salih, 2003).
Through an analysis of a work of literature at phonetic level, one can evaluate the performance of the writer or creator of the work, as sounds offer huge expressive potentials; therefore, sounds, songs, their extent and intensity, continuity and repetition, and intervals of silent letters possess immense capacities in terms of expression (Fazl, 1998).
Among phonetic elements that play a pivotal role at this linguistic level and contribute to the emergence of outstanding style of speech are external music, which is judged from the meter and rhyme in poetry, and internal music, which is assessed based on the application of literary devices such as Saj (parallel, balanced, etc.), puns (incomplete, derivative, etc.), and repetition and internal music, which are evaluated by means of conflict and contrast in the text (Shamisa, 1995).
In the study of phonetic stylistics of sermons of Nahj al-Balaghe, we deal with features that are conspicuously manifested in sermons, bestow prominence to the words of Imam and give it a particular form that is distinctive from normal speech and standard language. These features include: rhyme, pun, inner rhyme and music, repetition, contradiction and contrast.
5- Conclusion
The analysis of the phonetic stylistics of sermons of Nahj al-Balaghe suggests that rhyme, pun, inner music (phonotactics), repetition (letters and words), conflict and contrast are prominent phonetic manifestations in the sermons of Nahj al-Balaghe. Meanwhile, Saj and puns have relatively higher frequency than other elements. The music arising from any of these phonetic elements not only adds to the melody and capturing of the minds and thoughts of the audience, but also allows inference of meanings and implicit concepts of the sermons. In other words, Imam Ali (AS) utilizes the music of words in a way that each of these words serve as a symphony and orchestra that touches the strings of heart and inspire a wave of exhilaration, delight or apprehension in the hearts and takes away their fatigue. Besides, it contributes to the evocation of meanings intended by Imam Ali (AS). This play of the music and intended concepts have bestowed striking harmony to the sermons and reinforced the internal coherence of the text.
