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Bazgasht-E Adabi

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Bazgasht-E Adabi ﺗﺤﻠﻴﻞ ﭘﻴﻮﻧﺪﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ﺷﻌﺮ ﺑﺎزﮔﺸﺖ و ﻧﻘﺎﺷﻲ ﭘﻴﻜﺮﻧﮕﺎري درﺑﺎري در دورة ﻓﺘﺤﻌﻠﻲ ﺷﺎه ﻗﺎﺟﺎر ( 1176– 1213ق) اﺻﻐﺮ ﻓﻬﻴﻤﻲ ﻓﺮ1* ، اﺑﺮاﻫﻴﻢ ﺧﺪاﻳﺎر2 ، ﻣﺮﻳﻢ ﻧﺮﻳﻤﻲ3 1 . داﻧﺸﻴﺎر ﭘﮋوﻫﺶ ﻫﻨﺮ، داﻧﺸﮕﺎه ﺗﺮﺑﻴﺖ ﻣﺪرس، ﺗﻬﺮان، اﻳﺮان 2 . داﻧﺸﻴﺎر زﺑﺎن و ادﺑﻴﺎت ﻓﺎرﺳﻲ، داﻧﺸﮕﺎه ﺗﺮﺑﻴﺖ ﻣﺪرس، ﺗﻬﺮان، اﻳﺮان 3 . ﻛﺎرﺷﻨﺎس ارﺷﺪ ﭘﮋوﻫﺶ ﻫﻨﺮ، داﻧﺸﮕﺎه ﺗﺮﺑﻴﺖ ﻣﺪرس، ﺗﻬﺮان، اﻳﺮان د 3 ، ش 2 2 درﻳﺎﻓﺖ: 13/3/93 ﭘﺬﻳﺮش:93/9/18 (ﭘﻴﺎﭘﻲ 6 )، ﭼﻜﻴﺪه دوﻓﺼﻠﻨﺎﻣﺔ ﭘﮋوﻫﺶ ﻳﻜﻲ از ﻣﻬﻢ ﺗﺮﻳﻦ وﻳﮋﮔﻲ ﻫﺎي ﻧﻘﺎﺷﻲ و ﻧﮕﺎرﮔﺮي اﻳﺮاﻧﻲ، ﭘﻴﻮﻧﺪ ﺑﺎ ادﺑﻴﺎت ﻓﺎرﺳﻲ اﺳﺖ ﻛﻪ ﺑﻪ ﺷﻜﻞ ﮔﻴﺮي ﻫﺎي ﭘﺎﻳﻴﺰ و زﻣﺴﺘﺎن زﺑﺎن ﻣﺸﺘﺮك و ﻣﻮﺿﻮﻋﺎت ﻣﺸﺎﺑﻪ در اﻳﻦ دو ﺣﻮزة ﻫﻨﺮي ﻣﻨﺠﺮ ﺷﺪه اﺳﺖ. ﻫﺮﭼﻨﺪ از دورة زﻧﺪﻳﻪ، 1394 ﺑﻪ وﻳﮋه از اواﺧﺮ آن، ﺑﻪ دﻟﻴﻞ ﺗﺄ ﺛﻴﺮﭘﺬﻳﺮي ﻧﻘﺎﺷﺎن از ﻫﻨﺮ اروﭘﺎﻳﻲ و ﺿﻌﻒ ﻧﺴﺒﻲ ﺷﻌﺮ ﻓﺎرﺳﻲ، ادﺑﻴﺎت ﺗﻄﺒﻴﻘﻲ ﺻﺺ ، ﺻﺺ ﭘﻴﻮﻧﺪﻫﺎي ﻣﻴﺎن اﻳﻦ دو رو ﺑﻪ ﮔﺴﺴﺖ ﻧﻬﺎد، اﻣﺎ ﻃﻲ 37 ﺳﺎل ﺳﻠﻄﻨﺖ ﻓﺘﺤﻌﻠﻲ ﺷﺎه ﻗﺎﺟﺎر ( 1213 - 131 - 1176ق) ، زﻣﻴﻨﺔ ﺷﻜﻮﻓﺎﻳﻲ و ﻫﻤﮕﺎﻣﻲ ﺗﺎزه اي ﺑﻴﻦ ﺷﻌﺮ و ﻧﻘﺎﺷﻲ ﺑﻪ وﺟﻮد آﻣﺪ. ازاﻳﻦ رو، ﻧﮕﺎرﻧﺪﮔﺎن در 156 اﻳﻦ ﭘﮋوﻫﺶ ﺑﺎ روﻳﻜﺮد ﺑﻴﻨﺎرﺷﺘﻪ اي ﻣﻜﺘﺐ آﻣﺮﻳﻜﺎﻳﻲ ادﺑﻴﺎت ﺗﻄﺒﻴﻘﻲ، ﺿﻤﻦ ﺗﻮﺟﻪ ﺑﻪ ﺷﺎﺧﺼﻪ ﻫﺎي اﺷﻌﺎر دورة دوم ﺟﺮﻳﺎن ﺑﺎزﮔﺸﺖ و ﻧﻘﺎﺷﻲ ﻫﺎي ﭘﻴﻜﺮﻧﮕﺎري درﺑﺎري، ﭘﻴﻮﻧﺪﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ﻣﻴﺎن اﻳﻦ دو Downloaded from clrj.modares.ac.ir at 15:38 IRST on Monday October 4th 2021 ﺣﻮزة ﻫﻨﺮي را ﺑﺮرﺳﻲ و ﻋﻮاﻣﻞ ﺷﻜﻞ ﮔﻴﺮي و ﺷﻜﻮﻓﺎﻳﻲ ﻧﺴﺒﻲ ﺷﺎن در دورة ﻓﺘﺤﻌﻠﻲ ﺷﺎه ﻗﺎﺟﺎر را ﺗﺒﻴﻴﻦ ﻛﺮده اﻧﺪ. ﻣﺴﺌﻠﺔ اﺻﻠﻲ ﭘﮋوﻫﺶ ﺣﺎﺿﺮ اﻳﻦ اﺳﺖ ﻛﻪ آﻳﺎ ﻫﻤﭽﻮن ﮔﺬﺷﺘﻪ ﻣﻲ ﺗﻮان در ﺗﺼﺎوﻳﺮ و اﺷﻌﺎر اﻳﻦ دوره، وﻳﮋﮔﻲ ﻫﺎي ﻣﺸﺘﺮﻛﻲ ﻳﺎﻓﺖ ﻛﻪ از ﻗﻮاﻋﺪ و ﭘﻴﻮﻧﺪﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ﺧﺎﺻﻲ ﭘﻴﺮوي ﻛﺮده ﺑﺎﺷﻨﺪ؟ ﻧﺘﺎﻳﺞ ﺗﺤﻘﻴﻖ ﻧﺸﺎن ﻣﻲ دﻫﺪ ﻛﻪ ﻧﻘﺎﺷﺎن ﺑﺎ اﺳﺘﻔﺎده از اﻟﮕﻮﻫﺎ و ﻣﻌﻴﺎرﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﺎﻧﺔ ادﺑﻲ و ﺑﺎ ﺑﻬﺮه ﮔﻴﺮي از ﻧﮕﺎه اﻧﺴﺎن ﻣﺪاراﻧﺔ ﻏﺮﺑﻲ، ﺑﺎﺳﺘﺎن ﮔﺮاﻳﻲ و ﻧﻴﺰ ﺑﺎ اﺳﺘﻔﺎده از ﻣﻮﺿﻮﻋﺎت ﺟﺪﻳﺪ، ﺑﻪ ﺑﺎزﻧﻤﺎﻳﻲ ﺗﺼﻮﻳﺮﺳﺎزي ﻫﺎي ﺷﺎﻋﺮاﻧﻪ و ﺗﻮﺻﻴﻔﺎت اﺷﻌﺎر ﻋﺎﺷﻘﺎﻧ ﻪ ﭘﺮداﺧﺘﻪ اﻧﺪ. ﺑﻪ ﺑﻴﺎن دﻳﮕﺮ، آن ﻫﺎ از ﻃﺮﻳﻖ ﺷﻜﻞ ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ ـــــــــــــ * ﻧﻮﻳﺴﻨﺪة ﻣﺴﺌ ﻮل ﻣﻘﺎﻟﻪ E mail: [email protected] اﺻﻐﺮ ﻓﻬﻴﻤﻲ ﻓﺮ و ﻫﻤﻜﺎران ﺗﺤﻠﻴﻞ ﭘﻴﻮﻧﺪﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ... و ﺻﻮرت، ﻣﻴﺎن ﻣﺘﻦ و ﺗﺼﻮﻳﺮ ارﺗﺒﺎط ﺑﺮﻗﺮار ﻛﺮدﻧﺪ، ﻧﻪ ﺑﺮ اﺳﺎس ﺑﺎزﻧﻤﺎﻳﻲ ﻣﻮﺿﻮﻋﺎت و ﻧﻤﺎﻳﺶ ﻣﻔﺎﻫﻴﻢ ﻣﺘﻌﺎﻟﻲ و ﻣﺜﺎﻟﻲ. ﻫﺪف اﺻﻠﻲ ﭘﮋوﻫﺶ ﺣﺎﺿﺮ ﻧﻴﺰ ﺷﻨﺎﺧﺖ ﭘﻴﻮﻧﺪﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ﻣﺸﺘﺮك در ﺷﻌﺮ دورة ﺑﺎزﮔﺸﺖ و ﻧﻘﺎﺷﻲ ﭘﻴﻜﺮﻧﮕﺎري درﺑﺎري، ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻧﻘﺶ ﻓﺘﺤﻌﻠﻲ ﺷﺎه در ﻓﺮاﻫﻢ آوردن زﻣﻴﻨﺔ ﻣﺴﺎﻋﺪ در راﺳﺘﺎي ﻫﻤﮕﺎﻣﻲ اﻳﻦ دو ﺣﻮزة ﻫﻨﺮي اﺳﺖ. واژﮔﺎن ﻛﻠﻴﺪي: ادﺑﻴﺎت ﺗﻄﺒﻴﻘﻲ، ﺑﺎزﮔﺸ ﺖ ادﺑﻲ، ﻧﻘﺎﺷﻲ ﭘﻴﻜﺮﻧﮕﺎر ي درﺑﺎر ي، ﭘﻴﻮﻧﺪﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘ ﻲ ﺷﻌﺮ و ﻧﻘﺎﺷﻲ. .1 ﻣﻘﺪﻣﻪ ﻛﻨﺪو ﻛﺎو در ادﺑﻴﺎت ﻓﺎرﺳﻲ و ﻧﻘﺎﺷﻲ اﻳﺮاﻧﻲ و ﺑﺮرﺳﻲ ﺗﺸﺎﺑﻪ ﻫﺎ، ﭘﻴﻮﻧﺪﻫﺎ و ﺣﺘﻲ ﺗﻔﺎوت در ﺗﺠﻠّﻲ ﺻﻮرت و ﻣﻌﻨﺎ در آن ﻫﺎ، ﻳﻜﻲ از روﻳﻜﺮدﻫﺎي ﻣﻬﻢ ﺑﺮﺧﻲ از ﭘﮋوﻫﺸﮕﺮاﻧﻲ اﺳﺖ ﻛﻪ ﺑﻪ ﺷﻴﻮة ﺗﻄﺒﻴﻘﻲ در اﻳﻦ زﻣﻴﻨﻪ ﺑﻪ ﺗﺤﻘﻴﻖ ﭘﺮداﺧﺘﻪ اﻧﺪ. ﻧﺘﺎﻳﺠﻲ ﻛﻪ ﺗﻘﺮﻳﺒﺎً ﻫﻤﺔ آﻧﺎن ﺑﺪان رﺳﻴﺪه اﻧﺪ، از ﻫﻤﮕﺎﻣﻲ ﺑﺴﻴﺎر ﻧﺰدﻳﻚ اﻳﻦ دو ﺣﻮزة ﻫﻨﺮي ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﺣﻜﺎﻳﺖ دارد ﺗﺎ آﻧﺠﺎ ﻛﻪ ﺷﻌﺮ ﻓﺎرﺳﻲ و ﻧﻘﺎﺷﻲ اﻳﺮاﻧﻲ را دو ﺟﻠﻮه از ﻳﻚ ﺣﻘﻴﻘﺖ ﭘﻨﺪاﺷﺘﻪ اﻧﺪ؛ اﻣﺎ اﻳﻦ دﻳﺪﮔﺎه، ﺑﻪ ﻃﻮر ﻛﻠﻲ ﻣﺨﺘﺺ ﺑﻪ دوره اي اﺳﺖ ﻛﻪ ﻧﮕﺎرﮔﺮان در ﻛﺘﺎﺑﺨﺎﻧﻪ و ﻛﺎرﮔﺎه ﺳﻠﻄﻨﺘﻲ ﺑﻪ ﻛﺘﺎب آراﻳﻲ1 و ﻣﺼﻮرﺳﺎزي ﺑﺮﺧﻲ از ﻣﺘﻮن ﻧﻈﻢ و ﻧﺜﺮ ادب ﻓﺎرﺳﻲ ﻣﻲ ﭘﺮداﺧﺘﻨﺪ؛ ﺑﻨﺎﺑﺮاﻳﻦ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﺘﻦ و ﺑﺎ ﺑﻬﺮه ﮔﻴﺮي از ﻧﮕﺎه ﻣﺜﺎﻟﻲ ﺑﻪ ﻫﻤﺔ وﺟﻮه ﻫﺴﺘﻲ، ﺳﻌﻲ در ﻧﻤﺎﻳﺶ ﻋﺎﻟﻢ ﻻﻫﻮﺗﻲ ﻣﺒﺘﻨﻲ ﺑﺮ ﺧﻴﺎل داﺷﺘﻨﺪ. از اواﺧﺮ دورة ﺻﻔﻮﻳﻪ ﺑﻨﺎ ﺑﻪ دﻻﻳﻠﻲ ﻣﺎﻧﻨﺪ ﻧﻔﻮذ و ﺗﺄﺛﻴﺮات ﻓﺮﻫﻨﮕﻲ و ﻫﻨﺮي ﻏﺮب ﺑﺮ ﻧﻘﺎﺷﻲ اﻳﺮاﻧﻲ و ﺿﻌﻒ ﻋﻤﻮﻣﻲ ادﺑﻴﺎت ﻓﺎرﺳﻲ، ﺷﺎﻫﺪ ﺗﺤﻮﻻﺗﻲ در ﺷﻜﻞ2 ، ﻣﻮﺿﻮع و ﺣﺘﻲ اﺳﻠﻮب3 ﻧﻘﺎﺷﻲ ﻫﺎ ﻫﺴﺘﻴﻢ. اﻳﻦ روﻧﺪ از اواﺧﺮ ﺣﻜﻮﻣﺖ زﻧﺪﻳﻪ و اواﻳﻞ ﻗﺎﺟﺎرﻳﻪ ﺷﺪت ﺑﻴﺸﺘﺮي ﻳﺎﻓﺖ و ﻋﻼوه ﺑﺮ ﻣﻮارد ﭘﻴﺸﻴﻦ، ﺑﻪ دﻟﻴﻞ ﺗﺮدد ﻫﻨﺮﻫﺎ، ﺑﻪ وﻳﮋه ﻧﻘﺎﺷﻲ، ﻣﻴﺎن ﺳﻨﺖ و ﺗﺠﺪد و ﻧﻘﺶ ﺳﻔﺎرش دﻫﻨﺪﮔﺎن آﺛﺎر، دﮔﺮﮔﻮﻧﻲ ﻫﺎي ﻋﻤﻴﻖ ﺗﺮي در ﺗﻌﺎﻣﻼت، رواﺑﻂ و ﭘﻴﻮﻧﺪﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ4 ﻣﻴﺎن اﻳﻦ دو Downloaded from clrj.modares.ac.ir at 15:38 IRST on Monday October 4th 2021 ﺣﻮزة ﻫﻨﺮي ﺑﻪ وﺟﻮد آﻣﺪ. 1 Illum ination 2 Form 3 Techniqe 4 Aesthetice 132 ﭘﮋوﻫﺶ ﻫﺎي ادﺑﻴﺎت ﺗﻄﺒﻴﻘﻲ دورة 3 ، ﺷﻤﺎرة 2 (ﭘﻴﺎﭘﻲ 6 )، ﭘﺎﻳﻴﺰ و زﻣﺴﺘﺎن 1394 1 1- . ﭘﺮﺳﺶ ﻫﺎي ﭘﮋوﻫﺶ اﻟﻒ. ﻋﻮاﻣﻞ ﺳﻴﺎﺳﻲ، اﺟﺘﻤﺎﻋﻲ و ﻓﺮﻫﻨﮕﻲ در ﺷﻜ ﻮﻓﺎﻳﻲ ﺳﺒﻚ ادﺑﻲ ﺑﺎزﮔﺸﺖ و ﻧﻘﺎﺷﻲ ﭘﻴﻜﺮﻧﮕﺎري درﺑﺎري ، ﻃﻲ ﺣﻜﻮﻣﺖ ﻓﺘﺤﻌﻠﻲ ﺷﺎه ﭼ ﻴﺴﺖ؟ ب. ﭘﻴﻮﻧﺪﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﺎﻧﻪ در ﺷﻜﻞ و ﻣﻀﻤﻮن ﻧﻘﺎﺷﻲ و ﺷﻌﺮ اﻳﻦ دوره ﭼﮕﻮﻧﻪ و ﺗﺎ ﭼﻪ ﻣﻴﺰان ﺑﻮده اﺳﺖ؟ 2 1- . ﻓﺮﺿﻴﻪ ﻫﺎي ﭘﮋوﻫﺶ اﻟﻒ. ﺗﺤﻮﻻت ﺳﻴﺎﺳﻲ، اﺟﺘﻤﺎﻋﻲ و ﻓﺮﻫﻨﮕﻲ اي ﻣﺎﻧﻨﺪ ارﺗﺒﺎط ﺑﺎ ﻏﺮب و ﺷﻜﺴﺖ ﻫﺎي ﭘﻲ در ﭘﻲ ﻧﻈﺎﻣﻲ، ﺷﺮاﻳﻄﻲ را ﺑﻪ وﺟﻮد آورد ﻛﻪ ﺳﺒﺐ ﺗﻮﺟﻪ ﻓﺘﺤﻌﻠﻲ ﺷﺎه ﺑﻪ اﺛﺮﮔﺬاري ﻫ ﻨﺮ ﻫﺎ، ﺑﻪ وﻳﮋه ﻧﻘﺎﺷﻲ، ﺑﻪ ﻋﻨﻮان اﺑﺰار ي ﺗﺒﻠﻴﻐﺎﺗ ﻲ و رﺳﺎﻧﻪ اي در ﺟﻬﺖ ﺑﻴﺎن اﻫﺪاف و ﺧﻮاﺳﺘﻪ ﻫﺎﻳﺶ ﺷﺪ. اﻳﻦ اﻣﺮ در ﻧﻬﺎﻳﺖ ﻣﻨﺠﺮ ﺑﻪ رﺷﺪ و ﺷﻜﻮﻓﺎﻳﻲ ﺗﺼﻮﻳﺮﮔﺮي و ادﺑﻴﺎت، ﺑﻪ وﻳﮋه ﺷﻌﺮ ﺷﺪ. ب. ﻧﻘﺎﺷﻲ ﭘﻴﻜﺮﻧﮕﺎري درﺑﺎري در ﺷﻜﻞ، ﻣﺘﺄﺛﺮ از ﺗﻮﺻﻴﻔﺎت ﺷﺎﻋﺮاﻧﻪ و اﻟﮕﻮﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ ﺟﺮﻳﺎن ﺑﺎزﮔﺸﺖ اﺳﺖ؛ وﻟﻲ ﺑﻪ ﻟﺤﺎظ ﻣﻮﺿﻮﻋﻲ واﺑﺴﺘﻪ ﺑﻪ ﻧﻈﺮ ﺳﻔﺎرش دﻫﻨﺪه و ﻣﻮﺿﻮﻋﺎت راﻳﺞ در درﺑ ﺎر آن زﻣﺎن اﺳﺖ. 3 1- . روش ﭘﮋوﻫﺶ ﭘﮋوﻫﺶ ﺣﺎﺿﺮ ﺑﺮ آن اﺳﺖ ﺗﺎ ﺑﻪ روش ﺗﺎرﻳﺨﻲ، ﺗﺤﻠﻴﻠﻲ و ﺗﻮﺻﻴﻔﻲ و ﺑﺎ روﻳﻜﺮد ﺑﻴﻨﺎرﺷﺘﻪ اي ﻣﻜﺘﺐ آﻣﺮﻳﻜﺎﻳﻲ ادﺑﻴﺎت ﺗﻄﺒﻴﻘﻲ، ﺑﻪ ﺑﺮرﺳﻲ ﭘﻴﻮﻧﺪﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ﺗﻌﺪادي از آﺛﺎر ﺷﺎﺧﺺ ﻧﻘﺎﺷﺎن و ﺷﺎﻋﺮان ﺑﺮﺟﺴﺘﺔ اواﺧﺮ ﺳﺪة دوازدﻫﻢ و اوا ﻳﻞ ﺳﺪة ﺳﻴﺰدﻫﻢ ه .ق. از ﻧﻈﺮ ﺷﻜﻞ و ﻣﺤﺘﻮا ﺑﭙﺮدازد. در اﻳﻦ ﻣﻘﺎﻟﻪ ﺗﻤﺮﻛﺰ ﻧﮕﺎرﻧﺪﮔﺎن ﺑﺮ ﭼﮕﻮﻧﮕﻲ ﺗﻔﺎوت ﻫﺎ و ﺗﺸﺎﺑﻬﺎت اﻧﻌﻜﺎس ﻳﻚ ﻣﻔﻬﻮم ﻣﺸﺘﺮك در ﻛﻼم و ﺗﺼﻮﻳﺮ اﺳﺖ و ﻣﻮﺿﻮع اﻟﻬﺎم ﭘﺬﻳﺮي ﻣﺴﺘﻘﻴﻢ ﻧﻘﺎش از ﻣﻨﺒﻊ ﻛﻼﻣﻲ Downloaded from clrj.modares.ac.ir at 15:38 IRST on Monday October 4th 2021 ﺧﻠﻖ ﺷﺪه از ﺳﻮي ﺷﺎﻋﺮ، ﻣﻮرد ﻧﻈﺮ ﻧﺒﻮده اﺳﺖ5 . ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﭼﻨﻴﻦ روﻳﻜﺮدي در ﭘﮋوﻫﺶ ﭘﻴﺶ رو، ﺗﻼش ﺑﺮآن اﺳﺖ ﺗﺎ ﺑﻪ ﻃﻮر دﻗﻴﻖ درﻳﺎﺑﻴﻢ ﻛﻪ ﻣﻴﺰان ﺗﺄﺛﻴﺮﮔﺬاري ادﺑﻴﺎت ﺑﺮ ﻧﻘﺎﺷﻲ اﻳﻦ دوره ﺗﺎ ﭼﻪ اﻧﺪازه ﺑﻮده، ﺗﻮﺻﻴﻔﺎت و ﻣﻔﺎﻫﻴﻢ ﻳﻜﺴﺎن ادﺑﻲ در ﻣﺘﻮن ﻧﻮﺷﺘﺎري ﭼﮕﻮﻧﻪ در ﻣﺘﻮن ﺗﺼﻮﻳﺮي ﻧﻤﻮد ﻳﺎﻓﺘﻪ و ﺑﺎزﻧﻤﺎﻳﻲ ﺷﺪه اﻧﺪ و درﻧﻬﺎﻳﺖ ﺑﻪ زﺑﺎن ﻣﺸﺘﺮك دﺳﺖ ﻳﺎﻓﺘﻪ اﻧﺪ، ﺑﺪون 5 1 - درﺑﺎرة روش ﻫ ﺎي ﺑﺮرﺳﻲ راﺑﻄﺔ ﻣﻴﺎن ﻣﺘﻦ ﻛﻼﻣﻲ و ﺗﺼﻮﻳﺮي در ادﺑﻴﺎت ﺗﻄﺒﻴﻘ ﻲ ر. ك: (اﻧﻮﺷﻴﺮواﻧﻲ و ﻻﻟﻪ آﺗﺸﻲ، 1391 2: 3- )؛ (ﻧﺎﻣﻮر ﻣﻄ ﻠﻖ، 87 13 : 57 ) و (ﻣ ﻬﺮﻧﮕ ﺎر، ﭼﻴﺘﻲ، ﺧﺪاﻳﺎرو ﻓﻬﻴﻤﻲ ﻓﺮ، 92 :13 2 13 - 4 13 ). 133 اﺻﻐﺮ ﻓﻬﻴﻤﻲ ﻓﺮ و ﻫﻤﻜﺎران ﺗﺤﻠﻴﻞ ﭘﻴﻮﻧﺪﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ... آن ﻛﻪ ﻳﻜﻲ از دﻳﮕﺮي اﻟﻬﺎم ﮔﺮﻓﺘﻪ ﺑﺎﺷﺪ. 4 1- . ﻣﺴﺌﻠﺔ ﭘﮋوﻫﺶ ﻧﻘﺎﺷﻲ ﻫﺎﻳﻲ ﻛﻪ در اﻳﻦ دوره ﺗﺮﺳﻴﻢ ﻣﻲ ﺷﻮﻧﺪ، ﺑﻪ ﻟﺤﺎظ ﻣﻮﺿﻮع اﻏﻠﺐ ﺗﺎزه اﻧﺪ و در ﺻﻮرت ﻧﻴﺰ ﻧﺸﺎن از ﺗﺤﻮل ﺟﺪي و اﺳﺎﺳﻲ در ﺷﻴﻮة ﺗﺼﻮﻳﺮﮔﺮي اﻳﺮاﻧﻲ دارﻧﺪ؛ اﻣﺎ در ﺷﻌﺮ ﺑﺎزﮔﺸﺖ ﺗﺤﻮل ﺟﺪي اي رخ ﻧﺪاده و ﺷﺎﻋﺮان در ﺻﻮرت و ﻣﺤﺘﻮاي اﺷﻌﺎر، ﺑﻴﺸﺘﺮ ﭘﻴﺮو و ﻣﻘﻠّﺪ ﮔﺬﺷﺘﮕﺎن ﻫﺴﺘﻨﺪ. از اﻳﻦ رو، ﺷﻌﺮ اﻳﻦ دوره ﻧﻮآوري ﭼﺸﻤﮕﻴﺮي ﺑﺎ ﺧﻮد ﺑﻪ ﻫﻤﺮاه ﻧﺪارد. اﻛﻨﻮن اﻳﻦ ﻣﺴﺌﻠﻪ ﻣﻄﺮح اﺳﺖ ﻛﻪ آﻳﺎ ﻣﻴﺎن ﻧﻘﺎﺷﻲ ﭘﻴﻜﺮﻧﮕﺎري درﺑﺎري و ﺷﻌﺮ ﺟﺮﻳﺎن ﺑﺎزﮔﺸﺖ (ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗﻐﻴﻴﺮ و ﺗﺤﻮل در ﻧﻘﺎﺷﻲ و ﺗﻜﺮار و ﺗﻘﻠﻴﺪ در ﺷﻌﺮ) ﻣﻲ ﺗﻮان ﻫﻤﭽﻮن ﮔﺬﺷﺘﻪ وﻳﮋ ﮔﻲ ﻫﺎي ﻣﺸﺘﺮﻛﻲ ﺑﻴﻦ ﺗﺼﺎوﻳﺮ و اﺷﻌﺎر ﭘﻴﺪا ﻛﺮد ﻛﻪ از ﻗﻮاﻋﺪ و ﭘﻴﻮﻧﺪﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ ﺧﺎﺻﻲ ﭘﻴﺮوي ﻛﻨﻨﺪ؟ 2 . ﭘﻴﺸﻴﻨﺔ ﭘﮋوﻫﺶ ﺗﺎﻛﻨﻮن ﻛﺘﺎب ﻫﺎ و ﻣﻘﺎﻻت ﺑﺴﻴﺎري درﺑﺎرة ﺗﻌﺎﻣﻼت و ﭘﻴﻮﻧﺪﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ﻣﻴﺎن ادﺑﻴﺎت ﻓﺎرﺳﻲ و ﻧﻘﺎﺷﻲ اﻳﺮاﻧﻲ ﻧﮕﺎﺷﺘﻪ ﺷﺪه اﺳﺖ ﻛﻪ در ﺑﻴﺸﺘﺮ آن ﻫﺎ ﻧﮕﺎه ﭘﮋوﻫﺸﮕﺮ ﻣﺘﻮﺟﻪ ﺳﺪة ﭘﻨﺠﻢ ﺗﺎ ﻳﺎزدﻫﻢ ه.ق اﺳﺖ. اﻟﺒﺘﻪ ﭘﮋوﻫﺶ ﻫﺎي ﻗﺎﺑﻞ ﺗﻮﺟﻬﻲ ﻧﻴﺰ درﺑﺎرة ﻧﻘﺎﺷﻲ ﭘﻴﻜﺮﻧﮕﺎري درﺑﺎري و ﺟﺮﻳﺎن ﺑﺎزﮔﺸﺖ ادﺑﻲ ﺑﻪ ﻃﻮر ﺟﺪاﮔﺎﻧﻪ ﺻﻮرت ﮔﺮﻓﺘﻪ اﺳﺖ؛ اﻣﺎ در آن ﻫﺎ ﻛﻤﺘﺮ ﺳﺨﻨﻲ از اﺷﺘﺮاﻛﺎت و ﭘﻴﻮﻧﺪﻫﺎي زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ﻣﻴﺎن اﻳﻦ دو ﺣﻮزة ﻫﻨﺮي در ﻋﺼﺮ ﻗﺎﺟﺎر، ﺑﻪو ﻳﮋه ﻃﻲ 37 ﺳﺎل ﺳﻠﻄﻨﺖ ﻓﺘﺤﻌﻠﻲ ﺷﺎه و ﻧﻘﺶ وي در ﻫﻤﮕﺎﻣﻲ ﺷﻌﺮ و ﻧﻘﺎﺷﻲ اﻳﻦ دوره ﺑﻪ ﻣﻴﺎن آﻣﺪه اﺳﺖ6. در اﻳﻦ زﻣﻴﻨﻪ ﺗﻨﻬﺎ ﻣﻲ ﺗﻮان ﺑﻪ ﺑﺮرﺳﻲ ﻫﺎي ﺟﻮاد ﻋﻠﻲ ﻣﺤﻤﺪي اردﻛﺎﻧﻲ در ﻛﺘﺎب ﻫﻤﮕﺎﻣﻲ ادﺑﻴﺎت و ﻧﻘﺎﺷﻲ دورة ﻗﺎﺟﺎر ( 1392 ) اﺷﺎره ﻛﺮد ﻛﻪ در آﻧﺠﺎ ﻧﻮﻳﺴﻨﺪه ﺑﺎ ﻧﮕﺎﻫﻲ ﻛﻠﻲ ﺑﻪ Downloaded from clrj.modares.ac.ir at 15:38 IRST on Monday October 4th 2021 اﻳﻦ ﻣﻮﺿﻮع ﭘ ﺮداﺧﺘﻪ، ﺿﻤﻦ آن ﻛﻪ ﻛﺘﺎب ﻳﺎد ﺷﺪه ﺑﻴﺸﺘﺮ ﺟﻨﺒﺔ ﺗﻮﺻﻴﻔﻲ دارد. ﺑﻨﺎﺑﺮاﻳﻦ ﺑﺮرﺳﻲ و ﺗﺤﻠﻴﻞ ﺻﻮرت و ﻣﺤﺘﻮاي ﻧﻘﺎﺷﻲ ﻫﺎي ﭘﻴﻜﺮﻧﮕﺎري درﺑﺎري ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺷﻌﺮ دورة ﻧﺨﺴﺖ ﺟﺮﻳﺎن ﺑﺎزﮔﺸﺖ ﺑﺎ روﻳﻜﺮد ﻣﻜﺘﺐ آﻣﺮﻳﻜﺎﻳﻲ ادﺑﻴﺎت ﺗﻄﺒﻴﻘﻲ ﻛﺎﻣﻼً ﻧﻮ اﺳﺖ. 6 2 - درﺑﺎرة ﺳﺒﻚ ﺷﻨ ﺎﺳﻲ آﺛﺎر ادﺑﻲ و ﻧﻘﺎﺷﻲ اﻳﻦ د وره ر.ك: ﺳﺒﻚ ﺷﻨﺎﺳﻲ ﻳﺎ ﺗﺎرﻳﺦ ﺗﻄ ﻮر ﻧﺜﺮ ﻓ ﺎرﺳﻲ (ﺑﻬ ﺎر، 37 13 )؛ داﻳﺮة اﻟﻤﻌ ﺎرف ﻫﻨﺮ ( ﭘ ﺎﻛﺒﺎز، 1386 )؛ د ورة ﺑﺎزﮔﺸﺖ و ﺳﺒﻚ ﻫﻨﺪي ( ﺧ ﺎﺗﻤﻲ ، 1385 )؛ ﻧﻘﺎﺷﻲ ﻫﺎي درﺑ ﺎري ﻓ ﺎرﺳﻲ ( Royal Persian paintings, Diba, 1998 .) 134 ﭘﮋوﻫﺶ ﻫﺎي ادﺑﻴﺎت ﺗﻄﺒﻴﻘﻲ دورة 3 ، ﺷﻤﺎرة 2 (ﭘﻴﺎﭘﻲ 6 )، ﭘﺎﻳﻴﺰ و زﻣﺴﺘﺎن 1394 3 . ﻣﻔﺎﻫﻴﻢ ﻧﻈﺮي 1 3- . ادﺑﻴﺎت ﺗﻄﺒﻴﻘﻲ ادﺑﻴﺎت ﺗﻄﺒﻴﻘﻲ7 داﻧﺸﻲ ﺑﻴﻨﺎرﺷﺘﻪ اي و از ﻣﻨﻈﺮ ﻣﻨﺸﺄ، اﺳﺎﺳﺎً ﻓﺮاﻧﺴﻮي اﺳﺖ ﻛﻪ در اواﺧﺮ ﺳﺪة ﻫﺠﺪﻫﻢ و اواﻳﻞ ﺳﺪة ﻧﻮزدﻫﻢ ﻣﻴﻼدي رواج ﻳﺎﻓﺖ. ﭘﮋوﻫﺸﮕﺮان ﻛﻼﺳﻴﻚ ﺑﺮداﺷﺖ ﻧﺴﺒﺘﺎً ﺳﺎده و روﺷﻨﻲ از اﻳﻦ داﻧﺶ در ﻧﻈﺮ داﺷﺘﻨﺪ: « ادﺑﻴﺎت ﺗﻄﺒﻴﻘﻲ، ﺑﻪ ﮔﻮﻧﻪ اي ﺳﻨﺘﻲ، ﻣﻄﺎﻟﻌﺔ ﺑﻴﻨﺎزﺑﺎﻧﻲ ادﺑﻴﺎت ﻣﻠﻞ ﻣﺨﺘﻠ ﻒ (ﺑﻪوﻳﮋه ﻣﻠﻞ اروﭘﺎﻳﻲ) ﺑﺮاﺳﺎس دو روش ﺗﻮﺻﻴﻒ و ﺗﺤﻠﻴﻞ ﺷﺒﺎﻫﺖ ﻫﺎ و ﺗﻔﺎوت ﻫﺎ و ﺗﺤﻠﻴﻞ ﺗﺄﺛﻴﺮ و ﺗﺄﺛﺮ اﺳﺖ » (ﻧﺠﻮﻣﻴﺎن، 1390 : 116 ). ﺷﺎﺧﻪ اي از ادﺑﻴﺎت ﺗﻄﺒﻴﻘﻲ ﻛﻪ ﺑﻪ ﻣﻜﺘﺐ آﻣﺮﻳﻜﺎﻳﻲ ﻣﻌﺮوف اﺳﺖ، ﻧﺨﺴﺘﻴﻦ ﺑﺎر در اواﺳﻂ ﺳﺪة ﺑﻴﺴﺘﻢ، ﺗﻮﺳﻂ رﻧﻪ وﻟﻚ8، ﭘﮋوﻫﺸﮕﺮ آﻣﺮﻳﻜﺎﻳﻲ، ﭘﺎﻳﻪ رﻳﺰي و اراﺋﻪ ﺷﺪ. ﻫﻨﺮي رﻣﺎك9 ( 1916 - 2009 م ) ﺑﺎ ﮔﺴﺘﺮش ﻗﻠﻤﺮو ادﺑﻴﺎت ﺗﻄﺒﻴﻘﻲ از ﻣﻄﺎﻟﻌﺎت ﻓﺮﻫﻨﮕﻲ ﺑﻪ ﺳﺎﻳﺮ ﺷﺎﺧﻪ ﻫﺎي داﻧﺶ ﺑﺸﺮي، ﺑﺎب ﭘﮋوﻫﺶ ادﺑﻴﺎت را ﺑﺎ ﺳﺎﻳﺮ ﺣﻮزه ﻫﺎي اﻧﺪﻳﺸﻪ و ذوق ﺑﺸﺮي رﺳﻤﺎً ﺑﺎزﻛﺮد؛ ﺑﻨﺎﺑﺮاﻳﻦ در ادﺑﻴﺎت ﺗﻄﺒﻴﻘﻲ ﺗﻨﻬﺎ ﺑﻪ رواﺑﻂ ﻣﻴﺎن ادﺑﻴﺎت و زﺑﺎن ﻫﺎي دﻳﮕﺮ ﺑﺴﻨﺪه ﻧﻤﻲ ﺷﻮد، ﺑﻠﻜﻪ ﺑﺮرﺳﻲ ادﺑﻴﺎت ﺑﺎ ﺳﺎﻳﺮ رﺷﺘﻪ ﻫﺎي ﻋﻠﻮم اﻧﺴﺎﻧﻲ، ﻫﻨﺮﻫﺎي زﻳﺒﺎ 10 و ﻫﺮ آن ﭼﻴﺰي ﻛﻪ ﻣﺮﺗﺒﻂ ﺑﺎ ادﺑﻴﺎت اﺳﺖ و ﻋﻨﺎﺻﺮ ﺗﺸﻜﻴﻞ دﻫﻨﺪة ﻳﻚ ﻓﺮﻫﻨﮓ و ﻣﻠﺖ را درﺑﺮﻣﻲ ﮔﻴﺮد، ﭘﺮداﺧﺘﻪ و ﻫﺮ ﻣﺘﻨﻲ اﻋﻢ از ﻧﻮﺷﺘﺎري، ﺗﺼﻮﻳﺮي و ﺷﻨﻴﺪاري را ﺷﺎﻣﻞ ﻣﻲ ﺷﻮد.
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    Bagh-e Nazar, 17(82), 59-68 /Apr. 2020 DOI: 10.22034/bagh.2019.176139.4049 Persian translation of this paper entitled: اصطﻻح ادبی یا واکنش رفتاری!، »انگشت َگزیدن« در ادبیات و نقاشی ایرانی is also published in this issue of journal. A Literary Figure or a Behavioral Reaction! A Review of “angosht gazidan” * in Iranian Literature and Painting Ahmad Zare Abarghouei1, Seyyed Abbas Zahabi**2, Malek Hosseini3, Hadi Samadi4 1. PhD in Philosophy of Art, Science and Research Branch, Islamic Azad University, Tehran, Iran. 2. Assistant Professor, Science and Research Branch, Islamic Azad University, Tehran, Iran. 3. Assistant Professor, Science and Research Branch, Islamic Azad University, Tehran, Iran. 4. Assistant Professor, Science and Research Branch, Islamic Azad University, Tehran, Iran. Received: 25/03/2019 ; revised: 13/07/2019 ; accepted: 25/07/2019 ; available online: 20/03/2020 Abstract Problem statement: Surprise, shame and guilt are considered to be human emotions. Reactions to these emotions are subject to biological and cultural issues. Looking at the Iranian art and literature in the context of history, it seems that one of the reactions of amazed and regretful people in the Iranian culture has been angosht gazidan, as it can be found numerously in ancient Iranian texts, ancient poetry, and painting. Since this reaction can only be seen in the cultural history of Iran, it should be attributed to the specific culture of Iranians. Research objective: The objective of this research is to find the historical course of angosht gazidan in Iranian literature and painting and examine whether this reaction has been derived from the behavioral reaction of Iranians.
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  • Persian Optional Subject
    Optional Subject: Persian PAPER – I Unit-1 - 1. Short essay in Persian (Compulsory.) Unit-II - 2. (a) Origin and development of the language. (Old Persian, Pahlavi, Modern Persian). (b) Applied Grammar. (c) Rhetorics. (d) Prosody (Bahr-i-Hazaj Kamil, Bahr-i- Motaqarib Mahzuf/ Maqsur, Bahr-i-Rajaz Kamil).Asbab,Autad, Fawasil, Haruf-i-Qafia. Unit-III - 3. Literary History, Criticism, Movements; Socio-cultural influences, Modern Trends. (a) Samanid Period: (Important Poets and Writers) (b) (Firdausi) Rumi, Masud Sad-i-Salman, Tarikh-i-Baihaqi) (c) Saljuquid Period : (Anwari Attar, Khayyam, Kimya-i-Saadat, Chahar Maqala, Siyasat Nama). (d) llkhanid Period : (Sa'di, Rumi, 'Jame'-ut-Tawarikh, Tarikh-i-Jahan Kusha). (e) Timurid Period : (Hafiz, Salman Saoji, Khaju-i-Kirmani, Zafar Nama-i-Sharfuddin Yazdi, Tazkira- Daulat Shah Samarqandi, Jami) (f) Indo-Persian Literature : (Aufi, Khusrau, Faizi, Urfi, Naziri, Abu Fazl, Tarikh-i-Firuz Shahi of Barani, Chahar Chaman of Brahman, Ghalib, lqbal) (g) Safavid to Modern Period : : (Mohtashim Kashi, Qaani, Malik-ushshu'ara Bahar, Nimayushij, Parwin E'tesami, Simin Behbahani' Sadiq Hedayat, Jamalzada, Hejazi, Sabki-Khurasani, Sabk-i-Eraqi, Sabk-i- Hindi, lslamic Revolution of lran) Unit-IV - 4. Translation of ten out of fifteen simple sentences of Urdu into Persian (Compulsory). Downloaded from: www.studymarathon.com PAPER - II The paper will require first hand reading of the texts prescribed and will be designed to test the candidates critical ability. Unit-I - Prose - 1. Translation from the following texts : (a) Nizami Aruzi Samarqandi, Chahar Maqala (Dabiri and Sha'iri). Saadi Shirazi Gulistan (Der Sirat-i- Padshahan and (b) Dar Akhlaq-i- Derwishan) Ziauddin Barani, Tarikh-i-Firuz Shahi (Wasaya-i-Sultan (c) Balban be Ferzand-o-Wali Ahd-i-Khud).
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  • Sanctity and Malevolence of Cat in World Mythology and Persian Prose and Verse
    Arabian Journal of Business and Management Review (Nigerian Chapter) Vol. 1, No. 7, 2013 Sanctity and Malevolence of Cat in World Mythology and Persian Prose and Verse Kamran Pashaei Fakhri1, Rogayeh Mahmudivand Bakhtiari2, Parvaneh Adelzadeh3 1, 3- Assistance professor, department of Persian Language and Literature, Islamic Azad University, Tabriz branch, Iran. 2- M A in Persian Language and Literature, Azerbaijan Sanaeh Kochak scientific and applied University, Tabriz branch, Iran Abstract The pioneers of the Persian literature have described utopia in the form of story in the prose and verse and have chosen animals instead of human characters and assigned humanly characteristics to the animals. In this regard, horse is noble and descent and owl is symbol of destruction .Indeed, these literary men have two goals, they wanted to transfer humanly exalted thoughts in the form of story in addition to entertaining the readers. Cat symbolizes greed, playfulness, arrogance, hostility, imprudence, cruelty, ostentation and cunning in Persian literature .Cat has heterogeneous status between propitious and malevolent in myths. But all indecent traits of cat symbolize human carnal soul that it sometimes becomes evil and sometimes achieves divine and humanly status. This article investigates the mythology and legends of cat and its attendance in Persian literature tales and verse. Key words: cat, Persian literature, nations’ mythology, Persian tales, Islamic traditions, folk beliefs. Introduction There are different viewpoints about cat in Persian literature and west and east mythology, so that its status fluctuates between sanctity and malevolence indicating fluctuation of human soul in descending to carnality and lust and ascending to divinity and perfection.
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  • What General Soleimani's Death Means for the Middle East
    What General Soleimani’s Death Means for the Middle East ALINA V. GUERRA n January 3, 2020, General Qasem Soleimani – commander of the Quds Force, a powerful branch of Iran’s Islamic Revolutionary Guard Corps (IRGC) – was assassinated in a OUS drone strike.1 Prior to his assassination, Soleimani’s significance as a military leader and prominent figure in the Middle East and North Africa (MENA) was largely underappreciated in the West. In this article, I first review Soleimani’s background and achievements to draw ‘lessons learned’ from his career and then I assess the implications of his assassination for Iran, the future of the Middle East, and US strategic interests in the region. Who was Qasem Soleimani? Qasem Soleimani was one of Iran’s leading military officers and Supreme Leader Ayatollah Khamenei’s top military advisor. Born and raised in a village in the Kerman Province near Afghanistan and Pakistan, Soleimani from a young age showed interest in the Arab world. Soleimani entered the IRGC after the 1979 revolution, becoming a new recruit trainer following graduation from basic training.2 During the Iran-Iraq War (1980-88), Soleimani’s unfaltering leadership earned him a fast track to the top of the IRGC. He became the commander of the Quds Force by 1997. Though Khamenei generally set term limits of ten years for top military and political positions, General Soleimani kept his military command for over twenty years until his death. As Khamenei’s right-hand military man, Soleimani was nearly indispensable in loyally propping up Iran’s theocratic regime and in attacking Iran’s enemies.3 In a 2018 speech, at a memorial service for Imad Mughniyeh – the former deputy leader of Lebanese Hezbollah who was assassinated by a CIA car bomb in 2008 – a fiery Soleimani warned that the “enemy knows that punishment for Imad’s blood is not firing a missile or a tit-for-tat assassination.
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  • Studying Efficiency and Ranking of Mehr Eqtesad Bank Branches Throughout Shiraz City, Using Data Envelopment Analysis
    Indian Journal of Fundamental and Applied Life Sciences ISSN: 2231– 6345 (Online) An Open Access, Online International Journal Available at www.cibtech.org/sp.ed/jls/2015/01/jls.htm 2015 Vol.5 (S1), pp. 2183-2198/Gharihe et al. Research Article STUDYING EFFICIENCY AND RANKING OF MEHR EQTESAD BANK BRANCHES THROUGHOUT SHIRAZ CITY, USING DATA ENVELOPMENT ANALYSIS Mohsen Gharihe1, *Hamide Ranjbar2 and Abdulkhalegh Gholami1 1Department of Management, Yasouj Branch, Islamic Azad University, Yasouj, Iran Department of Management, Kohkiluyeh and Boyerahmad Science and Research Branch ,Islamic Azad University, Yasouj, Iran 2Department of Mathematics, Yasouj Branch, Islamic Azad University, Yasouj, Iran *Author for Correspondence ABSTRACT Data envelopment analysis is a linear programming method that is used for relative performance evaluation of homogeneous groups from decision making units. Standard DEA models calculate separately the maximum relative efficiency for each DMU. DMUs are divided into efficient and inefficient units. Efficiency scale is one and less than one for efficient and inefficient DMUs. Various methods of ranking have been introduced in DEA in order to evaluate performance of units. One such method is Common Set of Weights (CSW). In this study, the performance and ranking of Mehr Eqtesad bank branches throughout Shiraz city have been studied until 2013, using BCC and Common Set of Weights (CSW). Keywords: Data Envelopment Analysis, Efficiency and Ranking INTRODUCTION Data envelopment analysis is a linear programming method that is used for relative performance evaluation of homogeneous groups from decision making units (Charnes et al., 1978). Standard DEA models calculate separately the maximum relative efficiency for each DMU. DMUs are divided into efficient and inefficient units (Ramazani et al., 2013).
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  • The Maharaja Sayajirao University of Baroda Faculty of Arts Department of Persian, Arabic &Urdu Bhasha Sahitya Bhavan, Nr.D
    The Maharaja Sayajirao University of Baroda Faculty of Arts ACADEMIC YEAR Department of Persian, Arabic &Urdu 2016-2017 Bhasha Sahitya Bhavan, Nr.D.N.Hall, Vadodara-390 002 Bachelor of Arts (Persian) : Regular YEAR I CORE 01 CREDIT 3 Semester I PERSIAN TEXT - I HOURS 45 Paper Code- PER1101C01 OBJECTIVES: (1) This will bring proficiency of Persian language among students (2) This will help the students in acquiring the basic knowledge of Persian language and its grammar (3) This will enable the students to get jobs in various government and private institutions after completing their studies. COURSE CONTENT/ SYLLABUS Title 12 hrs. UNIT-I Alphabet and Joining of Letters Title 11 hrs. UNIT-II Lesson 1-4 with exercises from Farsi Barai Ghair Farsi Zabanan by Samina Baghcheban Title 11 hrs. UNIT-III Lesson 5-8 with exercises from Farsi Barai Ghair Farsi Zabanan by Samina Baghcheban Title 11 hrs. Lesson 9-12 with exercises from Farsi Barai Ghair Farsi Zabanan by Samina Baghcheban UNIT-IV Objective type questions from the text REFERENCES 1 Samina Baghcheban, Farsi Barai Ghair Farsi Zabanan, Idara-i-Adabiyat-i-Delhi, Delhi 2 Yadollah Samareh, Persian Language Teaching (Elementary Course) Book I, (Azfa) Ministry of Islamic Culture and Guidance, Islamic Republic of Iran, Tehran, 1988 (Available at Iran Culture House, New Delhi) 3 Dr. Taqi Purnamdarian, Persian Lessons for foreigners (An elementary course) Institute for Humanities and Culture Studies, Tehran, 1997 (Available at Iran Culture House, New Delhi) 4 Lambton, A.K.S., Persian Grammar, Cambridge
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  • BAL-I-JIBRIL L’Ala Di Gabriele the Wing of Gabriel
    MUHAMMAD IQBAL BAL-I-JIBRIL L’Ala di Gabriele The Wing of Gabriel Traduzione dall’Urdu in Italiano con Introduzione e Note Translation from Urdu into Italian with Introduction and Notes A CURA DI VITO SALIERNO IQBAL ACADEMY PAKISTAN INTRODUZIONE 1. L’INDIA DOPO IL “MUTINY” Con la repressione inglese nel 1857, dopo il cosiddetto ammutinamento o “Mutiny”, era scomparsa dalla scena del subcontinente indiano la dinastia dei Moghul, peraltro già in decadenza un secolo e mezzo prima, alla morte dell’ultimo grande imperatore Aurangzeb, che aveva regnato per quasi mezzo secolo, dal 1659 al 1707: Bahadur Shah II, imperatore di nome per vent’anni, dal 1837 al 1857, fu deposto dagli Inglesi, dopo un processo-farsa, e confinato a Rangoon, in Birmania, dove morì dimenticato il 7 novembre 1862. Il “re di Delhi”, così chiamato perché il suo potere non oltrepassava le mura della cittadella della capitale, fu ricordato solo come poeta; in un noto ghazal aveva scritto: Il vento è all’improvviso mutato, Triste e senza pace è il mio cuore. Che dire del dolore e della tirannia? Il mio petto è straziato dall’angoscia. [...] Coloro che un tempo vissero felici, Sono ora ridotti in misera condizione. Sino agli anni Ottanta del XIX secolo il governo dell’India fu di tipo coloniale: l’interesse primario ed esclusivo del raj britannico era l’esazione delle tasse. Solo con Lord Ripon, viceré dal 1880 al 1884, si assiste ad un’apertura con l’introduzione del principio dell’autogoverno locale, sanzionato da una legge vicereale il 18 maggio 1882: si trattò di un processo che gradualmente, anche se lentamente, portò al concetto di una modernizzazione dello stato coloniale, e di conseguenza alla modernizzazione delle due religioni maggioritarie, l’hinduismo e l’islam.
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  • Soleimani Is Dead: the Road Ahead for Iranian- Backed Militias in Iraq
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  • Department of Persian Aligarh Muslim University, Aligarh Syllabus BA Ist
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  • Volume XIV, Issue 1 February 2020 PERSPECTIVES on TERRORISM Volume 14, Issue 1
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  • Esmail Qaani: the Next Revolutionary
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