I received PhD. degree in Ancient Iranian Languages from Institute for humanities and cultural studies (IHCS), Tehran, Iran in 2012.In 1983, I joined the Shahid Bahonar University of Kerman for teaching the courses on “Old Persian”, “Avestan” and “Pahlavi” texts to the graduate students of ancient Iranian languages and "Persian language and literature" to the students of the different majors. From 2014, I has been with the the Research Center for Islamic and Iranian Culture, Shahid Bahonar University of Kerman as "Research Fellow" and "head of the Research Group of the Ancient Iranian Languages and Culture", my current research interests include Iranian Studies (Zoroastrian and Manichean), Ancient Iranian languages and literature, Persian language and literature. Address: Kerman, Kerman, Iran, Islamic Republic of
رالف والدو امرسن شاعر و نويسندة بزرگ آمريكايي که سهم بسيار بزرگي در شكل‌گيري ادبيات آمريكا داشت، ... more رالف والدو امرسن شاعر و نويسندة بزرگ آمريكايي که سهم بسيار بزرگي در شكل‌گيري ادبيات آمريكا داشت، شیفتۀ ادبیات فارسی بود. او ادبیات فارسی را به جامعۀ جوان آمریکا در عصر نوزایی معرفی کرد و اشعار زیادی را از شاعران فارسی‌زبان بویژه حافظ و سعدی ترجمه کرد. در برخی اشعارش به حافظ و سعدی اشاره کرده و گفته می‌شود که از آنان تأثیر گرفته است. امرسن از طریق ژوزف فن هامر پورگشتال خاورشناس اتریشی، با اشعار خواجوی کرمانی هم آشنا شد. او چند بیت از مثنوی همای و همایون را از روی ترجمۀ آلمانی فُن هامر ترجمه کرد و شعری سرود به نام «غربت‌گزیده»، و در زیر عنوان آن نوشت که ترجمۀ یکی از اشعار خواجوی کرمانی است. بررسی «غربت‌گزیده» نشان می‌دهد که امرسن از این ابیات خواجو اقتباسی آزادانه کرده است. شوریده‌حالی و غریبگی شاعر ایرانی در ابیاتی که به زیبایی تصویر شده است برای امرسن منبع الهامی شد تا شعری بسراید که به گفتۀ منتقدان ادبی، شرق و غرب را در آن به یکدیگر پیوند زده است.
The "eloquence" of mythical and epic characters has a long history in Iranian literature. Ferdows... more The "eloquence" of mythical and epic characters has a long history in Iranian literature. Ferdowsi has introduced many characters of Shahnameh as "speaker", "eloquent", "smooth-tongued", and "sweet-mouthed" and praised them with these epithets. Some literary terms such as "Sokhan Shirin" and "Zaban Shiva" have been used in Avesta and have been continued in Persian, and some, such as viiāxana "eloquent", the epithet of Mitra in Mehr Yash, has not been continued but were used as an obsolete form of Gyāxan in Rudaki's poetry, and some Persian lexicons, such as Asadī’s Loḡat-e fors, in spite of this, it has continued as a heroic epithet in epic texts among native and foreign heroes. This article examines the semantic range of "Eloquence" that is a common quality of Mithra, the prophet Zarathustra, heroes such as Garshasb, Sam, Rostam and Giv, and even Turanian heroes in Iranian texts from Gahan to Shahnameh.
According to Shahnameh, Iranians during the reign of Manuchehr, for the first time stand against ... more According to Shahnameh, Iranians during the reign of Manuchehr, for the first time stand against a foreign country. From this legendary period of the first kings to the historical Yazdgerd, the Iranians, besides the Turanians, have encountered other people that they need to communicate with them. In Shahnameh, there is sometimes a person called "Tajomān" who has the duty to translate the words of two sides for each other. It has been written in some dictionaries that the "Tajomān" is Arabicized word of Persian "Tarzaban" or "Tarzafan". In the Middle Iranian languages, this term has been written in Middle Persian, Parthian and Sogdian writings in the form of “Tarkumān” or “Targumān”. The existence of this term in Iranian texts from the Sassanid to Ferdowsi era, which includes a millennium period, represents a career and a term with a great age. According to its Aramaic origin, it can be said that during the Achaemenid period, the term was entered into the languages of the Achaemenid countries through the Aramaic Dabīrs, and then it was found in the works of Zoroastrians and Manicheans by Middle Persian, Parthian, and Sogdian languages. The Achaemenid administrative system and later Iranian dynasties were effective in survival of this word.
Ardā Vīrāf Nāmag or Ardā Vīrāz Nāmag is one of the most well-known Pahlavi works that has been tr... more Ardā Vīrāf Nāmag or Ardā Vīrāz Nāmag is one of the most well-known Pahlavi works that has been translated into different languages, one of these translations, included in Darab Hormazyar's Persian Rivayats, is a Zoroastrian Persian version composed by Anoshirvan Marzban Kermani in seventeenth century A. D. There are other Persian versions of it in verse and prose, including Ardā Vīrāf Nāme versified by Zartusht Bahram Pjjdu, which according to Anoshirvan was not complete and parts of which he has left unsaid; Therefore, in order to complete the text, Anushirvan himself versified it with the same rhythm of Zartusht’s. There are subjects in Anoshirvans’ Ardā Vīrāf Nāme that are not found in any other versions. He has paid more attention to topics such as myths and mythical characters than the Pahlavi and Persian versions. Anoshirvans’ Ardā Vīrāf Nāme is very important as one of the examples of Zoroastrian Persian poetry, whose content, literary and linguistic features have been studied in this research.
در منابع تاریخی و جغرافیایی عربی و فارسی، نام سیرجان به صورت سیرجان، سیرگان، شیرگان، السیرجان و ا... more در منابع تاریخی و جغرافیایی عربی و فارسی، نام سیرجان به صورت سیرجان، سیرگان، شیرگان، السیرجان و الشیرَجان آمده‌است. در یک متن پهلوی به نام «نامه‌های منوچهر» متعلق به اواسط قرن سوم هجری، خطاب به موبد سیرجان و زرتشتیان سیرجان با املای پهلوی، سیرکان نوشته شده‌است. تا کنون پیشنهاد قابل قبولی برای این نام پیشنهاد نشده‌است. به نظر می‌رسد در نام سیرجان یک ریشۀ بسیار پرکاربرد وجود دارد که نه تنها در زبان‌های سنسکریت، اوستایی، سغدی، ختنی، خوارزمی، پارتی، بلوچی، بلکه در زبان‌های هند و اروپایی چون زبان یونانی، واژه‌های بسیاری از آن بر جای مانده‌است. واژۀ سره، به معنی «خوب» و «خالص» را می‌توان با جزء اصلی سیرجان از یک ریشه شمرد. در این مقاله، با تکیه بر دلایل واژه‌شناسی و شباهتی که در نام شهرهای مشابه آن چون شیراز، سیریز و غیره وجود دارد، کوشش شده‌است تا معنایی برای نام سیرجان پیشنهاد گردد.
Mani because of his Gnostic and mystical attitude, put a great emphasis on the Wisdom (Nous). Acc... more Mani because of his Gnostic and mystical attitude, put a great emphasis on the Wisdom (Nous). According of Manichaean religion, like all mystical schools, the soul has a divine origin that has been captured in the prison of the body. It is required a lot of power to save it from the enslavement and return to the original homeland. Wisdom and awareness is the most important support in the difficult process of soul’s salvation and redemption. The soul is a light that Ahreman (Matter) has stolen and put it into the human that he had created. The Matter purposed the powers of light couldn’t return the stolen light. The soul has also forgotten that its homeland isn’t this devil hell but it is another place. For this reason, the important gods such as Xradēšahr yazd, the Great Nous and the Maiden of Light rushed to the aid of the Human. They, with the weapon of reason, reminded the man his origin, and they continued this function by the prophets. Claiming the salvation of humanity, Mani established a solid religious community by the name of the Elects that according to Manicheans, with them Mani tried to continue the path of human’s awareness and his redemption to the Frašegird (end of the world). A lot of Manichaean hymns have survived in different languages that describe the Wisdom, redeeming gods and wise Elects, it shows the high position of wisdom, with its mystical concept in the Manichaeism.
اندرزنامه‌های پهلوی بخش مهمی از ادبیات دورۀ میانه هستند که حکمت و رویکرد اخلاقی جامعۀ ایران را در... more اندرزنامه‌های پهلوی بخش مهمی از ادبیات دورۀ میانه هستند که حکمت و رویکرد اخلاقی جامعۀ ایران را در عصر ساسانی بازتاب می‌دهند. مجموعۀ اندرزهای پهلوی بر ادبیات و شعر پس از اسلام تأثیر بسزایی گذاشته است. این آثار عمدتاً به نثر هستند؛ اما در میان آنها چند متن کوتاه وجود دارد که ساختاری شعرگونه دارند و مضامین آنها نیز در شعر گویندگان بزرگ پارسی‌گوی به زیبایی تکرار شده است. وزن آنها بر پایۀ وز¬ن‌شناسی شعر دورۀ میانه است و صورتی خام از قافیه نیز در برخی از آنها دیده می‌شود. «اندرز بهزاد فرّخ‌پیروز»، «خیم و خرد فرّخ‌مرد»، و اندرزنامه‌ای با مضمون ناپایداری دنیا از جملۀ این اندرزهای منظوم است که در این مقاله، معرفی و به برخی نکات زبانشناختی، ادبی و فکری آنها اشاره می‌شود. ستایش خرد، اندازه نگاه‌داشتن (پیمان)، تشویق به آموختن پیشه و ناپایداری دنیا از مواردی است که در این اندرزنامه‌ها آمده و نشان‌دهندۀ اندیشه‌های مطرح ساسانی و ارتباط آنها با آیین‌نامه‌های آن دوران است.
An Introduction to aesthetics of Yašts
Yašts represent the tradition of oral poetry of Iranian h... more An Introduction to aesthetics of Yašts Yašts represent the tradition of oral poetry of Iranian herders and farmers’ community in the ancient period, which despite having Iranian national feature; they have also preserved elements of poetic literature of their Indo-European ancestors. The praise and legendary Hymns of Yašts present poetic and symbolically the most important cultural needs of ancient community. Panegyric style with symbolic expression of deities and heroes, are two fundamental characteristics of the Yašts that cooperate with other Indo-European literary heritage. In this paper, along with showing the literary position of Yašts among in traditional family poetry, it has been studied the artistic devices which have formed their poetic and literary and structure. The most obvious artistic device that can be seen in Yašts, Is repetition, and beside it, is epithet, that usually a combination of these two devices has formed the outer structure of Yašts. The artistic devices such as simile, metaphor, metonymy and kenning, sometimes obvious, and sometimes implicit, have completed the outer structure. Literary figures in Yašts, and the advanced way to express epic and alive images, show that poetry in ancient Iran had a strong background, and the poets had achieved pure experiments in poetry.
The literary value of the Avestan hymn to Miϑra
The Avestan hymn to Miϑra is one of the oldest Ya... more The literary value of the Avestan hymn to Miϑra The Avestan hymn to Miϑra is one of the oldest Yašts of the Avesta, and the second one with regard to their length. Mihr Yašt is entirely devoted to the praise of Miϑra, a deity with root in Indo-Iranian. With regard to its poetic structure, Mihr Yašt has been grouped into hymnic type. The poetic style used in Mihr Yašt is based on a regular structure. Advanced literary style and poetic method of expression in this Avestic hymn not created through imagination of poets who attempted simply to collect cold and lifeless hymns devoted to the gods, but they have composed poetry in the real sense. There is clear evidence showing that Mihr Yašt is an epic work. These evidences are either epithets of Miϑra, or some poetic images that have been presented very briefly. We can know the value of their epic if they are compared with deeds of heroes like Garšāsp and Rustam. Since Mihr Yašt belongs to the oral literature, the most important artistic device that we can see in it is repetition, and beside it, is epithet, that usually a combination of these two devices has formed the outer structure of Yašts. Moreover, showing Miϑra as a warrior through live, dynamic and splendid imagery is one of the outstanding features of Mihr Yašt that distinguishes it from the other Yašts. Key Words: Mihr Yašt, Miϑra, Avesta, Rig Veda, Shahnameh, Epic, Literary Feature.
رالف والدو امرسن شاعر و نويسندة بزرگ آمريكايي که سهم بسيار بزرگي در شكل‌گيري ادبيات آمريكا داشت، ... more رالف والدو امرسن شاعر و نويسندة بزرگ آمريكايي که سهم بسيار بزرگي در شكل‌گيري ادبيات آمريكا داشت، شیفتۀ ادبیات فارسی بود. او ادبیات فارسی را به جامعۀ جوان آمریکا در عصر نوزایی معرفی کرد و اشعار زیادی را از شاعران فارسی‌زبان بویژه حافظ و سعدی ترجمه کرد. در برخی اشعارش به حافظ و سعدی اشاره کرده و گفته می‌شود که از آنان تأثیر گرفته است. امرسن از طریق ژوزف فن هامر پورگشتال خاورشناس اتریشی، با اشعار خواجوی کرمانی هم آشنا شد. او چند بیت از مثنوی همای و همایون را از روی ترجمۀ آلمانی فُن هامر ترجمه کرد و شعری سرود به نام «غربت‌گزیده»، و در زیر عنوان آن نوشت که ترجمۀ یکی از اشعار خواجوی کرمانی است. بررسی «غربت‌گزیده» نشان می‌دهد که امرسن از این ابیات خواجو اقتباسی آزادانه کرده است. شوریده‌حالی و غریبگی شاعر ایرانی در ابیاتی که به زیبایی تصویر شده است برای امرسن منبع الهامی شد تا شعری بسراید که به گفتۀ منتقدان ادبی، شرق و غرب را در آن به یکدیگر پیوند زده است.
The "eloquence" of mythical and epic characters has a long history in Iranian literature. Ferdows... more The "eloquence" of mythical and epic characters has a long history in Iranian literature. Ferdowsi has introduced many characters of Shahnameh as "speaker", "eloquent", "smooth-tongued", and "sweet-mouthed" and praised them with these epithets. Some literary terms such as "Sokhan Shirin" and "Zaban Shiva" have been used in Avesta and have been continued in Persian, and some, such as viiāxana "eloquent", the epithet of Mitra in Mehr Yash, has not been continued but were used as an obsolete form of Gyāxan in Rudaki's poetry, and some Persian lexicons, such as Asadī’s Loḡat-e fors, in spite of this, it has continued as a heroic epithet in epic texts among native and foreign heroes. This article examines the semantic range of "Eloquence" that is a common quality of Mithra, the prophet Zarathustra, heroes such as Garshasb, Sam, Rostam and Giv, and even Turanian heroes in Iranian texts from Gahan to Shahnameh.
According to Shahnameh, Iranians during the reign of Manuchehr, for the first time stand against ... more According to Shahnameh, Iranians during the reign of Manuchehr, for the first time stand against a foreign country. From this legendary period of the first kings to the historical Yazdgerd, the Iranians, besides the Turanians, have encountered other people that they need to communicate with them. In Shahnameh, there is sometimes a person called "Tajomān" who has the duty to translate the words of two sides for each other. It has been written in some dictionaries that the "Tajomān" is Arabicized word of Persian "Tarzaban" or "Tarzafan". In the Middle Iranian languages, this term has been written in Middle Persian, Parthian and Sogdian writings in the form of “Tarkumān” or “Targumān”. The existence of this term in Iranian texts from the Sassanid to Ferdowsi era, which includes a millennium period, represents a career and a term with a great age. According to its Aramaic origin, it can be said that during the Achaemenid period, the term was entered into the languages of the Achaemenid countries through the Aramaic Dabīrs, and then it was found in the works of Zoroastrians and Manicheans by Middle Persian, Parthian, and Sogdian languages. The Achaemenid administrative system and later Iranian dynasties were effective in survival of this word.
Ardā Vīrāf Nāmag or Ardā Vīrāz Nāmag is one of the most well-known Pahlavi works that has been tr... more Ardā Vīrāf Nāmag or Ardā Vīrāz Nāmag is one of the most well-known Pahlavi works that has been translated into different languages, one of these translations, included in Darab Hormazyar's Persian Rivayats, is a Zoroastrian Persian version composed by Anoshirvan Marzban Kermani in seventeenth century A. D. There are other Persian versions of it in verse and prose, including Ardā Vīrāf Nāme versified by Zartusht Bahram Pjjdu, which according to Anoshirvan was not complete and parts of which he has left unsaid; Therefore, in order to complete the text, Anushirvan himself versified it with the same rhythm of Zartusht’s. There are subjects in Anoshirvans’ Ardā Vīrāf Nāme that are not found in any other versions. He has paid more attention to topics such as myths and mythical characters than the Pahlavi and Persian versions. Anoshirvans’ Ardā Vīrāf Nāme is very important as one of the examples of Zoroastrian Persian poetry, whose content, literary and linguistic features have been studied in this research.
در منابع تاریخی و جغرافیایی عربی و فارسی، نام سیرجان به صورت سیرجان، سیرگان، شیرگان، السیرجان و ا... more در منابع تاریخی و جغرافیایی عربی و فارسی، نام سیرجان به صورت سیرجان، سیرگان، شیرگان، السیرجان و الشیرَجان آمده‌است. در یک متن پهلوی به نام «نامه‌های منوچهر» متعلق به اواسط قرن سوم هجری، خطاب به موبد سیرجان و زرتشتیان سیرجان با املای پهلوی، سیرکان نوشته شده‌است. تا کنون پیشنهاد قابل قبولی برای این نام پیشنهاد نشده‌است. به نظر می‌رسد در نام سیرجان یک ریشۀ بسیار پرکاربرد وجود دارد که نه تنها در زبان‌های سنسکریت، اوستایی، سغدی، ختنی، خوارزمی، پارتی، بلوچی، بلکه در زبان‌های هند و اروپایی چون زبان یونانی، واژه‌های بسیاری از آن بر جای مانده‌است. واژۀ سره، به معنی «خوب» و «خالص» را می‌توان با جزء اصلی سیرجان از یک ریشه شمرد. در این مقاله، با تکیه بر دلایل واژه‌شناسی و شباهتی که در نام شهرهای مشابه آن چون شیراز، سیریز و غیره وجود دارد، کوشش شده‌است تا معنایی برای نام سیرجان پیشنهاد گردد.
Mani because of his Gnostic and mystical attitude, put a great emphasis on the Wisdom (Nous). Acc... more Mani because of his Gnostic and mystical attitude, put a great emphasis on the Wisdom (Nous). According of Manichaean religion, like all mystical schools, the soul has a divine origin that has been captured in the prison of the body. It is required a lot of power to save it from the enslavement and return to the original homeland. Wisdom and awareness is the most important support in the difficult process of soul’s salvation and redemption. The soul is a light that Ahreman (Matter) has stolen and put it into the human that he had created. The Matter purposed the powers of light couldn’t return the stolen light. The soul has also forgotten that its homeland isn’t this devil hell but it is another place. For this reason, the important gods such as Xradēšahr yazd, the Great Nous and the Maiden of Light rushed to the aid of the Human. They, with the weapon of reason, reminded the man his origin, and they continued this function by the prophets. Claiming the salvation of humanity, Mani established a solid religious community by the name of the Elects that according to Manicheans, with them Mani tried to continue the path of human’s awareness and his redemption to the Frašegird (end of the world). A lot of Manichaean hymns have survived in different languages that describe the Wisdom, redeeming gods and wise Elects, it shows the high position of wisdom, with its mystical concept in the Manichaeism.
اندرزنامه‌های پهلوی بخش مهمی از ادبیات دورۀ میانه هستند که حکمت و رویکرد اخلاقی جامعۀ ایران را در... more اندرزنامه‌های پهلوی بخش مهمی از ادبیات دورۀ میانه هستند که حکمت و رویکرد اخلاقی جامعۀ ایران را در عصر ساسانی بازتاب می‌دهند. مجموعۀ اندرزهای پهلوی بر ادبیات و شعر پس از اسلام تأثیر بسزایی گذاشته است. این آثار عمدتاً به نثر هستند؛ اما در میان آنها چند متن کوتاه وجود دارد که ساختاری شعرگونه دارند و مضامین آنها نیز در شعر گویندگان بزرگ پارسی‌گوی به زیبایی تکرار شده است. وزن آنها بر پایۀ وز¬ن‌شناسی شعر دورۀ میانه است و صورتی خام از قافیه نیز در برخی از آنها دیده می‌شود. «اندرز بهزاد فرّخ‌پیروز»، «خیم و خرد فرّخ‌مرد»، و اندرزنامه‌ای با مضمون ناپایداری دنیا از جملۀ این اندرزهای منظوم است که در این مقاله، معرفی و به برخی نکات زبانشناختی، ادبی و فکری آنها اشاره می‌شود. ستایش خرد، اندازه نگاه‌داشتن (پیمان)، تشویق به آموختن پیشه و ناپایداری دنیا از مواردی است که در این اندرزنامه‌ها آمده و نشان‌دهندۀ اندیشه‌های مطرح ساسانی و ارتباط آنها با آیین‌نامه‌های آن دوران است.
An Introduction to aesthetics of Yašts
Yašts represent the tradition of oral poetry of Iranian h... more An Introduction to aesthetics of Yašts Yašts represent the tradition of oral poetry of Iranian herders and farmers’ community in the ancient period, which despite having Iranian national feature; they have also preserved elements of poetic literature of their Indo-European ancestors. The praise and legendary Hymns of Yašts present poetic and symbolically the most important cultural needs of ancient community. Panegyric style with symbolic expression of deities and heroes, are two fundamental characteristics of the Yašts that cooperate with other Indo-European literary heritage. In this paper, along with showing the literary position of Yašts among in traditional family poetry, it has been studied the artistic devices which have formed their poetic and literary and structure. The most obvious artistic device that can be seen in Yašts, Is repetition, and beside it, is epithet, that usually a combination of these two devices has formed the outer structure of Yašts. The artistic devices such as simile, metaphor, metonymy and kenning, sometimes obvious, and sometimes implicit, have completed the outer structure. Literary figures in Yašts, and the advanced way to express epic and alive images, show that poetry in ancient Iran had a strong background, and the poets had achieved pure experiments in poetry.
The literary value of the Avestan hymn to Miϑra
The Avestan hymn to Miϑra is one of the oldest Ya... more The literary value of the Avestan hymn to Miϑra The Avestan hymn to Miϑra is one of the oldest Yašts of the Avesta, and the second one with regard to their length. Mihr Yašt is entirely devoted to the praise of Miϑra, a deity with root in Indo-Iranian. With regard to its poetic structure, Mihr Yašt has been grouped into hymnic type. The poetic style used in Mihr Yašt is based on a regular structure. Advanced literary style and poetic method of expression in this Avestic hymn not created through imagination of poets who attempted simply to collect cold and lifeless hymns devoted to the gods, but they have composed poetry in the real sense. There is clear evidence showing that Mihr Yašt is an epic work. These evidences are either epithets of Miϑra, or some poetic images that have been presented very briefly. We can know the value of their epic if they are compared with deeds of heroes like Garšāsp and Rustam. Since Mihr Yašt belongs to the oral literature, the most important artistic device that we can see in it is repetition, and beside it, is epithet, that usually a combination of these two devices has formed the outer structure of Yašts. Moreover, showing Miϑra as a warrior through live, dynamic and splendid imagery is one of the outstanding features of Mihr Yašt that distinguishes it from the other Yašts. Key Words: Mihr Yašt, Miϑra, Avesta, Rig Veda, Shahnameh, Epic, Literary Feature.
This is a Persian translation by Abbas Azarandaz. Originally published as: Almut Hintze, “On the ... more This is a Persian translation by Abbas Azarandaz. Originally published as: Almut Hintze, “On the literary structure of the Older Avesta”. Bulletin of the School of Oriental and African Studies 65, 2002, 31–51.
در کتاب علوم و فنون ادبی پایۀ دهم (دورۀ دوم متوسطه)، فصلی به تاریخ ادبیات و سبک شناسی آثار... more در کتاب علوم و فنون ادبی پایۀ دهم (دورۀ دوم متوسطه)، فصلی به تاریخ ادبیات و سبک شناسی آثار ادبی فارسی اختصاص یافته است. عنوان نخستین درس این فصل، «زبان و ادبیات پیش از اسلام» نام دارد که در آن سرگذشت زبان‌های ایرانی، از جمله زبان و ادبیات فارسی بازگو می‌شود. معرفی ریشه و پیشینۀ زبان و ادبیات فارسی به دانش‌آموزان دبیرستانی امری شایسته و بایسته است، امّا شوربختانه این معرفی بسیار نارسا، مغشوش و در مواردی نادرست انجام گرفته است. بندهای نوشته با یکدیگر در تناقض آشکار است، اطلاعات درستی در بارۀ وضعیت زبانی ایرانیان پیش از اسلام داده نشده و جایگاه زبان فارسی در میان زبان‌های ایرانی بخوبی ترسیم نشده است. در دورۀ باستانی مرزبندی روشنی میان زبان فارسی باستان و زبان اوستایی صورت نگرفته، و در دورۀ میانه نیز بخش بزرگی از ادبیات فارسی میانه که خارج از حیطۀ ادبیات زرتشتی قرار داشته، نادیده گرفته شده است. در این مقاله ضمن نقد و بررسی مطالب این درس، پیشنهادهایی برای اصلاح مطالب و معرفی بهتر زبان و ادبیات فارسی پیش از اسلام به دانش‌آموزان داده می‌شود.
Historical and cultural relations between Poland and Iran have begun centuries ago. In 1474, Ambo... more Historical and cultural relations between Poland and Iran have begun centuries ago. In 1474, Amborgio Contarini, the envoy of Venice, delivered a letter of Uzun Hasan to the Polish king Casimir. The first documented visit of a Polish envoy, namely Sefer Muratowicz, in Persia took place in the years 1601-1602. Among other duties he was tasked to buy carpets for the Polish court. More than 540 years have passed since Poland and Iran established mutual diplomatic and trade relations. From the fifteenth century until the eighteenth century, Poland was active in dispatching different religious, commercial and diplomatic delegations to Iran. These relations were especially strong during the Safavid period. The fall of the Safavid capital of Isfahan (1722) coincides with the period of decline of the Polish-Lithuanian Commonwealth; similarly, the rise of the Qajars (1794) coincides with the final partitions of Poland (1795).
برگزاری سمینار بین‌المللی زبان‌های ایرانی باستان فرصتی بود تا شماری از استادان و پژوهشگرانِ حوزۀ ... more برگزاری سمینار بین‌المللی زبان‌های ایرانی باستان فرصتی بود تا شماری از استادان و پژوهشگرانِ حوزۀ ایرانشناسی بتوانند دیدگاه های جدید خود را دربارۀ اوستا، از مهم‌ترین زبان های ایرانی باستان مطرح کنند. بی تردید برگزاری سمینار در شهر کرمان از عواملی بود که سبب گردید سخنرانی¬ها و کارگاه‌ها از پراکندگی موضوعی فاصله گرفته و تنها بر روی اوستا متمرکز شود. کرمان در انتقال متن‌های اوستایی، چه در سنّت شفاهی و چه در سنّت مکتوب سهم ویژه‌ای داشته، همچنین بخش بزرگی از میراث باستانی ایران؛ نسخه¬های اوستایی، پهلوی و پازند در کرمان تولید و نگهداری شده است. برخی از خانواده¬های زرتشتی کرمان به امر کتابت نسخه‌های اوستایی و پهلوی مشغول بوده‌اند، این اشتغال افزون بر این که از نابودی بخشی از میراث زبانی و ادبی جلوگیری کرده است، دارای انجامه¬هایی است با ارزش تاریخی که در شناسایی بعضی خانواده‌های کرمانی به عنوان سند معتبر می‌توان به آنها اتکّا کرد. شیوۀ کتابت این کاتبان در ایران و هند طرفدار پیدا کرده و از آنها تقلید کرده‌اند از این روی جا دارد بکوشیم اصولی را که آنها در خوشنویسی رعایت کرده‌اند شناسایی، و از راه سنجش با خوشنویسی دورۀ اسلامی میزان هنر به کاررفته در این آثار را تعیین کنیم. در این سمینار کارگاه‌های متعددی به این امر اختصاص یافت؛ پروفسور آلبرتو کانترا، مدیر بخش زبانشناسی تاریخی دانشگاه برلین، دکتر سالومه غلامی، پژوهشگر و استاد دانشگاه گوتۀ فرانکفورت، آقای بهرام برومند، پژوهشگر و هنرمند خوشنویس، برخی از ویژگی‌های محتوایی و زیباشناختی متون اوستایی و پهلوی را مورد بررسی قرار دادند. در این سمینار برای نخستین بار تاریخچۀ مطالعات اوستایی در ایران، و ترجمه¬های اوستا به فارسی که دارای رویکرد علمی و زبانشناختی هستند مورد ارزیابی علمی قرار گرفت؛ برخی نسخ نویافتۀ مزدایی معرّفی شد؛ همچنین از مشترکات بین زبان اوستایی و زبان بلوچی، یکی از زبان¬های ایرانی نو سخن به میان آمد. اهمیّت زبانشناختی، ادبی، تاریخی و جامعه شناختی آثار بازمانده از زبان اوستایی مورد توجّه نویسندگان مقالات حاضر است که به دلیل محدودیت زمانی همۀ آنها فرصت طرح در سمینار نیافت اما در این مجموعه فراهم آمده است.
Uploads
Papers by Abbas Azarandaz
Yašts represent the tradition of oral poetry of Iranian herders and farmers’ community in the ancient period, which despite having Iranian national feature; they have also preserved elements of poetic literature of their Indo-European ancestors. The praise and legendary Hymns of Yašts present poetic and symbolically the most important cultural needs of ancient community. Panegyric style with symbolic expression of deities and heroes, are two fundamental characteristics of the Yašts that cooperate with other Indo-European literary heritage. In this paper, along with showing the literary position of Yašts among in traditional family poetry, it has been studied the artistic devices which have formed their poetic and literary and structure. The most obvious artistic device that can be seen in Yašts, Is repetition, and beside it, is epithet, that usually a combination of these two devices has formed the outer structure of Yašts. The artistic devices such as simile, metaphor, metonymy and kenning, sometimes obvious, and sometimes implicit, have completed the outer structure. Literary figures in Yašts, and the advanced way to express epic and alive images, show that poetry in ancient Iran had a strong background, and the poets had achieved pure experiments in poetry.
The Avestan hymn to Miϑra is one of the oldest Yašts of the Avesta, and the second one with regard to their length. Mihr Yašt is entirely devoted to the praise of Miϑra, a deity with root in Indo-Iranian. With regard to its poetic structure, Mihr Yašt has been grouped into hymnic type. The poetic style used in Mihr Yašt is based on a regular structure. Advanced literary style and poetic method of expression in this Avestic hymn not created through imagination of poets who attempted simply to collect cold and lifeless hymns devoted to the gods, but they have composed poetry in the real sense. There is clear evidence showing that Mihr Yašt is an epic work. These evidences are either epithets of Miϑra, or some poetic images that have been presented very briefly. We can know the value of their epic if they are compared with deeds of heroes like Garšāsp and Rustam. Since Mihr Yašt belongs to the oral literature, the most important artistic device that we can see in it is repetition, and beside it, is epithet, that usually a combination of these two devices has formed the outer structure of Yašts. Moreover, showing Miϑra as a warrior through live, dynamic and splendid imagery is one of the outstanding features of Mihr Yašt that distinguishes it from the other Yašts.
Key Words: Mihr Yašt, Miϑra, Avesta, Rig Veda, Shahnameh, Epic, Literary Feature.
Yašts represent the tradition of oral poetry of Iranian herders and farmers’ community in the ancient period, which despite having Iranian national feature; they have also preserved elements of poetic literature of their Indo-European ancestors. The praise and legendary Hymns of Yašts present poetic and symbolically the most important cultural needs of ancient community. Panegyric style with symbolic expression of deities and heroes, are two fundamental characteristics of the Yašts that cooperate with other Indo-European literary heritage. In this paper, along with showing the literary position of Yašts among in traditional family poetry, it has been studied the artistic devices which have formed their poetic and literary and structure. The most obvious artistic device that can be seen in Yašts, Is repetition, and beside it, is epithet, that usually a combination of these two devices has formed the outer structure of Yašts. The artistic devices such as simile, metaphor, metonymy and kenning, sometimes obvious, and sometimes implicit, have completed the outer structure. Literary figures in Yašts, and the advanced way to express epic and alive images, show that poetry in ancient Iran had a strong background, and the poets had achieved pure experiments in poetry.
The Avestan hymn to Miϑra is one of the oldest Yašts of the Avesta, and the second one with regard to their length. Mihr Yašt is entirely devoted to the praise of Miϑra, a deity with root in Indo-Iranian. With regard to its poetic structure, Mihr Yašt has been grouped into hymnic type. The poetic style used in Mihr Yašt is based on a regular structure. Advanced literary style and poetic method of expression in this Avestic hymn not created through imagination of poets who attempted simply to collect cold and lifeless hymns devoted to the gods, but they have composed poetry in the real sense. There is clear evidence showing that Mihr Yašt is an epic work. These evidences are either epithets of Miϑra, or some poetic images that have been presented very briefly. We can know the value of their epic if they are compared with deeds of heroes like Garšāsp and Rustam. Since Mihr Yašt belongs to the oral literature, the most important artistic device that we can see in it is repetition, and beside it, is epithet, that usually a combination of these two devices has formed the outer structure of Yašts. Moreover, showing Miϑra as a warrior through live, dynamic and splendid imagery is one of the outstanding features of Mihr Yašt that distinguishes it from the other Yašts.
Key Words: Mihr Yašt, Miϑra, Avesta, Rig Veda, Shahnameh, Epic, Literary Feature.
در این سمینار برای نخستین بار تاریخچۀ مطالعات اوستایی در ایران، و ترجمه¬های اوستا به فارسی که دارای رویکرد علمی و زبانشناختی هستند مورد ارزیابی علمی قرار گرفت؛ برخی نسخ نویافتۀ مزدایی معرّفی شد؛ همچنین از مشترکات بین زبان اوستایی و زبان بلوچی، یکی از زبان¬های ایرانی نو سخن به میان آمد. اهمیّت زبانشناختی، ادبی، تاریخی و جامعه شناختی آثار بازمانده از زبان اوستایی مورد توجّه نویسندگان مقالات حاضر است که به دلیل محدودیت زمانی همۀ آنها فرصت طرح در سمینار نیافت اما در این مجموعه فراهم آمده است.