tarbiat modares university
Culture and Folk Literature
2345-4466
5
13
2017
5
1
Analyzing Academic Slang Expressions Used by University Students in Isfahan: A Morpho-semantic Approach
1
25
FA
Sara
Hajhashemi
Adel
Rafiei
Since 1360, Iranian society has been faced with a changing age pyramid in young population. This group is mainly interested in using some words and expressions which are somehow unfamiliar for other parts of society. So, it can be said that these slang expressions are being used by people who belong to same social groups. Thus, linguists have revealed considerable interest in slang expressions because of its prominence among youth, especially among college students. Academic slang usage is a popular phenomenon among university students. The importance of the study about academic slang is due to its focus on this fact that slang is complicatedly merged into college students’, academic and social life. So, it can be studied in multi-dimensional aspects. In this study, two aspects of these expressions are examined. So, This article aims to examine Academic Slang Expressions Used by University Students in Isfahan both semantically and lexically. In order to achieve this goal, some word formation processes used by university students in order to create academic slang expressions are examined parallel to their semantic aspects analysis. To this end, the present study focuses on the following questions: what are the semantic and morphological processes involved in the academic slang expressions used by students of Isfahan and which of them are the most productive? With respect to Shaghaghi’s (1386) division of word formation processes in Persian, some lexical processes involved in making academic slang expressions by university students are determined. In addition, based on Akrami’s (1384) definition of the main ways to construct words and expressions, the semantic rules are introduced. Participants of the study were 90 male and female university students of Isfahan including undergraduate students (BA), post-graduate students (MA) and doctoral students (Ph.D). As a viable instrument for collecting data, there is currently a trend in sociolinguistic research to use questionnaires in favor of a corpus of naturally occurring data; therefore, in order to accomplish the objectives of the study, a two-section questionnaire was selected to collect viable data. All improperly filled questionnaires and those in which the students had answered to very few questions were discarded, as predicted, such questionnaires could distort the findings of study. Therefore, 160 academic slang expressions were elicited from the students participated in this study. The method of data analysis was simple and no complicated statistical procedures were employed. Since percentile score adequately describes data, it was used in this study. By considering the process of making academic slang expressions by Isfahan students, compounding, phrasal lexical items, semantic extension, borrowing, derivation, coinage, compounding-derivation, clipping, acronym, and blending were noticed. among these processes compounding with 31.6% is the most common and blending with 0.062% is the least. It can also be said that university students utilize compounding (a common word formation process in Persian language) to make academic slang expressions more than others. Moreover, some semantic rules used by university students to make academic slang expressions were introduced. The results showed that Isfahan students have rich and wide slang expressions for labeling various aspects of their academic life, including their academic performance, their teachers, and the way they teach. In the end, this study shows that two main word formation processes – semantic extension (lexical aspect of using academic slang) and compounding (morphological aspect of using academic slang) are the most frequent ones in the speech of university students in Isfahan. Compounding is, predictably, more productive than other word formation processes. Surprisingly, derivation, one of the most productive processes in Persian language, was not so productive in this study.
tarbiat modares university
Culture and Folk Literature
2345-4466
5
13
2017
5
1
Amulet in Folklore Culture: The Case Study of Kerman’s People Folk Culture
27
50
FA
Ali
Jahanshahi Afshar
Javad
Madahi Moshizi
Background and purpose: As protective elements are related to human life, the elements of Amulet are important in all cultures. In any society, people determine some elements for self-preservation and also to preserve their family and properties_ elements that are mostly supernal. One of these solutions is the use of Amulets. Mysterious aspects of Amulets puts them in the center of mythological and semantic connotation so that the elements are sometimes considered as a taboo or as a holy object and totem. Signs of this duality are seen among nations which is the reason of sacredness and mysteriousness of this elements. The Amulet has a great importance in the universal system of beliefs where Iranian people’s culture is not the case of exception . The most important function of Amulets is still related to their protective role. Elements that are used to fight demons away, to enslave or kill evil forces and attract the positive and beneficial forces. Believers use various elements of Amulet depending on the kind of problems and injuries; so sometimes even profane and impure elements are used to ward off evil forces and beings. Several studies about the Amulet are adopted from foreign travelogues. Some of these investigators who have noted sporadically to Amulets and other magical elements include: Wishard in "Twenty years in Iran", Wales in "Iran a century ago", Layard in "Layard’s travelogue", Rice in "Iranian women and their way of life", Olivie in "Olivie’s travelogue", Willem Floor in "Social history of Iran during the Qajar era", Pollock in "Pollock’s travelogue", Henry Patnchr in "Traveling in Sindh and Balochistan." In addition to the above-mentioned researchers in the field of Amulets, some studies have been conducted amongst them it can refer to: "Magic, Amulet and Amulet and Women's World in Qajar era" by Dariush Rahmaniyan and Zahra Hatami, “Amulet in Khaghani’s poetry" by Abbas Mahyar, and "Bātel-o-ssehr" encyclopedic entry by Ali Bolukbashi. Materials and methods: Using documents and observations of the authors, in this study, the authors have tried to explore the beliefs of the people in Kerman and identify elements of Amulet and determine their functions as influential elements in people’s life, and in the end, they have showed their supernatural position. Findings: In this study, all kinds of Amulet, their classification and mechanisms of Amulets influence in the belief system of the research community are studied. The studied community accepts Amulets to ward off evil and as one of the most important mediators to benefit attraction, so that they are an integral aspect of their lives. Most of the Amulets used, are sacred and play a role as an absorber or mediator to absorb disasters and attract benefits, so they are victims to ward off disaster from the injured person. In general, we can express the mechanisms of effect of the Amulets in the studied community as follows: The Amulets, because of their sacredness, attract benefits and goodness and transfer them to the person utilizing them and ,on the other hand, because of their special power, they ward off the disasters and evil and prevent them from passing to and hurt the utilizer. Contempt of a Amulet, reverses the mechanism of its effects: Benefits are prevented and the evil is attracted. Benefiting and harming mechanisms of Amulets act according to distance, i. e., Amulets benefit or harm the closest person. Discussion and conclusion: This study showed that Amulet elements can have an important role in creating a sense of physical and psychological security for mankind. According to authors, the function of the Amulet, is not only an attempt to survive but also a concept beyond that including the worldly and otherworldly life of the believers.
tarbiat modares university
Culture and Folk Literature
2345-4466
5
13
2017
5
1
Role of folk songs poetry in Persian culture of Fars province
51
74
FA
Ahad
Akbari
Abstract: Fārs province is considered as one of the geographical and historical region of Iran which has great extent and geographical diversity being always the site of different ethnics, groups, and races. The Persian people, tribes and nomads, like races of Qašqāyi, BoirAhmadi, and tribes of Xamse, have had the prominent role in culture and identity of people of this province. Therefore, the culture of this region can be divided into three main branches: Torki, Lori, and Fārsi. The Fārsi culture is a collection of different cultures of urban, rural, and nomadic that flows in a range from the northeast to south of Fārs province. Although, the parts of central province namely city limits of Širāz also plays an important role in the nature of Fārsi culture, but this culture is prominent in the mid-southern and southeastern province. A region that includes cities of Jahrom, Fasā, Estahbān, Sarvestān, Dārāb, and even Lārestān. Southeastern Fārs in terms of natural and human geography, is very diverse. In this range, ethnicities, races, and tribes of Fārs, Tork, Arab, Lor, with languages, accents, various customs and ideas, live together. Their life and jobs is based on animal husbandry and agriculture.It should be noted that despite the existence of Torki and Arabic languages and cultures in this region, the Fārsi language and culture has more well-known and prominent importance and extent. Most poems of Tork-speakers and especially Arab-speakers in this region are Fārsi and are usually followed by the song. From this perspective, we can better understand the meaning of phenomenon and concept called "Fārsi culture". Fārsi culture can be seen through the localpoems and are considered as well-known language and symbol. In fact, the poems of Dobeyti (quatrain) and Takbeyti (couplet) are intertwined in the most cases and almost in all of the social and cultural aspects with singing and folk songs. Poem and music’s accompaniment in the songs performance of the Šarve, Sarkuhi, Hājiyuni, Sābunāti, and Jahromi cause to better understanding of the Fārsi culture’s Dobeyti and Takbeyti. The basic goal of this research is to recognize the Fārsi culture through the poetry used in folk songs. On the one hand, the extent and diversity in the themes of poetry including complaint, discredited the world, oppression-contest, religious and altruism, with a focus on the concept of "love-and-separation", representing the beliefs and thoughts of people and on the other hand, the phenomenon of singing, due to presence in diverse circumstances of the time and place, has social function. The purpose of locative and temporal situations is a wide spectrum of the rituals, jobs, lullabies, and almost all of moments of solitude and pull-together (companionship). In a sense, understanding of the relationship between poetry and song with Fārsi’s culture relies on the social position and meaning of folk songs. The research methodology of the present research is flied study and library based methodology in order to better understand the executive context of these songs alongside considering the literary, anthropological and psychological factors.
tarbiat modares university
Culture and Folk Literature
2345-4466
5
13
2017
5
1
Aesthetic Elements in Qajar Popular Wall Paintings of the Prophet's Mi’raj (In Comparison with Those in Prints, Images of Lithography and Miniature)
75
110
FA
Alireza
Baharloo
Aliasghar
Fahimifar
Qajar wall painting includes different fields and works dispersed in various locations such as royal buildings, private houses, public places and holy shrines under the dynastic rubrics, epic, sensual and religious contexts. Religious murals in shrines and tombs, especially those depicting Prophet Mohammad's Mi’raj are among the ones which could be seen in such places. Mi’raj has been described as both a physical and spiritual journey. A brief sketch of the story is in surah al-Isra of the Quran and other details come from the hadith, which are collections of the reports, teachings, deeds and sayings of Muhammad. In the Isra, Muhammad traveled on the steed Buraq to "the farthest mosque". Traditionally, later Muslims identified the mosque as a location in the physical world, the Al-Aqsa Mosque in Jerusalem. At the mosque, Muhammad led other prophets in prayer. He then ascended to heaven in the Mi'raj journey where Prophet Muhammad spoke to God. The remembrance of this journey is one of the most significant events in the Islamic calendar. Due to the significance of this event, it has been manifested in the realm of art from days of yore. Although we can find different stages of this historical-religious event in the works of lithography and miniature, not many of them have been studied in the field of wall painting and popular arts. Having examined such works of art, some questions are proposed as follows: firstly, what are the structural and aesthetic elements in these religious wall paintings? Secondly, how these elements are depicted and what similarities and differences do they share with works of lithography and miniature? The results of this research done in analytic and comparative methodology reveal that these wall paintings are more, in term of quantity, distributed in northern provinces of Iran and the scenes related to "visiting the lion" prevail as a result of Shiite beliefs. But the illustrated scenes and stages in lithography and miniature are more diverse including different events. Of other things we should note and compare in here are the execution and decoration of works besides the style of depicting the elements, their colors and sizes as well as the background of each medium and some other slight differences. As to the differences of artworks in these three artistic media, we should mention that in works of miniature and lithography, there are more stages and episodes to be seen. Furthermore, due to the technical and expressive capacities of each medium, there are more figures and details in miniature in compare to those of lithography and on the other hand, more ones in lithography than wall painting. But as to the similarities, there some points to be noted. The central position of the Prophet and his praising of God during the journey of Mi’raj, the adaptability of the clothes and other elements with the features of the era in which paintings have been executed, and lack of perspective as well as depiction of the climax of the story with somewhat epic aspects are all among the similarities in each of the works of the three fields.
tarbiat modares university
Culture and Folk Literature
2345-4466
5
13
2017
5
1
Role of Narrative Features in Increasing the Dramatic Contents of the Narrators’ Comprehensive Scroll
111
132
FA
Atefeh
Nikkhoo
Yadollah
Jalali pandari
Haft Lashkar is one of the examples of comprehensive scroll written by an anonymous narrator in the Qajar era in 1292 BC. This title has been allocated to the name of one of the famous battle - narration due to its reputation and popularity as scrolls comprehensive. Narrative aspect of the text is the prevalent factor of relationship between literature and drama. Imitating the movements of individual states by the narrator will orient the text toward the dramatic storytelling. In this case, narrator’s structural- subjective manipulation in the text of comprehensive scroll, in addition to explain the position of his/her, prepares the way to special narrative techniques in order to increase dramatic content of the work. Based on Gérard Genette theory, in the present study narrative features of comprehensive scroll are examined in order to orient the dramatic content. Accordingly, the structure of narration in narration (Trans-narration), besides other narrative properties like order, voice or mood in the form of retrospective or prospective, focalization in narration and the relationship between focus and omniscient narrator are among the important narrative aspects of the present work which have shaped the orientation of dramatic text.
tarbiat modares university
Culture and Folk Literature
2345-4466
5
13
2017
5
1
Characteristics of satire and humor language in
Ta̕̕ ziye and Shabihe
133
154
FA
Ali
Mohammadi
Fatemeh
Taslimi Jahromi
Ta̕̕ ziye is crystalized as lyric, melancholic and popular rituals on the occasion of the martyrdom of Imam Hussein (AS) and his companions in the desert of Karbala in the year 61 AH. In general Ta̕̕ ziye and Shabihe are used interchangeably provided they are to some extent different. By the evolution of these two popular types, satire and humor have been emerged in Shabihhe. Also, it has been appeared a kind of educational –dramatic genre which was tragic, funny and was called ridiculous Ta̕̕ ziye as well. Ashqya humiliation, relief and scorn of Shiite mourning and mockery of symbols of power are among the functions of satire and humor in Ta̕̕ ziye. Some features of satire and humor language in Ta̕̕ ziye and Shabihe are: Antonymy , exaggeration , zooming out and colloquial form of everyday language. By adopting a descriptive – analytical research methodology, this study by reviewing the related literature tries to show that satirical expression and its techniques are widely used in dramatic works.
tarbiat modares university
Culture and Folk Literature
2345-4466
5
13
2017
5
1
Houreh, a Keepsake from Kurd Ancestors:
A Look at Seyyed Gholi Keshavarz’s Hureh
155
172
FA
Masoud
Bavan pouri
Vahid
Sajadifar
Narges
Lorestani
The literature of each region reflects the customs and beliefs of that particular region and is the distinguishing feature of races from each other. Folklore of each nation is a reflection of its cultural and racial beliefs and through investigating them, one can find out about traditions and cultures of various races that have entered and remained in that area through immigration, war and business. Through separating these cultural and racial beliefs, one can also reevaluate that race from a cultural perspective. Music of every nation, like other arts, springs out of feelings, experiences and the surroundings of that nation and it has contained and built a big and important part of every society throughout the history of mankind. Human beings mix their internal feelings with the knowledge they have acquired through trial and error and creates a fruit called art and civilization. One of the objective manifestation of Kurdish culture is folk songs. Songs have not been and are not simply tools to pass life, but are useful tools for transferring feelings, happiness and sorrow. One of the ever-lasting songs among Kurds, and in particular Kurds speaking the southern dialect, is Houreh which is prevalent in areas such as Ilam, Kermanshah, Lorestan, and Kurdistan. Houreh is a long continuous song and its singer has a lot of poems and verses in mind and sings them one after the other. Sometimes the songs are composed by the singer and sometimes taken from other poets. Houreh is mostly prevalent in southern Kurdish areas especially with Laks, and in areas of Guran, Sanjabi, and Kalhor. Seyyed Gholi Keshavarz, Ali Rostami known as Ali Khan, Farman Rostami, Ali Karami Nezhad known as Haji Touti, Bahram Beig Valad Beigi, Nejat, Ebrahim Hosseini, Ilkhan Arkavazi, Awl Aziz, Yasemi, Karim Sadehi, and Abd Al-Samad Abdi Pour are famous Houreh singers of Ilam, Kermanshah and Kurdistan provinces. But, the deceased Ali Nazar is most well-known of all. Houreh expresses contents such as death, describing nature, sorrow, hardship, happiness, and unhappiness in the form of songs. However, the most frequent theme of Houreh has been happiness and love. Seyyed Gholi Keshavarz is one the most famous contemporary Houreh composers who lives in Lalehvand Mahidasht (in Kermanshah) and many of his Houreh are song by lovers of traditional Kurdish songs. He pays special attention to describing the beloved in his Hourehs and using this form of songs, he expresses the hardships of love and betrayal on behalf of the beloved, or the pains one endures for love. Another part of his songs are composed in the form of Ekhvaniat and also Payeh Moori describing the beauty of nature or death.