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The forgotten art of tombstone etching | in: Sarzamin-e-Man (Iranian Cultural & Geographical Studies Journal), Feb2015.
The International Journal of Humanities
The Archeological and Technical Studies on Unique Architectural Ornaments with Clay Reliefs in Jiroft, Iranنرماشیر در صدر اسلام، یکی از پنج ولایت کرمان بود. اما توجه باستانشناسان به بم و جیرفت سبب غفلت از نرماشیر شده و شناخت کافی از سفال اسلامی نرماشیر وجود ندارد. عدم شناخت سفال نرماشیر از یکسو، و نقش سفال در گاهنگاری و شناخت تغییرات فرهنگی از دیگر سو، نشانگر ضرورت این پژوهش است. پرسشها اینست که گونههای سفال اسلامی در نرماشیر چیست و به چه ادواری تعلّق دارند؟ فراز و فرود حیات در نرماشیر و روابط فرامنطقهای آن براساس دادههای سفالی چگونه بوده است؟ ویژگیهای تولید و سبک محلّی سفال در نرماشیر چیست؟ اهداف پژوهش عبارتنداز: مطالعهی سفال اسلامی نرماشیر و شواهد تولید، گونهشناسی و گاهنگاری مقایسهای و نسبی سفالها و تبیین روند تداوم حیات در نرماشیر. روش گردآوری دادهها، میدانی-اسنادی، و روش پژوهش توصیفی-تحلیلی است1. برپایهی نتایج، سفال اسلامی نرماشیر شامل گونههای: سادهی بیلعاب، نقشکنده، افزوده، قالبزده، مُهری، شبه پیشازتاریخی، لعابدار تکرنگ، نقش کنده یا افزوده زیرلعاب، گلابهای، لعابپاشیده، اسگرافیتو، نقاشی زیرلعاب، نقاشی روی لعاب، زرینفام و آبیوسفید است. این گونهها، ارتباطات فرهنگی با: جیرفت، غبیرا، سیرجان، میناب، کیش، سیراف، نیشابور، اسفراین، ری، اصفهان، قصرابونصر، مرودشت، سیسخت، بویراحمد، شوش، رأسالخیمه امارات، مُسندَم عمان، حضرموت یمن، قلعه بحرین، بصره، سامرا، رقّه و لشکریبازار را نشان میدهند. برخی نمونههای سفال نرماشیر وارداتی و تعدادی تولید محلّی، اما تقلیدی هستند. نمونههای قالبزدهی بیلعاب، تولید محلّی و دارای نقوش کاملاً محلّی هستند. همچنین، حیات شهر نرماشیر از دورهی ساسانی آغاز شده، و در دورهی سلاجقهی کرمان و قراختاییان به اوج میرسد و تا دورهی تیموری تداوم داشته است؛ اما جمعیت آن در دورهی صفوی کاهش مییابد و پس از صفویان متروک شده و تعدادی روستا در دشت باقی میماند. In the early Islamic sources, Narmashir has introduced as one of the five main cities of Kerman and a part of the southeast economic exchange network. But it is unknown because archaeologists have often focused on the Bam and Jiroft. The questions are: what are the types of Islamic ceramics in the Narmashir, and what periods are they related to? How does the ups and downs of life in the Narmashir and its transnational cultural relations? What are the features of local ceramic production in the Narmashir plain? The purposes of the research are: “the study of Islamic ceramic and production evidence in the Narmashir”, “typology and relative chronology of ceramics”, and “explaining the periods of the prosperity of Narmashir”. The data have collected via “documentary and field” method, and the research method is “descriptive-analytical”. Based on the results, the ceramic types in Narmashir include the unglazed simple wares, wares with carving or added motifs, molded wares, pseudo-prehistoric ceramics, monochrome glaze, underglaze carving or added motifs, slip-painted wares, Sgraffiato, underglaze or overglaze painting, lusterware, and blue and white wares. These types of ceramics show the cultural relations with Jiroft, Gobayra, Sirjan, Soghan, Minab, Kish, Siraf, Nishapur, Esfahan, Rayy, Qasr-e Abu-Nasr, Marvdasht, Pasargadae, Sisakht, Boyer Ahmad, Susa, Ras al-Khaimah, Musandam, Hadramaut, Bahrain, Basra, Samarra, Raqqa, and Lashkari Bazar. Some samples of ceramics are imported in Narmashir. Some others are local, but they are imitated from foreign samples. The unglazed molded wares are locally produced and they have localized motifs. Also, the life of the old city of Narmashir has started from the Sassanid era, it peaked during the Saljuq and Qara Khitai period, and continued until the Timurid. But, its population declined during the Safavid period, and it has abandoned after the Safavids. So, only a few villages remained in the plain.
Culture of Islamic Architecture and Urbanism Journal
Perception of nature in Gajar-era houses in TabrizShahid Beheshti University
Investigation of the death of the Founder of the Achaemenid Dynasty2020 •
Herodotus in the fifth century BC, only about a hundred years after the death of Cyrus the Great, reminds us that there were many different stories about the death of the great founder of Achaemenid dynasty. In fact, the number of narrations about the death of Cyrus II of Achaemenid in the time of Herodotus was probably more than the narrations that have survived to this day. The main source for researchers to find out the reality of the death of Cyrus the Great or at least approach it, is the classical texts, among which Herodotus, Ctesias and Xenophon are the primarily sources. In this study, an attempt has been made to examine Herodotus’ Narrative and other historians of antiquity with regard to other historical evidence, including the originality of the tomb of Cyrus the Great in Pasargadae and the relations of the first Achaemenid kings with the Scythians. As shown at the end, Herodotus’ account, despite its reputation over time, is inconsistent with much of the historical evidence, and its validity must be seriously questioned. Xenophon’s narrative, despite some of its Iranian roots is also doubtful. But Ctesias’ account, that is also apparently derived from an Iranian tradition, is consistent with much of the historical evidence.
The present study, using the "descriptive-analytical" method, aims at identifying the methods of communicating the sense of proverbs through linguistic comparisons in order to provide more practical methods in translation of proverbs. Utilizing the Arabic and Persian translations of two Shakespeare’s plays "Hamlet" and "The Taming of the Shrew", the authors of this study seek to know how and in what ways and to what extent, the translators have been able to communicate the sense of English proverbs and when and in what ways they have employed literal, free or other types of translation. The study of Shakespeare's use of proverbs showed that this author used many proverbial similes to illustrate the characters in the play and to have a greater influence on the audience. In case of anti-proverbs, it was found that Shakespeare's conversion of a proverb into an anti-proverb presents a major challenge to translators. Translation of anti-proverb, however, is far more challenging than the proverbial one because of the addition of the humorous dimension to the proverbial features. Regarding the methods and techniques and viewing the translation of the proverbs in a formalist way, it can be seen that translators have chosen one of the three techniques to meet the challenges of translation, including omission, footnote, and cultural (proverbial) equivalence. About omission, only 6 of the 140 proverbs found in the surveyed data were abandoned untranslated by some translators. This inaccuracy, which may have been intentional or inadvertent, was found in the works only 4 of the 12 translations. Next, footnotes are the methods that some translators have used to explain proverbs and the cultural traits in them. Totally, the number of footnotes in Arabic translations exceeds the Persian ones. Most footnotes have deciphered the mystery in the proverbs. As a result, these proverbs have become more explicit than the proverbial ones. On cultural (proverbial) equivalence, it should be noted that this expression refers to a method whereby one proverb from the culture of the target language is found to be used as a proverbial equivalence for the source language. Of all the translations, there are only three cases that have used this technique. Furthermore, translators' approaches to proverbs were found to be divided into four categories: literal translation, defamiliarization, lexical enhancement, and Arabicism. The dominant approach in Arabic and Persian translations of the proverbs in these two works is the literalist approach and the translation unit is the word. In translating the literary devices (similes, metaphors, and kenning or metonymy) in the proverbs, translators have replaced the literal word from the target language with the word from the source language rather than trying to replace the structure or concept from the target language with that of the source language. Although there have been cases where translators have replaced structure or concept, the number is far below the literal replacement. In defamiliarization approach, the translators have relied on the appeal of the audience rather than emphasizing expressiveness of the concept and have considered the audience's knowledge of rhetoric as a must. It is as if in an unwritten contract, an agreement was reached between the translator and the reader in which the translator merely puts the word's identity in the footnote and transfers them to the target language with the same clothing they were wearing in the source language. It is up to the reader to take on the hassle of communicating with them and removing the feeling of strangeness from their faces. About elongation, although in the Arabic language most of the semantic burden rests on the vocabulary (and a word can be a translation of several English words), there is also a great deal of lexical increase in Arabic translations. What is important in this approach is that female translators have used more words in their translations in comparison to the male ones in both languages (viz. Arabic and Persian). On Arabicism (writing Arabic), it can be said that through viewing one of the Persian proverb dictionaries, it is easy to see that, with the exception of Qur'anic and hadith proverbs, the number of Arabic words used in proverbs is very low. But in the present study, the approach of the Persian translators' [except (Adib, 2006)] to translating English proverbs is in contrast to the approach of the makers of Persian proverbs. These translators have used many Arabic vocabularies and its features, such as the nunation (tanwin), and consequently a greater lexical diversity is found in Persian translations. In conclusion, the comparison of the methods and approaches used in translations of English proverbs by Arabic translators with those of Persian ones showed that first of all due to their cultural affinity, Arabic and Farsi have a relatively similar proverbial competency in translation. Second, in translating proverbs, translators have inevitably an author-oriented translation to preserve the consistency of text and more adequately mirror the Shakespeare's ideas and expression. Third, they have translated the proverbs with the least cultural change, which has resulted in the domination of the culture of the superior (source) language over the inferior (target) language, that is the superior language imposes its features to the inferior language. However, in some cases the literary richness of the target language has also increased through the creation of new images. Next, in translating the proverbs, the translators were more committed to the text than to the spirit of the work. This, in some cases, led to the removal of the spirit of humor from the literal body and an adverse impact on the dynamics of the text. In fact, most translators have translated the external language and have regarded the inner language (humor) of the text untranslatable. Finally, the conceptual flaw in the translations is mostly related to the cases where the author has used one or two words of the proverb as the whole one or made changes to the proverb. Therefore, the translator makes no sense due to the lack of knowledge about the whole proverb and inevitably either erase it, or translate it literally. This transfers the ambiguity into the target language. Therefore, in translating the proverbs, dictionary information is not enough and the translator needs encyclopedic knowledge to know the whole proverb.
ранняя версия (с ошибкой в названии) опубликована в: Гуцуляк О. Б. развитие евразийского мифологического образа Гер/Кёр/Кер-Оглы - сына могилы и правителя страны Чамбули Мастон // Мировоззрение населения Южной Сибири и Центральной Азии в ретроисторической перспективе : сб. ст. / под ред. П.К. Дашковского. - Барнаул : Азбука. 2014. - Вып. IV. - С. 297-314.
Journal of Research on Archaeometry
Developing an Agent-Based Model for Archaeological ApplicationsKimiya-ye-Honar (کیمیای هنر)
Merleau-Ponty’s Philosophical Concepts: The Basis for the Analysis of Interactive Art in Performance of “ Field “ (مفاهیم فلسفی مرلوپونتی:بستری برای تحلیل هنر تعاملی، نگاهی به پرفورمنس کشتزار)2016 •
Merleau-Ponty’s understanding of art is tied with his phenomenological view point of perception. According to him, the important matter in art, is not only about beauty, but about perception and expression as well. Merleau-Ponty seeks to describe the relation between the artist, the objects and the world he paints. In other words, he considered the relation between the artist and the artwork. However, in this study we are looking for another aspect of the relationship. Our purpose here is to describe the interaction of artwork and the audience. With this aim, rather than addressing his direct comments about art, we will return to Merleau-Ponty’s philosophical project. In this paper, first of all, we investigate fundamental concepts of Merleau-Ponty’s philosophy and then use these concepts to describe the relationship of the audience with interactive art event in general, and to describe the interweaving of the body of performer with the audience in an interactive performance in particular. In the end, by emphasizing on research data and analyzing them in the field of interactive art we look at the performance of “ Field “ (performer: Amir Mobed) and we analyze the importance of the aspect of embodiment in performer and audience in event and the interaction between them. It is important that interactive art, despite its expansion in the world of contemporary art and despite numerous research studies in this area, has been less studied from a philosophical perspective. By means of Merleau-Ponty’s philosophical views in the context of interactive art, it is a possibility to free a work of art from definitions, limitations, as well as dualism of outside / inside, artist / audience. Interaction of the audience with the artwork is the resurgence for art in order to establish a common world between the artist, audience and interactive art event. According to philosophical concepts of Merleau-Ponty, in the performance “Field”, performer is not the source and promoter of performance and all the body’s actions are not independent from the audience. He is exposed to embodiment, including looking, sensation and movement, and also the expression and bodily activity of audience. Interactive event is the common world of performer and audience, in which they are exposed to each other’s perception, and influenced by each other’s actions. In this performance, Merleau-Ponty’s concepts of expression are frequently manifested prior to any thought and reasoning, which is because of the physical proximity of performer and audience. درک مرلوپونتی از هنر با دیدگاه پدیدارشناسانه او از ادراک گره خورده است. به زعم وی مسالۀ مهم در هنر، پرسش دربارۀ زیبایی نیست، بلکه پرسش دربارۀ ادراک و بیان است. مرلوپونتی با تمرکز بر هنر در پی توصیف ارتباط هنرمند با اشیا و جهانی است که به تصویر می کشد. به عبارتی او رابطۀ هنرمند با اثر هنری را مد نظر قرار می دهد. اما با این حال در این پژوهش ما بدنبال وجه دیگری از رابطه هستیم. هدف ما در اینجا، توصیف ارتباط متقابل کار هنری و مخاطب هنر است. با این هدف بجای پرداختن به نظرات مستقیم او در مورد هنر، بازگشتی به طرح فلسفیِ مرلوپونتی خواهیم داشت. در قدم نخست ، در این مقاله، به شیوۀ توصیفی- تحلیلی به مفاهیم اساسی فلسفۀ مرلوپونتی می پردازیم و سپس از این مفاهیم به منظور توصیف رابطۀ مخاطب با رویداد هنر تعاملی بطور کلی، و توصیف تداخل و در هم تنیدگی بدنی اجراگر با مخاطب در پرفورمنس تعاملی بطور خاص، استفاده می کنیم. در خاتمه با اهتمام به داده های پژوهش و تحلیل آن در حوزۀ هنر تعاملی، نگاهی به پرفورمنس "کشت زار" خواهیم داشت و اهمیت وجه بدنمندی اجراگر و مخاطب را در جریان یافتن رویداد اجرا و تعامل بین آنها تحلیل می کنیم. این موضوع از آن جهت حائز اهمیت است که هنر تعاملی با وجود بسط و گسترش آن در دنیای هنر معاصر از مبانی نظری و فلسفی بی بهره مانده است. بکارگیری دیدگاه فلسفی مرلوپونتی در متن هنر، یک امکان است برای رهاسازی کار هنری از تعاریف و محدودیت ها، و نیز گذر از دوگانه انگاری بیرون/ درون ، هنرمند/ مخاطب، ... در هنر است. تعامل مخاطب با کار هنری، تجدید حیاتی برای هنر در جهت برپایی جهانی مشترک و تعامل بین رویداد هنر و مخاطب هنر است.
CALL/WA 085704602709|belajar grammar di kampung inggris peace pare
CALL/WA 085704602709|belajar grammar di kampung inggris peace pare2021 •
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Proceedings of 37th International Cosmic Ray Conference — PoS(ICRC2021)
The XY Scanner - A Versatile Method of the Absolute End-to-End Calibration of Fluorescence Detectors1996 •
Indret Revista Para El Analisis Del Derecho
La ley aplicable a las sucesiones mortis causa en el Reglamento (UE) 650/2012 (The Applicable Law to Succession Upon Death in the New Regulation (EU) No. 650/2012)2013 •
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20. „Rezension zu ‚Andreas Dörpinghaus / Karl-Heinz Lembeck (Hrsg.): Sehen als Erfahrung.‘ Freiburg / München: Alber 2020“, in: Phänomenologische Forschungen, Heft 2021/1, S. 234–239.
REZKerkmann Druckfahne Sehen als Erfahrung2021 •
Journal of Stroke and Cerebrovascular Diseases
Poststroke Aphasia Recovery Assessed With Functional Magnetic Resonance Imaging and a Picture Identification Task2011 •
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Lecture Notes in Computer Science
A Machine Learning Approach Against a Masked AES2014 •
Polar Record
Inuit vulnerability and adaptive capacity to climate change in Ulukhaktok, Northwest Territories, Canada2009 •
INFORMACIÓ PSICOLÒGICA
La psicología de la educación, una encrucijada de muchos caminos2017 •
IMF Working Papers
Fragmentation and Vertical Fiscal Imbalances Lessons from Moldova2014 •
INDONESIAN JOURNAL OF PHARMACY
Feasibility of transdermal transport of atenolol by combination of iontophoresis and oleic acid pretreatment2011 •
Asian Culture and History
Plagues, Epidemics and Their Social and Economic Impact on the Egyptian Society during the Mameluke Period (648 Hegira /1250 AD -923 Hegira /1517 AD)2013 •
International Journal of Applied Pharmaceutics
Development of Cathelicidin in Liposome Carrier Using Thin Layer Hydration Method