List of Articles Colloquial Language

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  1 - The Colloquial Language in Ali Mohammad Afghani’s Works
  ali dehghan fatemeh hamam'chi
       The history of story writing in Iran is also the history of a revolution in the language, which, after the Constitutionalism, approximated lay peoples’ speech and moved away from the bombastic and vain language of the court people. This fe More

       The history of story writing in Iran is also the history of a revolution in the language, which, after the Constitutionalism, approximated lay peoples’ speech and moved away from the bombastic and vain language of the court people. This feature can be seen in Ali Mohammad Afghan’s works. Based on style and structure, his stories are classified under the category of regional stories. In regional stories, describing local rituals and customs and speaking colloquially constitute the basic aspect of the story. Presenting a general conceptualisation of language and language varieties, the present article focuses on the use of colloquial language in Afghan’s novels. Manuscript profile
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  2 - Lingual Difference in the Translation of Early Versus Contemporary Dramatic texts in Iran
  Elmira Solymanirad Ali khazaei far Masood khosh salighe
  There are two general approaches in the area of drama translation: First, an approach that considers drama as literary text and translates it like other literary texts .Second, an approach that translates drama for performance purposes. These two approaches lead transl More

  There are two general approaches in the area of drama translation: First, an approach that considers drama as literary text and translates it like other literary texts .Second, an approach that translates drama for performance purposes. These two approaches lead translators to use different strategies and  language structures in the translation: the dual classification of dramatic texts into page and stage translation. This paper aims at investigating the language differences of dramatic texts in two different periods in Iran. For this aim, six dramas were selected (three dramas from the earlier periods of translating dramatic texts in Iran and three dramas from contemporary periods). They were analyzed from standard and colloquial language point of view. The results showed that translators followed standard language approach in translating the early dramatic texts although some Persian idioms and colloquial phrases were seen at some spots. And it showed that in contemporary translations that translators’ approach to translating dramatic texts is using colloquial language. Manuscript profile
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  3 - A survey in Turkish loan words in the colloquial language of Mashroteh era poetry
  Yagub Noruzi
  10.30495/irll.2023.1965260.1520
  One of the most important stylistic features of the Mashroteh era poetry in Iran, is the closing language of poetry to the colloquial one. In this era, poetry became more and more close to the colloquial language, and many colloquial words entered into the language of p More

  One of the most important stylistic features of the Mashroteh era poetry in Iran, is the closing language of poetry to the colloquial one. In this era, poetry became more and more close to the colloquial language, and many colloquial words entered into the language of poetry; The percentage of Turkish words in the colloquial language was high compared to the literary language due to the extensive interaction between the Turkish and Persian languages, and this closeness of the poetry language to the colloquial language caused more and more Turkish words to penetrate in the Mashroteh era poetry. In this era, unlike the previous ages, the Turkish words used in the Persian colloquial language surpasses the old Turkish words common in persian prose and verse texts. Meanwhile, It can be said that the presence of Turkish colloquial words is also proved the colloquial language of Mashroteh era poetry. Based on this, we decided to survey the presence of Turkish loan words in Persian colloquial language, that entered the Persian Mashroteh era poetry language. The result of the present study, shows the high frequency of use of Turkish words taken from the colloquial Persian language in Mashroteh era poetry. Manuscript profile
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  4 - بررسی ترجمه تکیه کلا مها و اصطلاحاات پُرکننده در دو ترجمه از ناطور دشت
  مرضیه صفاری محمود هاشمیان
  زبان محاوره ای یکی از سطوح زبان است که ممکن است توسط نویسنده در جهت  شخصیت پردازی موثر و خلق فضای داستانی به کار گرفته  شود. این زبان ویژگی های مختلفی از جمله استفاده از جملات کوتاه و بی قاعده ، مکث و تکرار دارد.  این خصوصیات باید به طور کامل در ترجمه منع More

  زبان محاوره ای یکی از سطوح زبان است که ممکن است توسط نویسنده در جهت  شخصیت پردازی موثر و خلق فضای داستانی به کار گرفته  شود. این زبان ویژگی های مختلفی از جمله استفاده از جملات کوتاه و بی قاعده ، مکث و تکرار دارد.  این خصوصیات باید به طور کامل در ترجمه منعکس شود. در این مطالعه،  بر اصطلاحات پُرکننده و تکیه کلام ها به عنوان زیرشاخه ای از اصطلاحات محاوره ای تمرکز شده است. اصطلاحات پُرکننده، به اصوات، کلمات و عبارت هایی اطلاق می شود که در جهت پُرکردن وقفه های ایجاد شــده در صــحبت به کار می رود و در طول داستان تکرار می شود. تکیه کلام ها از طرف دیگر اصطلاحاتی هستند که به طور مداوم توسط شخصیت اصلی داستان تکرار می شود و بیانگر دیدگاه و نظرات شخصیت داستان است. در این مطالعه فراوانی استراتژی هایی که در ترجمه رمان ناطور دشت توسط 2 مترجم فارسی زبان (کریمی و نجفی) به کار گرفته شده، محاسبه شد تا مشخص شود چگونه این مترجمان با تکرار اصطلاحات روبرو شده و چگونه نوع استراتژی ترجمه، سبک و محتوای متن ترجمه شده را تحت تاثیر قرار می دهد. تحلیل داده ها این حقیقت را مشخص کرد که زمانی که مترجمان از 2 استراتژی «جلوگیری از تکرار» و «حذف» استفاده می کنند، تکرار به عنوان یکی از ویژگی های سبکی متن محاوره ای از  دست می رود. Manuscript profile
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  5 - The study of Speech Poem in Iran (based on the works of Arash Azarpik)
  Mahvash Solimanpoor Ahmad Khialikhatibi Latifeh Salamat Baveel
  »Speech Poem« in contemporary lyric poetry is one of those successful post-Simini poets. Poem lyric has been innovative in terms of content and form in contemporary literature and has gained its special place. With the of the form of sonnet and natural declamation, ie t More

  »Speech Poem« in contemporary lyric poetry is one of those successful post-Simini poets. Poem lyric has been innovative in terms of content and form in contemporary literature and has gained its special place. With the of the form of sonnet and natural declamation, ie the language of speech, poem lyric has had great success in bringing the language of sonnet closer to the natural declemsion of language without slipping into the abyss of slang and colloquial writing. This type of sonnet has been created under the influence of Simin Behbahani’s narrative sonnet, by giving originality to dialogue and dialogue-oriented poetry both in terms of language and in terms of content instead of using repetitive and burning themes and romantic-mystical melodies, has made pure images of his thought and human-social self the main theme of his sonnet And through this, she has reached synergy, poetry (lyric form) and story . Considering that Azarpik’s knows the essential elements of the word, by directly communicating with them, And to try to show new methods in lyric poetry, he tries to present eloquent innovations and original images in his poems. In this article, by reviewing the two collections »Miss Returns to Love« and »Leila Zana« the characteristics of speech poetry will be examined. And it will be compared with speech poetry. The result of the investigation show that dialougs in the poems has shaoed the natural delamation of the language without breaking words, Abbreviation, complex composition, the absence of literary industries. Manuscript profile
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  6 - The study of the characteristics of Dehkhoda’s journalistic prose
  Mohammad Navid Bazargan Ali GHolami
  Upon the victory of Constitutional Revolution, journalism came out of the monopoly of the court, and its adorned style soon fell out of favor.  In this way at the same time that language as a means of power was set free from the influence of the court, freedom of s More

  Upon the victory of Constitutional Revolution, journalism came out of the monopoly of the court, and its adorned style soon fell out of favor.  In this way at the same time that language as a means of power was set free from the influence of the court, freedom of speech began its short illuminating period.  Dehkhoda who was regarded as one of the key literary figures of his time, in his political struggle, resorted to language and writing.  He introduced in his prose variety of language genres that existed in that social climate and set it against the unique language of the Court.  Taking advantage of the colloquial language, he removed the gap that existed for centuries between the written and spoken language and in this way paved the way for simplifying the Farsi writing style.  This article is concerned with the study of Dehkhoda’s journalistic prose style and it demonstrates the different styles he has employed in his fight through the language. Manuscript profile