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Based on the theories of René Wellek and Henry Remak, interdisciplinary studies, as a sub-category of Comparative Literature, started to grow since 1980’s. The study of the relationship between literature and such arts as literature and painting has, since then, attracted the interest of many researchers. This paper is as attempt the relationship between poetry and painting through the poetry and paintings of Sohrob Sepehri. What have been discussed in this interdisciplinary research are the concepts of stasis and dynamism, which appear differently in the written language of poetry and the visual medium of painting. Though the main emphasis of this research is on interdisciplinarity, it still offers new perspective to a better understanding of Sepehri's poetry and paintings. The writers have tried to open the way for further interdisciplinary research in the field of Comparative Literature by elucidating a clear theoretical framework and research methodology.

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Maulana J'alalu·'d-din Muhammad Rumi and Walt Whitman are two of the greatest and most influential poets of the world. Nicholson considers Rumi as the greatest Sufi poet of all time, and the United Nations (UN) has named the year 2007 after him. Walt Whitman, on the other hand, is the poet who is entitled the father of the American Free Verse, and forms the third column of the trinity of American transcendentalism along with Emerson and Thoreau. Despite linguistic, cultural, temporal and spatial differences, both poets consider language an insufficient tool for the expression of the transcendental and mystical thoughts; hence, their readership is invitation for silence. Undoubtedly the poets have some differences in silence motif, which is rooted in their culture and language. Rumi denies language courageously to the extent that some of his ghazals end in silence. Whitman, too, expresses his concern for silence spasmodically; however, the real silence in his poetry happens when he invites the readers to be united with nature. In this paper, the authors have investigated the silence motif in the poetry of Rumi and Whitman using the theories “analogies without contact” and “Rapprochemen” within the domain of comparative literature.    

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With no doubt, the newly founded discipline of Comparative Literature has a very close relationship with translation and translations studies. If we accept the fact that Comparative Literature, at least in one of its school, deals with influence studies, then, we are in the realm of translation studies. Translation can serve as a force for literary renewal and innovation. This is one of the ways in which translation studies research has served comparative literature well. Now it is acknowledged that translation has played a vital role in literary history and that great periods of literary innovation are preceded by periods of intense translation activity. The significance of FitzGerald’s Rubaiyat of Omar Khayyam lies in how the poem was read when it appeared and in the precise historical moment when it was published. The impact of FitzGerald’s Rubaiyat was such that on the one hand it could serve as models for a new generation of poets struggling to make the skepticism and pessimism a proper subject for poetry, while on the other hand it established a benchmark for future translators because they set the parameters in the minds of English-language readers of what Persian poetry could do. The present study tries to show that FitzGerald’s Rubaiyat had a role in forming pre-modern English poetry, notably Housman’s poetry, in terms of form and content.  

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Dynamic assessment (DA), premised on Vygotsky's Sociocultural Theory (SCT), constitutes a valuable venue for language teachers to promote the dialectical praxis and awareness of language assessment and teaching in the EFL context. In spite of the surge of interest in the importance of DA in assessing the dynamically emergent abilities, little has been written down regarding EFL teachers' attitudes toward DA. The current study attempted to fill that void by unearthing Iranian EFL teachers' beliefs about DA and also to determine if there is a statistically significant difference between university and language institute teachers' attitudes with regard to DA. To this end, forty Iranian EFL teachers in the two contexts (i.e., universities and language institutes) were selected through purposive and snowball sampling procedures. Adopting an exploratory design, the researchers collected the data through an Email interview. The results of the Chi-square tests indicated that there is no significant difference in the attitudes of university and language institute teachers toward DA, and both groups held a positive attitude toward it. In addition, the content analysis of the data resulted in the emergence of three major themes namely, teachers' classroom assessment practices, EFL teacher's attitudes toward DA, and impediments to applying DA principles in EFL classes. The findings of this study cater for implications for teachers to voice their concerns about the edifice of language testing and assessment in Iran.  

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This study takes a critical look at the purposive manipulation of discourse and rhetoric by the former Iranian President — Hassan Rouhani — when announcing the lockdown of holy sites during the COVID-19 crisis. A discourse analysis with a qualitative design was applied to study the political dimension of the discourse. This study is framed within the domain of systemic functional linguistics mood systems and the classical Aristotelian rhetoric trio — logos, ethos, and pathos. The results revealed that Rouhani mainly used the declarative mood in his speeches which performed three main functions: statements of opinion, statements of fact, and indirect directives. From a rhetorical perspective, Rouhani applied ethos considerably more than pathos and logos as a way to increase the credibility of his words while persuading the audience. Moreover, the researchers noticed that the former president employed multiple strategies to build pathos and ethos with the audience. These findings can suggest and encourage novel future research directions.
 

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The present research explores the reasons why contemporary theoreticians of adaptation studies spurn “fidelity criticism.” With an increase in the production of adaptation with the advent of the cinema, there appeared a critical approach known as “fidelity criticism” in which the extent of the fidelity of the adapter to the adapted was investigated. Since this approach considers the adapted as a touchstone to evaluate the adapter and since it implicitly acknowledges the superiority of the former over the latter, postmodern critics, who frequently advocate alternative views and readings, struggle to release the adapter from being overshadowed by the adapted in order to let them express their unique message in the modern era. By referring to contemporary theories, the present research explores the whyness of the necessity for avoiding “fidelity criticism” as a touchstone for the evaluation of adaptation. To this end, the question of adaptation is expounded in the light of canon, logocentrism, and minor literature in order to study the likelihood of the ideological working of “fidelity criticism” as an apparatus in the hands of power. While the fact that “fidelity criticism” cannot be an appropriate criterion for the evaluation of adaptation has been frequently pointed out, the howness of its contribution to power discourse is an issue that has not been investigated in a coherent research, an attempt that can lead to a better understanding of the whyness of the rejection of “fidelity criticism.”