DOI: 10.7256/2454-0749.2019.5.30861

Abstract: The article is devoted to the peculiarities of the Persian avant-garde poetry of the 40-50s of the XXth century. The subject of the research is the most marginal branch of new Persian poetry attributed to Hushang Irani whose works had not been on the list of official Persian literature records for a long tiem and still remain an understudied topic in Irani studies. Based on the analysis of the journal خروس جنگی (Heeler), the authors analyze the phenomenon of a literary journal as an important tool for communicating the ideas of modernism and avant-garde in Iran studies. The authors pay special attention to the second period in the history of the aforesaid journal that was related to the activity of an innovative poet Hushang Irani who wrote and published the manifest of Persian surrealism. Analyzing the manifest, the authors describe the difference between the 'new art' and 'old art'. In order to 'rehabilitate' the author and define his true role in the history of new Iranian poetry, the researchers carry out an integral analysis of Iranian experimental poetry (they analyze goals, grounds, peculiarities of the method, poetical principles and techniques) that imply particular language 'deviations' (at the level of graphics, phonetics, vocabulary, syntaxis, semantics, style, etc.) according to the classification of J. Leech. In addition, the authors make an attempt to analyze Irani's poetry, from the one side, in terms of Russian formalism and, from the other side, in terms of European surrealism. Based on the research of T. Tavusi - Irani the authors conclude that there is a certain similarity between literary manifests of Irani and A. Breton and that Irani's poetry is close to the theoretical and practical ideas of surrealism.

DOI: 10.25136/2409-8698.2019.4.30380

Abstract: This is the first article to tell the story of translation of Mikhail Sholokov's novel 'The Silent Don' to the Persian language and give a comparative analysis of two main translations of the novel, by M. Etemadzade (Behazin) and A. Shamlu who presented two opposite approaches to translation, ideological and linguistic. The author of the article analyzes the first translation of the novel The Silent Don in Farsi made by a major Iranian translator Behazin in 1965 against the Iran socio-political situation of the 1960s and describes pluses and minuses of his translation. Special attention is paid to the translation of 'The Silent Don' in the translation of a famous translator and poet A. Shamlu and response of the Iranian readers to it. Following the 'domestication' translation strategy and trying to demonstrate the treasure of the Persian language, Shamlu devoted seven years to the translation and wrote a true master-piece of Persian literature.