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Showing 5 results for Nazir
Volume 3, Issue 2 (6-2017)
Abstract
Three species of the genus Dicranosepsis (Duda, 1926) are taxonomically treated in this paper. Dicranosepsis bicolor (Wiedemann, 1830),D. crinita (Duda, 1926) and D. olfactoria (Iwasa, 1984) are recorded for the first time from the Narowal region of the Punjab, Pakistan. Dicranosepsis crinita (Duda, 1926) is recorded for the first time in Pakistan. Illustrated keys and local distribution data for these three known species of the genus are also provided.
Volume 13, Issue 52 (Winter 2020)
Abstract
Modernity and the paradoxical consequences of modern experience, especially the modern patterns of creating a homogenous society, have detached humans from their individuality and personal identity. In such a situation, the victims are the subjects and objects who are doomed to live in a socially disconnected world. Existentialism and the story of situation have both reacted, employing their own philosophical and literary devices, to loneliness, stress, fear and absurdity of the modern experience. The current study has investigated Bahram Sadeghi’s novel “Malakout” [The Heavenly Kingdom] and two short stories by using the parameters of the story of situation and Kafka’s worldview. The paper attempted to show how the characters of these stories live in vain in the routines of everyday life and how they are trapped in situations which neither they can fully comprehend nor they .are able to set themselves free. In search of self and the meaning of love and peace, they try hopelessly to exit the labyrinth of modern life. Such a situation has affected every aspect of their lives and seemingly death is the only way out
Volume 14, Issue 56 (Winter 2021)
Abstract
Roaming is a phenomenon of modern life and experience and also a possibility to be in the city/ street. An existence in halt and an experience in hurry, a paradoxical life of being the viewer and the viewed, of desire to be lost and found, of perception without concentration. City and roaming subject find meaning and identity in interaction, intertwined link and exactness with each other. City gets spatial in subject’s strolls and it is studied and read as text or human body. The present article has dealt with the analysis of two novels; Sara Salar’s “I’m probably Lost” and Sina Dadkhah’s “Yousefabad, Thirty Third Avenue” from “roaming subject” viewpoint. It shows how city’s components and phenomena such as passages, park statues, streets, etc. are read and narrated by story characters as text and also experienced as the physical in relation to characters’ perspective, regrets, concerns, and memories. City/ Tehran is the pivotal character in both novels which turns into a surreal landscape in daydreaming and imaginative power of stroller parallel to present life and yesterday’s memories. Characters’ roaming whether in afoot roaming case of Saman, Neda and Leila Jahed or in automobile roaming of Hamed Nejat and Gandom, which is a new style of roaming, narrates an unusual and different and a special relation of subjects’ attachment to city/ street.
Extended abstract
According to the perception of the observer in the car, who moves at a higher speed than pedestrians in urban spaces, it can be concluded that the car forms a new kind of urban perception because it shows a city in motion to passengers. The present article analyses the phenomenon of wandering and its semantic-conceptual correlations from the perspective of studies and urban anthropology among the urban novels of the last two decades and has chosen two novels entitled "Man Ehtemālan Gom Shodeh Am" [I’m Probably Lost] by Sara Salar and "Yousefabad, khiābān-e 33" [Yousefabad, Thirty Third Avenue] by Sina Dadkhah and shows how the city is read as a context, body, and with a focus on characters in wanderings along with the characters' memory-play and lovemaking. All the characters of the story reach this sameness and unique identity with the city in the shelter of wandering in the city/streets, in associations, escapes, representations and disappearances. In tracing the relationship and role of the components and figures of the city (malls, street, coffee shops, parks, sculptures, billboards and advertisements, cars, highways, etc.) with the characters of the story, it is explained how the characters each exist and is identified with their concerns, situations, and longings with a body of the city, in the city, and with the city, and re-read and recreated the city as feminine or masculine in their bodily experiences.
Considering and reflecting on a city as a context, the city appears and becomes a meaningful body. A system of signs and a text opened in front of the eyes of the wandering person that the body and organs of the city are tied, known, read and interpreted to its semantic and spiritual origins. Almost the entire novel “Man Ehtemalan Gom Shodeh Am” takes place in the streets, with Gandom wandering in her car. Tehran in this novel is a context that is rewritten and recreated in signs, magnifications, protrusions, neglects of the presenter / radio reporter and advertisement of large billboards, in parallel motion and in relation to this identity, negative and positive, in the continuation, completion, and Gandom’s current contradiction and her past life. In the novel “Yousefabad, Thirty Third Avenue”, the body of the city is formed for Neda with the park and its sculptures; sculptures that are the friends of Neda, but with a clear and distinct identity. Neda talks to them; she talks about her childhood, her fears and worries. In the reading of Professor Nejat, Neda’s English Professor, the city is like a human body; a body that surrounds us. In both novels, Tehran is being lived and experienced as a physical body for the wandering characters of the story, a gendered body. Tehran, the most important and pivotal character of both novels, has shared the possibility of a friendly physical body with its wanderers and flows like blood in the veins of all Tehranians. For Hamed Nejat, Tehran is "the grey queen", a feminine and soothing body, and for Neda, it is a masculine and supportive body that embraces the wanderer and hears and accompanies them with their loves, restlessness and loneliness. The wandering and the experience of the city as a physical thing lead to the alignment and similarity of the city and the wanderer. Tehran is a friend, a lover, a beloved and a companion that now its presence and atmosphere are intertwined with the wanderers of the story. Farid Rahdar, the old love of Gandom, "loved to walk. In the streets, in the alleys and back-alleys, in the parks, in the highways. He said “a person exists as long as he walks; as long as he hits these two legs firmly on the ground." For Farid, walking means to be existed and lived. The street provides the possibility of being and the moving of wanderer. With the change of urban context and the expansion of car-centred cities, driving and strolling by car joined the body of wandering; a kind of wandering that brought cinematic perception and experience to the wanderer through movement, acceleration, and looking from the perspective of the car / windshield. The entire novel “I’m Probably Lost” is formed in the narrative of Gandom wandering with her car. For her, the narrative of now and yesterday, memories, fears, worries and lack of love goes on in framing the city through car glass. Scenes, images, consecutive similarities of billboards / advertisements, cars and people, and the sound of the radio in parallel motion are fragmentary scenes that are compiled and assembled by a wandering narrator. In the story of the city and its people, all urban phenomena (stones, sculptures, cars, boutiques) come to life in the connection and interaction of imagination, dream with reality and space. Memories are represented and recreated in the context of successive associations, in a movement parallel to the events and today’s life of the wanderer, and in highlighting the joys and sorrows of yesterday and her lived experiences. Tehran is the focal point of the narrative of all four parts of the novel " Yousefabad, Thirty Third Avenue", which is represented and configured in the context of wandering, memory playing, Saman playing in the stores, Leila Jahed’s inner journey, machine wandering of Hamed and Neda in Park. For Saman, all waiting time to meet Neda for the first time and all wanderings in malls are formulated with the memory of Sepideh’s love, Saman being slapped by Mina Faghani / Neda's brother, and his teenage memories. Leila Jahed's inner journey is a safe possibility in the face of the current precarious situation. The yesterday bitterness of Nejat's move to New York at his mother's urging is paralleled by today's fear of losing again due to Neda's love for him. In the novels "I’m Probably Lost" and " Yousefabad, Thirty Third Avenue", the city of Tehran is not just a place to realize the story; rather, it is the main subject and the fundamental / pivotal character of the story. The failure to receive the volume of Tehran presence affects the audience's enjoyment, understanding and perception of the novel. On a macro level, Tehran embraces the characters of the story, gives them identity and existence, and becomes an inseparable meaning from today's story, yesterday's memories, and not-lived experiences and living; at the micro level, in its components and bodies, in the body of the characters, it determines the possibility of love, loss, finding, etc. In fact, the city of Tehran is a resort, shelter, friend, lover, beloved and companion that offers a kind of existence in accordance with each of the characters in the story. At the end of both stories, it is the city that stays and embraces everyone, a safe place where the characters of the story find their identity and existence as they walk, and the words come to life in the context of its streets.
Extended abstract
According to the perception of the observer in the car, who moves at a higher speed than pedestrians in urban spaces, it can be concluded that the car forms a new kind of urban perception because it shows a city in motion to passengers. The present article analyses the phenomenon of wandering and its semantic-conceptual correlations from the perspective of studies and urban anthropology among the urban novels of the last two decades and has chosen two novels entitled "Man Ehtemālan Gom Shodeh Am" [I’m Probably Lost] by Sara Salar and "Yousefabad, khiābān-e 33" [Yousefabad, Thirty Third Avenue] by Sina Dadkhah and shows how the city is read as a context, body, and with a focus on characters in wanderings along with the characters' memory-play and lovemaking. All the characters of the story reach this sameness and unique identity with the city in the shelter of wandering in the city/streets, in associations, escapes, representations and disappearances. In tracing the relationship and role of the components and figures of the city (malls, street, coffee shops, parks, sculptures, billboards and advertisements, cars, highways, etc.) with the characters of the story, it is explained how the characters each exist and is identified with their concerns, situations, and longings with a body of the city, in the city, and with the city, and re-read and recreated the city as feminine or masculine in their bodily experiences.
Considering and reflecting on a city as a context, the city appears and becomes a meaningful body. A system of signs and a text opened in front of the eyes of the wandering person that the body and organs of the city are tied, known, read and interpreted to its semantic and spiritual origins. Almost the entire novel “Man Ehtemalan Gom Shodeh Am” takes place in the streets, with Gandom wandering in her car. Tehran in this novel is a context that is rewritten and recreated in signs, magnifications, protrusions, neglects of the presenter / radio reporter and advertisement of large billboards, in parallel motion and in relation to this identity, negative and positive, in the continuation, completion, and Gandom’s current contradiction and her past life. In the novel “Yousefabad, Thirty Third Avenue”, the body of the city is formed for Neda with the park and its sculptures; sculptures that are the friends of Neda, but with a clear and distinct identity. Neda talks to them; she talks about her childhood, her fears and worries. In the reading of Professor Nejat, Neda’s English Professor, the city is like a human body; a body that surrounds us. In both novels, Tehran is being lived and experienced as a physical body for the wandering characters of the story, a gendered body. Tehran, the most important and pivotal character of both novels, has shared the possibility of a friendly physical body with its wanderers and flows like blood in the veins of all Tehranians. For Hamed Nejat, Tehran is "the grey queen", a feminine and soothing body, and for Neda, it is a masculine and supportive body that embraces the wanderer and hears and accompanies them with their loves, restlessness and loneliness. The wandering and the experience of the city as a physical thing lead to the alignment and similarity of the city and the wanderer. Tehran is a friend, a lover, a beloved and a companion that now its presence and atmosphere are intertwined with the wanderers of the story. Farid Rahdar, the old love of Gandom, "loved to walk. In the streets, in the alleys and back-alleys, in the parks, in the highways. He said “a person exists as long as he walks; as long as he hits these two legs firmly on the ground." For Farid, walking means to be existed and lived. The street provides the possibility of being and the moving of wanderer. With the change of urban context and the expansion of car-centred cities, driving and strolling by car joined the body of wandering; a kind of wandering that brought cinematic perception and experience to the wanderer through movement, acceleration, and looking from the perspective of the car / windshield. The entire novel “I’m Probably Lost” is formed in the narrative of Gandom wandering with her car. For her, the narrative of now and yesterday, memories, fears, worries and lack of love goes on in framing the city through car glass. Scenes, images, consecutive similarities of billboards / advertisements, cars and people, and the sound of the radio in parallel motion are fragmentary scenes that are compiled and assembled by a wandering narrator. In the story of the city and its people, all urban phenomena (stones, sculptures, cars, boutiques) come to life in the connection and interaction of imagination, dream with reality and space. Memories are represented and recreated in the context of successive associations, in a movement parallel to the events and today’s life of the wanderer, and in highlighting the joys and sorrows of yesterday and her lived experiences. Tehran is the focal point of the narrative of all four parts of the novel " Yousefabad, Thirty Third Avenue", which is represented and configured in the context of wandering, memory playing, Saman playing in the stores, Leila Jahed’s inner journey, machine wandering of Hamed and Neda in Park. For Saman, all waiting time to meet Neda for the first time and all wanderings in malls are formulated with the memory of Sepideh’s love, Saman being slapped by Mina Faghani / Neda's brother, and his teenage memories. Leila Jahed's inner journey is a safe possibility in the face of the current precarious situation. The yesterday bitterness of Nejat's move to New York at his mother's urging is paralleled by today's fear of losing again due to Neda's love for him. In the novels "I’m Probably Lost" and " Yousefabad, Thirty Third Avenue", the city of Tehran is not just a place to realize the story; rather, it is the main subject and the fundamental / pivotal character of the story. The failure to receive the volume of Tehran presence affects the audience's enjoyment, understanding and perception of the novel. On a macro level, Tehran embraces the characters of the story, gives them identity and existence, and becomes an inseparable meaning from today's story, yesterday's memories, and not-lived experiences and living; at the micro level, in its components and bodies, in the body of the characters, it determines the possibility of love, loss, finding, etc. In fact, the city of Tehran is a resort, shelter, friend, lover, beloved and companion that offers a kind of existence in accordance with each of the characters in the story. At the end of both stories, it is the city that stays and embraces everyone, a safe place where the characters of the story find their identity and existence as they walk, and the words come to life in the context of its streets.
Volume 15, Issue 60 (Winter 2022)
Abstract
Recreation is the most innovative possibility in the field of adaptation: the way and the material of confrontation, digestion, transformation and appropriation of the great and previous text(s) by the author or creator allows a divergent and different creation. In this respect, the recreated text is secondary, but not second-rate. It embodies repetition and otherness at the same time. By presenting definitions, capabilities, and possibilities of new creation, this study analyzes the reasons for stagnation, inertia, and the limitation of new creation in children's and young adult literature in Iran. It shows that the perception of tradition as something outdated, the didactic-moral orientation in the creation of texts, the ignoring of various philosophical, mythological, religious, and historical texts, etc., the ignorance of the importance of the story/novel in transforming experiences, enjoyment and improving creative thinking of children and young people, and the consideration of the audience as an object of the generation, i.e. the consideration of the audience as passive and inactive, which has reduced recreation in Iran to changing the point of view, characters, place and time, tone, ending, etc. After analyzing the reasons for this stagnation and time marking, this study shows the expansion, capacity, multi-layered (nested) and eclectically intertwined aspects of western youth novels by comparing Iranian and non-Iranian youth novels. These novels have benefited from various intellectual, epistemological, and artistic texts and sources as well as from one statement, allegory, idea, or main theme.
Extended Abstract
Children's and youth literature in its modern sense, as a youthful phenomenon, is on its way to replace hidden/implicit knowledge with explicit knowledge. A concept that has moved and developed with acceleration, momentum and inertia due to the void and lack of theoretical background in Iran in a field of limitations, dos and don'ts. The writer/poet's lived experience, diversity and understanding of different and contradictory worlds and her studies and epistemological sources, in addition to her positioning towards children and adolescents as a generational object or conscious/creative subject and her reading of children's and teenager literature, its nature and function as an educational or pleasurable text, have a fundamental impact on the potential and possibility or repetition and stagnation of literary creation and recreation, which is the problem of the present study. From a certain perspective, everything that happens within the framework of art and literature, whether consciously or unconsciously, entails a type and level of adaptation and intertextuality, in other words, we do not have an independent, self-sufficient, newly discovered text. Every text is a texture and a compilation of pre-writings and pre-readings but from another point of view in the field of definitions and forms, adaptation includes different levels and various degrees of dialogue, imitation, repetition, selected writing, summary, borrowing, shortening, transformation, revision, rewriting, re-creation, open, free and content adaptation, and provides the audience and the critic with a benchmark and standard for whether it is imitation and repetition or creativity and creation. The nature of definitions and categorization of adaptation and re-creation in Iran is limited to open/free and closed/loyal adaptations, as well as borrowing and loaning. While imitation as a possibility within the framework of art in general, and in children's and young adult literature in particular, is the expression of any artist's or writer's dialogue, reception, and method of encounter with tradition and yesterday. In the reflections of many Western philosophers, sociologists and thinkers (Gadamer, Benjamin, Ricoeur, Heidegger, Derrida, etc.) tradition is called the/ or flowing current and present, a past that is in the now and in the future. Neither can the tradition be erased, nor does it have a decorative, particular and mechanical function, it is rather a text that is in dialogue, in deconstruction, in effort, in engagement, in positioning and in possession.In traditional thinking and considering tradition as a historical and closed matter, recreations in Iran are reduced to repetition, imitation and summary due to moral, educational and didactic necessities and merely to familiarize children and teenager with the identity and culture of the past and to pass on these concepts. In addition to the fundamental role of the writer/recreator's encounter with tradition, her approach and orientation towards children's and teenager literature and the concept of adaptation presents recreation as possibility and opening, or as limitation and stagnation. Classification, one-dimensional focus, and confrontational attitude toward statements such as "child as goal" or "child as instrument" exclude the process of adaptation, sociability or creativity, innocence or experience, and thus the growing and creating space in this field. The scholastic approach and the authoritarianism of formal teaching and education view the child as an instrument. The romantic approach sees the child as the goal and both approaches therefore resort to excessive measures. Recreation is the most diverse and creative possibility in the field of adaptation, which is not bound by any limits. In adaptation, it is the thought that consciously chooses, engages with the text, establishes dialogue, and, in the Ricoeurian sense, makes the text its own, exploring infinite possibilities of openness, innovation, otherness, and independence. Recreation as possibility is repetition that is different. A considerable number of rewritings and recreations in children's and teenager literature come from classic or contemporary literary texts. This pattern is found in novels and children's and teenager stories as well as in movies, plays, and computer games, which is good on some level, but the remarkable point is why the existing potential and capacity of mythological, historical, religious, philosophical, folklore literature, etc. Sources and texts in this field are not used. One of the visible and fundamental gaps in children's and teenager literature, especially in novels and recreations is the lack of attention and neglect of philosophical insight and critical thinking. The need and importance of philosophy for children and teenagers / Fabak, is the need to teach children and adolescents to think and not simply present the views and thoughts of philosophers. It is the need to pay attention to the development of intellectual skills, reflection, creative thinking, the desire and practice of listening, enduring, questioning, critical faculties, willingness to compromise, analysis of values, classification of data, boldness of expression of views and beliefs, mention of reasons and arguments, fault-finding, etc. To pay attention. From this point of view, children's and young people's literature is not only a carrier of philosophical concepts and problems of understanding and cognition, but it is highly philosophical in its essence.
Many statements, concepts, and orientations have affected the study of recreation in Iran, turning the presentation into a repetitive and limited inquiry. In the Iranian pattern and in a mindset and attitude that considers tradition as something finished, recreation is defined as a duty, obligation and responsibility instead of dialogue, deconstruction, interpretation, interaction with texts and traditional sources and in the historicist encounter. The goal of recreation is merely the preservation of past texts and the transmission of concepts and moral maxims, didactic/educational discussions to shape national identity and emotions of children and teenagers. It ignores the fundamental necessities of recreation such as creating pleasure, entertainment, dreaming and growing intellectual skills and considers its audience mainly as clueless, passive. Thus, recreation is reduced to changing titles and characters, language, space, place, and ending, which is a very limited and small section in this field compared to what is seen in the Western recreation corpus. Creative recreation, like the familiar Western examples, has several aspects: They are not limited to one text, but have benefited simultaneously from artistic and intellectual-epistemological sources and texts (eclectic entanglement). A recreated novel cannot be reduced to a particular theme or dimension. A very important point is that the recreated text is so multilayered and labyrinthine that it maps the transformation and digestion of statements, allegories, and various texts in the writer's soul and mind (owning him). If Iranian writers change their attitude towards tradition and children and teenager audience and understand the importance of children and teenager literature, especially the novel, could turn recreation into a possibility and release it from simplification, and stagnation.
K. H. Memon, Q. Liu, M. A. Kalhoro, K. Nazir, B. Waryani, M. Chang, A. Nabi,
Volume 18, Issue 3 (5-2016)
Volume 18, Issue 3 (5-2016)
Abstract
Five demersal trawl surveys were conducted in the Pakistani waters in October, November 2009 and August, October, November 2010. A total of 819 length-weight and 7,240 length-frequency data of Atrobucca alcocki were collected, the length ranged from 10 cm to 45 cm with the dominant length group from 19 to 29 cm. The total weight ranged from 14 to 928 g. The length-weight relationship can be expressed as W= 0.012*L2.925 (R2= 0.972). Using the ELEFAN program in FiSAT computer package, the calculated von Bertalanffy growth function parameters were = 47.25cm, K= 0.180 yr-1. Total mortality (Z) was computed using the length-converted catch curve analysis at Z= 1.07 yr-1. Natural mortality was computed as M= 0.494 yr-1 at an annual average sea surface temperature of 26°C, hence, the fishing mortality was computed as F=Z-M= 0.576 yr-1. The Exploitation ratios (E) were computed as Emax = 0.421, E10 =0.355, E50 =0.278. Yield per recruit analysis revealed that when tc was assumed to be 2, Fmax was calculated at 0.75 and F0.1 at 0.6. When tc was assumed to be 1, Fmax was calculated at 0.55 and F1.0 at 0.45. Current age at first capture was about 1 year and Fcurrent was 0.576, therefore, Fcurrent was larger than F0.1 and Fmax. When biological reference point was Fopt equal to M (0.494), current fishing mortality rate of 0.576 was larger than the target biological reference point.
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