happy birthday santiago

این هم عکس های تولد کوروش.

 

 

 

 

 

 

pronunciation of STANZA

 

 

در این قسمت فایل mp3 تلفظ stanza را برای دانلود گذاشتم.

 

نکته مهم: برای دانلود تلفظ british روی تصویر مقابل کلیک کنید 

 

 

 

 

نکته مهم: برای دانلود فایل با تلفظ American آدرس زیر را کلیک کنید.اما متاسفانه این آدرس که دانلود

 

تلفظ American می باشد بعضی اوقات با مشکل مواجه است و به صورت کامل دانلود نمی شود و هر چه

 

قدرهم تلاش کردم هیچ کاریش نمیشه کرد.برای دانلود کلیک راست کرده و save target as را انتخاب کنید.

 

Stáhnout mp3

 

 

نکته مهم: همانطور که در بالا گفتم دانلود تلفظ با مشکلاتی مواجه است که به همین خاطردر زیر آدرس های

 

دیگری را قرار دادم که تلفظ در آن هرچند british به نظر میرسد ولی بعد از اینکه با چند نفر از بچه ها آن

 

را گوش دادیم متوجه شدیم غیر از تلفظ r در آخر کلمات تقریبا بقیه لغات به شیوه ای تلفظ شده که به تلفظ

 

همه ما خیلی نزدیکه پس حد اقل اگر تلفظ آمریکایی دانلود نشد این بریتیش از بریتیش اولی خیلی بهتر و قابل تحمل تره..

 

شما 12 آدرس را میبینید که هر کدام تلفظ هر12 پاراگراف است.پس برای دانلود حتما   به ترتیب روی آدرس ها کلیک

 

کنید و تلفظ 12 پاراگراف را جداگانه دانلود کنید .

 

Pronunciation/DearestCreature1.rm

 

Pronunciation/DearestCreature1.rm

Pronunciation/DearestCreature3.rm

Pronunciation/DearestCreature4.rm

Pronunciation/DearestCreature5.rm

Pronunciation/DearestCreature6.rm

Pronunciation/DearestCreature7.rm

Pronunciation/DearestCreature8.rm

Pronunciation/DearestCreature9.rm

Pronunciation/DearestCreature10.rm

Pronunciation/DearestCreature11.rm

Pronunciation/DearestCreature12.rm

                                                              

و این هم متن تایپ شده stanza  که می توانید ببینید.

 

 

The Chaos

Dr. Gerard Nolst Trenite

***************************************************************************

 Dearest creature in creation,

Study English pronunciation.

I will teach you in my verse

Sounds like corpse, corps, horse, and worse.

I will keep you, Suzy, busy,

Make your head with heat grow dizzy.

Tear in eye, your dress will tear.

So shall I! Oh hear my prayer.

Pray, console your loving poet,

Make my coat look new, dear, sew it!

Just compare heart, beard, and heard,

Dies and diet, lord and word,

Sword and sward, retain and Britain.

(Mind the latter, how it’s written.)

Now I surely will not plague you

With such words as plaque and ague.

But be careful how you speak:

Say break and steak, but bleak and streak;

Cloven, oven, how and low,

Script, receipt, show, poem, and toe.

 

Hear me say, devoid of trickery,

Daughter, laughter, and Terpsichore,

Typhoid, measles, topsails, aisles,

Exiles, similes, and reviles;

Scholar, vicar, and cigar,

Solar, mica, war and far;

One, anemone, Balmoral,

Kitchen, lichen, laundry, laurel;

Gertrude, German, wind and mind,

Scene, Melpomene, mankind.

 

Billet does not rhyme with ballet,

Bouquet, wallet, mallet, chalet.

Blood and flood are not like food,

Nor is mould like should and would.

Viscous, viscount, load and broad,

Toward, to forward, to reward.

And your pronunciation’s OK

When you correctly say croquet,

Rounded, wounded, grieve and sieve,

Friend and fiend, alive and live.

 

Ivy, privy, famous; clamour

And enamour rhyme with hammer.

River, rival, tomb, bomb, comb,

Doll and roll and some and home.

Stranger does not rhyme with anger,

Neither does devour with clangour.

Souls but foul, haunt but aunt,

Font, front, wont, want, grand, and grant,

Shoes, goes, does. Now first say finger,

And then singer, ginger, linger,

Real, zeal, mauve, gauze, gouge and gauge,

Marriage, foliage, mirage, and age.

 

Query does not rhyme with very,

Nor does fury sound like bury.

Dost, lost, post and doth, cloth, loth.

Job, nob, bosom, transom, oath.

Though the differences seem little,

We say actual but victual.

Refer does not rhyme with deafer.

Foeffer does, and zephyr, heifer.

Mint, pint, senate and sedate;

Dull, bull, and George ate late.

Scenic, Arabic, Pacific,

Science, conscience, scientific.

 

Liberty, library, heave and heaven,

Rachel, ache, moustache, eleven.

We say hallowed, but allowed,

People, leopard, towed, but vowed.

Mark the differences, moreover,

Between mover, cover, clover;

Leeches, breeches, wise, precise,

Chalice, but police and lice;

Camel, constable, unstable,

Principle, disciple, label.

 

Petal, panel, and canal,

Wait, surprise, plait, promise, pal.

Worm and storm, chaise, chaos, chair,

Senator, spectator, mayor.

Tour, but our and succour, four.

Gas, alas, and Arkansas.

Sea, idea, Korea, area,

Psalm, Maria, but malaria.

Youth, south, southern, cleanse and clean.

Doctrine, turpentine, marine.

 

Compare alien with Italian,

Dandelion and battalion.

Sally with ally, yea, ye,

Eye, I, ay, aye, whey, and key.

Say aver, but ever, fever,

Neither, leisure, skein, deceiver.

Heron, granary, canary.

Crevice and device and aerie.

 

Face, but preface, not efface.

Phlegm, phlegmatic, ass, glass, bass.

Large, but target, gin, give, verging,

Ought, out, joust and scour, scourging.

Ear, but earn and wear and tear

Do not rhyme with here but ere.

Seven is right, but so is even,

Hyphen, roughen, nephew Stephen,

Monkey, donkey, Turk and jerk,

Ask, grasp, wasp, and cork and work.

 

Pronunciation—think of Psyche!

Is a paling stout and spikey?

Won’t it make you lose your wits,

Writing groats and saying grits?

It’s a dark abyss or tunnel:

Strewn with stones, stowed, solace, gunwale,

Islington and Isle of Wight,

Housewife, verdict and indict.

 

Finally, which rhymes with enough—

Though, through, plough, or dough, or cough?

Hiccough has the sound of cup.

My advice is to give up!!!

 

 

---

 

 

The Chaos (1922)

 

Dearest creature in creation

Studying English pronunciation,

   I will teach you in my verse

   Sounds like corpse, corps, horse and worse.

 

I will keep you, Susy, busy,

Make your head with heat grow dizzy;

   Tear in eye, your dress you'll tear;

   Queer, fair seer, hear my prayer.

 

Pray, console your loving poet,

Make my coat look new, dear, sew it!

   Just compare heart, hear and heard,

   Dies and diet, lord and word.

 

Sword and sward, retain and Britain

(Mind the latter how it's written).

   Made has not the sound of bade,

   Say-said, pay-paid, laid but plaid.

 

Now I surely will not plague you

With such words as vague and ague,

   But be careful how you speak,

   Say: gush, bush, steak, streak, break, bleak ,

 

Previous, precious, fuchsia, via

Recipe, pipe, studding-sail, choir;

   Woven, oven, how and low,

   Script, receipt, shoe, poem, toe.

 

Say, expecting fraud and trickery:

Daughter, laughter and Terpsichore,

   Branch, ranch, measles, topsails, aisles,

   Missiles, similes, reviles.

 

Wholly, holly, signal, signing,

Same, examining, but mining,

   Scholar, vicar, and cigar,

   Solar, mica, war and far.

 

From "desire": desirable-admirable from "admire",

Lumber, plumber, bier, but brier,

   Topsham, brougham, renown, but known,

   Knowledge, done, lone, gone, none, tone,

 

One, anemone, Balmoral,

Kitchen, lichen, laundry, laurel.

   Gertrude, German, wind and wind,

   Beau, kind, kindred, queue, mankind,

 

Tortoise, turquoise, chamois-leather,

Reading, Reading, heathen, heather.

   This phonetic labyrinth

   Gives moss, gross, brook, brooch, ninth, plinth.

 

Have you ever yet endeavoured

To pronounce revered and severed,

   Demon, lemon, ghoul, foul, soul,

   Peter, petrol and patrol?

 

Billet does not end like ballet;

Bouquet, wallet, mallet, chalet.

   Blood and flood are not like food,

   Nor is mould like should and would.

 

Banquet is not nearly parquet,

Which exactly rhymes with khaki.

   Discount, viscount, load and broad,

   Toward, to forward, to reward,

 

Ricocheted and crocheting, croquet?

Right! Your pronunciation's OK.

   Rounded, wounded, grieve and sieve,

   Friend and fiend, alive and live.

 

Is your r correct in higher?

Keats asserts it rhymes Thalia.

   Hugh, but hug, and hood, but hoot,

   Buoyant, minute, but minute.

 

Say abscission with precision,

Now: position and transition;

   Would it tally with my rhyme

   If I mentioned paradigm?

 

Twopence, threepence, tease are easy,

But cease, crease, grease and greasy?

   Cornice, nice, valise, revise,

   Rabies, but lullabies.

 

Of such puzzling words as nauseous,

Rhyming well with cautious, tortious,

   You'll envelop lists, I hope,

   In a linen envelope.

 

Would you like some more? You'll have it!

Affidavit, David, davit.

   To abjure, to perjure. Sheik

   Does not sound like Czech but ache.

 

Liberty, library, heave and heaven,

Rachel, loch, moustache, eleven.

   We say hallowed, but allowed,

   People, leopard, towed but vowed.

 

Mark the difference, moreover,

Between mover, plover, Dover.

   Leeches, breeches, wise, precise,

   Chalice, but police and lice,

 

Camel, constable, unstable,

Principle, disciple, label.

   Petal, penal, and canal,

   Wait, surmise, plait, promise, pal,

 

Suit, suite, ruin. Circuit, conduit

Rhyme with "shirk it" and "beyond it",

   But it is not hard to tell

   Why it's pall, mall, but Pall Mall.

 

Muscle, muscular, gaol, iron,

Timber, climber, bullion, lion,

   Worm and storm, chaise, chaos, chair,

   Senator, spectator, mayor,

 

Ivy, privy, famous; clamour

Has the a of drachm and hammer.

   Pussy, hussy and possess,

   Desert, but desert, address.

 

Golf, wolf, countenance, lieutenants

Hoist in lieu of flags left pennants.

   Courier, courtier, tomb, bomb, comb,

   Cow, but Cowper, some and home.

 

"Solder, soldier! Blood is thicker",

Quoth he, "than liqueur or liquor",

   Making, it is sad but true,

   In bravado, much ado.

 

Stranger does not rhyme with anger,

Neither does devour with clangour.

   Pilot, pivot, gaunt, but aunt,

   Font, front, wont, want, grand and grant.

 

Arsenic, specific, scenic,

Relic, rhetoric, hygienic.

   Gooseberry, goose, and close, but close,

   Paradise, rise, rose, and dose.

 

Say inveigh, neigh, but inveigle,

Make the latter rhyme with eagle.

   Mind! Meandering but mean,

   Valentine and magazine.

 

And I bet you, dear, a penny,

You say mani-(fold) like many,

   Which is wrong. Say rapier, pier,

   Tier (one who ties), but tier.

 

Arch, archangel; pray, does erring

Rhyme with herring or with stirring?

   Prison, bison, treasure trove,

   Treason, hover, cover, cove,

 

Perseverance, severance. Ribald

Rhymes (but piebald doesn't) with nibbled.

   Phaeton, paean, gnat, ghat, gnaw,

   Lien, psychic, shone, bone, pshaw.

 

Don't be down, my own, but rough it,

And distinguish buffet, buffet;

   Brood, stood, roof, rook, school, wool, boon,

   Worcester, Boleyn, to impugn.

 

Say in sounds correct and sterling

Hearse, hear, hearken, year and yearling.

   Evil, devil, mezzotint,

   Mind the z! (A gentle hint.)

 

Now you need not pay attention

To such sounds as I don't mention,

   Sounds like pores, pause, pours and paws,

   Rhyming with the pronoun yours;

 

Nor are proper names included,

Though I often heard, as you did,

   Funny rhymes to unicorn,

   Yes, you know them, Vaughan and Strachan.

 

No, my maiden, coy and comely,

I don't want to speak of Cholmondeley.

   No. Yet Froude compared with proud

   Is no better than McLeod.

 

But mind trivial and vial,

Tripod, menial, denial,

   Troll and trolley, realm and ream,

   Schedule, mischief, schism, and scheme.

 

Argil, gill, Argyll, gill. Surely

May be made to rhyme with Raleigh,

   But you're not supposed to say

   Piquet rhymes with sobriquet.

 

Had this invalid invalid

Worthless documents? How pallid,

   How uncouth he, couchant, looked,

   When for Portsmouth I had booked!

 

Zeus, Thebes, Thales, Aphrodite,

Paramour, enamoured, flighty,

   Episodes, antipodes,

   Acquiesce, and obsequies.

 

Please don't monkey with the geyser,

Don't peel 'taters with my razor,

   Rather say in accents pure:

   Nature, stature and mature.

 

Pious, impious, limb, climb, glumly,

Worsted, worsted, crumbly, dumbly,

   Conquer, conquest, vase, phase, fan,

   Wan, sedan and artisan.

 

The th will surely trouble you

More than r, ch or w.

   Say then these phonetic gems:

   Thomas, thyme, Theresa, Thames.

 

Thompson, Chatham, Waltham, Streatham,

There are more but I forget 'em-

   Wait! I've got it: Anthony,

   Lighten your anxiety.

 

The archaic word albeit

Does not rhyme with eight-you see it;

   With and forthwith, one has voice,

   One has not, you make your choice.

 

Shoes, goes, does *. Now first say: finger;

Then say: singer, ginger, linger.

   Real, zeal, mauve, gauze and gauge,

   Marriage, foliage, mirage, age,

 

Hero, heron, query, very,

Parry, tarry fury, bury,

   Dost, lost, post, and doth, cloth, loth,

   Job, Job, blossom, bosom, oath.

 

Faugh, oppugnant, keen oppugners,

Bowing, bowing, banjo-tuners

   Holm you know, but noes, canoes,

   Puisne, truism, use, to use?

 

Though the difference seems little,

We say actual, but victual,

   Seat, sweat, chaste, caste, Leigh, eight, height,

   Put, nut, granite, and unite.

 

Reefer does not rhyme with deafer,

Feoffer does, and zephyr, heifer.

   Dull, bull, Geoffrey, George, ate, late,

   Hint, pint, senate, but sedate.

 

Gaelic, Arabic, pacific,

Science, conscience, scientific;

   Tour, but our, dour, succour, four,

   Gas, alas, and Arkansas.

 

Say manoeuvre, yacht and vomit,

Next omit, which differs from it

   Bona fide, alibi

   Gyrate, dowry and awry.

 

Sea, idea, guinea, area,

Psalm, Maria, but malaria.

   Youth, south, southern, cleanse and clean,

   Doctrine, turpentine, marine.

 

Compare alien with Italian,

Dandelion with battalion,

   Rally with ally; yea, ye,

   Eye, I, ay, aye, whey, key, quay!

 

Say aver, but ever, fever,

Neither, leisure, skein, receiver.

   Never guess-it is not safe,

   We say calves, valves, half, but Ralf.

 

Starry, granary, canary,

Crevice, but device, and eyrie,

   Face, but preface, then grimace,

   Phlegm, phlegmatic, ass, glass, bass.

 

Bass, large, target, gin, give, verging,

Ought, oust, joust, and scour, but scourging;

   Ear, but earn; and ere and tear

   Do not rhyme with here but heir.

 

Mind the o of off and often

Which may be pronounced as orphan,

   With the sound of saw and sauce;

   Also soft, lost, cloth and cross.

 

Pudding, puddle, putting. Putting?

Yes: at golf it rhymes with shutting.

   Respite, spite, consent, resent.

   Liable, but Parliament.

 

Seven is right, but so is even,

Hyphen, roughen, nephew, Stephen,

   Monkey, donkey, clerk and jerk,

   Asp, grasp, wasp, demesne, cork, work.

 

A of valour, vapid vapour,

S of news (compare newspaper),

   G of gibbet, gibbon, gist,

   I of antichrist and grist,

 

Differ like diverse and divers,

Rivers, strivers, shivers, fivers.

   Once, but nonce, toll, doll, but roll,

   Polish, Polish, poll and poll.

 

Pronunciation-think of Psyche!-

Is a paling, stout and spiky.

   Won't it make you lose your wits

   Writing groats and saying "grits"?

 

It's a dark abyss or tunnel

Strewn with stones like rowlock, gunwale,

   Islington, and Isle of Wight,

   Housewife, verdict and indict.

 

Don't you think so, reader, rather,

Saying lather, bather, father?

   Finally, which rhymes with enough,

   Though, through, bough, cough, hough, sough, tough??

 

Hiccough has the sound of sup...

My advice is: GIVE IT UP!

 

 

 

 

idiom

سردبير : مهسا پا كراه

گرداورنده  : مهسا پا كراه

 

 

 

Strike whil the iron is hot

درحالي كه اهن داغ است بچسبان(تا تنور داغ است نان را بچسبان )

The only answer to fool is silence

جواب ابلهان خاموشي است

To kill two birds with one stone

دوپرنده رابا يك تير كشتن(يك تيرو دو نشان)

Talk does not cook rice

حرف زدن برنج را نمي پزد (از حرف تا عمل يك فرسنگ فاصله است)

Horse for courses

اسبها براي مسير مناسب هستند (هركس را بهر كاري ساختند)

Out stay ones welcome

بيش از حد در خانه ميزبان ماندن (كنگر خوردن ولنگر انداخدتن)

April and May the keys of the year

ماه اوريل و مه كليدهاي سال هستند (سالي كه نكوست از بهارش پيداست)

To laugh some ones face

به صورت كسي خنديدن   (به ريش كسي خنديدن )

 نظر شما

 

 

 

                                                                                                             

 

                                                                                                                         

idiom

                                                                                                           

سردبير : مهسا پا كراه

 

گرداورنده : مهسا پا كراه         

 

 

I am not in the mood

 حال وحوصله ندارم                                       

 

You are being too kind

خجالتمان ميدهيد

 

Good for you

خوش به حالت

 

To have a nice _chat

گل گفتن و گل شنيدن

 

He is in the money

پول پارو مي كند

 

One could be taken up ones offer

تعارف امد نيامد دارد

 

More haste  less speed

با عجله كار پيش نمي رود

 

An old hand

كار كشته

 

Be out of some thing

تمام كردن & به پايان رساندن

 

About to

در شرف

دکتر علی شریعتی

 

 

 

جاي پاي رهروي پيداست
كيست اين گم كرده ره؟اين راه ناپيدا چه مي پويد؟
مگر او زين سفر،زين ره چه مي جويد؟
ازين صحرا مگر راهي به شهر آرزويي هست؟
به شهري كاندر آغوش سپيد مهر
به باران سحرگاهي خدايش دست و رو شسته است.
به شهري كز همان لحظه ي ازل
بر دامن مهتاب عشق آرام بغنوده است.
به شهري كش پليد افسانه ي گيتي
سر انگشت خيال از چهره ي زيبايش بزدوده است.
كجا اي ره نورد راه گم كرده؟
بيا برگرد!
به شهري بر كناره ي پاك هستي،
به شهري كش به باران سحرگاهي
خدايش دست و رو شسته است.
به شهري كش پليدي هاي انسان اين پليد افسانه ي هستي
در اين صحرا به جز مرگ و به جز حرمان
كسي را آشنايي نيست.
بيا برگرد آخر،اي غريب راه!
كز اين جا ره به جايي نيست.
نمي بيني كه آنجا
كنار تك درختي خشك
ز ره مانده غريبي ره نوردي بي نوا مرده است؟
و در چسمان پاكش،در نگاه گنگ و حيرانش،
هزاران غنچه ي اميد پژمرده است؟
نمي بيني كه از حسرت"كمند صيد بهراميش افكنده است"
و با دستي كه در دست اجل بوده است،
بر آن تك درخت خشك
حديث سر نوشت هر كه اين ره را رود،كنده است:
كه:"من پيمودم اين صحرا،نه بهرام است و نه گورش"
كجا اي ره نورد راه گم كرده؟
بيا برگرد!
در اين صحرا به جز مرگ و به جز حرمان،
كسي را آشنايي نيست.
ازين صحرا مگر راهي به شهر آرزويي هست؟
بيا برگرد آخر،اي غريب راه!
كز اين جا ره به جايي نيست

-۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰

خدایا : به من زیستنی عطا کن که در لحظه ی مرگ، بر بی ثمری لحظه ای که

 برای زیستن گذشته است، حسرت نخورم؛ و مردنی عطا کن که بر بیهودگیش، سوگوار نباشم .

بگذار تا من، خود، انتخاب کنم، اما آنچنان که تو دوست می داری.

خدایا: "چگونه زیستن" را تو به من بیاموز،

"چگونه مردن" را خود خواهم دانست.

خدایا: مرا از این فاجعه ی پلید "مصلحت پرستی" - که، چون همه کس گیر شده است، وقاحتش از یاد رفته و بیماری یی شده است که از فرط عمومیتش، هر که از آن سالم مانده باشد بیمار می نماید- مصون بدار تا: "به رعایت مصلحت، حقیقت را ذبح شرعی نکنم".

خدایا: مگذار که:

ایمانم به اسلام و عشقم به خاندان پیامبر، مرا با کسبه ی دین، با حمله ی تعصب و عمله ی ارتجاع همآواز کند.

که آزادی ام اسیر پسند عوام گردد.

که "دینم" در پس "وجهه ی دینی" ام، دفن شود.

که عوامزدگی، مرا مقلد تقلیدکنندگانم سازد.

که آنچه را "حق می دانم" ، به خاطر آنکه "بد می دانند" ، کتمان کنم

 

-----------------------------------------------------------------------------------------

 

دوست داشتن از عشق برتر است. عشق يك جوشش كور است و پيوندي از سر نابينايي

اما دوست داشتن پيوندي خودآگاه و از روي بصيرت روشن و زلال

عشق بيشتر از غريزه آب مي‌خورد و هر چه از غريزه سر زند بي ارزش است و دوست‌داشتن از روح طلوع مي‌كند و تا هر جا كه يك روح ارتفاع دارد. دوست داشتن نيز همگام با آن اوج مي‌گيرد عشق زيبايي‌هاي دلخواه را در معشوق مي آفريند و دوست داشتن زيبائيهاي دلخواه را در دوست مي بيند و مي يابد عشق يك فريب بزرگ و قوي است

دوست داشتن يك صداقت راستين و صميمي . بي‌انتها و مطلق

عشق در دريا غرق شدن است و دوست داشتن در دريا شنا كردن

عشق بينايي را مي‌گيرد و دوست داشتن مي‌دهد

عشق همواره با شك‌آلوده است و دوست داشتن سراپا يقين و شك ناپذير

عشق جنون است و جنون چيزي جز خرابي و پريشاني فهميدن و انديشيدن نيست. اما دوست داشتني در اوج معراجش از سر حد عقل فراتر مي رود و فهميدن و انديشيدن را نيز از زمين مي‌كند و با خود به قله سبز اشراق مي برد. عشق معشوق را مجهول و گمنام مي خواهد تا در انحصار او بماند, ‌زيرا عشق جلوه‌اي از خودخواهي و روح ناچرانه يا جانورانه‌ي آدمي است.

اما دوست داشتن دوست را محبوب و عزيز مي‌خواهد و مي‌خواهد كه همه‌ي آنچه را او از دوست در خود دارد داشته باشند كه دوست داشتن جلوه‌اي از روح خدايي و خطرات اهورائي آدمي است.

در عشق رقيب منفور است و در دوست داشتن است كه هوادارن كويش را چو جان خويشتن دارند.

عشق لذت جستن است و دوست داشتن پناه جستن

دوست داشتن از عشق برتر است و من هرگز , خود را تا سطح بلندترين قله‌ي عشقهاي بلند,‌پايين نخواهم آورد.

 

 

معرفی وبسایت

Sites

This site has many books in

different majors and especially in literature but, you need to download

 a software

in order to use it to view dowloaded books.

This is website address: 

http://www.asksam.com/ebooks

This is link to download viewer:

http://www.asksam.com/viewer

This site has some techniques

for learning english (I didn't see all parts of this site):

http://www.uefap.com

Some readings in three grades

http://www.ielts.studyau.com

Cambridge Dictionary of American English

For your cellphone

 توجه : این دیکشنری توسط جاوا نوشته شده

 است.

Password:www.kamyabonline.com

Link for download:

http://dl.kamyabonline.com/download/program/Cambridge%20Dictionary%20of%20American%20English%20v2.11.10.exe

English Advanced grammar English(The Book):

http://www.4shared.com/file/9956708/7f606527/English_Advanced_Grammer_Pratice.html?s=1

این هم لینک دانلود موسیقی تیتراژ پایانی

سریال مدار صفر درجه با صدای علیرضا

 قربانی هست . گرچه کمی بی ربطه ولی فکر می کنم

It's cool, I like it

.

 ترانه سرا : افشین یداللهی

 آهنگساز : فردین خلعتبری

 تنظیم کننده : فردین خلعتبری

 خواننده : علیرضا قربانی

http://3entre.com/component/option,com_remository/func,download/id,130/chk,3216567d261b18a37e8dba1c848b465e/no_html,1/fname,madar.wma/

وقتی گریبان عدم

با دست خلقت می درید

وقتی ابد چشم تو را

پیش از ازل می آفرید

وقتی زمین ناز تو را

در آسمانها می کشید

وقتی عطش طعم تو را

با اشکهایم می چشید

من عاشق چشمت شدم

نه عقل بود ونه دلی

چیزی نمی دانم از این

دیوانگی و عاقلی

یک آن شد این عاشق شدن

دنیا همان یک لحظه بود

آن دم که چشمانش مرا

از عمق چشمانم ربود

وقتی که من عاشق شدم

شیطان به نامم سجده کرد

آدم زمینی تر شد و

عالم به آدم سجده کرد

من بودم و چشمان تو

نه آتشی و نه گلی

چیزی نمی دانم از این

دیوانگی و عاقلی

patriot

سردبیر معرفی فیلم یزدان چوبساز

The Patriot (2000 film)

From Wikipedia, the free encyclopedia

Jump to: navigation, search

The Patriot
A promotional film poster for The Patriot.
Directed by	Roland Emmerich
Written by	Robert Rodat
Starring	Mel Gibson Heath Ledger Joely Richardson Jason Isaacs Tchéky Karyo Chris Cooper Tom Wilkinson
Music by	John Williams
Cinematography	Caleb Deschanel
Editing by	David Brenner
Distributed by	Columbia Pictures
Release date(s)	June 28, 2000
Running time	158 min .
Country	United States Germany^[1]
Language	English
Budget	$110,000,000 USD (estimated)

The Patriot is a 2000 film starring Mel Gibson and directed by Roland Emmerich. Produced by the Mutual Film Company and Centropolis Entertainment, it was written by Robert Rodat and distributed by Columbia Pictures. The film mainly takes place in South Carolina and depicts the fictional account of a war hero swept into the American Revolutionary War when his family is threatened.

Contents

[hide]

• 1 Plot summary
• 2 Controversy
• 3 Soundtrack
• 4 Trivia
• 5 References
• 6 Resources
• 7 External links

Plot summary

It is the late 18th century, in South Carolina. Benjamin Martin (Mel Gibson) is a veteran of the French and Indian War and a widower raising seven of his children on his farm. Gabriel, the eldest, played by Heath Ledger, is anxious to join the American forces fighting the British in the Revolutionary War, without his father's permission. Martin, who knows from first-hand experience the horrifying carnage that war presents, is anxious to discourage his son from participating.

Against his father's wishes, Gabriel does join up. He returns home after two years, stumbling wounded into the family home, carrying dispatches between commanders. That night, a skirmish between the British and the patriots wakes the Martins and they give care to the wounded of both sides the next morning. British soldiers approach the house, proceed to kill the Colonial wounded, burn down the house and take Gabriel into custody as a spy, intending to hang him. Martin's 15-year-old (and second) son Thomas (Gregory Smith) is killed trying to free Gabriel as he is taken prisoner, shot by the cold-hearted leader of the Green Dragoons, Col. William Tavington (Jason Isaacs) even though the boy poses no real threat. (The Dragoons are a small, elite force of British soldiers.)

An enraged Martin sets about to free his son Gabriel, with the help of his two younger sons Nathan and Samuel (played by Trevor Morgan and Bryan Chafin). The three of them slaughter, in brutal fashion, the British troops holding Gabriel. While their brother is freed, the boys are all horrified -- particularly Samuel -- at their first glimpse of their kindly father ripping men to shreds with his tomahawks. Gabriel re-joins the cause against his father's will again stating it is his duty as a soldier. Martin decides to join the fight later when he catches up with his son and they report together, leaving the rest of the children in the care of their aunt Charlotte (Joely Richardson), the sister of Martin's deceased wife.

Father and son come to the conclusion that the Colonials cannot hope to beat the British in set piece battles; the British are too numerous and well armed. Instead, they rally a militia, including French Officer Jean Villeneuve (Tchéky Karyo), from among the men of South Carolina and proceed to harry the British supply lines (including the capture of Lord Cornwallis' personal effects and prize hounds and the destruction of a supply ship in front of a ball at Middleton Place for the British officers). To combat the militia, Cornwallis authorizes Tavington to pursue more brutal tactics to draw Martin out. Tavington tracks Martin's family to their refuge with Charlotte and burns down her plantation. However, the family escapes, and are led to a safe haven by Gabriel and Martin. During this time, Gabriel then marries Anne Howard (Lisa Brenner), a wartime marriage during a furlough. Soon after the marriage, returning home, Anne and her family, along with all the townspeople, are burned alive whilst locked in the church. The orders for this horrific act came from Tavington.

After a furious Gabriel discovers what has happened, he and a small group of men ride to engage the Dragoons. During the fight, many men on both sides are killed, leaving Gabriel and the Reverend to face off against Tavington. A few others escape with major wounds. The Reverend is shot, but throws his loaded musket to Gabriel, who shoots Tavington, who promtply falls to the ground. However, as Gabriel approaches Tavington's body, he quickly turns around and stabs him with his sword. As Tavington escapes, Benjamin approaches the scene in time to find Gabriel dying on the ground.

In the final battle, Col. Harry Burwell (Chris Cooper) and Villeneuve help Benjamin defeat the British, by using the militia (who are held in low regard by the British officers) as a feint.

Soon Martin and Tavington are able to face off, one on one. As Tavington gains the upper hand in their vicious fight, and Benjamin is staring into the distance, Tavington mutters, "Kill me before the war is over, will you? It appears, you are not the better man." As he swings his sword ready to kill Benjamin, Martin stabs him with a bayonet-fitted musket, picks up a detached bayonet and replies, "You are right... my sons were better men." Martin impales Tavington in the throat, killing him.

Meanwhile, a disappointed General Cornwallis (Tom Wilkinson) sounds the retreat as the rebels celebrate. As Martin narrates, we are told that the British were defeated when the French finally arrived to block the British off. The final scene features Martin and his family arriving at a site where the foundations of homes lie. Occam tells Martin, "Gabriel said that if we won the war, we could build a whole new world. Just figured we'd get started right here, with your home." Benjamin smiles as he replies, "Sounds good", before shaking hands with Occam and walking into the forwards with his family towards their new, free future.

[edit] Controversy

The Patriot generated an unusual amount of public controversy, being widely attacked by critics, historians, and politicians for its brutal depiction of events in the Revolutionary War. Because of the level of violence in the film, including a much-discussed scene showing two children killing a soldier, in the U.S. the film was classified 'R' for strong war violence.^[2] Aversion to the violent content apparently contributed to its being beaten at the box office on its opening holiday weekend by The Perfect Storm.^[3]

Challenging the film's historicity, the Guardian condemned the main inspiration behind Mel Gibson's character, Francis Marion, as ‘a serial rapist who hunted Red Indians for fun’, and quoted historian Christopher Hibbert as saying: ‘The truth is that people like Marion committed atrocities as bad, if not worse, than those perpetrated by the British.’^[4]

Ben Fenton, commenting in the Telegraph on the sadistic character of Colonel William Tavington, purportedly based on Colonel Banastre Tarleton, wrote: ‘there is no evidence that Tarleton, called "Bloody Ban" or "The Butcher" in rebel pamphlets, ever broke the rules of war and certainly not that he ever shot a child in cold blood.’^[5] Liverpool City Council, led by Mayor Edwin Clein, called for a public apology for what they viewed as the film’s ‘character assassination’ of Tarleton, a former local MP.^[6]

Of greatest concern was the film’s anachronistic transposing of Waffen SS atrocities into the Revolutionary War, including the heavy emphasis on the killing of prisoners, wounded and children, culminating in a group of townsfolk being burnt alive in a church, in a scene that closely resembles the massacre of Oradour in German-occupied France in 1944.

In a review article in Salon.com, Jonathan Foreman, film critic for the New York Post, wrote: ‘The most disturbing thing about The Patriot is not just that German director Roland Emmerich (director of the jingoistic Independence Day) and his screenwriter Robert Rodat (who was criticized for excluding British and other Allied soldiers from his script for Saving Private Ryan) depict British troops as committing savage atrocities, but that those atrocities bear such a close resemblance to war crimes carried out by German troops - particularly the SS in World War II. It's hard not to wonder if the filmmakers have some kind of subconscious agenda ... They have made a film that will have the effect of inoculating audiences against the unique historical horror of Oradour - and implicitly rehabilitating the Nazis while making the British seem as evil as history's worst monsters ... So it's no wonder that the British press sees this film as a kind of blood libel against the British people.’^[7]

In a letter to the editor of the Hollywood Reporter the prominent U.S. director Spike Lee also accused the film’s portrayal of slavery as being ‘a complete whitewashing of history.’^[8] Further Inaccuracies include the depiction of the battle of Guildford Courthouse, implying this action was a victory for the Americans the film ignores historical truth. The British actually won at Guildford courthouse showing outstanding resolve in defeating an enemy in a strong defesive position who outnumbered them more than 2-1.

Gibson responded to the charges of historical inaccuracy by saying The Patriot was 'a film with a bias - told from a point of view'.^[9]

[edit] Soundtrack

• See: The Patriot (soundtrack).

[edit] Trivia

Trivia sections are discouraged under Wikipedia guidelines. The article could be improved by integrating relevant items and removing inappropriate ones.

• When originally written, Benjamin Martin had 6 children, but in the movie Martin has 7 children. This was changed based on the number of children Mel Gibson has.
• The producers and director chose Heath Ledger to play the role of Gabriel Martin because, in their opinion, Ledger was a man who possessed "exuberant youth."
• When teaching Mel Gibson and Heath Ledger how to shoot a muzzle-loading rifle, technical advisor Mark Baker gave them the advice to "aim small, miss small", meaning that if you aim at a man and miss, you miss the man, while if you aim at a button (for instance) and miss, you still hit the man. Gibson liked this bit of advice so much he incorporated it into the movie, just prior to the ambush scene.
• One of the "redcoats" that is floating face down in the river after the trap is a dummy of John Travolta.
• Harrison Ford declined the lead role, feeling the script had boiled the Revolutionary War down to a "one-man's-revenge" melodrama.
• Heath Ledger performed his own stunts.
• Screenwriter Robert Rodat wrote 17 drafts of the script before there was an acceptable one.
• In an earlier version of the script, Anne is pregnant with Gabriel's child when she dies in the burning church.
• Benjamin Martin is loosely based on Francis Marion, who was known as the "Swamp Fox." He lead a militia of seventy men and harassed the British trade routes in South Carolina.
• Laurence Olivier Theatre Award winning British actor Ben Daniels received a role alongside Mel Gibson in this film, but refused the offer, citing that the "money was good, but it wasn’t for me."^[10]Bold text*Col. William Tavington was based on Col. Banastre Tarleton, who was a cavalry commander under general Cornwallis. Unlike Tavington, he survived the war.

[edit] References

1. ^ The Patriot (2000), Internet Movie Database. Retrieved 31 October 2007.
2. ^ ‘Gibson blockbuster baits the censors’, Guardian Unlimited, 13 April 2000. Retrieved 31 October 2007.
3. ^ Rick Lyman, "'Storm' Outflanks 'Patriot' At Box Office", New York Times, 3 July 2000. Retrieved 31 October 2007.
4. ^ ‘Mel Gibson's latest hero: a rapist who hunted Indians for fun’, Guardian Unlimited, 15 June 2000. Retrieved 31 October 2007.
5. ^ Ben Fenton, ‘Truth is first casualty in Hollywood's war’, The Telegraph, 19 June 2000. Retrieved, 31 October 2007.
6. ^ ‘Patriotic Liverpool up in arms over Gibson's blockbuster’, Guardian Unlimited, 30 June 2000. Retrieved 31 October 2007.
7. ^ Jonathan Foreman, ‘The Nazis, er, the Redcoats are coming!’, Salon.com, 3 July 2000. Retrieved 31 October 2007.
8. ^ ‘Spike Lee slams Patriot’, Guardian Unlimited, 6 July 2000. Retrieved 31 October 2007.
9. ^ ‘Spike Lee slams Patriot’, Guardian Unlimited, 6 July 2000. Retrieved 31 October 2007.
10. ^ Ben Daniels. RainbowNetwork.com

Ocean's Eleven

معرفی فیلم:یزدان چوبساز

Ocean's Eleven (2001 film)

Ocean's Eleven
Directed by	Steven Soderbergh
Produced by	Jerry Weintraub
Written by	George C. Johnson Jack G. Russell Harry Brown Charles Lederer Scott Corwon Ted Griffin
Starring	George Clooney Brad Pitt Matt Damon Andy Garcia Julia Roberts Bernie Mac Elliot Gould Carl Reiner Topher Grace
Music by	David Holmes
Cinematography	Steven Soderbergh
Editing by	Stephen Mirrione
Distributed by	Warner Bros.
Release date(s)	December 7, 2001
Running time	116 min.
Country	USA
Language	English
Budget	$85,000,000
Followed by	Ocean's Twelve, Ocean's Thirteen
Official website
All Movie Guide profile
IMDb profile

Plot

Hours after being paroled from prison, Danny Ocean (Clooney) begins choosing members for a specialized team of heist men to rob the central, underground, high-tech vault shared by three Las Vegas casinos: the Bellagio, The Mirage and the MGM Grand. The crew is composed of underworld professionals (two with recent prison records) who each have a specialty that helps them foil the elaborate security mechanisms to get to the vault. They plan to commit the robbery during the much anticipated Lennox Lewis versus Wladimir Klitschko boxing match. As the Nevada Gaming Commission (NGC) requires that casinos have money on hand for every chip being played, they estimate that during such a high-profile match, the vault should contain in excess of $150 million. The owner of the three casinos, Terry Benedict (Garcia), is the lover of Ocean's ex-wife, Tess Ocean (Roberts). As the plot unfolds, it becomes apparent that one purpose of the heist is for Ocean to win Tess back. The plan is financed by a wealthy former casino owner, Reuben Tishkoff (Gould), who is bitter about having been bought out by Benedict.

The elaborate heist involves a number of interlocked distractions that had to be coordinated precisely. The Malloy twins, posing as hotel personnel, approach the security area to deposit a money cart in the main vault, claiming that it's Benedict's money. One of the twins pretends to have forgotten his swipe card. The two begin to argue loudly and, to silence them, another security guard offers to take the cart in for them. The cart actually contains the "Amazing Yen," a Chinese acrobat and contortionist, who will infiltrate the vault room.

The team needs certain access codes to get inside the "cages" that are the heart of the casino security. The codes are updated twice a day and are carried on Benedict's person. Linus, a skilled pickpocket, presents himself to Benedict as a member of the NGC tracking down a blackjack dealer who is a felon, enabling Linus to get inside security, escorted there by Benedict. However, the dealer is in fact a plant named Frank Catton (Bernie Mac), a member of the crew. A staged scuffle between Frank and Linus occurs, during which Linus picks Benedict's pocket and lift the codes. Frank is immediately fired, thus avoiding any future suspicion about his failure to appear at work after the robbery. Linus turns back, saying he forgot his pager, as Benedict hurries on to a boxing match where Tess waits for him.

Basher Tarr (Cheadle), a master of explosives, is tasked with shutting off the power to the city to allow two of the crew to rappel down an elevator shaft. This is accomplished by an electromagnetic pulse generated by Basher's "pinch," an elaborate fictional device with illuminated coils, which they steal at night from the fictitious California Institute of Advanced Science (apparently based at UC Irvine), with CIAS security guards just missing apprehending Linus.

Saul Bloom (Reiner) poses as a shady Eastern European "businessman" who convinces Benedict to store some jewels in the bank vault for him. While overseeing the transfer, Saul stages a heart attack to distract the local guards. Rusty and the Malloy twins, posing as medical personnel, pretend to attempt to revive him. While security is preoccupied with a "dying" Saul, Livingston overrides the security cameras with pre-recorded footage of empty hallways and elevators, masking Linus's entry into the elevator shaft. Rusty declares Saul dead and has the two fake EMTs transport Saul's body out of the security room.

Danny unexpectedly joins Linus in the elevator shaft and the two change into their rappelling gear. They get in contact with Rusty, now on his way out of the casino, and signal Basher to detonate the EMP, throwing Las Vegas into a blackout and disabling the laser sensors in the elevator shaft. Las Vegas is thrown into chaos, Danny and Linus descend the elevator shaft and reach the bottom moments before the backup generators reactivate the laser sensors.

Yen, the acrobat, emerges from the tight confines of his money cart and flips over the roving sensors of the vault room, positioning himself near the vault door. Danny and Linus, outside the vault, disable the two guards with a gas grenade. Inside, Yen plants Bloom's fake jewels, which are actually explosive charges, against the hinges of the vault door. Ocean plants detonators on the corresponding locations outside the vault and detonates them. The door is blown off its hinges and Ocean now has access to the money in the vault. Meanwhile, Livingston's stock video footage continues to distract the security room.

When ready, Rusty calls Benedict directly on a cellphone, which Danny secretly dropped into Tess's pocket. Rusty says Benedict is being robbed and that the vault contains $163,156,759.00 (which Benedict confirms). The video feed suddenly changes to that of an armed robbery taking place. Benedict calls for a SWAT team, which arrives promptly and storms the vault. However, the supposed SWAT team is actually composed of the team members in disguise, who carry the money out of the vault. Benedict understands, too late, that the video of the robbery taking place was staged, because he notices the lack of the Bellagio insignia on the floor that had been installed recently.

After the robbery, the group arranges for Tess to see a surveillance video in which Benedict agrees to trade her for the chance to get his money back. Tess leaves Benedict.

After the robbery, Danny is arrested for a parole violation and sent to prison for three to six months. On his release he is met outside of the prison by Rusty, who has brought Tess in his car. They drive off, aware that Benedict's guards are following them.

Whether they get away from Benedict in the months and years afterward is the subject of the sequel, Ocean's Twelve. While the third movie in the series, Ocean's Thirteen, gets Benedict involved in helping the gang to get even/con a mutual rival, Willy Bank.

[edit] Cast

[edit] Ocean and the Eleven

• George Clooney as Daniel "Danny" Ocean-"The Idea Man"
• Brad Pitt as Robert "Rusty" Ryan - "The Pro"
• Matt Damon as Linus Caldwell - "The Rookie"
• Casey Affleck as Virgil Malloy - "The Getaway"
• Scott Caan as Turk Malloy - "The Getaway"
• Shaobo Qin as Yen - "The Grease Man"
• Bernie Mac as Frank Catton - "The Inside Man"
• Don Cheadle as Basher Tarr - "The Basher"
• Carl Reiner as Saul Bloom - "The High Roller"
• Eddie Jemison as Livingston Dell - "The Eye in the Sky"
• Elliott Gould as Reuben Tishkoff - "The Bankroll"

departed

سردبیر معرفی فیلم یزدان چوبساز

The Departed

From Wikipedia, the free encyclopedia

The Departed is a 2006 crime film directed by Martin Scorsese and starring Leonardo DiCaprio (in his third movie with Scorsese), Matt Damon, Jack Nicholson and Mark Wahlberg. It is an adaptation of the 2002 Hong Kong crime thriller Infernal Affairs. It won the Academy Award for Best Picture in 2007.

This film takes place in Boston, Massachusetts, where notorious Irish Mob boss Francis "Frank" Costello (Nicholson) plants his protégé, career criminal Colin Sullivan (Damon) as an informant within the Massachusetts State Police. Simultaneously, the police assign undercover cop Billy Costigan (DiCaprio) to infiltrate Costello's crew. When both sides of the law realize the situation, each man is ordered to discover the identity of the other informant before he is found out.

Contents

[hide]

• 1 Plot
• 2 Cast
• 3 Themes
• 4 Soundtrack music
  • 4.1 Music from the Motion Picture album
  • 4.2 Original Score album
• 5 Boston setting
• 6 Reception
• 7 Awards and nominations
• 8 DVD and HD release
• 9 Sequel
• 10 See also
• 11 Notes
• 12 Further reading
• 13 External links

The film begins in South Boston and Charlestown during the Boston riots featuring a montage of documentary footage with voice-over narration by Irish mob boss Francis "Frank" Costello (Jack Nicholson). In the 1980s, Costello is in a local store to collect his pay-off money from the owner. A young boy is there, Colin Sullivan, who Frank takes a liking to. Using his influence, he has the owner give Colin two bags of groceries and tells him to come look for him, if he ever wants to "earn" some extra money.

Many years later, an older Sullivan, now in his mid twenties, (Matt Damon) is finishing his training for the Massachusetts State Police with classmates, including fellow cadet Barrigan (James Badge Dale). In another class are cadet Brown (Anthony Anderson) and Billy Costigan (Leonardo DiCaprio). All four men graduate to become state troopers. Sullivan is a sergeant, and has just passed the state trooper detective test. He goes in to meet with the calm and collected Captain Queenan (Martin Sheen), and the aggressive and cynical Staff Sergeant Dignam (Mark Wahlberg) of the Special Investigations Unit. When Sullivan exits, Costigan goes in. The undercover division of the Special Investigations Unit wants to assign Costigan, whose family has long had ties with the Boston underworld, to infiltrate Costello's crew. For his service, he gets a "bonus", tax-free payment upon completion of his assignment. To make his assignment believable to everyone, especially Costello, they create a false conviction on Costigan for assault. He will get a four month jail sentence and afterwards probation with mandatory sessions with a psychiatrist. His police academy record and file are concealed from the public, and even the department itself, and the only ones who can access Costigan's file are Queenan and Dignam.

Sullivan, along with Barrigan and Brown, is now in an elite task force of the Special Investigations Unit (SIU) headed by the sardonically humorous Captain Ellerby (Alec Baldwin). They are after Costello and are coordinating with the FBI. Staff Sergeant Dignam introduces himself to the group but does not reveal whether or not they have a mole in Costello's gang. They briefly go over what it is that the department is targeting: Francis Costello and micro-chips that are presumably used in military equipment. The authorities expect that Costello intends to sell the chips to China. A freelance thief had stolen the twenty micro-processors, but he was found dead in a dumpster.

Costigan is out of jail and uses his drug-dealing cousin as a back-handed way of attracting Costello's attention and fights a man in a bar. He then becomes a member of his crew, pairing up with his right-hand man Mr. French (Ray Winstone). Costello tells Costigan that he knew, and respected his father and Uncle Jackie, the latter of whom was a bookie and associate of Costello, the former of which worked at the airport and didn't want to be involved in the underworld. It is therefore these two family connections which really motivate Costello more than anything else to try to assist Costigan in his own questionable way.

Meanwhile, Sullivan begins a romantic relationship with criminal psychiatrist Madolyn (Vera Farmiga), who also happens to be the assigned psychotherapist for Costigan as a part of his probation for the fabricated assault conviction. Although she wants to keep their relationship professional, a romance develops, but Costigan and Sullivan remain oblivious to each other's identity.

During one of his heists Costello, through Sullivan's information, discovers that there is a police informer in his organization. To catch the insider, he requires each member to fill in his particulars in a form, including social security numbers. Costigan knows that this envelope will end up in the hands of Costello's man at the police. He follows Costello (who has the envelope) into a pornography theater, where he witnesses Costello handing over the envelope to Sullivan, whose face is hidden in the darkened auditorium. Attempting to disclose the mole's identity, Costigan shadows Sullivan into the streets, only to eventually lose him in Boston's Chinatown neighborhood.

Meanwhile, Sullivan is assigned to uncover the mole in SIU (himself). This makes for some tension between Sullivan and Dignam, whose suspicion of Sullivan rises. Above suspicion, Sullivan focuses instead on finding the police snitch in Costello's crew. Sullivan orders the SIU to trail Queenan and eventually follows him to a meeting with Costigan on the rooftop of a run-down building on the harbor. Having become insomniac, dependent on Valium and suffering from panic attacks, Costigan explains he wants out, to which Queenan assures him that while it cannot be done overnight, he will get him out of it. Sullivan tells Costello's men that the snitch is most likely at the building. As the men approach, Costigan flees, but Queenan stays behind, is confronted by them and defenestrated. In the ensuing gunfire, between Costello's men and the police, the officer who tailed Queenan is wounded and Delahunt, one of Costello's men is critically wounded. Later on, when the men return to their hideout, Timothy Delahunt (reported later by the local media to be yet another undercover officer, possibly made up by the state police to throw suspicion off of Costigan) reveals to Costigan - just before he succumbs to his wounds - that he knows he's the mole.

Sullivan orders Dignam to hand over the information regarding his undercover, which Dignam refuses. Ellerby, who has taken over the department for Queenan, orders Dignam off duty with pay for two weeks. Guilt-ridden over having indirectly caused his senior officer's death, Sullivan finds Queenan's cell phone in his homicide file and calls Costigan, pretending to be the new agent assigned to replace Queenan. After Costigan hangs up, Sullivan finds information in Queenan's file indicating that Costello is an informant for the Federal Bureau of Investigation and immediately begins to fear betrayal.

Costello and his crew are being tailed to an old warehouse where they are to pick up a shipment of cocaine. Sullivan disengages the tail at Costello's demand and sets up a police ambush at the scene instead. Costigan, wary that the police potentially know of the situation, manages to slip away unnoticed. Costello's entire crew is killed in the ensuing shoot-out, and a wounded Costello abandons the car which Mr. French was driving. Shortly after leaving the car, French is shot, and crashed. He than shoots himself when the sedan lit on fire. Meanwhile, Costello escapes to another part of the warehouse and ends up in a tense confrontation with Sullivan. Costello admits to his informant status and denies telling anybody about Sullivan's connection to him as he feels Sullivan is like a son to him but Sullivan doesn't believe Costello and insults him before Costello attempts to shoot him. After an exchange of gunshots Costello is killed by Sullivan.

Later at the station Sullivan arrives to praise from his co-workers and meets Costigan, who asks to simply receive his payment and be allowed to leave. While Sullivan retrieves Costigan's information in another office, Costigan notices Costello's envelope on Sullivan's desk and quickly flees. Sullivan realizes that Costigan has discovered his true identity and erases Costigan's police file. Following his flight from the station, Costigan appears outside of Madolyn's office. He gives her an envelope, telling her to open it if anything should happen to him, or if he calls and tells her to open it. On a subsequent morning, Madolyn is at the apartment she shares with Sullivan, and finds an envelope from Costigan in his mail. It contains recordings of Sullivan and Costello's conversations, along with a phone number. Madolyn reveals the recordings to Sullivan and immediately ends her relationship with him. Sullivan calls the phone number and speaks to Costigan, who reveals to Sullivan that Costello kept the recordings as insurance to use as a possible legal immunity if he was arrested. He also reports to Sullivan that Costello's lawyer came to Bill with the recordings, meaning that Costello trusted Costigan the most of all of his men. They arrange to meet where Queenan died.

Trooper Brown (Anderson) confronts Costigan as he attempts to arrest Sullivan

On the rooftop where Queenan was killed, Costigan confronts and handcuffs Sullivan, intending to arrest him regardless if the charges don't stick. Trooper Brown appears and tries to talk down Costigan, who, claiming that he has substantial proof that Sullivan is the rat, quickly flees into an elevator, holding his gun to Sullivan's head. The elevator reaches the bottom floor, and just as Costigan begins to exit, he is shot in the head by Barrigan. Barrigan starts to uncuff Sullivan but then Trooper Brown arrives and sees Costigan's body and is caught off guard, allowing Barrigan to shoot him in the head and remove the only witness to Sullivan's guilt. Barrigan reveals to Sullivan that he is also a mole in the police force and aware of Costello's informant status. Being that they are the only ones remaining, Barrigan says they need to look out for one another. As the two begin to manipulate the crime scene, Sullivan asks for the gun to clean the fingerprints, and as Barrigan looks away, Sullivan shoots him in the head. To save himself, he blames everything on Barrigan and recommends Costigan for a posthumous Medal of Merit in a later testimony. At Costigan's funeral, Madolyn, now pregnant, walks away from Sullivan in silence. Following the funeral, Sullivan returns home to find Dignam waiting there. Dignam shoots him in the head and quickly leaves. As Sullivan's corpse lies in the apartment doorway, the camera pans out and a lone rat crawls conspicuously across the balcony railing, silhouetted against the gold dome of the Massachusetts State House.

The Departed
Directed by	Martin Scorsese
Produced by	Brad Grey Graham King Roy Lee Brad Pitt
Written by	Screenplay (Infernal Affairs): Felix Chong Alan Mak Screenplay: William Monahan
Starring	Leonardo DiCaprio Matt Damon Jack Nicholson Mark Wahlberg Martin Sheen Ray Winstone Vera Farmiga Anthony Anderson and Alec Baldwin
Music by	Howard Shore
Cinematography	Michael Ballhaus
Editing by	Thelma Schoonmaker
Distributed by	Warner Bros. (and worldwide with exceptions) Entertainment Film Distributors TFM Distribution Long Shong Entertainment Multimedia Company Medusa Distribuzione
Release date(s)	October 6, 2006
Running time	151 min.
Country	United States
Language	English
Budget	$90 million
Official website
All Movie Guide profile
IMDb profile

the majestic

THE MAJESTIC

Running time: 152 mins
Starring: Jim Carrey, Martin Landau, Laurie Holden, Allen Garfield, David Ogden Stiers, James Whitmore

Everyone likes to feel good. But no one likes to be manipulated. In The Majestic's unabashed endeavour to invoke the former, it only succeeds in achieving the latter. So thickly is the treacle spread that all involved struggle to wade through it, reducing proceedings to a glacial pace and upsetting one's stomach in the process. In an age when cynicism rules and sentiment is scorned, it's brave to attempt to turn the clock back, but when comparing The Majestic to those films from a simpler era which it has so blatantly tried to emulate, you realise that what's timeless is the quality not the period.

Director Frank Darabont has shown with his previous films The Shawshank Redemption and The Green Mile that he has both patience and a warm heart when it comes to telling a story. But while those films were based on the assured narrative of Stephen King, The Majestic is written by Darabont's close friend Michael Sloane, leading to the inevitable speculation that perhaps he allowed that fuzzy heart to cloud his reasoning when he agreed to direct such vacuous piffle. It might be the explanation, but it's not an excuse and certainly doesn't explain how Carrey and the others got involved.

Set in 1951, Carrey plays Pete Appleton, a Hollywood screenwriter who's enjoying an early flush of success with the release of his first film, the B-movie, 'Sand Pirates Of The Sahara', when he discovers his name has been blacklisted and he has become the target of the House on Un-American Activities Committee. His defence that he unknowingly joined the communist affiliated Bread Instead of Bullets Club for the sole purpose of impressing a girl holds little sway and so, having perched on the edge of triumph, he is thrust into the pit of despair. He seeks solace in a glass before driving home. He never makes it, crashing into a river before washing up on the beach of the small town of Lawson suffering from amnesia.

Bearing an uncanny resemblance to one of the town's heroic sons, Luke Trimble, who'd gone missing in action nine years earlier, Appleton finds himself the centre of attention in Lawson and mistaken for the long lost son of Harry Trimble (Martin Landau) who owns a run down cinema, The Majestic. For Carrey, who is still struggling to be taken seriously, this performance will do little to serve his cause as he wanders around with a glazed expression in his quest to find his true character. During Appleton's time in the sleepy idyll of Lawson, he rediscovers all the wholesome values that his Hollywood life had eroded as well as love in the form of Luke's one time fiancée Adele (the film's best performance by Laurie Holden).

To bookend the film's technicolour rendering of fantasy life in Lawson with one of the darkest episodes in Hollywood's history makes for an awkward contrast. Presumably done in order to imbue The Majestic with some substance, its impact is lost as the heavy handed approach adopted throughout only mocks events and highlights the film's utter detachment from reality.

road to perdition

سردبیر معرفی فیلم:یزدان چوبساز

 

This article is about the film. For the graphic novel on which the film is based, see Road to Perdition (comics).

Road to Perdition
Theatrical poster
Directed by	Sam Mendes
Produced by	Sam Mendes Dean Zanuck Richard D. Zanuck
Written by	David Self
Starring	Tom Hanks Paul Newman Jude Law Tyler Hoechlin
Music by	Thomas Newman
Cinematography	Conrad L. Hall
Distributed by	USA: DreamWorks non-USA: 20th Century Fox
Release date(s)	July 12, 2002 September 27, 2002
Running time	117 min.
Country	United States
Language	English
Budget	US$80,000,000
IMDb profile

Road to Perdition is a 2002 period drama directed by Sam Mendes. The screenplay was written by David Self, adapting the graphic novel of the same name by Max Allan Collins. The film stars Tom Hanks, Paul Newman, Jude Law, and Tyler Hoechlin. Hanks stars as Michael Sullivan, an enforcer who is forced to flee with his son from the crime syndicate for whom he had worked.

Filming took place in Chicago, in the Pullman neighborhood. Director Sam Mendes, having recently finished 1999's acclaimed American Beauty, pursued a film that had minimal dialogue and conveyed emotion in the imagery. A "cold look" was created for the locations in Road to Perdition to emphasize the characters' emotional states. Cinematographer Conrad L. Hall took advantage of the lighting and the environment to create symbolism for the film, for which he won several awards. Road to Perdition explored the themes of violence's consequences and the relationship between father and son.

Road to Perdition was released on July 12, 2002, and received mostly positive reviews. Road to Perdition's cinematography, setting, and the performances of Paul Newman and Tom Hanks were well-received, though the film was criticized for not creating a strong emotional attachment to its audience.

Contents

[hide]

• 1 Plot
• 2 Cast and characters
• 3 Production
  • 3.1 Writing
  • 3.2 Filming
  • 3.3 Cinematography
• 4 Themes
  • 4.1 Consequence of violence
  • 4.2 Fathers and sons
  • 4.3 Water
• 5 Reception
• 6 Other media
• 7 References
• 8 Further reading
• 9 External links

Michael Sullivan, Sr. is an enforcer to John Rooney, an Irish Mafia chieftain in Illinois during the Great Depression. Sullivan, who was orphaned as a child and subsequently raised by Rooney, has worked for the crime boss most of his life. Sullivan and Rooney's son, Connor, are sent by Rooney to talk to Finn McGovern, an employee, shortly after the death of Finn's brother. Sullivan's older son, twelve-year-old Michael Jr., follows the enforcers and watches them kill McGovern after a heated exchange of words. The boy is caught by the enforcers, and the father swears his son to secrecy. In an attempt to ensure Michael's silence, Connor tries to have Sullivan assassinated and personally murders Sullivan's wife Annie and younger son Peter. Sullivan and Michael escape the attempt on their lives and flee to Chicago.

Sullivan requests assistance from Al Capone's crime syndicate to seek revenge, but when he is rejected, Sullivan and his son plan a string of robberies to steal the syndicate's laundered money. Sullivan hopes to coerce Capone into giving up Connor for the money, but Capone instead dispatches assassin Harlen Maguire to kill Sullivan and his son. Maguire finds Sullivan seeking assistance from Rooney's accountant, Alexander Rance, at a hotel, and inadvertently kills the accountant. Maguire is injured in the confrontation, but he manages to wound Sullivan with a gunshot. Sullivan's son takes his father to a farm where a childless and elderly couple helps the former enforcer recover. During his recuperation, Sullivan finds in ledgers taken from Rance that Connor had embezzled money from his father under the names of gang members that he had murdered.

When Sullivan recovers, he secretly meets with John Rooney during Mass and shares his discovery about Connor. Rooney refuses to let his son be harmed. Sullivan is forced to hunt down and kill members of Rooney's gang, including John Rooney himself. With the crime boss dead, Capone finds no reason to protect Connor anymore, and Capone's lieutenant Frank Nitti gives Sullivan a tip to track Connor down and kill him. Apparently free from pursuit, Sullivan and his son make their way to the town of Perdition, Michigan. A disfigured Maguire tracks the Sullivans down to the summer house of Annie Sullivan's sister. Maguire shoots Sullivan from behind, and the assassin finds himself held at gunpoint by Sullivan's son. Maguire approaches the son as Sullivan discourages his son from firing to have blood on his hands. Sullivan is able to shoot Maguire from behind instead, and Sullivan dies in his son's arms. The son mourns his father's death and finds his way to the elderly couple that had helped him and his father, growing up with them.

[edit] Cast and characters

Rooney (Paul Newman) and Sullivan (Tom Hanks) have a surrogate father-son relationship as part of the film's father-son theme^[1]

• Tom Hanks as Michael Sullivan, Sr.: A hitman who works for John Rooney. Hanks was sent a copy of the graphic novel Road to Perdition by Spielberg while he was filming Cast Away (2000). Initially too busy to make sense of the story, he later received the David Self's adapted screenplay, to which he became attached. Hanks, a father to four children, described Michael Sullivan's role, "I just got this guy. If you're a man, and you've got offspring--emotionally, it's devastating." Hanks portrayed Michael Sullivan in the film as a man who spoke little dialogue, particularly to avoid breaking the sense of self-awareness.^[2]
• Tyler Hoechlin as Michael Sullivan, Jr.: The oldest son of Michael Sullivan, Sr. Hoechlin was chosen from over 2,000 candidates to portray Michael Sullivan's son.^[2] The actor was 13 years old at the time of filming. For scenes in which Hoechlin's character assisted his father as a getaway driver, Hoechlin was trained to drive for several scenes by a driving instructor.^[3]
• Paul Newman as John Rooney: A crime boss who treats Sullivan as a surrogate son. Newman was unanimously the first choice for the role.^[4] The actor prepared for his role by requesting Frank McCourt, the Irish-American author of Angela's Ashes, to record a tape of himself speaking.^[2]
• Jude Law as Harlen Maguire: A crime scene photographer who moonlights as an assassin. Screenwriter David Self, who created the character of Harlen Maguire that did not exist in the graphic novel, explained, "He gets so jaded from exposure to this world, he steps over the line from being the storyteller to being the story maker."^[5] To capture the "seedy countenance" of the character, Law was given a sallow skin tone and beat-up hands that reflected the wear from working in a darkroom. Law's teeth also received a lower gumline and had the look of rotten teeth to mimic the ferret-like character.^[3] Law's character carried a camera that served as dual symbolism to his acts of murder. The character's apartment also displayed a collection of favorite photographs, some of which were actual police stills from the 1930s to illustrate the historic and authentic nature of crime in the decade.^[1]
• Daniel Craig as Connor Rooney: The son of John Rooney. He is jealous of the surrogate relationship between his father and Michael Sullivan, Sr.
• Stanley Tucci as Frank Nitti: A lieutenant under Al Capone. Tucci had previously avoided roles in gangster films, believing that Hollywood stereotyped all Italian-Americans as gangsters. The actor, attracted to the prospect of working with Mendes and his crew, changed his mind and accepted the role of Nitti.^[6]
• Jennifer Jason Leigh as Annie Sullivan: The wife of Michael Sullivan, Sr. Leigh was a friend of Sam Mendes and portrayed the role as a favor to the director. Leigh had more scenes as Annie Sullivan than the film showed, but due to time constraints, the scenes were cut. Scenes with her were subsequently placed on the film's DVD.^[7]
• Liam Aiken as Peter Sullivan: The youngest son of Michael Sullivan, Sr.
• Dylan Baker as Alexander Rance: An accountant who holds the ledgers for the Rooney crime syndicate.
• Ciarán Hinds as Finn McGovern: The mark assigned by Sullivan and Connor Rooney, whose death is witnessed by Sullivan's son.
• Anthony LaPaglia as Al Capone: The notorious crime boss. The character was filmed in a scene, but the scene was omitted from the final cut,^[8] and can be found in the DVD's deleted scenes.^[9] Actor Alfred Molina was approached to portray Capone, but Molina was forced to turn the role down due to scheduling conflicts with Frida (2002). Instead, LaPaglia was cast as Capone.^[10]

[edit] Production

When the graphic novel Road to Perdition was written by Max Allan Collins, his agent saw potential in the story as a film adaptation and showed it to a film agent.^[11] By 1999, the novel reached Dean Zanuck, who was the vice president of development at the company of his father, producer Richard D. Zanuck. The novel was sent to the elder Zanuck in Morocco, who was there producing Rules of Engagement (2000). The Zanucks agreed on the story's prospect and sent it to director-producer Steven Spielberg. Shortly afterward, Spielberg set up the project at his studio DreamWorks, though he did not pursue direction of the film due to his full slate.^[2]

Director Sam Mendes sought a new project after completing American Beauty (1999) and explored prospects including A Beautiful Mind, K-PAX, The Shipping News,^[4] and The Lookout. DreamWorks sent Mendes Road to Perdition as a prospect. Mendes was attracted to the story, considering it "narratively very simple, but thematically very complex".^[2] One theme that he saw in the story was of the parents' world that is inaccessible to their children. Mendes considered the story's theme to be about how children deal with violence, and whether exposure to violence would render children violent themselves. Mendes described the script to have "no moral absolutes", a factor that appealed to the director.^[12]

[edit] Writing

When Spielberg set up Road to Perdition at DreamWorks, he contacted screenwriter David Self to adapt the graphic novel Road to Perdition by Max Allan Collins into a feature film.^[2] Self wrote an initial draft that remained close to the source material and retained most of its dialogue. The screenplay was rewritten by uncredited writers, distancing the script from the graphic novel and leaving the core elements of the story.^[11] Director Sam Mendes, who described the graphic novel as "much more pulpy", sought to reduce the graphic novel's background to its essence, seeking the "nonverbal simplicity" of films like Once Upon a Time in America (1984), Pat Garrett and Billy the Kid (1973),^[2] and films by Akira Kurosawa that lacked dialogue.^[7] Duplicate language in characters' confrontations in Road to Perdition was trimmed to the absolute minimum.^[13] Mendes described Road to Perdition as a "poetic, elegiac story, in which the pictures tell the story".^[4] An unspoken scene in the film was the piano duet with Hanks and Newman's characters, intended to convey their relationship without words.^[13] In the final 20 minutes of Road to Perdition, the script was written to have only six lines of dialogue.^[4]

Hanks and cinematographer Conrad Hall, who abhorred violence, requested to Mendes that violence in the film would be meaningful and not gratuitous. The violence of early drafts was minimized as the script became more streamlined.^[2] Hanks's character, Michael Sullivan, was known as "The Angel" in the graphic novel and invoked fear in those around him, but his infamy is downplayed in the film.^[12] In the novel, he was also an alcoholic, an element which was removed in the adaptation.^[2] An addition made to the script was one of the film's antagonists, portrayed by Jude Law, to provide a chase element to the Sullivans' departure from the old world.^[11]

The author of Perdition graphic novel, Max Allan Collins, originally desired to write the adapted screenplay for the feature film, but was not given the opportunity.^[11] He chose to stay out of the scripting process in respect to the different style of writing for a different medium, though he served a consultant in the process. Collins praised the addition of Jude Law's character and considered the minimalist use of dialogue to be appropriate.^[14] The author also applauded the film's version of Mr. Rooney as "more overtly a father figure" to Sullivan.^[11] The author opposed the reduction of profanity in the script, believing that the vulgar language was appropriate for the era.^[14] He also contested the path of Sullivan's son in the film. In the graphic novel, the son kills once, and in the film, he does not kill anyone. Collins also disagreed with the narration technique of the film. In the novel, the son narrates the story as an adult, becoming a priest, while in the film, he narrates while still a young boy.^[15]

[edit] Filming

Prior to filming, director Sam Mendes sought to produce a period film that would avoid clichés in the gangster genre. Mendes chose to film Road to Perdition on location in Chicago and the nearby town of Pullman. The Armory, the state's largest location mainstay which houses the Illinois State National Guard, was provided to the studio by the Illinois State Film Commission. Sets were built inside the Armory, including interiors of the Sullivan family's home and the Rooney mansion. The availability of an inside location provided the crew complete control over the lighting environment, which was established with the rigging of scaffoldings.^[16]

"Atmospherically, the landscape is a violent and magnificent canvas on which is told a mythic story of a father and son in the last period of lawlessness in American history."

— Sam Mendes^[16]

Mendes collaborated with costume designer Albert Wolsky, production designer Dennis Gassner, and cinematographer Conrad Hall to design the film's style. Wolsky designed costumes that were "very controlled, with soft outlines and very soft silhouettes". Gassner built sets that could capture the cold look of the era. Mendes sought a muted palette for the film, having dark backgrounds and sets with dark, muted greens and grays. Mendes filmed Road to Perdition using the Super 35 format.^[16]

The director filmed exterior scenes in Illinois in the winter and the spring of 2001, using real weather conditions such as snow, rain, and mud for the scenes. Mendes considered the usage of bleak weather conditions and the intended coldness of Gassner's exterior locations to define the characters' emotional states. Pullman became a key location to reflect this theme, having several settings, including the town's historic Florence Hotel, easily redressed by the crew for the film.^[16] Filming concluded in June 2001.^[2]

[edit] Cinematography

Cinematographer Conrad L. Hall set up atmospheric lighting similar to that found in the paintings of Edward Hopper

To establish the lighting of scenes in Road to Perdition, director Sam Mendes drew from the paintings of Edward Hopper as a source of inspiration, particularly Hopper's New York Movie (1939). Mendes and cinematographer Conrad Hall sought to convey similar atmospheric lighting for the film's scenes, applying a "less is more" mantra.^[17] Hall also shot wide open scenes that retained one point in the depth of field sharply focused. Hall considered the technique to provide an emotional dimension to the scenes. The cinematographer also used unconventional techniques and materials to create unique lighting effects. One of Hall's methods was to use black silk in daylight exterior scenes to filter the light enough to create an in-shade look.^[16]

Hall purposely distanced the camera from Hanks's character, Michael Sullivan, at the beginning of the film to establish the perspective of Sullivan's son, who is unaware of his father's nature.^[2] Hanks's character was filmed as partially obscured and seen through doorways, and his entrances and exits took place in shadows. A wide lense was used to maintain a distance from the character.^[16]

Shots in the film were drawn directly from panels in the graphic novel Road to Perdition, illustrated by Richard Piers Rayner. An instance of the direct influence was the scene in which Michael Jr. looks up at the Chicago skyline from the vehicle, with the skyline reflected in the vehicle's glass.^[18]

A seamless 40-second driving scene in which Michael Sullivan and his son travel into Chicago from the countryside was aided by visual effects. The live-action part of the scene was filmed at LaSalle Street, and due to the lack of scenery for part of the drive down LaSalle Street, the background of Balbo Drive was included with the use of visual effects.^[19]

Reception

Road to Perdition concluded filming in June 2001,^[2] and the studio intended to release the film in the United States the following Christmas, but by September 2001, director Sam Mendes requested more time to edit and score for the film. The film was instead scheduled to be released on July 12, 2002 in the United States, an unconventional move that placed the drama among the wide-audience summer films.^[2] The film earned $22,079,481 in 1,797 theaters over the opening weekend. The film grossed $104,454,762 in the United States and $76,546,716 in other territories for a worldwide total of $181,001,478.^[21]

The film received 82% approval out of 198 reviews at the movie review aggregator Rotten Tomatoes.^[22] At a similar site, Metacritic, Road to Perdition received an average score of 72 out of 100, based on 36 reviews.^[23] Reviewer James Berardinelli praised Road to Perdition for its atmosphere and visuals, but he considered the emotional attachment to be lacking the characters with the exception of Sullivan's son, portrayed by Hoechlin. Berardinelli applauded cinematographer Conrad L. Hall for his cinematic work and also appreciated the unhurried pace of a story that could have been sped up.^[24] Film critic Roger Ebert praised Hall's cinematography and the thematic use of water throughout the film. Like Berardinelli, Ebert felt an emotional detachment from the characters, saying, "I knew I admired it, but I didn't know if I liked it... It is cold and holds us outside."^[25] Eleanor Ringel Gillespie of The Atlanta Journal-Constitution enjoyed the film's cinematography and Depression-era setting, as well as solid, convincing performances from Tom Hanks and Paul Newman. Gillespie expressed the wish that the film lasted a little longer to explore its emotional core further.^[26]

Eric Harrison of the Houston Chronicle considered Road to Perdition "the most brilliant work in this [gangster] genre" since the uncut Once Upon a Time in America (1984). Harrison enjoyed the film's complex characters and considered David Self's script "so finely honed that the story can change directions in a heartbeat". Harrison also lent praise to the cinematography, considering the setup to accentuate the characters' emotional development.^[27] Kirk Honeycutt of The Hollywood Reporter considered the performances of Hanks, Newman, and Daniel Craig to be appropriate, though he called Jude Law's performance "almost cartoonish".^[28] Peter Travers of Rolling Stone also complimented the performances of Hanks and Newman, saying, "[They] act together with the confidence of titans, their talents in the service of character, never star ego." Travers enjoyed the combination of Hall's "breathtaking" cinematography and composer Thomas Newman's "evocative" score in the film's scenes.^[29]

Paul Clinton of CNN believed that Road to Perdition failed to flesh out its multitude of themes. "While these deeply human issues are touched upon, they're never fully explored, and that undermines the sense of greatness to which this movie obviously aspires," Clinton said. Clinton also failed to emotionally identify with the film's characters and considered Craig's character as "one-dimensional to the extreme". He also believed that the cinematography was too overpowering for the film's weak storyline.^[30] J. Hoberman of The Village Voice considered Road to Perdition to be "grim yet soppy". He described the film, "The action is stilted and the tabloid energy embalmed."^[31] Stephen Hunter of The Washington Post thought that the script lost its path when Sullivan and his son fled their old life, leaving behind the characters and the setting with which Hunter had become familiar. Hunter found the character of Maguire hard to care for and noted clichés in the film.^[32]

Road to Perdition was nominated for 6 Academy Awards: Best Supporting Actor (Paul Newman), Best Art Direction, Best Cinematography (Conrad L. Hall), Best Original Score (Thomas Newman), Best Sound, and Best Sound Editing. Of the film's nominations, the sole award went to Hall for Cinematography.^[33] The film was also nominated BAFTA Awards for Best Performance by an Actor in a Supporting Role (Paul Newman), Best Cinematography, and Best Production Design, winning awards for the latter two.^[34] Hall also won an award from the American Society of Cinematographers for Outstanding Achievement in Cinematography in Theatrical Releases.^[35] In April 2006, Empire recognized Road to Perdition as #6 in its list of the top 20 comic book movies

what dreams may come

سردبیر معرفی فیلم:یزدان چوبساز

 

What Dreams May Come

From Wikipedia, the free encyclopedia

Jump to: navigation, search

This article is about the film. For the novel, see What Dreams May Come.

What Dreams May Come
DVD cover for What Dreams May Come
Directed by	Vincent Ward
Produced by	Stephen Deutsch Barnet Bain
Written by	Richard Matheson (novel) Ronald Bass (screenplay)
Starring	Robin Williams Cuba Gooding Jr Annabella Sciorra
Music by	Michael Kamen
Cinematography	Eduardo Serra
Editing by	David Brenner
Distributed by	PolyGram
Release date(s)	October 2, 1998
Running time	113 min
Country	United States
Language	English
Budget	US$85 million
All Movie Guide profile
IMDb profile

What Dreams May Come is a 1998 dramatic film, starring Robin Williams, Cuba Gooding Jr., and Annabella Sciorra. The movie is based on the 1978 novel of the same name by Richard Matheson, and was directed by Vincent Ward. The title comes from a famous line in Hamlet's soliloquy in Act 3, scene 1 (To be, or not to be), specifically, "For in that sleep of death what dreams may come / When we have shuffled off this mortal coil." Scenes in the movie, as well as the plot outline in the novel, contain several allegorical references to Dante Alighieri's 1308 epic poem The Divine Comedy. A connection to the Greek myth of Orpheus and Eurydice should also be noted.

The movie received mixed reaction from critics and mediocre box office returns, but went on to win an Academy Award for its visual effects. It was also nominated for the Academy Award for Best Art Direction.

The film was released by PolyGram Filmed Entertainment. It is one of the few movies to be shot largely on Fuji Velvia film, known among landscape photographers for its vivid color reproduction.[1]

Contents

[hide]

• 1 Cast
• 2 Plot summary
• 3 Differences from the novel
• 4 Release
• 5 Trivia
• 6 External links

Cast

• Robin Williams: Chris Nielsen
• Annabella Sciorra: Annie Collins-Nielsen
• Cuba Gooding Jr.: Albert Lewis/Ian Nielsen
• Max von Sydow: The Tracker/Albert Lewis
• Jessica Brooks Grant: Marie Nielsen
• Josh Paddock: Ian Nielsen
• Rosalind Chao: Leona and Marie Nielsen

[edit] Plot summary

The plot summary in this article or section is too long compared to the rest of the article. Please edit the article to focus on discussing the work rather than merely reiterating the plot.

The movie opens with Chris and Annie's meeting on a lake near Switzerland. The viewer is then treated to a quick montage describing their courtship and marriage. Chris's work is as a pediatrician at a local clinic, while Annie runs an art gallery.

When Chris's son and daughter are killed in a car accident, Annie becomes mentally unstable. She attempts suicide by cutting her wrists, and enters a mental hospital. Chris helps her the best he can, and finally she recovers. However, on the couple's Double D anniversary (which marks Annie's Decision about not getting Divorced), Chris is killed in yet another car accident.

Chris experiences life after death, although it takes him a while to accept that it's more than a dream. A man named Albert (Gooding) guides him through his grief and confusion, and then shows him the beauty of the Heavenly realm. At first, Chris believes Albert to be his friend and mentor from his medical residency, whom he calls "Doc." Albert guides Chris to an understanding of his condition, but even he is surprised when a glorious purple tree appears in Chris's personal section of Heaven. It turns out that the tree matches a new painting of Annie's; the two are soul mates, and anything she paints appears in Chris's heaven. Unfortunately, Annie destroys the painting in a fit of despair, and the beautiful tree withers.

After getting adjusted to the spirit world, Chris meets a beautiful Asian woman named Leona who shows him a children's realm in heaven. She asks Chris to share a memory with her, and he tells her about teaching his daughter, Marie, to play chess. In turn, she explains that she took the form of a stewardess because her father once admired that stewardess' special beauty. Suddenly, Chris recognizes their location as a diorama his daughter loved in life, and she reveals she is Marie. On Earth, she was tomboyish and wanted to look more feminine when she grew up. In the Heaven of this movie, a person is able to achieve their lifelong desires, and appear however they wish.

As this is happening, Annie's depression deepens, and in her torment, she takes poison. Albert sadly breaks the news to Chris. At first Chris is able to find joy in the terrible news, as he thinks that his wife is now free from her emotional pain on Earth and that he can soon meet her. His hope quickly turns to anger when Albert explains that suicides are trapped in Hell by their own despair. Albert claims there is no judgment; it is simply the nature of suicides. This is a deliberate reference to Dante Alighieri's Inferno cantica, where the seventh level of Hell is reserved for sins of violence -- including violence against oneself. The punishment for those who commit suicide in Dante's Inferno is to spend eternity in the body of a tree.

Chris boldly resolves to rescue his wife. Albert tries to persuade Chris to give up the painful and impossible quest. According to him, no one has ever brought a suicide out of Hell. However, Chris is undaunted, and Albert agrees to help find Chris a "tracker," played by Max von Sydow. A tracker is a soul who can help find other souls; he provides Chris spiritual guidance to help him "tune in" to Annie's presence.

The group descends into Hell. The damned are shown acting out their sins, failures, and fears over and over again, without any hope of understanding or breaking free of their misery. Chris attempts to focus his concentration on Annie, but finds himself instead remembering his son, Ian. The brilliant and meticulous Chris had always found it difficult not to show disappointment in his less-gifted son, and in a rain-swept woods one day, they had it out. Despite their differences, though, Chris and Ian achieved a resolution that day, with Chris telling his son, "If I was going through HELL, I'd only want one person in the whole world by my side."

Chris snaps out of his memories when he sees Albert, searching for Annie, about to risk approaching a dangerous-looking group of the damned. Suddenly, Chris sees through the disguise, and snatches "Albert" back, calling him "Ian." When he asks his son why he chose to appear as Albert, the son replies that Albert was the only authority figure that Chris would ever listen to. Chris is impressed by his son, but the Tracker demands that Ian return to Heaven, while he and Chris carry on. In parting, Ian instructs Chris to think about what happened when he and Marie died, and what Chris said to bring Annie back from her mental crisis.

In the topsy-turvy ruins, Chris finds a field full of the faces of the damned, eternally moaning and muttering to themselves. Scenes such as these are direct representations of Dante's Inferno, and the nine stages of Hell reserved for sins of varying degrees. One of the people claims to be Chris's father, but it seems to be a case of mistaken identity. Suddenly, Chris thinks he sees Annie's face, but as he runs towards her, the ground crumbles beneath his feet, and he falls into a vast, upside-down cathedral. At the bottom of it is a twisted mirror-image of their home. The Tracker is surprised that Chris found her; she's inside. However, he warns Chris that if he stays with her for more than several minutes, he may become permanently trapped as well. Before he enters, the Tracker reveals a final secret: he is Albert, who has been waiting for many years to do Chris a favor.

When Chris enters the house, he finds that Annie doesn't recognize him. Pale, gaunt, and miserable, she isn't fully aware that she's dead. He talks to her gently, pretending to be a neighbor, before he is able to gain enough of her trust to reach her for a moment. In guilt and disbelief, Annie screams and pushes him away, and a saddened Chris realizes he has failed. He tells his insane wife a last good-bye, and leaves the house. The Tracker consoles him, and Chris tells him he has given up.

He adds: "...just not the way you think."

He asks the Tracker to give his love to his children, and re-enters the house. Taking his wife's hand, he tells her he won't leave her. He's decided to stay forever in Hell and join her in madness rather than leave her again. Somehow, this sacrifice reaches Annie when nothing else can, and she and Chris pull each other out of the miasma of Hell, narrowly escaping.

Chris and Annie are reunited with their children, but Chris is dissatisfied. He inspires Annie to join him in reincarnation, so they can experience the joy of meeting and falling in love all over again and can make new mistakes along the way.

In a longer, alternate ending (available on the special edition DVD) the reincarnation is not a choice, but is part of the natural order. Chris and Annie will meet again in their new lives, but Annie must atone for killing herself -- her new incarnation will die young, and Chris will spend the remainder of his new life as a widower before the two are once again reunited in Heaven. The film then goes to Sri Lanka where a woman is giving birth to a little girl, which presumably is Annie. The alternate ending, which is actually the one from the novel, was left roughly edited and unfinished.

ایمپلنت دندانی

 سردبیر پزشکی:دکتر جلال ندیمی

 

 

ایمپلنت دندانی

ایمپلنت دندانی یک دندان مصنوعی است که به همراه ریشه آن توسط یک متخصص پریودنتیست در درون فک قرار داده می شود تا جایگزین دندان از دست رفته شما شود. ایمپلنت بهترین انتخاب برای افرادی است که در سلامت عمومی خوبی به سر می برند اما دندانهای خود را در اثر بیماری لثه، پوسیدگی و یا ضربه از دست داده اند. ایمپلنت نسبت به روشهای دیگر مانند روکش و یا بریج که دندانهای مجاور تراش می خورند و در معرض آسیب قرار می گیرند، ارجحیت دارد چرا که تنها جایگزین دندان و یا دندانهای از دست رفته می شود و دندانهای مجاور را تحت تاثیر قرار نمی دهد. به علاوه رعایت بهداشت در ایمپلنت به مانند یک دندان طبیعی انجام می شود، در صورتیکه تمیز نگاه داشتن و مسواک زدن در روشهای دیگر مانند پروتز ثابت یا بریج و دست دندان متحرک مشکل تر خواهد بود.
از جنبه روانی-احساسی نیز ایمپلنت نسبت به پروتزهای متحرک مقبولیت و ارجحیت دارد و براحساس اعتماد به نفستان تاثیر مثبتی خواهد داشت. به عنوان مثال شاید شما به دلیل از دست دادن یک دندان خنده خود را پنهان می کنید و یا به دلیل داشتن دندان متحرک از ترس جابه جا شدن و یا مشخص شدن، خنده و یا ارتباط کلامی موثری نداشته باشید. با استفاده از ایمپلنت شما در هنگام جویدن احساس بهتری خواهید داشت و نیروی جویدن شما به مانند دندانهای طبیعی خواهد بود.
از نظر زیبایی نیز ایمپلنت همانند دندانهای شما خواهد بود. بنابراین با انتخاب صحیح ایمپلنت و ارزیابی دقیق پیش از عمل که توسط متخصص لثه و دندانپزشک تان صورت می گیرد، و نیز با همکاری شما در رعایت بهداشت، ایمپلنت سالها جوابگوی نیازهای جویدن، صحبت کردن و زیبایی شما خواهد بود

به طور خلاصه ایمپلنت در موارد زیر کاربرد دارد

• جایگزین کردن یک و یا تعدادی از دندانها بدون درگیر کردن دندانهای مجاور
• می توان ازایمپلنت به عنوان پایه بریج در انتهای قوس دندانی استفاده کرد تا دیگر مجبور نباشید از پروتز متحرک استفاده کنید
• و در مواردی که کل دندانها را نداشته باشید و امکان استفاده از تعداد زیاد ایمپلنت موجود نباشد، می توان با قرار دادن 4 یا 5 ایمپلنت از آنها به عنوان پایه دست دندان استفاده کرد تا دیگر دست دندان شما در دهانتان جابه جا نشود و احساس راحتی بیشتری داشته باشید.

آیا شما کاندید مناسبی برای ایمپلنت می باشید؟

کاندیدای ایده آل برای ایمپلنت کسی است که از نظر سلامت عمومی در شرایط مناسبی باشد و میزان استخوان کافی برای نگاهداری ایمپلنت داشته باشد و لثه های سالم و عاری از التهاب داشته باشد.
در صورتیکه بیماری لثه داشته باشید، باید ابتدا توسط متخصص لثه، بیماری برطرف شود و سپس شما به مانند یک فرد سالم می توانید از ایمپلنت استفاده کنید. از آنجائیکه ایمپلنت در ارتباط مستقیم با استخوان و لثه شما است، بهترین فرد جهت ارزیابی ناحیه بی دندانی، انتخاب نوع ایمپلنت و جراحی ایمپلنت، متخصص لثه است که حتی می تواند بهترین مشاور شما پس از قراردهی ایمپلنت از نظر نحوه نگاهداری و بهداشت ایمپلنت باشد. پس از قراردهی ایمپلنت مدتی بعد حدود 6 هفته، دندانپزشک و یا متخصص پروتز شما می تواند نسبت به قراردهی روکش بر روی ایمپلنت اقدام کند.

آیا پس از قراردهی ایمپلنت عوارضی وجود دارد

از آنجا که بدنه ایمپلنت Fixture) ) از فلز تایتانیوم خالص ساخته می شود، مشکل رد پیوند نخواهیم داشت ، اما در صورتیکه ارزیابی پیش از عمل که شامل موارد زیر می شود به طور دقیق انجام نگیرد می تواند درصد موفقیت را پایین بیاورد.
• بیماری های عفونی که باعث ضعف سیستم ایمنی شوند.
• دیابت کنترل نشده
• سیگاری بودن فرد
• ناکافی بودن میزان استخوان (در این مورد می توان ابتدا اقدام به پیوند استخوان کرد و سپس درمان ایمپلنت را شروع کرد)
• بیماری پریودنتال و لثه (در این موارد ابتدا باید بیماری لثه درمان شود)

شهریار

به نام خدایی که در این نزدیکی است

 

 

به نام خدایی که در این نزدیکی است

 

 

همه ی ما به نحوی با ادبیات در ارتباط هستیم و به اندازه ی فهم و علاقه

 

 خود از آن بهره می بریم.اما اگر بخواهیم با نگاهی عمیق به ارتباط میان

 

خود و این دریای بیکران بنگریم، متوجه میشویم که در ادوار مختلف زمانی

 

یار و همراه همیشگی انسان ادبیات بوده و هست.

 

ادبیات زبان مشترک میان تمام مخلوقات است.زبانی که خداوند آن را در

 

 

اختیار ما قرار داد تا بتوانیم بوسیله ی آن با دنیای درون و برون خود ارتباط

 

برقرارکنیم و فراتر از آن با خالق خویش زیباترین و عاشقانه ترین لحظات

 

رابیافرینیم.

 

با ادبیات میتوان پرنده ی خیال را تا بینهایت پرواز داد،

 

میتوان عمق وجود خویش را شناخت، میتوان به هر آنچه که -ظاهراً- دست

 

نیافتنی است رسید

 

میتوان همواره جاری و سیال بود

 

میتوان خندید و شاد بود

 

میتوان...

 

امین داودی

 

کورش آریایی

 

سردبیر شعر:امین داودی-کوروش آریایی

 

شهریار

 

امشب ای ماه  به درد دل من تسکینی

آخر ای ماه تو همدرد من مسکینی

کاهش جان تو من دارم و من می‌دانم

که تو از دوری خورشید چها می‌بینی

تو هم ای بادیه پیمای محبت چون من

سر راحـت ننهادی به سر بالینی

هر شب از حسرت ماهی من و یک دامن اشک

تو هم ای دامن مهتاب پر از پروینی

همه در چشمه‌ی مهتاب غم از دل شویند

امشب ای مه تو هم از طالع من غمگینی

من مگر طالع خود در تو توانم دیدن

که توام آینه‌ی بخت غبار آگینی

نی محزون مگر از تربت فرهاد دمید

که کند شکوه ز هجران لب شیرینی

تو چنین خانه‌کن و دلشکن ای باد خزان

 گر خود انصاف کنی مستحق نفرینی

کی بر این کلبه‌ی طوفان‌زده سر خواهی زد

ای پرستو که پیام‌آور فروردینی

شهریارا گر آئین محبت باشد

چه حیاتی و چه دنیای بهشت آئینی

 

---------------------------------------------------------------------------------------------------------------------------------

با یاد او غزل «حالا چرا» را مرور می کنیم.

آمدي جانم به قربانت ولي حالا چرا

بي‌‏وفا حالا كه من افتاده‌‏ام از پا چرا

نوشدارويی و بعد از مرگ سهراب آمدی

سنگدل، اين زودتر می‌‏خواستی حالا چرا

عمر ما را مهلت امروز و فردای تو نيست

من كه يك امروز مهمان توام فردا چر

نازنینا ما به عشق تو جوانی داده ایم

ديگر اكنون با جوانان نازكن باما چرا

اي شب هجران كه يكدم در تو چشم من نخفت

اين قدر با بخت خواب آلود من لالا چرا

آسمان چون جمع مشتاقان پريشان مي‌‏كند

در شگفتم من نمي‌‏پاشد زهم دنيا چرا

در خزان هجر گل‌، اي بلبل طبع حزين

خامشی شرط وفاداری بود غوغا چرا

شهريارا بی‌‏حبيب خود نمی‌‏كردی سفر

اين سفر راه قيامت می روی تنها چرا

The Green Mile

سردبیر فیلم :یزدان چوب ساز

 

The Green Mile

 

 

From Wikipedia, the free encyclopedia

Jump to: navigation, search

This article is about the 1999 film adaptation. For the serial novel by Stephen King, see The Green Mile (novel).

The Green Mile
Promotional poster for The Green Mile
Directed by	Frank Darabont
Produced by	Frank Darabont David Valdes
Written by	Novel: Stephen King Screenplay: Frank Darabont
Starring	Tom Hanks David Morse Bonnie Hunt Michael Clarke Duncan Barry Pepper James Cromwell Doug Hutchison Sam Rockwell Patricia Clarkson Harry Dean Stanton
Music by	Thomas Newman
Cinematography	David Tattersall
Editing by	Richard Francis-Bruce
Distributed by	Warner Bros. (U.S. Theatrical & worldwide DVD) UIP / Universal (International)
Release date(s)	December 10, 1999
Running time	188 min.
Language	English French
Budget	$60 million
IMDb profile

The Green Mile is an Academy Award-nominated 1999 drama film, directed by Frank Darabont and adapted by him from the 1996 Stephen King novel The Green Mile. The film stars Tom Hanks as Paul Edgecomb and Michael Clarke Duncan as John Coffey.

The movie is primarily about Edgecomb and his life as a corrections officer on Death Row in the 1930s. The movie is told in flashback by the protagonist in a nursing home and follows a string of supernatural and metaphysical events upon the arrival of Coffey, a convicted murderer.

In the 2000 Academy Awards, the movie was nominated for four awards (Best Actor in a Supporting Role, Best Picture, Best Sound, and Best Writing: Screenplay Based on Material Previously Produced or Published).

Contents

[hide]

• 1 Plot
• 2 Cast
• 3 Characters
  • 3.1 John Coffey
  • 3.2 Paul Edgecomb
  • 3.3 Brutus "Brutal" Howell
  • 3.4 William "Wild Bill" Wharton
  • 3.5 Eduard Delacroix
  • 3.6 Arlen Bitterbuck
  • 3.7 Percy Wetmore
  • 3.8 Harold "Hal" Moores
  • 3.9 Mr. Jingles
• 4 Deviations from source material
• 5 Soundtrack listing
• 6 Awards and nominations
• 7 Trivia
• 8 References
• 9 External links

[edit] Plot

The Green Mile is a story told in flashback by an elderly Paul Edgecomb in a nursing home. He tells a friend about the summer of 1935 when he was a corrections officer in charge of Death Row inmates in Louisiana's Cold Mountain Penitentiary. His domain was called "The Green Mile" because the condemned prisoners walking to their execution are said to be walking "the last mile" here, on a stretch of green linoleum. The main feature of the cellblock was "Old Sparky", the electric chair.

One day, a new inmate arrives. He is 7 foot tall (about 2.13 metres) John Coffey, a black man convicted of raping and killing two young white girls. Coffey immediately shows himself to be a "gentle giant", keeping to himself, afraid of the dark and being moved to tears on occasion. Soon enough, Coffey reveals his extraordinary healing powers by healing Edgecomb's urinary tract infection and resurrecting a mouse. Later, he would heal the terminally ill wife of Warden Hal Moores (James Cromwell). Although it is clear that Coffey has a degree of control over his power, when asked to explain it, he merely says that he "took it back."

At the same time, Percy Wetmore (Doug Hutchison), a vicious, sadistic guard who takes pleasure in intimidating and injuring inmates, exasperates everyone else in the cellblock. He "knows people in high places" (he was the nephew of the governor's wife), in effect preventing Edgecomb or anybody else from doing anything significant to curb his deviant behavior. Wetmore recognizes that the other officers greatly dislike him, and uses that to demand being put "up front" (i.e., in charge) at the next execution. After that, he promises, he will have himself transferred to an administrative post in the Briar Ridge mental hospital, and Edgecomb will never hear from him again. A reluctant agreement is made, but Edgecomb comes to regret it after Wetmore deliberately sabotages the electrocution, inflicting as much pain as possible on Eduard Delacroix (Michael Jeter), a Cajun inmate who had previously embarrassed him.

John Coffey (Duncan) being escorted to his execution by Edgecomb (Hanks) and Brutus Howell (David Morse).

Meanwhile, a violent prisoner named William Wharton (Sam Rockwell) arrives, due to be executed for multiple murders he committed during a robbery. At one point he seizes Coffey's arm, and Coffey senses that Wharton is also the true killer of the two girls, the crime for which Coffey was falsely convicted and sent to death row. Coffey then uses his powers to compel Wetmore to empty his handgun into Wharton, after which Wetmore falls into a permanent catatonic state. Stunned by these events, Edgecomb queries Coffey, who says he "punished them bad men", then takes Edgecomb's hand and imparts the vision that he saw of what really happened to the girls, a vision that Edgecomb finds nearly unbearable to endure. Wharton is dead at Wetmore's hand, and Wetmore ends up as a patient at the very asylum to which he promised Edgecomb he would transfer.

Not withstanding Coffey's incredible abilities and the wrongness of his conviction, he ends up being executed, due in large part to geographically based racial overtones (the movie was set in the American South). The proper story ends there, and Edgecomb says he subsequently transferred from Death Row to a youth detention center, where he spent the remainder of his career. The story then returns to the present, where Edgecomb explains to his friend why he is able to remember the events of 1935: he is in fact 108 years old and still in excellent health. This is apparently a side effect of the life-giving power of Coffey's touch: a significantly lengthened lifespan. Mr. Jingles, the mouse resurrected by Coffey, is also still alive — but Paul believes his outliving all of his relatives and friends to be a punishment from God for not stopping Coffey's execution (although it is not clear whether Paul had the power to do so). As he puts it, he has had to walk his own Green Mile, which "seems so long."

[edit] Cast

Actor	Role
Eve Brent	Elaine Connelly
Brent Briscoe	Bill Dodge
Patricia Clarkson	Melinda Moores
James Cromwell	Warden Hal Moores
Jeffrey DeMunn	Harry Terwilliger
Michael Clarke Duncan	John Coffey
Graham Greene	Arlen Bitterbuck
Dabbs Greer	Old Paul Edgecomb
Tom Hanks	Paul Edgecomb
Bonnie Hunt	Jan Edgecomb
Doug Hutchison	Percy Wetmore
Michael Jeter	Eduard "Del" Delacroix
David Morse	Brutus "Brutal" Howell
Barry Pepper	Dean Stanton
Sam Rockwell	"Wild Bill" Wharton
William Sadler	Klaus Detterick
Gary Sinise	Burt Hammersmith
Harry Dean Stanton	Toot-Toot
Bill McKinney	Jack Van Hay
Brian Libby	Sheriff McGee

[edit] Characters

[edit] John Coffey

Coffey is an enormous black prisoner on Death Row for raping and killing two small girls. It is later revealed that he was innocent and that Wharton, on Death Row for another crime was the girls' rapist/murderer. Coffey is favored by officers and inmates of the prison. Coffey is scared of the dark, and his character is one of an innocent child, making the crime he is accused of somewhat unbelievable. He chooses to be executed partly due to the cruelty he feels in the world. Coffey has the ability to heal.

[edit] Paul Edgecomb

The first of the two protagonists, Edgecomb is the head corrections officer of an Alabama Death Row during the 1930s. He tells his life in flashbacks. Paul is cured of his urinary infection by John Coffey, of whom Edgecombe and the other officers become fond. Later John Coffey show Paul who the real killer of the girls is and as a result Paul is given the gift of life. He is at his wits' ends with the conniving and abusive officer Percy Wetmore, along with the psychotic "Wild Bill" Wharton.

[edit] Brutus "Brutal" Howell

Second-in-charge of Cold Mountain's Death Row, Brutus Howell, often referred to as "Brutal" by the others, is Paul Edgecombe's closest friend. Despite his intimidating name and large frame, Brutal is a calm, easy-going individual, but he does have a temper, which he mostly shows towards Wetmore.

[edit] William "Wild Bill" Wharton

William Wharton, who prefers to be known as "Billy the Kid", but is known to the inmates and officers as "Wild Bill", is the extremely evil individual behind the crime for which John Coffey was convicted. Wharton serves as an antagonist. He is a deranged and psychotic killer. He worked on the farm where the two girls lived. Wharton kidnaps and rapes them. He then kills the girls where they are discovered by Coffey. Wild Bill attacks officers on occasion. He even grabs Coffey's arm, and that's when Coffey discovers Wharton was the true killer of the girls. It is also implied Wharton is racist, as during the film he repeatedly uses the racial slur "nigger". It is implied that he may have homosexual tendencies when he assaults Percy Wetmore in a predatory way. Wharton is later shot to death by Percy, to whom a disease was passed by Coffey.

[edit] Eduard Delacroix

Eduard Delacroix, better known as "Del", is a fairly well-adjusted inmate who becomes a friend of John Coffey. Del discovers a mouse whom he names Mr. Jingles, who becomes his closest friend on death row. He despises Wetmore, who also hates him in return. Del even laughs at Percy after he is attacked by Wharton. Wetmore later severely injures Mr. Jingles, but the mouse is healed by Coffey. Finally, Del's execution is sabotaged by Wetmore in order to inflict maximum pain on him. However, the electrocution gets so out of hand that even the family of Delacroix's victims is horrified.

[edit] Arlen Bitterbuck

Arlen Bitterbuck is a Native American who was in prison when John Coffey arrived at Cold Mountain. Repentant of what he has done, on the night of his execution he confides in Paul Edgecomb about his belief that, if a person were truly sorry for his sins that after his death, he would return to the time he was happiest.

[edit] Percy Wetmore

Wetmore is a cynical and sadistic corrections officer inside the prison who assaults prisoners. He flaunts the fact that his aunt is married to the state governor, therefore allowing him to get away with his unruly behavior. He often uses this to his advantage whenever he is assigned a lousy task by having the state governor call the warden's office to chastise the rest of the staff. At one point, he wickedly crushes Mr. Jingles with his foot. The mouse is brought back to health by Coffey. Wetmore is tormented by Wild Bill, a serial killer in the prison whom he later kills. Wetmore even sabotages prisoner Eduard Delacroix's execution. The other officers later throw Wetmore into the restraining room, bound in a straitjacket due to his wicked ways. Wetmore is released, only to be grabbed by Coffey. Coffey passes the sickness he absorbed from the warden's wife into Wetmore. Wetmore, now cursed with the disease, empties his pistol and kills "Wild Bill" Wharton. Wetmore then goes into a permanent, catatonic state. He is later placed in a mental-health institution which, ironically, is Briar Ridge Mental Hospital, the institution he was applying to for a good job.

[edit] Harold "Hal" Moores

The warden of Cold Mountain Prison, Hal Moores is a friend of the Edgecombes, and his personal life provides much of the drama of the movie. Early on, it was revealed that his wife Melinda had an inoperable brain tumor which was cured when Coffey "took it back" when they snuck him out of E-Block. This sickness was later passed into Percy which caused him to kill Wild Bill.

[edit] Mr. Jingles

A mouse that initially caused a deal of trouble among the inmates and caretakers of E-Block, but was later adopted by Delacroix as a pet. Mr. Jingles nearly got killed when Percy stepped on him. He was later resurrected by Coffey. The mouse has had an extended lifespan, as a side-effect of being in Coffeys hand while he was taking in the pain of Del's execution. The mouse was still alive at the time of Edgecombe's telling of the story.

[edit] Deviations from source material

The book cover

The Green Mile is, for the most part, faithful to Stephen King's original novel. There are, however, a few slight alterations.

• The novel is a written story, delivered by the elderly Edgecombe to his fellow nursing home patient, Elaine. Each of the six volumes includes both an entry in the Green Mile story, as well as brief bookend scenes taking place in a modern day nursing home. These scenes included not only Edgecomb's relationship with Elaine, but also his interaction with a sadistic employee, Brad Dolan, who reminds him of Percy Wetmore, his Green Mile co-worker. It is these interactions that cause him to remember 1932, his last year on the Mile. In the film, Brad Dolan is left out completely, and the bookend sequences only take place at the very beginning and end of the movie. Instead of Dolan, it is watching the 1935 film Top Hat that provokes the flashback, and this film is added to the main storyline as well, in which John Coffey's last request is to be able to see a "flicker show" (motion picture) before he is executed.

• In the book, Hal Moores has an assistant named Curtis Anderson. He does not appear in the film, and his lines and scenes are given to Moores instead. Other inmates on the Green Mile in the book who did not have speaking roles, and are inconsequential to the plot, are also omitted.

• The first and second volumes of the book are told out of chronological order. The first book begins with the arrival of Coffey, and provides details of the murder for which he was convicted. At this point in time, inmate Eduard Delacroix already has his pet mouse, Mr. Jingles, and another inmate, Arlen Bitterbuck, has already been executed. The second book goes back in time, to before Coffey is brought in, to explain where Mr. Jingles came from, and who Bitterbuck was. The film re-arranges these events so that Coffey's arrival is the first event to take place, and all others follow it.

• In the book, strong evidence — ignored by the authorities — is presented to the reader of Coffey's innocence in Edgecomb's eyes: for example, the tracking dogs' confusion at the site of the girls' murder, resulting from the murderer and the girls' bodies leaving in different directions. In the movie, however, Coffey grabs Edgecomb's hand and, along with transferring "life" to him, also shows Edgecomb who really killed the two girls.

The Shawshank Redemption

 

سردبیر فیلم:یزدان چوبساز

 

The Shawshank Redemption

From Wikipedia, the free encyclopedia

Jump to: navigation, search

For the novella, see Rita Hayworth and Shawshank Redemption.

The Shawshank Redemption
Theatrical release poster
Directed by	Frank Darabont
Produced by	Niki Marvin
Written by	Short Story: Stephen King Screenplay: Frank Darabont
Starring	Tim Robbins Morgan Freeman Bob Gunton William Sadler Clancy Brown Gil Bellows
Music by	Thomas Newman
Cinematography	Roger Deakins
Editing by	Richard Francis-Bruce
Distributed by	Columbia Pictures (1994-1999) Warner Bros. (1999-2004)
Release date(s)	September 23, 1994
Running time	142 min. 127 min.
Country	United States
Language	English
Budget	$25 million
Gross revenue	$28,341,469
All Movie Guide profile
IMDb profile

The Shawshank Redemption is a 1994 drama film, written and directed by Frank Darabont, based on the Stephen King novella, Rita Hayworth and Shawshank Redemption. The film stars Tim Robbins as Andy Dufresne and Morgan Freeman as Red Redding.

The film portrays Andy spending nearly two decades in the cruelty of Shawshank State Prison, a fictional penitentiary in Maine, and his friendship with Red, a fellow inmate. This movie exemplifies the gap between box office success and popularity. Despite a lukewarm box office reception, The Shawshank Redemption received favorable reviews from critics and has enjoyed a remarkable life on cable television, home video, and DVD, and continues to be noticed by popular culture. It is frequently ranked amongst the greatest movies of all time.

In 1947, a young banker named Andy Dufresne (Tim Robbins) is convicted of murdering his wife and her lover based on strong circumstantial evidence, and is sentenced to two consecutive life sentences at the notorious Shawshank Prison in Maine. Days later, prison inmate Ellis Boyd "Red" Redding (Morgan Freeman) appears before the Shawshank Prison Parole Board, which rejects his parole. Red emerges into the prison yard in time to witness the arrival of new inmates, including Andy Dufresne. Following an ominous and intimidating introduction by Warden Samuel Norton and Chief Prison Guard Captain Byron Hadley, Andy and the other new inmates are deloused and shuffled to their cells. One of the prisoners breaks down in his cell, whereupon Captain Hadley yanks him out and beats him unconscious, inflicting injuries that will eventually kill the man.

Andy asks Red for a Rita Hayworth poster as the inmates watch Gilda

Andy gradually becomes acquainted with Red's circle of friends, and specifically Red himself, who is known as a clever supplier of contraband to his fellow inmates. Andy approaches Red and orders from him a rock hammer, so as to pursue his hobby of rock collecting. A friendship soon develops. Andy initially works in the prison laundry, where he is harassed and faces rape attempts by a group of sadistic inmates known as "The Sisters." One night during a film screening, Andy asks Red to get him a poster of Rita Hayworth for his cell.

One day, Andy's knowledge of finance enables him to set up a tax shelter for Captain Hadley. Andy is then appointed to assist Brooks Hatlen in the prison library, his first instance of preferential treatment, and writes to the Maine Senate for funds to improve the library. Andy sets up a makeshift office to provide tax and financial services to a growing number of guards and his "clientele" grows to include the entire prison staff, guards from other prisons, and even Warden Norton. When Andy is once again accosted and severely beaten by The Sisters as he leaves the theater, the prison guards commit vigilante punishment against the Sisters' leader, Boggs. It becomes clear to all prisoners that they are now protecting Andy from mistreatment. Boggs is permanently hospitalized by a brutal act of retribution by Captain Hadley, and Andy is never again victimized by any of the inmates.

After spending nearly ten years in Shawshank, Andy and Red find a distraught and hostile Brooks holding a knife to Heywood's throat. Brooks' parole has finally been granted and he, in prison since 1905, is so accustomed to life inside that he fears the real world. Outside the prison walls, Brooks encounters nothing but loneliness, isolation, and a dead-end job. He writes a final letter to his friends back at Shawshank before hanging himself in his room at a halfway house.

Warden Samuel Norton capitalizes on Andy's skills and devises a program to put prison inmates to work for local construction projects. His real motive is to profit from corruption in the system, and Andy hides the embezzled funds for Norton by creating a fraudulent identity. The same year, the prison library is expanded, and Andy begins helping inmates obtain their high school diplomas. Then, in 1965, a young prisoner named Tommy Williams enters Shawshank and tells a story about a previous cellmate that appears to confirm Andy's long-held claim of innocence. Fearing exposure if Andy is set free, Norton has Hadley kill Tommy and sends Andy to solitary confinement. He threatens Andy that he will withdraw the guards' protection if he does not continue conspiring with him.

Two months later, Andy is released from solitary confinement and returns to the main prison population a seemingly broken man. Out in the yard, he gives ominous instructions to Red, telling him that if he is ever released, he is to go to a specific spot in a certain hayfield to find something that has been buried there. Andy's friends are concerned that he may commit suicide like Brooks. The following morning, however, Andy is missing from his cell, in which only a poster of Raquel Welch, who has replaced Rita, stares at the Warden, who discovers to his shock, that the poster covers a long escape tunnel that Andy had been able to dig secretly over the course of many years. Warden Norton loses his composure and commits all of his resources to tracking the escapee down, but Andy is never found.

In a flashback sequence, it is revealed that Andy escaped the prison by tunneling through the walls with his rock hammer for nearly 19 years, slowly chipping away at the cement wall and using the poster to cover up his work. He completed his escape by crawling 500 yards through a sewage tunnel. After his escape, Andy assumes the fake identity he created earlier for the purpose of concealing the warden's embezzlements. Wearing Norton's clean suit and shoes, Andy withdraws the funds that he had deposited for Norton over the years. He also sends evidence of the scams to a local newspaper, exposing the warden. Hadley is arrested, reportedly "sobbing like a little girl" as he is taken away, and Norton commits suicide in his office.

Soon after, Red is finally released on parole. After trying to cope with life outside prison (and being given the same job and apartment Brooks had had years earlier), he recalls his promise to Andy shortly before Andy's escape. Red finds money and instructions hidden in the field, and eventually reunites with Andy in Zihuatanejo on the coast of Mexico.

[edit] Cast

• Tim Robbins as Andy Dufresne
• Morgan Freeman as Ellis Boyd "Red" Redding
• Bob Gunton as Warden Norton
• William Sadler as Haywood
• Clancy Brown as Capt. Hadley
• Gil Bellows as Tommy
• Mark Rolston as Bogs Diamond
• James Whitmore as Brooks Hatlen
• Jeffrey DeMunn as 1946 DA
• David Proval as Snooze
• Jude Ciccolella as Guard Mert
• Paul McCrane as Guard Trout
• Scott Mann as Glenn Quentin

beowulf

باتشکر از خانم رشیدی که این مطلب را فرستادند    .

سردبیر معرفی فیلم:یزدان چوب ساز

 

Overview

Ray Winstone stars as the ancient warrior who battles a demon in this all-star adaptation of the legend. Anthony Hopkins, Crispin Glover and Angelina Jolie co-star. Read Editorial Review

•	Average Reader Rating: [5]   Write a Review
•	Genre Type: Action/Adventure
•	MPAA Rating: PG-13
•	Starring: Ray Winstone, Angelina Jolie, Anthony Hopkins, Crispin Glover
•	Director: Robert Zemeckis
•	Runtime: 2:00

 

 

Editorial Review In "Beowulf," director Robert Zemeckis uses a technique called motion-capture to conjure fantastical things, angles into action and sweeping vistas to stun your eyes and take your breath away. But what he hasn't mastered and what the technique can't do is this: emotion capture. What you are seeing is the process by which actors' movements are recorded electronically, transformed into imagery, then inserted into a meticulously realized, computer-generated Dark Ages. (It's 506 A.D. on the screen.) Zemeckis, of course, has used this tech before in "The Polar Express." For now, let's pretend "Beowulf" is a regular movie and such concepts as "performance" haven't gone missing, and defibrillate it based on regular movie considerations. You have to say that the screenwriters, Neil Gaiman and Roger Avary, have fixed the oldest chestnut, the bane of freshman year. When the original was assembled (written? collected? sung? chanted?) around the embers back in the good ol' 700s or so, no theory of psychology existed, so there was no storytellers' need to conjure coherent behavior patterns or fully realized plots. The great warrior Beowulf fights and kills first Grendel, then his ma; 50 years later he fights a dragon. Unacceptably episodic today. No arc. No growth. Thus Gaiman and Avary root the thing in family dysfunction. Some of the illusions don't pay off. Grendel fails to impress. This is the ur-monster of English literature, and the designers should have risen to the task. Instead we get a tall old crank with a displaced jaw, an attitude problem, dirty feet and a runny nose. In the end, you wonder: Is it anything? Or is it just another stupid human trick? I say the story works, but I wish they'd teach these avatars to act. -- Stephen Hunter (Nov. 16, 2007) Contains violence and sensuality. Read Full Review

(Paramount Pictures) Special Features Watch the Trailer

Reader Reviews (Read all reviews) [5]

Keep it zipped
Posted by belle on Nov 30, 2007
Well, it does make me want to go back & read the book. Loved the graphic novel feel and the rendition of the story. Saw it in 3D--a remarkably improved version from the old red & green. Liked the humor & personalities that were allowed to peek through a tiny bit ('last time he told the story there were just 3 sea monsters'). Wish there had been more. Didn't get Grendel, agree with prior comment. And is there a poignant message from Neil Gaiman & Roger Avary: why don't you just keep it zipped? Because Oedipus-like, the results of your inappropriate lust will come back and haunt you...big time!

• Request Removal

beowulf
Posted by HiWahoo on Nov 23, 2007
This movie was amazing!! The animation is great, its almost like watching real actors!! Action is plentyful within the movie and is a lot like Fight Club. This is a great take off of the poem.

• Request Removal

پیتر ویر کیست؟

 

سردبیر فیلم:یزدان چوبساز

پیتر ویر ( Peter Weir )

پیتر ویر ، کارگردان و فیلم نامه نویس استرالیایی در 21 آگوست سال 1944 در شهر سیدنی استرالیا به دنیا آمد. او مدتی در دانشگاه سیدنی در رشته حقوق و سپس مدتی در رشته هنر تحصیل کرد ، اما سرانجام از ادامه تحصیل انصراف داد و در کنار پدرش در کار خرید و فروش املاک مشغول به کار شد. ویر، این کار را نیز رها کرد و در سال 1966 به اروپا رفت. بعد از بازگشت از اروپا ، در یک ایستگاه تلوزیونی ، شغلی برای خود دست و پا کرد و در اوقات بیکاری نیز به ساختن فیلم های کوتاه می پرداخت. در سال 1969 به عنوان دستیار فیلم بردار و همچنین طراح تولید قراردادی با یک کمپانی فیلم سازی در استرالیا امضا کرد.

نخستین فیلم بلند ویر ، اتومبیل هایی که پاریس را بلعیدند ( 1974 ) نام داشت. این فیلم ماجرای اهالی فقیر یک شهر کوچک و حاشیه ای در کشور استرالیا به نام پاریس است ، که زندگی خود را از طریق ایجاد تصادف های ساختگی در اتوبان اصلی نزدیک شهر می گذرانند. این فیلم داستانی ترسناک ، آمیخته با طنزی سیاه بود و تصویرگر وحشت کمین کرده در پشت خیابان های یک شهر کوچک و دورافتاده.

{
فیلم بعدی ویر که مهم ترین فیلمش در استرالیا نیز هست ، پیک نیک در هنگینگ راک ( 1975 ) نام داشت. این فیلم نیز برخوردار از داستانی ترسناک و مرموز بود. در سال 1900 ، سه دختر مدرسه ای به همراه معلم هایشان به قلب طبیعتی رام نشده به نام هنگینگ راک می روند و به ترتیب به صورت اسرار آمیزی ناپدید می شوند... . ویر این فیلم را با علاقه فراوان و با توجه کامل به جزئیات ساخت و فیلمی قابل تامل ارائه داد و همچنین یک استعداد تازه را به صنعت فیلم سازی استرالیا ، معرفی کرد. در واقع پیتر ویر ، فیلم سازی بود که نقشی بسیار مهم و غیر قابل انکار در جنبش سینمای نوین استرالیا در اواخر دهه هفتاد داشت. او صاحب سبک ترین فیلم ساز سینمای نوین استرالیا است.

ویر در فیلم بعدی اش ، آخرین موج ( 1977 ) ، نیز به سراغ سوژه ای ویرانگر رفت ، یک جزر و مد عظیم در دریا قرار است تمام ساکنان زمین را نابود کند. این فیلم نیز برخوردار از ویژگی های فیلم های قبلی ویر به ویژه پرداختن به جزئیات است ، اما کمی در داستان گویی ضعیف است. به هرحال ویر در این فیلم توانسته در انتقال ترس و هراس ناشی از حوادث مخرب جهانی ، موفق عمل کند.

در سال 1981، ویر فیلم گالیپولی را ساخت. گالیپولی درامی هولناک از قتل عامی در ترکیه در زمان جنگ جهانی اول است... . با این فیلم ، پیتر ویر مورد توجه هالیوود قرار گرفت و در حقیقت سینمای استرالیا را به جهان معرفی کرد. این فیلم در رشته بهترین فیلم خارجی نامزد دریافت جایزه گلدن گلوب شد.

فیلم بعدی ویر ، سال زندگی پر مخاطره ( 1982) نام داشت. این فیلم ماجرایی روان شناسانه و عاشقانه داشت که در اوضاع سیاسی نا آرام کشور اندونزی در سال 1965 می گذشت ، در این اوضاع نابسامان و پر هرج و مرج یک روزنامه نگار استرالیایی ( با بازی مل گیبسون ( Mel Gibson ) ) دلباخته یک کارمند سفارت بریتانیا ( با بازی سیگورنی ویور ( Sigourney Weaver ) ) می شود... ویر در این فیلم ، طی اقدامی عجیب لیندا هانت ( Linda Hunt ) ، بازیگر زن استرالیایی را در نقش یک مرد نیمه چینی به بازی گرفت و او هم اسکار بهترین بازیگر نقش دوم را به دست آورد.


سرانجام ویر نیز بعد از نشان دادن استعدادهایش در عرصه فیلم سازی جذب هالیوود شد. نخستین فیلم ویر در آمریکا ، شاهد ( 1985) ، نام داشت. ادوارد فلدمن ( Edward S. Feldman ) ، تهیه کننده فیلم ، ویر را به کارگردانی این فیلم ترغیب کرد ، زیرا به اعتقاد او یک غیر آمریکایی می توانست نگاه و دید تازه ای به این تریلر عاشقانه که ماجرایش در یک دهکده کوچک و بسته یهودی نشین در آمریکا ، می گذشت ، داشته باشد. شاهد داستان پلیسی است ( با بازی هریسون فورد ( Harrison Ford ) ) که سعی می کند ، جان پسر کوچکی را که همراه مادرش بوده و ناخواسته شاهد یک قتل می شود ، را نجات دهد و در همین راه به حقایق وحشتناکی درباره فساد در اداره پلیس پی می برد و خودش نیز در معرض خطر قرار می گیرد ... شاهد فیلم ارزشمندی از آب در آمد و از حیث کارگردانی ، فیلم برداری و بازیگری بسیار موفق بود.

در سال 1986 ، ویر فیلم ساحل موسکیتو را ساخت. ساحل موسکیتو داستان ماجراجویی های مردی است که برای دنبال کردن رویاهایش حاضر است به هر جایی برود ، و از همین رهگذر عازم ساحل موسکیتو و سرزمین های دور می شود ... در این فیلم ، ویر با بهره گیری از بازی خوب هریسون فورد و فیلم برداری زیبای جان سیل با مهارت و استادی داستان فیلم را روایت کرده.


ویر در پروژه بعدی اش ، فیلم انجمن شاعران مرده ( 1989) را ساخت. انجمن شاعران مرده درامی زیبا و به ویژه جوان پسندانه بود که پایانی تراژیک و تاثیرگذار را رغم می زد. یک معلم جدید زبان و ادبیات انگلیسی ( با بازی رابین ویلیامز ( Robin Williams ) ) وارد یک دبیرستان پسرانه در اسکاتلند می شود. او تلاش می کند دید جدیدی در دانش آموزان ایجاد کند و آنها را ترغیب می کند این حصار سنتی و دست و پاگیر را بشکنند و به دنبال آرزوهایشان بروند ، زیرا هر لحظه زندگی ارزش دارد و ...
فیلم نامه خوب و هوشمندانه تام شولمن ( Tom Schulman ) ، بازی های خوب بازیگران فیلم ، فیلم برداری زیبای جان سیل و در نهایت کارگردانی ماهرانه پیتر ویر ، انجمن شاعران مرده را به فیلمی موفق و ماندگار بدل کرد.

در سال 1990 ، ویر فیلم گرین کارد را ، که فیلم نامه اش را نیز خودش نوشته بود ، جلوی دوربین برد. این فیلم اولین تجربه ویر در ساخت فیلمی کمدی – رمانتیک بود. ویر که اساسا فیلم نامه فیلم را بر مبنای ویژگی های

ژرار دپاردیو ( Gérard Depardieu ) ، هنرپیشه فرانسوی ، نوشته بود ، از او دعوت کرد که در فیلم بازی کند و او نیز پذیرفت. گرین کارد ماجرای زن و مردی است که هریک مشکلی دارند ، زن مشکل مالی و مرد که فرانسوی است ، مشکل اقامت در آمریکا. آنها سرانجام برای رفع مشکلشان ، به این راه حل می رسند که به طور صوری با یکدیگر ازدواج کنند و بعد ازحل مشکلاتشان از یکدیگر جدا شوند ... .

ویر فیلم بی باک را در سال 1993 ساخت. در بی باک ، مکس کلین ، آرشیتکتی است که همیشه از مسافرت با هواپیما وحشت داشته ، اما وقتی از یک سانحه هوایی جان سالم به در می برد ، نه تنها ترسش به کلی فرو می ریزد ، بلکه بعد از این واقعه گمان می کند دیگر ضربه ناپذیر شده است. این مسئله موجب می شود زندگی اش و ارتباطاتش با دیگران دچار تغییر و تحول شود و حتی تا نابودیش پیش برود ...
قصه فیلم بی باک ، به نحو عجیبی پیش می رود و مطابق با پیش بینی های تماشاگر نیست.

در سال 1998 ، ویر فیلم درخشان نمایش ترومن را بر اساس فیلم نامه ای از اندرو نیکول ساخت. نمایش ترومن ماجرای عجیب مردی است که از بدو تولد ، بدون انکه خود بداند بازیگر یک سریال تلوزیونی است. او در یک جزیره زندگی می کند و هر بار که تلاش می کند از جزیره خارج شود ، عاملی مانع از رفتن او می شود. او به تدریج به تناقض ها و حوادث عجیب زندگی اش توجه می کند و سرانجام به حقیقت ماجرای زندگی اش پی می برد.
نمایش ترومن ، برخوردار از فیلم نامه ای هوشمندانه و جذاب بود و در متن خود ، دیدگاه جدیدی نسبت به رسانه را مطرح می کرد. در این فیلم جیم کری ( Jim Carrey ) ، در نقش ترومن ظاهر شد و در حالی که استفاده از یک بازیگر با سبک بازیگری خاص او که عمدتا در فیلم های کمدی بازی کرده یک ریسک بود ، اما بازی بسیار خوبی ارائه داد. نمایش ترومن فیلم بسیار موفقی شد و از سوی منتقدین نیز بسیار مورد توجه قرار گرفت.


آخرین فیلم ویر که تا به امروز ساخته ، استاد و ناخدا : انتهای دنیا ، نام دارد. این فیلم بر اساس داستان های ناخدا ابری نوشته پاتریک ابراین ( Patrick O'Brian ) ساخته شده است. در سال 1805 ، جنگ های ناپلئونی به اوج خود رسیده. در این زمان ، ناخدا ابری که فرماندهی یک کشتی انگلیسی را بر عهده دارد ماموریت می یابد تا به دنبال یک رزمناو فرانسوی که بسیار مجهز است برود و آن را نابود کند. از این پس بازی موش و گربه این دو کشتی آغاز می شود ... .
در این فیلم ، جامعه کوچکی درون یک کشتی به تصویر کشیده می شود و در این فضا مسائلی چون رفاقت ، افتخار ، ترس ، شجاعت و قدرت با بهره گیری از موقعیت های طاقت فرسای زندگی در کشتی مطرح می شود. این فیلم همچنین بهره مند از طنزی ظریف است که فیلم را هر چه بیشتر جذاب و زیبا جلوه می دهد. استاد و ناخدا در همه زمینه ها ، از بازیگری و فیلم برداری گرفته تا صدا و تدوین موفق عمل کرده و در کل نیز ، فیلمی است که در کارنامه کارگردانی ویر جایگاه خاصی دارد.

گزیده فیلم شناسی پیتر ویر ( در مقام کارگردان )

• اتومبیل هایی که پاریس را بلعیدند ( 1974- The Cars That Ate Paris )

• پیک نیک در هنگینگ راک ( 1975- Picnic at Hanging Rock )

• آخرین موج ( 1977- The Last Wave )

• گالیپولی ( 1981- Gallipoli )

• سال زندگی پر مخاطره ( 1982- The Year of Living Dangerously )

• شاهد ( 1985- Witness )

• ساحل موسکیتو ( 1986- The Mosquito Coast )

• انجمن شاعران مرده ( 1989- Dead Poets Society )

• گرین کارد ( 1990- Green Card )

• بی باک ( 1993- Fearless )

• نمایش ترومن ( 1998- The Truman Show )

• استاد و ناخدا : انتهای دنیا ( 2003- Master and Commander: The Far Side of the World )

گزیده جوایز و افتخارات

• نامزد دریافت جایزه اسکار بهترین کارگردانی برای فیلم های ، شاهد در سال 1986 ، انجمن شاعران مرده در سال 1990 ، نمایش ترومن در سال 1999 و استاد و ناخدا :انتهای دنیا در سال 2004.
امزد دریافت اسکار بهترین فیلم نامه ارجینال برای فیلم گرین کارد درسال 1991.
نامزد دریافت اسکار بهترین فیلم برای فیلم استاد و ناخدا :انتهای دنیا در سال 2004.

• نامزد دریافت جایزه گلدن گلوب در رشته بهترین کارگردانی برای فیلم های ، شاهد در سال 1986 ، انجمن شاعران مرده در سال 1990 ، نمایش ترومن در سال 1999 و استاد و ناخدا : انتهای دنیا در سال 2004.

• نامزد دریافت جایزه نخل طلای کن برای فیلم سال زندگی پر مخاطره در سال 1983.

• برنده جایزه بافتا در رشته بهترین فیلم برای فیلم انجمن شاعران مرده در سال 1990.
نامزد دریافت جایزه بافتا در رشته بهترین فیلم برای فیلم شاهد در سال 1986 و فیلم استاد و فرمانده : انتهای دنیا در سال 2004.

نامزد دریافت جایزه بافتا در رشته بهترین کارگردانی برای فیلم انجمن شاعران مرده در سال 1990.

نامزد دریافت جایزه بافتا در رشته بهترین فیلم نامه برای فیلم گرین کارد در سال 1992.

• نامزد دریافت جایزه خرس طلای برلین برای فیلم بی باک در سال 1994.

story

 

 

ارسال شده: توسط سحر تقی پور

سردبیر بخش مقالات:سحر تقی پور

 

Compiled by : Sahar Taghipour

The following article was the first one I reported in reading class. It was beautiful. I’ve written the definition of new words below.

Hero : most important character in a story circumstance : conditions that influence a person or event . impairment : weakness 0 disability

Gentleness : not rough or violant

Keenness off appreciation : To be willing for apprecinting something .

Merry: full of or causing laughter and fun / happy lethargy : unawareness .

Faculty : natural power of the mind or body manifold : many in number or kind .

Imagine a moment of being blind and deaf , without any hearing , without any sound . what would your life be like exactly ? How would you connect to reality ?

All of us have read different stories in which the hers has only a limited and a specified time to live . some times it is as long as a year , sometimes as short as just 24 hours . But always we are interested in discovering just how the her of the story would choose to spend the last years or his last hours . Have you ever thought about ? such articles set us thinking and wondering what we should do under similar circumstance ? what happiness should we find in reviewing the past , what regrets ?

It would be an excellent rull to love each day , as if you should die tomorrow . such an attitude would emphasize sharply the values of life .

We should live each day with a gentleness or a keenness of appreciator which are often lost , when the times stretches especially for group of people who summarize their life in eating , drinking and just being merry for one moment . The same lethargy , that we have to be aware of that , is about the usage of our faculties and senses . Only a deaf appreciate hearing only the blind realize the manifold blessing which lies in the eye . Unfortunately , those who have never sffered from the impairment of sight and hearing , selsom make the fullest use of these blessed faculties .

It is as the same old story that says we don’t know the exact value of something until we lost them .

It would be a blessing if each human being become blind and deaf for a few days during the early adult age . Darkness would moke him more appreciative of sight , silence would teach him the joys of sounds .

So , from today , try and try , more and more , try your most , to get your best . All of us are in the first years of the youth . why we don’t try to be the best one . use your complete faculties in your body .

Who knows perhaps this is the last day that we are alive .

 

داستان

ارسال شده مسلم سنگ سفیدی

سردبیر داستان:شادی چارگانه

      موضوع داستان :دانش وتدبیر حضرت علی (ع)

 

ارسال شده توسط: مسلم سنگ سفیدی

سردبیر بخش داستان: شادی چارگانه

 

 

زنی نزد حضرت علی (ع) آمد وگفت که:کودکم برروی ناودان رفته ودر

 

خطر افتادن است هر چند او را می خوانم نمی آید و اگر رهایش سازم بیم

 

آن دارم که از ناودان فروافتد ،همچون بزرگسال دانا نیست تا سخن مرا

 

دریابد واز خطر آگاه شود اشارت با دست را هم برای بازگشت درنمی

 

یابد واگرهم دریابد نمی پزیرد وفرمان نمی برد که این هم کار بدی است

 

ای علی زودتر درد مرا درمان کن که قلبم از بیم فروافتادن فرزند می

 

لرزد و نمی توانم از میوه جان ودل،پیوند بگسلم .حضرت راهنمایی کردند

 

که طفل دیگری به روی بام برده شود تاکودک نخستین نوع وهمسال خود

 

را مشاهده کند آنگاه بی درنگ به سوی هم نوع خود خواهد امد واز کنار

 

ناودان وآن پرتگاه دور خواهد شد، سرانجام آن کودک ازروی ناودان به

 

میان بام امد.    

 

نقد وبررسی:

 

نکته ای که دراین داستان مطرح شده، یکی از موضوعهای مهم

 

روانشناسی اموزشی است ،جالب که چنین مسئله دقیق تربیتی،قرنها

 

پیش،ازسوی پیامبراسلام(ص)یاحضرت علی(ع) بدین سادگی وروشنی

 

بیان شده است این اآموزش،در روانشناسی،آموزش گروه همگن نامیده

 

می شود.در روانشناسی کودک،اموزش از همسان وهمگن،یکی ازبهترین

 

انواع آموزش است.

 

 

مهدی اخوان ثالث.(م.امید)

اخوان

 

سردبیر شعر و نثر:کوروش آریایی-امین داودی

 

این هم شعر فریاد از اخوان همان شعری که استاد شجریان آهنگ معروف فریاد را خوانده است و شما روی همین وبلاگ می شنوید

 

این هم شعر فریاد از اخوان همان شعری که استاد شجریان آهنگ معروف فریاد را خوانده است و شما روی همین وبلاگ می شنوید

خانه ام آتش گرفتست، آتشی جانسوز

 

هر طرف می‌سوزد این آتش، 

 

پرده‌ها و فرشها را، تارشان با پود.

 

من به هر سو می‌دوم گریان،

 

در لهیب آتش پر دود؛

 

وز میان خنده‌هایم، تلخ،       

 

و خروش گریه‌‌ام، ناشاد، 

 

از درون خسته‌ی سوزان،

 

می‌کنم فریاد! ای فریاد! ای فریاد

 

 

 

خانه‌ام آتش گرفته‌ست، آتشی بی‌رحم   

 

همچنان می‌سوزد این آتش،

 

نقشهایی را که من بستم به خون دل،

 

بر سر و چشم در و دیوار،

 

در شب رسوای بی‌ساحل. 

 

وای بر من، سوزد و سوزد          

 

غنچه‌هایی را که پروردم به دشواری، 

 

در دهان گود گلدانها،           

 

روزهای سخت بیماری.            

 

از فراز بامهاشان، شاد 

 

دشمنانم موذیانه خنده‌های فتحشان بر لب،  

 

بر من آتش بجان ناظر. 

 

در پناه این مشبک شب. 

 

من به هر سو می‌دوم، گریان از این بیداد.

 

می‌کنم فریاد! ای فریاد! ای فریاد

 

 

 

وای بر من، همچنان می‌سوزد این آتش

 

آنچه دارم یادگار و دفتر و دیوان؛ 

 

و آنچه دارم منظر و ایوان.

 

من به دستان پر از تاول      

 

اینطرف را می‌کنم خاموش،

 

وز لهیب آن روم از هوش؛

 

ز آن دگرسو شعله برخیزد، به گردش دود.

 

تا سحرگاهان، که می‌داند، که بودِ من شود نابود.

 

خفته‌اند این مهربان همسایگانم شاد در بستر،

 

صبح از من مانده برجا مشتِ خاکستر؛

 

وای، آیا هیچ سر برمی‌کنند از خواب،

 

مهربان همسایگانم از پی امداد؟

 

سوزدم این آتش بیدادگر بنیاد.

 

می‌کنم فریاد، ای فریاد! ای فریاد! 

 

 

 

 

                   زمستان

 

سلامت را نمي خواهند پاسخ گفت ،

                                                            سرها در گريبان است .

 

كسي سر بر نيارد كرد پاسخ گفتن و ديدار ياران را .

 

نگه جز پيش پا را ديد ، نتواند ،

 

كه ره تاريك و لغزان است .

 

وگر دست محبت سوي كس يازي ،

 

به اكراه آورد دست از بغل بيرون؛

 

كه سرما سخت سوزان است .

 

نفس ، كز گرمگاه سينه مي آيد برون ، ابري شود تاريك .

 

چو ديوار ايستد در پيش چشمانت .

 

نفس كاين است ، پس ديگر چه داري چشم

 

ز چشم دوستان در يا نديك ؟

 

مسيحاي جوانمرد من ! اي ترساي پير پيرهن چركين !

 

هوا بس نا جوانمردانه سرد است .. آي ..

 

 

دمت گرم و سرت خوش باد ! سلامم را تو پاسخ گوي ، در بگشاي !

 

منم من ، ميهمان هر شبت ، لولي وش مغموم .

 

منم من ، سنگ تيپاخورده رنجور .

 

منم ، دشنام پست آفرينش ، نغمه ناجور .

 

نه از رومم ، نه از زنگم ، همان بيرنگ بيرنگم .

 

بيا بگشاي در ، بگشاي ، دلتنگم .

 

حريفا ! ميزبانا ! ميهان سال و ماهت پشت در چون موج مي لرزد .

 

تگرگي نيست ، مرگي نيست .

 

صدايي گر شنيدي ، صحبت سرما و دندان است .

 

من امشب آمدستم وام بگزارم .

 

حسابت را كنار جام بگذارم .

 

چه مي گويي كه بيگه شد ، سحر شد ، بامداد آمد ؟

 

فريبت مي دهد ، بر آسمان اين سرخي بعد از سحر گه نيست .

 

حريفا ! گوش سرما برده است اين ، يادار سيلي سرد زمستان است .

 

و قنديل سپهر تنگ ميدان ، مرده يا زنده ،

 

به تابوت ستبر ظلمت نه توي مرگ اندود ، پنهان است .

 

حريفا ! رو چراغ باده را بفروز ، شب با روز يكسان است .

 

سلامت را نمي خواهند پاسخ گفت .

 

هوا دلگير ، درها بسته ، سرها در گريبان پنهان ؛

 

نفس ها ابر ، دل ها خسته و غمگين ،

 

درختان اسكلتهاي بلورآجين ،

 

زمين دلمرده ، سقف آسمان كوتاه ،

 

غبار آلوده مهر و ماه ،

 

زمستان است .

                                                          

                                                                 تهران ، دي ماه 1334

 

 

                               لحظه دیدار

 

لحظه ی  دیدار نزدیک است.

 

بازمن دیوانه ام مستم.

 

باز میلرزد، دلم ،دستم.

 

باز گویی در جهان دیگری هستم.

                                                 ***

 

های! نخراشی به غفلت گونه ام را،تیغ!

 

های،نپریشی صفای زلفکم را، دست!

 

و آبرویم را نریزی،دل!

 

- ای نخورده مست-

 

لحظه ی دیدار نزدیک است.

 

                                                                                                     تهران،آبان ماه 1334 

----------------------------------------------------------------------------------------------------

 

                              دریچه ها

 

ما چون دودریچه، روبروی هم،

 

آگاه ز هر بگو مگوی هم.

 

هر روز سلام و پرسش و خنده،

 

هر روز قرار روز آینده.

 

عمر آینه ی بهشت،اما ... آه

 

بیش از شب و روز تیر و دی کوتاه

 

اکنون دل من شکسته و خسته ست،

 

زیرا یکی از دریچه ها بسته ست.

 

نه مهر فسون،نه ماه جادو کرد،

 

نفرین به سفر،که هر چه کرد او کرد.

 

                                                                                                            تهران، دی 1335

 

                                   قاصدک

 

 

قاصدک!هان،چه خبر آوردی؟

 

از کجا،وز که خبر آوردی؟

 

خوش خبر باشی،اما،اما

 

گرد بام و در من

 

بی ثمر میگردی.

 

 

انتظار خبری نیست مرا

 

نه ز یاری نه ز دیار و دیاری- باری،

برو آنجا که بود چشم و گوشی با کس،

 

برو آنجا که تو را منتظرند.

 

قاصدک!

 

در دل من همه کورند و کرند.

 

دست بردار از این در وطن خویش غریب.

 

قاصد تجربه های همه تلخ،

 

با دلم می گوید

 

که دروغی تو،دروغ،

 

که فریبی تو، فریب.

 

 

قاصدک!هان،ولی ... آخر ... ای وای!

 

راستی آیا رفتی با باد؟

 

با تو ام،آی! کجا رفتی؟ آی ... !

 

راستی آیا جایی خبری هست هنوز؟

 

مانده خاکستر گرمی،جایی؟

 

در اجاقی- طمع شعله نمی بندم- خردک شرری هست هنوز؟

 

قاصدک! ابرهای همه عالم شب و روز

 

در دلم می گریند                                  تهران شهریور 1338

 

--------------------------------------------------------------------------------------------------------------------------------

برف
پاسي از شب رفته بود و برف مي باريد،
چون پرافشان پري هاي هزار افسانه اي از يادها رفته.
باد چونان آمري، مأمور و ناپيدا،
بس پريشان حكم ها مي راند مجنون وار،
بر سپاهي خسته و غمگين و آشفته.

برف مي باريد و ما آرام،
گاه تنها، گاه با هم، راه مي رفتيم.
چه شكايت هاي غمگيني كه مي كرديم،
يا حكايت هاي شيريني كه مي گفتيم

هيچ كس از ما نمي دانست،
كز كدامين لحظه ي شب كرده بود اين باد برف آغاز.
هم نمي دانست كاين راه خم اندر خم
به كجامان مي كشاند باز.

برف مي باريد و پيش از ما
ديگراني همچو ما خشنود و ناخشنود،
زير اين كج بار خامُش بار، از اين راه
رفته بودند و نشان پاي هاشان بود

پاسي از شب رفته بود و همرهان بي شمار ما،
گاه شنگ و شاد و بي پروا،
گاه گويي بيمناك از آبكند وحشتي پنهان
جاي پا جويان،
زير اين غمبار، در همبار،
سر به زير افكنده و خاموش،
راه مي رفتند.
وز قدم هايي كه پيش از اين
رفته بود اين راه را، افسانه مي گفتند

راه بود و راه ـ اين هر جايي افتاده ـ اين همزاد پاي آدم خاكي؛
برف بود و برف ـ اين آشوفته پيغام ـ اين پيغام سرد پيري و پاكي؛
و سكوت ساكت و آرام،
كه غم آور بود و بي فرجام.
راه مي رفتيم و من با خويشتن گه گاه مي گفتم
«كو ببينم لولي اي لولي!
اين تويي آيا ـ بدين شنگي و شنگولي،
سالك اين راه پر هول دراز آهنگ؟» و من بودم
كه بدينسان خستگي نشناس،
مي سپردم راه و خوش بي خويشتن بودم

باز مي رفتيم و مي باريد
جاي پا جويان،
هر كه پيش پاي خود مي ديد.
من، ولي ديگر ،
شنگي و شنگوليم مرده،
چابكي هام از درنگي سرد آزرده،
شرمگين از رد پايي،
كه بر آن ها مي نهادم پاي،
گاه گه با خويش مي گفتم:
«كي جدا خواهي شد از اين گله هاي پيشواشان بُز؟
كي دليرت را درفش آسا فرستي پيش؟
تا گذارد جايي پاي از خويش؟»

همچنان غمبار در همبار مي باريد.
من وليكن باز، شادمان بودم.
ديگر اكنون از بزان و گوسپندان پرت،
خويشتن هم گلّه بودم، هم شبان بودم
بر بسيط برف پوش خلوت و هموار
تك و تنها با درفش خويش، خوش خوش پيش مي رفتم.
زير پايم برف هاي پاك و دوشيزه،
قژقژي خوش داشت،
پام بذر نقش بكرش را،
هر قدم در برف ها مي كاشت.
مُهر بكري برگرفتن از گل گنجينه هاي راز،
هر قدم از خويش نقش تازه اي هشتن،
چه خدايانه غروري در دلم مي كشت و مي انباشت.

خوب يادم نيست،
تا كجاها رفته بودم، خوب يادم نيست،
اين كه فريادي شنيدم يا هوس كردم،
كه كنم رو باز پس، رو باز پس كردم.
پيش چشمم چيست اينك؟ راه پيموده.
پهندشت برف پوش راه من بوده.
گام هاي من بر آن نقش من افزوده.
چند گامي بازگشتم، برف مي باريد.

جاي پاها تازه بود، اما،
برف مي باريد.
باز مي گشتم،
برف مي باريد
جاي پاها ديده مي شد ليك،
باز مي گشتم،
برف مي باريد.
برف مي باريد. مي باريد. مي باريد....
جاي پاهاي مرا هم برف پوشانده ست.

۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰

این شعر را مرحوم اخوان به دکتر حمید مصدق تقدیم نموده و در واقع پاسخی به شعر معروف دکتر حمید مصدق است

                              پیوندها و باغ ها

لحظه ای خاموش ماند ، آنگاه
 باز دیگر سیب سرخی را که در کف داشت
به هوا انداخت
 سیب چندی گشت و باز آمد
 سیب را بویید
گفت
گپ زدن از ایباریها و از پیوند ها کافیست
خوب
تو چه می گویی ؟
آه
 چه بگویم ؟ هیچ
سبز و رنگین جامه ای گلبفت بر تن داشت
 دامن سیرابش از موج طراوت مثل دریا بود
از شکوفه های گیلاس و هلو طوق خوش آهنگی بگردن داشت
 پرده ای طناز بود از مخملی گه خواب گه بیدار
با حریری که به آرامی وزیدن داشت
روح باغ شاد همسایه
مست و شیرین می خرامید و سخن می گفت
و حدیث مهربانش روی با من داشت
من نهادم سر به نرده ی اهن باغش
 که مرا از او جدا می کرد
 و نگاهم مثل پروانه
 در فضای باغ او می گشت
 گشتن غمگین پری در باغ افسانه
او به چشم من نگاهی کرد
دید اشکم را
گفت
 ها ، چه خوب آمد بیادم گریه هم کاری است
گاه این پیوند با اشک است ، یا نفرین
گاه با شوق است ، یا لبخند
یا اسف یا کین
و آنچه زینسان ، لیک باید باشد این پیوند
بار دیگر سیب را بویید و سکت ماند
 من نگاهم را چو مرغی مرده سوی باغ خود بردم
آه
خامشی بهتر
ورنه من باید چه می گفتم به او ، باید چه می گفتم ؟
گر چه خاموشی سر آغز فراموشی است
 خامشی بهتر
 گاه نیز آن بایدی پیوند کو می گفت خاموشی ست
چه بگویم ؟ هیچ
 جوی خشکیده ست و از بس تشنگی دیگر
 بر لب جو بوته های بار هنگ و پونه و خطمی
خوابشان برده ست
 با تن بی خویشتن ، گویی که در رویا
می بردشان آب ،‌ شاید نیز
 آبشان برده ست
 به عزای عاجلت ای بی نجابت باغ
بعد از آنکه رفته باشی جاودان بر باد
هر چه هر جا ابر خشم از اشک نفرت باد آبستن
همچو ابر حسرت خاموشبار من
ای درختان عقیم ریشه تان در خکهای هرزگی مستور
یک جاوانه ی ارجمند از هیچ جاتان رست نتواند
ای گروهی برگ چرکین تار چرکین بود
 یادگار خشکسالیهای گردآلود
هیچ بارانی شما را شست نتواند

 

 

شاملو

 شاملو

سردبیر شعر:کوروش آریایی-امین داودی 

تو را به جای همه کسانی که نشناخته ام دوست می دارم

 

تو را به جای همه روزگارانی که نمی زیسته ام دوست می دارم

 

برای خاطر عطر گستره ی بیکران و برای خاطر عطر نان گرم

 

برای خاطر برفی که آب می شود

 

برای خاطر نخستین گناه

 

تو را برای خاطر دوست داشتن دوست می دارم

 

تو را به جای همه کسانی که دوست نمی دارم دوست می دارم

                                                                   

" پل الوآر "(ترجمه :احمد شاملو)

 

ميان آفتاب هاي هميشه

 

           زيبايي تو

 

                        لنگريست -

 

نگاهت

 

                      شکست ستمگري ست -

 

وچشمانت با من گفتند           که فردا

 

روز ديگري ست.

 

پس پشت مردمکانت                 

 

               فرياد کدام زنداني است

 

که آزادي را 

 

    به لبان بر آماسيده

 

                  گل سرخي پرتاب مي کند؟-

 

ورنه

 

            اين ستاره بازي

 

حاشا

 

 چيزي بدهکار آفتاب نيست.

 

                                                     شاملو..........

 

این هم شعر معروف پریا که یه زمانی  پدر مادرها برای بچه ها هم

می خواندن

خوش به سعادت بچه هایی که باحافظ،سعدی،مولانا، اخوان،شاملو و... بزرگ شدند نه با عمو پورنگ ،تورنگ،چیه چرا... فقط میشه گفت افسوس.همین و بس

 

 

   پریا 

 

يكي بود يكي نبود

زير گنبد كبود

لخت و عور تنگ غروب سه تا پري نشسه بود.

زار و زار گريه مي كردن پريا

مث ابراي باهار گريه مي كردن پريا.

گيس شون قد كمون رنگ شبق

از كمون بلن ترك

از شبق مشكي ترك.

روبروشون تو افق شهر غلاماي اسير

پشت شون سرد و سيا قلعه افسانه پير.

 

از افق جيرينگ جيرينگ صداي زنجير مي اومد

از عقب از توي برج شبگير مي اومد...

 

« - پريا! گشنه تونه؟

پريا! تشنه تونه؟

پريا! خسته شدين؟

مرغ پر شسه شدين؟

چيه اين هاي هاي تون

گريه تون واي واي تون؟ »

 

پريا هيچي نگفتن، زار و زار گريه ميكردن پريا

مث ابراي باهار گريه مي كردن پريا

***

« - پرياي نازنين

چه تونه زار مي زنين؟

توي اين صحراي دور

توي اين تنگ غروب

نمي گين برف مياد؟

نمي گين بارون مياد

نمي گين گرگه مياد مي خوردتون؟

نمي گين ديبه مياد يه لقمه خام مي كند تون؟

نمي ترسين پريا؟

نمياين به شهر ما؟

 

شهر ما صداش مياد، صداي زنجيراش مياد-

 

پريا!

قد رشيدم ببينين

اسب سفيدم ببينين:

اسب سفيد نقره نل

يال و دمش رنگ عسل،

مركب صرصر تك من!

آهوي آهن رگ من!

 

گردن و ساقش ببينين!

باد دماغش ببينين!

امشب تو شهر چراغونه

خونه ديبا داغونه

مردم ده مهمون مان

با دامب و دومب به شهر ميان

داريه و دمبك مي زنن

مي رقصن و مي رقصونن

غنچه خندون مي ريزن

نقل بيابون مي ريزن

هاي مي كشن

هوي مي كشن:

« - شهر جاي ما شد!

عيد مردماس، ديب گله داره

دنيا مال ماس، ديب گله داره

سفيدي پادشاس، ديب گله داره

سياهي رو سياس، ديب گله داره » ...

***

پريا!

ديگه تو روز شيكسه

دراي قلعه بسّه

اگه تا زوده بلن شين

سوار اسب من شين

مي رسيم به شهر مردم، ببينين: صداش مياد

جينگ و جينگ ريختن زنجير برده هاش مياد.

آره ! زنجيراي گرون، حلقه به حلقه، لابه لا

مي ريزد ز دست و پا.

پوسيده ن، پاره مي شن

ديبا بيچاره ميشن:

سر به جنگل بذارن، جنگلو خارزار مي بينن

سر به صحرا بذارن، كوير و نمك زار مي بينن

 

عوضش تو شهر ما... [ آخ ! نمي دونين پريا!]

در برجا وا مي شن، برده دارا رسوا مي شن

غلوما آزاد مي شن، ويرونه ها آباد مي شن

هر كي كه غصه داره

غمشو زمين ميذاره.

قالي مي شن حصيرا

آزاد مي شن اسيرا.

اسيرا كينه دارن

داس شونو ور مي ميدارن

سيل مي شن: گرگرگر!

تو قلب شب كه بد گله

آتيش بازي چه خوشگله!

 

آتيش! آتيش! - چه خوبه!

حالام تنگ غروبه

چيزي به شب نمونده

به سوز تب نمونده،

به جستن و واجستن

تو حوض نقره جستن

 

الان غلاما وايسادن كه مشعلا رو وردارن

بزنن به جون شب، ظلمتو داغونش كنن

عمو زنجير بافو پالون بزنن وارد ميدونش كنن

به جائي كه شنگولش كنن

سكه يه پولش كنن:

دست همو بچسبن

دور ياور برقصن

« حمومك مورچه داره، بشين و پاشو » در بيارن

« قفل و صندوقچه داره، بشين و پاشو » در بيارن

 

پريا! بسه ديگه هاي هاي تون

گريه تاون، واي واي تون! » ...

 

پريا هيچي نگفتن، زار و زار گريه مي كردن پريا

مث ابراي باهار گريه مي كردن پريا ...

***

« - پرياي خط خطي، عريون و لخت و پاپتي!

شباي چله كوچيك كه زير كرسي، چيك و چيك

تخمه ميشكستيم و بارون مي اومد صداش تو نودون مي اومد

بي بي جون قصه مي گف حرفاي سر بسه مي گف

قصه سبز پري زرد پري

قصه سنگ صبور، بز روي بون

قصه دختر شاه پريون، -

شما ئين اون پريا!

اومدين دنياي ما

حالا هي حرص مي خورين، جوش مي خورين، غصه خاموش مي خورين

[ كه دنيامون خال خاليه، غصه و رنج خاليه؟

 

دنياي ما قصه نبود

پيغوم سر بسته نبود.

 

دنياي ما عيونه

هر كي مي خواد بدونه:

 

دنياي ما خار داره

بيابوناش مار داره

هر كي باهاش كار داره

دلش خبردار داره!

 

دنياي ما بزرگه

پر از شغال و گرگه!

 

دنياي ما -  هي هي هي !

عقب آتيش - لي لي لي !

آتيش مي خواي بالا ترك

تا كف پات ترك ترك ...

 

دنياي ما همينه

بخواي نخواهي اينه!

 

خوب، پرياي قصه!

مرغاي شيكسه!

آبتون نبود، دونتون نبود، چائي و قليون تون نبود؟

كي بتونه گفت كه بياين دنياي ما، دنياي واويلاي ما

قلعه قصه تونو ول بكنين، كارتونو مشكل بكنين؟ »

 

پريا هيچي نگفتن، زار و زار گريه مي كردن پريا

مث ابراي باهار گريه مي كردن پريا.

***

دس زدم به شونه شون

كه كنم روونه شون -

پريا جيغ زدن، ويغ زدن، جادو بودن دود شدن، بالا رفتن تار شدن

[ پائين اومدن پود شدن، پير شدن گريه شدن، جوون شدن

[ خنده شدن، خان شدن بنده شدن، خروس سر كنده شدن،

[ ميوه شدن هسه شدن، انار سر بسّه شدن، اميد شدن ياس

[ شدن، ستاره نحس شدن ...

 

وقتي ديدن ستاره

يه من اثر نداره:

مي بينم و حاشا مي كنم، بازي رو تماشا مي كنم

هاج و واج و منگ نمي شم، از جادو سنگ نمي شم -

يكيش تنگ شراب شد

يكيش درياي آب شد

يكيش كوه شد و زق زد

تو آسمون تتق زد ...

 

شرابه رو سر كشيدم

پاشنه رو ور كشيدم

زدم به دريا تر شدم، از آن ورش به در شدم

دويدم و دويدم

بالاي كوه رسيدم

اون ور كوه ساز مي زدن، همپاي آواز مي زدن:

 

« - دلنگ دلنگ، شاد شديم

از ستم آزاد شديم

خورشيد خانم آفتاب كرد

كلي برنج تو آب كرد.

خورشيد خانوم! بفرمائين!

از اون بالا بياين پائين

ما ظلمو نفله كرديم

از وقتي خلق پا شد

زندگي مال ما شد.

از شادي سير نمي شيم

ديگه اسير نمي شيم

ها جستيم و واجستيم

تو حوض نقره جستيم

سيب طلا رو چيديم

به خونه مون رسيديم ... »

***

بالا رفتيم دوغ بود

قصه بي بيم دروغ بود،

پائين اومديم ماست بود

قصه ما راست بود:

 

قصه ما به سر رسيد

غلاغه به خونه ش نرسيد،

هاچين و واچين

زنجيرو ورچين

 

 

 

---------------------------------------------------------------------------------------------------------------------!

 

شبانه

 

شب تار

 

شب بیدار

 

شب سرشار است.

 

زیباتر شبی برای مردن

 

آسمان را بگو از الماس ستارگانش خنجری به من دهد.

 

شب 

 

سرار شب

 

یک سر

 

از حماسه ی دریای بهانه جو بی خواب مانده است.

 

دریای خالی

 

دریای بینوا...

 

جنگل سالخورده به سنگینی نفسی کشید و جنبشی کرد

 

و مرغی که از کرانه ماسه پوشیده پرکشیده بود

 

غریوکشان به تالاب تیره گون

 

در نشست.

 

تالاب تاریک

 

سبک از خواب برآمد

 

و با لالای بی سکون دریای بیهوده           

                                           

                                   باز

 

به خوابی بی رویا

 

فرو شد...

 

جنگل با ناله و حماسه بیگانه است

 

وزخم تبر را با لعاب سبز خزه

 

فرو می پوشد.

 

حماسه دریا از وحشت سکون و سکوت است

 

شب تار است.

 

شب بیمار است

 

از غریو دریای وحشت زده بیدار است

 

شب از سایه ها و غریو دریا سرشار است

 

زیباتر شبی برای دوست داشتن.

 

با چشمان تو مرا به الماس ستاره ها نیازی نیست

 

با آسمان

 

بگو.

                                                                احمد شاملو

ارسال شده توسط: زهرا محبی

عاشقانه

 

آن که می گوید دوستت دارم

 

خنیاگر غمگینی ست

 

که اوازش را از دست داده.

 

ای کاش عشق را

 

زبان سخن بود

 

هزار کاکلی شاد

 

در چشمان توست

 

هزار قناری خاموش 

 

در گلوی من.

 

عشق را ای کاش

 

زبان سخن بود

 

ان که می گوید دوستت دارم

 

دل اندوهگین شبی ست

 

که مهتابش را می جوید.

 

ای کاش عشق را

 

زبان سخن بود

 

هزار آفتاب خندان در خرام توست

 

هزار ستاره ی گریان

 

در تمنای من.

 

عشق را

 

ای کاش زبان سخن بود...   

 

 

                                                                                   احمد شاملو

 

ارسال شده توسط: زهرا محبی

 

حمید مصدق

حمید مصدق

سردبیر شعر: کوروش آریایی-امین داودی

 

 

تو به من خنديدي

 

و نمي دانستي

 

من به چه دلهره از باغچه همسايه

 

سيب را دزديدم

 

 

باغبان از پي من تند دويد

 

سيب را دست تو ديد

 

غضب آلوده به من كرد نگاه

 

سيب دندان زده از دست تو افتاد به خاك

 

و تو رفتي و هنوز،

 

سالها هست كه در گوش من آرام،

 

آرام

 

خش خش گام تو تكرار كنان،

 

ميدهد آزارم

 

و من انديشه كنان

 

غرق اين پندارم

 

كه چرا،

-

خانه كوچك ما

 

سيب نداشت .

                                                                خرداد 1343

***

قصيده آبي خاكستري سياه

 

در شبان غم تنهايي خويش، عابد چشم سخنگوي توام

من در اين تاريكي، من در اين تيره شب جانفرسا، زائر ظلمت گيسوي توام

گيسوان تو پريشانتر از انديشه ي من، گيسوان تو شب بي پايان

كاش با زورق انديشه شبي، از شط گيسوي مواج تو من، بوسه زن بر سر هر

موج گذر مي كردم...

كاش بر اين شط مواج سياه، همه ي عمر سفر مي كردم

من هنوز از اثر عطر نفسهاي تو سرشار سرور،گيسوان تو در انديشه ي من،

گرم رقصي موزون

كاشكي سر  پنجه ي من، در شب گيسوي پر پيچ تو راهي مي جست

چشم من چشمه ي زاينده ي اشك، گونه ام بستر رود

كاشكي همچو حبابي بر آب، در نگاه تو رها مي شدم از بود و نبود

 

شب تهي از مهتاب، شب تهي از اختر، ابر خاكستري بي باران پوشانده آسمان را

يكسر

ابر خاكستري بي باران،راه بر مرغ نگاهم بسته...واي ، باران ...باران، شيشه ي

پنجره را باران شست

 از دل من اما ...چه كسي نقش تو را خواهد شست ؟

 

آسمان سربي رنگ... من درون قفس سرد اتاقم دلتنگ...مي پرد مرغ نگاهم تا

دور....واي ، باران ..باران ؛

پر مرغان نگاهم را شست، اب رؤياي فراموشيهاست، خواب را دريابم...كه در

آن دولت خاموشيهاست

من شكوفايي گلهاي اميدم را در رؤياها مي بينم...و ندايي كه به من مي گويد :

 ”گر چه شب تاريك است...دل قوي دار ، سحر نزديك است “

دل من در دل شب ، خواب پروانه شدن مي بيند، آسمانها آبي.، پر مرغان صداقت

آبي ست، ديده در آينه ي صبح تو را مي بيند...

از گريبان تو صبح صادق،  مي گشايد پر و بال...تو گل سرخ مني...تو گل ياسمني

تو چنان شبنم پاك سحري ؟ نه......از آن پاكتري

تو بهاري ؟ نه...بهاران از توست، از تو مي گيرد وام، هر بهار اينهمه زيبايي را

، هوس باغ و بهارانم نيست

اي بهين باغ و بهارانم تو..... سبزي چشم تو ....درياي خيال

پلك بگشا كه به چشمان تو دريابم باز ...مزرع سبز تمنايم را

اي تو چشمانت سبز ... در من اين سبزي هذيان از توست

زندگي از تو و ....مرگم از توست.....سيل سيال نگاه سبزت....همه بنيان وجودم

را ويرانه كنان مي كاود

من به چشمان خيال انگيزت معتادم ...و دراين راه تباه ....عاقبت هستي خود را

دادم

آه سرگشتگي ام در پي آن گوهر مقصود چرا ...در پي گمشده ي خود به كجا

بشتابم ؟

مرغ آبي اينجاست....در خود آن گمشده را دريابم...در سحرگاه سر از بالش

خواب بردار

كاروانهاي فرومانده ي خواب از چشمت بيرون كن..

 

.باز كن پنجره را ...تو اگر بازكني پنجره را ....من نشان خواهم داد ...به تو

زيبايي را ...بگذار از زيور و آراستگي

من تو را با خود تا خانه ي خود خواهم برد...كه در آن شكوت پيراستگي...چه

صفايي دارد

آري از سادگيش...چون تراويدن مهتاب به شب ،مهر از آن مي بارد

باز كن پنجره را، من تو را خواهم برد، به سر رود خروشان حيات...آب اين رود

به سرچشمه نمي گردد باز

بهتر آنست كه غفلت نكنيم از آغاز......

باز كن پنجره را ، صبح دميد،  چه شبي بود و چه فرخنده شبي...آن شب دور كه

چون خواب خوش از ديده پريد

كودك قلب من اين قصه ي شاد...از لبان تو شنيد :

”زندگي رويا نيست...زندگي زيبايي ست...مي توان بر درختي تهي از بار ، زدن

پيوندي

مي توان در دل اين مزرعه ي خشك و تهي بذري ريخت....

مي توان...از ميان فاصله ها را برداشت

دل من با دل تو...هر دو بيزار از اين فاصله هاست “

قصه ي شيريني ست...كودك چشم من از قصه ي تو مي خوابد...قصه ي نغز تو

از غصه تهي ست

باز هم قصه بگو...تا به آرامش دل ...سر به دامان تو بگذارم و در خواب روم

گل به گل ، سنگ به سنگ اين دشت ...يادگاران تو اند...

در دلم آرزوي آمدنت مي ميرد....

با شبان رازي بود...روزها شوري داشت

ما پرستوها را ...از سر شاخه به بانگ هي ، هي ...مي پرانديم در آغوش فضا

ما قناريها را ...از درون قفس سرد رها مي كرديم...

اين گياه سرسبز، حاصل مهر تو بود

دستهاي تو توانايي آن را دارد ،كه مرا...زندگاني بخشد

چشمهاي تو به من مي بخشد...شور عشق و مستي

و تو چون مصرع شعري زيبا...سطر برجسته اي از زندگي من هستي

دفتر عمر مرا ....با وجود تو شكوهي ديگر ....رونقي ديگر هست

مي تواني تو به من...زندگاني بخشي...يا بگيري از من ...آنچه را مي بخشي

من به بي ساماني...باد را مي مانم

من به سرگرداني....ابر را مي مانم

تو به اندازه ي تنهايي من خوشبختي

من به اندازه ي زيبايي تو غمگينم

چه اميد عبثي ...من چه دارم كه تو را در خور ؟ هيچ

من چه دارم كه سزاوار تو ؟ هيچ

تو همه هستي من ، هستي من ....تو همه زندگي من هستي

تو چه داري ؟ همه چيز

تو چه كم داري ؟  هيچ

بي تو در مي ابم...چون چناران كهن...از درون تلخي واريزم را

كاهش جان من اين شعر من است

آرزو مي كردم ...كه تو خواننده ي شعرم باشي...راستي شعر مرا مي خواني ؟....

بي تو من چيستم ؟ ابر اندوه....بي تو سرگردانتر از پژواكم در كوه

گرد بادم در دشت ....برگ پاييزم ، در پنجه ي باد

بي تو سرگردانتر از نسيم سحرم....از نسيم سحر سرگردان

بي سرو سامان ...بي تو - اشكم ...دردم ....آهم

آشيان برده ز ياد ...مرغ درمانده به شب گمراهم

بي تو خاكستر سردم ، خاموش....نتپد ديگر در سينه ي من ، دل با شوق

نه مرا بر لب ، بانگ شادي...نه خروش....

بي تو ديو وحشت،هر زمان مي دردم...

بي تو احساس من از زندگي بي بنياد ، و اندر اين دوره بيدادگريها هر دم

كاستن ، كاهيدن، كاهش جانم، كم كم.....چه كسي خواهد ديد....مردنم را بي تو ؟

بي تو مردم ، مردم ...گاه مي انديشم....خبر مرگ مرا با تو چه كس مي گويد ؟

من به خود مي گويم:” چه كسي باور كرد، جنگل جان مرا، آتش عشق تو

خاكستر كرد ؟ “

 

در من اينك كوهي...سر برافراشته از ايمان است .

من به هنگام شكوفايي گلها در دشت ....باز برمي گردم ... و صدا مي زنم :

” آي ...باز كن پنجره را ...باز كن پنجره را ....در بگشا

كه بهاران آمد...كه شكفته گل سرخ ...به گلستان آمد

باز كن پنجره را ....كه پرستو مي شويد در چشمه ي نور

كه قناري مي خواند...مي خواند آواز سرور.... كه : بهاران آمد ...كه شكفته گل

سرخ به گلستان آمد “

سبز برگان درختان همه دنيا را ...نشمرديم هنوز...من صدا مي زنم :

” باز كن پنجره ، باز آمده ام....من پس از رفتنها ، رفتنها ؛ با چه شور و چه

شتاب

در دلم شوق تو ، اكنون به نياز آمده ام “داستانها دارم ....

از دياران كه سفر كردم و رفتم بي تو....از دياران كه گذر كردم و رفتم بي تو

بي تو مي رفتم ، مي رفتم ، تنها ، تنها....وصبوري مرا، كوه تحسين مي كرد

من اگر سوي تو برمي گردم....دست من خالي نيست

كاروانهاي محبت با خويش...ارمغان آوردم...من به هنگام شكوفايي گلها در دشت

باز برخواهم گشت....تو به من مي خندي

من صدا مي زنم :

” آي باز كن پنجره را “ پنجره را مي بندي...با من اكنون چه نشستنها ،

خاموشيها

با تو اكنون چه فراموشيهاست....

آشيان تهي دست مرا ...مرغ دستان تو پر مي سازند

آه مگذار ، كه دستان من آن...اعتمادي كه به دستان تو دارد به فراموشيها

بسپارد

آه مگذار كه مرغان سپيد دستت...دست پر مهر مرا سرد و تهي بگذارد ...

  

                                          به شادروان مهدي اخوان ثالث »

**********

گلي جان سفره دل را

برايت پهن خواهم كرد

گلي جان وحشت از سنگ است و سنگ انداز

و گرنه من برايت شعرهاي ناب خواهم خواند

 

در اينجا وقت گل گفتن

زمان گل شنفتن نيست

نهان در آستين همسخن ماري

درون هر سخن خاري ست

 

گلي جان در شگفتم از تو و اين پاكي روشن

شگفتي نيست ؟

كه نيلوفر چنين شاداب در مرداب مي رويد ؟

 

از اينجا تا مصيبت راه دوري نيست

از اينجا تا مصيبت سنگ سنگش

- قصه تلخ جدائي ها

سر هر رهگذرش مرگ عشق و آشنايي هاست

از اينجا تا حديث مهرباني راه دشواري ست

بيابان تا بيابانش پر از درد است

***

مرا سنگ صبوري نيست

گلي جان با توام

سنگ صبورم باش!

شبم را روشنائي بخش

گلي، درياي نورم باش !

***

                                                        

فریدون مشیری

فریدون مشیری

سردبیر شعر:کوروش آریایی-امین داودی

 

دوستی

دل من دير زمانی است كه می پندارد : « دوستی » نيز گلی است ؛ مثل نيلوفر و ناز ، ساقه ترد ظريفی دارد . بی گمان سنگدل است آنكه روا می دارد جان اين ساقه نازك را                        - دانسته-                           بيازارد !   در زمينی كه ضمير من و توست ، از نخستين ديدار ، هر سخن ، هر رفتار ، دانه هايی است كه می افشانيم . برگ و باری است كه می رويانيم آب و خورشيد و نسيمش « مهر » است   گر بدانگونه كه بايست به بار آيد ، زندگی را به دل‌انگيزترين چهره بيارايد . آنچنان با تو در آميزد اين روح لطيف ، كه تمنای وجودت همه او باشد و بس . بی‌نيازت سازد ، از همه چيز و همه كس .   زندگی ، گرمی دل های به هم پيوسته ست تا در آن دوست نباشد همه درها بسته ست .   در ضميرت اگر اين گل ندميده است هنوز ، عطر جان‌پرور عشق گر به صحرای نهادت نوزيده است هنوز دانه ها را بايد از نو كاشت . آب و خورشيد و نسيمش را از مايه جان خرج می بايد كرد . رنج می بايد برد . دوست می بايد داشت !   با نگاهی كه در آن شوق برآرد فرياد با سلامی كه در آن نور ببارد لبخند دست يكديگر را بفشاريم به مهر جام دل هامان را                 مالامال از ياری ، غمخواری بسپاريم به هم   بسراييم به آواز بلند : - شادی روی تو  !                       ای ديده به ديدار تو شاد باغ جانت همه وقت از اثر صحبت دوست تازه ،         عطر افشان                    گلباران باد .   --------------------------------------------------------------------------

 

کوچه

 

 

بی تو مهتاب شبی باز از آن کوچه گذشتم

 

همه تن چشم شدم خیره به دنبال تو گشتم

 

شوق دیدار تو لبریز شد از جام وجودم

 

شدم آن عاشق دیوانه که بودم

 

در نهان خانه جانم گل یاد تو درخشید

 

باغ صد خاطره خندید

 

عطر صد خاطره پیچید

 

یادم آمد که شبی باهم از آن کوچه گذشتیم

 

پر گشودیم و در آن خلوت دلخواسته گشتیم

 

ساعتی بر لب آن جوی نشستیم

 

تو همه راز جهان ریخته در چشم سیاهت

 

من همه محو تماشای نگاهت

 

آسمان صاف و شب آرام

 

بخت خندان و زمان رام

 

خوشه ی ماه فرو ریخته در آب

 

شاخه ها دست بر آورده به مهتاب

 

شب و صحرا و گل و سنگ

 

همه دل داده به آواز شباهنگ

 

یادم آید تو به من گفتی

 

از این عشق حذر کن

 

لحظه ای چند بر این آب نظر کن

 

آب آیینه عشق گذران است

 

تو که امروز نگاهت به نگاهی نگران است

 

باش فردا که دلت با دگران است

 

تا فراموش کنی چندی از این شهر سفر کن

 

با تو گفتم

 

حذر از عشق ؟

 

ندانم

 

سفر از پیش تو ؟

 

هرگز نتوانم نتوانم

 

روز اول که دل من به تمنای تو پر زد

 

چون کبوتر لب بام تو نشستم

 

تو به من سنگ زدی من نرمیدم نگسستم

 

باز گفتم که: تو صیادی و من آهوی دشتم

 

تا به دام تو درافتم همه جا گشتم و گشتم

 

حذر از عشق ندانم

 

سفر از پیش تو هرگز نتوانم نتوانم...

 

اشکی از شاخه فرو ریخت

 

مرغ شب ناله تلخی زد و بگریخت

 

اشک در چشم تو لرزید

 

ماه بر عشق تو خندید

 

یادم آید که دگر از تو جوابی نشنیدم

 

پای در دامن اندوه کشیدم

 

نگسستم

 

نرمیدم

 

رفت در ظلمت غم آن شب و شبهای دگر هم

 

نگرفتی دگر از عاشق آزرده خبر هم

 

نه کنی دیگر از آن کوچه گذر هم

 

بی تو اما به چه حالی من از آن کوچه گذشتم

  این شعر توسط شاعری ناشناس به یاد شعر کوچه فریدون مشیری

 

از كوچه زيباي تو امروز گذشتم...

 

از كوچه زيباي تو امروز گذشتم

 

 

ديدم كه همان عاشق و معشوقه پرستم

 

 

يك لحظه به ياد تو از آن كوچه گذشتم

 

 

ديدم كه زسر تا به قدم شوق و اميدم

 

 

هر چند گل از خرمن عشق تو نچيدم

 

 

آن شور جواني نرود از ياد

 

 

اي راحت و آرام دل من خانه ات آباد

 

 

با ياد رخت اين دل افسرده شود شاد

 

 

هرگز نشود مهر تو اي شوخ فراموش

 

 

كي آتش عشق تو شود يكسره خاموش

 

 

هرجا كه نشستم سخن  از عشق تو گفتم

 

 

با اشك جگر سوز دل سخت توسفتم

 

خاك ره اين كوچه به خار مژه رفتم

 

دل مي تپد از شوق كه امروز كجايي?

 

 

شايد كه دگر باره از اين كوچه بيايي

*

 این شعر توسط شاعری ناشناس به یاد شعر کوچه فریدون مشیری

 

 

 

بي تو طوفان زده دشت جنونم صيد افتاده به خونم !


تو چه سان مي گذري غافل از اندوه درونم!



بي من از كوچه گذر كردي ورفتي



قطره اي اشك درخشيد به چشمان غمگينم



تا خم كوچه بدنباله تو لغزيد نگاهم تونديدي !



نگهت هيچ نيفتاد به راهي كه گذشتي ؟ چون درخانه ببستم دگر از پاي نشستم



گوئيا زلزله آمد گوئيا خانه فرو ريخت سره من بي تو من در همة شهر غريبم



بي تو كس نشنود از اين دله بشكسته صدائي



بر نخيزد دگر از مرغك پر بسته نوائي تو همه بود و نبودي ....



تو همه شعر و سرودي چه گريزي ز برم !؟



كه زكويت نگريزم گر بميرم ز غم دل به تو هر گز نستيزم



من و يك لحظه جدائي !! نتوانم ، نتوانم بي تو من زنده نمانم

 

 

 

قیصر امین پور

قیصر امین پور

سردبیر شعر:امین داودی-کوروش آریایی

           "   سفر ایستگاه  "

 

قطار می رود

 

او می رود

 

تو می روی !

 

تمام ایستگاه میرود !

 

 و من چقدر ساده ام

 

که سالهای سال

 

 در انتظار تو

 

کنار این قطار رفته ایستاده ام !

 

و همچنان

 

به نرده های  ایستگاه رفته

 

تکیه داده ام !

 

 قطار میرود

 

او میرود !

 

تو میروی !

 

تمام ایستگاه می رود !

                                                                          " قیصر امین پور"    

 

حرفهای ما هنوز نا تمام.

 

تا نگاه می کنی وقت رفتن است باز هم همان حکایت همیشگی.

 

پیش از آنکه  با خبر شوی... لحظه عزیمت تو ناگزیر میشود.

 

آه ...ای دریغ و حسرت همیشگی

 

                            ناگهان چقدر زود دیر می شود!!!

 

                                                               

سهراب سپهری

سهراب سپهری

سردبیر شعر:امین داودی-کوروش آریایی

 

اهل كاشانم

 

روزگارم بد نيست

 

تكه ناني دارم ، خرده هوشي ، سر سوزن ذوقي .

 

مادري دارم ، بهتر از برگ درخت .

 

دوستاني ، بهتر از آب روان .

*****

 

و خدايي كه در اين نزديكي است :

 

لاي اين شب بوها ، پاي آن كاج بلند.

 

روي آگاهي آب ، روي قانون گياه .

*****

 

من مسلمانم .

 

قبله ام يك گل سرخ .

 

جانمازم چشمه ، مهرم نور .

 

دشت سجاده من .

 

من وضو با تپش پنجره ها مي گيرم

 

در نمازم جريان دارد ماه ، جريان دارد طيف .

 

سنگ از پشت نمازم پيداست :

 

همه ذرات نمازم متبلور شده است .

 

من نمازم را وقتي مي خوانم

 

كه اذانش را باد ، گفته باشد سر گلدسته سرو

 

من نمازم را ، پي (( تكبيرة الاحرام )) علف مي خوانم

 

پي (( قد قامت )) موج .

*****

 

كعبه ام بر لب آب

 

كعبه ام زير اقاقي هاست .

 

كعبه ام مثل نسيم ، مي رود باغ به باغ ، مي رود شهربه شهر

 

(حجر الاسود )) من روشني باغچه است .

*****

اهل كاشانم

 

پيشه ام نقاشي است

 

گاه گاهي قفسي مي سازم با رنگ ، مي فروشم به شما

 

تا به آواز شقايق كه در آن زنداني است

 

دل تنهايي تان تازه شود .

 

چه خيالي ، چه خيالي ، ... مي دانم

 

پرده ام بي جان است .

 

خوب مي دانم ، حوض نقاشي من بي ماهي است .

*****

اهل كاشانم .

 

نسبم شايد برسد .

 

به گياهي در هند ، به سفالينه اي از خاك (( سيلك )).

 

نسبم شايد ، به زني فاحشه در شهر بخارا برسد .

*****

 

پدرم پشت دوبار آمدن چلچله ها ، پشت دو برف ،

 

پدرم پشت دو خوابيدن در مهتابي ،

 

پدرم پشت زمان ها مرده است .

 

پدرم وقتي مرد ، آسمان آبي بود ،

 

مادرم بي خبر از خواب پريد ، خواهرم زيبا شد .

 

پدرم وقتي مرد ، پاسبان ها همه شاعر بودند .

 

مرد بقال ازمن پرسيد: چند من خربزه مي خواهي ؟

 

من ازاو پرسيدم : دل خوش سيري چند ؟

*****

پدرم نقاشي مي كرد .

 

تار هم مي ساخت ، تار هم مي زد .

 

خط خوبي هم داشت .

*****

 

باغ ما در طرف سايه دانايي بود .

 

باغ ما جاي گره خوردن احساس و گياه ،

 

باغ ما نقطه برخورد نگاه و قفس آينه بود .

 

باغ ما شايد ، قوسي از دايره سبز سعادت بود .

 

ميوه كال خدا را آن روز ، مي جويم در خواب .

 

آب بي فلسفه مي خوردم .

 

توت بي دانش مي چيدم .

 

تا اناري تركي بر مي داشت . دست فواره خواهش مي شد .

 

تا چلويي مي خواند ، سينه از ذوق شنيدن مي سوخت .

 

گاه تنهايي ، صورتش را به پس پنجره مي چسبانيد .

*****

 

شوق مي آمد ، دست در گردن حس مي انداخت .

 

فكر ، بازي مي كرد

 

زندگي چيزي بود . مثل يك بارش عيد ، يك چنار پر سار .

 

زندگي در آن وقت ، صفي از نور و عروسك بود .

 

يك بغل آزادي بود .

 

زندگي در آن وقت ، حوض موسيقي بود .

*****

طفل پاورچين پاورچين ،  دور شد كم كم در كوچه سنجاقكها

 

بار خود را بستم ، رفتم از شهر خيالات سبك بيرون

 

دلم از غربت سنجاقك پر

*****

من به مهماني دنيا رفتم

 

من به دشت اندوه

 

من به باغ عرفان

 

من به ايوان چراغاني دانش رفتم

 

رفتم از پله مذهب بالا .

 

تا ته كوچه شك ،

 

تا هواي خنك استغنا ،

 

تا شب خيس محبت رفتم .

 

من به ديدار كسي رفتم در آن سر عشق .

 

رفتم . رفتم تا زن ،

 

تا چراغ لذت ،

 

تا سكوت خواهش ،

تا صداي پر تنهايي .

*****

چيزها ديدم در روي زمين :

 

كودكي ديدم . ماه را بو مي كرد .

 

قفسي بي در ديدم كه در آن ، روشني پرپر مي زد .

 

نردباني كه از آن ، عشق مي رفت به بام ملكوت .

 

من زني را ديدم ، نور در هاون مي كوبيد .

 

ظهر در سفره آنان نان بود ، سبزي دور شبنم بود ،

 

كاسه داغ محبت بود .

 

من گدايي ديدم ، در به درمي رفت آواز چكاوك مي خواست

 

و سپوري كه به يك پوسته خربزه مي برد نماز

*****

بره اي را ديدم ، بادبادك مي خورد

 

من الاغي ديدم ، يونجه را مي فهميد

 

در چرا گاه (( نصيحت )) گاوي ديدم سبز

 

شاعري ديدم هنگام خطاب ، به گل سوسن مي گفت : (( شما ))

*****

من كتابي ديدم ، واژه هايش همه از جنس بلور

 

كاغذي ديدم ، از جنس بهار .

 

موزه اي ديدم ، دور از سبزه

 

مسجدي دور از آب

 

سر بالين فقيهي نوميد ، كوزه اي ديدم لبريز سئوال

*****

قاطري ديدم بارش (( انشاء ))

 

اشتري ديدم بارش سبد خالي (( پند و امثال )) .

 

عارفي ديدم بارش ((  تنناها ياهو ))

*****

من قطاري ديدم ، روشنايي مي برد .

 

من قطاري ديدم ، فقه مي برد و چه سنگين مي رفت .

 

من قطاري ديدم .كه سياست مي برد ( و چه خالي مي رفت . )

 

من قطاري ديدم ، تخم نيلوفر و آواز قناري مي برد .

 

و هواپيمايي ، كه در آن اوج هزاران پايي

 

خاك از شيشه آن پيدا بود :

 

كاكل پوپك ،

 

خالهاي پر پروانه ،

 

عكس غوكي در حوض

 

و عبور مگس از كوچه تنهايي .

 

خواهش روشن يك گنجشك ،وقتي از روي چناري به

 

زمين مي آيد .

 

و بلوغ خورشيد .

 

و هم آغوشي زيباي عروسك با صبح .

*****

 

پله هايي كه به گلخانه شهوت مي رفت .

 

پله هايي كه به سردابه الكل مي رفت .

 

پله هايي كه به بام اشراق

 

پله هايي به سكوي تجلي مي رفت

*****

مادرم آن پائين

 

استكانها را در خاطره شط مي شست

*****

شهر پيدا بود

 

رويش هندسي سيمان ، آهن ، سنگ

 

سقف بي كفتر صدها اتوبوس

گل فروشي گلهايش را مي كرد حراج

 

در ميان دو درخت گل ياس ، شاعري تابي بست

 

كودكي هسته زرد الويي روي سجاده بيرنگ پدر تف مي كرد

 

و بزي از (( خزر )) نقشه جغرافي آب مي خورد

*****

 

بند رختي پيدا بود : سينه بندي بي تاب

 

چرخ يك گاريچي در حسرت واماندن اسب

 

اسب در حسرت خوابيدن گاريچي

 

مرد گاريچي در حسرت مرگ

*****

جشن پيدا بود ، موج پيدا بود

 

برف پيدا بود دوستي پيدابود

 

كلمه پيدا بود

 

آب پيدا بود ، عكس اشيا در آب

 

سايه گاه خنك ياخته ها در تف خون

 

سمت مرطوب حياط

 

شرق اندوه نهاد بشري

فصل ول گردي در كوچه زن

 

بوي تنهايي در كوچه فصل .

 

دست تابستان يك بادبزن پيدا بود .

 

سفر دانه به گل .

 

سفر پيچك اين خانه به آن خانه .

 

سفر ماه به حوض .

 

فوران گل حسرت از خاك .

 

ريزش تاك جوان از ديوار .

 

بارش شبنم روي پل خواب .

 

پرش شادي از خندق مرگ .

 

گذر حادثــه از پشت كلام  .

*****

جنگ يك روزنه با خواهش نور .

 

جنگ يك پله با پاي بلند خورشيد .

 

جنگ تنهايي با يك آواز .

 

جنگ زيباي گلابي ها با خالي يك زنبيل .

جنگ خونين انار و دندان .

 

جنگ (( نازي )) ها با ساقه ناز .

 

جنگ طوطي و فصاحت با هم .

 

جنگ پيشاني با سردي مهر .

*****

حمله كاشي مسجد به سجود .

 

حمله باد به معراج حباب صابون .

 

حمله لشگر پروانه به بنامه (( دفع آفات )) .

 

حمله دسته سنجاقك ، به صف كارگر (( لوله كشي )) .

 

حمله هنگ سياه قلم ني به حروف سربي .

 

حمله واژه به فك شاعر .

*****

فتح يك قرن به دست يك شعر .

 

فتح يك باغ به دست يك سار .

 

فتح يك كوچه به دست دو سلام .

 

فتح يك شهر به دست سه چهار اسب سوار چوبي .

 

فتح يك عيد به دست دو عروسگ ، يك توپ

*****

قتل يك جغجغه روي تشك بعد از ظهر

 

قتل يك قصه سر كوچه خواب

 

قتل يك غصه به دستور سرود

 

قتل مهتاب به فرمان نئون

 

قتل يك بيد به دست (( دولت ))

 

قتل يك شاعر افسرده به دست گل سرخ

 

همه روي زمين پيدا بود

 

نظم در كوچه يونان مي رفت

 

جغد در (( باغ معلق )) مي خواند

 

باد در گردنه خيبر ، بافه اي از خس تاريخ به

 

خاور مي راند

 

روي درياچه آرام (( نگين )) قايقي گل مي برد

 

در بنارس سر هر كوچه چراغي ابدي روشن بود

*****

 

مردمان را ديدم

 

شهرها را ديدم

دشت ها را ، كوهها را ديدم

 

آب را ديدم ، خاك را ديدم

 

نورو ظلمت را ديدم

 

و گياهان را در نور ، و گياهان را د رظلمت ديدم

 

جانورها را در نور ، جانور ها را در ظلمت ديدم

 

و بشر را در نور ، و بشر را در ظلمت ديدم

*****

اهل كاشانم اما

 

شهر من كاشان نيست .

 

شهر من گم شده است .

 

من با تاب ، من با تب

 

خانه اي در طرف ديگر شب ساخته ام .

*****

من در اين خانه به گم نامي نمناك علف نزديكم .

 

من صداي نفس باغچه را مي شنوم

 

و صداي ظلمت را ، وقتي از برگي مي ريزد .

 

و صداي ، سرفه روشني از پشت درخت ،

 

عطسه آب از هر رخنه سنگ ،

 

چكچك چلچله از سقف بهار.

 

و صداي صاف ، باز و بسته شدن پنجره تنهايي .

 

و صداي پاك ، پوست انداختن مبهم عشق،

 

متراكم شدن ذوق پريدن در بال

 

و ترك خوردن خودداري روح .

 

من صداي قدم خواهش را مي شنوم

 

و صداي ، پاي قانوني خون را در رگ .

 

ضربان سحر چاه كبوترها ،

 

تپش قلب شب آدينه ،

 

جريان گل ميخك در فكر

 

شيهه پاك حقيقت از دور .

 

من صداي كفش ايمان را در كوچه شوق

 

و صداي باران را ، روي پلك تر عشق

 

روي موسيقي غمناك بلوغ

 

روي آواز انار ستان ها

 

و صداي متلاشي شدن شيشه شادي در شب

 

پاره پاره شدن كاغذ زيبايي

 

پرو خالي شدن كاسه غربت از باد

*****

 

 

من به آغاز زمين نزديكم

 

نبض گل ها را مي گيرم

 

آشنا هستم با ، سرنوشت تر آب ، عادت سبز درخت

 

 

روح من در جهت تازه اشياء جاري است .

 

روح من كم سال است .

 

روح من گاهي از شوق ، سرفه اش ميگيرد .

 

روح من بيكار است :

 

قطره هاي باران را ، درز آجرها را ، مي شمارد .

 

روح من گاهي ، مثل يك سنگ سر راه حقيقت دارد

*****

من نديدم دو صنوبر را با هم دشمن .

 

من نديدم بيدي ، سايه اش را بفروشد به زمين .

 

رايگان مي بخشد ، نارون شاخه خود را به كلاغ .

 

هر كجا برگي هست ، شوق من مي شكفد .

 

بوته خشخاشي ، شست و شو داده مرا در سيلان بودن .

 

 

مثل بال حشره وزن سحر را مي دانم .

 

مثل يك گلدان ، مي دهم گوش به موسيقي روييدن .

 

مثل زنبيل پر از ميوه تب تند رسيدن دارم .

 

مثل يك ميكده در مرز كسالت هستم .

 

مثل يك ساختمان لب دريا نگرانم به كشش هاي بلند ابري

 

تابخواهي خورشيد ، تا بخواهي پيوند ، تا بخواهي تكثير

 

من به سيبي خشنودم

 

و به بوئيدن يك بوته بابونه .

 

من به يك آينه ، يك بستگي پاك قناعت دارم .

 

من نمي خندم اگر بادكنك مي تركد .

 

و نمي خندم اگر فلسفه اي ، ماه را نصف كند .

 

من صداي پر بلدرچين را ، مي شناسم ،

 

رنگ هاي شكم هوبره را ، اثر پاي بز كوهي را .

 

خوب مي دانم ريواس كجا مي رويد .

 

سار كي مي آيد ، كبك كي مي خواند ، باز كي مي ميرد .

 

ماه در خواب بيابان چيست ،

 

مرگ در ساقه خواهش

 

و تمشك لذت ، زير دندان هم آغوشي.

 

 

زندگي رسم خوشايندي است .

 

زندگي بال و پري دارد با وسعت مرگ ،

 

پرشي دارد اندازه عشق .

 

زندگي چيزي نيست ، كه لب طاقچه عادت از ياد من و تو برود.

 

زندگي جذبه دستي است كه مي چيند .

 

زندگي نوبر انجير سياه ، در دهان گس تابستان است .

 

زندگي ، بعد درخت است به چشم حشره .

 

زندگي تجربه شب پره در تاريكي است .

 

زندگي حس غريبي است كه يك مرغ مهاجر دارد.

 

زندگي سوت قطاري است كه در خواب پلي مي پيچد.

 

زندگي ديدن يك باغچه از شيشه مسدود هواپيماست .

 

خبر رفتن موشك به فضا ،

 

لمس تنهايي (( ماه )) ،

 

فكر بوييدن گل در كره اي ديگر .

 

 

زندگي  شستن يك بشقاب است .

 

زندگي يافتن سكه دهشاهي در جوي خيابان است .

 

زندگي  (( مجذور )) آينه است .

 

زندگي گل به (( توان )) ابديت ،

 

زندگي (( ضرب )) زمين د رضربان دل ها،

 

زندگي (( هندسه )) ساده و يكسان نفس هاست .

 

 

هر كجا هستم ، باشم ،

 

آسمان مال من است .

 

پنجره ، فكر ، هوا ، عشق ، زمين مال من است .

 

چه اهميت دارد

 

گاه اگر مي رويند

 

قارچ هاي غربت ؟

 *****

 

 

من نمي دانم

 

كه چرا مي گويند : اسب حيوان نجيبي است ،

 

كبوتر زيباست .

و چرا در قفس هيچكسي كركس نيست

 

گل شبدر چه كم از لاله قرمز دارد.

 

چشم ها را بايد شست ، جور ديگر بايد ديد

 

واژه را بايد شست .

واژه بايد خود باد ، واژه بايد خود باران باشد

 

چتر را بايد بست ،

 

زير باران بايد رفت .

 

فكر را ، خاطره را ، زير باران بايد برد .

 

با همه مردم شهر ، زير باران بايد رفت .

 

دوست را ، زير باران بايد جست .

 

زير باران بايد با زن خوابيد .

 

زير باران بايد بازي كرد .

 

زير باران بايد چيز نوشت ، حرف زد . نيلوفر كاشت ، زندگي تر شدن پي

درپي،

 

زندگي آب تني كردن در حوضچه (( اكنون )) است .

 

 

رخت ها را بكنيم :

 

آب در يك قدمي است

 

روشني را بچشيم .

 

شب يك دهكده را وزن كنيم . خواب يك آهو را .

 

 

 

 

 

 

 

هوشنگ ابتهاج(ه.الف.سایه)

هوشنگ ابتهاج

برسان باده كه غم روی نمود ای ساقی

 

این شبیخون بلا باز چه بود ای ساقی

 

حالیا عكس دل ماست در آیینه جام

 

تا چه رنگ آورد این چرخ كبود ای ساقی

 

تشنه خون زمین است فلك وین مه نو

 

كهنه تاسی است كه بس كشته در او ای ساقی

 

بس كه شد به خوناب جگر جامه جان

 

نه از او تار به جا ماند و نه پود ای ساقی

 

حق به دست دل من بود كه در معبد عشق

 

سر به غیر تو نیاوردم فرود ای ساقی

 

در فرو بند كه چون سایه در این خلوت غم

 

با كسم نیست سر گفت و شنود ای ساقی

--------------------------------------------------------

خدای را که چو یاران نیمه راه مرو

تو نور دیده ی مایی به هر نگاه مرو

تو را که چون جگر غنچه جان گلرنگ است

به جمع جامه سپیدان دل سیاه مرو

به زیر خرقه ی رنگین چه دام ها دارند

تو مرغ زیرکی ای جان به خانقاه مرو

مرید پیر دل خویش باش ای درویش

وز او به بندگی هیچ پادشاه مرو

مباد کز در میخانه روی برتابی

تو تاب توبه نداری به اشتباه مرو

چو راست کرد تو را گوشمال پنجه ی عشق

به زخمه ای که غمت می زند ز راه مرو

هنر به دست تو زد بوسه ، قدر خود بشناس

به دست بوسی این بندگان جاه مرو

گناه عقده ی اشکم به گردن غم توست

به خون گوشه نشینان بی گناه مرو

چراغ روشن شب های روزگار تویی

مرو ز آینه ی چشم سایه ، آه مرو

------------------------------------------------------------------------------------------------------------------------

بازگشت

 

 

بی مرغ آشیانه چه خالی ست

 

خالی تر آشیانه ی مرغی ست

 

کز جفت خود جداست!

 

آه ای کبوتران سپید شکسته بال

 

اینک به آشیانه ی دیرین خوش آمدید!

 

اما دلم به غارت رفته ست

 

با آن کبوتران که پریدند

 

با آن کبوتران که دریغا

 

هرگز به خانه بازنشتند.

     

                                                                            هوشنگ ابتهاج(ه.الف.سایه)

 

ارسال شده توسط: زهرا محبی

 

حفظ دیالوگها

 

این هم دیالوگ هایی که باید برای درس گفت و شنود استاد حبیبی حفظ کنیم.

اصطلاحات دیالوگ ها هم نوشته شده است.

تاریخ امتحان روز سه شنبه20/9/86

امتحان در کلاس خواندن انجام میشود.موفق باشید.و یک نکته مهم اگر فونت این دیالوگ ها و یا رنگش تا حدودی آزار دهنده بود ببخشید.چون من از اینترنت گرفتم و به هیچ وجه هم نشد که تغییر بدم.مگر که دوباره تایپ می کردم که کار بی خودی بود.به بزرگی خود ببخشید.

                                                                                      امین داودی

 

 

ا

 

 

Lesson 1

 

 

 

Bob’s Day At Work

 

Bob works as a manager in a furniture store.

 

Peter, his boss, is

 

not happy about sales. Bob’s new advertising

 

campaign hasn’t

 

helped. Peter decides to fire him.

 

Bob trabaja de encargado en una tienda de

 

muebles. Peter, su

 

jefe, no está satisfecho con las ventas. La nueva

 

campaña

 

publicitaria de Bob no ha ayudado. Peter decide

 

despedirlo.

 

Peter: Bob, I hate to break the news, but our sales

 

were down

 

again last month.

 

Bob:

 

Down again, Peter?

 

Peter: Yeah. These days, everybody’s shopping at

 

our competi-

 

tion, Honest Abe’s Furniture Store.

 

Bob:

 

But everything in there costs an arm and a leg!

 

Peter: That’s true. They do charge top dollar.

 

Bob:

 

And their salespeople are very strange. They really

 

give

 

me the creeps!

 

Peter: Well, they must be doing something right

 

over there.

 

Meanwhile, we’re about to go belly-up.

 

Bob:

 

I’m sorry to hear that. I thought my new advertising

 

campaign would save the day.

 

---

 

Page 2

2

 

 

Speak English Like an American for Native Spanish

 

Speakers

 

copyrighted material - sample page

 

Peter: Let’s face it: your advertising campaign was

 

a real flop.

 

Bob: Well then I’ll go back to the drawing board.

 

Peter: It’s too late for that. You’re fired!

 

Bob: What? You’re giving me the ax?

 

Peter: Yes. I’ve already found a new manager.

 

She’s as sharp

 

as a tack.

 

Bob: Can’t we even talk this over? After all, I’ve

 

been

 

working here for 10 years!

 

Peter: There’s no point in arguing, Bob. I’ve

 

already made up

 

my mind.

 

Bob: Oh well, at least I won’t have to put up with

 

your

 

nonsense anymore! Good-bye to you and good-bye

 

to

 

this dead-end job.

 

Peter: Please leave before I lose my temper!

 

IDIOMS – LESSON 1

 

about to – ready to; on the verge of

 

a punto de, listo para

 

 

 

EXAMPLE

 

: It’s a good thing Bob left the furniture store when he did.

 

Peter

 

was so angry, he was about to throw a dining room chair at

 

him.

 

after all – despite everything; when everything has

 

been considered

 

después de todo, a pesar de todo

 

 

EXAMPLE

 

: You’d better invite Ed to your party. After all, he’s a good

 

friend.

 

at least – anyway

 

por lo menos

 

EXAMPLE

 

: We’ve run out of coffee, but at least we still have tea.

 

N

OTA

 

: La segunda definición de esta frase es “no menos de”:

 

There were

 

at least 300 people waiting in line to buy concert tickets.

 

---

 

Page 3

3

 

 

Speak English Like an American for Native Spanish

 

Speakers

 

copyrighted material - sample page

 

(to) break the news – to make something known

 

dar la noticia

 

EXAMPLE

 

: Samantha and Miguel are getting married, but they haven’t

 

yet

 

broken the news to their parents.

 

(to) cost an arm and a leg – to be very expensive

 

costar mucho, costar un ojo de la cara

 

EXAMPLE

 

: A college education in America costs an arm and a leg.

 

 

SYNONYMS

 

: to cost a small fortune; to cost a pretty penny

 

dead-end job – a job that won’t lead to anything

 

else

 

trabajo sin perspectivas de futuro, trabajo sin

 

futuro

 

EXAMPLE

 

: Diane realized that working as a cashier was a dead-end

 

job.

 

(let’s) face it – accept a difficult reality

 

aceptar algo difícil, asumirlo

 

EXAMPLE

 

: Let’s face it, if Ted spent more time studying, he wouldn’t

 

be

 

failing so many of his classes!

 

(to) give one the creeps – to stir in someone a

 

feeling of

 

disgust or horror

 

darle repugnancia

 

EXAMPLE

 

: Ted’s friend Matt has seven earrings in each ear and an “I

 

Love Mom” tattoo on his arm. He really gives Nicole the

 

creeps.

 

(to) go back to the drawing board – to start a task

 

over

 

because the last try failed; to start again from the

 

beginning

 

volver a empezar desde el principio

 

EXAMPLE

 

: Nobody liked the architect’s plan for the house, so he had to

 

go back to the drawing board.

 

(to) go belly-up – to go bankrupt

 

quedar en bancarrota

 

EXAMPLE

 

: Many people lost their jobs when Enron went belly-up.

 

(to) give someone the ax – to fire someone

 

despedir

 

EXAMPLE

 

: Mary used to talk to her friends on the phone all day, until

 

one

 

day her boss finally gave her the ax.

 

SYNONYMS

 

: to send someone packing; to can someone; to let someone

 

go

---

Page 4

 

4

 

Speak English Like an American for Native Spanish

 

Speakers

 

copyrighted material - sample page

 

(to) lose one’s temper – to become very angry

 

perder la paciencia

 

EXAMPLE

 

: Bob always loses his temper when his kids start talking on

 

the

 

telephone during dinner.

 

 

SYNONYMS

 

: to hit the roof; to blow one’s top; to blow a fuse

 

(to) make up one’s mind – to reach a decision

 

decidirse

 

EXAMPLE

 

: Stephanie couldn’t make up her mind whether to attend

 

Harvard or Stanford. Finally, she chose Stanford.

 

no point in – no reason to; it’s not worth (doing

 

something)

 

no hay motivo para, no vale la pena

 

EXAMPLE

 

: There’s no point in worrying about things you can’t

 

change.

 

(to) put up with – to endure without complaint

 

soportar, aguantar

 

EXAMPLE

 

: For many years, Barbara put up with her husband’s

 

annoying

 

and obnoxious behavior. Finally, she decided to leave him.

 

real flop or flop – a failure

 

fiasco, fracaso

 

EXAMPLE

 

: The Broadway play closed after just 10 days – it was a real

 

flop!

 

(to) save the day – to prevent a disaster

 

impedir un desastre

 

EXAMPLE

 

 

: The Christmas tree was on fire, but Ted threw water on it

 

and

 

saved the day.

 

(as) sharp as a tack – very intelligent

 

muy perspicaz, muy inteligente

 

EXAMPLE

 

: Jay scored 100% on his science test. He’s as sharp as a

 

tack.

 

(to) talk over – to discuss

 

discutir, hablar de

 

EXAMPLE

 

: David and I spent hours talking over the details of the plan.

 

top dollar – the highest end of a price range; a lot

 

of money

 

mucho dinero

 

 

EXAMPLE

 

: Nicole paid top dollar for a pair of jeans at Banana

 

Republic.

اصطلاحات...

 

با تشکر از خانم رسم که این مطلب را ارسال کردند

سردبیر اصطلاحات و ضرب المثل ها:اعظم پاکراه

.  1.dictionary is the only place where DEATH

 

comes  b4  LIFE,

 

SUCCESS  b4  WORK  &  DIVORCE  b4  MARRIAGE, but

 

the best part

 

is  FRIEND  comes  b4  RELATIVES!                         

 

 

2.Experience is a hard teacher, because it gives the test

 

first, then LESSON afterward!

 

U cant control what happens 2 u but u can control your

 

attitude toward what happens 2 u!& in that,u will be

 

mastering change rather than allowing it 2 master u!

 

 

If there is light in the soul, there will be beauty in the

 

person.   If there is beauty in the person, there will be

 

harmony in the house.   If there is harmony in the house,

 

there will be order in the nation.   If there will be order in

 

 

the nation, there will be peace in the WORLD.

Joke:

 

A man spoke frantically into the phone: my wife is

 

pregnant & the pain is killing her!   Is this her first child?

 

the emergency operator asked.   No you idiot!  the man

 

shouted.  This is her husband!

 

 

Great Words by Great People

 

با تشکر از خانم رشیدی که این مطلب را ارسال کردند                       

 

سردبیر اصطلاحات و ضرب المثل ها:اعظم پاکراه

 

Great Words by Great People

"Imagination is more important than knowledge. Knowledge is

limited. Imagination encircles the world." — Albert Einstein

 

"There is a terrific disadvantage in not having the abrasive quality of

the press applied to you daily. Even though we never like it, and even

though we wish they didn't write it, and even though we disapprove,

there isn't any doubt that we could not do the job at all in a free

society without a very, very active press."

 

— John F. Kennedy

 

"By a declaration of rights, I mean one which shall stipulate freedom

of religion, freedom of the press, freedom of commerce against

monopolies, trial by juries in all cases, no suspensions of the habeas

corpus, no standing armies. These are fetters against doing evil which

no honest government should decline."

 

— Thomas Jefferson

 

"Our liberty depends on the freedom of the press, and that cannot be

limited without being lost." — Thomas Jefferson 

"The free press is the mother of all our liberties and of our progress

under liberty." — Adlai E. Stevenson 
 
"The most important service rendered by the press and the

magazines is that of educating people to approach printed matter

with distrust." — Samuel Butler 
 
"Most folks are about as happy as they make up their minds to be."

—   Abraham Lincoln 
 

—   "'Tis better to be silent and be thought a fool, than to speak

—    

—    

—   and remove all doubt." — Abraham Lincoln 
 

—   "I have never let my schooling interfere with my

—    

—   education."        — Mark Twain

 

"Here is the greatest secret of success; work with all your might but

trust not in your own power to achieve. Pray with all your might for

God's guidance and blessing. Pray, then work, work and pray; and

again pray and work. Whether you see much fruit or little fruit,

remember that God delights to bestow real blessing. This comes

generally in answer to earnest, believing prayer." —  George Muller 
 
"Nothing you can't spell will ever work." — Will Rogers 
 
"Few are those who see with their own eyes and feel with their own

hearts." — Albert Einstein 
 
"Don't let yesterday use up too much of today." — Will Rogers 
 
"All true greatness must come from internal growth."

—   Ralph Waldo Emerson 
 
"I do not feel obliged to believe that the same God who has endowed

—   us with sense, reason, and intellect has intended us to forgo

—    

—   their

use." — Galileo Galilei  
 
"Never interrupt your enemy when he is making a mistake."

— Napoleon Bonaparte

 

"They that can give up essential liberty to obtain a little temporary

safety deserve neither liberty nor safety." — Benjamin Franklin 
 
"There, I guess King George will be able to read that." — John

Hancock, president of the Continental Congress (As he fixed his

signature, extra large, to the Declaration of Independence.) 
 
"If in other lands the press and books and literature of all kinds are

censored, we must redouble our efforts here to keep it free. Books

may be burned and cities sacked, but truth, like the yearning for

freedom, lives in the hearts of humble men and women." — Franklin

Delano Roosevelt 
 
"When you do the common things in life in an uncommon way, you

will command the attention of the world." — George Washington

Carver (1864—1943) 
 
"Whatever is begun in anger ends in shame." — Benjamin Franklin  
 
"Happy are those who dream dreams and are ready to pay the price

to make them come true." — Leon J. Suenes 
 
"Success is the good fortune that comes from aspiration, desperation,

perspiration and inspiration." — Evan Esar

 

 

بزرگ بود...

بزرگ بود...

 

هیچیش مثل بچه ها نبود.چیزی از بهانه گیری های بی دلیل بچه گانه،زیاده خواهی،لجبازی و این قبیل رفتارهای کودکانه یادمان نمانده، اینقدر کم بوده یا نبوده.ولی تا بخواهی خاطره خوب از بزرگی هاش برایمان مانده:کتابخانی هاش،بحث هاش،وبلاگ نویسی اش،ایرادهایی که از ما می گرفت و...

با حرف هاش حال می کردیم.رفیق بابا و مامانش بود نه بچه.

 

این پنج خط را آن موقع نوشتم که در سایت خو بگذارم ،نگذاشتم چون بوی نیستی می داد و او هست.

امروز که از آموزش و پرورش تماس گرفتند و گفتند جایزه اش از وزارتخانه آمده دوباره حال مادرش بد شد.

تمام روز خانه بودیم و سرکار نرفتم.گفتم این چند خط را بنویسم برای خودم نه شما.

نمی دانم چرا تمام این مدت این شعر سهراب که سال 1346 در سوگ فروغ گفته بود از جلوی نظرم  نمی رود. ببینید چه زیباست:

 

بزرگ بود

 

و از اهالی امروز بود.

 

و با تمام افق های باز نسبت داشت.

 

و لحن آب و زمین را چه خوب می فهمید...

 

و رفت تا لب هیچ

 

و پشت حوصله دورها دراز کشید

 

و هیچ فکر نکرد

 

که ما میان پریشانی تلفظ ها

 

برای خوردن یک سیب

 

چقدر تنها ماندیم.

داستان

 

 

این داستان رو خانم سپیده رسم فرستاده. از خانم رسم خیلی تشکر میکنیم.

 

 

سردبیر بخش داستان: خانم شادی چار گانه

          

HOSPITAL WINDOW

 

 

   Two men both seriously ill occupied the same hospital room. One man was allowed to sit up each afternoon to help drain the fluid from his lungs. His bed was next to the room's only window. The other man had to spend all his time flat on his back.   The man talked for hours on end. They spoke of their wives and families, their homes, their jobs, their involvement in the military service & where they had been on vacation. Every afternoon when the man in the bed by the window could sit up, he would pass the time by describing to his roommate all the things he could see outside the window. The man in the other bed began to live for those one hour periods where his world would be broadened & enlivened by all the activity & color of the world outside. The window overlooked a park with a lovely lake. Ducks & swans played on the water while children sailed their model boats. Young lovers walked arm in arm admits flowers of every color & a fine view of the city skyline could be seen in the distance.As the man by the window described all this in exquisite detail, the man on the other side of the room would close his eyes & imagine the picturesque scene. One warm afternoon the man by the window described a parade passing by. Although other man couldn't hear the band, he could see it.in his minds eye as the gentleman by the window portrayed it with descriptive words. Days & weeks passed.      One morning the day nurse arrived to bring water for their baths only to find the lifeless body of the man by the window, who had died peacefully in his sleep. She was saddened & called the hospital attendants to take the body away.        As soon as it seemed appropriate, the other man asked if he could be moved next to the window. The nurse was happy to make the switch, & after making sure he was he was comfortable, she left him alone.    Slowly, painfully, he propped himself up on one elbow to take his first look at the real world outside. He strained to slowly turn to look out the window beside the bed. It faced a blank wall. The man asked the nurse what could have compelled his deceased roommate who had described such wonderful things outside this window. The nurse responded that the man was blind & could not even see the wall.  She said (perhaps he just wanted to encourage you). EPILOGUE: There is tremendous happiness in making others happy, despite our own situations. Shared grief is half the sorrow, but happiness when shared, is doubled. I f you want to feel rich, jus count all the things that you have & money can not buy.  (TODAY IS A GIFT, that's why it is called the present).        

 

ارسال شده توسط :خانم سپیده رسم  

 

بهداشت دهان

خمیر دندان

سردبیر پزشکی:دکتر جلال ندیمی

 خمير دندان داراي مواد شوينده، پاك كننده، براق كننده، خوشبو و خوش طمع كننده مي باشد، همچنين برخي از خمير دندانها داراي تركيبات فلورايد هستند كه مقاومت دندان را در برابر پوسيدگي افزايش مي دهد. خمير دندان حاوي فلورايد ميزان پوسيدگي دندانها را به مقدار 15 تا 30 درصد كاهش مي دهد.

استفاده از نمك خشك، جوش شيرين، و ساير پودرها براي مسواك كردن صحيح نيست و باعث ساييدگي مينا و خراشيدن لثه مي شود . استفاده از آب نمك رقيق (نصف قاشق چايخوري در يك ليوان آب جوشيده سرد شده ) مفيد مي باشد، ولي نمي تواند جايگزين مسواك و خميردندان شود.

آيا از خمير دندانها، به اندازه اي كه تمام موهاي مسواك را بپوشاند بايد استفاده نمود؟
     خير، لازم نيست به مقداري كه در فيلم ها و آگهي هاي تبليغاتي ديده مي شود،از خمير دندان استفاده كرد. استفاده از مقدار كمي خمير دندان كافي است چون در عمل تميز نمودن دندانها، نقش مؤثر و مهم را خود مسواك بر عهده دارد.

تركيب خمير دندانها چيست؟
     اكثر خمير دندانها از مواد زير تشكيل شده اند:
- دترژانها به عنوان شوينده و كف كننده
- مواد خوشبو كننده و طعم دهنده
- مقدار كمي مواد ساينده
- مواد مرطوب كننده(غالباً گليسيرين)
- فلورايد بعضي از خمير دندانها با اهداف درماني ساخته شده و ممكن است حاوي مواد داروئي خاصي باشند.

از چه خمير دنداني بهتر است استفاده شود؟
     اكثريت بيماران دندانپزشكي و مردم بر اين تصورند كه خمير دندانهاي خارجي بهترند، كه به چند دليل جاي ترديد دارد: اكثر اين خمير دندانها به طرق قاچاق وارد شده و از منشاء ساخت، تركيب و تاريخ توليد، شرايط نگهداري و حمل و نقل آنها اطلاع دقيقي در دسترس نيست همچنين قيمت آنها بسيار گرانتر بوده و بسياري از آنها نيز ممكن است تقلبي باشند. علاوه بر اين همانطوري كه قبلاً گفته شد، عمل مسواك زدن از خمير دندان مهمتر است. توصيه مي گردد از خمير دندانهاي استاندارد ساخت داخل استفاده شود.

آيا خمير دندان را بايد مرتب عوض كرد؟
     جواب اين سؤال به سليقه و ذائقه افراد بستگي دارد. معمولاً استفاده از يك نوع صابون، عطر، غذا، خمير دندان و ... انسان را خسته و بي ميل مي كند. تنوع در استفاده از خمير دندان انگيزه اي براي تداوم عمل مسواك زدن مي شود.

به نقل از وب سایت شخصی دکتر جلال ندیمی: www.jalalnadimi.com

کی میریم ساختمان جدید؟

ارسال شده توسط :امین داودی

سردبیر اخبار:منا رشیدی

 

 

همه شما مطمئنا درباره انتقال دانشکده ادبیات به ساختمان تازه تاسیس واقع در باغ ابریشم چیزهایی شنیدید.

ولی شنیدن کی بود مانند دیدن.

واسه همین به دستور رییس بزرگ یزدان چوبساز گروهی 3 نفره متشکل از (امین داودی-مسلم سنگ سفیدی-کوروش آریایی)

به محل ساختمان جدید فرستاده شدیم تا ضمن بررسی شرایط ساختمان جدید عکسهایی رو هم برای شما بیاریم.این شما و این هم عکسها.

 

نظرات کارشناسی بعد از بازدید:

کوروش آریایی:ترم سوم به ساختمان جدید منتقل میشویم.

امین داودی:شاید ترم بعد بریم ساختمان جدید.

مسلم سنگ سفیدی:بعید میدانم حالا حالاها ساختمان جدید قابل استفاده بشه.

شما هم با توجه به عکس حتما نظربدید و حدس بزنید کی به ساختمان جدید منتقل می شویم.

 

 

 

 

lecture

 

به پیشنهاد دکتر ندیمی قرار شد که متن lecture بچه های کلاس رو در وبلاگ بنویسیم تا همه استفاده کنند.

 

 

 

این متن lecture  امین داودی.

 

 

Phantom of the opera

The Phantom of The Opera with the original name (Le Fantôme de l’Opéra) is a Gothic novel, combining romance, horror fiction, mystery, tragedy.the story writen bye Gaston Leroux in 1909.But the movie of this famous story directed by Joe Schumacher in( 2004    )

Leroux's original 1910 novel is set in late 19th century Paris at the Opera Garnier (The Paris Opera aka The National Academy of Music), which was built between 1857 and 1874. During building it became necessary to pump underground water from the foundation pit of the building, creating a huge subterranean river. The employees claim that the opera house is haunted by a mysterious ghost who wreaks chaos and destruction when displeased. Erik, a horribly deformed musical genius known as the "Opera Ghost", uses this facade to send the managers of the Opera Garnier repeated threats of catastrophe should they not pay him a monthly salary of 20,000 francs and perpetually reserve Box Five for him at every show. Armand Moncharmin and Firmin Richard, take over the opera house and refuse to give in to what they view as the empty threats, thinking that it is a practical joke by former managers.

Meanwhile, Erik has taken on a protégée, Christine Daae. He explains to her that he is the "Angel of Music," a heavenly spirit sent by her dead father to help her, and proceeds to give her regular voice lessons through the wall of her remote dressing room. Under the tutelage of her new teacher, Christine makes rapid progress in her vocal studies and mysteriously achieves sudden prominence on stage when she is selected to replace Carlotta, who was suddenly ill that day. Christine stuns the audience with her seemingly new vocal talent. During the performance she faints on stage, which deeply troubles her childhood friend Raoul, Viscount de Chagny.

Erik becomes envious of Christine's relationship with Raoul and finally appears to her in person, wearing a mask to hide his features. He takes her to his dark world beneath the opera house. Christine quickly finds that there is nothing angelic about Erik; she learns with disappointment that he is "neither an angel nor a genius," only that he and the ghost are one and the same - just a man.Erik promises to release her after five days. Erik and Christine eventually begin a duet from Othello, and Christine rips off his mask, dying of curiosity. "If I live to be one hundred, I should always hear that superhuman cry of grief and rage which he uttered before that terrible sight reached my eyes,"

Christine becomes very angry but, after Erik reveals himself to be the Ghost (and after Raoul's threat of suicide), she decides to tell Raoul, on the roof of the Opera Garnier, everything that has happened between her and Erik. The two of them plan to run away from Paris and the "horror of Erik".But Erik abducts Christine from the stage during her final performance at the Opera, at the point where Christine, is appealing to the angels to carry her soul to heaven Raoul follows them down into the depths of the cavern beneath the opera house, and is guided to Erik's house by a character known as the Persian. Unfortunately for both of them, the route they take to Erik's house leads instead to a torture chamber,where they are captured by Erik. Raoul and the Persian listen helplessly as Erik rages at Christine, accusing her of lying to him and betraying him. He threatens that should Christine not marry him, he will explode the Opera.

Eventually, Christine shows Erik genuine sympathy and displays her love for him by crying with him, not running away when he takes off his mask.This grants Erik a happiness he never thought possible. In despair, Erik releases Raoul and Christine and gives them his blessings to marry. He asks only that Christine come back after his death, and bury him with the ring he gave her. Erik dies three weeks after he lets Christine and Raoul go.

Right before his death, Erik delivers a dramatic monologue expressing his grief. his despair at having the love of his life betrothed to another, and his gratitude to the Persian Daroga, who once saved his life. He dedicates his death to his beloved Christine Daaé.

 

لطفا نظر فراموش نشه

این هم تلفظ stanza مربوط به گروه A

 

 

Aاین هم کار گروهی گروه  

لطفا گروه های دیگر هم هرچه سریعتر تلفظهای خود را در اختیار بقیه گروه ها بگذارند چون فرصت زیادی تا امتحان نمانده است.

Yazdan Choobsaz -Amin Davoudi- Kourosh Aryaei- Ali Salehi- Moslem Sang Sefidi

 

Dearest: /"dûërÂst $ "dûr-/ (noun): used when speaking to someone you love

 

Creature: /"kri:tÐë $ -ër/ (noun): anything that is living, such as an animal, fish, or insect, but not a plant

 

In: /ûn/ (preposition) : used with the name of a container, place, or area to say where someone or something is

 

Creation: /kri"eûÐÊn/ (noun) : act of creating something

 

Study: /"stšdi/ (verb) : to spend time reading, going to classes etc in order to learn about a subject

 

English: /"ûÅglûÐ/ (noun) : the language used in Britain, the US, Australia, and some other countries

 

Pronunciation: /prë;nšnsi"eûÐÊn/ (noun) : the way in which a language or a particular word is pronounced

 

I: /aû/ (pronoun) : used by the person speaking or writing to refer to himself or herself

 

Will: /wûl/ : (modal verb) : used to make future tenses

 

Teach: /ti:tÐ/ : (verb) : to give lessons in a school, college, or university, or to help someone learn about something by giving them information

 

You: /jë, j|; strong ju:/: (pronoun) : used to refer to a person or group of people when speaking or writing to them

 

In: /ûn/ : (preposition) : used with the name of a container, place, or area to say where someone or something is

 

My: /maû/ : (determiner ) : used by the person who is speaking to show that something belongs to or is connected with himself or herself

 

Verse: /vî:s $ vî:rs/:(noun) : a set of lines that forms one part of a song, poem, or a book such as the Bible or the Koran

 

Sound: /sa|nd/ : (noun) : something that you hear, or what can be heard

 

Like: /laûk/ : (preposition) : similar to something else, or happening in the same way

 

Corpse: /ké:ps $ ké:rps/: (noun) : the dead body of a person

 

Corps: /ké: $ ké:r/: (noun) : a group in an army with special duties and responsibilities

 

Horse: /hé:s $ hé:rs/: (noun) : a large strong animal that people ride and use for pulling heavy things

 

And: /Ênd, Ên; strong ænd/ : (conjunction) : used to join two words, phrases etc referring to things that are related in some way

 

Worse: /wî:s $ wî:rs/ : (adjective) : more unpleasant, bad, or severe

 

I: /aû/ (pronoun) : used by the person speaking or writing to refer to himself or herself

 

Will: /wûl/ : (modal verb) : used to make future tenses

 

Keep: /ki:p/ : (verb) : to stay in a particular state, condition, or position, or to make someone or something do this

 

You: /jë, j|; strong ju:/: (pronoun) : used to refer to a person or group of people when speaking or writing to them

 

Busy: /"bûzi/ : (adjective) : if you are busy, you are working hard and have a lot of things to do:

 

Make: /meûk/ : (verb) : to produce something, for example by putting the different parts of it together

 

Your: /jë; strong jé: $ jër; strong jé:r/: (determiner) : used when speaking or writing to one or more people to show that something belongs to them or is connected with them

 

Head: /hed/ : (noun) : the top part of your body that has your face at the front and is supported by your neck

 

With: /wûð, wûØ/ : (preposition) : used to say that two or more people or things are together in the same place

 

Heat: /hi:t/ (noun) : warmth or the quality of being hot:

Ice needs heat to melt

 

Grow: /grë| $ gro|/: (verb): to increase in amount, size, number, or strength

 

Dizzy:/"dûzi/ : (adjective) : feeling unable to stand steadily, for example because you are looking down from a high place or because you are ill

 

Tear: /tûë $ tûr/ : (noun) : a drop of salty liquid that comes out of your eye when you are crying

 

In: /ûn/ (preposition) : used with the name of a container, place, or area to say where someone or something is

 

Eye: /aû/ :(noun) : one of the two parts of the body that you use to see with

 

Your: /jë; strong jé: $ jër; strong jé:r/: (determiner) : used when speaking or writing to one or more people to show that something belongs to them or is connected with them

 

Dress: /dres/ : (noun): a piece of clothing worn by a woman or girl that covers the top of her body and part or all of her legs

 

Will: /wûl/ : (modal verb) : used to make future tenses

 

Tear: /teë $ ter/ : (verb): to damage something such as paper or cloth by pulling it hard or letting it touch something sharp

 

So: /së| $ so|/ : (adverb) : used to emphasize how great a feeling or quality is, or how large an amount is

 

Shall: /ÐÊl; strong Ðæl/: (modal verb): used to make a suggestion, or ask a question that you want the other person to decide about

 

I: /aû/ (pronoun) : used by the person speaking or writing to refer to himself or herself

 

Oh: /ë| $ o|/: (interjection): used when you want to get someone's attention or continue what you are saying

 

Hear: /hûë $ hûr/ : (verb): to know that a sound is being made, using your ears

 

My: /maû/ : (determiner ) : used by the person who is speaking to show that something belongs to or is connected with himself or herself

 

Prayer: /preë $ prer/ (verb) : words that you say when praying to God or gods

 

 

Petal: /"petl/ :(noun) : one of the colored parts of a flower that are shaped like leaves

 

Panel: /"pænl/:(noun) : a group of people with skills or specialist        knowledge who have been chosen to give advice or opinions on a particular subject

 

And: /Ênd, Ên; strong ænd/ : (conjunction) : used to join two words, phrases etc referring to things that are related in some way

 

Canal: /kë"næl/ :(noun) : a long passage dug into the ground and filled with water, either for boats to travel along, or to take water to a place

 

Wait: /weût/ :( verb): to stay somewhere or not do something until something else happens, someone arrives etc

 

 

Surprise: /së"praûz $ sër-/ : (noun) : an unexpected or unusual event

What a surprise to find you here

 

Plait: /plæt $ pleût, plæt/ : (verb) : to twist three long pieces of hair or rope over and under each other to make one long piece

 

Promise: /"prãmÂs $ "prä:-/: (verb) : to tell someone that you will definitely do or provide something or that something will happen

 

Pal: /pæl/: (noun): a close friend

 

Worm: /wî:m $ wî:rm/ :(noun): a long thin creature with no bones and no legs that lives in soil

 

And: /Ênd, Ên; strong ænd/ : (conjunction) : used to join two words, phrases etc referring to things that are related in some way

 

Storm: /sté:m $ sté:rm/ :(noun) : a period of very bad weather when there is a lot of rain or snow, strong winds, and often

 

Chaise: /;Ðeûz / :(noun) : a long chair with an arm only at one end, which you can sit on and stretch your legs out

 

Chaos: /"keû-ãs $ -ä:s/ : (noun) : a situation in which everything is happening in a confused way and nothing is organized or arranged in order

 

Chair: /tÐeë $ tÐer/ : (noun) : a piece of furniture for one person to sit on, which has a back, a seat, and four legs

 

Senator: /"senëtë $ -tër/ :(noun) : a member of the Senate or a senate

 

Spectator: /spek"teûtë $ "spekteûtër/ :(noun) : someone who is watching an event or game

 

Mayor: /meë $ "meûër/ : (noun) : the person who has been elected to lead the government of a town or city

 

Tour: /t|ë $ t|r/ : (noun) : a journey for pleasure, during which you visit several different towns, areas etc

 

But: /bët; strong bšt/  :(conjunction) : used to connect two statements or phrases when the second one adds something different or seems surprising after the first one

 

Our: /a|ë $ a|r/ :(determiner) : belonging to or connected with us

 

And: /Ênd, Ên; strong ænd/ : (conjunction) : used to join two words, phrases etc referring to things that are related in some way

 

Succour: /"sškë $ -ër/ : (noun) : to give help and sympathy someone

 

Four: /fé: $ fé:r/ :(noun) : the number 4

 

Gas: /gæs/ :(noun) : a substance such as air, which is not solid or liquid, and usually cannot be seen

 

Alas: /ë"læs/: (adverb) : used when mentioning a fact that you wish was not true

 

Sea:  /si:/ :(noun) : the large area of salty water that covers much of the earth's surface

 

Idea: /aû"dûë/ :(noun) : a plan or suggestion for a possible course of action, especially one that you think of suddenly

 

Area: /"eërië $ "erië/ : (noun) : a particular part of a country, town etc

 

Psalm: /sä:m $ sä:m, sä:lm/ : (noun) : a song or poem praising God, especially in the Bible

 

But: /bët; strong bšt/  :(conjunction) : used to connect two statements or phrases when the second one adds something different or seems surprising after the first one

 

Malaria: /më"leërië $ -"ler-/ : (noun) : a disease that is common in hot countries and that you get when a type of mosquito bites you

 

Youth: /ju:Ø/ : (noun) : the period of time when someone is young, especially the period when someone is a teenager

 

South: /sa|Ø/ : (noun) : the direction that is at the bottom of a map of the world, below the Equator. It is on the right if you are facing the rising sun

 

Southern: /"sšðën $ -ërn/ : (adjective) : in or from the south of a country or area

 

Cleanse: /klenz/ : (verb):to make something completely clean

 

And: /Ênd, Ên; strong ænd/ : (conjunction) : used to join two words, phrases etc referring to things that are related in some way

 

Clean: /kli:n/ : (adjective) : without any dirt, marks etc

 

Doctrine: /"dãktrÂn $ "dä:k-/: (noun): a set of beliefs that form an important part of a religion or system of ideas

 

Turpentine: /"tî:pëntaûn $ "tî:r-/: (noun): a type of oil used for making paint more liquid or removing it from clothes, brushes etc

 

Marine: /më"ri:n/ : (adjective) : relating to the sea and the creatures that live there

 

Pronunciation: /prë;nšnsi"eûÐÊn/: (noun) : the way in which a language or a particular word is pronounced

 

Think: /ØûÅk/ : (verb) : to have a particular opinion or to believe that something is true

 

Of: /ëv, ë; strong ãv $ ëv, ë; strong $ ä:v/: (preposition): used to show what a part belongs to or comes from

 

Psyche: /"saûki/: (noun) : someone's mind, or their deepest feelings, which control their attitudes and behavior

 

Is: /s, z, ëz; strong ûz/: (verb) : the third person singular of the present tense of BE

 

A: /ë; strong eû/ : (determiner) : used to show that you are talking about someone or something that has not been mentioned before, or that your listener does not know about

 

Paling: /"peûlûÅ/ : (noun) : a wooden or metal post that is pointed at the top, or a fence made of these posts

 

Stout: /sta|t/ : (adjective) : fairly fat and heavy, or having a thick body

 

And: /Ênd, Ên; strong ænd/ : (conjunction) : used to join two words, phrases etc referring to things that are related in some way

 

Spiky: /"spaûki/ : (adjective)           : hair that is spiky is stiff and stands up on top of your head

 

Won't: /wë|nt $ wo|nt/ : the short form of 'will not'

 

It: /ût/ : (pronoun) : used to refer to a thing, animal, situation, idea etc that has already been

 

Make: /meûk/ : (verb) : to produce something, for example by putting the different parts of it together

 

You: /jë, j|; strong ju:/: (pronoun) : used to refer to a person or group of people when speaking or writing to them

 

Lose: /lu:z/ : (verb) : to stop having a particular attitude, quality, ability etc, or to gradually have less of it

 

Your: /jë; strong jé: $ jër; strong jé:r/: (determiner) : used when speaking or writing to one or more people to show that something belongs to them or is connected with them

 

Wits: /wût/ : (noun) : the ability to say things that are clever and amusing

 

Writing: /"raûtûÅ/ : (noun) : words that have been written or printed

Groat: /grë|t $ gro|t/ : (noun) : a former British coin that had a low value

 

And: /Ênd, Ên; strong ænd/ : (conjunction) : used to join two words, phrases etc referring to things that are related in some way

 

Saying: /"seû-ûÅ/ : (noun) : to express an idea, feeling, thought etc using words

 

Grits: /grût/ : (noun) : very small pieces of stone or sand

 

لطفا نظر فراموش نشه

 

 

phrasal verbs

---

ارسال شده توسط امین داودی

 

سردبیر اصطلاحات و ضرب والمثلها:اعظم پاکراه

 

 

 

 

 

 

 

 

 

phrasal verbs

 

 

Five useful phrasal verbs. Where 3 dots (...) are used this means that the object must go in this position. 

Account for: explain

How do you account for their strange behavior?

 

Accuse (…) of: say that someone has committed a crime

He was accused of stealing the money

 

Act on (…):  take action as the result of (e.g. advice)

We acted on your advice and took the early train

 

Add on:  include in your calculations

Don’t forget to add on some money for expenses

 

Add up to:  result in a total of

The money owned added up to cover two thousand pounds

 

 

 

 

 

برنامه امتحانات

این هم برنامه امتحانات پایان ترم اول

 

شنبه:15/10/86 = ساعت 30/8-10  معارف(1)***ساعت 16-18  اخلاق اسلامی

 

چهارشنبه 19/10/86 = ساعت 14-16  خواندن(1)

 

یکشنبه 23/10/86 = ساعت 30/8-10  فنون یادگیری

 

پنج شنبه 27/10/86 = ساعت 30/8-10 دستور نگارش(1)

 

تذکر بسیار مهم:برای کسب اطمینان لطفا شخصا به گروه زبان مراجعه و برنامه امتحانات را چک کنید، چون منبع این برنامه جدولیست که در سالن گروه زبان روی تابلو اعلانات قرار داده شده.

پس هرگونه تغییرات احتمالی  در برنامه امتحانات را از طریق گروه زبان پیگیری کنید.

لطفا نظر فراموش نشه

موفقیت های تیم فوتسال کلاس

تیم فوتسال کلاس با نام پارس در مسابقات فوتسال هفته بسیج دانشگاه  شرکت نمود و با اشتباهات فاحش داوری و تغییر مداوم برنامه مسابقات با دو باخت پیاپی از گردونه رقابت ها حذف شد.

اما این مسابقات فواید زیادی برای کلاس ما به همراه داشت که به ذکر چند مورد بسنده می کنیم.

1-     برگزار نشدن چند جلسه conversation group

2-     به تعویق افتادن کلاس IELTS

3-     مصدومیت چند بازیکن

4-     انجام ندادن تکالیف درسی به دلیل خستگی ناشی از recovery بعد از بازی

5-     ؟؟؟

 

اسامی بازیکنان تیم پارس:

 

هاشم دهقان نژاد:دروازه بان

حسین حیدریان:دفاع آخر

مسلم سنگ سفیدی: کاپیتان بدون پست مشخص

کوروش آریایی:هافبک دفایی

امین داودی و یزدان چوب ساز:مهاجمین

علی صالحی:سرمربی،کمک مربی،پزشک، سرپرست تیم و ..........

و

 

فاتح رسولی: بازیکن آزاد( لازم به ذکر است که این بازیکن در اواسط دیدار پایانی بود که  ناگهان از جایگاه تماشاگران خود را به درون زمین بازی رساند و با بازی خیره کننده خود یک گل نیز به ثمر رساند تا پدیده بی چون و چرای مسابقات لقب گیرد)

 

با آرزوی تکرار موفقیت های خیره کننده  این تیم در رقابتهای سال آینده