جستجوی مقالات مرتبط با کلیدواژه « rhetorical layer » در نشریات گروه « ادبیات و زبان ها »

Layered stylistics is one of the new ways of evaluating and examining literary works, with the help of which literary texts, both poetry and fiction, can be analyzed and analyzed more delicately and accurately. Based on the knowledge of traditional and classical stylistics, this method of stylistics examines and analyzes texts in the five layers of phonetic, lexical, syntactic, rhetorical and ideological. Among the five layers mentioned, the ideological layer examines the work in terms of feelings, beliefs, thought and ideology that it carries in three levels of vocabulary, syntax and rhetoric. Contemporary female storytellers between the 1960s and 1990s, using a kind of protest literature, reflect the problems and social problems of women and the existing shortcomings, which can be well seen in the ideological levels of these stories. The purpose of the upcoming review is to analyze and analyze the ideological level of contemporary stories of female writers in the 80s to 90s

This research will be done in the library method and the descriptive-analytical method. The statistical population of the present research is a selection of contemporary stories by female writers in the 60s to 90s, including Fariba Vafi, Zoya Pirzad, Shahrenoush Parsipour, and Muniro Ravipour.

The findings of the research indicate that among the women writers of the 80s and 90s, according to the selected works of Fariba Vafi, Zoya Pirzad, Shahranush Parsipour and Muniro Roufanipour, language is in the service of inducing ideology to the audience.

According to the stylistic examination of the ideological layer in the works of the mentioned authors, ideology is reflected in all three lexical, syntactic and rhetorical layers. In the lexical layer, the use of words that show the effort to raise the status of women or their sorrow over the pitiful situation of women in society, in the syntactic layer, the use and structure of short and consecutive sentences that show the anxiety and distress of the female character in the story, and in the rhetorical layer, images which is allegorical, ironic, etc., reflecting the opinions, beliefs and ideas of women writers, about the status and conditions of women in the society, can be seen.

Layered stylistics, which focuses on the analysis and study of literary texts on the basis of new approach, is considered as the foundation of linguistics. The high-frequency features of the works are recognized via each of the sub-layers of this style. Sherveh is a type of public poetry in south of Iran that became popular and developed during the period of literary return. The stylistics of literary genres that emerge in particular spatial, cultural, and geographical contexts can help to identify literary genres and the richness of literary history accurately.

This study examines the phonetic and rhetorical layers of southern Sherveh through descriptive and qualitative analysis. The statistical population of the study including Mahya, Fayez, Baqer Lari's Sherveh and the books concerned with Sherveh khani in south of Iran by Ali Babachahi, Dashti and Dashtestan by Abdolmajid Zangooyee, local songs of Fars by Sadeq Homayooni and folk literature of Bushehr is written by Abdullah Rezaei. Data were collected in the way of documents and libraries.

Shervehha, which are the most vital lyric types of public poetry in the south of Iran, has used other linguistic possibilities and literary techniques to literalize their text considering their meter, exclusive format, content, connection with music and short structure as a literary genre. This genre has always been composed in framework of a couplet that is a reminiscence of the original Persian rhyme their phonetic structure is powerful to great extent.

The examination and analysis of Sherveh in terms of layered stylistics in both phonetic and rhetorical sub-layers demonstrate that in these poems, other free and regular musical repetitions, word proportion, creative and literal, spiritual and imaginary elements to strengthen phonetic and rhetorical levels with high frequency has been used. These techniques are valuable linguistic possibilities that are naturally has been applied in highlighting the language of any type of poetry.

Layered stylistics is one of the new methods in analyzing literary texts. In this method, the text is examined in five layers: phonetic, lexical, syntactic, rhetorical and ideological, in addition to examining the stylistic features of the text, the author's thoughts and attitudes on various topics are revealed. Attar’s Tazkirat al-Awliya can be studied based on this method due to its linguistic and intellectual prominence. In this article, the authors have studied “Tazkirat al-Awliya” in three lexical, syntactic and rhetorical layers by analytical-statistical method and have dealt with the salient features of each layer. In this study, in the lexical layer, words have been selected with previous attitude and thought. In the syntactic layer, the arrangement and connection of sentences together is based on the author's purpose of the anecdote, and the choice of verbs, adverbs, prepositions and suffixes is made in order to induce the concept and according to the author's ideology. There is a lot of simile in the rhetorical layer, which increases the clarity and simplicity of the text. Attar's thoughts and ideology can be retrieved explicitly and implicitly in the study of all three layers.e salient features of each layer. In this study, in the lexical layer, words have been selected with previous attitude and thought. In the syntactic layer, the arrangement and connection of sentences together is based on the author's purpose of the.

Stylistics is a science that examines each person's specific way of expressing their views and opinions. A layered stylistics with a literary analysis approach examines the text in five layers: phonetic, rhetorical, syntactic, lexical and ideological, and after explaining each of these five elements in a literary work, it seeks to characterize the Special characteristics shows the work that is the basis of his personal style.The present article is based on library studies and has been done in a descriptive-analytical manner Salman Hrati should be called the pure voice of the literature of the stability of the Islamic Revolution of Iran. His main approach and motivation for composing poetry in defense of the Islamic Revolution and explaining its values is the issue of war, religious ideals and criticism of other socio-political structures in the world based on religious values. Due to the importance and special position of the poet, he tries to present Salman Hrati's collections in five layers (phonetic, lexical, syntactic, rhetorical, ideological) by presenting the tools and linguistic functions of the poetic system based on statistics Be carefully analyzed. Most of Hrati poems directly or indirectly refer to the poet's worldview of his social beliefs and perceptions. Hrati in his white poems does not pay much attention to the form, structure and music of speech and is not similar to poetic expression in terms of language, expression and structure. Vocabulary of elements derived from nature and the use of folklore culture is a special feature of Salman Hrati language and in terms of image, it uses different types of imaginary forms such as simile, metaphor and irony with the focus on recognition and succeeds in creating beautiful images with simple language. It immerses the reader in its clarity.

The purpose of this article is to investigate the process of metaphorization in the rhetorical layer of the contemporary social sonnet style and to investigate the ideological functions of this process so as to be able to achieve the dominant pattern of metaphorization in this literary genre. Also, this article seeks to analyze and explain the use of this rhetorical technique in terms of its role and functions based on the ideological view of poets, by reading and analyzing samples within the target statistical population. Investigations show that the majority of metaphors used in these poems are explicit metaphors. The creation of metaphors is primarily based on visualization, and above all, they are made based on animism, focusing on vegetation and zoology, and poets have created metaphors based on the similarity they have found between their intellectual foundations and mental beliefs with the phenomenon in question. . From the point of view of role and function, exaggeration, praise and praise or minimization and reluctance and humiliation of examples of these metaphors are among the most important intellectual and ideological foundations of poets of this literary genre.

The rhetorical and syntactic subtleties in the verses of the Holy Quran, including the miraculous aspects of this book, have long been of interest to scholars of Quranic sciences. One of the rhetorical topics of the Holy Qur'an is stylistics, which, by using the achievements of rhetoric and syntax, examines the stylistic effects in the Holy Qur'an. The present research, with descriptive-analytical method and based on the criteria of stylistics, has investigated the stylistic beauty of Surah Noah on two rhetorical (traditional and new) and syntactic levels and tries to show what elegance In Surah Nuh, similes, metaphors, metaphors, and irony, as well as syntactical deviations, which are among the outstanding stylistic features of this surah, have been used. Therefore, by applying these features in accordance with the concepts and themes in the Surah, he realized the rhetorical subtleties and syntactic features of the verses, which is a sign of the unique style of this blessed Surah. The results of the research indicate that in this surah, in the most eloquent way and according to the situation of the audience, all kinds of syntactic and rhetorical deviations (traditional and new rhetoric) have been used, and in terms of syntactic structures, according to the situation and status of the sentences. Proportionately short and long have been used, and because of the special order that prevails in this surah, the sentences are syntactically continuous.

Modern or layered stylistics is one of the applied methods in face-oriented and text-based stylistics which examines the text in five layers: phonetic, lexical, syntactic, rhetorical and ideological. In this method, according to the situational texture as a macro-layer, it breaks down the text into layers of layers and studies the style by examining textual layers and recognizing prominent or frequent features. It therefore examines the salient features of the style and their role and value in each layer separately and provides formal links to the text and its content. It should be noted that, in the history of prose writing, there have always been pioneers who have not only benefited from the intellectual and artistic tradition of the past., But they have also tried to innovate and sometimes valuable adaptations of literary genres and styles of other nations, to change or at least familiarize their nation with such writing styles and techniques. One of these prominent writers is Judge Hamid-ud-Din Balkhi. In this research, Hamidi officials have been studied with a layered stylistic approach.

This descriptive-analytical study has tried to analyze the style of Hamidi officials from the perspective of layered stylistics. Data collection in this research has been done through library activities and part of the content of the article is the product of the author"s personal analysis and review.

This work, as one of the examples of technical prose, has influenced the artificial and obsessive writings of the following centuries, and therefore has a special importance in stylistic discussions.

By examining this work with layered stylistics, types of phonological changes, high frequency of repetition of identical and contrasting words, intertwining of rhymes and punctuation, abundant use of marked words and codes, especially religious codes and Sufism, as well as the dominance of connected style and It is revealed in you and the high frequency of similes, metaphors, etc.

Theatrical songs are a part folkloric literature and are usually accompanied by traditional music in comic performances. They reproduce cultural and social identity of Iranian people and, with a linguistic simplicity, reflect the lower class life. The present study is a descriptive-analytic reading of theatrical songs in terms of phonological, lexical, lexical, syntactic, and rhetoric layers. It aims at revealing originality, simplicity and commonplaceness of these songs which are overshadowed by new literary trends. Results indicated that theatrical songs predominantly stimulate emotions and were essentially lyric and sentimental in nature and seek to please. Use of emotional, commonplace and even rude words with linguistic trans normativity is typical of theatrical songs which are initially to delight the audience and ease the process of communication. These songs make use of rhetorical components with social origins that are natural and lucid as they are associated with external layers of language.

1. In Muslim communities, prayers and religious supplications are of significant importance; therefore, a literary view of such texts would reflect their unknown, yet exciting dimensions. The supplication of Abu Hamza al-Thumali is one of these prayers in which Imam Sajjad has applied the entire prominent points of the belief principles along with presenting an instruction of monotheism, justice, and resurrection according to the concepts of Quran. The entire contents of the prayer involve the sanctification of God Almighty, confession to sins, seeking forgiveness, blessings, and goodness in the world, as well as stating a number of attributes to God.
2. Theoretical Framework
Words and sentences reflect the person who has spoken or written them; albeit, everyone would choose a certain style and fashion which in turn, would determine the influence and beauty of his/her work. One of the important indicators of the style is the purposeful iteration and consistency of certain lingual behaviors in a work or some methods of thought expression employed by the speakers or authors in their utterances. The science of stylistics is the discipline that focuses on this subject; the aim of stylistic studies is to investigate literary texts as well as discovering and explaining their characteristics through the analysis of style-making elements including lingual and lexical structures of the work, ideas and emotions of the speaker, and the function of literary and rhetorical devices in order to indicate the personal style of the writer. Through a literary approach to text analysis, layered stylistics would divide the text into five layers including vocal, lexical, grammatical, rhetorical, and ideological, along with explaining the prominent features and effective characteristics in the emergence of a personal style.
The present study attempts to examine the supplication of Abu Hamza al-Thumali in both of its rhetorical and grammatical layers; “the grammatical and rhetorical layers are two aspects of language examination in stylistics; what is meant by the grammatical level is word association in which, the words are placed beside each other in a certain fashion, with strong verbal and semantic bonds among them. The investigation of the grammatical level would contribute to the discovery of lingual secrets, interpretation of the structural system of the text, the arrangement of words and sentences and understanding the relationships among them” (Shamisa, 1994, p. 156).
In the rhetorical layer, expressive arrays such as similes, metaphors, allusions, and exquisite arrays along with their functions and particular features (which are indicative of the writer’s style) are investigated.
In this prayer, Imam skillfully and creatively applies subjects such as the science of expression and pure Islamic and mystical thoughts and present them to the audience in the best possible way. In addition to gaining awareness of the instructions put forth by Imam in the language of the prayer, the reader would also understand the aesthetics of the prayer in terms of rhetorical and grammatical aspects. The present study strives to answer the following questions: What are the features of the style of Imam Sajjad in this prayer in terms of its grammatical layer? How did Imam incorporate subjects such as the science of expression in this prayer and what are the features of its rhetorical layers?
3. This study investigates the supplication of Abu Hamza al-Thumali in both of its grammatical and rhetorical layers using the descriptive-analytical method based upon layered stylistics.
4. The sentences in this prayer are tantamount, linked together by the word “and” which contributes to the dynamism of the text as well as its acceleration in forming an affectionate environment. These sentences are formed according to the common Arabic grammar, and the occasionally observed distances between the text and such grammatical principles have been due to an emphasis on presenting a certain meaning. There are numerous essay-like sentences in this prayer which are relative to the prayer’s fashion. Summons can be seen throughout the prayer and in some parts, it seems as if the speaker senses such a closeness to God that he utters the interjection “ای”, usually used as close interjection. The essay-like sentences were applied intentionally and elegantly, in a way that in one part of the prayer, the use of imperative verbs are avoided and the supplications are made through phrasing sentences.
By investigating and analyzing the rhetorical layer, one can see the elegance and punctiliousness of Imam Sajjad in his use of various rhetorical devices; the type of similes used in the context of Imam’s speech is “reasonable to sensible”. He uses metaphors and similes to explain abstract and mystical subjects and transfer them in a tangible, understandable way to the reader, using sensory illustration. Given the environment of the prayer as well as the requirements of speech, Imam uses the opposition device beautifully in order to show the evils of sinners against God and illustrate the confrontation of his attributes with the actions of humans which is very effective in terms of the spiritual musicality of speech, in addition to providing clarity in the transfer of meanings. To present a sensual illustration of meanings, offering facts alongside reason, or covering speech due to a moral, cultural necessity or a political obligation or pressure, allusions are used attractively.
5. The paranormal application of grammatical and rhetorical arrays have offered a unique charm to the prayer in which the sentences, analogies, metaphors, and allusions used by Imam are in line with his pure thought, ideologies, and sincere mysticism. The context of Imam’s speech throughout the prayer is literary and rhetorical. He has presented his views in the best possible frame which indicates his thorough perspective and profound thought toward the truth and nature of Godly rules and principles.