نشریه پژوهش های دستوری و بلاغی
پیاپی 9 (بهار و تابستان 1395)

Intertextual criticism concerns the analysis and review of the literature and with respect to the properties of postmodern novels, the intertextual analysis seems to be necessary. Post modern novels have some properties including stream of consciousness, back to past and its criticism, presence of the historical characters and previous literary texts, creating questions and engaging the reader with the text, emphasizing the infinity of the meaning and indeterminacy. Components of the post modern novels are clear in the literary works of Abbas Maroofi, famous contemporary novelist, including Farhad’s body, symphony of the dead, Fereydoon had three sons. This study, based on the theories of intertextuality specially dialogism to analyze of the "Fereydoon had three sons," novel. this study shows that the author demonstrate by myth, mankind's eternal struggle to seize power. As well as he achieved through the implications of the new semantic, Carnival-ism and polyphonic in novel reinterpretation and a different reading of the story Fereydoun kingdom.

The present article, with regard to the fact that Hindi style created a new move in poetry and Persian language after almost one century of recess in the poetry of 9th century, investigates the causes of such regeneration in the poems of Naziri as one of the eminent representatives of that style. By exploring 200 sonnets by the poet, collecting various cases of such linguistic reformation and their structural analysis the author shows how the poet attempts to harmonize the language of his poems with the renewed concepts. In another words, since the poet requires a new language in order to express new concepts he examines various methods such as word formation, modification in the use of common words, making synonyms, borrowing from spoken language, making enriched compounds and avoiding grammatical rules. Some of those methods like word formation and modification in the use of common words have made the language of his poetry rich, while some others like avoiding morphological and syntactic rules havent shown successful results and have led to ambiguity and weakness of his poetic language.

The purpose of this thesis is to study the verbal and semantic structures of the poetry of Asjodi Marvazi , a fifth- century poet, and to analyze the artistic aspects of his poetry. To this end, in the first chapter, the expressions and concepts used in the process of research are defined and clarified and in the second chapter the characteristics and historical and literary conditions of the poet's time , and also his biography are presented .
In the next parts, the author has attempted to examine and analyze the imagination, imagery and also the style of utilizing verse-making elements from a structural point of view. It has also been attempted to illuminate Asjodi's mental structure according to the poems which are left from him
In the final chapters , the characteristics of Asjodi's language and also the form of his poetry are studied and explained .

Each literary genre has special stylistic features. Recognizing the stylistics of these genres can lead us to understand them more accurately. Lampoon as a type of literary genre has been applied by the poets several times and they have created considerable works in this regard. Hotai’a is one of the most famous and eminent poets in this literary genre who has significant works in this field. The present article aims to investigate stylistic features of lampoons used by Hotai’a and to analyze them considering literary, intellectual, and linguistic aspects. In literary level, rhetorical and lexical figures of speech are searched; and in intellectual level, intellectual themes and lampoon concepts of the poet are investigated. Finally, the linguistic and rhythmic features of the poems by Hotai’a are explored in the linguistic level. According to these factors, this study seeks to provide a better and more accurate understanding of the lampoons used by Hotai’a and to pave the way for a better study and comprehension of this type of poem.

In cognitive linguistics, metaphor is not generally a linguistic or specifically a literary phenomenon. But it is a cognitive and mental one through which what we see in language is a mere representation. In fact, literary andaesthetic metaphors are just subcategories of metaphors. The present research is an attempt to study different types of metaphors in Hafez Shirazi’s poems based on cognitive linguistics. To carry out the study, first all the sonnets were scrutinized and then instances of ontological, structural, and directional metaphors were analyzed both qualitatively and quantitatively. The results of the study revealed that the poet had used these metaphors with the frequency of 77.85%, 15.24%, and 6.91% respectively. Furthermore, the study showed that the poet had used love, mystic, rougish, eulogical, and philosophical mappings in stating ontological metaphors. he had used right, inside, outside, niche, high, front, down, base, head, and far directions to convey directional metaphors.

Difference in the use of imagery in different periods of Persian poetry is one of the issues that have been less attention; studying the styles of Persian poetry shows that in some of these courses, frequency and use of certain literary imagery have been more than other imagery. For example, in the poetries of Khorasani period, few samples can be seen for ambiguity, while the use of this imagery in Iraqi style has become one of the stylistic criteria in the mentioned period. Sociological approaches should be helped in order to find this issue. In the present article, authors have attempted to provide an answer to the mentioned issue using Theory of Genetic Structuralism of Goldman who attempts to discover the relationship between literary structures and worldview of creators; Sociological study of poetry of several poets of Iraqi period such as Molavai, Attar, Iraqi etc, who can be considered the main poets of Iraqi style, shows that A-introspective worldview influenced by the thoughts in this period, due to the political, social and cultural climate of the society, has been the main reason for qualitative superiority of intellectual imagery to verbal imagery; B-Sufi and oriented-concept worldview has resulted in more neglecting these poets to imagery (even compared with the poets of Khorasani period such as Onsori and farrokhi.

Rhetoric is one of the main branches of eloquence that seeks to establish a lasting link between literary works and their audience by introducing linguistic capacities. Hence, the main subject of this knowledge encompasses a review of how literary works and their creators are connected to the relevant audience tastes of various periods. Since poetic styles and audience tastes undergo too many changes, it is necessary to shift rhetoric discourses. This article endeavored to deal with the ups and downs of rhetoric throughout the different examples of poetic styles in a descriptive, analytic, and comparative manner and answer the question whether it has kept pace with the poetic developments and the audience changing tastes of Persian poetry. The current research demonstrated there has been little change in rhetoric despite many changes in terms of rhythm or measure, semantics, language, style, and audience of Persian poetry. Thus, this knowledge efficiency in the criticism of Persian poetic eloquence has lessened. Obviously, presentation of practical examples of the aspects of eloquence in the course of different poetic styles can reveal the strengths and weaknesses of rhetoric and provide a context for its development and effectiveness.

The Style of Mahasti Ganjavi,s quatrains
Mahasti Ganjavi (490 -577 BC.) Lady in the sixth century AD Persian poet, after the house Khayyam quatrains Iran's most prominent Yd.vy and also the founder of the school of "urban chaos" in the form of quatrains have known that later in the Safavid era to become more common.
IN Mahasti verbs and vocabulary ancient Persian poetry such as: Bkhosbm, aHykht, Parr,the old profile, like a good rhyme and Shaystn ought to mean on the impact of poet To Khorasani style.
Ambiguity, mischief, parallelism, irony, metaphors and ambiguity of complex and detailed and Hassan arguing in particular Vjnas art supplies including Mahasti Rubaiyat is outstanding.
frequency among Ghanaians and honoring the beloved poet, Khayyam and good ideas, SHAHR ASHOOB, humorous and satire is an open point.
In this paper we shall try to Mahasti in three quatrains style of language and literary and intellectual analysis.