مجله بلاغت کاربردی و نقد بلاغی
سال ششم شماره 2 (پیاپی 12، پاییز و زمستان 1400)

According to me, his commentator terry Gilliam allows his characters to float in the heart of topics such as archetypes, narratives, history, time and place, to be redefined by Gilliam as unique phenomena. The researcher aims to discover the secondary meanings of the world of Terry Gilliam's screenplay texts in a dialectical process and intends to interpret Gilliam's screenplays based on Ricoeur's hermeneutic views. The researcher aims to discover the secondary meanings of the world of Terry Gilliam's screenplay texts in a dialectical process and intends to interpret Gilliam's screenplays based on Ricoeur's hermeneutic views. Ricoeur believes that in order to give wings to the imagination, reality must be suspended, so that by returning to the nature of objects and filling in the role of metaphors within the text, we can remove their original meaning and add new meanings to them. By this definition, the function of the power of the human imagination in Gilliam Berg's works is a winner for him so that the heroes of his works can advance the story in an unreal world. Examples that Gilliam has hermeneutically addressed in screenplays, can be traced back to storytelling, redefining narratives, joking with myths, and redefining stories with a transhistorical approach.In a descriptive-analytical way, the researcher intends to move towards the nature of phenomena and the interpretation of secondary concepts of Gilliam's screenplays in order to better understand this artistic approach to the manifesto of surrealism through phenomenological reading.

Cultural ties, social relations, and ethnic and religious commonalities are major factors in thecloseness of Iran and Afghanistan. In recent years, theseconnections have become more into fore due to political and social events as well as the war. Afghan Persian poetry is considered as a clear sign of thistype of communication. Via linguistic elements and literary techniques, thepoetry of Afghan migration recounts thesocial and political crises of Afghanistan. Thereis no doubt that a considerable part of thebeauty of verbal output and its influence is due to literary techniques. However, itis important how and for what purposes these tricks are used in the text. When it comes to Afghan poetry, it can be said that aesthetic elements have served the dominant poetry discourse, and surprise and its formal aesthetic aspects are not the main priority of the poet. Poetic images have the duty of conveying the moral, social and ideological concepts of the poet. With a content-based approach to aesthetic elements, this research examines the characteristics of the image in Afghan immigration poetry with special focus on Ghazal. Theresults show that the relationship of Persian poetry of Afghan poets with their audiences is based on the principle of awareness raising. Thisprinciple helps the audience to accompany and speak with thespeaker. Images and literary techniques in Afghan immigration poetry draw on human qualities, emotions, needs and sufferings. With this explanation, the social crises of Afghanistan and religious ideas are considered as themost important illustrative categories inthe Ghazals of Persian-speaking Afghan poets today.

The language of poetry is the language of apparent and implied relations and significations between words and meanings. And the poetic construction is a vehicle for the transition of words towards meanings in different levels and layers. Abd al-Qahir al-Jurjani conceives this construction as a set of signifying linguistic signs and relations. What is most notable in al-Jurjani's Theory of Construction is the interrelation of the words in a coherent signifying texture for the purpose of conveying meaning. This interrelatedness, in Hefez's poetry, allows to new combinations and employment of floating signified and has brought about a new language, a language in which meaning is never fixed and thus references to the interrelations of the words become inevitable and necessary. In the current study, with regard to Jurjani's views about the combinations and intimate relations of the words and the consequent meaning of them, and with regard to the diversity of meaning in Hafez's poems which is found both in the juxtaposition of the words and the paradigmatic axis, the floating character of the signified (meaning) will be studied in his poems through a series of citations in an analytic-descriptive way. The findings of this study will show in a new way that the different meanings are floating in Hafez's poems in different levels like Mesra', Beyt, and the whole Ghazal.

The knowledge of rhetoric is one of the most necessary knowledge in order to understand and interpret the verses of the Holy Quran, and by knowing it, one can understand the secrets and subtleties of the divine word. Because knowing the rhetorical methods of the Qur'an, especially some anonymous and little-used industries, to a large extent reveals the miraculous aspects of this divine book and reveals its hidden meanings and hidden treasures to the audience; It is worthwhile to address the subtleties and neglected industries of this knowledge in some interpretive texts. The present article is a research in which the authors have tried to introduce rhetoric, the course of this science and its chapters, by analytical-descriptive method, as well as through library studies and direct reference to the interpretation of Rawd al-Jannan and Ruh al-Jannan by Abul-Futuh Razi. Analyze literary beauties that are far from the eyes of rhetoricians or have been less studied. After studying, carefully, describing and analyzing examples of this interpretation, the authors conclude that Abolfotouh Razi has used special and underused industries in his interpretation such as: story context, connection, development, convergence, etc.

The Speech lessons that have been written in discourse of In Shams', they have been considered as valuable literary and mystical heritage. So far, from different perspectives of literary criticism and theories, it has shared significant research achievements with its contemporary audience. In this research, with a new approach Inspired by Saussure's linguistic views, under topics such as: the nature of linguistic signs (signified and signified) in discourse of Shams, discourses about non-linguistic signs in Shams articles, We have shown the analysis of speeches from Shams based on the relationship between coexistence and succession in language in discourse of Shams, the distinction between language and speech in discourse of Shams, syntactic and lexical critique in Shams articles, and the preference of speech over writing in discourse of Shams in the light of Saussure linguistics. Although Shams has not presented the theory and system of linguistics and semiotics in the face of the concept of language and its contents. But by reflecting on his The Speech lessons, we see a linguistic and linguistic interpretation in the face of books and traditions and phenomena of existence, which brings many surprises and reflections and for today's readers and gives it a contemporary dimension....

This research study aims to investigate the methods of formulating abstract time concept in revolution poem based on “conceptual metaphor theory”, and discover the resulting attitude in this categorization. The researchers, while dividing revolution poem into three consecutive periods (from 1978 to 2005), the time metaphor in Gheisar Aminpour and Seyed Hasan Hosseini poems has been explained and analyzed and the conceptualization method in time can express their worldview and special thought in this three periods. As in each period, regarding various political, social and cultural streams, these worldviews and thoughts have been changed. The results of studies reveal that the poets in the first period (from 1978 to 1989) are very hopeful and idealistic about the future, and have a happy and victorious spirit. In the second period (from 1989 to1997) they look at their hopes and ideals with a little skepticism and their happy spirit was diminished. . In the third period (from 1997 to 2005) despair and frustration from ideals were replaced instead of all hopes and dreams, and poets in this time speak about past and future with sorrow.

Biedl Dehlavi is one of the poets who distinguish himself among the poets of Indian style due to his special language and style. His poem is complex and mysterious, full of deep fantasy material and deep philosophical and mystical thoughts, and a special look at the world. In His poems, some words have a high frequency that is known as a motif and represents a kind of attitude toward the world. One of the high frequency words in Biedl’s poems is the abstract concept of "madness", which is a key word. In this paper, directional metaphors of "madness" are analyzed based on cognitive semantic theory and conceptual metaphor function. Biedl’s poetry is rich in complex concepts that can be described, and analyzed using the conceptual metaphor function in objectifying the abstract realms. This analytical and descriptive article, a collection of information from library method, inductive method of reasoning (except all) and qualitative data analysis and sometimes quantitative method, examines the abstract concept of "madness" in Biedl Dehlavi's sonnets based on metaphorical analysis Directions. Directional metaphors are expressed in Biedl’s poems with directional motions of rotation, up and down, inward and outward, the distance, the center of the antichrist, before and after this Java. However, in many passages, the madness is conceptualized as perplexity or occasional movement with the upward and downward motions of movement. The congruence of the metaphors used to conceptualize the metaphorical themes implies Biedl’s poetic power and his use of environmental experiences in expressing his mystical thoughts.

In Persian poetry, music is a complementary element of meaning, exciting, imaginative and influential on the audience. Poetry elements such as weight and melody, rhyme, line, imagination and emotion are valuable and effective when they serve the content and text and influence the reader of the literary work. This descriptive-analytical-statistical essay measures the side and external music of Kamal-al-Din Ismail's divan and finds out how it relates to the content of the poems. The findings show that although the external music and the variety of prosodic weights in Kamal al-Din's Divan are not great, he has chosen the most beautiful weights that are in harmony with the content and passive state of his poetry. By using coherent and mature weights, various commitments and difficult lines, he has created precise and narrow meanings, and in addition to weight, he has created a connection between rhyme, line and other words in terms of sound similarity or phonetic unity. As the main key in the formation of the phonetic system of the verse is the row and rhyme and the most specific letter of the rhyming letters, which has a musical and emotional connection with the content and causes the association of meanings, imagination and grace of meaning.

Rhetoric is the reach and appeal of Speech to influence and persuade the audience. Part of this reach and process of mental and psychological impact is the meter of the poem. As always, one of the concerns of some old and new rhetoricians in the West and Iran has been to explain things such as the need to match the meters with the content of literary works. For the first time, however, Richards from a psychological point of view, focusing on the process of influencing the meter of a poem, realizes the similarities between the submission state and the audience's persuasion of a poem in tune with the surrender state of a hypnotized human being. Has taken an interdisciplinary perspective. The opposite point of this theory can be seen in Nasser Khosrow's intentional use of Heavy meters. The present article, with a comparative-analytical and, of course, critical look at Richards' theory of "weight hypnosis", with more focus on the analysis of some of Naser Khosrow's poetic meters, will try to explain the violations of this theory based on the use of unpleasant or heavy meters.

One of the topics of interest to structuralists is paying attention to binary opposition. They know the foundation of existence and its cognition as the realization of these oppositions . Most of artworks are based on contrast and opposition; Bad versus good, heaven versus earth, youth versus aging, existence versus non-existence, etc. These two poles have never existed independently and are based on the opposition of two poles. Neighboring confrontations are a term associated with the science of syntactic meanings. The term, which is a combination of the two, is one of the hidden arts in Nezamy poetry. In this article, based on the theory of syntactic meanings, an attempt has been made to study and analyze various constructions and its various patterns; These patterns include: adjoining adverbs in a sentence with the same grammatical identity, adjoining adverbs with dissimilar grammatical identities, inflectional and non-adverbial antonyms, implicit adjoining adverbs, music of adjoining adverbs, and so on.The combination of these patterns with other rhetorical and aesthetic elements adds to their semantic capacity and rhetorical goodness. Such diversity has made military poetry more dynamic in terms of rhetoric, language and meaning. The high frequency of these confrontations has led to a stylistic feature in Nezamy poetry. In this research, all-round confrontations of introduction and syntactic structure of the verses that include this art have been analyzed in two poems: Khosrow, Shirin, Lily and Majnoon Nezamy.

Among all the approaches that have been the focus of scholars in literary criticism, the share of rhetorical criticism is very small. Rhetorical critique, also known as Neo-Aristotelian critique, was founded in 1925 by Herbert Witches with a paper entitled "Literary Criticism of Oratory". In this article, he discusses the main frameworks of this critique and shows its differences with literary criticism. He made a distinction between literary criticism and rhetorical criticism there. After him, rhetorical critique, using the teachings of oratory teachers, such as Aristotle, Cicero, Quintilian, etc., intends to discover and examine the persuasive strategies of the text. This critique uses factors such as eloquence, audience, methods of reasoning, ethos, pathos and logos, as well as other rhetorical tools for text analysis. In this method, the critic seeks to achieve the methods that the speaker intended to persuade the audience by using the elements of the speech In this article, we will use only one part of rhetorical criticism, namely invention. The speaking element is the part of the speech in which the speaker must find a way to present his speech This subject has changed in modern literature and rhetoric from that used in traditional rhetoric.The purpose of this article is to show what topics the historians of the Safavid period took in order to make their narrative more believable. In other words, behind every topic there is an argument that the historian wants to present to the audience in order to convince the audience.

Ambiguity is one of the most beautiful tricks that creates ambiguity in words And it forces the reader to delay, and it can be considered as a kind of semantic aberration. Ambiguity has attracted the attention of speakers because of the special complexity it creates in speech. The scholars of modern science have long sought a definition to clarify its types. Some of the definitions given for Tory ambiguity are related to proportional ambiguity. While in the ambiguity of proportionality there is only one meaning in the word and the second meaning is absent. The ambiguity in the poetry of a number of poets, including Assar Tabrizi, has a special character and he can be called an ambiguous poet. In Masnavi "Mehr and Jupiter" types of ambiguity: proportional ambiguity, ambiguity in ambiguity, ambiguity of contradiction, ambiguity of translation, ambiguity of employment, ambiguity of exchange and ambiguity of photo have a very high frequency and from this perspective ambiguity can be considered as stylistic features of Tabrizi extract. So far, no research has been done on the ambiguity in the poems of this poet and the poems of great poets such as Hafez and Khaghani have been studied. The research done on Tabrizi extract is mostly related to the mysticism and morphology of Masnavi Mehr and Jupiter, and its aesthetic aspects have been overlooked. Therefore, this research can be a new work in its kind.