نشریه مطالعات زبانی بلاغی
پیاپی 34 (زمستان 1402)

Exploring the meaning of literary works has always been the focus of critics in this field, but the crucial issue is the use of a methodical approach to reach the hidden meanings in different layers of the text. The transtextual approach is a holistic apparatus among literary theories, through which hidden layers of meaning can be discovered. This theory does not have a precise formulation in semantics. However, its elements, from a holistic viewpoint, show special semantic capacities in the syntagmatic and paradigmatic axis of semantic, which have not been investigated so far. For example, hypertext, intertext and metatext work on the paradigmatic axis of semantic. Paratext works on the syntagmatic axis of semantic and architext works both on the syntagmatic and paradigmatic axis of semantic. As such, the interaction of these elements leads to discovering the overall meaning of the text. Therefore, in this research, according to the new perspective of "Transtexual interpretation, it is aimed to analyze y Testament of Bondar Bidakhsh, using qualitative and quantitative analytical methods and relying on library and documentary studies. By applying the theories of transtextuality and semantics to the play, we both seek to formulate a new theoretical apparatus and show the hidden layers of meaning in this play. The results of this analysis show that Beyzaei conveys meaning to the audience through paradigmatic and syntagmatic transtextual elements and transtexual interpretation is an efficient theoretical apparatus to analyze this work.

The works remaining from any period are definitive mirrors of the thought, culture and language of that era. The reflection of ideology, mentality, language, and the path and practice of the pillars of power have both direct and indirect effects on shaping the content and structure of the writings, which play a major role in giving identity to the ethnicity, language, and intellectual discourse. The ruling power in the Safavid period was composed of a triad of the Safavid kings, the military commanders, and the religious scholars, each of which used mystical, military and religious discourses, respectively. Therefore, they employed three different types of language appropriate to these three types of discourse to communicate with the people. Sharing the goals such as maintaining power and continuing political domination over the people often led to coping with the intellectual and cultural conflicts between mysticism, religion, and military service. In the same way that they used the three languages ​​of mystic self-centrism, religious spiritualism, and military violence to dominate the society, they also utilized the potentials of all the three discourses to produce literary and historical works appropriated to their style of governance, which is evident in the prose language of the era. From a sociolinguistic point of view, language is a tool for exercising power, which links human sciences to social sciences and linguistic. Accordingly, this research deals with the influence of power in Ālam-ārā-ye Safawi from the perspective of sociology of language, distinguishing the powers that have influenced the prose text of this book and determining the frequency and form of the power influence on its prose.

This research aims at identifying the criteria of genre analysis in lyrical novels, specifically a comparative study of Christian and Kid by Houshang Golshiri and To the Lighthouse by Virginia Woolf. This is a descriptive-analytical research based on library resources. In this process, the main features of lyrical poetry, as the origin of the lyrical genre, have been compared based on theories proposed by Ralph Freedman, who initiated the discussion on lyrical novel in world literature. In this regard, five intratextual and extratextual genre analysis factors of the novel have been considered: formal and content-related factors (content, color and plot, narrator and point of view, character and characterization, language and tone, and scene), the relationship of the work with discourses, external function of the work, and audience. The results of examining genre analysis factors have been measured with the components of the lyrical genre. According to the research findings, the aforementioned novels belong to the lyrical genre. The genre analysis of these novels reveals the following: formal and content-related features serve the lyrical components (introspection and highlighting); they correspond with psychological novels and the stream of consciousness; modernist discourse predominantly prevails in them. During periods of sociopolitical turmoil or time of stability and overcoming basic life needs, the works whose authors tend to introspect, are more prevalent. They have individual and artistic external functions; their readers are active and engaged in internal identification with the character. Accordingly, the position of genre analysis of the two Persian and English lyrical novels becomes clear.

Proverbs are important cultural components which show the way and style of common thought in a society. They are often mediators and devices for language pressure and influence. The question is where the effectiveness and functional pressure of proverbs come from and how the internal and external mechanisms governing their structure work. Using the qualitative, analytical and functionalist method, it can be said that proverbs become common and influential when they direct the audience to a familiar story in the infrastructure through obvious dualities and contrasts in the superstructure. The easier the audience's mind is transferred from superficial signs to cultural and infrastructural significance of the stories, the more immediate and greater their influence will be on the audience. The story in the deep structure of proverbs can influence the listener like a pressure device by shaping the mental schema and help in cognitive development, recalling and quick understanding of the message. Narratives and cultural stories in the deep structure of proverbs act in the direction of persuasion. They shape acceptance by emphasizing on social constructionism and create an immediate impact on the audience by highlighting the originality of depiction and imposing pressure and theatrical obligation.

In literary studies, metaphor is considered as the basic element of creativity and a characteristic expression of the author's artistic individuality. Metaphor can be used by writers in various social contexts to support the basic propositions and beliefs of a specific ideology or point of view. Every social context contains a dominant ideology and several subordinate ideologies. In the battle between these ideologies in social contexts, metaphors play an important role. Fauconnier and Turner (1995) raised a new issue in cognitive linguistics and metaphor by showing that all metaphors are not made from matching the source and target domains, as proposed by Lakoff and Johnson (1980). According to Fauconnier and Turner (1999), mental spaces are small conceptual domains that are created in a person's mind while speaking or thinking. Contemporary novels, including Shahrnūsh Pārsipur’s The Dog and the Long Winter (Sag va Zemestan Boland) are more appropriate and opt to be viewed from this theoretical point, due to their metaphorical language and the proximity of their language to the metaphorical pole; they are free from the limitations governing some formal types of literature such as classical poetry and technical prose. The current research is a theoretical in the sense that it is library-based and the data is investigate via the descriptive-analytical method. To this end, Pārsipur’s novel was carefully studied, and its metaphors were thoroughly extracted. Then, all the metaphors were described and analyzed in order to determine the conceptual domain used in the construction of their mental spaces. The findings revealed that the conceptual domains used in the metaphors of The Dog and the Long Winter play a role in the construction of the mental spaces proposed in the theory of Fauconnier and Turner. The metaphors were classified in terms of eight group as follows:  ontological metaphors (phenomenal or material), characterizing metaphors, directional metaphors for positive and negative entities, structural metaphors (the conceptual domain of objects, body parts, and the concept of life, natural phenomena and animals). In general, it can be said that, in all constructed metaphors, the use of conceptual domains in the construction of metaphors and conveying specific meanings to the audience has been done intentional.

Cheraghha Ra Man Khamoosh Mekonam (I Will Turn off the Lights) is Zoya Pirzad's debut novel revolving on the theme of loneliness and the boredom ensuing from this loneliness. This research is a descriptive-analytical investigation of Zoya Pirzad’s Cheraghha Ra Man Khamoosh Mekonam concerning the narrative and its connection with the theme. The popularity and consecutive editions of the novel prompted us to evaluate this novel in terms of selection and appropriateness of elements such as narrator, point of view, focalization, order, duration and frequency and theme. Our main purpose is to explain the author's level of innovation in using fictional elements and to explain the relationship between narrative and theme of the novel. Due to the lack of dramatization of the text, the narrator mixes up the present time of narration with the time of occurrence of the events. The direct delivery of information to the audience is one of the signs of this fusion. The weakness of authorship is revealed in the construction of the narrative. The writer has also chosen a traditional narrative construction and finally created a simple and straightforward plot which has no sign of a new perspective. Exploring order, duration and frequency shows that the narrative of the novel is one of the classical and traditional narrative types. Due to the slow narrative pace, the author has not been able to represent the theme of the novel in a deep and artistic way.

The famous ode of “Tarsaeiyeh” contains a verse that has puzzled the commentators and proofreaders of Khaqani's collection of poems. The main complexity of the verse in question is the reference that "kissing the church bell" has the ironic meaning of becoming an infidel and leaving the religion of Islam. The main problem in Khaqani's verse is that "kissing the church bell" does not occur in any of the old texts, and unlike kissing the crucifix, "kissing the church bell" was never widespread in Christianity; In addition to the various statements of the commentators of Khaqani's collection of poems, two detailed articles have exclusively dealt with this topic; the first article is about the proposal to correct "Kissing the church bell" to "Drinking the church bell" and the second defends the authenticity of the recording of "kissing the church bell" and rejects the first article. Of course, there is no authentic textual evidence for "kissing the church bell" and "drinking the church bell" in either article. In this study, based on some evidence from Khaqani's collection of poems and other works of Persian literature, it is shown that "I kiss the church bell" in Persian (ناقوس بوسم) in Khaqani's collection of poems is the result of a pun on the "I knock the church bell "in Persian (ناقوس کوبم). In the old spelling, sometimes the writers did not put the stroke of "ک" and "گ"; so the phonemes were easily converted to "ب" and "ت" etc. In another part of the article, "the bell of Magi " is explained and shown that, in Zoroastrian, "the striking of the mortar," was considered as a call to prayer and a sign of invitation to participate in religious ceremonies. Thus, by assigning the bell to Magi, no heresy has taken place, and only the conversion of a proper noun into a common noun has occurred.

Ferdowsi is very subtle and precise in the use of rhyme. One of the points that has received less attention in the subject of rhyme is the investigation of the rhetorical role of rhyme in different literary and linguistic fields. In Shahnameh, Ferdowsi has used "alef-e-etlaq" in some cases as an end rhyme, which most of the researchers have considered as extra (al-zaidi), used to add weight to the verse, and ignored its rhetorical value. In this research, an attempt has been made to take a closer look at this "alef-e-etlaq" from a linguistic and rhetorical point of view. Since the time of Shams Qays, due to Shams' negative view of this “alef-e-etlaq”, it has mostly been undermined. In this article, we have tried to change the views of the past about this alphabet and introduce it not as a gross weakness in the Shahnameh, but as a kind of stylistic feature in a certain period.

The representation of gender ideology is to show the author's gender world (beliefs, customs and traditions, behavioral acts expected from both sexes, distribution of power between the two sexes) either from a position of agreement with the dominant discourse of the society or from a critical point of view in the text. The main objective of this research is the analysis of the representation of gender ideology in the stylistic layers of the personal elegies of Persian-speaking male and female poets. The representation of poet's individuality (self) in personal elegies makes it feasible to study author's identity, for instance in terms of gender. This study was conducted via a combined research method (descriptive-statistical-comparative analysis), employing layered stylistics as the theoretical basis. The following results were obtained from this research (in three lexical, syntactic and rhetorical layers). Symbols indicating submission and satisfaction, short and discrete sentences and emotional and sensory rhetorical devices are   used more often in the elegiac writing of female author to reflect the concepts of acceptance of fate, internalization of gender role and status, as well as oppression and inferiority, in line with the dominant discourse. The ideology represented in the personal elegies of male authors indicates authoritative protest and overbearing authoritarianism. Compared to women's emotional emotions that can be found in their declarative and emotional speech acts and short and discrete elegiac sentences, men have reflected more logical reflections with long continuous sentences, persuasive speech acts and more rhetorical tools.

Johnson and Lakoff consider conceptual metaphors as mappings between two domains called source and target domain. The function of these mappings is to objectify the abstract concepts of the target domain through the schemas of the source domain. The purpose of this research is to classify death-awareness stories based on "rebirth" in children's literature. In this regard, paying attention to the metaphor "death is a journey," this article seeks to answer how the schema-images of "journey" work in the conceptualization of "rebirth" and "resurrection." The method of this research is analytical-descriptive, and its statistical population is children's stories with the theme of rebirth and resurrection for the demographic group of early childhood. The result of this research shows that, according to the up/down orientational metaphor and the "path" scheme, the mentioned stories are divided into four categories: resurrection without transcendence, resurrection with transcendence, transfiguration with transcendence, and the chain of renewal. The above categories are also classified into subcategories. For the first time in Iran, this research examines reversible deaths with a cognitive semantics approach.

The understanding of the hidden layers in the text is determined by the use of signs. Signs consist of a phonetic form (signifier) and a conceptual idea (signified) that alone express meaning and concept. The phonetic harmony and balance between the words creates a new meaning, which implies that the music created through the unity or contrast of the consonants and vowels of the words is in harmony with the poet’s intended meaning. The present essay tries to investigate the magic of proximity in A mirror for Sounds. This research was done based on the concept of the magic of proximity in Shafi’i Kadkani's aforementioned collection, using a descriptive-analytical method through a library and survey approach. The findings of the research show that the poet has increased the beauty and effectiveness of his speech by a balanced, accurate and coherent use of devices. He employs a variety of figurative devices to convey imagery, emotion i and sound, which has made his poetry specially graceful. Also, Shafi'i Kadkani has paid special attention to this literary genre (the magic of proximity) in his collection of poems, attracting the attention of many readers. In addition, the most literary use of "magic of proximity" in poetry, after alliteration, is to induce feelings, and the magic of proximity has an effective role and a high position in shaping and strengthening the inner music of Shafi’i Kadkani's poems.