ali sabbaghi

Badri Tondari (1996-1911) is one of the contemporary women orators. His collection of poems is about two thousand verses. She has written poems on topics such as homeland, pride in national history, freedom, peace and topics related to women. In this research, Badri Tondari"s poetic style has been described and analyzed in linguistic, rhetorical and intellectual domains.

In this article, the data collection method is complete induction and the research method is descriptive-analytical. First, the information obtained from Badri Tondari"s poems will be described, and then stylistic analysis will be presented in three linguistic, rhetorical, and intellectual domains. The data collection method will be complete induction, so all the poems have been examined.

Badri Tondari has used all kinds of repetitions (consonant and vowel) and additions in the phonetic layer to make his poems melodious. In his lexical layer, she has benefited from sensory and objective words, religious, national, patriotic and political words, words of war and peace, feminine words, etc.. Shifting sentence elements is one of the tricks of the syntactic layer of Tondari poems. Tondari does not have any particular innovation and prominence in using rhetorical techniques. But on the occasion of speech, she has used rhetorical techniques such as simile, irony, metaphor and allusion. Badri"s ideological style revolves around homeland, pride in national history, freedom, peace and women issues. Badri talks about the equality of men and women and emphasizes that these two sexes are correlative. It is not an intellectual feature, it is related to the rhetorical axis like an allusion, that is, the poet"s look at Iran"s honorable past and reminding them for today"s audience of being religious is not inferred from historical and mythological names, but rather shows nationalism and love for Iran.

What is more prominent in Badri Tondari"s poetry and is outstanding in terms of stylistics is the intellectual axis of his poetry, which revolves around the axis of homeland, pride in the national history, freedom, peace, and issues surrounding women. Badri Tondari"s poetry does not have a stylistic identity in the linguistic and rhetorical axis. And she has observed the norms and rules of traditional and classical Persian poetry. In general, the prominence of Tondari"s style is in the intellectual layer, and in terms of language and rhetoric, she has used linguistic and literary possibilities to usual extent.

Kings and generals used to issue a letter to announce the victory and conquest of the new territory with their own handwriting or the composition of their court secretary after the end of the war or the successful conclusion of the military campaigns in other lands. This letter is referred to as the Fatḥnāme (book of conquest). This study seeks to investigate the process of development, evolution, and independence of prose Fatḥnāmes in the Persian literature. The study's questions are when did Fatḥnāmes become popular as an independent type of court and sultanic writing and which Persian literary genre do Fatḥnāmes belong to? To answer the questions, the process of development and independence of Fatḥnāmes is first examined using a descriptive method. Then, the position of Fatḥnāmes as a literary genre is explained in terms of form, structure, and function using an analytical method. The results shows that Fatḥnāmes were initially implicit and secondary writing in the historical texts written in news language and gained independence and were gradually written in literary and artistic language since the 6th century (AH). The principles and manners of their writing were then developed in the books of Monša'āt and techniques of letter writing. In terms of literary genre, Fatḥnāmes are literary and short narratives of victory in war, which have an epic aspect and are written to legitimize war and preserve the power and rule of kings.

Hakim Nizami Ganjavi is a poet with a style and creator of the literary movement in the creation of lyrical versified stories in the history of Persian literature. Khosrow and Shirin is the first lyrically versified story of the poet, the story of affection, love, and lust, and a brilliant example of body pleasure composition in Persian poetry. This article analyzes the use of euphemism in Khosrow and Shirin and seeks to answer the following questions:  euphemism has been used to express and represent what themes in Khosrow and Shirin; What kind of literary and rhetorical tricks has been reflected in Khosrow and Shirin through euphemism, and what factors have provided the ground for the formation of euphemism in Khosrow and Shirin. The author has extracted research data from the text of the story by complete inductive method and has explained the use of euphemism in the versified story by the descriptive-analytical method. The results show that themes such as words and concepts of taboo, death, and descriptions of making love and lust in the text of the story have been expressed using euphemism and the poet has used rhetorical techniques of simile, metaphor, and irony in expressing forbidden and challenging concepts, and by this way has tried to maintain his image and that of the actual and potential audience of the story.

The abstract concepts and experiences in the mystical understanding and cognition field has led the rhetorician mystics to seek help from the concrete and objective concepts of "words" to understand and express the intangible world of "present". This skill of the rhetorician mystics can be proposed and investigated in the framework of the theory of conceptual metaphor. According to what is proposed in this theory, metaphor is not just a lingual method for creating beauty, but a method for thinking and understanding the universe. The present study will examine the ontological metaphors, one of the conceptual metaphors, with the origin of water domain (such as sea, water, rain, and...), in framework of conceptual metaphor in Masnavi Manavi, and to answer the question that: in the Masnavi, the origin of water domain and its related words are used to express which areas of the destination? To answer this question, the authors have first investigated the text in question and extracted the evidence related to the present study, and then analyzed the research data in a descriptive-analytical method. The result of the research shows that Maulavi has presented many and varied abstractions such as the mercy, soul, intellect, and heart and sometimes by using words related to water has tried to explain the different attitudes and perceptions of these abstract matters.

The grammatical argument of contention means playing two functions by one word or phrase in Persian language sentences. There is ambiguity and disagreement in Persian grammar articles and books about contention or the appositional function. In the present study, the contention in Persian grammar has been studied and an attempt has been made to answer the following questions: 1) How is the contention in Persian grammar sources explained in different sentences? 2) What is the connection between the discussion of contention and the categories of ambiguity, suprasegmental units, deletion (reduction), and deep structure of language sentences? 3) With which grammatical issues and rules does the belief in contention in Persian language sentences lead to contradiction and conflict? The result of the research shows that in Persian syntax, each word or phrase plays only one function in the syntagmatic axis in the sentence, and the cause of the contention is the combination of the form with the meaning, and considering a compound sentence as two independent sentences, therefore the contention has interfered with the categories of deletion, compound sentence interpretation, ambiguity, and dependency. IntroductionIn Persian grammar articles and books, the discussion of contention or the appositional relation (dual function of a word or phrase in the sentence structure) has been raised according to the Arabic syntax and is generally defined as follows: contention is when one of the components of the word in a compound sentence plays a different function for each of the verbs. There is disagreement about the issue of contention in Persian grammar. Some of the factors that have caused this disagreement are: the newly established writing technique of Persian grammar, the imposition of grammatical rules and categories of other languages ​​in Persian, the combination of historical grammar with contemporary grammar, and so on. Due to this disagreement, the present study investigates the issue of contention in Persian grammar. The authors will continue the issue according to the hypothesis that there is no contention in Persian sentences and the belief in contention (i.e. two functions for a word or phrase in the sentence structure) will disrupt and ineffective other rules of Persian grammar, especially in teaching Persian grammar will create an unnecessary challenge. Materials and MethodsIn this research, first, the outlooks of Persian grammar scholars about contention are presented using a descriptive method. Then, using an analytical method, based on the evidence of the same sources, the contention in various sentences of the Persian language is examined and criticized. Finally, the analysis and suggestions of the authors in this field are presented. ResultsAn examination of the views of Persian grammar scholars shows that the category of contention has occurred due to ignoring the structure of the compound sentence, the category of omission, subordination, and emphasis on deep structure and sometimes the form of sentences. Accordingly, the authors suggest that based on the basic rules of grammar, including the definition of the sentence, one function of a noun and a noun phrase in the sentence, the principle of the economy (omission or reduction), and subordination, there is no need to raise the issue of contention in Persian grammar. Therefore, the evidence related to appositional relation or contention in Persian grammar sources can be described and explained based on other grammatical rules. ConclusionContention in Persian sentences has been discussed according to the syntax of the Arabic language and in a variety of simple, basic, and compound sentences. In the sources that have considered the occurrence of contention in Persian sentences, several factors underlie this view. For example, referring to the deep structure of the sentence, ignoring the post determiner of the type of explanatory relational sentence, considering a compound sentence as two independent sentences, and relying on the form and formal structure of the sentence have caused a word or group in the sentence structure to have two functions that sometimes are repetitive but the same and sometimes different from each other.Belief in the occurrence of contention in Persian sentences interferes with the categories of omission and its types. Contention also conflicts with the interpretation of the compound sentence and the resolution of the dependent clause (dependent) in the form of a noun or adjective phrase in a compulsory or optional function in the sentence. Also, the occurrence of contention in Persian sentences is not possible because each word or phrase in the structure of a larger unit (i.e. the sentence), has only one function. Since the compound sentence is also considered an independent sentence in Persian grammar, a separate analysis of the compound sentence as two independent head and dependent sentences is not necessary and justified. It seems that believing in contention in Persian is in some way imposed by the Arabic syntactic rules and insisting on matching another language category with Persian.

There has been an old and new confrontation in the field of poetry and speech since very past to the present. The present article intends to compare Hassan Vahid Dastgerdi’s (1258-1321) Viewpoint as a pro-traditional poetry critic and Yadollah Royaei (1311) as a pro-modernist critic in Persian poetry, about poetry and poesy by applying inductive method and studies Yadollah Royaei and Vahid Dastgerdi’s articles and comments in Armaghan magazine The result of the research shows that Vahid Dastgerdi considers poetry as a medium for conveying high moral and mystical concepts by adhering to traditions. In contrast, Yadollah Royaei emphasizes the intelligent use of image, language and the coherence of poetic elements. For Vahid Dastgerdi, it is important to enjoy rhythm and rhyme, but not for a Royaei; but both poems are considered linguistic art.

The subject of this study is to investigate the consequences of the political and security implications of cash subsidies for subsidies in the household sector. . The purpose of this study is to investigate the political and security consequences of paying cash subsidies in order to take the necessary measures to prevent or reduce the effects of these consequences. Cash payment of subsidies Subsids, in addition to the positive points and benefits that will follow, according to the conditions of the country can create consequences and adverse effects in various sectors that failure to pay attention to them can lead to political and security consequences.  Therefore, it seems necessary to study these consequences in order to prevent social and security crises. The method chosen for this research is descriptive. In this research, library resources and information have been used and field research has been done through the distribution of questionnaires. Finally, SPSS software has been used to analyze the obtained information. Cash payment of subsidies Subsids, in addition to the positive points and benefits that will follow, according to the conditions of the country can create consequences and adverse effects in various sectors that failure to pay attention to them can lead to political and security consequences. . Therefore, it seems necessary to study these consequences in order to prevent social and security crises. The statistical population of the study consists of a number of professors from some universities in the country who are experts in political, economic and social issues. The conclusion that can be drawn from the present study is that the cash payment of subsidies will create tolls in the household sector, which will lead to dissatisfaction in the community. These effects will have a high potential for protests to occur and become political and security consequences, and should therefore be taken into consideration, although the results of the study summarize all cases of political and security consequences. Did not identify any significance in the implementation of cash subsidy payments in the household sector

The essential part and core of the predicate in Persian grammar is the verb, i.e. one of the pivots of stylistic analysis in the syntactic layer of language. This research analyses the role and stylistic function of verbs in Rubaiyat of Omar Khayyam. The questions that are going to be answered in this essay are, firstly, what are the pivotal characteristics of the verb in Rubaiyat of Omar Khayyam?, secondly, how is the frequency of the features of the verbs in Rubaiyat of Omar Khayyam?, thirdly, how the important characteristics of the verb is united with the style and content of Rubaiyat of Omar Khayyam? In the first place, in order to answer the research questions, the verbs in Rubaiyat of Omar Khayyam were extracted inductively. Then, the pivotal characteristics of the verbs were described in terms of grammar. Finally, the link between verbs and speculative style of Rubaiyat of Omar Khayyam was analyzed. The result of this study indicates that, in terms of time, the verbs in Rubaiyat of Omar Khayyam are attached to the present time, and they are in line with Khayyam who gains ground. In terms of the verb moods, in the first place, indicative mood is mainly to express the certainty of the message of the Rubaiyat and secondly, the imperative mood is to invite the addressee to live blissfully. In terms of the subject, mostly third person is used to attract the addressee to see the reality of essence and the surrounding world and referral to the external world. Most of the verbs are transitive and the collocation of the sentence structural components aims at a clear-cut and direct representation of the sentence message.

Allusion is one of the most commonly used rhetorical techniques in Persian literature and especially Persian poetry. This research reviews the allusion figure of speech in Persian rhetorical sources comparatively. Research questions are: 1) What is allusion? 2) What is the position of allusion in Persian rhetorical resources? 3) Why and how has allusion been commingled with other figures of speech? 4) How does the role of allusion aesthetics in poetry become apparent? For answering these questions, relevant information to allusion from forty different Farsi and Arabic rhetorical references was collected based on inductive method. Obtained data was investigated based on descriptive-analytical approach. Results of the research indicate that Farsi rhetorical sources to comply with Arabic resources just rounded off with allusion definition and by categorizing it in a subset of plagiarism does not clarify its position as an independent rhetorical figure. Because of unlimited conceptual boundaries, allusion has comingled with other figures of speech and therefore analysis of its impact and aesthetic role in Persian poetry has been ignored.
In present times, by quantitative and qualitative development of studies based on modern literary theories, rhetorical studies has been quite dim. Farsi rhetoric sources mainly to comply with Arabic references has discussed each figure of speech separately, defined and given examples but has not talked about their relations. Allusion is one of figures of speech. In this article has been tried to clarify allusion definition, position, its beauty-creation role and its relevance to contemporary literary theories in Farsi rhetorical sources.
1. At first, literal and figurative meaning of allusion was investigated. Precise definition of this term was explained and borders between it and other figures of speech was drawn. According to this investigation, acceptable definition of allusion is: when an artist in his/her text hints to other story, proverb, poetry or another work on condition that this hint and referral is covert, temporary, indirect and story-based.
2. A dual and paradoxical vision dominates allusion position in Farsi rhetorical sources. In rhetorical works dependent on author`s view point, the term of allusion has been defined and interpreted. Sometimes it is considered as a kind of plagiarism and sometimes it is regarded as a kind of rhetorical figure and technique.
3. Allusion has been merged to other figures of speech. Since the conceptual area of the term allusion is not clearly distinct in rhetorical sources, it has been mingled with other figures such as quotation title, gnomic verse (proverb), interpolation, prose paraphrase and adaptation. Authors have tried to make clear the borders among these figures and separate the conceptual area of allusion from other rhetoric figures.
4. In rhetorical sources, there is little focus on the role of allusion in highlighting and beauty- creation. Allusion in Farsi poetry and prose often occurs with other literary figures simultaneously and this density and interrelation of figures doubles its beauty and influence power. The hidden conciseness and prolixity in allusion joins this figure to pragmatics and in the field of rhetoric, connection of allusion to other figures strengthens imagery effects in the literary work.
5. Allusion is linked with some of the contemporary literary theories and is one of the fields of intertextuality emergence in a literary work. This intertextuality connection is sometimes apparent and obvious and sometimes hidden and obscure. Therefore, to avoid repeated allusions and releasing from influence anxiety of the previous text and misreading of it, orators have used the allusion figure.

This article analyzed Quranic quotations from the perspective of traditional rhetoric and new literary theories. These questions were raised herein: 1. What position does quotation have in traditional rhetoric? 2. How quotation has been considered plagiarism while it is a literary device and a manifestation of Quranic influence? 3. How can one put forward and update the quotation device in relation to some debates on modern literary theories? 4. How does the aesthetic role of quotation emerge in the new text's context? To answer these questions, first the semantic filed of the term quotation was demarcated, then the relationship between quotation and intertextuality and creative misreading in new literary theories was explored and finally to depict the aesthetic function of quotation, the way the adapted part has been linked to the linguistic context of the current text and the method of creative reading appropriate to the context of the new text were portrayed. The results of this research suggest that quotation, within traditional rhetoric, has sometimes been regarded as a kind of literary device and a manifestation of Quranic influence yet sometimes as plagiarism and studying it has been overlooked. However, based on the theory of intertextuality and creative misreading, quotation is a kind of artistic technique that when combined with writer's creative reading, and the well-sitting of the quoted part in the new context, is a display of the artist's ability to summon the previous text and not only is not plagiarism but also shows the artist's skill in recontextualization.

Rudaki is one of the greatest figures Persian poetry in the third and fourth century AH. From Rudaki’s poems remaind about thousand Verses for us، these verses were obtained among other works. Lack of original manuscript، the duration، changes Persian language، various recordings in secondary sources… were caused that the reading and concept of Rudaki's poetry be difficult. In this essay، Has been investigated various readings from a famous couplet of Rudaki. This study is based on historical grammar and Persian stylistics، the textual evidence، and extra-textual evidence show that reading of the poetry of Rudaki is incorrect. Finally، this research has proposed a edition of the poem، and describes its meaning and its interpretation.

This study seeks to describe and discuss a hemistich، namely «yours the earth، mine the vulture’s feather»، of the story of Rostam and Sohrab in Ferdowsi''s Shahnameh. Many commentators and interpreters of the Shahnameh have different opinions on the concept and meaning of this hemistich. This has led the researchers to seek the reason of such differences، clues for the provided meanings، and the underlying concept of this verse. The researchers hypothesize that the low frequency of occurrence of the phrase «yours the earth، mine the vulture’s feather» in Persian texts has resulted in the ambiguity in the interpreting the verse، and in addition، this has also misguided the commentators to report the verse holistically. The researchers have found new evidence for the interpretation of «the vulture''s feather» through the tools of analogy and diachronic analysis، and finally have provided a new meaning for the verse. The findings of the research، on the one hand، suggest that the interpretation of «vulture''s feather» in this verse connotes tininess، diminution، and nothingness in comparison with the earth and whatever is on it. On the other hand، the interpretation of «borrowing vulture''s feather» is used to connote precipitation and haste.