جستجوی مقالات مرتبط با کلیدواژه « صورت و معنا » در نشریات گروه « ادبیات و زبان ها »

Today, literature and poetry have a more comprehensive definition than mere literary expression with academic meanings and tools. Literature is the collection of all the scientific abilities of the language in the field of structure and richness. The artistic creativity of the poet and the employment of excellent compositions and themes lead to the production of a literary and artistic work, which can be found in the excitement and expansion of the audience.
The aim of this research is to reach the communication network of all the factors related to the language and the appearance of the word, which not only carries the meaning, but also creates a different meaning and concept from the apparent meaning that results from the phonetic, lexical or visual mechanism.
A network that is referred to as "artwork". Artistic device (prime) is a meta-array approach to the aesthetic tools of language in poetry, which formalists consider to be the art of alienating language from the mind of the audience.

The foundation of art is original elements, themes, hidden images and the music of words, which leads to poetic discovery in the form of meaning. Vocabulary highlights and defamiliarizations that remove the dust of habit from words and combinations and create a lasting artistic-literary work. Ghazals of Iraqi style, especially Diwan Shams, Saadi and Hafez, are precious works which by formalistic analysis and examination, convincing and solid evidences are found in them. 

Usually, aesthetic issues in poetry are measured with literary arrays, but the formalist theory has opened a new way in literary criticism, which instead of separating word and meaning, emphasizes the union of the two in the form of shape. In this regard, the following questions are answered:
How can the works of art in Molavi's, Saadi's and Hafez's ghazals be interpreted?
What do the topics of "dominant aspect", "surprising", "defamiliarization" and "foregrounding" have to do with the art-making component? 

By studying a library of reliable sources and extracting comprehensive evidence from relevant poems based on formalistic criticism, the author has analyzed poetic examples and considered the prominent role of words and phrases in the association of meaning.

In this research, the prominent role of language in terms of words and combinations, systematic images and the music of words has been investigated by presenting various art forms and norm deviations and the involvement of rhetorical sciences.

Literary and artistic creations depend on the highlighting of words, combinations and aesthetic themes with the organized confusion of ordinary speech, which elevates poetry to the level of "artwork". In this regard, the poet is not satisfied with mere arrays, he paints with words and plays music. With phonetic, rhetorical, visual and auditory works of art, it avoids habit, defamiliarizes and breaks norms. His arrays are no longer trivial and repetitive. By composing multifaceted verses, he makes a new innovation. For example, Molvi reaches his dominant form in music by using sounds, nationalities, repetition, self-made lines and incomprehensible words along with Etanin and Afa'il and Orad Khanghahi.
With his simple and noble language, Saadi weaves all kinds of arrays together in the form of a spider's web in the sonnet, and Hafez uses all the elements and tools of poetry in terms of language, meaning and music to be able to use arrays.

From the early examples of mystical sonnets (ghazals) in Persian literature to the present day, the expression of love and the depiction of amorous states have had a special place and extensive manifestation in mystical themes. ʿAttār’s ghazals should be considered as early examples of such poetry that blends amorous and mystical themes. The theoretical elaboration and mystical coding of this integration can also be extracted from within ʿAttār’s ghazals. The theoretical foundations of integrating love and mysticism need to be sought primarily in the mystical belief in the Unity of Existence. Linguistic, stylistic, and mystical analysis of the concepts of form and meaning reveal the structural link between love and mysticism in different layers of ʿAttār’s compositions. This article examines the amorous-mystical structure of ʿAttār’s ghazals and deciphers his unique symbolic language in this field, drawing on the existing literature on the meanings and themes of Persian ghazals until the 8th/14th century. The examination is also conducted by employing theoretical mysticism, cognitive linguistics, and deconstructive stylistics centered around the dichotomy of form and meaning. The research adopts a library-based approach, accompanied by inductive data collection and classification, as well as qualitative, explanatory, and exploratory analysis, leading to several main findings it elucidates the formation process of several commonly used symbols such as “locks of hair,” “face,” “beauty spots,” and “lips” in ʿAttār’s ghazals; it critically examines the stylistic discussion of “integrating love and mysticism”; and it analyzes various aspects of form and meaning in different linguistic, literary, and mystical domains.

When the elements and components of a literary work are examined and how they are related to each other and their relation to the general structure of the work is retrieved, a basic (formalist) form reading is performed. It is with such a reading that we can talk about the degree of bonding of the components of the work (horizontal and vertical bonds). In this article, the form and structure of a lyric by Rumi has been read with the following information (with the help of in-text symbols): A word that rises from the soul of the soul to veil the gem and the lips of the sea, the tongue of the veil

It is a descriptive-analytical research method that examines Ghazal No. 921 from Shams Tabrizi's KOliat, edited by Badi ol-Zaman Farozanfar.

The feature of this sonnet in all verses is that the face is a veil and at the same time a means of expressing meaning. The world of existence is the world of forms and meanings, and forms are veils of meanings, and at the same time meaning manifests itself in the face. To reach the meaning, you have to go beyond the surface. Of course, the absolute meaning cannot be understood and there is always one curtain behind another curtain, and it is only in death and silence that we understand the meaning. The theme of the contrast between form and meaning and the contrast between pairs of their synonymous words can be seen in all the verses of Ghazal.

The link that can be seen between the verses of this ghazal has created an organ-like structure and the overall structure of this ghazal evokes one of the key oppositions of form and meaning in Rumi's thought, "wave and sea". For Rumi, the content is the tool for the evolution of the form, and the form is the material for the emergence of the truth of meaning. Rumi's poetry boils from inside him and finds its shape and form according to the type of boiling. However, due to the reliance on form, the new critique cannot be a suitable critique for mystics who are free from form.

The expressions that a poet has stated about the poetry of himself can be one of the best ways to grasp his poetry and to distinguish its stylistic features from other poets. This sort of treatment, which is a mode of criticism, was common among classical poets, particularly when they have mentioned the prominences of their own poetry. Nali, like other great poets, has stated the quality of his own poetry in several verses and has attributed some features to it. His statements are illuminating in providing a better understanding of his poetry. The qualities that he has maintained contain both formal and contextual aspects. The most significant features he has expressed for the form of his poetry consist of “euphony,” “laconism” and “dressing up the meaning.” Nali, for contextual aspect of his poems, pointed to the sublime meanings and wisdoms. The results illustrates that Nali argues the necessity of both form and content for a good poem. In this regard, he has praised his own poetry and declared it as an instance for evolution of form and content.

Sonnet is one of the most significant Persian poetic forms in expressing different themes that poets sometimes affect each other in singing this form. And it means influencing next generations or present poets by ancestors is notoriously obvious and incontrovertible. Xaju kermani and Jalal Azod are both well-known poets of 8th century which scant attention has been paid to these both poets and their poems, one of the main reason for this negligence is the same era that both were developed in. One century before the birth of these two poets in 7th century at that same climate Sa`di Shirazi was a pioneer of eloquence. Simultaneous with these two poets, there was also a famous poet as Khaje Hafez took precedence of others in eloquency, it was really a difficult job for anyone to compete with such poets and come out of the competition field successfully. In this article, we have dealt with equality and comparison of each poet’s sonnets from integrated group, it means Jala Azod with Khaju Kermani and we came to the conclusion that a lot of similarities in various scope of stylistics, content, lexis, and structure of discourse in each poets`sonnets could be seen.

‎“Distinction” is one of the main components for the success and ‎continuity of any literary work. “Literary distinction” has not been ‎studied directly and concentrated in Islamic rhetoric; but this topic was ‎always in the focus of Islamic critics and rhetoricians. The major problem ‎in this research is receiving the attitude of Muslim literature scholars ‎towards the topic of “literary distinction”. By relying on the original ‎references in literary criticism and Islamic rhetoric, this article intends to ‎find out the essence of this discussion from the standpoint of different ‎opinions of Muslim literature scholars. While the literary distinction is the ‎result of convergence function of “form and specific meaning” in the ‎Islamic rhetoric, the fundamental topics including specific meanings and ‎forms, discretion-creating domination, mutual meanings and forms, plus ‎their types and subtypes have been investigated.‎This essay tried to make up the effectiveness of Islamic literary criticism ‎in this field in order to criticize the classic literary works based on such a ‎standpoint that the creators of these words believed in

Motivation means the existence of a code in from to get meaning. It directly leads us from the form to the meaning. It means that the relation of form and meaning is not always conventional and sometimes, this relation may be an iconic one. One type of motivation is motivation in compound words. A clear motivated compound word is a word that is possible to get the meaning of the whole word through meaning of its components. Some scholars believe that primary words of the human being were motivated, and over the period of time, the lexical motivation has been reduced due to phonetic changes and other variation. This study has a deeper and more detailed look at the phenomena. In order to investigate this hypothesis, 2800 content words from four texts with an outline of a journey from the present time have been extracted and motivation in compound words has been considered. Next, the results of these texts have been compared with the results of 2800 words of texts from 200 years ago in order to answer this question that since 200 years ago, Persian language words have been more transparent or vice versa. Comparison of the results of two time courses showed a meaningful increase in the number of semi motivated compound words in the present time in comparison with 200 years ago. But there is no significant increase in the number of motivated, non-motivated compound words and totally compound words. Therefore, it may be claimed that in the last 200 years, semi motivated compound words have become more motivated and more transparent

phonetic motivation is what we can guess the meaning via sound. Some people believe that primary words were more iconic and by passage of time, because of phonetic changes and … the motivation has been reduced. In this research, for studying this thesis, four passages with outline of a journey from present time have been considered and 2800 content words from it have been extracted. Then phonetic motivation in these words has been considered. Afterwards, the results of these passages have been compared with results from considering 2800words of passages from200years before in order to answer this question that from past 200years, Persian language has been more motivated or vice versa. Comparison of the results of two time courses didn’t show a meaningful change in the number of words with phonetic motivation and semi phonetic motivation in the present time in comparison with 200 years before. Therefore, it may be claimed that since 200 years before until now, no change has happened in the phonetic motivation of Persian words.

Although linguistic signs such as "hmm", "bale", "jeddan", "mm", occur frequently in conversation, they have not been studied linguistically up to now. These sounds, named back channel responses, influence the ongoing conversations. Back channel is a verbal or non-verbal response provided by the listener to show his/her participation, and though it seems to be insignificant communicatively, misunderstandings arise if they are misused. Therefore, their overlooking in conversation analysis has dramatic effects on the results obtained. This research studies back channel responses with respect to their form, function, degree of influence and prosodic features.