جستجوی مقالات مرتبط با کلیدواژه « طبقه بندی » در نشریات گروه « ادبیات و زبان ها »

One of the criteria for the progress of science production in academic societies is to write a scientific-research article. The publication of scientific-research articles in the contemporary period is a good opportunity to share the findings of researchers and inform the audience about the latest scientific achievements. Despite the quantitative growth of the publication of such articles in the last decade, not enough attention has been paid to their evaluation and criticism. In the field of Persian language and literature, one of the fields of research is the examination of the texts of mystics and mystics such as Hafez, Sana'i, and Molavi. In the meantime, Molavi is one of the people who have written many scholars about his opinions and thoughts and have shown his views according to his works. Among Maulavi's works, his spiritual Masnavi has a special place in introducing Maulavi's thoughts and many articles have been written about Maulavi. The purpose of this essay is to review and analyze these works due to their large volume.

In this article, 355 scientific-research articles published on Masnavi, in various academic and non-academic publications in Persian language from 2001 to 2013, with a descriptive-analytical method in two forms, the time of publication and the subject of the articles under review, review and classification It has been classified and the weak points of these articles have been examined in terms of structure.

In many of these articles, there are shortcomings and disadvantages such as the inconsistency of the title with the content, the disproportion of the abstract of the article, inattention or lack of attention to the background of the research, the use of inappropriate language, the descriptive and superficial nature of the articles, the lack of approach to analytical research, there is the repetitiveness of the subject, and the imposition of meaning on the text.

From the examination of the mentioned damages, it can be concluded that despite the large number of articles about Maulavi's Masnavi in the period of 2001 to 2013, the quality of these articles is not very favorable and since some of these damages are affecting the articles published in There are also academic and scientific-research journals, it is hoped that with the implementation of reform approaches and more accuracy of journals in accepting and publishing works, Masnavi's articles will be of better quality.

Heretofore studies on the features of the Persian alphabet have only been in the realm of linguistics, especially its branches, phonetics and phonology, therefore we are facing with lack of a classification of the alphabet based on script studies and writing structure. Around one thousand years ago, Ikhvān al-Safā in their Treatise on Music shortly put forward some points about the structure of the Arabic alphabet, but their classification is very simple and general, so it has not provided details and accuracy. Character(s), in Persian language: neviseh(-hā), including letters, numbers, and other writing signs, themselves, are formed by component(s) that we can call them nevisak(-hā). Major components (nevisak-hā-ye asli) are common in the structure of several characters, and therefore provide an exact base for the classification of the alphabet. The major components are: vertical component, horizontal component, circular component (dāyereh), jagged component (dandāneh), counter component (cheshmeh), leg component (pāyeh), dot component (noqteh). Also, the classification is possible in terms of linkability; in some letters, due to the existence of pāyeh, the left side connection is impossible. This phenomenon divides the alphabet into two categories: one side connection or taksūpeyvand (minority) and two side connection or dosūpeyvand (majority). On the other hand, in the form of lower case, many letters in the Persian alphabet depend on “korsi-ye dandāneh” completely or partly that in turn divides the forms of lower case into two categories: taksūpeyvand (in the beginning of a multi-letter connection) and dosūpeyvand (in the middle of a multi-letter connection).

Within the framework of critical discourse analysis, Theo Van Leeu wen's social network representation model shows the hidden layers of meaning by examining the contrasting functions in linguistic choices. This paper focuses on a descriptive analytical study of the discourse structure in Suvshun based on nomination and social actors categorisation in Van Leeuwen's model. The purpose of this study is to show the importance of linguistic usage in discourse analysis of the text and the level of influence of discourse elements such as power, ideology and politics on the author in the representation of social actors. Comprehending a story depends as much on "socio-semantic" features as on the appearance of the language. In Suvshun, Daneshvar expresses the political, social and cultural issues of her time in symbolic language. She also portrays individual and social changes, especially in women, by making full use of symbolic names. The results of the study suggests that nomination and categorisation and their subsets, especially informalization, are used more frequently. Moreover, the implication of names and social classes is consistent with the author's viewpoint and perspective and influenced by power, ideology and politic. While the author uses symbolic Iranian and Islamic names to show the inseparable connection between Iranian and Islamic thoughts, she depicts the tension related to Iran cultural transition from tradition to modernity and the evolution of social and individual criteria. Furthermore, she uses discursive features to sketch a new social role for Iranian women so as to explain their role in the social transition.

Poetic forms in classical Persian literature can be classified into three categories. 1. The formal forms, which own a lofty language, exuberant images and illustrated prosody which composed mainly for the courtiers. 2. The semi-formal forms in which, although the great poets made attempts and created masterpieces, the court favored them less than expected. 3. The informal forms which own a plain language, quick-to-understand literary devices and syllabic weight whose composers are usually unknown and have been written for the masses. The formal poetic forms were often well-regarded and rewarded by the court. Such regards and rewards would reach the semi-formal poetic forms sometimes, but not extended to the informal poetic forms since these forms were a part of popular literature and they were not through the written literature. By delving into the works of the past, we see that the predecessors accepted and adhered to this classification as an unwritten law. The present study, in an analytical-descriptive way, suggests that the classical poetic forms of Persian literature can be classified into the three classes of formal, semi-formal and informal according to the established attitude of the predecessors which was itself formed based on the regard and reception of the court.

Rhetorical repetition is a topic in the realm of figurative speech that helps the foregrounding of meaning and music in speech. This article comparatively investigates  the classification of rhetorical repetition and its variants in  Persian and English rhetoric.  As an archival research methodologically following the American School of Comparative Literature, the main aim  is to classify the types of "rhetorical repetition” in the rhetoric of Persian and English languages. The findings of the study suggests that, in the realm of both languages, repetition as a device is similar in definition and some of its types can be considered as equal.  Furthermore, some instances of repetition give rise to poetic forms in both perspectives. However, there are their distinctive aspects to be taken into consideration. The subject has received careful and systematic attention in Persian rhetoric, whereas English rhetoric is more chaotic and disorderly. While the Persian rhetoric is influenced by the Arabic rhetoric, the traces of Aristotelian or Greek rhetoric and the existence of varieties such as the repetition of al-Sadrah in the English rhetoric can be discerned.

Mahmoud Dowlatabadi employs different literary devices, and proverbs and ironies from the folk culture to improve the quality of his works, particularly in novels of Kelidar, Missing Salouch, The Passed days of old people. This study employs a descriptive-analytical approach to classify the themes and content of proverbs and ironies used in the above-mentioned novels, and then extract the role of such literary devices in representing Dowlatabadi's ideas. The findings showed that the proverbs and ironies in these novels have sociocultural, political, and aesthetic-didactic themes within the texts. Also, these literary types carry religious and ideological themes which represent the lifestyle of people.

The various themes of the song, due to the wide audience, have an undeniable effect on the minds and literary knowledge of the general public, and these themes have found functions such as information, education and propaganda due to their great capacity for designing various themes. This article aims to represent the themes used in the songs and by studying the main sources and analyzing the data and the themes of the song and composition are classified in terms of application and content. Iranian composition and music is one of the most prominent elements shaping contemporary culture. The research findings show that the types of songs are categorized in terms of themes into twelve sections, which include themes of love, happiness, children, mourning, work, mysticism, religion, customs, politics, entertainment, propaganda and sports. Romance themes are the highest paid in songs, and songs with entertainment themes are less common than other themes. In modern contemporary songs, there are new themes of advertising and sports that have not been seen before, and in the same period, due to the industrialization, composing work songs has decreased.

In spite of similarities between Iranian-Islamic rhetoric and English-European rhetoric, figures of speech, figures of expression and semantics have been the focus of the former, while the latter includes accuracy. Also, Iranian-Islamic rhetoric focuses on written rhetoric, whereases spoken rhetoric is the focus of English-European rhetoric. A comparative study of rhetoric in Persian and English, especially in the classification of figures of aesthetics, which is the main focus of this study, helps researchers analyze the aesthetic aspects of speech and enriches our knowledge of rhetoric in linguistics. This research tries to address such questions as how to classify rhetoric in Persian and English, the similarities and differences in the rhetoric classification and rhetorical aesthetics of these two languages. It follows a mixed-methods approach and the data are collected through a library survey. The findings suggest that the comparison of figures of speech in English and Persian should be done in light of semantics and figures of expression. The science of figures of speech in Persian is an independent field of study and is more extensive than English rhetoric, which is not understood as an independent field of study. Figures of speech in English are at times intertwined with figures of expression and meaning. The border of figures of speech in Persian is more distinctive than that of English.

The purpose of the present paper is to study the classification of audience in the context of time in Iranian contemporary art. One of the challenges that are evident in the art of today's Iranian society is the shaky position of the audience. A position that should be decisive, but other factors that are out of the realm of art and the artist such as the view of politics and power and economics to this category are more influential. It seems that knowledge of the audience depended on the view of the elites of society to different types of audiences, but to what extent this classification of the audience, which ultimately led to the absence of the audience, was based on the correct knowledge of the top people in society or based on the top attitude to the elites of society. It can be said that various factors are influential in classifying the audience of art. According to the present study, it can be said that the audience of art in the context of time have been different based on social, economic, political and ... factors. Also, in order to divide the audience, effective and key factors must be considered at any time.

After the formation of the first foundations of the rhetorical sciences, at a later stage, researchers in this field classified the different boundaries of this knowledge. The metaphor is one of the first realms that has always been the subject for researchers in this field, since the beginning of this science. When the rhetoric entered the classification stage, naturally, metaphor was no exception to this rule. The study of various rhetorical works in Arabic and Persian rhetoric shows that the classification of metaphor has passed different periods in Arabic and Persian rhetoric. his research has examined the evolution of the metaphor classification in Arabic and Persian rhetorical works from the earliest to the present day. Accordingly, three stages can be considered for categorization of metaphors in Arabic rhetorical works and six stages in Persian rhetorical works. The result of the research shows that the classification of works of Persian from the eleventh century has been fully influenced by the works of Sakkaki, Khatib Qazvini and Taftazani. However, some of the rhetorical works have made criticism of these classifications. In our day, some of the rhetorical works, while criticizing these categories, have considered the past categories to be useless and some researchers while criticizing these classifications, have added new issues to them his research has examined the evolution of the metaphor classification in Arabic and Persian rhetorical works from the earliest to the present day. Accordingly, three stages can be considered for categorization of metaphors in Arabic rhetorical works and six stages in Persian rhetorical works. The result of the research shows that the classification of works of Persian from the eleventh century has been fully influenced by the works of Sakkaki, Khatib Qazvini and Taftazani. However, some of the rhetorical works have made criticism of these classifications. In our day, some of the rhetorical works, while criticizing these categories, have considered the past categories to be useless and some researchers while criticizing these classifications, have added new issues to them This research has examined the evolution of the metaphor classification in Arabic and Persian rhetorical works from the earliest to the present day. Accordingly, three stages can be considered for categorization of metaphors in Arabic rhetoric works and six stages in Persian rhetorical works. The result of the research shows that the classification of works of Persian from the eleventh century have been fully influenced by the works of Sakkaki, Khatib Qazvini and Taftazani. However, some of the rhetorical works have made criticism of these classifications. In our day, some of the rhetorical works, while criticizing these categories, have considered the past categories to be useless and some researchers while criticizing these classifications, have added new issues to them.

The discovery of the morphology by the American scientist, Bloomfield, created a new movement in textual research and gave rise to a new branch of morphology and oblivion of the etymology and lexicology branches; It raised hopes in linguists that a criterion for meaning has been discovered that solves word problems. But if we look closely at the question of morpheme, the definition, structure and classification of morpheme, there are many shortcomings and many mistakes have been made by relying on Traditional Grammar. This has made it much more important to look at the appearance and the problems in the sound of the monologue and to forget its content and semantic aspect. This study discusses how the problem of morphology emerged. It also examines the efforts made to classify types and modify them, along with the problems that exist in the structure of the morpheme and, subsequently, the conformity and separation of the morpheme, the word and the types of letters.

Layzangan is a mountainous village with semi-cold climate of Darab suburb located in Fars province and their inhabitants speak with somehow Luri dialect. In the following research, the author has collected and recorded riddles of Layzangani dialect via field interview and discussion and he has classified them according to their deep structures. This study had a great number of results including the following: (1) the majority of the riddles include educational and human sciences, with the ultimate goal of educating teenagers and young adults and among this group of riddles more attention had been paid to religious issues. (2) According to the geographical location and culture of the people in this village, the native elements had a very dynamic role in many riddles of this dialect (3) The lyrical riddles used in this dialect came from other dialects and accents (4) The structure and arrangement of words in some riddles of this village seemed to be offensive at the first glance; however, when the essence was unfolded, this suspicion was resolved.

The purpose of this article is to review a comparative analysis of the diversity of Persian and Russian tales. In this article, we seek semantic search about the kinds of Persian and Russian tales, and the similarities and differences between them and the way of discovering new facts of the tales during periods in history and the formation of important passages of them. Iranian and Slavic (Russian) tales based on the mythological stories and instructive and wise tales arisen from the rich culture and civilization and morality, various nations, opened an introduction of them to the nations of Iran and Russia in particular and to the world in general. In this writing, we also analyze common features of the Iranian and Russian fairy tales according to the book titled “Morphology of the Tale” written by V. Propp, a leading researcher of Russian descent and pay more attention to the research field of the folk literature which was neglected in the literature studies so far and was almost studied only by the European Orientalists, especially Russian (Slavic) ones which collected works of the Persian folklore, and provide the grounds for the increasing research of Iranian folklore in the light of growing public awareness.

Abdul Qadir Jurjânî, with his two famous books, is the most important scholar of Islamic rhetoric. He is the founder of rhetoric in the Muslim world. One of Jurjânî’s most prominent accomplishments is his comprehensive classification of metaphors. First of all, Jurjânî distinguishes between non-expressive and expressive metaphors, and then presents subclasses for expressive, or “useful”, metaphor. Most writers before Jurjânî used a particular kind of metaphor to present examples for clarifications in their discussions, but Jurjânî distinguishes different kinds of metaphors whose mechanism he does not reduce into a single one. In his classification, Jurjânî approaches metaphors innovatively. This article aims to study this classification from a fresh perspective.

Karamat is a subject often discussed and categorized among supernatural wonders. Supernatural events are the type of phenomena that take place outside the normal way of the nature. The long historic background to mysticism makes us able to discuss various subjects of the field. Very often, we encounter certain mystic figures in the study of Islamic mysticism who are reffered to as "Sheikh". The existence of these figures enable us to discuss the relative subjects easier. We often face stories of supernatural phenomena in the life stories of these characters and the term " The Saint's Karamat" is used to describe the events. There are various accounts on Sheikhs' karamat but no one figure in the history of Islamic Sufism has ever been related with karamat as much as abusaeid. In the book, "Asrar al-Tawhid" which is a record of his life from different sources, we see various forms of karamat and the occurence of supernatural events throughout the book. The following will be an examination and categorization of sheikh's karamat. This categorization is merely a draft and is heavily relied on the main or very near commandments of surrealism. However the aim of the following article is merely a categorization of the terms and we will avoid discussing the surreal aspect of them.

Stories reflect a significant part of a people’s culture, and they can be considered and studied from different aspects. Scientific studies in the field of story have begun for more than two centuries. The Grimm brothers were the first ones who collected tales using a scientific approach. About a century later, in 1910, Antti Aarne prepared the grounds for universal study of stories by composing his Index of Folktale Types. Aarne’s index was later revised by the American folklorist, Stith Thompson. This revision is known as the Aarne-Thomson tale type index. In the field of Iranian tales, the first and the most serious work for the scientific classification of stories was done by Ulrich Marzolph in 1984. Although Iranian researchers and students have undertaken considerable studies in this field, no significant work has been conducted in the classification of tales. The present study seeks to classify folktales in many contemporary historical texts of Kerman, which makes this study unique. This study has investigated seven works by Bastani Parizi (1924-2014) and one work by Mahmoud Motadayyen, also known as Hemmat Kermani (1918-1995), based on the the Aarne-Thomson and Marzolph indices.