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

Paradoxically, is one of the tricks of language that makes Defamiliarization and prominence in the word. This literary trick is one of the issues that in contemporary Persian poetry especially in poetry of Akhavan has been studied less. Therefore, in this paper, Using content analysis, the factors of emergence of paradox and its species is studied in Akhavan's P oetry. Research findings show that paradoxy Pictures and interpretations in poetry, other than literary value, link with his thoughts closely. Akhavan, with the help of paradoxy language and images reveals Many political and social issues, etc, That may not state explicitly. He use both of paradox- interpretation and combination- to convey his desired meanings. However, the Interpretative paradox Have a special status (high frequency) in his poetry. Keywords: contemporary Persian poetry, Mehdi Akhavan Sales, paradox, political and social issues, romantic issues

Jean Cohen has attempted a thorough study of the figures of speech founded on contradiction from a logical and semantic point of view in a long and difficult article titled “Theory of Figures”.  His views on figures of contradiction can be fruitfully applied to Persian poetry with its plentiful and rich contradictory expressions inherited from mystical literature and culture. In the current study, and in the first step, the main core of Cohen’s theory is explained and then the definitions of figures are compared precisely with their Persian counterparts and examples drawn from Persian poetry and especially those of Hafez. The findings of the research not only confirm the general appropriateness of Cohen’s theory to study the contradictional figures in Persian poetry but also it shows that the unknown dimensions of these figures require to be restudied in detail by developing a comprehensive and appropriate model.

The school of Ahmad Ghazali, his beliefs and interpretations in the context of mysticism, have gained a special aspect of form and meaning. Ghazali's avoidance of directly and openly dealing with the field of mysticism, apart from the heterogeneity of the textual context of his works from other mystical works, has also caused ambiguity in the textual context. In the book of Ghazali's accidents, countless double confrontations can be seen at the surface level; however, due to the transformations that have occurred in the level of relationships and other levels related to them, the authority of the text of love stories has turned into a temporary and transitory situation. Therefore, at the level of deep construction, aligned with Derrida's logic, sometimes by deconstructing the strains of dual oppositions and transferring them, the levels of reality have been transformed into other levels of abstraction, and by creating new links between them, the arena of single meaning and certainty Meaning is challenged. This method has sometimes been associated with changing the value of signifiers, and sometimes by using both this and that style, instead of either this or that style (replacing difference instead of distinction), has caused the creation of a new level based on paradox. In the following article, after understanding terms such as: authority, familiar and foreign boundaries, difference and distinction, levels of abstraction, connection and difference, based on the descriptive-analytical method, the types of paradoxes in Ahmed Ghazali's accidents have been investigated.

literary text has a unique capability. the reason for this is the presence of some of the characters in the text. the present article attempts to analyze the two literary industry of symbols and paradox in shafiee kadkani ''s poetry that they have meaning in permanent deterministic and semantic suspension and also as two literary industries that create a deep gap and gap between ordinary language and rhetorical language. the main question of this research is: how much does the symbol and the paradox contribute to the creation of different semantic layers in our poetry and the contribution of each of these two arrays to create gap and gap between the common and rhetorical poles of language and create a sense of the meaning of the text? the findings and evidence in the text indicate that the symbol element has more important position compared to paradox in fluency and uncertainty, negation and suspension of meaning in shafiee poems and paradox also has novelty, beauty and usefulness in comparison with less frequency symbols. accordingly, shafiee kadkani gets a literary and deep gap between the normal language and the idea of text - that the result of which is the breaking of the normal structure of language and the passion of emotion. the research method is descriptive and analytical.

Mystics have used the artistic capacities of language in the form of paradoxical and paradoxical expressions to explain their own mystical thoughts and experiences and to convey these concepts and convince their audiences. Mystics consider their mystical experiences beyond description and description and some even consider it impossible to express and describe it. These facts and teachings will be very different and variable according to the condition of the seeker; But what is it that is why it is not easily possible to reflect this in the construction of language, and basically why, after their linguistic reflection, the resulting propositions seem incomprehensible and at first seem paradoxical and out of habit, which can be paradoxically dumb Considered a feature of mystical experience. The literary, mystical and artistic school of Herat in the Timurid era is one of the brilliant schools in the past eras of Persian literature and the promoter and promoter of educational mysticism. Has found. This study explains the function of paradox as a means of expressing the language of mysticism and highlights its role in re-reading the experience of the unity of existence in the mystical poetry of the Herat school. The result of the research is that the paradoxical expression tool is one of the best and most beautiful way of artistic and mystical expression due to the paradoxical experience of the unity of existence and the conditions of the speaker and the audience of the Timurid society in Herat school.

Paradox is one of the literary tricks that is present in oral speech, philosophy, logic and even areas of human life, and it is a poetic combination of two words that have a contradictory meaning and seem intellectually impossible. In literature, this trick is one of the beautiful verbal arrangements that its beauty factor is in the astonishment that it creates in the mind of the audience. Khajoo Kermani is one of the powerful poets of the eighth century AH who has used this paradox very artistically in conveying concepts and themes; Therefore, the present study is dedicated to examining the paradox in Khajoo Divan. The method of this research is descriptive-analytical. The results show that Khajoo Kermani in his poetry collection looked at these paradoxes as one of the literary and poetic tricks and considered them from different angles and used various techniques in expressing these contrasting elements. And has provided the means to highlight his word.

A Comparative Study of the Variety of Paradox Functions in Shams Langroudi's Poems with Belgram's TheoryTeymour karami 1Mah nazri 2AbstractParadox is one of the most technical literary industries that arises from the combination of two opposing elements in a subject and leads to the creation of a new meaning. Paradoxical view is divided into three categories: verbal (synthetic), grammatical and content (analytical). What has been overlooked is the examination of the relationship between the two sides of the paradox. Paradoxical expressions in Shams Langroudi's poems have been expressed in various ways with the help of his creative power of imagination. His metalanguage expression allows the impossible to be present in order to convey concepts and express socio-cultural issues.This research has been done by descriptive-analytical method using library sources, by applying the theory of Gholam Ali Azad Belgrami (Indian poet and researcher of the eleventh century AH) in categorizing the cause-and-effect relations between the two sides of the paradox.This is the fundamental question. 1- Do the two sides of the paradoxes used in Shams Langroudi's poems have eleven kinds of relations considered by Belgrami? 2- What kind of paradoxes are most used in Shams Langroudi's poems?

Poetry is due to new combinations of thought and process of metaphorical innovative metaphors that can nourish both the imagination and the salience of the word. Contemporary poets in the field of metaphorical language have taken different approaches to confront the mind of the reader with unexpected challenges, including challenging images that have complicated contemporary poetry in the complexity of the word image network. It's metaphorical or paradoxical. The findings of this study show what role these metaphorical contradictions play in arousing the mind of the reader into thought and inquiry. The author of the descriptive-analytical method, citing the examples of contemporary poets, has come to the conclusion that, first, how have contemporary poets combined metaphorical images with the paradox? The author also strives to make the reader more aware of this literary trick in modern metaphorical imagery of contemporary poetry, and to enrich his mind with the most technical artistic highlighting, which is the most artistic tool of imagination (metaphor) with the most ambiguous poetic image (paradox).

Artistic paradox is one of the most important elements of semantic deviation and one of the main issues of literary criticism. Paradox is the seemingly unreasonable and impossible combination of two opposing concepts with a truth within, which a curious mind can understand. In the descriptive-analytical study, paradox was discussed and its techniques were explored in the Ashiat Vadi al-Yabis (عشیات وادی الیابس), composed by Jordanian poet Mostafa Wahbi al-Tal, known as Arar. The aim was to see how the techniques have caused the marked images. It was shown that the poet has expressed some political, social and domestic concepts using a paradoxical language and has also used specific similes, metaphors and metonymies of paradoxical images to introduce new concepts, make specific points and create imagery creativities. Though paradox is not the only way of defamiliarizing in his poems, but is his best means. The most important factors helping the use of paradox in Arar's poems can be exact differentiations and imaginations as well as social and political status of society, the existence of false asceticism and piety, and hypocrisy. It was also shown that paradox has not only been used in the divan for aesthetic purposes but to show paradoxical concepts and as a result show the truth. That is, the poet has used paradoxical images and meanings to defamiliarize the things and to present artistically and beautifully his thoughts and artistic experiences.

Hafez has an exceptional ability in choosing the best words to convey meanings. The significant frequency of the pronouns "I" and "we", with various meanings and functions, in Hafez's poetry indicates that the poet tends to express personal, social, mystical, reprehensible, romantic, cosmic and eternal human sorrows. Hafez, in about 200 verses, reflects different types of "I" and "we" in connection with the mentioned subjects, very artistically. The issue of love, in a sort of visible and invisible way, is connected with Hafez's 'I' and 'we', as the affectionate and melancholic beings, manifests the eternal destiny of human beings with all its ups and downs. The prominent themes in Hafiz's 'I' and ' we', as a human being, are love, blame, and fate, something  inevitable and inescapable in life.  The pronoun 'We' also has multiple meanings in Hafez's perception and poetic style, resembling those found in 'I',  but with a lower frequency. Considering the main tenets of Hafez's poems, the presence of different kinds of descriptive and attributive 'we' and 'I', represents the poet's attitude towards desirable and undesirable aspects of the time, estrangements, and human existential contradictions. However, the employment of affectionate 'we' and 'I', in Hafez's poems, manifests  all good and evil traits of human beings. The use of collective noun adjectives, consecutive fixed phrases, consecutive adjectives with “and” as a conjunction,adjective, or addition, used after the poet’s pseudonym, are the signs that contribute to a better understanding of 'I' and 'we' in Hafez’s lyrical poetry.

In Persian literature, professing is based on breaking the norms and habits of language, both in terms and meaning, which is well demonstrated in paradox. Paradox in Hafez's poetry is often technically beautiful and, of course, elegant and amazing. In other words, from a controversial and contradictory society, it creates a marvelous, artistic and beautiful image. This article is intended to study the paradox and its variants in Hafez poetry. The method is descriptive-analytical. The main question of the research is what Hafez employed in the invention of paradoxical compounds. What types of linguistic, intellectual and literary paradoxes are in the Hafez court. The result of the research suggests that the paradox is active in the context of the poetry and it is one of the main features of his style of poetry. Literary creation creating hope and sense of aesthetics in the atmosphere of Iran after the Mongol invasion, normality to the presidential goal and pure and artistic mysticism of Hafez which are among the main factors in creating a paradox in his poetry are also considered.

The paradox is considered as an innovative array in Persian literature, one of the factors beauty, surprising and highlighting in literary works (and mystical). This research intends to investigate the causes of the growth of this innovative array in Attar’s Manteq-o-alteir Based on Jung's psychology. According to the results,. Attar, with the help of the Simorgh and Jung, with the help of their own ancestor of both, seek to evolve and develop human, that is, the whole and the whole integrated paradox is fundamental; Because it consists of opposing forces; forces such as good and evil, the small world and the great world, the whole and the material, and the mino (the unity of opposites), which seeks to integrate and balance the two aspects of being, that is, "the body and the psyche" Thirty chicken or self-conscious + Simorgh or unconscious) Which is interpreted as unity; The result of this unity, fanaticism and this fanaticism at one and the same time, survives in other dimensions. As a result of such a complete paradox, that is The mystic of the total and complete in the "centuries", "sees in the shade of the sun", "in selflessness", and "in the absence of existence" It will be achieved.

The subject of this article is a comprehensive explanation of the geometric and spiritual knowledge of the Fakhr al-Din Ibrahim Iraqi sermons. Geometric cues are an integral part of the scientific creation of the mind and the creator of science; thus, the reader will understand the gem of wisdom and Sufi teachings by reading mystical texts. In this research, while analyzing Iraqi linguistic geometry, the researchers seek a descriptive and documentary analysis of this answer, which one of those languages is the most frequent among the various types of language used by Iraq in its poetry? The result of the research is that Iraqis have benefited from Sufi language in the form of linguistic geometry such as: heart language, truth, allegory, paradox, tune-up, parody and tame, and has been able to well keep up with the great news of his mystical doctrines Transmit to the audience.Of the languages, the language of truth and mystery, has the highest frequency in Iraqi poetry.

Gaston Bachelard, the philosopher, epistemologist and French man of letters is including those people who discuss imagination and what shapes it. In his opinion, the four elements play an important role in the creation of literary images. These elements subconsciously appear in the mind of poets and in the time of imagination have an essential role in the creation of images. Fire is of the elements that Bachelard particularly phenomenology that and believes each poetic word has a fire in its chest and all literary images require the element of fire. He considers two aspects of fire such as good and evil and its purification and destruction properties. He also believe on four nodes, in connection with the fire, that like Freud borrowed their names from mythology and scholars. This study relying on Bachelard ideas, tried to read and analysis the poems of Mehdi Akhavan Sales, to reach the fire and related concepts in images and poetic interpretations.

Content paradox is surprising in whatever way it is expressed. Such paradoxes are not uttered for the aesthetic beauty but in order to tell the realities of the time. Though they sound illogical and odd, yet in the domain of classical tradition they are accompanied with beautiful explanations. Content paradoxes are of two kinds, interpretive and complex. Darker that lamps, excitement brings calm, stationary and moving, full of emptiness, and destruction leading to construction belong to the interpretive kind. Familiar stranger, good omen owl, sad happiness, the weakened strong and lucid dumb and verbal silenced are examples for the complex type. In this study different types of paradoxes are discussed in order to help the reader in his understanding of the text.

The paradox or paradoxically is one of de familiarization practices. Paradoxically is that mystical poetry, characteristics of Persian poetry too, including mystical lyrics poetry Imam Khomeini (RA) as well as a special place. In addition to the arguments of reason and logic in his character, highlighted by examining their poetry, the other aspect of the highlights of her character becomes apparent. He as a mystic to express profound experience of a religious, linguistic but paradoxically does not so the audience was accustomed to his literary pleasure and met expressed their intention cope. This article is intended to after the manner of cross-sectional images of buildings paradox, the Court of Imam Khomeini, reviews and links exponential contradictory concepts pains in his mystical poetry.

All art of the Hafiz is in his style. in the style of Hafez, there is kind of controversial expression and paradox. The structure of his poems in the final analysis, is a contradictory structure and paradoxical. Contrasting concepts and combinations takes place of words and phrases in the opposite. A strategy to express the mental behavior and language is mainly irony and ambiguity. By examining the reasons and causes of the paradox can be concluded that the following reasons is the cause paradoxes in hafiz poems. 1. Describes the man 2. social and political and religious organization 3. Special rhetoric 4. Love 5. Some other reasons such as pray, fast an atc. In this study, after a brief definition of the paradoxes have discussed in reasons of the paradox in hafiz poems. Paradox has an important role in the correction of his poems that we try to show its effect by clear exampls.

Satire is amply found in Persian literature, including theosophical texts. Theosophy and satire have many philosophical-structural features in common; one is, they are both founded on the union of contradictory entities, with the effect being both exultation and information. The common aesthetic feature of satire and theosophy comprises the union of contradictory and opposing entities, the same union so commonly encountered in Rhetoric and especially in paradoxes. Here we will be trying to identify and investigate examples of contradiction in theosophical literature, using library -documentation method.

The essence of art, including literature and poetry, beauty and Scholars of rhetoric know, a novel as an arrangement of words .The clever poets in beauty secret are aware of the requirement Words and this article is going to be reviewed  and analyzed the poems of Mazandarani Fadaee which is decorated by Ashoraee’s flavor from the aspect of Oratory, arrays, opacity, and Epanodos (traditional novel) and Paradox (New Novel). In Fadae’s poems, array of amphibology has a special prominent and it has the most frequency. And proportion opacity was observed in some lines. In his poems, array of opacity in the form of nature elements and religious ritual are artistically seen. It sometimes used expression and musical positions in the form of opacity for declaring the thoughts and religious Contents. It is concluded in “Epanodos ” section that Epanodos has the most frequency in the lines which the beauties of Ashoraee was investigated and in this realm ,the poet also writes  the nature elements and its relation to the enormous event of Ashora and sometimes the other components. More “Paradox” is presented in two cases of Documentary s and expressive composition which Ashoraee has no frequency in the aspect of beauty and finally the array is investigated which sometimes apparently sense is related to mental and sometimes both of them which totally has a middle frequency.

Language of poem is paradoxical and such paradox is inevitable in both form and meaning of the poem. The present paper aims at analyzing such formal-conceptual tensions in ghazals by Hafez. The first section of the paper provides a brief definition of paradox in poetry. Then, the concept of binary opposition in structuralism is discussed. In the third section of the binary oppositions in Hafez poetry are discussed while the ternary and quaternary oppositions are also shown. It is revealed that a general opposition stands in the center around which other oppositions are placed in Hafex poetry. Such oppositions and conflicts mostly lead to a pseudo-paradoxical structure in form which seems paradoxical only to the way of thinking of the readers of Hafez, whereas there is no contradiction in Hafez' thinking. This feature has become specific to the style of Hafez, because he doesnt use pseudo-paradox solely as a literary technique, but also as a form of dialogue. The last part of the article techniques of creating paradoxical structures and formal-conceptual tensions are discussed.