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

"Conjunction and disjunction" is considered one of the most sensitive subjects of the science of semantics, which is important in understanding the syntactic and rhetorical details of literary works, and has always had a special place among traditional and modern rhetoricians. The story of Bijan and Manijeh from Ferdowsi's Shahnameh and Asadi Tusi's Garshaspnameh can be considered the most important epic works in Persian literature which will provide researchers with many capacities in the comparative analysis of syntactic rhetoric in reflecting the grammatical and rhetorical features of the two works. In this research, in order to understand the intentions and rhetorical meanings hidden in two works, the type of construction of semantic units at different levels such as clause, sentence, verse and even verses with related and interdependent meaning (enjambment) and the combination of each of these levels have been investigated. In this regard, we have studied the coherence of the text through the continuity or discontinuity of the rhetorical meanings in each of the mentioned levels, and by specifying the distribution of conjunctions and knowing their types, we have examined and compared their rhetorical functions in two works. The results of the research indicate that Ferdowsi and Asadi Tusi, by creating a kind of temporal and spatial connection and cause-and-effect link between the sentences and by benefiting from all kinds of subordinating and dependent connections (conjunctions) in conjunctions as well as observing the temporal and logical order between the sentences in the disjunctions, have created a strong and logical link in the text and a special semantic coherence in the chain of narration of events.

The presence and absence of the main and secondary elements of the sentence in the text of a literary work has a great impact on the transmission of rhetorical intentions and concepts to the addressee. Some pundits and researchers in the knowledge of rhetoric have considered the topic of removing grammatical elements as a way to prevent the speaker or writer from exaggerating in words and some others, in addition to removing additions, have introduced the ellipsis method from the text's aesthetics; This is while the method of substitution is often examined from the point of view of emphasis and its role in lengthening the sentence. Traditional rhetoricians and scholars of semantics such as Sibouyeh, Jahez, Khatabi, etc, have superficially and transiently mentioned the role of this method in rhetoric. Abdul Qahir Jorjani, due to the Evidence of Miracles in the Quran, placed the topic of "ellipsis and mention" in a regular and specific framework and introduced it as the basis of the cohesion of the word. Although he considers mentioning a grammatical element in the sentence is very important in creating secondary purposes and rhetorical meaning, but for remove the elements of the sentence, he has also considered the ability to influence and even considering the special situation and circumstances, he considered the removal of a grammatical element to be much more eloquent than mentioning it; Absence of presence that helps to approach the word in its most eloquent form. On the other hand,  Michael Halliday, a linguist of Functional grammar, describes this as "ellipsis and substitution" and considers the use of this method to be effective in text coherence. In order to be able to examine the topic of ellipsis and substitution in a literary text, a work full of abnormality in grammatical and rhetorical will be needed. The story of Bijan and Manizheh of Shahnameh and the poem of Garshaspnameh, due to their poetic and epic linguistic format, have provided a favorable capacity for various syntactic manipulations, especially the removal of elements in the sentence. The importance of the status of the elements in the sentence for conveying rhetorical intentions by Ferdowsi and Asadi Tousi, expresses the need to examine the status of ellipsis and mention of the main and secondary elements of the two literary works; Therefore, this Research, by descriptive-analytical method, examines and compares the effect of ellipsis and mention of main and secondary elements in 3000 sentences of each work in order to identify the secondary meanings. Among the main elements of the sentence, the rhetorical effect of the status of the subject, object, predicate and verb is discussed. Also, among the sub-elements of the sentence, the status of the adverb, the complement and demonstrative in the transmission of some rhetorical intentions of the poets have been examined in two literary works. The results of the research found that the omitted form of the elements of the sentence is more effective than mentioning them in terms of rhetorical value; Because the removal of one or more elements in the sentence by the poets is a sign of textual coherence and also the existence of a high level of communication between the poet and the addressee and this is the basis for the emergence of rhetorical purposes. The results also show that the ellipsis of elements is more in the context of conversations, which is one of the main reasons for the centrality of speech during the interactions of individuals. It can be said that the ellipsis and mentioning of the main and secondary elements of the sentence in two works happened for various rhetorical purposes. Persistence in the mind and creating emphasis has been one of the purposes of mention and also, low information value, brevity, avoiding unnecessary repetition and maintaining the narrative rhythm can be considered as the most important goals of poets in removing of the elements of the sentence. Generally, the method of the two poets in using the ellipsis and mention of elements in the sentence, has served to convey the rhetorical intentions correctly to the addressee.

Taboo, as a belief in the existence of a transcendental and sanctifying force in a number of objects, plants, animals, and humans, is a prominent conceptual concept in the field of literary and anthropological studies. Each taboo, with its two characteristics of "sanctity" and “abstinence ", reminds its believers, a number of collective dochr('39')s and dontchr('39')s. Taboos, with their various functions, both in the past and in modern times, have a prominent place in collective relations. Since epic works are mythological manifestations and contain visible and hidden traces of the first eras of human life, by examining the taboo in these works, we can better understand the beliefs, dochr('39')s and dontchr('39')s and the type of thought that governs primitive society.The present article, which has been written with an analytical-comparative approach and from a taboo point of view, aims to acquaint the reader with the identical and dissimilar ideas of three peoples: Sumerians, Indians and Iranians, in three historical periods. Research shows that taboo beliefs and laws, with similar or dissimilar functions, play a prominent role in the three epic works, Gilgamesh, Ramayana and Garshasbnameh, and to the actions-reactions of epic-mythical characters. They give a special direction and this indicates the homogeneity of the type of functioning of the human mind, in different prehistoric-historical periods, in different geographical areas.

Mother of archetype is one of the oldest ancient patterns of the world and a very broad conception that from the early period of human life until now, in the minds and soul of human beings has been highlighted and has led to the creation of similar myths in all cultures and lands. In fact, our Iranian ancestors, as an integral part of a broader whole, the unconscious has been linked to the ancient patterns. Investigating and revealing mother of archetype in the old way of life will help us to better understand the world of the past and the soul and mind of our forefathers. In Garshasbnameh, we see the most manifestation of the mother of archetype in the quaternary elements, especially the soil and water. Some of the creatures and events of the book and their function also represent the mother archetype In this research, we will try to reveal forms, faces and the templates in Garshasbnameh to discover the existential aspect of the mother of archetype. Furthermore, this study will try to show what aspects of the faces and templates represent the elements, events and events in this book and the function of each of them possible to represent one of the positive or negative aspects of the mother of archetype.

Speech act in feminine talks Garshaspnameh Including discussions of speech act has created new horizons in analysis and literary criticism. In this article, female talks have been investigated based on classification of speech acts John Searle in Garshaspnameh. According to figures of speech acts in this book, Grshasbnamh can be considered in its special speech. To investigate the effect of speech acts can be non-judgmental, general and sweeping generalizations, as a result of the documentary on the social level, according to the speech act also found in ancient texts and implicitly from another angle, provided a model for the study of the genre. The Conversations are classified based on social class of the speaker in three groups. These groups include women speakers to the social level, superior-subordinate and subordinate to a superior. In addition, speech acts, are investigated according to speakers at the social classes. Results show that the highest levels of social discourses among women with women and women with men. Announcers in the top three, equal and below are sorted. The findings show that most of the discussions at the level of socio-formed Garshaspnameh. Speech acts statements, Representative, co missive, directive and expressive act had used among women’s statements. The absence of such an act of speech, indicates that were not significant the social role of women in society.