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

Qari Abdullah is one of the talented contemporary Persian poets in the realm of Afghanistan. His ghazals have not been examined from a stylistic perspective thus far. The main objective of this research is to analyze the stylistic features of fifty selected ghazals from his collection, exploring their linguistic, literary, and intellectual aspects. The aim is to acquaint readers with the prominent characteristics, poetic structure, and literary persona of this poet.

The present research is a theoretical study that was carried out using the library research method and analytical-descriptive method. The scope and community of study was Qari Abdullah"s collection, which was published by Irfan Publications.

Qari has given a special musicality to his poetry by using pleasant weights, melodious rhymes and lines, repetitions, puns and puns. The use of abstract words, new words, and the use of nominal groups, and little attention to the use of Arabic words and attention to simple sentences and substitutions in the parts of the sentence are important highlights of his speech. At the literary level, the high frequency of additional similes, explicit metaphors, and the abundant use of arrays of proportion, contrast, and exaggeration are interesting. At the intellectual level, one can observe the poet"s tendency towards love, description of nature, mystical and patriotic topics and the reflection of social issues.

The examination of Qari Abdullah"s ghazals in the collection revealed his proficient handling of linguistic, literary, and intellectual elements. Most of his ghazals are composed in the Hazaj and Ramal meters, often being compound verses. The poet"s emphasis on verbal devices such as repetition and refrain is substantial. The usage of Arabic and foreign words is less frequent, while abstract words have a higher frequency in his compositions. The prevalence of simple sentences and declarative language is another characteristic of his ghazals and in terms of image, different types of imaginary images (simile, metaphor, diagnosis and irony of image creation) are mentioned in Qari"s poetry. The most basic topics And the themes in the poet"s sonnets are love, description of nature and mystical topics.

Iranian contemporary ghazal has its own stylistic distinctions, and contemporary modernist ghazal writers have modernized in different linguistic, rhetorical, literary and thematic dimensions. Knowing the stylistic aspectes of these poets is the result of studying and examining the aforementioned dimensions. The aim of the current research is to study and understand the stylistice aspectes of Gholamreza Tarighi's ghazals as one of the contemporary poets. Studying the linguistic, literary and thought dimensions of this ghazals has clarified his stylistic dimensions and tendencies for the audience and has determined the aspects of his modernity in these dimensions.

This research was done based on library sources and descriptiveanalytical method.

The study of the style of Targhi's ghazal reveals that he is a modernist ghazal writer and has innovated in different aspects of language, imagery, thought and theme. The language is close to colloquial language and elements of modern and contemporary language, contemporary allusions can be seen in his poetry, and his similes are urban.

Tarighi wrote a ghazal in the language of the time, and every kind of word has found a place in his poetry, and he did not divide the words into permissible and non-permissible ones. He mostly uses similes and his similes have an urban root. The ambiguity and illusion is more used in his poetry, and in lexical rhetoric pun are the most used in his poetry. He likes human love and does not consider divine or virtual love.

The poem "Chenisernameh" is a perceptive work of Biglari, one of the poets of the 11th century of Hijri. This work, like other lyrical poems, with the theme of earthly and mystical love, although it was written under the influence of Khosrow and Shirin Nezami, but it is not devoid of stylistic and individual poetic creativity. This system has not been noticed by researchers in terms of style. In this essay, while introducing this work, the main goal is to introduce its linguistic, literary and intellectual features.

This research was done to collect library data and information with a descriptive-analytical approach. The statistical community of all the poems of Chenisernameh is around 1000 verses.

The findings of the research indicate that Biglari, the composer of Chenisernameh poem, tries to write a love story in the fictional space of Indian lyrical literature by modeling the poem of Khosrow and Shirin Nezami. The stylistic characteristics of this work, despite the fact that it entered the field of order in the 11th century, but it reflects some of the stylistic features of the Iraqi style.

In the perceptive language style of simple words, without emphasis, Arabic words, Indian words and words, arrays such as detailed simile, irony, repetition, phonetic arrangement, puns, exaggeration, hint, etc. Has used a very simple and understandable limit. In the style of this work, it is simple, easy to understand, and away from special complexities and strange metaphors. In his intellectual style and description of romantic scenes, Biglari has paid much attention to the system, although traces of religious and mystical themes can be seen in the ending of the story regarding the lack of attachment to the world and avoiding whims and unstable loves.

Mohammad Fozuli Baghdadi is one of the greatest poets of the 10th century of Hijri who wrote poetry in three languages: Arabic, Persian and Turkish. Persian Divan’s Fozuli is considered one of the most eloquent among Persian poets, and in the history of Persian poetry, it is actually known as a bridge between the Iraqi style and the well-known Indian style. In this research, one hundred ghazals and ten odes from the Persian divan of this poet are examined from the point of view of stylistics in three linguistic, intellectual and literary levels.

The current research is descriptive-analytical and based on library and electronic studies.

Fozuli's poetic language is simple and fluent, and features of the old Persian language are rarely seen in it, and it has greatly benefited from the Arabic language. From a literary point of view, simile and metaphor are the most frequent rhetorical techniques in his words. Jenas and phonemes are at the top in the verbal industry section. Love is his main poetic theme and mystical themes are also seen in his poems. One of the other important aspects of Fozuli's poetry is dealing with Shia themes and praising and praising Shia imams or writing elegies for them.

There are many variations of the line in Fozuli's poetry. He used a lot of similes and metaphors, his poems are full of Quranic allusions and stories of the past. The main theme of his poems is the praise of Ahl al-Bayt. In general, it can be said that Fozyli's poetry is remarkable in terms of dealing with various topics and themes such as earthly love, mysticism, religious and Shiite themes. Beloved is at the height of cruelty and disregard in Fozuli's poem.

Ruzha al-Safa is a seven-volume book on general history that was written at the end of the Timurid period. Despite the fame of this work, no detailed stylistic study has been done. This article seeks to answer the question, what are the features of Rouza al-Safa based on structuralist stylistic approach? In this article, the linguistic and literary coordinates of the book of Rouzah al-Safa were analyzed with a descriptive-analytical method and based on a structuralist stylistic approach. The results show that due to the adaptation of the work from several sources before the Timurid period and also the Timurid period, the stylistic coordinates of different periods have been reflected in it. The abundant use of Arabic compounds, Turkish and Mongolian words and phrases, descriptive verbs, descriptive and additional compounds, giving praise, description, adaptation of verses and inserting poems are some of the characteristics of the Timurid period in this work.

Neurolinguistics is an interdisciplinary field that explores the relationship between language and various aspects of cognitive function. It investigates the inner workings of the mind within the framework of linguistics (Ahlsen, 2006). A recurring question in this field is whether an individual's linguistic and pragmatic abilities can independently enhance or hinder communication for those with neurological disorders. Some individuals with aphasia can compensate for their linguistic deficits by relying on their pragmatic skills. However, it has been observed that individuals with dementia, due to impaired pragmatic abilities, struggle to maintain their communication skills (Ulatowska & Chapman, 1995). Despite numerous studies, the exact nature of the pragmatic breakdown in dementia remains poorly understood and is a subject of ongoing debate (Garcia & Joanette, 1994).Alzheimer's disease is the most common form of dementia. According to the International Classification of Diseases, Alzheimer's is characterized as a gradual decline in memory and cognitive function that impairs daily activities (Kilmova et al., 2015). This disease affects various aspects of cognitive function, including memory, reasoning, thinking, language, and judgment, gradually causing linguistic and cognitive problems by shrinking the cerebral cortex (Milton, 2008). Linguistic deficits are often among the first cognitive signs of Alzheimer's disease. These deficits manifest as difficulties in understanding word meanings, finding appropriate words, naming objects, and comprehending words due to a decline in the social aspects of language. Consequently, individuals with Alzheimer's may struggle in social communication, speaking excessively, loudly, repeating themselves, or losing track of the conversation's topic.Assessing and identifying the language problems of individuals with Alzheimer's requires a comprehensive understanding of how the disease impacts language and the patients' cognitive perceptions. Recognizing the language abilities and disabilities of Alzheimer's patients at different stages of the disease can inform the provision of rehabilitation services for this segment of society. This research seeks to provide scientific insights into the linguistic performance of Persian-speaking Alzheimer's patients. The study aims to compare the discourse of Persian-speaking normal individuals and patients with Alzheimer's (at early and middle stages of the disease) at both linguistic and pragmatic levels. The study aims to address the following questions:Is there a significant difference in the discourse of Persian-speaking normal individuals and patients with Alzheimer's (at the early and middle stages of the disease) at linguistic levels?Is there a significant difference in the discourse of Persian-speaking normal individuals and patients with Alzheimer's (at the early and middle stages of the disease) at pragmatic levels?

BACKGROUND AND OBJECTIVES: The book of Serr al-Asrar is a valuable Ashura book that has been neglected in Persian history and literature. The book of Serr al-Asrar is one of these precious works. Serr al Asrar is the name of a historical-literary book in Persian language, which was completed after the death of the author, with the efforts of his son. Sheikh Abdul Rahim Jalili-Kermanshahi is one of the famous writers of the Nasser period, who has valuable but less known works. His son, Sheikh Mohammad Hadi Jalili, was also one of the great writers of his time who finished his father"s Ashurai book. Each of the narrative types has its own stylistic features, and their stylistic analysis leads to a better understanding of these works. The purpose of conducting this research is to introduce this historical-literary work and examine its three aspects: linguistic, intellectual and literary.

METHODOLOGY: This article is based on library studies in a descriptive-analytical way.

FINDINGS: The findings show that the book of Serr al-Asrar has the same writing style despite having two authors. Despite the Arabic knowledge of the authors, the type of narration requires simple language. Therefore, while showing their knowledge of Arabic, the authors adhere to simple writing, and this issue has given the work different features and indicators. Therefore, the stylistic reading of this work shows a clear understanding of its multiple levels.

CONCLUSION: This work is a historical and realistic narrative, which, in addition to its linguistic and intellectual highlights, has acquired a literary flavor by mixing with rhetorical tricks. The prose of this book is intermediate and there are prominent features of a single language in the language of both authors. In terms of thought, despite the intellectual unity of both authors, themes are raised that show their intellectual independence. From a literary point of view, it is necessarily mixed with rhetorical techniques and more than having an aesthetic purpose, it serves to clarify and depict the atmosphere of events, narrative characters, and the feelings and thoughts of the writers.

Nasrullah Monshi's Kalila and Demneh is considered to be one of the trend-setting and influential works on Persian literature, especially Persian prose. The style of Nasrullah Monshi in the translation of this work has influenced later writers to follow and use his style in their writings (Daneshpazhooh, 2008;12). Ziya-al-Din Nakhshabi, a poet, mystic, and writer of the 8th century, is also among those who were influenced by Nasrullah Monshi. Just as the influence of Kalila and Demneh is evident on his Tootinameh, this influence can also be seen in Afsaneh Golriz.
Afsaneh Golriz is a work in verse and prose, created under the influence of Kalila and Demneh, Maghamat Hariri, and Indian literature; it is written in artificial prose style; the content is Romantic and moral; it consists of fables and parables with the structure of a story within a story, accompanied by motifs of folk literature and the description of strange creatures such as demon, fairy, and monster. The bases for Indian stories are books such as Ramayana, Mahabharata and Suka Septati, which not only have they given their content to these stories, they have also transferred their own style of storytelling to these works (Madankan & Eliyasipour, 2009;139).
The main purpose of these stories was entertainment and fun; for this reason, their appeal has been very important to readers. The events in these stories are very diverse and sometimes unreasonable and extraordinary to attract the attention of the reader and listener more (Taqavi, 1997; 57).


This article is a report of a theoretical research with a descriptive-analytical method that with a stylistic approach and using the principles of structural stylistics and relying on written and library documents and sources, has investigated and analyzed the stylistic features of Ziya-al-Din Nakhshabi's Afsaneh Golriz at the linguistic level, in terms of phonetic, lexical and syntactic features.
In this article, the linguistic features (phonetic, lexical, and syntactic) of the book have been examined with a stylistic approach. The authors seek answers to the following questions:What features does Afsaneh Golriz have at the linguistic level (phonetic, lexical and syntactic)? What results can be obtained by examining and analyzing the linguistic features of Afsaneh Golriz from the point of view of stylistics?
 


 Stylistics uses the most comprehensive methods in examining texts; it means that it starts from the smallest language structures, namely sounds, and analyzes the vocabulary, types and quality of their use, interpretations and allusions, as well as the syntax and structure of sentences, rhetoric and the application of thought and in the layered branch of the artist's ideology. Finally, the artistic goals of the speaker from the totality of the structure of the work is realized (Mohammadi afshar & Shayanmehr, 2017; 262). In this article, due to the wide scope of stylistics, an attempt has been made to examine and analyze only the stylistic features of the work at the linguistic level in terms of phonetic, lexical and syntactic features.
In Afsaneh Golriz substitution, deletion and addition have been used. Substitution has mostly been used in consonants. In this work, phonetic processes are not as abundant as the texts of previous centuries. deletion or reduction of phonemes also have been used in Afsaneh Golriz more.
Nakhshabi has used different kinds of rhyme, mostly parallel rhyme. He has used internal rhyme, parallelism and leonine verse more. The multiplicity of parallelism and leonine verse has resulted in sentences having consecutive rhyme. Many kinds of puns have also been used in this work. Phonemes, repetition, antimetabole and additions have been employed to make speech musical.
In the lexical layer, sensory or abstract words, common and proper nouns, archaism and word formation, coining, and markedness of words are evident. (Fotouhi, 2012; 251-264). Often, writers and poets use sensory words for description and mental words for narration (Foroozandeh & Banitalebi, 2015; 304). In the text of Afsaneh Golriz, the use of both objective and subjective words be can be seen.
The number of archaic Arabic words is more in Afsaneh Golriz. These types of words have been used less or not at all in Persian prose and poetry, and there is no evidence for them in Dehkhoda's Dictionary as well.
Arabic compounds have been used in the book, which are rare. There are words that are not recorded in dictionaries. Turkish and Indian words are also included.
Sometimes the writer has used unusual spelling of a word. Synonym are also employed, the frequency of synonymous words is high. Sometimes the author has used word in a new meaning. Also, he has used the word in a new construction and has made new and meaningful compounds. These compounds are one of the blocking factors of the meaning of some sentences.
Nakhshabi has used proper names in this book; he refers to the names of elders and prophets and has also creates new proper names.
The abundance of short and interrupted sentences in speech causes light acceleration of the speed of thought and excitement, and, on the contrary, the abundance of long sentences creates a smooth and steady style; complex and compound sentences slow down the movement of style. Rapid and hastey styles are more emotional, while composed styles are more argumentative and logical (Fotouhi, 2012; 275).
In Afsaneh Golriz, sentences are usually simple and short, and there are few compound sentences. The style of the book is exciting and emotional. The frequency of inflectional sentences is high. The style of sentences is a combination of discrete and co-ordinate style. The speed of speech is higher and the style is dynamic.
The time factor is an important variable in the realism of the text and the author's way of looking at things. The present is more certain than the past and different constructions of the past also increase the distance between the speaker and his point of view in the same proportion as it distances from the present (Fotouhi, 2012; 291). In this book, in 200 simple and compound sentences analyzed, there were 127 (63%) simple verbs, 33 (16%) compound verbs, and 5 (2%) prefixed verbs. Also, 72 cases (36%) present verbs and 124 cases (62%) past and future verbs have been used; therefore, the distance between the speaker and the author's point of view is greater in this book.
The modality is the speaker's decisiveness in expressing a proposition, which is implicitly shown by grammatical elements (Fotouhi, 2012; 285). In most of the verbs of the book, indicative modals have been used. The indicative modal shows the certainty of the speech. In indicative modal, the audience is confident about the speech.
Adverb is a part of speech that the verb does not need and for this reason it can be omitted from the sentence (Vahidian Kamiyar, & Omrani, 2003; 104). The frequency of adverb types is higher in Afsaneh Golriz, and adverb is one of the factors of lengthening the sentence. In 100 sentences, there are 56 adverbs, which shows that Nakhshabi has used more adverbs. Among the types of adverbs, adverbial complements has been used more.
In adverbial groups, the preposition has been omitted symmetrically based on the previous sentence; also, in the verb phrases, the preposition has been removed without symmetry.
In Afsaneh Golriz, the verb has been removed based on verbal and semantic symmetry.
 


In the phonetic layer, Nakhshabi has used various types of phonetic processes such as substitution, deletion and addition. Substitution in consonants and reduction of phonemes is more visible; however, phonetic processes are not as abundant as the texts of previous centuries. To increase the music, the writer has used all types of rhyme, mostly, parallel rhyme. In most of the sentences, there is internal rhyme, parallelism and leonine verse. He has used various types of puns, phonemes, repetition, and additions successive also.
In the lexical layer, there are more sensory words and the style of the sensory book is clear and effective. A large number of abandoned Arabic word can be seen in Afsaneh Golriz, which are used less or not at all in Persian poetry and prose and there is no evidence for them in Dehkhoda's Dictionary. One of the reasons for using archaic words is superiority. A few Turkish and Indian word are used and the number of synonyms and compounds in the book is also significant.
In the syntactic layer, there is usually simple and short sentences and few compound sentences. The style of the book is exciting and emotional, and the frequency of inflectional sentences is high. The style of sentences is a combination of discrete and co-ordinate style. The speed of the speech is high and the style has a dynamic rhythm. Simple verbs are used more, and compound and prefixed verbs have been used less. The tense of most verbs is past, by which the distance between the speaker and the author's point of view can be seen more clearly. Most of the verbs have been used in indicative modal, which shows the certainty of the speech. The frequency of adverb types is more in Afsaneh Golriz, and adverb is one of the factors of lengthening the sentence. In 100 sentences, there are 56 adverbs, which shows the abundance of adverbs. Among the types of adverbs, adverbial complements have been used more. Sometimes the verb has been omitted based on verbal and, more often, semantic symmetry. The preposition has sometimes been removed from the verb phrase based on symmetry in the previous sentence, or without symmetry.

Stylistics is a science that examines the special way of each person in expressing his opinions and ideas. Layered stylistics with the approach of literary analysis examines the text in five layers, phonetic, rhetorical, syntactic, lexical and ideological. The purpose of this research is to analyze the style and content of Yaghmai Jandaghi's poems from three intellectual, linguistic and literary perspectives.

This article is based on library studies and has been done in a descriptive-analytical way, and the scope of the study is Yaghmay Jandaghi's sonnets.

Yaghma is considered one of the return style poets, but he was not just an imitator of the previous ones and he adopted a new method. In his poetry, all kinds of poetic styles and methods can be seen, from lamentation and Marathi to satire and humor. He is a point-wise critic, so that his poetry can be seen as the culmination of differences and contradictions. He has tested his style in various formats, from ghazal, masnavi, and quartet to nimaei and sepid.

Yaghma's lyrical poetry is usually of the type of romantic lyrical poetry, which is mostly written in Bahr Ramel, the use of Persian words is one of the special features of Yaghma language, the poet's attention to verbal arrays such as "repetition" is high, but he is not limited to the use of puns and in terms of image Different types of photos; Most of the similes are eloquent and of the sensory type, the metaphors are more explicit and the allusions are of the gestural type with the focus of recognition and succeed in creating beautiful images with a simple language.

One of the precise and scientific ways that bring the researcher closer to the world of poet and writer is the careful study of stylistic features. The present study examines the style of Golrokhsar Safiava"s poems in the field of language, literature and thought.

This article is based on library studies and has been done in a descriptive-analytical manner.

Golrokhsar Safiyava is one of the leading poets in the contemporary history of Tajikistan, who has been nicknamed the "Mother of the Tajik Nation". In Golrokhsar Divan, out of a total of 369 poems, the formats of new poems, sonnets, quatrains and combined forms have the highest frequency, respectively. But most of Golrokhsar"s poems, which seem to be half-hearted, are originally Masnavi and find the form of a new poem only by step-by-step fragmentation.

At the linguistic level, Golrokhsar has composed most of his poems in the two seas of Raml and Hazj, but in his poems there are weight strokes. Repetition in its various forms, the use of ancient and Tajik words are other linguistic features of his poems. At the literary level, simile, contradiction and discernment are among the most prominent literary features. At the intellectual level, the most frequent themes are love, expression of the status of women, homeland, pain and sorrow, loneliness, death, and complaints.

Examining the style of poetry is a valuable step to recognize and analyze more accurately the poems of different periods and awareness of their artistic value and to understand the influence of poets on the works of the past and contemporaries. Amir Khosrow Dehlavi is one of the Persian Persian lyricists of the second half of the seventh century and the beginning of the eighth century AH. Therefore, in this article, the sonnets of this prominent poet are examined at three levels: linguistic, literary and intellectual, as well as special inventions of the poet, by giving examples of verses.

This article is a descriptive-analytical study based on library studies. The Statistical community is all the lyric poems included in Amir Khosrow Dehlavi"s poetry collection, corrected by Iqbal Salahuddin.

The study of Amir Khosrow"s lyric poems shows that the poet has created beautiful and unique lyric poems by mastering Persian language, mystical taste, artistic ability in using different weights and meanings and using various expressive and novel techniques on a large scalea and its own innovations.

The result of research shows that love and its related themes are the most important poetic axis of Amir Khosrow"s lyric poems. At the linguistic level, the poet uses the various weights and variations in the use of side music and a variety of effective word arrays in the inner music, the stylistic structure of words, compositions and sentences, shows the linguistic prominence of his sonnets. Theology, the great influence of the Qur"an, prayer and supplication, love and affection, the instability of the world, belief in fate and destiny, skepticism, praise, folk themes, are among the most important intellectual components of Amir Khosrow Dehlavi that in most cases traces of mysticism can be seen. Also, Amir Khosrow"s innovations in different linguistic, syntactic and literary levels have made him stand out in lyric poetry.

 One of the most fundamental and precise ways to evaluate a literary work is to have a stylistic study. The present research aims to have a stylistic analysis of Ahmad Shamlou’s Poetry from three perspectives: literary, intellectual and linguistic. The present article attempts to have an accurate stylistic study and analysis of Shamlou’s poetry. These questions are going to be answered in the study: What are the linguistic features of Shamlou’s Poetry? How are the literary aspects of Shamlou’s Poems expressed? In which ways are the personal and social thoughts of Shamlou reflected in the intellectual level of his works?

 The present study hires a descriptive-analytic method and is a library study based on a random choice of the applicable examples.

 The study of linguistic, literary and intellectual levels of Shamlou’s poetry shows that he is inclined to archaism in the linguistic level; in the literary level, his poetry reflects a strong use of figurative language, especially similes; the use of popular ironies and informal language are also among the elements of his personal style.

 The results of the study show that Shamlou’s poetry can be regarded as having distinct characteristics in linguistic, literary and intellectual aspects which include unique innovations

 One of the most common methods of scrutiny and evaluation of poets" poems is research in their rhetorical style. The subject of this research is the stylistic analysis of Mir Haj Gonabadi Heravi’s poems (d. 923 AH) from three perspectives: linguistic level, intellectual level and literary level. This article tries to evaluate the style of the poems of the poet, to explain the extent of his influence from other poets, to explain his influence on some poets after him, and also to determine the poems of other poets in his divan.

 The present study is a theoretical study that has been done in the style of library research. The area and society under study is the divan of Mir Haj Gonabadi Heravi, editted by Abbas Rastakhiz, which has been published by Movarrekh publications in Qom city.

 Gonabadi Heravi is a Shia poet who wrote his poem in praise of the family of infallibility and purity. His skill is composing of introductory odes. He is interested in Arabicism, especially in the position of rhyming poems. In his divan, he was influenced by the poems of several famous poets before him, and at the top of them, Zahir Faryabi and Hafez Shirazi and his poems have had an impact on the poetry of Khajeh Hosayn Marvi, Kalim Kashani and Feyz Kashani.

 Gonabadi Heravi is an imitator, not a master of style, who follows the style of Iraqi style poets in his poems. His skill is in simulated and metaphorical illustrations in the introductions of odes Due to the religious-praiseworthy nature of his poetry and Shia religious tendencies in it can be seen from the influence of Shia poets of previous centuries in his poetry. He is most influenced by the sublime words of Hafez, which the poets of the centuries after him have considered imitation and similarity to be the criterion for recognition. Theism, praise of the family of purity, Human love, sorrow and despair and sometimes moral concepts are the main themes of Gonabadi Heravi"s poems.

Mahmood Muhammad Al- mousavi known as Mahmood Manaf is one of the anonymous poets in the world of Arab literature today. In addition to his poetic language, he is famous for his poetic genius out of which he gained invaluable experiences. They give value to the generations with the framework of linguistic elements, aiming at accomplishing perfection. Employing descriptive-analytic research method, the present study seeks to investigate one of his doctrinal poems named " major debate" based on Roman Jacobson's theory. Jacobson presents six language functions within his communicative theory: motivating, emotive, poetic, uniting (or possessive), symbolic and metalingual. The study also, relying on three stylistic levels, namely intellectual, literal and linguistic, investigates his poetic functions with a view on emotive, poetic and motivating functions. One of the findings of the study indicates that the poet is honest in his enthusiasm since he uses complete ballade which is one the most comprehensive ballades; he uses that in order to highlight simple and unsophisticated emotions such as rage, joy and pride. Likewise, another conclusion is that the proportion of voiced letters is more than that of voiceless ones, which is in concordance with the general atmosphere of the poem because it shows the severity of his anger at the Umayyad’s policy. In all these matters, we see emotive and motivating functions as an outstanding role. The conclusion reached at out of the stylistic investigation of imagery and its function in this ballade is that Mahmud Manaf employs simile and metaphor .

Considering contemporary literary currents, the style of contemporary poetry has a high status. This research introduces one of the contemporary poets named Mohammad Zohari and examines the stylistic features in his poems.

This article is based on library studies and has been done in a descriptive-analytical manner.

Mohammad Zohari is one of the modernization poets who between the two decades of 1330 to 1350 by mastering and surrounding the old poetry and full ability in classical poetry, has modernized. The meanings of his poetry are a reflection of socio-political and popular issues. The descriptive expression is concise and short, and there are six collections of poems called "Island", "Complaint", "Night Letters and Raindrops", "Fist in the Pocket", "The Old Man Said", "... and the End" and also a few Has a lyric.

The use of the form of Nimayi poem is also remarkable in Zohari"s works and the most widely used prosody weight used in his poem is Bahr Ramal. The lines and rhymes in the poem are also common, and the additional lines and rhymes are less noticeable. Poisonous words are full of repetitions that increase the inner music of the poem. His similes are mostly "rational to sensory" and "sensory to sensory" and the similes of "rational to rational" or "sensory to rational" are few. Among the types of similes, the addition of similes has the highest number of statistics, and in the next rank, there are other similes such as concise, emphatic, plural and subtraction, and the lowest number of them is imaginary and illusory similes. In terms of frequency, metaphorical addition is the most frequent, and the approved metaphor is in the second place, and after that, frequency is the non-redundant Meccan metaphor. Nature and its manifestations are very prominent in poisonous poetry. Mystical terms are more or less seen in the poet"s poetry. All in all, Zohari is a poet whose people are full of socio-political concepts.

The widest type of literature in Persian poetry is related to the field of lyricism and the major part of Iranian lyric literature belongs to love poems. In this article, the stylistics of one of these works called "Observer and Purpose" of Bafghi"s wild work is discussed.

This article is based on library studies and has been done in a descriptive-analytical manner.

Masnavi is a romantic observer and refers to the weight of Khosrow and Shirin Nezami, which tells the story of two Chinese lovers who meet after years of separation in Egypt. However, all post-Nezami romantic Masnavi are a kind of imitation of military works; But thanks to the expression, freshness and simplicity of the language, and especially the burning and melting in the observer and purpose system, has made this work attractive.

Introduction The work has a glorious and heavy language due to its topics such as human creation, world, etc., but the main text (story) is soft, simple and pleasant. There is a lot of wild attention to verbal representations such as repetition, but It is not so much in the use of puns except in the rhyming rhymes where the words subconsciously have puns together. The choice of the sea has caused the weight to be appropriate to the subject matter. Most types of metaphors are sensory to metaphorical, metaphors are more meticulous, and allusions are more slang and colloquial. The greatest theme in this system is love, although the lover and the beloved in this system, despite being masculine; They have pure love of the Platonic type. After the theme of love, themes such as description, advice and counsel are also seen in the work, and the hero"s hero (observer) war against the rival has created a special epic color in some parts of the work.

BACKGROUND AND OBJECTIVES: The sixth century AH is one of the most important periods in Persian poetry and literature. In this century, three schools of poetry: Khorasani, Binabin and Azerbaijani are prevalent and one of the most famous poets of the Azerbaijani school is Mujir al-Din Bilqani. This article examines the stylistics of his poems from three perspectives: intellectual, linguistic and literary. METHODOLOGY: This article is based on library studies and has been done in a descriptive-analytical manner. FINDINGS: Abolmakarem Mojir al-Din Bilqani was one of the people of Bilqan who was apparently born to an Abyssinian mother. He is one of the leading and prominent poets of the Azerbaijani style in the first half of the sixth century. His 5,000-bit divan is full of poems, lyric poems, quatrains and delicate compositions. There is no information about his life in his poems, but it is certain that he studied literature and poetry with Khaghani. Some writers consider his style to be an imitation of Farrokhi and Manouchehri (especially in poems). CONCLUSION: Mujir is skilled in composing various types of poems such as ode, sonnet, piece, melody, complaint, composition and quatrain, but his main skill is in composing ode. Intellectually, the poems of praise, satire, and pride are the features of his poetry. In particular, the sale of bounties, the reference to various sciences and various allusions to his poetry need to be explained and interpreted. Linguistically, there are many Arabic and Turkish words in his poems. His poems are also full of special combinations in the description of celestial elements, which are usually accompanied by numbers and have a virtual, metaphorical and ironic meaning. Among the branches of the science of expression, simile and irony are more prominent in his poems. Most of Meccan"s metaphors are non-superfluous, and this is due to Mujir"s special attention to the diagnostic industry. The irony of the verb and the type of ima is the most frequent type of irony in Mujir"s poems.

Letter is one of the means of communication between human beings that has been used for a long time. Letters in Persian sources are worth studying and researching in different ways. In Ferdowsi"s Shahnameh, which in fact is the history of the pre-Islamic Iranian people in the form of heartwarming stories, the letter has played an effective role. In this article, the style of letters in this work is examined by relying on the elements, communication levels and types of letters. Been paid.

This article is based on library studies and has been done in a descriptive-analytical manner.

In none of the Persian fiction and epic poems, the number and role of letters are comparable to Ferdowsi"s Shahnameh. In this epic work, we are faced with different types of letters, in the structure of most of which we can find five pillars: 1- Praise of God 2- Mentioning the sender and addressee of the letter and his praise 3- Proportion appropriate to the main pillar of the letter 4- Main pillar of the letter 5- Concluding Letter Observed that the letters in it have special and different stylistic features according to the types and elements of the letter.

In Shahnameh letters, there is a perfect harmony between the content of the letters and the words and phrases used in the letters. In letters that contain anger and violence (such as threats and insurance policies), words and phrases are harsh, and conversely in friendly letters (such as peace letters), gentle words and phrases are used. The number of known sentences is much more than unknown sentences and the news aspect has the highest frequency among the aspects of verbs. In Shahnameh letters, the frequency of arrays such as exaggeration, simile, metaphor and irony are scattered in different parts of the letters, respectively. Also, various thoughts and themes have been included in the letters, among which, the beginning letters with the remembrance of God, mentioning the attributes of God, especially emphasizing the two attributes of creation and God, praising the addressee, admonition, invitation to justice, boasting, etc. They have a higher frequency order.

Stylistic study, in terms of accuracy and evaluation of all aspects of a work, should be considered the most accurate and reliable way to measure a literary work.the subject of research is stylistic analysis of farahi heravi, s divan from three aspects: linguistic level, intellectual level and literary level. In this article, while analyzing the style of the Divan, an attempt is made to explain the extent of the poet"s influence on contemporary poets and poets before him by providing poetic evidence.

The present study is a theoretical study that has been done by library research method. The study area is Farahi Heravi Divan edited by Ahmad Beheshti Shirazi and published by Rozaneh Publishing.

Considering that Farahi Heravi is a poet of the first decade of the tenth century and his poetry has a mystical nature, following the common tradition among poets after the era of Hafez, his poems are influenced from universal poem of movlana and hafez in terms of language and in terms of content and themes. Apart from being influenced by movlana and Hafez, there are clear signs of his influence on Attar, Iraqi, Saadi, Jami and Shah Nematullah Vali.His poetry is impressed on poem of Fayz kashani.

Farahi"s influence on movlana"s poetry can be seen in the intellectual alignment and sharing of their beliefs. His influence on Hafez is influenced by the common poetic tradition in Persian poetry of the ninth century and later centuries, which poets considered the resemblance and reception of Hafez"s poetry as a sign of their poetry. However, his influence on other poets can lead to the study of their works and the enjoyment of their poetic art. His sonnet contains long monotheistic-mystical thoughts and is worth studying and analyzing in various ways.

Religious epics are considered as a subset of historical epics in terms of subject matter, and the oldest of them is the poem "Aliynameh", the poem "Rabi". This article examines the stylistic features of this work in three areas: linguistic, literary and intellectual.

This article is based on library studies and has been done in a descriptive-analytical manner.

The epic-religious poem Aliyameh was written by a poet with the name or nickname "Rabi". This poem is in the convergent sea in 11220 verses and in the subject of Manaqib and Maghazi Ali ibn Abi Talib in the war with Naqsh and Qastin. According to the text of the book, he was born in 420 AH. Sadat Asr, meaning "Ali ibn Tahir Arizi" from Sadat has dedicated the area. This poem was introduced to the literary community of the country in 2000 by Shafiee Kadkani.

The stylistic coordinates of this work are linguistically the same as the coordinates of ancient Persian or Khorasani style. Literally, this system is a treasure trove of words that are abandoned today. Also, due to the special subject of the system, there are Arabic words with considerable frequency. At the literary level, the most obvious imaginary forms and literary industries are exaggeration and simile. In making metaphorical and metaphorical images, tangible and material elements such as natural and animal factors have been used. In the content section, most of the themes of this poem are based on religious themes, especially the propagation of the Shiite religion. The poet of this poem, although describing the battlefields of Arab heroes, due to his attention and belonging to Shahnameh, often imitates Shahnameh in various forms and even words and expressions that indicate the reference to ancient Iran and the cultural context of Shahnameh, has entered in his work.