جستجوی مقالات مرتبط با کلیدواژه "phonetic level" در نشریات گروه "ادبیات و زبان ها"

Muhammad Saeed Al Mansouri focused his poetry on the Prophet’s Famely, praise and lament. Among the poetry of lamentation, we chose the poem “After the Prophet” in the lamentation of Mrs. Fatima Al-Zahra (AS), in order to analyze it artistically, depending on the stylistic approach, focusing in our research on the phonetic level, which is represented in the external music, where we showed the poetic meter and its slips, and rhyme and its letters, especially the letter Al-Rawi and its vowels, and the internal music, as we stopped at the creative arts and repetition in all its forms. The research concluded that the poet was successful in his choice of the Al-Kamil meter, with a lot of benefit from the slithering and broken hamza in the narration of his poem, as the coming of the broken narrator suggests a broken psychological state, introverted on itself because of the kasra and the letter (yaa) that extends to the poet used the arts of anaphora and repetition to give his poetry a sound energy that helps to enhance the meanings of Zahra’s grief. He used  three kinds of anaphora and repeated the words in three forms: The unverbal repetition to emphesise that the sorrow in Zahra’s heart is the same illness that killed her, the verbal repetition that is not for emphasis at all, but rather to find an additional meaning for an arithmetic purpose, and the repetition of the word verbally and meaningly, represented by the repetition of the words of sadness and crying to suggest the strong presence of the case of Zahra in the mind of the poet, because it is the basic element on which the text is built, as it reveals the desire of the poet. In the whispered sounds of which it is repeated (137 letters), the letter Taa (38 times) and Haa (37 times) are repeated, while the letter Lam (75 times) and Mim (46 times) are repeated in the voiced sounds.

The title of a work is a gateway to its textual and thematic underpinnings. Whether the title represents a work of prose or poetry constitutes a very important area in linguistics, in which semantic analysis serves to analyze a text for readers. Najm Wali is a contemporary Iraqi novelist who skillfully illustrates social realities in his works. The carefully selected titles of his novels hint at a particular social, cultural, or political reality of Iraqi society. This descriptive-analytical study examines the semantic features of the author’s titles as well as their lexical, semantic, phonetic, and syntactic aspects. The study suggests Wali’s titles are chosen strategically to signify certain social issues, directing our attention to those problems before we even start reading the novel.

The phonetic level, which is represented in the phonetic structure and the internal and external rhythmic structure, is considered one of the most important levels in stylistic and semantic studies. At this level, the research studies the rhythm or external music and the elements that make it in poetry, such as meter, intonation, rhyme and its aesthetic effect. It also studies rhythm, internal music, and the elements that make it, such as repetition, alliteration, contrast, assonance, and their inspiring connotations. This research with a descriptive-analytical method seeks to investigate the stylistics of the phonetic level in the Diwan of Ibn Marj Al-Kohl Al-Andalusi and his poetic features through a theoretical and applied vision on his poems through the study of external and internal music in his poetry. In the study of the poet's external music, the results of the research indicate that he composed his poems and poetic pieces on the well-known poetic meters in Arabic poetry, and he benefited from the Al-bahr Al-tawil more than the rest of the meters, and after that comes the Al-Bahr Al-Wafer and the Al-Kamel and Al-Baseet. And there are some meters that the poet neglected them, such as Al-Madid, Al-Hazaj, Al-Rajaz, Al-Monsreh, Al-Mozarea, Al-Muqtadab, and Al-Mutadarik. The poet employed most of the Arabic letters in the rhyme and used the absolute rhyme much more than the restricted rhyme. The poet diversified the use of internal music through variety of means, such as repetition of sounds, words, phrases, alliteration, contrast, and assonance in the beginning of his poems and poetic pieces.

Among the miraculous aspects of the Holy Quran, the rhetorical subtleties in the verses of this divine book have longAmong the miraculous aspects of the Holy Quran, the rhetorical subtleties in the verses of this divine book have long been the focus of scholars and scholars of Quranic sciences. One of the rhetorical topics of the Holy Quran is stylistics, which by taking advantage of the achievements of the science of rhetoric; we investigate the stylistic effects in the Holy Quran. Surah "Ghashiyeh" as one of the clear examples of a systematic language is full of verbal signs, where the harmonious words that create the internal beat of the verses and the intervals of the verses lead to the external music of the verses. In this research, based on linguistic analysis at three phonetic, lexical, and grammatical levels, we discuss the stylistics of Surah Ghashieh. The present research tries to show that it is the linguistic features in the verses of the Holy Quran that cause the change of style in the verses at different levels. Applying repetition techniques; Sajja; Puns, respect for example, and contrast emphasize rhetorical elegance in addition to melodiousness. In fact, these stylistic features make this blessed surah suitable and melodious.

For the analysis of a literary text, there are several critical approaches, each of which approaches the text from a particular angle, and it is the text that invites the critic to choose the method of critique; Because each text, although it can be examined in different ways, but it is more consistent with the method than the others. Stylistics is an intra-textual method that focuses on the structure of the text, the text being both a tool and a goal. Numerous perspectives on stylistics eventually lead to the text, which consists of levels. The three levels of phonetics, composition and semantics are the most important, although other categories can be encountered. Stylistics as a branch of linguistics that considers language as a systematic set of signs and relations, defines the text as a systematic structure consisting of related components. The results of the stylistic study of Nizar's poetry indicate that the poet's choices are implied in three levels of the text and have an aesthetic burden. The stylistic features of the poem as well as the type of the poet's attitude can be seen in the choice of letters and the rhythm of the poem, the types of sentences and semantic domains, as well as in the use of the mythical symbol.

The Holy Quran is a book that has many miraculous aspects, the first and most obvious of which is incarnation, which is a universal language, so that every listener, both Arabic and non-Arabic, who hears it, is thrilled and his feelings are changed. T, one of the sub-branches of which is side music, which is the result of balance and harmony between verses. On the other hand, the consensus of the scholars of Quranic sciences is that there is a special verbal and contentual correspondence between the Suri who have similar syllables. And they are placed one after the other in the Holy Qur'an; For this reason, in this article, an attempt has been made to analyze the appropriateness of this chapter through stylistics and at the phonetic level. The results of this analysis, which is a descriptive-analytical method, show that the intervals of the verses in these seven suras are predominantly and significantly ending in one of the letters "Nun" and "Meem" and the letters we read before are at a very reflective level. It has ended in one of the fashionable letters, which not only creates ecstasy in the audience, but also is completely in line with the intentions of the verse and the verse.

Holy Quran, stylistics, phonetic level, compound level, rhetorical level Stylistics is a science that, by examining descriptions and analyzes, reaches the literary aspects of a text and conveys the meanings and concepts of a literary text clearly to the reader. The Holy Quran, which is a divine miracle, has come to the attention of stylists as a literary text, especially in recent years. This article seeks to study Surah An-Najm in three levels of phonetics, composition, and rhetoric using a descriptive-analytical method and using the knowledge of stylistics in order to understand the literary and semantic aspects of the Surah. In Surah An-Najm, at the phonetic level, by using rhyme, it causes the surah to be melodic and attracts the audience to this surah. At the compound level, he draws a line at the pagans' beliefs and beliefs by using phrases such as offerings and delays. At the rhetorical level, he uses the method of limiting God's ownership and that everything is by God's permission.

One of the effective factors in strengthening the artistic and aesthetic image of Nizar Qabbani's odes is its beautiful and appropriate musical structure. This famous poet strengthens the musical unity by artistically applying verbal and spiritual arrays. The significance of this study is to examine the aesthetics of the failure image in the poet’s poetry and to indicate its connection with music. The aim of this study is to demonstrate the effect of the beauty of harmonious musical phenomena in the ode. The study also tries to examine the role of music in the failure poetry of Nizar Qabbani. To this end, the descriptive-analytical method is used to analyze the inner music of the failure poetry. The research findings indicate that the poet singles out words and letters appropriate to the his current situation and utilizes verbal and spiritual arrays such as pun, symmetries and contradiction along with the use of symbol and myth to strengthen his musical unity and through which reveals his inner and intellectual challenges in the failure poetry

Stylistics is one of the branches of literary critique that use linguistic and rhetoric in text analysis, and in the critical and literary examination, it relies on the three main elements of the text, the author, and the audience. This research that based on structuralist stylistics, seeks to discover the hidden linguistic angles of Sheikh Ahmad Wa'eli's social poetry and from this perspective his poems have been explored at the phonetic, lexical, and syntactic levels in a descriptive-analytical manner. The results of this study show that the poet has flourished the music of his poems by using light and volatile weights as well as using a lot of effort and it rarely goes out of the scales, At the same time, the repetition of words and phrases, and especially the words of harbinger, has harmonized his speech. At the lexical level, the poet tries to remind the Muslims of the greatness of the past by calling on the past heritage. In addition, Inspired by nature, his poems are dynamic and fluent. At the syntactic level, too, the poet has tried to make the best use of the various functions of nominal and current sentences and in many poems, it eliminates harbinger 's speech.

In Stylistics, the lingual, literary and intellectual features are called style creators. Prior to assessing each sorts of poetic style in Kurdish, the poetic styles of the outstanding poets in different eras have to be recognized. By revising the poetic style of stylist poets separately, the style of Kurdish poetry could be identified in different literary eras. The characteristics of any literary style in different literary periods could be determined following the understanding the characteristics of the contemporary poetic style in those periods. The present research was conducted on the linguistic level in order to highlighting and signalizing a part of the linguistic characteristics of Wafai’s poetic. Also, this research has paid attention to the phonetic level of external music, in which the weight and the number of rows as well as internal music determined the word, the percentage of non-Kurdish and key words, personal style and periodic style.

in fact , the main focus is on aesthetic knowledge and its main focus is on the aesthetic applications of the text , in order to understand the speaker 's words and the beauty of the texts . since a text has an important feature called semantic cohesion , and the sentences and phrases of the text should have the same continuity and connection , these relations are fully reflected in the use of words . the present research is based on descriptive - analytical method and based on the criteria of linguistic levels , we have studied the literary works of the surah . the result of this study is that the words and voice of the people by them , repetition of phrases , phrases and phrases as well as the type of letters in this chapter has a significant impact on facilitating understanding the meanings of the verses and attracting the attention of the reader and the reader

Repetition is astylistic phenomenon in literary texts that plays a prominent role in two phonetic andsemantic structures. In this study we surveyed emphasis on under standing features of meaning and rhythm in the Habash’s poem. Furthermore, we explained the most important aspects of repetitionby relying on statistics and stylistic method. We chose repetition phenomenon as the subject of research because it is one of the most important phenomena that Palestinian resistance poem is indexed by .The survey of this phenomenon is considered as research in fields of technical and aesthetic aspects of language of poetic text.Findings of the study show repetition in the poem of Habash is simple and compound repetition. Simple repetition is the same as the repetition of sound and word and compound repetition is the same as the repetition of sentence .Repetition isn’t random and accident in the Habash’s poem but it is purposely and regularly in direction of music and meaning in order to demonstrate her love to Palestineand to express sorrow for the tragedies and testimony of relatives and friends and to blow the spirit of resistance and revolution to remove the usurpation.

Qasidat al-Hussein (AS), Ya Ibn al-Kiram” is a poem written on Imam Hussein (AS) and the tragedy of Ashura, there are also features of the resistance literature in it. This study addressed Qasidat al-Hussein (AS), by descriptive analytical method and based on the statistical stylistics. In this study, we investigated the phonetic level looking for sonorous and whispered phonemes and treat them as strong and soft sounds. The sonorous phonemes and more severe sounds fit with the epic theme of the qasidah poem. At syntax level, the phrasal and nominal sentences on the one hand and the past and present verbs on the other hand were investigated using statistics. Present verbs employed in the poem show the immortality of Imam Hussein (AS) and his presence in the heart of the poet. Rhetorical level contains oxymoron, metaphor and simile. We can realize the conflict between the good and the evil in the poem at the morphological level through the observation of the plural suffixes of the paucity and abundance and the pronoun “they” for the good and the evil as well as the “addressee” pronoun that has a special place in qasidah addressing Imam Hussein (AS).

Neshat Isfahani belongs to the revolutionary age of literature. He has been considered as a famous leader and also one of the real devotees of the Literary Restoration Movement. Not only has he made an attempt to remove deviation from Persian poetry and the style of writing, but also to vitalize the Iraqi and the Khorasani style. In this paper, Neshat's style of sonnets is highlighted. This article starts with a brief introduction about the biography of the poet, then the phonetic, the lexical and the syntactic levels of his sonnets have been investigated.

Quran, the noblest and most worthwhile source of doctrines, was revealed in the most eloquent and appealing language, accordingly to translate and describe its immortal doctrines for propagation and cultivation of its sublime implications and high educations, seems indispensable. From long ago and since the first decades of Islam, many Quran scholars have discussed the translatability or untranslatability of the Holy Book, the methods and principles of its translation and different styles of translation. Besides they submitted eloquent translation. Punctilious wises have also noticed slips and inadvertencies and have lead the translations towards more stability through wise reviews. In the current study we are about to mention different types of translations briefly by means of descriptive – analytical methods, afterwards give some examples of insufficiencies of versified translations in the area of vocabulary, grammatical, phonetic and semantic levels in Khoda Aminian’s translation. The most prominent achievement of the present study is the fact that poetry despite possessing mostly difficult verbal and moral embellishments, is a function of the poet’s taste and his art, therefore the poet is obliged to follow the necessities of poetry and its bottlenecks of rhythm and rhyme, in sequence selected vocabulary are either more Arabic than the original text or differ from that. The above-mentioned fact about the translation of Quran – either verse or prose – is undeniable and shows there is a long distance to the ideal translation.

Stylistic is one of the important Methods in Linguistics, that many of the Linguistic researches about Quran are based on it. This article seeks to use statistical methods to explore the implications of language in Sura Noah, through the analysis at the linguistic level. According to the language of the sura Noah, we analyzed both phonetic level and syntactic level. Research findings indicate that increased use of bass phones and repetition of some sounds such as “R”, are coordinated with the overall context of sura. At the syntactic level, pronouns at the beginning of the sura, indicates the efforts of Noah to evoke emotions of his People, and at the end of the sura, pronouns indicate the efforts of Noah to distance himself from his people, because they rejected his invitation.

Supplication is defined as passionately praying and expressing one's weakness to Allah. Since supplication involves internal interaction with God, it is lyrical in nature; moreover, because it contains informative topics for human beings, it is lyrical-didactic. The name of Imam Sajjad is associated with supplication and praying to God. He employed the cultural elements of supplication to prove Shiite and real Islam and paved the way for the supplication discourse. This article attempts to analyze both the stylistic elements of Monajat Altabeen in the three areas of phonetics, syntax, and semantics. Then the degree of the coherence among these areas through an analytical-descriptive methodology in the light of a structural stylistics is explored. This supplication utilizes the phonetic level to create rhythm and to heighten the influence of discourse; syntactically, it uses beautiful phrases and carefully chooses the order of words and sentences along with their meanings and this level is in the service of the overall structure of the text; semantically, it employs appropriate words, by substituting words to suit the meaning. In conveying the meaning, the aesthetic aspect of the work has also been taken into account; all the above mentioned levels work in line with the general framework of the text.