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

In educational literature, dialogue is simple, explicit, short, direct, borderless, and merely in the service of propagating the message. Because the story begins without the premise that is common in today's short stories, the dialogue begins without the premise and progresses rapidly. In such stories, instead of the type of dialogue and speech being a function of the characters' narrative character and the characters speaking according to their character and social status and thus the type of dialogue is chosen, the characters are subject to the type of dialogue and the type of dialogue is subject to the message of the story. The character enters the story simply because it is presented as a statue of the poet's thought and imagination, so that the audience uses the power of self-visualization and cognition of the social base of narrative patterns to achieve the poet's intent that most mystical misunderstandings and experiences are out of reach. He is a clergyman, easier to understand. According to the necessity of this method of expression in educational dialogues, most of the speech and the turn of the dialogue is from the character from whom the message of the story is quoted.  The tool of dialogue is language. The author approaches his artistic goal through the indirect language of dialogue (v. Najafi, 1380: 35-38). Therefore, the role and function of language in conversation and their connection is very important.

background and purpose The research method in this research is descriptive-analytical using library sources. Books and researches about Attar's thoughts and works such as: The Voice of Simorgh Wing (Seday-e Ball-e Simorgh), the sources of stories and allegories of Attar's Masnavi, the meeting with Simorgh and the fictional elements of the story of the pious woman have been written in Attar's Elahinameh; However, in none of the mentioned works and similar ones, there has been any discussion about the element of dialogue, especially the type of dialogues from the perspective of the multiplicity and variety of characters and the type of language function in anecdotes. For Attar, the story is a means, not an end. Therefore, in most anecdotes, the story ends in the shortest possible time, and most of the anecdote is devoted to the often mystical and moral conclusion. According to this introduction, the main questions of this research are what language skills Attar has used as a storytelling artist; What are the different forms of dialogue in terms of the multiplicity and variety of characters? How he left a message in the shortest possible time; To which strata did he pay attention and how did he harmonize the character of the characters with their speech? The authors therefore intend to examine the quality and quantity of the suggested issues.

The themes of Attar's anecdotes can be summarized as follows: the words of mystics and elders that are mentioned in a story and are drawn from it; Mystical description of historical figures such as Sultan Mahmud of Ghaznavi; Deciphering the romantic situation of lovers such as Lily and Majnoon, Sheikh Sanaan, etc .; Mystical thematization about objects and animals and mystical explanation of famous myths (cf. Ashrafzadeh, 1373: 34-39). Such themes have been Attar's pendants for expressing mystical purposes and miracles and psychological experiences. Attar has been familiar with the situation and thoughts of various sections of society. The characters of his stories have been selected from various strata of society, including prophets, kings, ministers, caliphs, mystics, lunatics, Zahedan, preachers, beggars, nobles and craftsmen (cf. Zarrinkoob, 1380: 105 and Sanatinia, 1369: 15 And 16). One of the most important parts of the story is expressing the characteristics of the characters, and this is achieved through dialogue. Attar has used the capacity of identifying and informing the dialogue to recognize the characters of the story in a desirable way. The dialogue in Asrarnameh takes place in four ways: direct, indirect, internal and theatrical. In Asrarnameh anecdotes, the three functions of referral, emotion and encouraging have the largest share of all types of language maps. In fact, anecdotes consist of two main parts and the result. In the main part of the story, the characters of the story play a role, and most of the sentences of the story are news and are likely to be true and false, and indicate external meanings; Thus language finds referral function; But in the second part, after the end of the anecdote, in which the narrator expresses mystical and moral meanings as the result of the story and invites the audience to understand the concepts and persuade them to act on them, the persuasive function has the greatest share. The change in the function of language in the conclusion of the story is very limited, and the motivational function is generally very pronounced.   Bilateral dialogues account for the largest share of all types of conversations in the Secretariat. Of the one hundred anecdotes of the Asrarnameh, in the fortieth anecdote there is two sided dialogue. The conversations of these anecdotes are varied from the point of view of the parties to the conversation. The characters of the dialogue are in the thirty stories of two human beings, in one story two animals, in three stories one man and one animal, in two stories man and God and in one story man and angel. The language of the stories is simple and fluent. In educational anecdotes, the poet intends to teach mystical concepts and encourage the audience to learn it; Therefore, simple language is an important tool for the poet to achieve his goal. 

The characters in Attar's Asrarnameh anecdotes have considerable variety. This diversity includes the Creator of the universe, angels, humans (of different classes), and animals. This colorfulness of the characters removes the dust of boredom from the reader. Character dialogues are the essence of anecdotes. In two sided dialogues, the characters are two human beings, two animals, a human being with an animal, a human being with God, and a human being with an angel. Among them, the two-way dialogue between two human beings plays a role more than other characters in anecdotes. One of the important points in all conversations is that one of the characters in the story represents the poet's thoughts, and ultimately the victory is from that character; thus, in educational anecdotes, the monograph secret dominates. Attar uses anecdote as a tool to achieve his goal, which is the expression of educational and mystical content and concepts, and conveys his message to the reader and explains this content and encourages him to do it for him; thus, in most dialogues of anecdotes, the message is about the context and the language has a referential role. After the referential function, the emotional and persuasive role is in the next stage and to advance its educational goals, it has used the methods of direct, indirect, internal and theatrical conversations and to benefit from these, it has used the form of anecdote.

The definition is a primary means that connects the concept with the term. On the one hand, the definition may link this process and clarify the relationships within the network of perceptions. On the other hand, it may fail to achieve its goal or may be unable to attain it on its own. Therefore, the lexicographer resorts to auxiliary means that link the concept with the term. Among these auxiliary means are: synonymy or antonymy that shows relationships within a terminological system, as well as representation, drawing, diagram, image, and reference. The research studies a number of Arabic linguistic dictionaries, as well as linguistic dictionaries translated into Arabic to show their position on the use of auxiliary means, and the role, which these auxiliary means play in clarifying terminological definitions. The results of the research show that the dictionaries that employ auxiliary means for terminological definitions provide a clear and precise explanation of the concept. As well, these dictionaries outline the terminological system within a specific scientific field.

Referral theory addresses the intertextual and transactional reading texts. Based on his theory, the literary works refer to other texts and transcripts. Or the audience can the understand and receive the texts by referring to objective instances, or by referring to other texts. In this study, the allegories of Saeb have been chosen from the perspective of this theory.Because in each allegory; Saeb has referred the audience to a  text or an external. The authors have tried to describe and the texts and transcriptions that Saeb has used in making allegories in a descriptive-analytical way؛ the results of this research show two important points. First, the allegory has a referential basis; the poet has refereed the reader to a parable in order to support each claim. The other is that these parables are based on intertexttual or translated text  referrals.The Quran, hadiths, and prophets  the prophets of the most important texts ,social and natural are also the main transcripts that Saeb has used in his paraphrasing.The selection method is to collect and categorize the Saeb allegories based on  types of referrals.
  Cross-referencing in literary texts is the central idea in the intertextual approach to literary criticism which has its roots in the works of Saussure and Bakhtin. For Saussure, “a sign can be imagined as a two-sided coin combining a signified (concept) and a signifier (sound-image)” (Allen, 2016 [2000]: 21). Bakhtin, however, believes that “the abstract linguistics of Saussure strips language of its dialogic nature, which includes its social, ideological, subject-centred and subject-addressed nature” (ibid.: 36). In this context, two general views were formed in intertextual criticism about cross-referencing in literary texts: “reading” and “referencing”. The main difference between these two is that reading takes place when the reader, whom Barthes considers as “a collection of texts” (Modarresi, 2011: 68), reads a text in the context of his previous knowledge of texts. In this definition, language “refers to other texts instead of the reality and society” (Namvar-motlagh, 2016: 166). This can be illustrated by the use of literary tropes like metaphor, metonymy, and analogy which do not conform to ordinary language usage; that is, their signs cannot refer to the objective and conventional instances. To understand literary language, therefore, one should seek instances other than ordinary reality and significance. This is why Riffaterre developed his ‘theory of reading’ and proposed two types of reading: mimetic and semiotic. “Mimetic reading refers to the formal comparison of the text with external, real sources” (Namvar-motlagh, 2016: 236). In this type of reading, the text represents the real world and its linguistic instances can be interpreted by reference to the reality. According to Riffaterre, the problem of this type of reading is that only the superficial meaning is noted, thereby reducing a poem to unrelated bits and leaving its usually ungrammatical aspects unresolved (Selden and Widdowson, 1392: 85). Semiotic reading, however, is defined on the basis of the associations of the text with itself and other texts (ibid.). In other words, the text is perceived and understood by referring to instances in the world of texts rather than in the real world. It is only at this level that the reader can surmount the mimesis hurdle (Allen, 2016: 16) and analyze as well as understand the ungrammatical mysteries of the text. This second type of referencing is the one that is prevalent in academic research and makes use of both visible and hidden devices in the text to refer the reader to the absent texts.
Analogy, which is a kind of intertextuality, has always been widely used by literary authors for the purpose of providing evidence, argumentation, and persuasion. In analogy, a similar experience that is often rooted in the reader’s knowledge is referred to for proving an epistemological, intellectual, moral, or any other claim. Importantly, the realistic nature of analogy readily lends itself to an interpretation based on mimetic reading. In addition, it can also be approached through semiotic reading due to its poetic manner of expression. The present study intends to analyze the analogies of Sa’eb Tabrizi, which are of a great number and variety, from the viewpoint of both types of referencing. Sa’eb has both made extensive use of analogies to create texts and hypertexts and referred the reader to numerous texts and hypertexts to persuade, witness, and argue on a more solid basis. There are three research questions: 1) Can we analyze Sa’eb’s analogies on the basis of the theory of referencing? 2) What are the main texts and hypertexts which Sa’eb has referred to in his analogies? 3) Should the reading of these analogies be mimetic or semiotic?
  Based on a descriptive-analytical method, this study seeks to introduce and analyze the texts and hypertexts that are the point of departure in Sa’eb’s analogies. For this purpose, analogies were extracted from Sa’eb’s ghazals and classified according to their religious, intellectual, cultural, social, and natural background. The analogies were then analyzed in terms of intratextual and extratextual references as well as mimetic and semiotic reading.
  Sa’eb’s skill in creating analogies lies in his use of numerous texts and hypertexts which is manifested in intertextual and hypertextual modes of referencing. In terms of intertextual referencing, which denotes “one text referring to another” (Namvar-motlagh, 2016: 51), Sa’eb mainly touches upon four sources, i.e. the Quran, hadith, religious law, and historical anecdotes (usually those of the life of prophets). These types of analogy can be analyzed through three approaches. The first one is intertextual referencing which means that these analogies link the text to other texts. The second one is mimetic reading because texts like the Quran, hadith, and historical anecdotes tend to put emphasis on the reality instead of imaginary aspects. The third one is semiotic reading because the analogies are narrated within a poetic context. In terms of hypertextual referencing, which denotes “one text referring to the world outside the text” (Namvar-motlagh, 2016: 52), two umbrella hypertexts which form the basis of a large number of Sa’eb’s analogies are society and nature. He has made use of the capacity of nature and society to create relevant analogies and support his claims. These types of analogy can be interpreted with reference to both mimetic and semiotic reading because they chiefly rely on the realities of the nature and society. Furthermore, due to the poetic expression of these realities, a deep understanding of the analogies requires semiotic reading.
  Sa’eb pays so much attention to analogy and is so skillful at creating analogies that some scholars consider it as the dominant technique in his poetry. With the help of his dynamic imagination and creativity, this famous poet of Hindi school has made extensive use of intertextual and hypertextual contexts to create analogies. There is a realistic tendency in his analogies in a way that he moves from depth to surface in an attempt to objectify abstract concepts by translating them into their sensual equivalents. These sensual equivalents, or analogies, are mostly based on shared religious and historical knowledge and collective experience which is concrete and noticeable the context of nature and society. References, therefore, are mostly made to objective instance in the real world, or to categories that are taken for granted among the audience groups. Thus, they can be approached through mimetic reading. On the other hand, since all these realistic notions are expressed in a poetic language, their mysteries should be discovered by semiotic reading. The main sources involved in Sa’eb’s analogies are the Quran, prophet’s hadith, and historical anecdotes. The main hypertexts are the realms of society and nature. Being aware of these sources, the reader can come to an understanding of the cultural and intellectual roots of Sa’ed’s analogies and interpret them at a mimetic or semiotic level. Furthermore, this awareness can also act as an inspiration for other literary authors because the great variety in Sa’eb’s poems is due to his effective use of major religious, intellectual, and cultural sources as well as his close examination of the nature and society. The Hoy Quran, translated by Makarem Shirazi.
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