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

The adjective is one of the grammatical constructions that creates meaning both in the syntagmatic axis (syntax) and the paradigmatic axis (morphology). Since this grammatical element can be presented in several syntactic positions, it provides more linguistic possibilities for the speaker, so it is a valuable structure. By means of the grammatical capacity of the adjective, the poet also uses it as a literary method. The selection of adjectives is one of the ways of creating meaning and wonderful images in Hafez's poetry. He uses adjectives as a means of producing rhetorical and semantic images in order to enrich the literary language. The importance of adjectives for Hafez is to the extent that he has coined words in this category several times: Sufi Afkan (defeater of the Sufi), Senowbar Khoram (pine-like strut), Etr Gardan (perfumer), Divane Navaz (mad protector), Sufi Souz (acrid of Sufi), Ma’shuqe-Baz (amorist), etc. In this research, the rhetorical function of the adjectives in Hafez's sonnets is studied using a descriptive-analytical method, based on the criteria of literary tools. The rhetorical and semantic relationship of the adjective with the described and other components of the sentence shows that Hafez does not use the adjectives accidentally or merely to fill the gaps of meter and rhyme, but the adjective has a rhetorical value for him. Hafez has also created images by means of rhetorical adjectives in categories such as amphibology, paradox, and paronomasia and less frequently used devices such as oslub-ol- Hakim, addition, laff-o-nashr, and mazhabe kalami.

Adjective is one of the three main elements of language that play a significant part in producing and conveying textual meaning. Robert Dixon, a contemporary English linguist, has provided a semantic typology of adjectives that consists of thirteen types. Adopting a descriptive-analytic methodology, the present study investigates the semantic and rhetorical functions of adjectives in the collected poems of Qeysar Aminpour according to Dixon’s model to see how the use of adjectives in the poems is related to the evolution of the poet’s attitudes. The findings of this research show that, apart from their primary semantic functions, adjectives and adjectival phrases play various significant aesthetic and rhetorical roles in Aminpour’s poems in creating music, poetic imagery, and such tropes as metaphor, simile, pun, allusion, and synaesthesia. It is also demonstrated that throughout Aminpour’s poetic career the frequency and functions of adjectives noticeably changed in accordance with significant changes in his attitudes toward both poetry and society. According to the data collected and analyzed in this study, four types of adjectives, i.e., speed, similarity, difficulty, and age, do not serve any rhetorical function in his poems, whereas the highest number of rhetorical functions is fulfilled by adjectives of physical properties, color, human propensity, and quality. Moreover, in terms of usage of adjectives and the number of their rhetorical functions the two volumes entitled “Sudden Mirrors” and “All Flowers Are Sunflowers,” written in the middle of his poetic career, are richer than the other two volumes of his poetry and the higher rate of using synaesthesia and pun in them signals the poet’s introversion and romantic mood in that stage. On the other hand, the higher number of adjectives of color and value in his first volume of poetry (“The Morning’s Breath”) accords with the poet’s mood during the Iran-Iraq War.

Adverbial adjective is an adjective (any kind of adjective) which is placed in the position of an adverb. In this research, an attempt has been made to analyze this linguistic component in Akhavan Sales’s poems. The starting point of this research is the linguistics approach to the analysis of literary texts, which of course is not a new discussion. However in this research, a new element of language, adverbial adjective is emphasized, which has not yet explored in books of grammar and the literary research focusing on the function of a  specific linguistic component. Furthermore, rhetoric also lacked the necessary tools to deal with the problem. The data collection in this research is based on the library method and the data are analyzed accordingly. In the end, it is concluded that Akhavan Sales has used adverbial adjectives in order to create imagery, ambiguity, brevity, and descriptive scenes.

Essential sentences are one of the important topics in Rhetorical figures are divided into demand and non-demanding. non-declarative sentences include propositions of command and prohibition, question, wish, and prayer. According to the threefold principle; Appropriate to the audience and his position and the purpose of the author, sometimes non-declarative sentences deviate from their grammatical appearance and the meaning of their meaningrhetorical function- becomes striking. By examining the cognitive meaning of these propositions, hidden layers of language can be discovered. Because conversation is the key to communication, in this research, inventive sentences are analyzed in the dialogues and storytelling of Musa in Rumi's Masnavi. Rumi makes great use of the persuasive and mpathetic functions of language to achieve its goalpersuasion and motivation of the audience - through rhetoric and pulpit. Most examples of this persuasion are evidenced in command and call and question sentences.

Allusion is a rhetorical technique which has always been effective in strengthening the semantic and aesthetic aspects of literary works, especially poetry. Poets always pursue different purposes in using allusion, such as ellipsis, assimilation, solidity, visualization, exaggeration, influence on the audience, etc. (A’la, 2010:59). Some traditional scholars have investigated allusion solely within the sphere of modern science;but thinkers who have newer insights, have considered it as an element of imagery, as well. Accordingly, allusion is believed to have two or more layers; an imaginative relationship is created between deep structure and superstructure which leads to “a kind of pleasure of association and spiritual music” (Shafiee-Kadkani, 1994: 310). Allusion can also accommodate other rhetorical forms in itself or its adjacent structure so at to highlight inspirational and imaginative aspects of speech. This is always helpful in addressing the functions of allusion in literary texts.Accordingly, the purpose of this research is to analyze contextual and rhetorical aspects of allusion in Saadi’s sonnets; a poet whose other subtleties and semantic/form based potentials of his word can be learned through the findings of this research. Especially since he explains some of his most fundamental thoughts through allusion hints. The main research questions are: what are the most prominent types of allusion in Saadi's sonnets? What contextual functions and semantic details are manifested in different types of allusion? In using allusion, which rhetorical technique has been more prominent?In this paper, the researchers tried to answer these and more detailed questions using an analytical approach.
Research This research is conducted using descriptive-analytical method. For the purpose of this paper which is an outcome of a research on on content and literary style of Saadi’s sonnets, after extracting and classifying of all types of allusion in nearly all of the Saadi’s sonnets and reviewing its various semantic-thematic functions, manifested rhetorical methods are examined. The ultimate description and analysis is performed based on the most prominent types and functions and the selected evidence.
Saadi's dominance over Persian language and literature has created a clear harmony between form and content of his word; i.e. “it first interests the reader and then reveals its content. Those who read Saadi’s sonnet pay attention to both side of language, form and content …” (BarzegarKhaleqi and Aghdaei, 2007: Introduction). This feature also appears when it comes to effects of allusion. Understanding the subtleties of this feature requires independent analysis of semantic and formal representations.Types of semantic and thematic functions of allusion in Saadi’s sonnet are: romance, mystical, and moral-ethical. Function of romance: contextualbasis of most of the Saadi's sonnet is composed of lovebased semantic clusters.Saadi “clearly expresses romantic concepts ... usingpleasant literary arrays, and this is the secret of his success” (Zarrinkoub, 1991: 253). Accordingly, one of his tactics is allusion. In this regard, the most important types of allusion are: historical-storytelling allusions, Quranic-narrative stories of prophets, and folklore and mythological-epic adventures. In Saadi’s sonnet, romantic function of allusion commonly is to describe conditions of love, quality of love, andbeauty and merits of the beloved. Mystical function of allusion in Saadi’s sonnet is significant useof romantic themes along with benefiting from mystical reflections.In line with these interpretations, Saadi’s use of allusion is important. In such sphere, most of his allusions are Quranic references and adventures of the prophets.On the other hand, Saadi's art gives him the power to use romantic and mythological stories for expressing these intentions.The most important semantic manifestations of this sphere are:mystical practices, satisfaction and surrender, drunkenness and mortality, concomitance of the right men, and fighting the ego. Moral-ethical functions: Saadi, who "is both master of love, and teacher of piety and wisdom; things that you can hardly find together in one person…” (Anvari, 2003: 37) never ignore giving advice, even in his sonnets.In this sphere, Quranic-narrative allusions are most evident.The most important implications are: humility, self-esteem, generosity, criticism, and worldliness.Rhetorical function: rhetorical manifestations of Saadi’s sonnets have subtile and ongoing effect on its deep structure. In respective order, the most central aspects of his rhetorical forms linked to a type of allusion are: simile, symbol, and ambiguity. Simile function: the most prominent type of allusion in this sphere is references to Quranic stories, especially the story of prophets. Romantic inspirations are the most important semantic function of alluding simile. Symbolic function: alluding keywords are used as symbols to amplify the effect of word in Saadi's sonnets. In this sphere, Quranic allusions, especially the stories of prophets as well as mythological-epical references are most frequent. The most important concepts also have romantic themes. Allusion and spiritual music: “spiritual music ... is created from contradictions or contrasts and any kind of conceptual correspondence” (ShafiiKadkani, 1994: 307). In Saadi’s sonnets, allusions are mostly used along with spiritual arrays appeared in form of ambiguity that is often of symmetry type. The important point of this discussion is symmetrical nature of allusion. Alluding ambiguity often use romantic-storytelling references, Quranic allusions, and stories of prophets, and they usually have romantic function.
The most prominent types of allusion in Saadi's sonnets are Quranic-narrative references and stories, especially adventures of the prophets, historical-storytelling tales (romantic adventures whose narrative aspect is dominant) and mythological-epical references. Allusion referring to folkloric beliefs are also in the next level of significance. The most frequent semantic function of allusion in Saadi's sonnets appears in romantic poems. In this sphere, allusion is mostly used to describe the estate of lover, the quality of love, and the virtues of beloved. In romantic sphere, romance stories are most manifested. Allusions to adventures of the Prophets, Quranic verses, folkloric culture and beliefs,and mythical-epical adventures are the next. Saadi’s romantic poems have the most variety in using allusion. The next level is mystical function. In this sphere, allusion serves the purpose of communicatingconscious and romantic conduct, satisfaction and surrender, drunkenness and mortality, following the truth carriers, and fighting the ego. Allusion to Quranic verses and stories of the prophets is also most evident. Saadi uses allusions with love theme to explain his mystics.Moral-ethical function is in the third place.In this sphere, allusions are often used to convey concepts related to humility, generosity, self-esteem, and greediness and worldliness.Quranic-narrative stories are the most prominent types of allusion in this sphere where the slightest variation in the use of allusion is evident.In the rhetorical function, metaphorical images are the most frequent. It is worth mentioning the repetition of adding simile that attracts attention due to its compression. In this sphere, Quranic stories, especially story of the prophets, the story of Yusuf in particular, have a special place.The most important semantic function of these allusions belongs to romance. Symbol is the next. Within this sphere, inspirational potential of speech is increased by enhancing the semantic function of symbolic allusion. In this structure, the most important mission of which is conveying of romantic concepts, the frequency love stories and stories of the prophets is more pronounced. Musical – imagery style of ambiguity is another technique. Within this sphere, where we are dealing with symmetrical ambiguity and symmetrical ambiguity, adjacency of symmetries resulted from allusion and ambiguity creates a chain of semantic connections.The most commonly used allusions in this sphere, where romantic function is more prominent, are love stories, Quranic references, and stories of the prophets.