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

In this research, the authors have intended to use the theoretical framework of Norman Fairclough's critical discourse analysis to examine textual and intertextual relationships of female and male discourse in the translation of literary texts and analyze the expression method of the translations. In this research, an English book called "And the mountains echoed" written by Khaled Hosseini, and two translations translated by Nastaran Zahiri and Mehdi Ghabrai and another English book called "The Handmaid's Tale" written by Margaret Atwood and two translations translated by Sohail Sommi and Monireh Jian have been examined. The method was purposive sampling. The results of this research indicated that the percentage of deletion and semantic expansion in the target texts translated by female translators had a higher frequency. The percentage of using taboo words and discourse of power was also more frequent in the sentences translated by male translators. The percentage of the use of other textual and intertextuality factors among the examined propositions showed that there was no significant difference between female and male discourse in the translation of propositions.

Al-Futuh by Abu Muhammad Ahmad ibn Ali, known as Ibn A'tham Kufi, was probably written in Arabic in the late third and early fourth centuries. Muhammad ibn Ahmad Mostofi Heravi translated a part of this book into Persian in 596 AH by the order of one of the rulers of Kharazm. Gerard Genette proposed the theory of Hypertextuality around the relationship between texts. In the present study, an attempt has been made to compare and compare the narration of Ashura in the book of Al-Futuh Ibn A'tham with the Persian translation of Al-Futuh. For this comparison, Gerard Genet's theory of redundancy was used. According to this theory, text B (Hypertext) is created under the influence of text A (Hypotext). The contextual relationship of the texts can be examined in two forms of imitation and otherness and three modes of humor, satire and seriousness. Changes made in the subtext compared to the rough text is called torque, which can be divided into quantitative, applied and qualitative torque. According to this theory, Ibn A'tham's narration was considered a rough text for Al-Futuh Persian translation.

The purpose of this study which is performed with Descriptive-Analytic method is analyse of Schema’s Processes base on Stockwell Approach in one Poem of Baba cha hi’s Poetic collection Picasso dar Abhaye Khalige Fars (Picasso in Persian Gulf), “Motanaghezat”. That poem has a difference Structure that destroy Coherence and textuality. Based on Beaugrande- Dressler’s Approach Textuality provide By Seven Standards: cohesion, Coherence, Intentionality, Informativity, Acceptability,Informativity and Intertextuality . Coherence Is the Most Important Standard. Schema plays a critical role in establishment of coherence that’s  formed base on narrative plan. Sequence of events make an schema and  recursive schemas in similar situations create script. Script Reveal producer’s cognitive trends. Motanaghezat is combined many imperfect schemas through of schema’s Processes such as Schema reinforcing, Schema adding, Schema disruption, Schema refreshment and Schema restructing. They cause receiver’s mind recalling numerous intertexts and discourses and make a New Notion of Textuality that Need to more Creativeness.

The purpose of this research, which is conducted in a descriptive analytical and statistical manner, is to examine the criterion of cohesion and one of its components, the Normal Ordering Strategies in the poem entitled “Manzoome be Shahriar", and its effect on the extent of poem textuality. The principle of Grice's cooperation consists of four maxims entitled quantity, quality, manner and relevance. However, the producer may violate these rules to create implicatures. According to Beaugrande & Dressler, Principles of Grice's cooperation in text linguistics determinine the various aspects of cohesion and the level of informativity and textuality. The present study seeks to determine Which Grice’s maxim is the case of violation in the poem “Manzoome be Shahriar".What are the functions of this type of violation and how much does it affect the textuality of Nima poetry? . The result is that the violation of the Manner Maxim in the poem “Manzoome be Shahriar" is more obvious than the other three maxims and the poem has violated all three conditions. In the above-mentioned poetry, Nima violates the "shift from the first condition, "rearrangement the constituents" in the phrases and the sentences, " parenthesis”" and " apposition", the second condition is "excerpts" which goes with it and the third condition is away from the ambiguity that is denied by the use of grammatical ambiguity. Each case was analyzed according to the manner maxim violation frequency, and its contextual and textual factors. Rearrangement of the constituents has been due to Nima's nativism, the emphasis on the part of the word and other purpose-oriented goals. A rejection of "excerpts" is due to the novelty of the poem and its need for detailed explanations". Group and structural Ambiguity" have been due to the tendency of Nima to obscure the poetry. Thus, the functions of the violation of the rule of reasoning are the creation of a new poetic language, attracting the attention of the audience to a specific section of the sentence and stylistic and political considerations. At the end, the impact of the violation was measured on the informativity, intentionality and textuality. Nima has changed the rules of language in order to achieve newer language features, but by doing so, it reduces the cohesion and consequently, the informativity and intentionality of poetry. Since the use of ambiguous sentences, prolonging sentences and numerous center embedding, get the mind occupied by margins and reduces the " informativity ,the " intentionality " and "acceptability" of the word and, consequently, "textuality". Thus, in the present study, the principles of cohesion indicate the use or deviation of the Grice’s semantic rules by referring to Beaugrande and Dressler cognitive-textual approach in order to make their theory practical in better understanding of intentionality. While Beaugrande and Dressler have practically used problem-solving methods, global patterns and interactive planning to achieve Intentionality and textuality.

Pragmatics is regarded one of the three branches of rhetoric science, which has long focused on how to speak on the basis of audience and speaker's present requirements and situation. The discussion about meaning relates pragmatics to such sciences as semantics. However, the discussion about connotative meaning (implication) of sentences on the basis of present requirements differentiates these two sciences. Although pragmatics is mainly based on present requirements, there are issues in traditional books on pragmatics, which are not related to connotative meaning (implication) of discourse; rather, they are completely grouped into semantics and grammar. Rhetoricians have regarded conjunction and disjunction among the most important issues in pragmatics. The present paper seeks to investigate the issue from the view of connotative meaning (implication) in pragmatics and grammar. In this relation, the theory of "textuality and cohesion" is taken into consideration. The research findings indicate that the issue of conjunction and disjunction are in themselves specific to grammar in which they are discussed in detail under the title of (literal and figurative) subordination and conjunction. In fact, the reference to this issue in pragmatics which is related to literal and linguistic meaning of discourse has no connotative meaning. In other words, transposition of these two conjunctions does not cause implications or connotative meanings.

It is traditionally maintained in the structuralist linguistics that by cutting verbal signs off each other paradigmatically, and enchaining some of them against some others syntagmatically, language system makes a body of text signify a certain meaning sustainable through contextual fluctuations. In line with this Saussurean assumption, and in an attempt to ascertain the authorial intent in a piece of great literary work, many literary scholars have been taking rhetorism for criticism, albeit under the rubrics of structural poetics. In this article, however, the abortive attempt to pull certain meanings out of chefs doeuvre is dismissed for the purpose of investigating the origins of textuality in any work – let it not be shelved as great literature or literary at all – to see why such mechanical procedures as prevalent in rhetorical studies cannot account for textuality beyond thematic unity of a work; wherein textuality and plurality of text are suppressed in favor of the integrity and entirety required for works of verbal art. As to account for the extensive significance of text and the abundance of its possible readings, a seemingly heterogeneous body of text (including a piece of a poem, an extract from an article, and a vignette) has been analyzed within a reader-oriented framework drawn upon Roland Barthes (1981), Asgari Pashaei (1995) and Christian Metz (1982) leading into a new impression of literary criticism far away from rhetorism.

Always, there have been poets and authors in poem and literature whose thought and words are affected by previous literature. This relation is one of the branches of inter-textuality, and in an inter-textual relation of a literary work, parody-making has a special position. These arrangements lead to a more complicated relation between past texts, and through it, the poet offers his addressee something beyond a mere affiliation or imitation. In contemporary literature, Shafeie Kadkani is one of the most important poets who by relating his poem to other texts (co-texts) can reinforce its content and artistic basis; and at the same time, criticizes their form or attitude by which he creates pure parodies in poem. Shafeie Kadkani's parodies offer his works an innovative face and lead to account him as an erudite parody writer. Most of his parodies belong to semantic domain, and the most successful are social-critical parodies focused on myths.

This paper reviews the roots of theories of inter-textuality in the study of Persian rhetoric. According M.H. Abrams, Inter-textuality is obtained through the following: Direct and indirect quotes, Changing the form and content features, and Using linguistic and literary traditions and rules. Among the critics of classical literature, the concept of inter-textuality is not hidden. It varies with the specific terms of modern literature. A brief discussion of the theory has been among the creators of literary and rhetorical scholars in the Muslim world. Rhetoric scholars have addressed this issue in discussions of adaptation and imitation. In this paper, these issues are examined.

Arabic pastiches are poems by which their composers imitate the brilliant previous poems meterly, rhymely and contently. and throughout the long history of the Arabic literature, they enjoyed very-various styles with The invention occasionally. So the stylistics, arising from the Structuralism, can study them by its analytical methods which include the rhetorical, rhythmical, and textualitical aesthetics (elements). This essay modestly tries as ar as possible to apply one of these methods on an ode of the thirteenth century and its imitator of the wentieth century.