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

In this study, the formalism of the ecological orientation of the novel Sayeh Malakh is based on the element of simile and using the technique of content analysis. Sayeh Malakh is one of the realist novels in the field of sacred defense literature, the realism of which is depicted in a comparative and tangible linguistic expression. The results of this study show that the simile in this novel is a key element in realizing the events of the story and since the events of the novel have taken place in a rural setting, most of the comparisons are about nature and the environment around which the main narrator lives and his epistemological world is quite familiar with. The environmental comparisons in this novel have played a major role in creating spaces, characterizations, and creating an environmental discourse and calling the environment to the center of attention and preventing it from fading. Most importantly, the analysis of the environmental discourse in this novel is based on three types of fear (fear of starvation, hunting, and darkness) that form the basis of human interaction with the environment.

Imagination is a special use of language that the geographical environment, political, social, religious, historical, individual spirit, and the like are influential factors in the use of all kinds of imagery in poetry. One of the most obvious elements used by the poets of Persian literature in expressing themes and imagery is religious elements. The present article analyzes and compares the function of religious elements in the poetic images of Nasser Khosrow's, Sanai's and Khaghani's poems.

This article was done by descriptive-analytical method and the method of collecting information was library.

Quranic and religious themes and moral and religious teachings have been used many times to create rhetorical images in poets' poems. Apparently, Khaqani has more initiative and innovation in creating images based on Quranic concepts and in the form of innovative simile, metaphor and irony combinations. Naser Khosrow's poetic images also have a very deep connection with the principles of Ismailia religion and this religion has had a great impact on the type and genre of images. Sana'i, however, has brought the use of religious elements in the creation of poetic images closer to the atmosphere of mysticism and Sufism and has a mystical understanding of religion.

Religious elements in the minds of these three poets have been manifested in three specific aspects: in Nasser Khosrow, religious concepts have two prominent aspects; One philosophical and rational aspect and the other legislative and religious aspect. But the religious concepts in Sana'i's mind are the result of the entanglement of several dimensions, on the one hand, a philosophical view of its Islamic type, on the other hand, the religious dimension of Sana'i, which does not give much importance to interpretation, and the third dimension is the emotional dimension, which reaches its peak with making love to God. . In Khaqani's depictions based on religious elements, the proper place of Sharia thoughts is observed in the images, and the value and sanctity of Sharia foundations are preserved in the pictorial connections. However, sometimes a kind of contradiction and inconsistency can be seen between some images.

One of the beautiful and captivating aspects of mystical literature is the image. In image rhetoric, images that are formed in the imagination are used to express sensible and intangible concepts and can be achieved through rhetorical forms (simile, metaphor, allegory, etc.). Imagination is one of the most important tools in the formation of purgatory images between the physical world and the spiritual world, which is called the ideal world. In the field of photography, the creative mind of Najm Razi has been able to mix images of imagination and inspiration with the eloquence of words in a way that reveals esoteric and mystical states in the form of combinations of rhetorical forms. In this article, an attempt has been made to investigate the images of fantasy in Razi's message of love and wisdom, using a descriptive-analytical method and a library method, in order to highlight the place and importance of rhetorical tools that are effective in understanding sensible and intangible meanings in the world of the senses. . Najm Razi's goal of using imaginary images is to instill the truth behind these images in order to convey his purpose to the audience. The findings of this research show that Najmuddin Razi used more of the rhetorical element of simile and simile addition in this work, which are often sensible to tangible similes. These types of images have a significant variety and have the highest frequency of rhetorical forms. He used more of nature and objects in the creative elements of imagination so that he could have a better explanation of the truths of the world; therefore, each image expresses a truth in different levels.

Simile forms the deep structure of many innovative crafts, and in the rhetorical books of the early and late generations, various types and types of it are mentioned, each of which plays an artistic role in different ways in depicting and reflecting poetic imaginations; The efforts and careful analysis of rhetoric scholars in categorizing and classifying all kinds of similes are praiseworthy, however, sometimes in studying the literature of poets and digging into the imaginations of Persian speakers, we come across similes that are found in books. Rhetoric has not been investigated in a separate and scientific way; One of these similes is a simile with a completely independent syntactic structure and purposes, which is opposite to preferential similes. The present essay seeks to analyze these types of similes in the works of speakers of different periods in a descriptive-analytical way. The obtained results show that this type of simile has been used since ancient times and its oldest use was found in Ferdowsi's Shahnameh. These types of similes have different types, in some cases, the speaker portrays the simile - the opposite of the preferential simile - as inferior and less than the simile, and sometimes the speaker of the praise industry is similar to blame. takes advantage and uses the simile in a way that looks suspicious of it, while the purpose of the simile was to praise the simile, and finally, sometimes the purpose of the simile is not in the sides of the simile, but in the element of the simile. The third one, which is outside the pillars of simile, searched that the poet uses this type of simile structures to bow down or express its condemnation.

Some researchers have considered Nasser Bukharayi as a poet of appealing speech, using an eloquent language with selected masterful words. As a poet living in Bukhara in the 8th century AH, he wrote odes and ghazals in the style of Iraqi poets. This research seeks to answer the following question: To what extent are the experts’ opinions about the eloquence and smoothness of his speech correct? Therefore, in the present study, the rhetoric and language of his poetry are examined and analyzed in a descriptive-analytical manner. In the linguistic domain, the results show incorrect use of some combinations and interpretations, catalexis, verbal abstruseness and contradictions in syntactic analogy, causing ambiguity and weakness of his speech. Rhetorically, some far-fetched and unjustifiable congeries among different elements are responsible for conceptual mistakes in the meaning and images of his poetry. In general, much evidence could be found in his poetry, which do not correspond with the standards of eloquence. Nevertheless, the poet’s success in inventing various verb combinations on the one hand and employing familiar phrases and combinations to reflect new meanings on the other hands enabled him to enrich the themes of his speech to some extent.

The fundamental tools of literary assessment and aesthetics must be sought in rhetorical studies. Although these studies do not engage in the critique and evaluation of literary works in practice, and only suffice to define, identify, cite evidence, and express theoretical opinions, they still provide means for better and more accurate evaluation of literary works. As a rhetorical device, the interlocking or chain rhyme which is called Tasalsol in Persian poetry, can be observed in both verbal and conceptual continuity of verses. It is one of the techniques mentioned in rhetorical books and treatises in certain periods of Persian poetry, yet it does not stand out in modern rhetorical books. Persian chain rhyme scope links it to some other devices and genres. For example, one type of conceptual interlocking rhyme is Tasalsol Mowqouf, which is related to the use of the technique in run-on lines and enjambment. Another type of verbal chain rhyme is mostly observed in Qasida, a Persian subgenre similar to ode, and has been referred to as chain ode in the existing scholarship. This latter type closely resembles the Persian literary device, Taqsim which is somehow a sequence of parallel attribution, referred to as serial Taqsim in some ancient sources. Moreover, this type of Taqsim overlaps with some other Persian devices such as Rad ol-Ajz ala al Sadr and Rad ol-Sadr ala al Ajz, Tashabah ol-Atraf, Tekrar or Mokarar. In this article, we will delve into the examination of this device and its examples.

Condensation is one of the artistic arrangements of literary works. In the traditional rhetoric, condensation has mostly been noted in relation to brevity and omission. However, condensation techniques are much wider and more diverse, and its categorization from different perspectives is necessary, given their importance in rhetoric. The aim of this article is to show the different aspects of condensation as depicted in Niẓāmī’s poetry. This descriptive, analytical research takes aspects of brevity into consideration and examines the verses in which wide range of meaning is condensed and conveyed through a few words. Shortness of metrical feet and the density of thought in each line of the poem have made the various manifestations of condensation possible in this work. The techniques are examined in the two categories of linguistic and rhetorical.  Omission, combination and verb diversity fall into the first category. Compact rhetorical arrangements such as overwhelming imagery, complex metaphors, ambiguity, allusion, paradox and quotation are ways of rhetorical condensation in this work. Considering classical poetry emphasis on the horizontal axis, Niẓāmī is focused on condensation in the horizontal axis as well.

Rhetoric is one of the most important literary knowledges, the emergence of which has naturally been associated with the development of language, and its historical record should be traced back to the time when language acquired a written aspect. Since the first books on miracles of the Qur'an dealt more with rhetorical topics and the history of Quranic studies is full of rhetorical researches to explain the verbal and expressive miracles of the Holy Quran, the topic of miracles has always been closely related to rhetorical sciences. Understanding the rhetoric and rhetorical methods of the Qur'an not only reveals the rhetorical wonders of this holy book, but also reveals its hidden meanings and secrets. Considering that the hidden secrets of this knowledge were crystallized in the words of the early commentators, including: Abul Fattouh Razi, Shahfur Esfraini, etc., it is appropriate to address the unknown points and crafts of this knowledge based on interpretive texts in order to understand them. It is possible to help rhetoricians in understanding hidden and double meanings of texts. The present article is a research in which the authors have tried to find and analyze the literary beauties of the commentary texts that have been left out of the eyes of rhetoricians or have been less discussed with analytical-descriptive method. After analyzing the examples, the authors conclude that in the early interpretations of the Qur'an, special techniques were used such as: interpretation, startling, useful virtual documents of the meaning of honoring, etc.

Simile in Gholamreza Borousan's poems is one of the most important and practical tools of expression. In this research, similes of this contemporary poet have been analyzed and investigated. The scope of the research work is three notebooks of his free poems and the work method is descriptive-analytical based on statistical data. The analogies found based on the types of similes are based on the validity of the parties (sensual or intellectual, singular, binding or compound and multiplicity of parties), on the validity of similitudes (detailed or comprehensive, close or improbable, singular, multiple or compound and investigative or imaginative). It is divided according to the validity of similes (sentient and emphatic) and finally according to the number of similes (separate and ambiguous) and examples are mentioned for each case, and at the end of each discussion, the frequency of each simile is presented in tables. At the end, the frequency of the elements of his similes is given. The results of the research show that he is an allegorical poet and has followed a creative and original process in choosing and processing these allegories. So that most of these similes are of a strange type with a pseudo-imaginary aspect. His similes are mostly of the sensual type in which man and his belongings, nature and its manifestations, and objects and tools have a strong presence in them.

Analyzing and Examining the Status of Appropriateness of Verbal Communication Factors in the Structure and the Meaning of Speech Theory of necessity is a different approach to the reason behind linguistic constructs and rhetorical arrays used in speech. Herein, the study focuses on the reason for the quality or state of the language and the role of the requirements of various influential factors. This theory moves beyond grammar and rhetoric and studies the characteristics of speech and factors influencing its creation, besides how and why it is created.The theory of necessity comprehensively examines the basic and effective contexts in creating the structural and aesthetic features of language. All possibilities in the language are considered for explaining the characteristics of speech and sometimes affect analyzing content and meaning.This linguistic-cognitive theory studies the reasons for the existence and creation of language features in all areas of language and rhetoric. This analysis is not limited to the formal sphere of speech; Rather, how to use the formal potentials of language in conceptualization and creation of meaning is the main focus of study. In order to discover the meanings and concepts of speech (the main purpose of this theory), studying how these concepts are presented at the appearance level of language is a necessity. The theory focuses on the application of these linguistic possibilities, examines their role in creating meanings and concepts, and explains the role of meanings and concepts in determining the apparent characteristics of language.

Qur'an has used all the methods including expression, literature and art in the most beautiful way. Using Quranic data and philosophical analysis of words, this article searches for the depth of permanence of Quranic expressive methods over long periods of time. The method used in this research is library study and the use of Quranic verses and authentic religious texts in a descriptive and qualitative way. Teachings of understanding the language of the Quran can generally play a central role in the foundations of semantics and revealed linguistics. The perception of religion and revelation teachings is that the language of religion is compatible with the language of nature and is understandable for all people. The language of religion is not a mystery or code that people cannot understand; Because religion has come to guide people. If the language of religion and its expression methods are coded and enigmatic, its goal, which is guidance, choice, growth and evolution, will be difficult to achieve. The result of this research shows that the artistic language of the Quran and its expressive methods are influenced by rhetorical styles.

New rhetoric and contemporary rhetorical criticism have so much potential to create useful and effective points of view in criticism with an educational approach. This research, using a descriptive-analytical method based on collecting library data, explained the necessities of the rhetoric of education, described new rhetoric and contemporary rhetorical criticism, and analyzed the efficiency of their features in response to the rhetoric of education needs. According to the results of this research, new rhetoric and contemporary rhetorical criticism with features including attention to both the text and the audience, moving the adjective ‘rhetorical’ from describing the type of the text to describing the method of criticism, borrowing from other disciplines, being unlimited in using of methods and tools and approaching to create formulas, are the most appropriate theoretical backgrounds to shaping a scientific model of criticism with an educational approach. The use of these backgrounds has requirements the most important of them is preparing the rhetorical matrices that relate text elements to the audience aspects.

Irony, as a literary element, brings to mind two external and internal meanings and leaves the reader'sIrony, as a literary element, brings to mind two external and internal meanings and leaves the reader's understanding in suspense and postpones his reception. From the point of view of aesthetics, because it creates images, it creates artistic beauty; Therefore, irony has a special place in literature, and poets have taken advantage of it in order to avoid direct and explicit expression, and they have presented their intention and objectivity in the form of this expression. Non-verbal communication and body language is also one of the manifestations of normal and everyday language, which is considered a helpful element; This means that non-verbal behavior can be used along with verbal communication, and with its help, one can convey one's intention to the audience better, more accurately and sometimes more effectively.Various reasons can be listed for the great influence of irony in words, one of which is the close connection of irony with non-verbal behaviors and the semantic connection and conceptual dependence of these two categories. In the present essay, the author investigated the ironies derived from the concept of non-verbal behaviors with a descriptive-analytical method and a case study of Ferdowsi's Shahnameh and came to the conclusion that a large part of the ironies was adapted from the concept of non-verbal behaviors and there are comprehensible semantic relationships between these two categories and understanding the semantic relationship between these two categories of literature and language leads to the discovery of a subtle relationship between literary language and ordinary language. Movement behaviors, facial behaviors, environment and physical appearance are respectively the most frequent behaviors from which allusions in the Shahnameh have been received.

This article demonstrates how Persian and English translators have recreated the simile marker "k'ann", as one of the most prevalent words of resemblance, in a total of 25 verses of the Quran. Simile markers are considered one of the four componants of simile, and simile is one of the literary techniques that falls under the science of meanings in Islamic rhetoric. Recent studies have used figurative images instead of simile itself, which include sensory and imaginary elements. These two types of images are among the building blocks of rhetorical images that mainly serve the Quran's religious goals. This article aims to provide a descriptive and comparative analysis of selected translations, focusing on similes using "as if" as the most common form of comparison. Persian and English translators have mostly equated these images with textual images, and therefore, have translated them into a similar image in the target language. Translators have translated this simile marker as "گویی" in Persian and "as if/though" in English at the word level. Persian translators have used present or future tense verbs after this phrase, and English translators have used past tense verbs. However, it is necessary to pay attention to the textual features of similes in translating images. Overall, Persian and English translators have translated similes into similar but sometimes more explicit similes in accordance with Yarmohammadi's classification taken from Newnark. The acceptability of the translations by the readers on the one hand and the time, and the chronological order of translation, especially regarding the English ones, on the other hand have been the basis for selecting translations. On the whole, all translators have translated this simile marker literally.

the word speech in this title show that speech as the main product of language was the most important feature of Saadi's art. In Saadi's poetry and prose, there are many privileges compared to other speakers, and the sum of these privileges has led to the formation of Saadi's works of art. Saadi has a complete mastery in using rhetorical elements and has worked with the principles of Persian rhetoric in a way that maintains the rhythm and balance between the simplicity and artistic nature of the language. The reason why Saadi's poetry and prose are named Sahl Momena is the same rhythm and balance. In this research, while focusing and reflecting on some technical and rhetorical advantages of Saadi, we try to show that Saadi's artistic mentality is directly related to his linguistic abilities.

Hakim Nizami Ganjavi is a poet with a style and creator of the literary movement in the creation of lyrical versified stories in the history of Persian literature. Khosrow and Shirin is the first lyrically versified story of the poet, the story of affection, love, and lust, and a brilliant example of body pleasure composition in Persian poetry. This article analyzes the use of euphemism in Khosrow and Shirin and seeks to answer the following questions:  euphemism has been used to express and represent what themes in Khosrow and Shirin; What kind of literary and rhetorical tricks has been reflected in Khosrow and Shirin through euphemism, and what factors have provided the ground for the formation of euphemism in Khosrow and Shirin. The author has extracted research data from the text of the story by complete inductive method and has explained the use of euphemism in the versified story by the descriptive-analytical method. The results show that themes such as words and concepts of taboo, death, and descriptions of making love and lust in the text of the story have been expressed using euphemism and the poet has used rhetorical techniques of simile, metaphor, and irony in expressing forbidden and challenging concepts, and by this way has tried to maintain his image and that of the actual and potential audience of the story.