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

 Examining the content and structure of manuscripts can effectively help to understand the style of each period and the factors influencing it, as well as promote the scientific and cultural achievements of different eras. The purpose of this research is to analyze the style and content of Mazandarani"s Divan Taherir from three intellectual, linguistic and literary perspectives.

 This article is based on library studies and has been done in a descriptive-analytical way, and the scope of the study is Mazandarani Divan.

 Mazandarani is knowledgeable about unknown poets, mystics, theologians, jurists and scientists of the 13th century AH, and a manuscript left by him during the Qajar period is, in fact, a valuable heritage and a precious and written gem. It is a period that not only expressed a part of the intellectual and religious discourse and events of that period with the language of poetry, especially in odes, various styles and styles of poetry can be seen in his poetry, taken from sonnets and odes. Up to the piece and the preference of the clause; He has tested his character and his poetry is almost five thousand verses.

 Mazandarani"s mattlae of poetry is almost the same as that of the return poets, which is evident in his odes from Khaqani Sharvani and in his sonnets from 7th and 8th century sonnet writers. The effect of the Syrian artifice in his poems, which are decorated with verses, hadiths, jurisprudential, theological, mystical words, etc., and the use of synonyms and Arabic words; It is clearly seen.

Realism is a language process based on escaping from reality, which is often manifested in literary works, especially poetry. In traditional Persian rhetorical books, there is no mention of realism; However, one of its dimensions, that is, magnification, has been discussed in detail under the headings such as exaggeration, exaggeration, and exaggeration.

The method of this research is descriptive and analytical based on library studies. The statistical population of the research is the collection of poems "A Child Named Happiness".

Examples of evasion of reality in Shafi"i-Kadkani"s poetry can be seen with magnification at the linguistic and literary levels. On the linguistic level, by using adjectives, adverbs, pseudo-sentences, and on the literary level, by using simile, metaphor, irony, contrast, contradiction, repetition in expressing concepts such as description of phenomenon, description of grief, it has been magnified. The most important stylistic feature of his poetry is that he has achieved a poetic fusion by combining the linguistic and literary levels.

Reality avoidance in Shafii-Kadkani"s poems is often reflected in the aspect of exaggeration. Exaggerations in Shafi"i-Kadkani"s poetry have occurred with the help of nouns and adjectives, pseudo-clauses and special adverbs in the intersection with expressive and original arrays, and their intermingling with each other has caused more imagination, deeper artistic taste, more concentrated emotions and feelings and double beauty in the reader.

Qari Abdullah is one of the talented contemporary Persian poets in the realm of Afghanistan. His ghazals have not been examined from a stylistic perspective thus far. The main objective of this research is to analyze the stylistic features of fifty selected ghazals from his collection, exploring their linguistic, literary, and intellectual aspects. The aim is to acquaint readers with the prominent characteristics, poetic structure, and literary persona of this poet.

The present research is a theoretical study that was carried out using the library research method and analytical-descriptive method. The scope and community of study was Qari Abdullah"s collection, which was published by Irfan Publications.

Qari has given a special musicality to his poetry by using pleasant weights, melodious rhymes and lines, repetitions, puns and puns. The use of abstract words, new words, and the use of nominal groups, and little attention to the use of Arabic words and attention to simple sentences and substitutions in the parts of the sentence are important highlights of his speech. At the literary level, the high frequency of additional similes, explicit metaphors, and the abundant use of arrays of proportion, contrast, and exaggeration are interesting. At the intellectual level, one can observe the poet"s tendency towards love, description of nature, mystical and patriotic topics and the reflection of social issues.

The examination of Qari Abdullah"s ghazals in the collection revealed his proficient handling of linguistic, literary, and intellectual elements. Most of his ghazals are composed in the Hazaj and Ramal meters, often being compound verses. The poet"s emphasis on verbal devices such as repetition and refrain is substantial. The usage of Arabic and foreign words is less frequent, while abstract words have a higher frequency in his compositions. The prevalence of simple sentences and declarative language is another characteristic of his ghazals and in terms of image, different types of imaginary images (simile, metaphor, diagnosis and irony of image creation) are mentioned in Qari"s poetry. The most basic topics And the themes in the poet"s sonnets are love, description of nature and mystical topics.

Enclitic Compound Verbs in Persian are among the controversial issues in Persian linguistics and grammar, and the common research done on the topic seems to be limited to the inflectional structure of these verbs. Up to now, no research with pedagogical and educational implications has been carried out on these verbs. Therefore, a pedagogical study on this category of verbs can be an effective measure in facilitating Persian language teaching. The present article examines four sources of Persian language teaching textbooks, by Ahmad Saffar Moghadam, Yadollah Samrah, Mehdi Zarghamian, and Fatemeh Jafari's Persian Grammar, in terms of their methods of introducing such compound verbs. The article aims to find out whether special attention has been paid to them in the educational resources of the Persian language, and if so, in which category they have been located. The investigation revealed that these verbs educationally have been considered and discussed separately from other verbs in Persian textbooks. In this regard, the quantitative and qualitative descriptions of the number and variety of these verbs in the mentioned books are presented.

Iranian contemporary ghazal has its own stylistic distinctions, and contemporary modernist ghazal writers have modernized in different linguistic, rhetorical, literary and thematic dimensions. Knowing the stylistic aspectes of these poets is the result of studying and examining the aforementioned dimensions. The aim of the current research is to study and understand the stylistice aspectes of Gholamreza Tarighi's ghazals as one of the contemporary poets. Studying the linguistic, literary and thought dimensions of this ghazals has clarified his stylistic dimensions and tendencies for the audience and has determined the aspects of his modernity in these dimensions.

This research was done based on library sources and descriptiveanalytical method.

The study of the style of Targhi's ghazal reveals that he is a modernist ghazal writer and has innovated in different aspects of language, imagery, thought and theme. The language is close to colloquial language and elements of modern and contemporary language, contemporary allusions can be seen in his poetry, and his similes are urban.

Tarighi wrote a ghazal in the language of the time, and every kind of word has found a place in his poetry, and he did not divide the words into permissible and non-permissible ones. He mostly uses similes and his similes have an urban root. The ambiguity and illusion is more used in his poetry, and in lexical rhetoric pun are the most used in his poetry. He likes human love and does not consider divine or virtual love.

The poem "Chenisernameh" is a perceptive work of Biglari, one of the poets of the 11th century of Hijri. This work, like other lyrical poems, with the theme of earthly and mystical love, although it was written under the influence of Khosrow and Shirin Nezami, but it is not devoid of stylistic and individual poetic creativity. This system has not been noticed by researchers in terms of style. In this essay, while introducing this work, the main goal is to introduce its linguistic, literary and intellectual features.

This research was done to collect library data and information with a descriptive-analytical approach. The statistical community of all the poems of Chenisernameh is around 1000 verses.

The findings of the research indicate that Biglari, the composer of Chenisernameh poem, tries to write a love story in the fictional space of Indian lyrical literature by modeling the poem of Khosrow and Shirin Nezami. The stylistic characteristics of this work, despite the fact that it entered the field of order in the 11th century, but it reflects some of the stylistic features of the Iraqi style.

In the perceptive language style of simple words, without emphasis, Arabic words, Indian words and words, arrays such as detailed simile, irony, repetition, phonetic arrangement, puns, exaggeration, hint, etc. Has used a very simple and understandable limit. In the style of this work, it is simple, easy to understand, and away from special complexities and strange metaphors. In his intellectual style and description of romantic scenes, Biglari has paid much attention to the system, although traces of religious and mystical themes can be seen in the ending of the story regarding the lack of attachment to the world and avoiding whims and unstable loves.

Mohammad Fozuli Baghdadi is one of the greatest poets of the 10th century of Hijri who wrote poetry in three languages: Arabic, Persian and Turkish. Persian Divan’s Fozuli is considered one of the most eloquent among Persian poets, and in the history of Persian poetry, it is actually known as a bridge between the Iraqi style and the well-known Indian style. In this research, one hundred ghazals and ten odes from the Persian divan of this poet are examined from the point of view of stylistics in three linguistic, intellectual and literary levels.

The current research is descriptive-analytical and based on library and electronic studies.

Fozuli's poetic language is simple and fluent, and features of the old Persian language are rarely seen in it, and it has greatly benefited from the Arabic language. From a literary point of view, simile and metaphor are the most frequent rhetorical techniques in his words. Jenas and phonemes are at the top in the verbal industry section. Love is his main poetic theme and mystical themes are also seen in his poems. One of the other important aspects of Fozuli's poetry is dealing with Shia themes and praising and praising Shia imams or writing elegies for them.

There are many variations of the line in Fozuli's poetry. He used a lot of similes and metaphors, his poems are full of Quranic allusions and stories of the past. The main theme of his poems is the praise of Ahl al-Bayt. In general, it can be said that Fozyli's poetry is remarkable in terms of dealing with various topics and themes such as earthly love, mysticism, religious and Shiite themes. Beloved is at the height of cruelty and disregard in Fozuli's poem.

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 Angles of Sheikh Ahmad Waeli's Religious Poems and from this point of view, his poems have been explored in linguistic, literary, and intellectual levels in a descriptive-analytical manner. The results of this study show that the poet's social and political ideas are reflected in his religious poems and the poet makes political and social use of the Ahlul-Bayt (pbuh) and especially the Prophet (pbuh). He is a poet of content and concept and has used simple, yet elusive words and phrases to interpret his beliefs and it rarely gets out of the poetry templates. He has a particular tendency to speak addressing and it has tried to serve its religious poetry to serve the needs and challenges of the Muslim world. He is aware of Quranic concepts and words and he has been able to add Qur'anic thought to his religious poetry.

Ruzha al-Safa is a seven-volume book on general history that was written at the end of the Timurid period. Despite the fame of this work, no detailed stylistic study has been done. This article seeks to answer the question, what are the features of Rouza al-Safa based on structuralist stylistic approach? In this article, the linguistic and literary coordinates of the book of Rouzah al-Safa were analyzed with a descriptive-analytical method and based on a structuralist stylistic approach. The results show that due to the adaptation of the work from several sources before the Timurid period and also the Timurid period, the stylistic coordinates of different periods have been reflected in it. The abundant use of Arabic compounds, Turkish and Mongolian words and phrases, descriptive verbs, descriptive and additional compounds, giving praise, description, adaptation of verses and inserting poems are some of the characteristics of the Timurid period in this work.

One of the most important contexts in style is the issue of structure and linguistic, literary and intellectual characteristics of a work. Seyed Hasan Ghaznavi is one of the poets of the 6th century. The main goal of the authors of this research is to investigate the stylistic features and techniques of this poet in three linguistic, literary and intellectual levels so that the most important stylistic features of this poet are taken into consideration.

The information related to this research has been provided using the library method and the descriptive-analytical method, while paying attention to the statistical aspect and the frequency table has been drawn.

The findings show that at the linguistic level, Seyyed Hassan Ghaznavi"s language is simple, without ambiguity and complexity, and he used weights, rhymes, and melodious lines. At the literary level, we can point to the poet"s skill in using all kinds of images, especially similes, and all kinds of literary techniques, especially proportion. At the intellectual level, one can observe the poet"s tendency towards love, praise, praise of God and praise of religious saints, advice, mysticism, and reflection of social and historical issues.

The result of examining the style of Hasan Ghaznavi"s divan shows that the poet has been very successful in the three levels of language, literature and thought. More than half of Seyyed Hasan Ghaznavi"s divan is devoted to odes; Therefore, he can be considered an ode poet.

Neurolinguistics is an interdisciplinary field that explores the relationship between language and various aspects of cognitive function. It investigates the inner workings of the mind within the framework of linguistics (Ahlsen, 2006). A recurring question in this field is whether an individual's linguistic and pragmatic abilities can independently enhance or hinder communication for those with neurological disorders. Some individuals with aphasia can compensate for their linguistic deficits by relying on their pragmatic skills. However, it has been observed that individuals with dementia, due to impaired pragmatic abilities, struggle to maintain their communication skills (Ulatowska & Chapman, 1995). Despite numerous studies, the exact nature of the pragmatic breakdown in dementia remains poorly understood and is a subject of ongoing debate (Garcia & Joanette, 1994).Alzheimer's disease is the most common form of dementia. According to the International Classification of Diseases, Alzheimer's is characterized as a gradual decline in memory and cognitive function that impairs daily activities (Kilmova et al., 2015). This disease affects various aspects of cognitive function, including memory, reasoning, thinking, language, and judgment, gradually causing linguistic and cognitive problems by shrinking the cerebral cortex (Milton, 2008). Linguistic deficits are often among the first cognitive signs of Alzheimer's disease. These deficits manifest as difficulties in understanding word meanings, finding appropriate words, naming objects, and comprehending words due to a decline in the social aspects of language. Consequently, individuals with Alzheimer's may struggle in social communication, speaking excessively, loudly, repeating themselves, or losing track of the conversation's topic.Assessing and identifying the language problems of individuals with Alzheimer's requires a comprehensive understanding of how the disease impacts language and the patients' cognitive perceptions. Recognizing the language abilities and disabilities of Alzheimer's patients at different stages of the disease can inform the provision of rehabilitation services for this segment of society. This research seeks to provide scientific insights into the linguistic performance of Persian-speaking Alzheimer's patients. The study aims to compare the discourse of Persian-speaking normal individuals and patients with Alzheimer's (at early and middle stages of the disease) at both linguistic and pragmatic levels. The study aims to address the following questions:Is there a significant difference in the discourse of Persian-speaking normal individuals and patients with Alzheimer's (at the early and middle stages of the disease) at linguistic levels?Is there a significant difference in the discourse of Persian-speaking normal individuals and patients with Alzheimer's (at the early and middle stages of the disease) at pragmatic levels?

BACKGROUND AND OBJECTIVES: The book of Serr al-Asrar is a valuable Ashura book that has been neglected in Persian history and literature. The book of Serr al-Asrar is one of these precious works. Serr al Asrar is the name of a historical-literary book in Persian language, which was completed after the death of the author, with the efforts of his son. Sheikh Abdul Rahim Jalili-Kermanshahi is one of the famous writers of the Nasser period, who has valuable but less known works. His son, Sheikh Mohammad Hadi Jalili, was also one of the great writers of his time who finished his father"s Ashurai book. Each of the narrative types has its own stylistic features, and their stylistic analysis leads to a better understanding of these works. The purpose of conducting this research is to introduce this historical-literary work and examine its three aspects: linguistic, intellectual and literary.

METHODOLOGY: This article is based on library studies in a descriptive-analytical way.

FINDINGS: The findings show that the book of Serr al-Asrar has the same writing style despite having two authors. Despite the Arabic knowledge of the authors, the type of narration requires simple language. Therefore, while showing their knowledge of Arabic, the authors adhere to simple writing, and this issue has given the work different features and indicators. Therefore, the stylistic reading of this work shows a clear understanding of its multiple levels.

CONCLUSION: This work is a historical and realistic narrative, which, in addition to its linguistic and intellectual highlights, has acquired a literary flavor by mixing with rhetorical tricks. The prose of this book is intermediate and there are prominent features of a single language in the language of both authors. In terms of thought, despite the intellectual unity of both authors, themes are raised that show their intellectual independence. From a literary point of view, it is necessarily mixed with rhetorical techniques and more than having an aesthetic purpose, it serves to clarify and depict the atmosphere of events, narrative characters, and the feelings and thoughts of the writers.

Nasrullah Monshi's Kalila and Demneh is considered to be one of the trend-setting and influential works on Persian literature, especially Persian prose. The style of Nasrullah Monshi in the translation of this work has influenced later writers to follow and use his style in their writings (Daneshpazhooh, 2008;12). Ziya-al-Din Nakhshabi, a poet, mystic, and writer of the 8th century, is also among those who were influenced by Nasrullah Monshi. Just as the influence of Kalila and Demneh is evident on his Tootinameh, this influence can also be seen in Afsaneh Golriz.
Afsaneh Golriz is a work in verse and prose, created under the influence of Kalila and Demneh, Maghamat Hariri, and Indian literature; it is written in artificial prose style; the content is Romantic and moral; it consists of fables and parables with the structure of a story within a story, accompanied by motifs of folk literature and the description of strange creatures such as demon, fairy, and monster. The bases for Indian stories are books such as Ramayana, Mahabharata and Suka Septati, which not only have they given their content to these stories, they have also transferred their own style of storytelling to these works (Madankan & Eliyasipour, 2009;139).
The main purpose of these stories was entertainment and fun; for this reason, their appeal has been very important to readers. The events in these stories are very diverse and sometimes unreasonable and extraordinary to attract the attention of the reader and listener more (Taqavi, 1997; 57).


This article is a report of a theoretical research with a descriptive-analytical method that with a stylistic approach and using the principles of structural stylistics and relying on written and library documents and sources, has investigated and analyzed the stylistic features of Ziya-al-Din Nakhshabi's Afsaneh Golriz at the linguistic level, in terms of phonetic, lexical and syntactic features.
In this article, the linguistic features (phonetic, lexical, and syntactic) of the book have been examined with a stylistic approach. The authors seek answers to the following questions:What features does Afsaneh Golriz have at the linguistic level (phonetic, lexical and syntactic)? What results can be obtained by examining and analyzing the linguistic features of Afsaneh Golriz from the point of view of stylistics?
 


 Stylistics uses the most comprehensive methods in examining texts; it means that it starts from the smallest language structures, namely sounds, and analyzes the vocabulary, types and quality of their use, interpretations and allusions, as well as the syntax and structure of sentences, rhetoric and the application of thought and in the layered branch of the artist's ideology. Finally, the artistic goals of the speaker from the totality of the structure of the work is realized (Mohammadi afshar & Shayanmehr, 2017; 262). In this article, due to the wide scope of stylistics, an attempt has been made to examine and analyze only the stylistic features of the work at the linguistic level in terms of phonetic, lexical and syntactic features.
In Afsaneh Golriz substitution, deletion and addition have been used. Substitution has mostly been used in consonants. In this work, phonetic processes are not as abundant as the texts of previous centuries. deletion or reduction of phonemes also have been used in Afsaneh Golriz more.
Nakhshabi has used different kinds of rhyme, mostly parallel rhyme. He has used internal rhyme, parallelism and leonine verse more. The multiplicity of parallelism and leonine verse has resulted in sentences having consecutive rhyme. Many kinds of puns have also been used in this work. Phonemes, repetition, antimetabole and additions have been employed to make speech musical.
In the lexical layer, sensory or abstract words, common and proper nouns, archaism and word formation, coining, and markedness of words are evident. (Fotouhi, 2012; 251-264). Often, writers and poets use sensory words for description and mental words for narration (Foroozandeh & Banitalebi, 2015; 304). In the text of Afsaneh Golriz, the use of both objective and subjective words be can be seen.
The number of archaic Arabic words is more in Afsaneh Golriz. These types of words have been used less or not at all in Persian prose and poetry, and there is no evidence for them in Dehkhoda's Dictionary as well.
Arabic compounds have been used in the book, which are rare. There are words that are not recorded in dictionaries. Turkish and Indian words are also included.
Sometimes the writer has used unusual spelling of a word. Synonym are also employed, the frequency of synonymous words is high. Sometimes the author has used word in a new meaning. Also, he has used the word in a new construction and has made new and meaningful compounds. These compounds are one of the blocking factors of the meaning of some sentences.
Nakhshabi has used proper names in this book; he refers to the names of elders and prophets and has also creates new proper names.
The abundance of short and interrupted sentences in speech causes light acceleration of the speed of thought and excitement, and, on the contrary, the abundance of long sentences creates a smooth and steady style; complex and compound sentences slow down the movement of style. Rapid and hastey styles are more emotional, while composed styles are more argumentative and logical (Fotouhi, 2012; 275).
In Afsaneh Golriz, sentences are usually simple and short, and there are few compound sentences. The style of the book is exciting and emotional. The frequency of inflectional sentences is high. The style of sentences is a combination of discrete and co-ordinate style. The speed of speech is higher and the style is dynamic.
The time factor is an important variable in the realism of the text and the author's way of looking at things. The present is more certain than the past and different constructions of the past also increase the distance between the speaker and his point of view in the same proportion as it distances from the present (Fotouhi, 2012; 291). In this book, in 200 simple and compound sentences analyzed, there were 127 (63%) simple verbs, 33 (16%) compound verbs, and 5 (2%) prefixed verbs. Also, 72 cases (36%) present verbs and 124 cases (62%) past and future verbs have been used; therefore, the distance between the speaker and the author's point of view is greater in this book.
The modality is the speaker's decisiveness in expressing a proposition, which is implicitly shown by grammatical elements (Fotouhi, 2012; 285). In most of the verbs of the book, indicative modals have been used. The indicative modal shows the certainty of the speech. In indicative modal, the audience is confident about the speech.
Adverb is a part of speech that the verb does not need and for this reason it can be omitted from the sentence (Vahidian Kamiyar, & Omrani, 2003; 104). The frequency of adverb types is higher in Afsaneh Golriz, and adverb is one of the factors of lengthening the sentence. In 100 sentences, there are 56 adverbs, which shows that Nakhshabi has used more adverbs. Among the types of adverbs, adverbial complements has been used more.
In adverbial groups, the preposition has been omitted symmetrically based on the previous sentence; also, in the verb phrases, the preposition has been removed without symmetry.
In Afsaneh Golriz, the verb has been removed based on verbal and semantic symmetry.
 


In the phonetic layer, Nakhshabi has used various types of phonetic processes such as substitution, deletion and addition. Substitution in consonants and reduction of phonemes is more visible; however, phonetic processes are not as abundant as the texts of previous centuries. To increase the music, the writer has used all types of rhyme, mostly, parallel rhyme. In most of the sentences, there is internal rhyme, parallelism and leonine verse. He has used various types of puns, phonemes, repetition, and additions successive also.
In the lexical layer, there are more sensory words and the style of the sensory book is clear and effective. A large number of abandoned Arabic word can be seen in Afsaneh Golriz, which are used less or not at all in Persian poetry and prose and there is no evidence for them in Dehkhoda's Dictionary. One of the reasons for using archaic words is superiority. A few Turkish and Indian word are used and the number of synonyms and compounds in the book is also significant.
In the syntactic layer, there is usually simple and short sentences and few compound sentences. The style of the book is exciting and emotional, and the frequency of inflectional sentences is high. The style of sentences is a combination of discrete and co-ordinate style. The speed of the speech is high and the style has a dynamic rhythm. Simple verbs are used more, and compound and prefixed verbs have been used less. The tense of most verbs is past, by which the distance between the speaker and the author's point of view can be seen more clearly. Most of the verbs have been used in indicative modal, which shows the certainty of the speech. The frequency of adverb types is more in Afsaneh Golriz, and adverb is one of the factors of lengthening the sentence. In 100 sentences, there are 56 adverbs, which shows the abundance of adverbs. Among the types of adverbs, adverbial complements have been used more. Sometimes the verb has been omitted based on verbal and, more often, semantic symmetry. The preposition has sometimes been removed from the verb phrase based on symmetry in the previous sentence, or without symmetry.

Stylistics is a science that examines the special way of each person in expressing his opinions and ideas. Layered stylistics with the approach of literary analysis examines the text in five layers, phonetic, rhetorical, syntactic, lexical and ideological. The purpose of this research is to analyze the style and content of Yaghmai Jandaghi's poems from three intellectual, linguistic and literary perspectives.

This article is based on library studies and has been done in a descriptive-analytical way, and the scope of the study is Yaghmay Jandaghi's sonnets.

Yaghma is considered one of the return style poets, but he was not just an imitator of the previous ones and he adopted a new method. In his poetry, all kinds of poetic styles and methods can be seen, from lamentation and Marathi to satire and humor. He is a point-wise critic, so that his poetry can be seen as the culmination of differences and contradictions. He has tested his style in various formats, from ghazal, masnavi, and quartet to nimaei and sepid.

Yaghma's lyrical poetry is usually of the type of romantic lyrical poetry, which is mostly written in Bahr Ramel, the use of Persian words is one of the special features of Yaghma language, the poet's attention to verbal arrays such as "repetition" is high, but he is not limited to the use of puns and in terms of image Different types of photos; Most of the similes are eloquent and of the sensory type, the metaphors are more explicit and the allusions are of the gestural type with the focus of recognition and succeed in creating beautiful images with a simple language.

Mohammad Ali is one of the prominent and capable writers with a style in contemporary Persian literature. therefore; It is important to study his works from a stylistic point of view. This article examines the stylistic features of the story of "Mashi and Mashianeh" at three levels of thought, language and literature with examples of the story. The main purpose of this article is to review and explain the characteristics of the story of "Mashi and Mashianeh" in three levels.

Ongoing research; It has been done in a descriptive-analytical way.

Mohammad Ali has established a new method in the field of novel writing with the publication of Mashi and Mashianeh. He was able to create a unique style by combining colloquial language and novel prose and relying on religious, mythological and historical sources. Mohammad Ali's poetry has added to the beauty of the work in parts of the story while showing the author's ability. The most important literary feature of this author is the use of novel virtues, especially similes, which mainly have sensory and research aspects.

At the intellectual level, the author, while giving importance to the position of women in the story, narrates the story in the language of women. Adherence to ethics and behavior, dream, dream, love, explaining the concept of Iranian myths and myths are the most important intellectual features of this work. At the linguistic level, his use of Arabic words and his disobedience in the syntactic structure are other features of the story. At the literary level, the author has tried to use the words, content and structures of ancient literature in a pleasant way. He has used rhetorical industries such as puns, rhymes, etc. in spiritual rhetorical industries of contradictions and observations such as many and many similes.

Examining the style of poetry is a valuable step to recognize and analyze more accurately the poems of different periods and awareness of their artistic value and to understand the influence of poets on the works of the past and contemporaries. Amir Khosrow Dehlavi is one of the Persian Persian lyricists of the second half of the seventh century and the beginning of the eighth century AH. Therefore, in this article, the sonnets of this prominent poet are examined at three levels: linguistic, literary and intellectual, as well as special inventions of the poet, by giving examples of verses.

This article is a descriptive-analytical study based on library studies. The Statistical community is all the lyric poems included in Amir Khosrow Dehlavi"s poetry collection, corrected by Iqbal Salahuddin.

The study of Amir Khosrow"s lyric poems shows that the poet has created beautiful and unique lyric poems by mastering Persian language, mystical taste, artistic ability in using different weights and meanings and using various expressive and novel techniques on a large scalea and its own innovations.

The result of research shows that love and its related themes are the most important poetic axis of Amir Khosrow"s lyric poems. At the linguistic level, the poet uses the various weights and variations in the use of side music and a variety of effective word arrays in the inner music, the stylistic structure of words, compositions and sentences, shows the linguistic prominence of his sonnets. Theology, the great influence of the Qur"an, prayer and supplication, love and affection, the instability of the world, belief in fate and destiny, skepticism, praise, folk themes, are among the most important intellectual components of Amir Khosrow Dehlavi that in most cases traces of mysticism can be seen. Also, Amir Khosrow"s innovations in different linguistic, syntactic and literary levels have made him stand out in lyric poetry.

One of the precise and scientific ways that bring the researcher closer to the world of poet and writer is the careful study of stylistic features. The present study examines the style of Golrokhsar Safiava"s poems in the field of language, literature and thought.

This article is based on library studies and has been done in a descriptive-analytical manner.

Golrokhsar Safiyava is one of the leading poets in the contemporary history of Tajikistan, who has been nicknamed the "Mother of the Tajik Nation". In Golrokhsar Divan, out of a total of 369 poems, the formats of new poems, sonnets, quatrains and combined forms have the highest frequency, respectively. But most of Golrokhsar"s poems, which seem to be half-hearted, are originally Masnavi and find the form of a new poem only by step-by-step fragmentation.

At the linguistic level, Golrokhsar has composed most of his poems in the two seas of Raml and Hazj, but in his poems there are weight strokes. Repetition in its various forms, the use of ancient and Tajik words are other linguistic features of his poems. At the literary level, simile, contradiction and discernment are among the most prominent literary features. At the intellectual level, the most frequent themes are love, expression of the status of women, homeland, pain and sorrow, loneliness, death, and complaints.

 Stylistics, as a linguistic and literary knowledge, seeks to identify and explain the salient features of a literary work, especially works that have received less attention, by finding the most frequent stylistic features that distinguish a literary work from other works. This research tries to study the stylistic features of his poems at the linguistic, literary and intellectual levels by carefully examining the poems of one of the anonymous poets of Indian style named Tabrizi.

 The research method is descriptive-analytical and in terms of work space, it is a library.

 Mirza Mohsen Tabrizi (1060 AH-1129 AH) is nicknamed "ta’sir" of the Shiite speakers of Iran in the Safavid era. His family was originally Tabrizi and Shah Abbas Safavid (AD 1038 AH) his ancestors from Tabriz He moved to Isfahan and Mirza Mohsen was born in this city. Impact to the year 1129 AH. AH died in Isfahan and was buried there. The main form of his poems is ghazals and ode Masnavi and quatrains can be seen in his divan.

 New combinations and slang words are the linguistic features of Tabrizi lyric poems. Among the prosodic weights, the poet pays the most attention to the two seas of sand and mud. In terms of side music, he pays more attention to different poems and is often of the type of verb and noun. The long line also has a considerable frequency in his lyric poems. Paying attention to expression in poems is effective in constructing small meanings and pristine themes, and there are all kinds of similes, allegories, metaphors, metaphors, and metaphors in his divan with great frequency. Impact also makes extensive use of allusions and paradoxes, and besides them is not unaware of industries such as puns, ambiguity, and the ambiguity of proportionality. The main feature of his poetry is imaginative and imaginative, and the themes of love, sadness, advice and wisdom form the intellectual level of his poems.

 One of the most common methods of scrutiny and evaluation of poets" poems is research in their rhetorical style. The subject of this research is the stylistic analysis of Mir Haj Gonabadi Heravi’s poems (d. 923 AH) from three perspectives: linguistic level, intellectual level and literary level. This article tries to evaluate the style of the poems of the poet, to explain the extent of his influence from other poets, to explain his influence on some poets after him, and also to determine the poems of other poets in his divan.

 The present study is a theoretical study that has been done in the style of library research. The area and society under study is the divan of Mir Haj Gonabadi Heravi, editted by Abbas Rastakhiz, which has been published by Movarrekh publications in Qom city.

 Gonabadi Heravi is a Shia poet who wrote his poem in praise of the family of infallibility and purity. His skill is composing of introductory odes. He is interested in Arabicism, especially in the position of rhyming poems. In his divan, he was influenced by the poems of several famous poets before him, and at the top of them, Zahir Faryabi and Hafez Shirazi and his poems have had an impact on the poetry of Khajeh Hosayn Marvi, Kalim Kashani and Feyz Kashani.

 Gonabadi Heravi is an imitator, not a master of style, who follows the style of Iraqi style poets in his poems. His skill is in simulated and metaphorical illustrations in the introductions of odes Due to the religious-praiseworthy nature of his poetry and Shia religious tendencies in it can be seen from the influence of Shia poets of previous centuries in his poetry. He is most influenced by the sublime words of Hafez, which the poets of the centuries after him have considered imitation and similarity to be the criterion for recognition. Theism, praise of the family of purity, Human love, sorrow and despair and sometimes moral concepts are the main themes of Gonabadi Heravi"s poems.

 One of the most fundamental and precise ways to evaluate a literary work is to have a stylistic study. The present research aims to have a stylistic analysis of Ahmad Shamlou’s Poetry from three perspectives: literary, intellectual and linguistic. The present article attempts to have an accurate stylistic study and analysis of Shamlou’s poetry. These questions are going to be answered in the study: What are the linguistic features of Shamlou’s Poetry? How are the literary aspects of Shamlou’s Poems expressed? In which ways are the personal and social thoughts of Shamlou reflected in the intellectual level of his works?

 The present study hires a descriptive-analytic method and is a library study based on a random choice of the applicable examples.

 The study of linguistic, literary and intellectual levels of Shamlou’s poetry shows that he is inclined to archaism in the linguistic level; in the literary level, his poetry reflects a strong use of figurative language, especially similes; the use of popular ironies and informal language are also among the elements of his personal style.

 The results of the study show that Shamlou’s poetry can be regarded as having distinct characteristics in linguistic, literary and intellectual aspects which include unique innovations