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

Sounds include two main groups of consonants and vowels, which are divided into two groups of voiced and unvoiced, from the point of view of the vibration of vocal cords, and from the nature of pronunciation of the consonants, into several groups of obstruent, fricative, nasal, smooth, semi-consonant, repetitive (vibration) and closed fricative. Among them, the obstruent consonants include two groups of voiceless (p, t, k, ?) and phonetic (b, d, g, q), which are used to express dry and repeated, explosive, discontinuous and continuous sounds, as well as describe movements that are accompanied by strong or mild shakings. Naftha-al-Masdoor, written by Zaydari Nasvi, is in the first half of the 7th century, which describes the war between the Moghol troops and Jalal-eddin Menkoberni. The purpose of this research is the phonetic stylistics of obstruent consonants in Naftha al-Masdoor from the point of view of Maurice Gramoon. Its main issue is to answer the question of how effective is the phonetic arrangement of Naftha-al-Masdoor in conveying its themes?

This research was done by descriptive-documentary method, by taking samples from books and articles. This research is a theoretical study which its scope and community is the book Naftha-al-Masdoor, Shahab al-Din Khorandezi Zaydari Nasavi, corrected and explained by Amir Hossein Yazdgerdi, which was published by Toos Publishing House in Tehran.

According to the type and phonetic arrangement of consonants and vowels, it can be said that Naftha-al-Masdoor, which is a report of the memories of the pain, suffering and tragedies of the author and the people of Iran during the terrible attack of Moghols and the narration of the social and political situation of Iran in the authors’ era, depicts a society full of depression, despair, unhappiness and dissatisfaction, in which the feeling of falling and failure (abrasion consonant) is mixed with anger, hatred and contempt (obstructive consonant) and indicates the weakness and helplessness that evokes the feeling of lassitude and calmness in a person, and when these consonants are accompanied by the consonants of nasal, sarcasm, irony and stinging sarcasm, more expressive and eloquent words are heard by the audience.

The result shows that the obstruent consonants, especially "d" and bright vowels, especially "a" are the most frequent consonants and vowels in this text. With such an arrangement, the author has been able to express his pains and sufferings from the Tatar attack, as well as express his anger and dissatisfaction of the conditions of his society.

Literature and music have a close and complementary relationship with each other. In performance, poetry is the infrastructure of mind and the language of music, with which it has a strong connection. In fact, what melodies and musical instruments express through the sounds, the poetry manifests more tangibly via words. In this interdisciplinary research, the induction of sounds, due to the repetition of consonants and vowels, has been examined in the light of Murice Gerammont's theory and via a descriptive-analytical approach. Accordingly, the pragmatic axis shows the angles of inducing meaning and, more importantly, the effectiveness of poetry and the way music and poetry influence each other, which is examined via the introduction of examples of vocal music and, specifically, Akhavan Sales's "Dandelion" performed by Mohammad Reza Shajarian. Each vocal division in Iranian music has its own characteristics and expresses different moods, and both the composer and the singer should select the music division and vocal corners with the consideration of the meaning and the content of the selected poems. The results show that sounds and words, with clarity, brilliance and darkness, have been successful in conveying the two discourses of slight hope and overwhelming despair and that it is the sound which determines the color of the feeling of the music and instruments and makes the poetry and musical works more effective and lasting.

Language is a collection of regular and interconnected sounds that distinguish words and their meanings from other words; in fact, sound is the most fundamental structure of language; because the appropriate use of vowels and consonants has a deep connection with the thought of the creator of the text, which can inspire specific meanings in the context of the situation; therefore, the purposeful repetition of consonants and vowels causes a great induction of phonemes in expressing the meanings of the text. "Maurice Grammon", a famous French linguist in the 20th century, puts forward the value and concept of inducing phonemes in language and believes that a writer can create the desired images and meanings with a specific and regular melody in a systematic network of words made up of similar phonemes. , to induce in the mind of the audience; for this purpose, the present research investigates the induction of sounds in Hajj verses with the method of content analysis and based on Grammon's theory; the results indicate that the phonetic miracle of the Holy Quran ultimately inspires beauty, concepts and meanings to the audience. So that the frequency of the light(simple) vowels "A" and "A"/a/¸/ã/ and the consonants of the latin words "S,Z"/s¸z/ and the alveolar- fricative consonant "Y"/j/ play a very important role in associating the concepts of Hajj.

Language is a collection of voices inspiring various emotions and affections and are sketches of colors and fragrances. Undoubtedly, language is not a set of uneven and irregular voices, but an interconnected and systematic network of layers and links. Therefore, each piece of speech or text is organized through the cooperation and unity of all the different language levels. The purpose of this study is to analyze and evaluate the inspiring voices in the poems of Badr Shaker al-Sayyab. One of the essential topics to be addressed in his poems is the discussion of voices and inspirers. Jikur, is one of the talented poets who has employed voices to accompany the reader with himself. Thus, the authors sought to base the present study on the famous French linguist Morris Gramon’s theory to investigate the reading of and analyze the inspiring voices in the poems of mournful Iraqi poet Badr Shaker al-Sayyab. In this way, the signs and musical attributes of Badr Shaker al-Sayyab poems, especially vowels and consonants, are examined using a descriptive-analytical method. Reading and analyzing Badr Shaker al-Sayyab’s poems based on Gramon’s inspiring voices theory indicate that corresponding to the themes of the odes and profound influence of mournful spirit in the poet’s thoughts and language, highly frequent vowels and readings of his poems repeat these negative, dark, and tragic meaning. In other words, the results of this study indicate that inspiring voices in the poems of Badr Shaker al-Sayyab describe the physical and psychological failure of the people of his land, and phonetically, he illustrates repetitive themes of doubt, hesitation, frustration, sadness, and pessimism.

Repetition of phonetic parts results in phonemic balance in literary works. It has a significant role in carrying the meaning and content in the poet's mind. Maurice Grammont believes that each phoneme may implicate the different meanings. The poet and writer also value this small member of the language in the creation of music and meaning, and make good use of it to induce the content of his speech. The following article seeks to examine the two poems of Al-Nasr by Abu Rish and “Eagle” by Khanlari, based on the American School of Comparative Studies, in a descriptive-analytical manner and based on the theory of Maurice Grammont. The writer knows well the value of this small part of language to create rhythm and meaning and based on this the reader guesses the secrets of words. This is an analytic descriptive study that compares the two poems “the eagle” of Abi Risha and Khanlori based on the American school and the Maurice Grammont theory. These aforementioned poems have many similarities in meanings and concepts; but according to Grammon's theory, there are subtle similarities and differences that are important. The similarities in the use of consonants and vowels are on the same level; that is, both poets, respectively, have assigned the highest frequency to the brilliant and cohesive echo and the lowest frequency to the dark and halfharmonic echo; but the differences are in how these phonemes are used to convey the content of the word. Abu Rish-e-Raja spoke loudly and unabashedly about his anger and rage through the shining Wak, and he turned the nation against the oppressors and illuminated the light of hope in their hearts; However, by choosing the role of narrator for himself, Khanlari uses the brilliant vowel only to describe the authority, glory and feelings of the eagle and he avoids revelation by using the dark vowel; therefore, there is a special coherence and harmony between the music and the thought of both poems.

The purpose of this research is the vocal analysis of safaei’s on hundred and seventy monodies and elegies by in terms of formalist school with emphasis (on) sound analysis and induction that was in consideration of Maurice Grammont. Accordingly the questions of the present study are: Is it possible to achieve induction by interactions used in safaei’s poetry? Is phonemes repetition and its induction can suggest phonetic names?In phonological analysis of his monodies and elegies the impact of words choice and repeating them in music and the meaning of monodies and elegies, the repetition of phonemes, induction position and production procedures have been considered in this article, sounds, rate applications, inductions and illustration used in monodies and elegies have been considered in order to determine the success of poet in convening implications.Safaei has been considering all poetic elements like: (rhythm, rhyme and rows, literary devices specially the repetition of phonemes and words). The repetition of words and voices in Safaei`s poem have been used regarding emphasizing speech and music`s language. The repletion of voices could associate emotions, but theonomatopoeia have had poor application. High frequency of bass vowel (A) and Consonant sounds (N), in poem in of this great poet suggest the induction of pain and dissatisfaction, even if it is not clear in his context bits and speech.

There is a close relationship between sound and meaning such that the way phonemes are deployed and the conveyed meaning are intertwined. In choosing their words, language speakers are highly affected by their emotions and opt for words whose phonemes is expressive of the meaning they intend to convey. Besides their semantic function, phonological structures of words, through a combination of sounds, indirectly expresses the idea the poet intends to communicate. Morris Gramoon, the renowned French linguist, sheds light on the underlying layers of words and phonemes and the undeniable role they play in conveying meaning. The present study adopts and draws upon the theories proposed by him. Scrutinizing 300 lines of Shahnameh, falling into three semantic fields of epic, lyric, and elegy, the results of the present study revealed that there is a significant relationship between the expressed meaning and the deployed phonemes and syllables in Shahnameh. To put it differently, the results indicated that the language used in Shahnameh varies according to the conveyed meaning and Ferdowsi capitalizes on phonemes invoking secondary meanings in mind. In love poems, Ferdowsi heavily draws on fricitive (24%), trill (13.5%), glide (6.5%) consonants and open syllables (CV), (CV:). In epics; however, the most extensively used consonants and syllables are stop (38.7%) and (CVC), respectively. Finally, as for elegies, nasal (19.3%), stop-fricative (3.3%), and long syllables (CV:CC) are heavily drawn upon.