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

Nima Yooshij's theories about poetry and poet are in his previously published collections and the process of his poetic developments can be drawn from them; moreover, there are many other poems of Nima Yooshij in the last two books, which are very important in the analysis of his poetic developments. In the current research, we have examined these two collections by considering the most important theories of Nima, including paying attention to symbolism, declamation and the natural process of speech, descriptive and narrative pattern, objectivity and subjectivity, harmony, and transubstantiation. The results show that Nima has a great interest in classical literature in addition to western literature in order to achieve symbolism. In addition to the dramatic structure, Nima uses the capacity of "narrative" and "story" to express the content and tries to blend with nature and provide an objective and external description of it, unlike classical poetry. Nima does not see classical poetry as having a body-like unity and puts all the elements of the poem in the direction of creating a harmonious composition, which he calls "harmony" and "form".

Abd al-Qaher al-Jurjani sees the literary miracle of the Noble Qur’an in its precise arrangement, where the vocabulary is very precise in choosing and leaving its synonyms, so the words are in complete harmony in pronunciation and meaning. Then the sentences of various types are in complete harmony with each other in terms of wording and meaning, with full observance of the rules of grammar and the foundations of rhetoric, and each of the aesthetics of pronunciation and meaning in the service of the context of the noble verses. Then Abd al-Qaher Ma interpreted the Holy Qur’an based on his theory, so we studied four specific verses from Surat Taha in the light of his theory by taking advantage of the descriptive-analytical approach. So, through our analytical study, we concluded that the vocabulary in the noble verses is based on a dialectical dialogue between Pharaoh and the sorcerers in very sobriety, with some intensity in concepts related to the threat of Pharaoh with torment. Then the methods of emphasizing verbal meaning completely take into account the need to take into account the situation. Among the prominent methods are deletion, mention, and repetition in disapproval of mention, and mention of the interview or repetition of pleasure. The sentences are short, keeping in mind the brevity of both types, to meet the dialectical dialogue status. And each of the masterpieces of systems, verbal and moral, in the service of the overall context of the noble passage.

Music is a tool of connection between words and meanings. Through music, the audience can communicate better with the creator of the literary work and become aware of his inner feelings and emotions. As much as the connection between words and the meanings is better, the music that arises from it sits better in the hearts and causes the audience to be overjoyed. The present study examines the structure of musical harmony in the ode Fe Rehab al-Hussein</em> in the divan of the contemporary Iraqi poet, namely, Abdul Razzaq Abdul Wahid. The ode has a beautiful rhythmic structure and expresses the poet's sincere and sad feelings towards the supreme leader of the martyrs Imam Hussein and his family (AS). In the present study, the author examined some characteristics in the ode while providing an introduction to the importance and position of the ode as well as an introduction to the elements of external and internal rhythm by using a descriptive-analytical method. The results showed that the poet has excellent poetic and musical skills in a way that its author has been able to express the meanings in his mind through the art of rhythm, harmony, and musical coherence between the structure and theme in the poem desirably and prominently. This shows his creative power in using literary tools.

Azeri Turkic is an agglutinative language. One of its dialects is widely spoken in Tabriz. The goal of this paper is to study the functions of suffixes in Tabriz dialect. In the present paper, the independence and meaningfulness of the forms are the criteria for determining the type of a form in the explanation of the morphological and syntactic functions of the simple suffixes. The result of the study shows that, in Azeri Turkic, a suffix helps a verb to change into a non-verb word and extends its own function. Moreover, a suffix helps non-verb words conjugate like verbs. This helps verbs and other words to be so various and numerous that they can express meanings, concepts, and emotions with delicate and elaborate differences. 80 suffixes out of 196 suffixes found inAzeri Turkic are simple. A word can take up to 7 suffixes. Some of the suffixes determine the morphological nature of a word and some others determine its syntactic functions. Morphological suffixes immediately follow a stem while the syntactic suffixes occur in the final position. The suffixes have different phonetic realizations on the basis of vowel harmony rules.

The Man naturally wants beauty and knows something beautiful that can attract his attention. This sense of pleasure from the beauty of anything or anyone comes from understanding the order and harmony in it. In the aesthetic discussions, various factors such as symmetry, balance, rotation, proportion, repetition, contradiction, etc. can be considered to beautify a work or phenomenon. Symmetry is one of the most important factors in creating beauty. Symmetry as one of the most fundamental foundations of art and beauty plays an undeniable role in the majority of arts and sciences in understanding the order between the components. These include arts and sciences such as math, geometry, astronomy, architecture, music, painting, carpet weaving, design, illumination, carving, literature, and more. Symmetry in Persian literature can be studied in three outward, semantic, and phonetic aspects, and among them simile is the widest manifestation of semantic symmetry. Farsi similes use four types of reflective, transitional, rotational, and congruity symmetries. But the reflection symmetry has a high frequency. In this essay we will attempt to examine the manifestation of symmetry in the simile by mentioning examples.

The verbal music in poem, named  aesthetics, is the first and most important element of the beauty of poem and can fascinates addressee. Rhyme, radif in verbal music plays a very important role and serves as a pillar and reference in the music of every line. In this text, we explore types of rhyme and radif and their musical roles in Iraqi's sonnets. Iraqi is the great mystic and poet who lived in 7th century. We evaluated rhyme and radif, used in his poem book from different angels, in a descriptive-analytical way. The following results were achieved: Sonnets, have used common and frequently used rhythms.  His expression is fluent and understandable. 63% of the rhyme words  are ended with high syllable, in form of obligated  mordaf  to main redf and absolute mordaf to main redf. This issue provides the context for music of word and beautifies the thoughts. 24% of the rhymes ended with simple syllable have been in obligated and absolute form. In these  rhymes, for having the necessary condition for fluency of the music, vowels or a suitable radif with a high syllable have been used. 64% of Iraqi's sonnets have radifs, so the last consonant of the rhyme with poor pronunciation in these sonnets is well-pronounced and the necessary music of the poem is achieved. The phonetic relationship between the chains and sub-chains in the chain of words, between rhyme and radif, and the other words in each line has a good harmony and nice beautiful music.But in Iraqi's sonnets, contents are similar and  imagination is low, and repetitions of rhyme,  radif and the first line (Matla') are in excess of need.

The Formalism is a linguistic approach that seeks out the aesthetic elements of a literary work and analyzed and evaluated with the aim of discovering literature and its secret, intrinsic and intrinsic features of a literary work, such as its decorative features,Weight, song, and the like of them. This research is based on the principles and considerations of formalists And by analytical method, the sixteenth prayer of the Sahifa Sajjadieh, One of the most pleasing prayers of Imam Sajjad is with God Almighty and attention to its literary form is worth considering according to the meanings in it,examines phonetics, vocabulary, and syntax in three areas and achieved these results That Imam Sajjad in the phonetic section has made his prayers melodic and balanced By repeating the consonants and vowels in harmony with the meaning and sounds of the syllable at the end of the syllable. At the lexical level of Imam has led to coherence and balance and increased the literacy of prayer with accuracy in the choice of words and with all the words through fit and conflict and semantic connection between them and at the syntactic level by repeating common syntactic structures and the pronouns of the addressee and the speaker and repeat of addressing has caused a syntactic balance and it conveys the desired meanings to the audience in the best way

So far, there has been a lack of research on the manner harmony process in children who learn Persian, both in children with typical phonological development and those with functional phonological disorder. Therefore, manner harmony in these groups of children is considered in the present study. To this aim, manner harmony patterns are examined in children with typical and protracted phonological development.Data collection is performed using a Picture-Naming task, which contains 132 pictures from different items designed to elicit the production of 132 different words. Examining the data indicated a large number of manner harmony errors by children with both typical and protracted phonological development. In the investigated error patterns, plosive harmony and nasal harmony were detected in both groups, while fricative harmony was observed in children with typical phonological development. Analyzing the results using “Articulatory ease” and “Perceptual cues” frameworks confirmed that articulatory limitations are the only stimulants that trigger manner harmony in children with protracted phonological development. On the other hand, perceptual factors in children with typical phonological development may also trigger the manner harmony when articulatory limitations are lessened or removed. The findings of this study also demonstrated some differences with similar studies on children with typical phonological development who speak other languages.

Shams Qeys-i Razi is one of the greatest prosodist of Persian classic literature and his work, al-Moâjam fi Maâayir-e Ashâar al-Ajam is the most important book in the field of prosody and rhyme. In this book the writer has offered valuable and scientific views on poem aesthetic; rhyme, rhythm, lexicon and harmony between elements in Persian verse. In this work Shams Qeys as a familiar person to principles of scientific arguments in explanation of matters, has expressed his point of views. While discussing on verse, specially its external structure, the most important elements which have attracted Qeys attention and have been of his focus of attention include rhyme, rhythm in verse. In this regard Qeys can be referred as formalist criticizer; since he has more notice to external structure such as lexicon, rhyme and rhythm and even in his definition of verse, he knows it as rhythmic and rhymed words and he has not paid any attention to essence of literary work. In spite of all that, denotations which he has had to harmony, subject, content and rhyme proportion show that he has also had attention to link of form and content in verse. This feature of aesthetic in verse has been evaluated by him.
Qeys, in his book of al-Moâjam has offered valuable views on rhyme, rhythm and harmony among verse elements. Some of his views has not missed their newness and can be criteria in influence and importance of verse. By being familiarity with prosody science and its details, regards it as needs of poetic. He regards those who with no respect to prosody sing poems as skin-deep. In his point of view, prosody science is the criteria of right and wrong, Rhythmic and inharmonic of verse.
In the rhythms of verse, he uses expressions such as sweetness, pleasant, near to inclination and coherence and in this way shows his complete mastery of rhythms and points out that he is skillful in poetry and has absolute command to verbal, musical, aesthetical features and syntax and semantic aspects of Persian language. He has brought various reasons on heaviness of some rhythms in one hand and fluency of some others in Persian language which has been studied in this essay. He also regards that the harmony and proportion of bases and structures of verse is the cause of its more influence, and has invited poets to observe these important features. In spite of all these, he believes that each of the rhythms sweetness factors; harmony of structures and arrangement of, are not solely enough for the influence and acceptance of verse. And when they are near each other, poem will be more beautiful and more efficient. However, without existence of any of these features, poem will not obtain the beauty feature. He, in a detailed way, explains the discussion matter of “moves and statics” which is of causes of rhythm pleasure. The increase of “moves to statics” and vice versa is the cause of movement and heaviness of rhythm which Qeys has studied. It is needed to say that this feature and its effect in the attraction and pleasant of rhythm is also in the focus of attention of researchers in the field of rhyme, rhythm and prosody of Persian verse. Rhyme and its importance in verse and poem are the most important arguments in al-Moâjam.
He cares not to mention the verse which has not rhyme. In his pint of view, rhyme should be complement of music of words, and also have a great role in meaning transfer and general meaning. The rhyme should be so judicious that no one can replace it with other word. Expressions and words and how to use them in verse and prose have not been ignored of his sharp and punctilious look of Qeys. He believes that the language of verse should not be difficult. Language which is used for expressing verse and prose should be simple and fluent. Words and expressions should be of usual which are used mostly by merit scholarship. He doesn’t allow the usage of hard and heavy Arabic and Persian words. He says that verse language should be very similar to prose. He believes in the right election of words in verse. In his point of view every word doesn’t have permission to enter the verse area. Shams Qeys knows the coordination of word and meaning “the completion of verse”. One good poem has elements such as sweet words, pleasant meaning, right rhymes, easiness and fluency all together. He isn’t ignorant of internal harmony and companionship and paradigmatic relation. In his view, neighborhood of words and its qualification to each other is observed (Qeys, 1360: 329). Meaning coherence of verse and its reasonable order are among those cases which Qeys has paid attention in his critic of verse. According to his view good writing and coordination of structures of poem and the way of good combination give the poem aesthetic feature and make its effect greater. The poet should not spoil the effect of words with disconnection of couplet meaning. The structures in verse should be harmonic in its totality to have artistic effect. All these points and views are the signs of his skillful poetry and prosody mastery of this valuable scientist. Passing of days have not thrown dust of oldness to his views and all of his views has kept their nominative and are of focus attention of researchers of rhythm, poem music and aesthetic field

This article check the Hafez's influence from a poet called Saif Farghani and then compares the two poets and check a brief overview of common themes and similar concepts and the same words in the court of both speakers. Hafez is the creator of the best sonnets of love-mysticism. And who have been studying in the Divan of contemporary and past poets, he has adapted many of his themes and figures of speech from them. Saifaddin Mohammad Farghani is one of the most famous and mystic poets of the seventh and eighth centuries, who lived 50 years earlier than Hafez. The consequences of the Mongol invasion and the unfortunate conditions of that era caused the poet to compose critical and social poems and this is the theme and poem style of most of his poems. Linguistic and words and themes subscribe are seen in the Divans of these two poets. Sometimes these similarities are mentioned in the same words, sometimes in terms of thought and content, in some cases, this convergence is also evident in both dimensions. These two poets, in addition to using words and vocabulary, according to writers that Hafez have adopted from Saif Farghani, There are similarities in their thoughts and themes in their poems that are not far away. Both of these poets have shown a tendency towards this way due to their disadvantaged social situation. The most dominant aspect of Saif Farghani's and Hafez Shirazi's thoughts is that both of them in freedom are the same. This research intends to study the adaptations of Hafez and Saifaddin Mohammad Farghani, the poets of the seventh and eighth centuries.

There are, undoubtedly, two important factor in versify poet use imagination and all exist language science and methods such as eloquence, prosody, and semantics and try to make oeuvre. Meantime, prosody has efficient role as one of important science of eloquence and aesthetics methods in harmony and confirmation of language. This harmony which result from aesthetics features and elements such as, rhythm, rhyme, row, figures of speech, music elements, etc…, has importance in new criticism and take more attention of Russian formalists. Kamal as potency and poet laureate use all these verbal science and methods, especially, symmetry, allegory, technique, allusion, rhythm, paronomasia, etc… This article tries to analyze all kinds of harmonies from Kamal point of view.

Discovering the meaning, musical and aesthetic capacity of the words and the smart use of them in the content of the text is a criterion to evaluate the poet’s mental discipline. In this article, using a descriptive – analytical method, and based on formalist criticism, the role of “word selectivity” in geometrical perfection and harmony of the poems of some of the most prominent modern poets has been studied. This research reveals that most important aesthetic functions of “word selectivity” of contemporary poetry are: spacing, creating harmony and geometry in verbal texture, creating multi-layered verbal and semantic harmonies and associations, and persuasiveness. Hereby, “word selectivity” leads to consistency in the internal structure and texture of the poem, and a perfection in the geometrical and artistic system of the poem.

music of the poem contain a collection of phonetic and vocal harmonies and music of rhyme and tonality.the various genre of musics in poem above a musical function have a deep function in supply of meanings.poets with a use of this various genre of music help to the transfer of there emotions, thoughts and meaning.in this connection the function of rhyme is dominant. rhyme as a music the end of distich have a significant role in the meaning.artistic usage of this attribute in poem have a affection in clarity an beauty of poems.with a this iranian modern poets,nima,shamlu,akhavan,gheysar aminpor and hoshange ebtehaj attend to this trait in his poems an affair as well as use a music in the support of emotions and poetic meanings.in the end we result that the modern iranain poets in compare of classic iranian poets specially in the free verse emphasize the music of words.

This study aims to investigate and compare some frequent phonological processes in Isfahani accent with that of standard Persian in the framework of optimality theory. The methodological approach of the study is descriptive-analytical and the data collection was done through field study method. To do this، the conversation of Isfahani-native speakers، aged between 30 and 50، has been recorded for ten hours and then the data have been transcribed and classified. Through the analysis of the data in the framework of optimality theory، the top-ranked constraints in the hierarchy of constraints responsible for optimal candidates in Isfahani accent have been determined. Among the most significant phonological processes in this accent are devocalization، vowel harmony، and consonant and vowel dissimilation. The data analysis showed that the optimal candidates in Isfahani accent differ from that of standard Persian and in most cases، markedness constraints are responsible for optimal candidates in Isfahani. While in standard Persian، faithfulness constrains are top-ranked in the hierarchy of constraints.

The Musical and content harmony of Modern Iranian poetry is the core of this paper. There’ll be, initially, some arguments on the importance, coordination and the fitness existing between the poems’ components and the concinnity and elegance occurs, then the importance dedicated to such components by the poets and their beliefs to the harmonious coordination reflexes in their works will be scrutinized. The remarks of each poet, Nima, Shamloo, Akhavan and Shafiee Kadkani about the matter will be also discussed by some examples. It will finally be shown that their paying attention to such synchronism has a great role in the concinnity and influence of their poems. They have best used different kinds of music; external music (prosodic rhythm), internal music and side music (rhyme) to induct their concepts and to create such beauties.

Since the attractiveness of an artwork roots in its structural strength, and since it can, depending on its linguistic, expressive and aesthetic usage, make an artwork outstanding to the rate that being considered, socially, as a literary word; taking the alignment of the poem and meter in Khaghani word, we are going to analyze his poetry for the type of his linguistic and expressive usage. For he is an inimitable poetic feature in Persian Literature. Techniques of a poetic language, allegories of a poetic expression, specific use of grammar and syntax, new semantic compositions, lexical innovation, the importance of language in verse, and the objective of his works, Creation, are all the things that indicate the significance of the matter.

The large distance between rhetoric and criticism is the principal reason for the observed weak methodology in the practice of literary criticism. So, attempt should be made to establish a consequential movement of literary criticism based on an explicit and principled methodology. It should not be satisfied with the crossing of rhetoric with criticism but aim at harvesting in all fields of Humanities. The present study attempts to show the significance of lexical and rhetorical analysis as the main instrument of adding artistic beauty to literary text and enriching the procedures of literary criticism. Such analysis will encourage the development and progress of literature as any sound and effective critical procedure should start with the raw substance of literary production.