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

In tyrannical societies and authoritarian governments, opacity is the best way to express social pains and is a channel for protesting and of course, it is prudent; This means that the inappropriate social conditions and the suffocating atmosphere of the lands lead the artist to conceal and express his beliefs in the envelope of opacity’s literary array: An indirect and effective statement that raises the awareness of the audience, and in a way, it can be considered as a way of the writer's or poet's pen struggle against the rulers and the deceptive and hypocritical people. In the 7th and 8th centuries of AH - which is one of the darkest periods in Iran's history - our land was attacked by the Mongols and their rule. The tyranny of the rulers during these two centuries resulted in heavy social suffocation; as it has been very influential on Persian poetry and especially the form of Sonnet and has caused the introversion of Iraqi style poets. In the current study - which examines the literary industry of opacity and its relationship with critical issues in Hafez's sonnets - data has been collected through document analysis and described in a qualitative manner. The result of this research shows that the use of idioms in order to criticize the actions of oppressive kings and hypocritical Sufis and ascetics in the court of Khajeh is a characteristic of the poet's style, and among the types of opacities, the frequency of opacities of proportion and singular opacities are more than other types.

Onomastics is a science that encompasses a wide range of disciplines. This knowledge studies the letters from different social, historical, geographical, linguistic, etc. angles. It also help explain the significance of the names from different aspects. In the realm of language, too, the structure of names can be studied and analyzed from different angles. In the present study, we have examined the names of the main books in the field of rhetoric from the perspective of semantic core, clarity, and opacity in an analytical-descriptive manner. The results show that in names that "Balaghat" is the center of the title of a work and the title has an additional structure, the second component should be considered as the core of the work. this feature is also seen in works in which "Badie" is used; but in many nouns, which are preceded by "She’r", the core of the compound is the first part. What is very noteworthy in this study are the Arabic names, many of which can be considered as compound adjectives, although these adjectives do not reveal much about the subject or of the rhetoric. In addition, we are dealing with names in this field that should be considered to have no specific core. But in terms of transparency and opacity, it must be noted that in the name of books that have an additional structure, it often overshadows the core, or in other words, the whole combination, and affects it. Even in descriptive combinations, a word is often found that affects the whole structure. In general, the words "Balaghat" (rhetoric), " Sh’er" (poetry), "Adab" (literature), "Nazm" (verse), etc. are very prominent in these names. However, none of them seem to have made the name transparent; what makes the name transparent is the thematic context of the name or its situational context.

In this paper, we describe the opacity and transparency of idioms in Arabic language based on the linguistic model of Nunberg. This model divides the idioms into two main groups of idiomatically combining expressions and idiomatic expressions and sets out criteria for differentiating them. The corpus of the study is the entry of (b) in Al-Mu'ajam Al-Musoua'i by Davoud. By applying these criteria into Arabic data we tried to distinguish these two main classes of idioms in Arabic. It could be concluded that about half of the explored idioms are idiomatic expressions and are mainly non-compositional. In contrast, the other half could be categorized as idiomatically combining expressions that were compositional and the criteria proposed by Nunberg (1994) show that they are not as opaque as the first group. So, contrary to the traditional definition of idioms, it can be argued that the idioms are not a homogenous class.

Sound symbolism and iconicity which refers to a motivated relation between the signifier and the signified of a sign, is a literary and aesthetic feature whose usage in Hafiz’s poems have caught the attention of many linguists. In the line of this fact, the purpose of this study was to consider different types of motivation in the Hafiz’s Ghazals within Hinton et al.’s (1994) sound symbolism continuum. In so doing, all the lines and hemistiches consisting at least one type of sound symbolism – corporeal, imitative, synesthetic, and conventional –were collected to be studied in terms of their types and frequencies. The result of the study showed all types of sound symbolism from the most to the least transparency. It explains how important is this relation in poetry as well as its role in poem’s attractiveness and permanency. The quantitative analysis of the signs also revealed that there was a direct relation between the degree of motivation and their frequencies, that is, the more the signs were transparent the more their frequencies were. Therefore, the corporeal signs were of the highest frequency and the conventional signs were of the lowest frequency.

The present article studies the structure of synthetic compounding to discover the process or processes participating in making this productive category. Synthetic compounding composed of incorporation of argument, adjunct, adjective or syntactic phrases into verb stem and syntactic head of this structure derived from verb. Comparing the synthetic compounding data of this article amounting of 8481 with the root compounding data of Khabbaz (1385) with 3974 cases, both have been elicited from Soxan dictionary of Anvari (1386), shows that this category is two times more productive than root compounding. The investigating of syntactic and morphological properties of synthetic compounding indicates that it cannot be merely syntactic or morphological process. Studying synthetic compound words according to morphological and syntactic criteria (non-pronominal reference, word formation process, irregularity, recursiveness, constituent structure, constituents’ relations, coordination and gaping, wh-word, productivity, aspect, morphological and syntactic integration, constituent expandability and non-expandability, semantic opacity and transparency) demonstrates that synthetic compounding is a morpho-syntactic process in Persian which possesses more syntactic characteristics. Moreover, inflectional morphemes can be attached to the whole compounds or the first constituents, transparent, opaque, expandable and nonexpendable compounds prove that this category behaves the same as both morphological and syntactic structures simultaneously.

Transparency and Opacity are important subjects in language learning. Transparency and opacity are at the interface of morphology, semantics and syntax. In contrast to the previous studies focused on compound words, this study investigates compound, derived and compound- complex words. In this research, the researchers randomly selected one hundred words out of two thousand two hundred eighty two from sokhan two volumes dictionary. After the analysis of lexical morphemes, prefix and suffixes, the semantic relation among components were identified. In this research ten convincing reason were applied to show the transparency and opacity. Some of them are as follows: primary meaning, motivation, winding and narrowing.

H.G. Wells, as the forefather of science fiction has used the relativity of time in his stories, and has manifested how through shattering the boundaries between time and place, the technological advances have changed the notions of classical physics into modern physics. These changes are inserted via opacity, resistance to the gravitational force and also freedom in movement to and fro in the time zone. In this article, Wells's science fiction stories which show the transformation of the human into machines, otherness, and resistance to gravity which would result in the devastation of the whole humanity have been studied, with the aim of coming to this conclusion that the main reason of the time traveling of the humans is opacity in Wells's science fiction.

Compounding is one of the subjects، which have been always under research in the history of linguistic studies from different aspects. In the area of semantics of compounds، due to the principle of semantic compositionality that unites the meaning of components of a compound to reach out a compositional meaning، we find endocentric compounds with a semantic head. On the other hand، there are plentiful of compounds in a language، which have no semantic head and، consequently، no compositionality. Therefore، we find the referent of the compound out of it، which should be listed in lexicon and to be memorized. Exocentric compounds with no clear semantic head and no compositionality have opaque meaning. Based on the claims of Carin’s theory، which has a cognitive approach، we could explain that the reason that a compound is transparent or opaque in meaning is due to the existence or lack of a semantic relation. The very semantic relation that Carin’s theory recognizes as the key entity for interpretation is at the same time responsible for a compound being transparent or opaque. In endocentric compound، the relation existing between head and modifier creates the focal concept in the compound. In fact، by this semantic relation، we come to interpret noun compound even if we face with it for the first time. Having or not having a semantic relation for a compound is the key explanation behind the semantic transparency and opacity.

Persian poets have made their poems more interesting by using the art of opacity. Khaghani is one of the poets who had shown special tendency to this art which became a reason for his word's complexity. He is such a poet who could create his own special way and method that differs from other poets by his artistic power and his unique linguistic creativity in creating rhetorical figures specially multiple meaning. Art of opacity is one of important kinds of rhetorical figures that one can employ to do a kind of semantic deviation and accompany the poem with a type of multiple meaning. The author had surveyed 18 different kinds of opacity by taking a brief look at Khaghani's ballades and presented it with poetical samples of this illustrious poet of 6th century in order to study a part of Khaghani's rhetorical delicacies and the beauties of his poetries.