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

The fundamental questions of the research are: a) The stylistic-narrative components are explained based on which stylistic mechanisms of the narrative? and b) How do these components appear in narrative discourse? The results of the research showed that by analyzing the processes, the level of participation of the characters in the story is determined. The point of view in some stories is the third person of the reflector, in some the third person of the narrator, and in the story of "Intention to make the Kaaba of Rabia" the third person is the reflector-narrator. Descriptive suspense and delay are visible, for example in expressing the hardships of the Hajj journey and Rabia's fear of worldly possessions and self-deception.sometimes a mystic who teaches others and sometimes a seeker who learns by himself. The relations between actors or participants of the discourse are formed as an unequal, formal, public and equal relationship

A Study on the Characters of “ Souvashoon ” through the Lens of Simpson ’s Narrative Stylistics and Halliday’s Functional GrammarAbstractThis paper employs Halliday Functional Grammar and Simpson ' s framework to conduct a stylistic analysis of Simin Daneshvar ' s " Souvashoon ". The analysis utilizes Systemic Functional Grammar to examine the novel's ideational and experiential meta function, verbal processes, and Mood. Additionally, Simpson's narrative stylistics is employed to analyze the characters, sociolinguistic codes, textual structure, and intertextuality. Data for this research is collected using library methods. The results indicate a significant correlation between word choice, verbal processes, Mood, and the representation of characters in " Souvashoon ". Based on these findings and evaluations, it is evident that the representation of characters can be discerned through an investigation of sociolinguistic codes, textual structures, and intertextuality.Keywords: Narrative Stylistics, Simpson, Functional Grammar, Halliday, " Souvashoon ", Character s

Nader Ebrahimi is one of the most prominent literary figures of the Persian language in the contemporary era, who has created works in various fields. As a popular writer, he has represented his approaches in relation to the conditions of the society of the time and its demographic layers and has reflected individual and group demands in his works, among these works are the Ghazal stories of the bad years. In the realization of this goal, the use of means has been effective. Paul Simpson has a special place among the literary critics who have provided extensive and thoughtful comments on the subject. While introducing the four aspects of imperative, commitment, epistemology and perception, he has described components for each. The aim of the present research is to investigate the examples of the four aspects in the mentioned work and to explain the secondary purposes of Ebrahimi from the work of each aspect.

The article was compiled based on library sources and descriptive-analytical method.

Ebrahimi has used more epistemic and perceptual aspects in this work and has represented the conditions from his point of view by using adverbs, adjectives and verbs. Also, it was found that the author started the process of influencing the audience from the structural layers of the text and transferred it to the deeper layers in order to strengthen his speech - which mainly had a political, social, and cultural charge - in the verbal and content layers.

Ebrahimi has tried to explain his criticisms by using the concept of Mode and challenge the foundations of the political system of the time by properly using the capacities of Mode systems.

This research tries to examine the narrative viewpoint in Abbas Maroufi's novel entitled "Symphony of the Dead" in an analytical-descriptive way. This study is based on the model proposed by Simpson in 1993. It takes place in which the narrative and the narrative viewpoint are examined in a systematic and methodical way. First, we try to find out what kind of narrator is in this story based on Simpson's model, and then we examine whether the modality of the story is positive, negative or neutral. By studying this research, we find that the narrator is changing between the first person and the third person, each of which has had an effect on the advancement of the narration. The dominant modality in the story,based on Simpson's categorization is Positive, Which illustrates the commitment and self confidence of the narrator about the story's adventures and his decisive view about ignorance and prejudice in contrast to intellectual and consciousness. The Modal System used in the novel is imperative and implicit that it shows by modal-word verbs, emotional words such as Adjective and evaluative Adverb, verbs of reporting that represent thoughts and behaviors and statements the generalizations.Of course, in some parts of the story, there is a negative modal that points to the skepticism of the characters of the story.

Some linguistic theories claim that they have the capacity of describing and explaining all kinds of narratives, one of which is Simpson's linguistic-literary model. This essay, in a descriptive-analytic method, studies narratorial mode of The Possible Night by Mohammad Hassan Shahsavari according to the model mentioned, in order to show characteristics of the narrative structure of this postmodern novel and also evaluate the efficiency of Simpson's narrative analysis model in studying postmodern novels. Extracting essential textual instruments like languages and intra-lingual variations, different types of process, modes of speech and thought presentation, words signifying modality, analepses, prolepses and intertextual relations and analyzing them, it showed that this novel is analyzable according to five units of Simpson’s model. Languages and idiolects of characters represent their social and cultural levels, material process has been used more than other processes, this story is narrated in the first-person and from the viewpoint of participating character-narrators, free direct thought is found more than other types of speech and thought presentation, dominating modality is negative and this story involves intertextual relations in different fields such as places, characters and literary, artistic and philosophical works. However, textual structure of this novel is not analyzable through Simpson's model.

This study aims to examine the elements of stylistics in three stories. They include three poetical narratives by ʿAṭṭār in mystical genre pivoting around the character of Ḥallāj. The main research question of are: a) According to which stylistic mechanisms of narrative are the narrative-stylistic elements explained? And b) How are these elements reflected in the narrative discourse? This study hypothesis check the components of Simpson's narrative discourse to determine the stylistic features. Therefore, analysis of the texture of these narratives showed that in total, material processes with 16 applications had more performance than verbal process with 3 cases, mental process with 13 cases and behavioral process with 1 case. The research uses library method for collecting data and is analytical in nature, employing the methodology proposed by Simpson in his Stylistics approach. The results indicate the extent of characters’ collaboration by analysing the processes. In terms of point of view on the temporal plane, there is no specific time since all three narratives revolve around Ḥallāj. The descriptive pause is another example of this point of view and narrative time in the stories is longer than story-time. In the second story, however, the narrative is denser and more concise. An example of a point of view on the temporal plane can be seen in the three discourses of narration using "the use of past verbs", "descriptive pause" and "narrative time" in two narratives, and the narrative of “ tashte khakestar va amadane ashegh" is rejected. Naturally, from the spatial point of view, referring to space is not pertinent because it the prestige of Ḥallāj which is the focus of the author. All three narrative discourses confirm Hallaj's high position on psychological plane . The point of view is the third person in all three stories. In the first and third stories, the third person perspective is reflective, and in the second story, the third person perspective is prominent. Modality has some features in narratives of Ḥallāj: since the narrator narrates Ḥallāj’s emotions and the Lover’s character by direct speech, it has a positive shading. This may be explained using Fowler-Uspensky model. In terms of idiolect, the words uttered as the Lover’s reaction to see the Beloved’s (i.e. Ḥallāj’s) ash and finding a trace of the latter are in line with the mystical context of the story. All three stories of Ḥallāj can be discussed in view of Labov’s ‘textual structure’. Therefore, in future research, it is possible to examine the textual structure of the elements of this model in the narrative context by examining the structure of the text in other anecdotes of mystical poetry and consider the anecdotes related to elders. The results of this study showed that in almost these three stories, the result , the solution and the terminal phase are the same, and the reason is Attar's advice, which replaces any kind of analysis. With regard to intertextuality, two stories ‘Ḥallāj in the gallows’ (Ḥallāj bar sar-i dār) and ‘Ḥallāj decapitated in sleep’ (Ḥallāj bā sar-i burida) are referred to in other texts. The results of this study clearly show that the study of narrative stylistics and the application of its components have mechanisms that are suitable for analyzing different levels of narrative discourse context. In addition, this study provided an understanding of the style of Hallaj's narratives that had not been previously explored.

Modern poetry "story of Sangestan" perspicacious poetry Mehdi Akhavan, one of the best narrative poem collection "of the Avesta", which in addition to having the characteristics of literary language due to its validity, in view of narratology is also important. The theme of this poem, story displacement is Sangestan citychr('39')s artistic and sometimes as a symbolic language expressed two pigeons. The objective poetry Akhavan described in this society of his age is deadlocked. In fact, Akhavan in the poetry of despair over that society has narrated. This article narrative style and narrative poetry modality of Sangestan According to "plane composed of fused narrative" Simpson is studied. There is evidence that in this poem, it was determined that due to changes in the views of different sections of the poem, sometimes a third-person narrator, sometimes reflective and sometimes a third person, the first person that has somehow been effective in advancing the narrative have. Therefore, the combination of these three types of narration narrator. Also, in this poetic story of Sangestan intermodal systems based on the Simpson-faceted system that include: system-sided affair, desire, knowledge and understanding to be explored. Simpson believes the four-dimensional system, regardless of what the narrator tells poem about what it says, you can view: positive, negative or neutral is. Search result modal systems in the poetry of Sangestan story is that because more of planar systems, "an" and "commitment" are used, it seems that the dominant modality in the lyrics of "positive view" is.