نشریه مطالعات زبانی بلاغی
پیاپی 19 (بهار و تابستان 1398)

Order in view of Abdul Ghaher includes continuity of words to each other that obtained based on the meanings, provisions, and funds. He believes that: the miracle of Quran based on the order is arising from submission, delay, mention, elimination, definition, contact, separation, and castle. In this article we try to express the continuity of words in creating the image of metaphors such as: “EshtaeloAlraasShiba” of verse 4 of surah Maryam based on order theory and with descriptive-analytical method. The beauty of available metaphor according to Abdul Ghaher Jorjani is due to other factors such as: the word indefinite “Shiba” or the “Al” on the “Alraas”. This metaphor have more than 10 comprehensive that complete the picture have been achieved from particular type of choosing the right nickname.

Similarity is one of the arrays of the statement, which by claiming similarity between two or more things, not only illustrate in the form of wisdom in the macro dimension, but also examine the general context of a work can measure the degree of creativity of the writer or poet in the design of this similarity. Take a look at contemporary Persian literature and reviews, the role of similarity in the Persian novels show that in the Persian novels, unlike poems, the impact of such unit of similarity goes beyond and if the overall form and its relation to all the figurines novels reviewed, concepts derived from the fictional works of critics could identify the genre and style of the author. Romance symphony “The Dead” is one of the outstanding works of the 1360s and considered that after a few decades, it is still attractive for the readers. A review of the effect of similarity and its role in the normalization of the novel, shows that we are faced with a tragic novel and grief-ridden atmosphere. Reviews of similarity in this novel, shows that About 73% of these sentences, are symbols of helplessness, depression, loneliness, sadness, violence, despair and the desire to pass and perish which have effect in bringing a major contribution to the tragic structures.

The attention to the issue of post-death life is one of the things that, in the form of the parable of the narrative of the journey to heaven and hell, was created in the literary and artistic works of various nations throughout history, with regard to the cultural, social and religious factors of each society. The wishes and pains of human life in the other world have been exhibited. Adavirafname (narrative and prose) of Iranian literature and the movie "What Dreams May Come" is the product of American cinema, among which the allegorical journey to heaven and hell is depicted in them, and this paper attempts to analyze and answer the main question to about the allegory of this course and the function of the symbols in these works, what are the similarities and differences, and the reasons for these different interpretations in a descriptive way. This comparison shows that, given the dominant individualism of the movie, the symbolic expression in that narrow interpretation with a specific framework, focused on shaping the sensory relationship with the audience in the form of recreating scenes from heaven and hell personal, and emphasizing pleasures and spiritual sufferings and individual motivations, but in Ardavirafname, by emphasizing on the notions of collective memory and religious believes, symbols in the general form, repetitive interpretations and educational-religious goals, and focusing on physical rewards in the context of the general parable of the journey to heaven and hell, the main theme of the text has been shaped.

Reverie imagination used in the lyrics can be traced in mythological and cultural collective unconscious. The contradiction of good and evil in the romantic story of Khosrow and Shirin, converts the central theme of the story into a heroic one. These heroic concepts can be recognized by using the formula of Gilbert Durand’s method in configuring aspects of human imagination. The nature of image is at the central point of Durand’s thought, and the binary structural base he points is dynamited at the outset by the possibilities of the ternary. Durand’s method deals with the structure of the human imaginary, within which it stablishes a typology of figures, and organized according to several central archetypes. Thus he postulates two main orders of image, the diurnal and nocturnal, corresponding to two general types of imagination. The Diurnal Order is characterized as diuretic, whereas the Nocturnal Order is to be found two subgroupings: the synthetic and the mystical. These categories are underpinned by the reflex dominants. It uses the human reflexes (postural, digestive and sexual) as material for its demonstration, and examples taken from the mythological collective unconscious. The analysis is based on 6 distinguished paintings related to the books of Khamsa which were designed during the Timurid’s era. So, the research is comparing the pictorial methods used in the paintings to show the imaginative characteristics of the story with the imaginative phenomena’s in the text of the story. Analyzing the text shows, the usage of different diurnal and nocturnal symbols such as: death, ascension, dagger, killing, water, dripping, bloodthirsty, trembling, anger, and so on. In the paintings, the artist uses some of these symbols like dripping, death, dagger and etc. In order to achieve the imaginary boundaries of imagination the poet encompasses, some other visual techniques helped the artist, like: the use of vertical and horizontal axes with positive and negative values as well as dividing the image into two parts with some pictures that have positive and negative evaluations. Finally, the results show that the painters are totally depended on the poet’s aspects of imagination especially in the basic elements and descriptions of the principals and essentials of the story in the text. But also, in order to compensate the limitations of painting, they used new technical painting methods which in some cases are further than imaginative.

One of the conceptual relations between words is collocation which means two or more words are collocated in such a way that the possibility of their coming together is predictable. In literary language, collocation is the result of mental association and linguistic connections between parts of speech. Persian poetry regarding harmony in the different dimensions of speech, always has been distinct and this feature exists in Ferdowsi`s poem too. This facts lead us to look for finding the answers for the questions like, does collocations applied in Shahname, if it is used what kinds of it and to what extent are they used? This research is a kind of descriptive, corpus-based one, which has been done based on Safavi’s semantics fields theory which is based on structural linguistics. The corpus of study includes 1060 verses of Shahame. The results indicate that  The application of all kinds of lexical collocations such as noun + noun , noun + adjective and noun + verb and associative collocation such as semantic association , phonetic association and syntactic and structural association and the existence of proportion and wide connections in conceptual relations network like hyponymy , polysemy , synonymy and semantic opposition applied in shahnameh can be of the most important and most high frequency coordinates of linguistic and literary level of Ferdowsi`s poem .

This study suggests that a narratological perspective on supplications in Mawlānā Rūmī’s Mathnawī reveals not only several artistic characteristics of the prayers, but also the poet’s views on certain aspects of the dialogue between mankind and the Divine Creator. Most of the supplications in Mathnawī appear unexpectedly. Most of the time, we are left wondering if the supplications are uttered by the narrator or by a character in the story; even sometimes they lie outside the storyline. For the most part, the supplications appear at turning points in the plot and exemplify some of the most private experiences of the story’s characters. They oscillate between cliffhangers in the storyline and the pseudo-binary of anthropomorphism and transcendence. Occasionally, they ensnare the narrator and the protagonist in the agonizing dilemma of deciding whether to pray or not.

The subject of this article is Verbal Rhetoric Skills in Bahmayari’s Storybooks and Mazandaran’s Proverbs. Proverbs is one of the branches of folk literature. Although it seems that proverbs are apparently far from the aesthetic assets, less proverbial examples can be found without any rhetoric skills. One of the important factors that bring beauty and efficiency is verbal rhetoric arrays. In this textbook, novel verbal skills in 6023 proverbs of Bahmanyari's storybooks and 2023 Mazandaran's proverbs from its culture by Mostafa Ansari was investigated and analyzed with comparison and description method, and also content analysis according to the library resources. This result is obtained that, employing novel verbal skills have great influence on the rhetoric and effectiveness of the Mazandaranis' proverbs and storybooks which has caused its reputation and popularity. Beyond the total novel verbal skills, the repetition and commitment have the highest frequency and chiasmus has the lowest frequency in rhetorical of proverbs. The number of arrays used in storybooks proverbs are more than Mazandaran's proverbs. The variety of arrays in Mazandaran's proverbs are less and the arrays that were used in them are more simple and sensible: this suggests that speakers of Persian proverbs have more knowledge of literary than the speakers of Mazandarani' proverbs. Of course, the poem form of storybooks proverbs has some impact in this regard.

The prominence of poetry of a period, and achieving a new style and language requires norm-evasion and abandoning the form, language, theme, subjects, and traditional useless images that this process was done in the poems of the second Pahlavi era due to various factors, especially the needs of Iranian society. This article, which named as Iranian Realist Manifestation in Second Pahlavi Era, has focused on studies on development and manifestation of Iranian realism by studying the poetry of this period in four subjects: social, political, partisan and religious. For this purpose, the authors began examining the nomadism and foregrounding, based on form-dealing and thematic look, and brought evidence from the poets of this era by explaining and analyzing the poems of the poets. They presented the most important elements of them by examples, and therefore they concluded that thematic normality and other forms of norm-evasion caused prominence of the poetry of this era and the manifestation and development of Iranian realism, which has different meanings and more prominent than other realism and a new identity for Iranian society and Persian poetry. The realism which has other signs, also has religious and sacred indications, the manifestations of which could be seen in the lives of the Iranian people as a great reality, and its effect on Persian poetry has caused prominence of it.

Language sociologists believed on the role of different non-linguistic factors, such as ethnicity, gender, education, social class, age, and geographical area in the emergence of linguistic forms. One of the social classes is the students’ stage which defined by its own discourse. But this study, with a study on the language of students, concludes that in the present situation, the role of these factors has changed, both because of the changes in global culture and the technological movement and cultural transformation of Iran in recent decades, which has been influenced by international developments and internal events and the collapse of past prehistory. Accordingly, based on the three variables of age, education, and gender and how they affect the language, which arranges the new power system in the language, and the convergence of these factors and the diminution of previously inflexible factors creates a new discourse that has a perfect expression in a language called "dark language". A language that has been spoken in secret in the past decade, but now appear. Then by the descriptive and explanatory study of this sublanguage, it concludes that this linguistic form, which expresses a certain style of life, confronts dominant ideology with a counter-crisis approach. It is not merely a moral phenomenon that is reformed with an advice and warning book, but a product of profound and complex socio-political variables.

The relation between the grammatical structures and the rhetoric of speech has not been sufficiently studied and analyzed in Persian language in general and specially in poetical language. Although the relation between the syntactical structures and the rhetoric in the language of poetry usually follows the rules of the ordinary language, the consciousness and the significance in the usage of some syntactical structures in poetry cannot be ignored.  The poetical craftsmanship in producing diverse syntactical structures so that these structures could be suitable with the context is sometimes so apparent and obvious that calls the literary critics and the grammarian’s attention but a comprehensive method and framework for formulating and analyzing such a craftsmanship is yet to come.
This article aims to demonstrate that Akhavan-Sales, considering the co-text and the context, how uses a diverse range of grammatical and syntactical structures to deliver his intended meanings and messages. Hence, some marked syntactical structures in his poems are analyzed so that this article can participate in finding the above-mentioned method and theoretical framework, explaining some details of his craftsmanship in syntax and poetry. The article focuses on changing the word order and uses some theoretical concept such as marked/ unmarked (syntax), new/ given information (Halliday), topicalization (syntax and functional linguistics) and the analytical method of Al-Jurjani in comparison of different syntactical structures. Adopting a qualitative research method and after analyzing of the poetical and syntactical instances, we have demonstrated that Akahavan-Sales how employs a diverse range of marked syntactical structures to deliver his intended messages and meanings, and what a great potentials Persian language bestows to its users in this regard.

In line with personification and synesthesia, symbol is a significant characteristic of rhetorical level of Sohrab Sepehri’s style. By means of iteration, some of the symbols have been converted to an important and remarkable characteristic and are considered as motif. According to stylistical  investigations, words as “water, light and illumination, loneliness, void, nothing, lotus flower, apple, anemone flower, green and blue color” are symbolic motifs of “Hasht ketab”.   These symbols are extracted from three parts; nature, Zen-buddhism  and myth by which freshness and innovation are demonstrated in Sohrab Sepehri’s poem. After defining symbol and motif  in this article, symbolic motifs will be investigated by means of descriptive-analytical method, and according to poem’s contexture, the specific and accurate meaning of them will be expressed in different poems.

The present study is an attempt to re-identify grammatical verbs in Persian language, and teaching them to non-Persian speakers based on the CLT approach and within the MP framework. In this regards, two successive objectives are followed: First, revision of grammatical verbs in Persian grammar, explaining the role of each of these verbs, and providing an explanatory analysis for syntactic structures associated with these verbs. Second, teaching grammatical verbs to non-Persian speakers and developing new grammatical texts and rules (such as the position of sentential negation marker) based on this revision. So the main question is: if we put away the traditional descriptions of grammatical verbs, what is the effect of this new linguistic approach on the second language learners? Following a detailed discussion on the Persian grammatical verbs, in the experimental-field research part of study we will try to provide an integrated syllabus within the communicative language teaching approach, based on the theoretical findings of the research. By comparing two groups of Persian learners, i.e. the control group and the experimental group, we will show that teaching grammatical verbs according to the new syllabus leads to facilitation of teaching, learning, and remembering processes, and Persian learners of experimental group will have better and more successful performances, with the average of 5 points higher than the control group.

In contemporary Ghazal, in order to defamiliarization and creatation of linguistic capacities, various approaches are used in the framework of norm-setting. In addition to enhancing the literary aspects of the speech, these approaches have become such a feature of style. The purpose of this article is to study the normative hypothesis of the syntax layer of contemporary ghazal based on layered stylistics. The fundamental question of the article is that the normative hypotheses of the syntax, in what parts of the chain of words occur in the most part, and what the poets would use for this purpose. On this base, after a brief introduction to linguistic stylistics and hijacking in the syntax of speech, authors introduce examples of this application, and in the end it is concluded that the hijacking of contemporary ghazal, both in the morphology and in the syntax, has influenced the word. Most of the cases are related to spontaneity, especially in the infinitive and verb areas, the construction of words and the use of exquisite attributes, and in the syntagmatic of speech, to be payed attention to normality of the syntactic layer.

If we consider the reality as irregularity and poetry as a coherent whole, one of the instruments of this irregularity in poetry and its coherence can be considered to be irony. The heterogeneous experiences of the poet from his world lead to the emergence of apparently more controversial issues in his poetry. The poet's humorous awareness of the existing contradictions brings the text into an irony, can make reading the poet more of an intellectual challenge, and gives readers a wider view.
Sanai's heterogeneous experiences, which are the result of a conflict between his ideals and perceptions with his status quo, are intermingled in his poetry and became a whole new one.
The current study was aimed to examine how Sanai's linguistic choices are used to reflect the status quo in the society and to demonstrate his thoughts, beliefs and concerns by evaluating the extent, manner, and use of irony in his poems. Based on the results presented herein, there are often a network of different ironies beside each other in the poetic language of the Sanai, by which his poems were turned into an integrated structure; consequently the general readers can be enjoyed from its appearance, and a particular reader from the discovery of hidden layers. As a representative of the educated stratum, Sanai had considered himself responsible to the common people and tried to reflect their concerns and problems in their work. However, he has been forced to diminish his sharp tongue expression, hence, he had used irony.

In rhetoric, one of the branches of semantics, the nature of linguistic structures and their semantic layers are discussed. The linguistic discourses in this science creates commonalities with Syntax; or as Abdul Qahir Jorjani, the creator of this technique, calls it: "Semantic Science". Theme and rhemeare among the eight topics of this science, discussed in all books of rhetoric, from the oldest to the later writings, under the discussion of predicates. It deals with the evolution and specifications of theme and rheme in predicates, some of which are position, definiteness or indefiniteness, repetition, deletion andcreating adverbs. In the stage of action and examination of the word (text), based on these issues, there are problems that raise doubts about the issues’ explanation and discussing them under predicates. In this study, while expressing these ambiguities, they are addresse through evidence and instances from literary texts. By explaining Jorjani's theory of order in this field, approaches for reforming this part of semantics are suggested.
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