فصلنامه پژوهش زبان و ادبیات فارسی
سال شانزدهم شماره 4 (پیاپی 51، زمستان 1397)

In order to understand the rhetoric of the Persian language and to discover its rules and principles, it is necessary to study and analyze its syntactic structures. By this manner, the order of syntactic structures in normal status can be recognized the changes that happen due to rhetorical purposes could be distinguished; because the syntax structures, which are the various orders of the components, are forming according to meaning and rhetorical purposes. Any kind of "change in the grammatical position of the components", "change in sentence form" and any "deletion or addition" in the word are the result of rhetorical purposes. This article focuses on Sa'di's work as a prominent example of Persian rhetoric, examining the most important fields of rhetoric through which the transfer of meaning and the induction of rhetorical goals take place. The purpose of this research is to identify the general fields of Persian language syntax in inducing rhetorical goals, each of which can include many instances. It also attempts to show what meanings and purposes are usually expressed with each of these capacities. The results show that "displacement of word components", "change in structure and formation of sentences” and "syntactic increase and decrease" are the main means used to express rhetorical purposes in Persian syntax.

The genre theory or generic criticism is an important issues of literary theory that has been considered on literary studies since Aristotle. This is so considerable that much of the aesthetic principles of the great literary schools have been influenced by it, and the critics studying these movements have devoted part of their studies to the genre theory. Among literary schools, the contrast between the classicism and romanticism is very important in the generic theory. Previous studies addressing this have described classicism’s approach to the literary genres as technical and prescriptive and in contrast the romanticism's approaches as philosophical. However, philosophical components of the genre theory in romanticism have not been thoroughly explained. This research seeks to explain and analyze the components of this philosophical approach and the factors that influence its formation. In other words, what are the components of romanticism’s philosophical approach and what are the factors affecting that? This study shows that the classicism's approach to literary genres was questioned due to Kant's subjective philosophy and Herder's historical relativism and also the social, intellectual, and cultural changes of the Renaissance, such as the industrial revolution and humanism and factors such as historicism, consistent unity theory, attention to the poet's ingenuity in the creation of literary work, individualism, and subjective and phenomenological view led to the formation of a new genre theory in the school of Romanticism.

The history of knowledge that is considered by Sohrewardi in Hikmat-Al-Ishraq follows a pattern that has been formulated before him in the Sufi texts. This historical pattern which is based on a hadith attributed to the Prophet (peace be upon him) foretells the future of esoteric knowledge of Islam after the Prophet. As to the fate of divine knowledge on earth, this pattern defines three stages: the era of knowledge by presence, the era of assenting meaning to the word, and the period in which metaphor is converted to symbol. Sohrewardi refers to this historical pattern and completes it by presenting a certain definition of the Divine Hakim and his role in interpreting the mysteries of the mystics. By this action, he makes a commentary on the history of knowledge. The fourth stage that Sohrewardi adds to this historical pattern is the resurrection stage of meaning to its truth, and it can be defined only by reference to the totality of Sohrewardi's intellectual system. The present article attempts to extract this historical pattern from the Sufi texts and then explains Sohrewardi's role in completing it.

Literature is a mirror that reflects the culture, and fictional texts are an appropriate ground upon which these cultural reflections in a variety of fields, including issues related to female status could be examined. In this research, two anecdotes were selected from Sindbad-Nameh to analyze the female role. Although the text of Sinbad-Nameh has been produced in a historical misogynistic context, there are many examples of the female power in it. This paper, with a descriptive-analytical approach, studies the text based on Fairclough’s critical discourse analysis method, at three levels of description, interpretation and explanation, to analyze the mechanisms of the representations of the female power. As a result, it was concluded that the women in this work have an active and powerful presence and that their active role in shaping the anecdote process is evident. Also, despite the negative attitude towards women, the signs of their hidden power can be observed. In this work, Women use intangible means of power such as language, tact, intelligence and politics to achieve their goals and if the ways to gain the constructive and lofty goals are closed to them, that power is sometimes misused.

The earliest accounts, historical and literary books that have spoken of poets and incidents of the period of Sanjar and Atsez Khwarazm-Shah and have been reminiscent of Adib Saber Termazi are mostly unanimous with the statement that Atsez, the second king of Khwarazm, has sunk this great poet in Jaihoon (Amu Darya) river. Some contemporary researchers have hesitated to report the murder because he mentions aging in his poetry. The only reason for this skepticism is the poet's remarks about his old age in his poems and that reflects the fact that Saber was not murdered either by Khwarazm-Shah, or if he was, at least not in his youth and during the time he served the royal court. While, if anyone has read exactly or completely all of this great poet's body of works, there are signs of his old age telling us that Saber was not killed by Atsez Khwarazm-Shah and most likely died of natural causes in his old years. This article, based on the documented statements existed in Saber’s poems, and a brief look at the days of Adib Saber, i.e. the Seljuk period, and his patrons, proves the hypothesis that the issue of Adib Saber’s murder by Atsez Khwarazm-Shah is a historical misunderstanding.

Is the existence and agency of human life in Islamic mysticism is a worthless shell? Does the belief in the Absolute Existence leave no room for the notion of human existence? Can the position of humanity be considered so high as if the human being is all of existence and everything except him is the image and imagination that exists in the mirror of the human heart and mind? In mystical works, the curious researcher can search for signs of anti-humanism as well as humanim.The main purpose of this article is to demonstrate the status of mankind in the universe based on the Islamic mystical worldview. Therefore, this study tries to explain this position, according to the works of two Islamic scholars, Ibn Arabi and Imam Khomeini. The basis of this explanation is the topic of avoiding the destruction of the monument of humanity in the Yunessieh chapter of Fosus al-Hekam and a commentary of it by Imam Khomeini in his mystical works. It is clear from the statements of Ibn al-'Arabi and his commentators that all beings are sacred because they are the manifestation of God. So when we look at mankind, or even look at the world of plants and animals, we see them all in relation to the Creator, not as an independent entity. This view awakens one's conscience and cultivates love and affection for all beings.