مجله بلاغت کاربردی و نقد بلاغی
سال چهارم شماره 1 (پیاپی 7، بهار و تابستان 1398)

Emphasizing on the literary role of language and the highlighting of signs, the formativists have distinguished between the two linguistic processes of "automatisation" and "foregrounding".The methods used in the process of converting automatic language into literary language have long been considered, which in the Persian literature, following the study of this trend, in the analysis of the aesthetics of literary texts, attention to the style features of texts are considered. in this article is how to selection and Combination on the "paradigmatic axis" and "syntagmatic axis" in poetry poetry of this style, Bidele Dehlavi, from the perspective of linguistics, the style of aesthetic creation Check out this poet. we have studied the study of literature from the point of view of linguistics and studied 275 verses of Bidel poetry. the results, the parallel operation of the two processes of selection and composition is close to each other. The use of these two processes together has led to the creation of complications in the poetry of Bidel. The results indicate that Biddle has envisioned the kind of lyrics that the perception of each bit depends on the reader's thinking and his achievement of the choices of the poet from the succession. the relative tendency of Bidel to the selection process has created a special atmosphere, as the creation of implicit meanings in terms of complexity, ambiguity, the distancing of attribution, and, This process makes it difficult to understand Biddle's poems.

The comparative rhetoric is one of the research needs of comparative studies that opens new aesthetic adaptive auctions and helps contemporary rhetoric to study the heritage of Persian rhetoric and European languages, especially English rhetoric. This comparative study in three areas of Figure of meanings, expression, and exuberance. In the rhetorical classification of these artistic methods and aesthetic analysis of the literary text, in particular the science of meanings which, in contrast to the two expressive and exquisite sciences, remains obscure in the aesthetic analysis of both languages. In this article, we have attempted to adapt the theory of action spoken, grammatical structures in the secondary meaning, the priority and verbal subtraction, the fragmentation and connotation, the structure of sentences in expression of meaning, truth, and equality are discussed in Persian and English. The classification of rhetoric in both Persian and English languages can be found in the similarities and differences between the artistic origins, the universal context and the fundamental aesthetic attitudes and the aesthetic analysis of the literary texts of these two languages. The More Influencing of English Rhetoric from the Greek Rhetoric and the Influence of Persian Rhetoric on the Qur'an and the Persian Literary Texts, the inclusion of a number of topics in the science of meanings in the Persian and English languages in the context of the term " Decorum is a comparative study of this research.

Contrary to past approaches to texts often referred to as "text" or "text authors," from today's literary critique approaches are attention to "text reader" and discussion of the reader's role in meaning to the text. These categories of theories suggest that the text does not have a stable meaning, but the meanings of the product of the reader's creativity. One of the most important contemporary schools of thought that refers to the importance of the reader's role in perceiving and receiving meaning, but also in the creation of the meaning of the text, is the theory of "Aesthetic of Reception", known as Hans Robert Jauss and Wolfgang Iser. The general conception of the historical transformation of literary theories is that the importance of the reader's position in shaping the meaning of the text, and the role of the reader in the meaning of the text and the problems surrounding the perception of meaning, is the theoretical achievement of the recent centuries in the West. However, the accuracy and revising of some of the past rhetorical texts suggests theoretical reflections and some of Islamic thinkers and rhetoric's views on the importance of the reader and his role in creating the meaning of the text. The present study addresses the reflections of three rhetoric and literary critics of the Islamic world on the relation between text and reader and the reader's position and importance in determining the meaning of the text.

Stories represent the intellectual and cultural foundations of each society, so the discovery of the underlying elements and underlying structure of stories reflects the social characteristics of each nation. Semiotics provides the capacity to analyze and discover the underlying structures of the narrative and is able to provide analysts and critics with accurate scientific tools. This research is an analytical Semiotics of two stories of Kabab-e Ghaz and Death in the Wood by two Iranian and American writers. The authors attempt to answer the question of the typology of Jamalzadeh and Anderson's discourse systems and what are the cultural and social differences in the underlying layers of these two stories. According to descriptive-analytical studies and content analysis method based on semiotics discourse tools, the results show that both authors have used different kinds of discourse systems in their story but the process of action and Stative as a core elements of discursive factors, creates discourse and lead up to transmutation of meaning. Namely, action replacing Stative with aesthetic type. But what has made the difference in the themes of the stories is the lifestyle and attitude of the actors and cultural factors in both discourses.

The historical, political and literary interrelationships between Arabs and Iranians are very old and deeply rooted. These relations go beyond the period of Islamic conquest of Iran, when Persian civilization had a significant political influence on the Arab tribes on the Arabian island, especially the city of Hira, and had a literary influence on poets such as "al-Ashi" and "Uday bin Zid al-Abadi" and others. . After the advent of Islam, the relationship between Iranians and Arabs became even more widespread, as familiarity with the Qur'an provided the basis for Iranians to be influenced by various Arabic and Islamic languages and sciences. The great interest in Islam has led the Iranians to pay particular attention to Arabic religious texts, including the "Qur'an", "Prophetic Traditions", "Nahj al-Balaghah" and "Sajjadiyah Sahifiyyah". Because exotic science relies on the beauty of the word and Iranians have an innate tendency for beauty and beauty, poets and literary figures who were less inclined to the complicated rules of Arabic mere syntax found the opportunity to associate exotic science with less mere interference. And the way they were, they were practicing and influenced by Arabic religious texts.

conceptual metaphor is a subject in cognitive linguistic that it is a review of metaphors that are in the consciousness of the author or speaker as part of the system of thought him; address this issue can be useful to recognized intellectual infrastructure of writer and its various dimensions. Mersad-al-Ebad bye Najmuddin Razi (573 - 654 H. h) is one of Persian mystic books in Persian language that has been written with using of the analogy, the metaphor, verses and sayings of rampant in the field of Islamic mysticism. Bye review of conceptual metaphor of ‘seed’ in this book, it becomes clear that the author paid a special attention to the metaphorical sense in his book; after classification conceptual metaphors of seed in the book related to conclude that these metaphors, formed base on a broader metaphor of ‘the universe is seed’ and in the end the metaphor of ‘God is farmer’. Roots of this metaphor can be searched in the cultural, social , geographical , language and partisan dimensions of Najmuddin Razi mind.

Rhetoric is the expression of the word for the influence on the audience and his persuasion. Describing how this effect works and determining the role of each element of poetry during this process can make parts of the layers of ancient rhetoric and new rhetorical sciences more active. The issue of the proportion of meter to the subject and content of literary work and its role in influencing the audience are the concerns of some old and new rhetoric in the West and Iran, but the existence of correlations between the submission and persuasion of the audience is a balanced poem with the submission of a hypnosis man, Richards has analyzed and explained this process by adopting an interdisciplinary approach. This is in spite of the fact that sometimes the meter of human poetry is not to the tune of a dance and dance, as in some of the poems of Shams and Rumi. The present article, with more emphasis on the adaptive look at Richards' theory of "hypnosis", seeks to explain this and discover some similarities in the ideas of Iranian thinkers. The most important achievement of this research is the updating of some of the old theories and acknowledgment of the coefficient of the rhetorical effect of meter and its functions in the structure of Persian poetry.

Stylistics is a relatively new science in which the framework of literary work is examined. In-text discussions (such as special depictions of literary work; special views on the issues of the day; particular language; grammar, etc.) and outsourcing (such as the life and the fate of the work of the work, the time and the special stage of the work And the same section, a shadow over the wide impact and ...) affect the structure of an effect. Beside these, individual style is a branch that is separate from stylistics and has a close relationship with it. On the other hand, the rhetorical system and the eloquence of the one-effect, in such a way as to highlight individual style. The literary text, if based on rhetoric, is the creator familiar with the principles of rhetoric and uses it in their own wisdom, their personal style is presented in a unique and indisputable way. The analysis of the works of contemporary poet Mehdi Akhavan Saleh shows that there is a deep link between his rhetoric and his personal style. In such a way, the reader comes to the mind of the reader that the poet has chosen his personal style with the dominance of rhetoric and familiarity with it. In this paper, Content Analysis is a method for reviewing the lyrics by using it and analyzing text data to various dimensions of the proposed questions.

William Ampson (1906-1984) considers ambiguity as an inherent factor in the poetry and provides the basis for the reader's reaction. In his view, every kind of minor linguistic distinction, however small, which makes the reader's reaction, is an instance of ambiguity. Therefore, in addition to linguistic twists, some of the rhetorical techniques that engage the minds of the audience and cause their responses are controversial ones. Based on this theory, the category of ambiguity in Saadi's lyrics is divided into two categories of artistic and inherent ambiguities and linguistic and distortion ones. The artistic and inherent ambiguity relates to rhetorical system, especially the imaginary imagery and some figures of speech of his poem, and the distortion ambiguity includes some linguistic factors and cultural and social categories. Since Saadi expresses his emotions and feelings honestly, clearly and naturally with his audience, the reader doesn't understand the ambiguity in his words. His expression is so bright and natural that his feelings and emotions are clearly expressed and the confusion and mixed up ambiguities that indicate the poet's lack of respect for his thoughts are not found in his poetry.

The history of Sistan and the history of history includes the thought, linguistic and literary features of Persian language.The study of historical books, in addition to their historical content, is also important and necessary in terms of prose rhetorical characteristics. This study, by examining the rhetorical structure of the history of history and the history of Sistan through a comparative and descriptive-analytical method, attempts to highlight the rhetorical features of the historical prose books of the early centuries of the emergence of the Persian language. The comparison of these two works suggests that both are simple and psychic to the books of their period. This is due to the influence of the prose of the history of the history of the history of dialectical history, as well as the efforts of their authors in translating history in plain language. The literary features of prose are the lack of use of verbal and verbal artifacts and array expressions, and the use of a handful of innovative spiritual archetypes of verses and hadiths and assurances of Persian and Arabic poetry in the history of Sistan and briefness.

Poetic images are the result of poetic passion, individual awareness and creativity, which is rooted in the poet's reflections on literary works and other poetic experiences, and is the result of his poet's life experiences and deep-seated attitude in the environment, combined with the climatic conditions and political-social conditions Includes. It can be said that among all sorts of poetic pictures, it has a shout over other social origins. Therefore, the analysis and analysis of poetic images, especially the poetry, which has often entered into literary language through the culture of society and social interactions, is also important in explaining some intellectual and cultural foundations, in addition to the importance of aesthetic analysis of works. In the present article, with the focus on the hints related to the "hat" in the Shahnameh, the attempt has been made to explain the aesthetic dimensions of these ayatollahs through the method of reviewing the text and analyzing the content content and comparing the data with the results of related research, an analysis of the social context of the theatrics To be given. The data of this research show that the hide-outs in the Shahnameh with a relatively high frequency have different structures and meanings that continue to exist in Iranian culture and literature. There is no doubt that part of the continuity and diversity of the meanings of these tales goes back to their intellectual origins and their social and cultural background.

One of the most successful female writers in contemporary Persian literature is Simin Daneshvar who could compose and provide our country's literature with fine and great works due to her personal style. Suvashun is his most important and successful work which has attracted many readers since its first publication. Her works, particularly Suvashun, has ever been studied from different aspects. Using a descriptive-analytical method, the present paper seeks to review the relationship between imaginative elements (simile and metaphor) and the theme of the work by providing some examples. Simile and metaphor as two key elements are used by Simin Daneshvar to develop the theme of Suvashun. Similes and metaphors are mentioned, their relationship with the theme is analytically discussed, and the author's aims in using them are explained, respectively. Using similes and metaphors, Daneshvar has mostly tried to describe or interpret people, scenes, spirits, manners and characters. Therefore, her images are mostly direct, clear and plain. These images and descriptions have made the prose of the novel poetic to some extent.