مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 58 (اسفند 1399)

Allegory is one of the most important types of genres in literature that has an important place in Persian literature and is very effective and efficient in conveying intellectual, mental, and abstract concepts to the audience. Examining the various dimensions of allegory is an important step in identifying Attar"s works and his techniques for understanding concepts and conveying the message. The Mosibat Nameh as an allegorical work that narrates the spiritual journey of the seeker of thought is a good example for this study. The main question of the research is how Attar has used allegory and its types in the presentation of mystical and moral concepts and better understanding of these themes for the audience, and as a mystic what is his view about this literary genre? The data were gathered through library method and note taking and then they were analyzed. According to the findings of the research in the Mosibat Nameh, among the narrative allegories, the most used is the parable and among the types of descriptive allegories is the using of proverbs. It can be understand that Attar has used allegorical fable more to convey complex mystical concepts than word arrangement to convey words.

Iranian literature and history show that in the past, the women"s community has been absent from the narrative and historical role, and in this absence, the pen has been in the hands of men who have removed or distorted the true appearance of women throughout history. However, the constitutional period must be looked at differently. The course, which was accompanied by an introduction to Western culture, social demands, literacy efforts, letter-writing, journalism, and social scenes for Iranian women, so that it could be the beginning of a period in The history of Iran knew that women had made their social demands. In fact, from this period, we can gradually see the signs of women"s presence in the field of writing, especially in the public and social spheres of Iran. The aim of this study is to investigate the stylistic style of women"s prose in the Qajar and constitutional periods, in order to recognize their real social status in this historical period. In this research, data collection using library resources and historical research Describes and analyzes data. The findings show that gender, social class, level of education and women"s morale have influenced the stylistic features of these works.

Metaphor is one of the most central aspects of imaginative and focal element in the communication process. Metaphor can be seen as both augmented reality and a way to experience reality. Poetry is due to new combinations of thought and process of metaphorical innovative metaphors that can nourish and even expose the imagination. Metaphor plays an important role in innovating and creating a personal style more than any other element of poetry. In the poetry of the past, Khaghani is considered one of the most creative Persian poets in the creation of exquisite and longstanding metaphors. Contemporary poets have also played a variety of roles in the creation of metaphorical images, including combining these with other images. Understanding these designs and knowing how to combine metaphorical imagery with other poetic imagery will fill the audience"s mind with recognizing metaphorical imagery. The writer is going to answer these questions in this article. The question is how the designing style of modernistic, metaphoric pictures is. This paper attempts to descriptive - analytic method with selective examples of contemporary poetry, reader in these ways, the metaphoric imagery innovative, knowledgeable and suitable areas for new discussion in the field to provide imagery.

Humor can be considered as a kind of lyrical literature that aims to correct the irregularities, defects and shortcomings of society that can be considered as the most effective type of criticism from a critical perspective. This is a way of expressing a view that best portrays the shortcomings of society. Humor has a mechanism similar to that art , literature, ,the way in which it is formed and the nature of its content are based on the two principles of habituation and criticism. Its difference from other arts is only in the set of verbal behaviors that can be called tricks and techniques and types of humor. Golshiri, Sadeghi and Kalbasi are the stories of contemporary Iranian writers of a school that is called the Isfahan Climatic School, who have created works that have meaningful and pure meanings, but are sarcastic, sarcastic and expansive. Combined with the humor of those used to tell the story, it has created works that can be explored in a humorous and humorous way. In general, these three writers, especially Golshiri and Sadeghi, use a kind of humor in the complex, hidden and profound context of their stories. The three authors are not primarily intended to be satirical, but to criticize their social critiques and critiques of crises that have overshadowed the identity of contemporary man. In this study, we have examined the works of Houshang Golshiri, Bahram Sadeghi and Mohammad Kalbasi in terms of the types of humor , analysis and conclusion of data in a descriptive-analytical way based on library data.

"Meftah al-Talibeen" is a valuable work of which there are only two manuscripts - one in the Ganjbakhsh Library of Pakistan (No. 2853) and the other in the Library of Nadu al-Ulama of India (No. 191) - and have not yet been reviewed or corrected. This book was written by Mahmoud Ghajdwani (10th century AH) in the manuscript of Sheikh Kamal al-Din Hussein Kharazmi (born before 885 Kharazm) in four quatrains with a short introduction and conclusion. The first and second articles on the austerities of the Sheikh and the third article in Khariq, his habits, and the fourth article include forty assemblies of his assemblies. Ghajdvani also had a poetic nature and sometimes composed some of his poems under the pseudonym "Mahmoud" in this text. In this article, the most important features of Muftah al-Talibin are written in three levels: intellectual, linguistic and literary, along with a brief introduction of its manuscripts. Kamaluddin Hussein Kharazmi.

In the Quran, voracity has two dimensions – a positive voracity manifested in the Prophet’s voracity to guide people and a negative voracity, which is portrayed as individuals’ attempt to meet their bodily demands. Influenced by the Quran and to interpret the verses, Rumi expresses the different aspects of voracity and its consequences in detail. Our results reveal that Rumi uses subjective and objective items to interpret these aspects and speaks of axioms to verify them needless to reflect on them. He also uses fiction to show the different aspects of voracity in everyday life so that the readers perceive them as their living experiences through identification and accept them more readily. In portraying, he sometimes considers the Quranic images, which sometimes result from the association of meaning with content. What has been mentioned as a moral instruction in the Quran has been practically implemented and the way to achieve it has been specified in Masnavi. Epistemologically, Rumi uses fiction to reveal that following bodily passions, e.g. voracity, impedes recognition as the Quran calls it curtain and cover adherence to which will hinder recognition.

Fariba Kalhor (1340) and Firoozeh Jazayeri dooma (1344) are two contemporary women writers who have explored in their narratives Through of ironic language and critical satier, with relationships, affairs, and life phenomena. The language of stories both is combined with a variety of satier mechanisms, while being simple and psychological, As it can be said, many of these mechanisms have gradually become the stylistic features of their works. The present article intends based on a satirical stylistic approach, Examine the most important mechanisms for creating satier in the works of these two authors. The results of this study indicate the commonalities between Kalhor and Jazayeri"s style of satire. The most common tricks of satier creation in the stories of the two, which are upgraded to stylistic features, are: The satirical expression of content and situations in the three main forms of combining two incompatible things, the expression of meaning contrary to the appearance of the word and shrinking and magnifying and placing critical and social sub-narratives at the heart of the main story. Also in the functional part of satirical expression that focuses on individual correction and social criticism, Form of expression of Explicit in mockery, are among the important stylistic features of these stories. At the level of layers of inconsistency and incompatibility, among the three areas of phonetic, lexical and situational incompatibility, situational incompatibility has a high frequency. The common element and the main organizer of style in all cases is the special tone of the narrators and narrators.

Political poetry in Persian literature with the Constitutional Revolution was able to rise to the top of poetic themes, After the constitution, it was considered in the course of modern poetry and was established as a literary type in contemporaryliterature In this article, with the aim of recognizing the linguistic system of this type of literature and its pathology from the Constitutional Revolution to the victory of the Islamic Revolution, relying on the poems of Nima Yoshij as the leader of this poem in the Pahlavi period, its main slips and linguistic defects have been studied. The study shows that factors such as the emotional entry of poets into this theme, the importance of thought over language, attention to the popular audience, highlighting the style and weakness of poetry, contemporary political poetry has suffered linguistic damage. This can be seen even in Nima"s poem, which is itself a critic of the factors mentioned. Lack of observance of the linguistic system in grammatical logic, stereotypical use of symbolic words, and improper aberrations are the most important linguistic slips of Nima"s political poetry These cases are very evident in the first decades of his poetry, but in the last decade, Nima has been able to reach a language that is free from serious harm.

It is not enough to have an opinion and an idea to express the contents and purposes; Rather, in order to cultivate meanings and content, one must look for ways and means of expressing that opinion and idea. There are ways and means to cultivate content and intentions, and the author chooses one or more of those ways to cultivate meanings according to his or her own needs and tastes. Rumi has also used these methods in Masnavi to cultivate the contents and meanings, design, explanation and persuasion of the audience. The present study has studied this issue in a descriptive-analytical way in Masnavi and seeks to answer the question of what methods did Rumi use in Masnavi to cultivate the content and how is it used? The results of the research indicate that Rumi has used various methods to cultivate his desired content and ideas in Masnavi, including: definition, description, argument, study of causes and results, comparison, classification, Conversation, debate.

Humor is one of the most important literary genres, which has been the subject of criticism of social issues throughout the history of literature in the land, especially after the constitutional movement. In addition to analyzing themes and targeting humor, the study of satirical works can also explore humorous techniques, which are effective in understanding and understanding audiences and in furthering their study of satirical works. Reza Rafi is one of the contemporary satirists of our country, who has satire on poetry and prose. He uses a variety of humorous techniques to convey his critical views of the country"s economic, social and cultural disruptions, which both make the audience laugh and punish officials. Although Rafi has a passion for social justice and freedom of expression in the role of a committed comedian, his humor is sweet and unmistakable. The present paper, organized in a descriptive-analytical manner, examines the themes and objectives of the Harf e ezafe book, the triple linguistic, rhetorical, and situational techniques of humor. The result of the present study, however, is that the benefit of most of the humorous techniques, especially the use of slang and colloquial language, in linguistics and transcendence, and the rhetoric of transcendence and the creation of humorous situations have been profited by the description. The authors have not been unaware of other satirical techniques such as irony, novel writing and contradiction in Rafi "Harf e ezafe" and have examined appropriate examples of the mentioned categories.

>Contemporary fictional literature has had a special look at the elements and components of Shiraz folklore in the period of Pahlavi. In the present study, considering the extent of the components of folklore, the reflection of Shiraz has been studied popular literature through of analysis of 20 fictional works including fifteen collections of short stories and five novels. The collected data in this article based on library resources have been analyzed in a descriptive-analytical method. The results show that the use of Shirazi dialect, Shirazi and non-Shirazi proverbs and Shirazi songs and chansons have been abundant in Contemporary fictional literature, but fictions(Matal) and stories have had a small presence. Some of the used Shirazi chansons and fictions indicate some of the social and historical events of Shiraz during the period of pahlavi, such as the story of Saif al-Qalam, the uniformity of clothes, and the situation of the wage of employees of the first textile factory of shiraz. generally, according to the style of writing and indigenous interests of fiction writers, the reflection of Shiraz popular literature in Sou va shoun, patchy pants, a city like Behesht, the Alley of Zanboorakkhooneh, The Patient Stone, the last light, The extinguished oven and Barooni has been more considerable compared to other Literary works.

The sixth century is an important period in the history of Iranian literature; Because this era coincides with the transformation of Persian poetry from Khorasani to Iraqi and the emergence of a style called "intermediate style". "Emadi Shahriari" is one of the poets of the late sixth century AH. This poet is generally a follower of Khorasani style and most of the characteristics of this style are reflected in his poems; But there are also signs of an intermediate style in his poems. In this article, which has been done in a library method, the stylistic features of his poems have been studied at three levels: intellectual, linguistic and literary. The results show that Emadi Shahriari is one of the poets following the Khorasani style in terms of style, but in his poems there are some features of the sixth century poetry (mostly linguistically and intellectually) that are probably related to the change of his residence from Mazandaran to Iraq.

Among the types of criticism and linguistic and literary knowledge, stylistics is one of the methods of methodical criticism. He studied and researched and reproduced new theories and ideas of stylistics. This research tries to show the stylistic features of his poems in linguistic, literary and intellectual levels by reviewing the poems of one of the unknown poets of Indian style named Fitrat Mashhadi.

This article is based on library studies and has been done in a descriptive-analytical manner.

Mirza Moazeddin Mohammad Mousavi Khan Fitrat is the son of Mirza Fakhra and the granddaughter of one of the great scholars of Mashhad named "Mohammad Zaman Mashhadi" who was born in 1050 AH in Mashhad. He went to Isfahan as a young man and emigrated to India after his religious and literary studies. There he was noticed by Aurangzeb, the king of India, and became his son-in-law. He rose to high positions in India and died there in 1101 AH. His poems are composed in the style of Indian style. In his poems, the features of Indian style can be clearly seen, such as: frequency of recognition, application of equation style, use of various allusions to create new themes and images, etc.

The most frequent topics in the intellectual level of Mashhadi nature poems include the following: love, advice and wisdom, complaint, mysticism, etc. At the linguistic level, the use of weights such as sand and haze has caused the nature of nature poetry. The frequency of slang words is much higher than Arabic and Turkish words. The use of stylistic vocabulary has also given a special dimension to his poems. From a literary point of view, the use of similes, discernments, ambiguities and allusions is more frequent than other literary imaginations and arrays. In his similes, nature has used more types of rational similes to the senses, singular to singular, eloquent, and melodic than other types. The frequency of Meccan metaphors is also higher than that of approved metaphors.