مجله زبان و ادبیات فارسی
پیاپی 90 (بهار و تابستان 1400)

In contrast to the traditional rhetorical view of aesthetic metaphor, which is a purely linguistic phenomenon, Linguists such as George Lakoff and Mark Johnson consider metaphor to be perceptual and conceptual in nature. This view of metaphor falls within the framework of cognitive semantics, in which meaning is based on conceptual constructs and, like other cognitive domains, represents subjective categories. The present study uses a descriptive-analytical approach to analyze conceptual metaphors and pictorial schemas in proverbs. Love, life, science, disability, humiliation, worldliness, and modesty are among the mappings of positive and negative concepts in conceptual metaphors in proverbs derived from literary texts. Among these, “water” and “fire” are words that have been used in Persian proverbs and the divans of poets and prose of former and contemporary writers to indicate the material and spiritual realms.The findings of this research indicate that the main mapping in the metaphorical sense of the proverbs based on the word “fire” is destructive, which is repeated with a frequency of 42 times.The main mapping in the conceptual metaphor of proverbs based on the word “water” is in the form of a spatial scheme (displacement) that is repeated 18 times. This highlights the central mapping of the word “water” and its rotation and instability. In general, by borrowing these mappings, poets and writers have created themes that always keep the listener enthusiastic and have contributed to the promotion of proverbs.

The study of mythological and epic works, which narrate the thoughts and ideas of the predecessors and express the history and culture of people’s lives, from the perspective of practical wisdom is a strong evidence to prove the existence of moral principles and customs in ancient Iranian society that continued after Islam. In this research, Banugoshasb-nameh poemswere studied with the aim of analyzing the position of women in practical wisdom. The library research method was used, and the approach of the paper is descriptive-analytical. The results show that Banugoshasb’s actions and behavior are consistent with the components of practical wisdom and she can be called the model of a successful woman in the culture of Iranian ethnic groups who has transmitted moral virtues in a heroic manner. From the point of view of practical wisdom in the field of personal morality, the lady is the wise, brave, chaste, believing and committed daughter of Rostam, the representative of the lady heroines who has become a model of virtue through her behavior and actions. In the field of house management and civil policy, the high position of the lady in the family represents the value of women in the original Iranian culture. Regardless of the attitude of the patriarchal society, she has an independent and militant personality whose femininity has not caused her to be weak in doing things, irresolute and incapable, compared to men. In the family, she is a righteous, brave, and responsible child who acts at father’s discretion (the house manager).

In this study, based on Saadi’s Bustan, we have raised the question of how the peasantry gained power in the social structure. According to the hegemony and power approach, whose experts are Antonio Gramsci and Michel Foucault, and using the methods of critical discourse analysis and intertextuality, we examined power and resistance, which are the circles of interaction between community participants.Considering the multifaceted function of discourse in the seventh century texts, the research findings showed that along with Sufis and Zaheds and various social groups that used their own mechanisms to gain power, the subordinate class and the peasants also gained new power.By combining the ideas with the religious, mystical and customary beliefs in the society, which at the same time caused their own obedience and subjugation, they developed a mechanism that by reproducing and applying it,forced the most powerful individuals to surrender.Thus, with a deconstructive reading of texts, complex action and interaction between actors replaces the diminishing notion of one-sided interaction between socially active groups.

Teaching monotheistic topics and trying to understand the ambiguous concepts of epistemology have always been the concern of thinkers. Despite the commonalities in monotheistic teachings, access to rich concepts is not possible for everyone, and there may be contradictions in the understanding of meanings. Hadiqah al-Haqiqah and Masnavi are among the instructive texts that have used figures of speech to express monotheistic concepts. In this article, the teaching style of Sanai and Rumi based on the method of using Monotheistic Images and Corbin’s hermeneutics approach is studied.  The monotheistic language of Masnavi and Hadiqah al-Haqiqah is almost the same. Sanai has expressed monotheism in a general way and at a high level, while Rumi has gone into more details about monotheistic concepts. Hadiqah al-Haqiqah images are mostly designed on the horizontal axis, whereas in Rumi’s Masnavi, many images can also be found on the vertical axis. Rumi has sometimes used Sanai symbols and in many cases has taught monotheistic concepts with completely innovative symbols. The monotheistic images of both mystics are a combination of philosophical teachings and mystical intuitive symbols in Corbin’s hermeneutics. Benefitting from the graphic form of the letters (alphabetical symbolism) and the metaphor of the letters are common to both works.

In the sixth to eighth centuries A.H. five hagiographies were written in Persian in the Transoxiana region, and all five Pirs (i.e. Saints) who were written books about are in the group of Khajegans. These works include the treatise of Sahibiyeh, the Maghamat of Abdul Khaliq Ghojdovani, the Maghamat of ArefRivgari, Anis Al-Talebin and Eddat Al-Salekin, and the Maghamat of Hazrat Khaja Naqshband.In this article, an attempt has been made to examine the characteristics and influences of the authors and the evolution of these works.After examining the authors’writing method and expressing the characteristics of the works, it was determined that these works have much in common.All the Transoxiana hagiographies were written in Persian, while among the hagiographies of the Fars and Khorasan regions, especially the Fars works, there are many hagiographies in Arabic.Considering the many similarities between the Maghamat of Ghojdovani and the Maghamat of Khajeh Yousef Hamedaniwith the treatise of Sahibiyeh, it is possible that the later hagiographers were influenced byAbdol-Khaliq Ghojdovanichr('39')s writings about Abu Yusuf Hamedani.Unlike the hagiographies of lands such as Fars and Khorasan, whose authors have used poems in both Persian and Arabic, all the verses in the hagiographies of Bukhara are in Persian. In most of the hagiographies of this land women arementioned and they have a high position.

The purpose of this research is to describe and analyze the elements of Persian language in ancient jurisprudence texts. In this paper, using induction, descriptive and analytical method, examples of Persian words and elements in selected ancient jurisprudence texts, and some linguistic, grammatical, and syntactic features of these examples are analyzed.Additionally, some prominent features such as the simultaneous use of Persian and Arabic words, changing the syntactic structure of the sentence, and the semantic change, phonological and phonetic evolution and distortion of Persian words in the ancient Arabic and Persian jurisprudence sources are examined in more detail.The results show that the Persian language has a special place in ancient jurisprudence texts among non-Arabic languages as most non-Arabic words in these texts are taken from Persian language.In addition to the ancient jurisprudence sources in Arabic, there are a few valuable ancient jurisprudence sources in Persian, which are considered valuable examples of the use of Persian as the language of religion.This study shows that most of the authors of ancient Arabic jurisprudence texts who were influenced by Persian language were either from Persia or familiar with Persian language of Fars province or were Arabic-speaking jurists in whose works the social life of Persian-speaking Muslims is manifested.In the present study, two parts of these jurisprudence works have been dealt with more precisely: First, the ruling on the Persian translation of the recitation of Surah Al-Fatihah in prayer, in which the jurisprudence sects have three distinct views on this issue.Examining the arguments and evidence of these views, a detailed view on the permissibility of the Persian translation of Surah Al-Fatihah in case of inability to read correctly and its impermissibility in case of ability to read correctly has been chosen.The other is the jurisprudence view of expressing divorce in Persian, in which there are two distinct views. The chosen word in this issue is the view of the correctness and jurisprudential possibility of divorce in the language of any ethnic group.

The entry of the legal terms and subjects of the Constitutional era into poetry’s domain caused the confluence of two types of speech, i.e. two areas of legal and literary discourse in that era’s poetry.Public law discourse organized the dominant content of the Constitutional poetry and the particularly weak presence of the element of imagination turned into its characteristic of structure and form.The main question raisedin this research is the explanation of public law discourse’s role in the relationship between form and content in Constitutional poetry.Using a descriptive-analytical method, and based on numerous poetic evidence, this study investigates the issue from the standpoint of a procedure which has emerged through the innate characteristic of legal discourse and its incompatibility with imagery and can be interpreted as “The transition from imagination to emotion” in this era’s poetry. The process based on which the dominant form of Constitutional poetry was organized with a focus on social and revolutionary sentiments in the absence of imagery.In the present article, the compatibility of this narrative with the point of view of literary modernity was investigated and the effects of the research claim on the famous areas and structures of Constitutional poetry were revisited.

Over the centuries, Persian literature has provided a calm platform for the formation and expression of Iranian ideas.The idea of pluralism or (Wus’at-iMashrab) is one of the beliefs, which peaked in the tenth to twelfth centuries A.H. at the same time as the Safavid rule in Iran and the Gurkhani Timurid rule in India and spread views such as free thinking, happiness, and esotericism.This thought grew with the migration of intellectuals to India in twobranches of Iran and India and was used in various and sometimes contradictory meanings, from rebellion and atheism to the end of spiritual perfection and purity.By explaining this view in poetic Tazkirahs, this study deals with the differences and distinctions in these two political regions and shows how the meanings of Wus’at-iMashrabin poetic Tazkirahsin Iran and India are influenced by the political and cultural atmosphere of these two regions.

One of the modern theories of literary criticism, which is based on psychological knowledge, is the Archetypal criticism. This theory is based on the views of Carl Gustav Jung and deals with the quality of the absorption of archetypes in the mind of the poet or writer. According to studies, a heroic journey in each person’s life is possible to achieve individual perfection. Fereydoun’s story is important because of the ups and downs of his life and the important characteristics that directly affect his personality during events at every stage of his story. The purpose of this article is to study the story of Fereydoun from the perspective of an archetypal criticism based on the intellectual foundations of Carol S. Pearson and Hugh Marr on the twelvearchetypesforawakening the hero within.Adopting a descriptive-analytical approach,the authors try to portray the manifestations of prominent archetypes in Fereydoun’s story.

Naser Khosrow’s intellectual system has been formed on the basis of his deep knowledge of religions, nations and ideologies, his faith inIsmailism, as well asthe cosmological and anthropological issues;and this coherent system of thought has had a decisive and visible effect on other aspects of his speech, including imagery.One of the important centers of artistic images in his works is the reflection on the dual spiritual and physical nature of man. Based on a descriptive-analytical method, this study seeks to search for the roots and sources of the artistic images of the body and soul in the works of Naser Khosrow as well as theircriticism and analysis.The origin of body and soul, the philosophy of the soul belonging to the body, the nature and destiny of body and soul and the different needs of these two are the most important reasons for creating numerous images of body and soul in Naser Khosrow’s works.Several other important clusters of images of body and soul are formed around concepts such as house and landlord, servant and master, ship and shipmaster, shirt, pearl and shell, mine and gem, prison and prisoner, and book and tree, showing body and soul relations from different perspectives.The results of the study show that the roots and sources of many images of body and soul in Nasser Khosrow’s works have been mentioned in previous theological and philosophical sources, including ancient Greek, Gnostic, Indian, Iranian, and Islamic works.

The geometrical complexity of some images, especially Indian-style images, which are not found in the field of traditional expression and which have not been mentioned by scholars in the historical tradition, is such that one must use a suitable tool to analyze them. In the present study, conducted by quantitative statistical analysis, first, frequency was usedto examine and compare the number of single and compound techniques in 500 verses of Bidel’s sonnets (which were randomly selected from all over his divan).Then, the three compound techniques of “irony metaphor”, “metaphorical amphibology metaphor” and “metaphorical amphibology irony simile” were examined in the structure of images of Bidel.The results of this study show that in both verses of Bidel’s poems, there is almost onecompound technique; additionally, onethird of Bidel’s images are created with the help of these techniques, and this means that by contenting ourselves with the four elements of traditional expression (simile, metaphor, irony, and metonymy) and ignoring the literary tools of compounding, the analysis and interpretation of Bidel’spoems will be incomplete.

In the semantic functionalism approach, language constructs are examined according to three specific views: Ideational, interpersonal, and textual. These three, calledmetafunctions, form the basis of Systemic Functional Linguistics (SFL). Halliday, the founder of systemic functional linguistics, believes that the patterns of experience and mental concepts of the creators of works are reflected in the verbal processesof ideationalmetafunction. Therefore, by examining the types of processes, and the factors and circumstances that create them, one can become aware of the ideas and experiences of the creators of literary works and analyze the factors influencing their formation.Considering this aim and adopting a descriptive-analytical approach, Ebtehaj lyrics, based on their constructive discourse, were divided into three historical periods and after determining the frequency and describing the function of verbal processes as astylistic feature their constituent factors were analyzed. The findings show the extensive application of the material process and then the relational process to other systemic functional linguistics processes.The reason for the high frequency and type of application of the mentioned processes, as well as the small representation of other main and secondary processes ofideationalmetafunction in Ebtehaj sonnets should be considered in factors such as the effect of meaning on the formation of the language of the work, political and social changes of the poet’s time,his special mood and stylistics, the importance of the role of the audience in his thought, as well as his drawing inspiration from earlier and contemporary poets.