مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 73 (خرداد 1401)

Style is the expression of a writer or poet. The term is currently used to refer to methods studying literature analytically through the use of linguistic techniques and concepts. It also determines the angle of view, linguistic issues, how to characterize and how to orient thetheme. Ritual poetry is a form of committed poetry that has a completely religious nature in terms of meaning and content and originates from the revelatory teachings, the culture of Etrat and Wilayah and the history of Islam. Religious ceremonies, praise of religious figures, attention to sacred and heavenly categories, and human self-cultivation and self-purification are at the core of religious poetry.Since stylistics is a tool for recognizing the poet"s human, scientific, literary and ideological identity, this paper uses a descriptive-analytical procedure to investigate obvious stylistic features of Post-Revolutionary Poets such as Kaiser Aminpour,SamanHarati, Ali MoallemDamghani,Ali MousaviGarmaroodi, Seyed Hassan Hosseini and Alireza Qazveh.

This paper has been written based on library studies in a descriptive-analytical manner.

Paying attention to internal music, giving prominence to ideas and concepts, using the marked vocabularies, fluency and simplicity, eloquent elements artistically, making pictures of imagination and emotion, paying attention to addressee-centered and meanings, emphasizing on religious, revolutionary, humane and ideal concepts are among the stylistic features ofRevolutionary Poets.

The results show that these poetshave used all the possibilities of poetry to explain their religious ideas and based on these ideas and the Alavi, Hosseini and Ashurathemes, they can be called conceptualist poets. A look at the literary and linguistic aspects of their poetry shows these poets know the literary and linguistic standards of the past and present and wherever they deem appropriate, they use them to increase their wordinfluence.

 Sociological analysis of capital types can be seen in the views of theorists such as Bourdieu. In Bourdieu"s definition, in addition to economic capital, other types of capital are also very important, which are: cultural, social, symbolic and economic capital. This article looks at the effects of female precedence and latency on each other in the analysis of female capital by looking at the capitals of female characters in novels The Tibetan Dream and The Forbidden Book.

 This research was conducted by descriptive-analytical method.

 This article shows how societal activism of women"s assets emerges in sociological comparison and relying on the capital element of these two works. The result of the study, comparing the narrator"s capitals of the two novels, reveals the precedence of the Tibetan dream women"s cultural capitals over the Forbidden Book of Novels, which is a late economic capital (in the shadow and support of men, as rights or inheritance) and symbolic (ie love and respect for Mother figure) in a small way for them.

 In the field of social capital, women in the two novels have only the first social capital (marital and maternal relations) which does not have a positive reproduction and the main character of the Tibetan dream novel loses this small capital and instead loses the symbolic capital of love. Earns. Since in the novel Vafi the two characters Shiva and Sholeh have relatively high cultural and social capital, they reproduce more social and symbolic capital in the study of the precedence of capitals in comparison with the novel Despespeds; While in the novel Despodes, in having different types of capitals, their early capital (cultural and social capital) is small, which does not lead to positive reproduction.

 Ethics is one of the most fundamental principles of any society that has a special place in literature. Persian poetry and literature entered a new arena during the ideological and intellectual developments of the Islamic Revolution; To the extent that in the face of the events of the modern world and the currents of Western intellectualism, we are witnessing the emergence of fundamental and dramatic changes in the works of valuable and revolutionary poets. Revolutionary poets and artists in the years after the end of the war, using revolutionary ideals and religious teachings, made changes in moral concepts in the form of poetic themes. Since no detailed article or research has been done on the moral content of contemporary revolutionary poetry, this study examines the moral concepts and values ​​in the poems of revolutionary poets after the end of the imposed war and the eight-year period of holy defense. Since significant political and social developments took place in the country during the contemporary period, especially in the seventies and eighties, this time span covers a significant period in terms of the subject under study.

 This research is based on library method and descriptive-analytical method.

 In the poems of the mentioned poets, most of their emphasis is on moral and value concepts such as justice, altruism, avoiding fashion, fighting against bad hijab, taking a stand against Western intellectuals and recalling the moral virtues of Islam-Ashura.

 Informed poets attribute the cause of injustice among the social classes of the society to the economic, political, social, cultural and norm-breaking weaknesses of the officials and open their mouths to criticism. Addressing individual ethics. Of course, this does not mean that they have not paid attention to the discussion and analysis of individual values ​​in this regard, but in comparison, issues related to social ethics have been considered somewhat more precisely and meticulously.

Shah Da’ei Shirazi is one of the mystical poets of the ninth century AH who has left many works of poetry and prose. One of his poems is "Set Shah Shah Da’ei " and Masnavi "Chahar Chaman" is the fourth poem of Set. The purpose of this research is to analyze the style and content of Masnavi Chahar Chaman from three perspectives: intellectual, linguistic and literary.

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

Shah Da’ei is one of the propagandists of Ibn Arabi"s idea of ​​existential unity. As in Masnavi Chahar Chaman, the influence of the thoughts of Ibn Arabi and Attar is evident. Also, the ontological thoughts of Shah Da’ei in the frequency of words, terms and content show the influence of this mystic poet from Ibn Arabi. In seven valleys of conduct and the issue of unity, the existence of Attar"s influence can also be seen in this Masnavi.

The achievements of the research show the initiative and independence of Shah Da’ei in the artistic, literary and content structure. In such a way that this mystic poet has been able to start a new path in mysticism with his imagination. Although in Masnavi Chahar Chaman, errors are seen in terms of verbal and content novelty, but in the intellectual and content aspects of this work, innovations are seen

 Although the term lifestyle is a product of the modern world, due to its great importance in the social, political and cultural body of human societies and the resulting basic feedback, countless thinkers and theorists have paid attention to it and in the fields. Various societies, such as sociology, psychology, anthropology, medicine, and cultural studies, have studied this phenomenon. One of these theorists is Alfred Adler, who is considered to be the first lifestyle theorist. Adler"s approach to life is psychological. This article examines the lifestyle in the poems of Forough Farrokhzad and Simin Behbahani with an approach to Adler theory. The main question of the present study is whether the lifestyles of Forough and Simin correspond to the components of Adler and whether they have been able to achieve their own lifestyle?

 This research was conducted in a descriptive-analytical manner using library studies.

 By examining the most important components of lifestyle including social interactions, feelings of inferiority, old memories and dreams in Adler"s theory, and its adaptation to Forough and Simin"s poems, we came to the conclusion that Forough and"s lifestyle Simin fits almost all of Adler"s components, and as modernist and modernist women she has been able to achieve her own lifestyle.

 Compared to Forough, Simin in his poetry raises more social concerns and deals more with people and their problems. Simin"s personality type is often socially beneficial, while Forough represents each of the four types. In fact, the individual self is more prominent in Forough"s words and the social self in Simin"s poetry. Also, religious elements and components are more prominent in Simin"s poetry.

BACKGROUND AND OBJECTIVES: The sixth century AH is one of the most important periods in Persian poetry and literature. In this century, three schools of poetry: Khorasani, Binabin and Azerbaijani are prevalent and one of the most famous poets of the Azerbaijani school is Mujir al-Din Bilqani. This article examines the stylistics of his poems from three perspectives: intellectual, linguistic and literary. METHODOLOGY: This article is based on library studies and has been done in a descriptive-analytical manner. FINDINGS: Abolmakarem Mojir al-Din Bilqani was one of the people of Bilqan who was apparently born to an Abyssinian mother. He is one of the leading and prominent poets of the Azerbaijani style in the first half of the sixth century. His 5,000-bit divan is full of poems, lyric poems, quatrains and delicate compositions. There is no information about his life in his poems, but it is certain that he studied literature and poetry with Khaghani. Some writers consider his style to be an imitation of Farrokhi and Manouchehri (especially in poems). CONCLUSION: Mujir is skilled in composing various types of poems such as ode, sonnet, piece, melody, complaint, composition and quatrain, but his main skill is in composing ode. Intellectually, the poems of praise, satire, and pride are the features of his poetry. In particular, the sale of bounties, the reference to various sciences and various allusions to his poetry need to be explained and interpreted. Linguistically, there are many Arabic and Turkish words in his poems. His poems are also full of special combinations in the description of celestial elements, which are usually accompanied by numbers and have a virtual, metaphorical and ironic meaning. Among the branches of the science of expression, simile and irony are more prominent in his poems. Most of Meccan"s metaphors are non-superfluous, and this is due to Mujir"s special attention to the diagnostic industry. The irony of the verb and the type of ima is the most frequent type of irony in Mujir"s poems.

Stylistic study, in terms of accuracy and evaluation of all aspects of a work, should be considered the most accurate and reliable way to measure a literary work.the subject of research is stylistic analysis of farahi heravi, s divan from three aspects: linguistic level, intellectual level and literary level. In this article, while analyzing the style of the Divan, an attempt is made to explain the extent of the poet"s influence on contemporary poets and poets before him by providing poetic evidence.

The present study is a theoretical study that has been done by library research method. The study area is Farahi Heravi Divan edited by Ahmad Beheshti Shirazi and published by Rozaneh Publishing.

Considering that Farahi Heravi is a poet of the first decade of the tenth century and his poetry has a mystical nature, following the common tradition among poets after the era of Hafez, his poems are influenced from universal poem of movlana and hafez in terms of language and in terms of content and themes. Apart from being influenced by movlana and Hafez, there are clear signs of his influence on Attar, Iraqi, Saadi, Jami and Shah Nematullah Vali.His poetry is impressed on poem of Fayz kashani.

Farahi"s influence on movlana"s poetry can be seen in the intellectual alignment and sharing of their beliefs. His influence on Hafez is influenced by the common poetic tradition in Persian poetry of the ninth century and later centuries, which poets considered the resemblance and reception of Hafez"s poetry as a sign of their poetry. However, his influence on other poets can lead to the study of their works and the enjoyment of their poetic art. His sonnet contains long monotheistic-mystical thoughts and is worth studying and analyzing in various ways.

Today, there is no doubt that any search and study, in the field of Persian poetry and prose, without referring to anthology and linear wars, will be an unfinished business. anthologies are important because in some cases they have kept the names and logos of anonymous poets and their poems safe from the ravages of time. One of these manuscripts is The anthology of Order and Prose, which has not yet been corrected or published. In the first place, the authors of this article have introduced, described and analyzed the structure of the anthology, and in the second step, they have expressed its stylistic features and unwritten verses in order to recognize the position and importance of this anthology and by presenting newly discovered poems that Sources have not been provided to provide a new source for correcting the Divan of Poets in Persian research.

The present study is a theoretical study that has been done by descriptive-analytical research method and library tools.

The anthology of order and prose was written by an anonymous author and is kept in the library of the Islamic Consultative Assembly under number 8982. In this anthology, 8500 verses of poems from the poets of the tenth and eleventh centuries AH and some anecdotes from Persian prose texts have been collected. This anthology is noteworthy in terms of style and content due to its newly discovered verses. In fact, the existence of unwritten verses of some poets confirms the richness of this anthology; Also, mentioning poems that are not mentioned in other sources adds value to this work. This version dates back to the tenth century and the first half of the eleventh century.

Today, one of the most important and important sources for any proofreader is anthology of poetry. The narrators of such collections, with ancient manuscripts, some of which have been looted by the passing of time, refer to the names and poems of poets, which today are new and foreign to researchers in the field of Persian poetry and literature.

Due to the emergence of new perspectives and their entry into the field of study of literary scholars, especially in recent decades, the need to pay attention to literary works in different ways seems very necessary and semantic sign is one of these approaches. Discourse semantics is a new approach in the field of literary criticism. In this approach, signs are the semantic constituents of multidimensional, dynamic and fluid types that are identified by controlling the discourse process in the formation of thought and the idea of ​​effect in various contexts, including emotional and intellectual contexts. Kelileh and Demneh contains a set of meanings that in the context of the stories of heroic animals with human roles and attributes, due to its subtle nuances and semantic moments, is a very suitable context for the study of semantic signs. This study seeks to answer the question of how the signs in the discourse, in the story of the lion and the cow from Nasrallah Munshi, caused a sense of competition between the main characters of the story, namely "Demneh" and "Shenzabeh", and the contrast. How wisdom, irrationality, deception and honesty, as the main signs-meanings, have influenced the intellectual style and ideological discourse of the story.

This research is a descriptive-analytical method based on library data.

What is especially important in this discourse is the presence of its luminaries (Demneh, Shir and Kelileh) in the discourse of the story, which depicts various events from Demneh"s desire to be promoted to the lion court to his conspiracy against Shenzabeh and being caught. As a punishment for his work with the lion, he forms a different process of the story"s emotional discourse.

The incident of Shanzabeh"s value and respect with Sultan (Shir), although at first it was Demneh"s wish, but caused a change in his feelings and influenced his ideology. The value function of discourse in this story Changed.

Letter is one of the means of communication between human beings that has been used for a long time. Letters in Persian sources are worth studying and researching in different ways. In Ferdowsi"s Shahnameh, which in fact is the history of the pre-Islamic Iranian people in the form of heartwarming stories, the letter has played an effective role. In this article, the style of letters in this work is examined by relying on the elements, communication levels and types of letters. Been paid.

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

In none of the Persian fiction and epic poems, the number and role of letters are comparable to Ferdowsi"s Shahnameh. In this epic work, we are faced with different types of letters, in the structure of most of which we can find five pillars: 1- Praise of God 2- Mentioning the sender and addressee of the letter and his praise 3- Proportion appropriate to the main pillar of the letter 4- Main pillar of the letter 5- Concluding Letter Observed that the letters in it have special and different stylistic features according to the types and elements of the letter.

In Shahnameh letters, there is a perfect harmony between the content of the letters and the words and phrases used in the letters. In letters that contain anger and violence (such as threats and insurance policies), words and phrases are harsh, and conversely in friendly letters (such as peace letters), gentle words and phrases are used. The number of known sentences is much more than unknown sentences and the news aspect has the highest frequency among the aspects of verbs. In Shahnameh letters, the frequency of arrays such as exaggeration, simile, metaphor and irony are scattered in different parts of the letters, respectively. Also, various thoughts and themes have been included in the letters, among which, the beginning letters with the remembrance of God, mentioning the attributes of God, especially emphasizing the two attributes of creation and God, praising the addressee, admonition, invitation to justice, boasting, etc. They have a higher frequency order.

Mulana Masnavi is one of the important books that due to its educational goals, has a greater share in rewriting and recreating works of ancient literature for children and adolescents. But sometimes we see that rewrites, in language and content, have weaknesses in terms of style compared to the original narrative and the appropriate language of the audience.

In this article, using the library method and comparative analysis of the content of the rewrites with the original story of Masnavi, the collection of rewritten books in the center of intellectual development of children and adolescents has been reviewed from a stylistic perspective in terms of language and content. . The statistical population of the research is a 12-volume collection of Masnavi anecdotes "from Neistan" for the use of age group "D" which was published in 2007 on the occasion of the eight hundredth anniversary of Rumi"s birth, for children and adolescents to get acquainted with Mulana, for use in cultural and artistic centers.

Choosing meaningless ancient words, quoting Masnavi verses instead of a part of narrative, ancient grammatical structure, slang words and terms at the linguistic level and not paying attention to Rumi"s educational content and inappropriate changes in the original content of anecdotes, from The main disadvantages of rewriting Masnavi are in these books.

Comparing the transcripts with the original anecdote, Mulana purpose and language appropriate to age group "D" shows that in some cases due to lack of understanding of the content, lack of attention to the appropriate language of the audience, change of content and lack of attention to Rumi"s message, linguistic and intellectual slips And have strayed from the goals of intellectual education, which is the main mission of the center.

The Ramayana (Valmiki poem) is one of the oldest Indian epics written between the 3rd and 5th centuries BC and later restored in verse and prose. Mullah Masih Pani Petty, in the year (1050 AH) has recreated this Indian epic in order; In fact, Christ wrote this system in response to critics who considered him impure and infidel for his work in composing the system of Ram Vesita. The verses of this poem have a remarkable literary value and in composing Naat, it has become an example for many poets after him. The purpose of this study is to investigate the stylistic features of the Ramayana system.

The present study was based on the documentary method (library) and on the direct study of the Ramayana verses of the poem of Christ and related books. To conduct this research, we have extracted the stylistic, content, and epic features of the Ramayana epic, in detail and point by point, and have presented them briefly and usefully.

The Ramayana of Christ is a combination of Khorasanian, Iraqi and Indian styles. Inherited the epic and epic and heroic terms from the Khorasani style, the tenderness, burning and lyricism from the Iraqi style and the capture of foreign meanings and the thinness of its strange fantasies, is a relic of the Indian style, which of course the Indian Style The rest is style.

This system is full of mythological foundations and beliefs and also has themes such as theoretical mysticism, superficiality, love, moral concepts and folk beliefs. Punishment and repetition in the realm of rhetoric; Metaphor, metaphor, allusion, brevity, allusion, metaphor, and metaphor are among the most prominent literary arrays used in this system. Among the linguistic features of this system is the use of grammatical and linguistic features of Khorasani style.