نشریه پژوهش های دستوری و بلاغی
پیاپی 24 (پاییز و زمستان 1402)

Since the beginning of its origin, language has been a carrier of certainty and possibility, and Halliday’s role-oriented theory is a vehicle for evaluating this matter. In this research, we examine and evaluate the place of certainty or probability in the text by relying on Halliday’s role-oriented theory and using the method of qualitative analysis, through the form of verbs in the use of verbs and this question will be answered that according to Halliday’s role-oriented theory, in Laleh Sirab's and Haraj Eshgh's poems by Shahryar, which of the aspects of verbs in Persian language have more frequency than others, and what does this indicate in relation to the two-way relationship between word and meaning? Halliday's role-oriented theory allows us to determine and examine the degree of certainty or probability in the text according to the choice of words that the poet has used to convey the meaning. Quantitative and qualitative evidences obtained from the analysis of the aspect in the two mentioned sonnets based on Halliday’s role-oriented theory show that in the category of the verb, Informative form with the highest frequency and high degree of certainty is the strong position and authority of the poet in expressing the reality of his romantic situations. The resulting lava shows symptoms of the lover and objections to him. After the informative case, imperative and imperative cases exist with low frequency.

This article aims to provide a clear picture of this treatise and its theoretical approaches in the field of Persian grammar and syntax. Due to the fact that Mafatih al-Dariyyah is considered one of the earliest grammar books, knowing it is very useful for understanding the grammatical background of the Persian language and for providing a complete picture of the evolution of the historical grammar. This research was done by descriptive-analytical method based on library sources and including manuscripts by examining, describing and analyzing. Also the grammatical pattern of this work has been introduced in this research. As a result of this research, it becomes clear that the treatise of Mafatih al-Dariyyah was largely influenced by Arabic grammar and did not go beyond the mere category of derivation of words in Persian. The author of this treatise, while explaining the rules in each of the grammatical subjects, has taken examples that are suitable for the subject; However, the sentence unit and its role in the Persian structure and syntax have not been paid attention to. Considering conjugation, words are considered to be nouns, verbs, and letters. As far as past tense verbs are considered, three types are deemed enough.Also in present tense obligatory participle and concrete continuous participle have not been taken into consideration. Imitating the Arabic tense for the Persian imperative, the absent imperative type is taken into account, and there is no mention of the future verb type with the auxiliary verb of wanting.

Language, as the most important social institution, is a very complex and extensive system that follows certain designs and patterns in order to be able to create communication by combining phonemes and creating larger language units in the axis of chain or association. It makes it possible among the speakers. One of the most important patterns governing the combination of phonemes is the presence of mediating phonemes when combining morphemes with each other. Considering the fact that when morphemes are combined, certain intermediate phonemes appear in different positions, the question is raised, what is the reason for the presence of intermediates in this position? And why are different consonant phonemes used as mediators in different places? And what is the origin of the diversity of mediating phonemes? The present essay seeks to investigate this category in a descriptive and analytical method with a linguistic and historical approach. The obtained results show that there are ten intermediate phonemes in the Persian language, some of which are considered dead and uncommon, some of them were common during the growth and development of the Persian language, and some of them are rooted in colloquial language: the reason for the presence of mediators should be found in the rule of vowel conjugation and the diversity of the use of mediator consonants in the process of lateral erosion in the past, and the need to revive the deleted phoneme due to vowel conjugation.

One of the most important issues in the field of Islamic mysticism and Sufism is Microcosm and the Macrocosm. It is discussed in Ibn Arabi's mysticism and plays a vital role in his mysticism and his followers. Since his writings are based on a special type of linguistics that may not have been used in the expression of any of the mystics, the description and explanation of the researcher of his mysticism should also consider the issues related to language and its belongings as a prior assumption. Examining Ibn-Arabi's Al-Tadbirat Elahiya shows that he uses metaphor to explain how the Macrocosm and Microcosm are matched. At the beginning of the book, Ibn Arabi presented a definition of metaphor that is exactly in accordance with the definition in the Islamic rhetoric, that is, in Sheikh Abdul Qahir Jarjani’s. The vital element in this similar definition of metaphor should be sought in "point of resemblance" which implies the formation and permanence of metaphor. After comparing Ibn Arabi's and Jurjani's definitions of metaphor and examining some examples of metaphors from the Microcosm and the Macrocosm, the conclusion was reached that two authors agreed both on presenting the definition of metaphor, and on the most important characteristic in the vehicle in the formation of the metaphor. Furthermore, Ibn Arabi applied this theory practically andontologicalyl, and obtained favorable results from it.

"Conjunction and disjunction" is considered one of the most sensitive subjects of the science of semantics, which is important in understanding the syntactic and rhetorical details of literary works, and has always had a special place among traditional and modern rhetoricians. The story of Bijan and Manijeh from Ferdowsi's Shahnameh and Asadi Tusi's Garshaspnameh can be considered the most important epic works in Persian literature which will provide researchers with many capacities in the comparative analysis of syntactic rhetoric in reflecting the grammatical and rhetorical features of the two works. In this research, in order to understand the intentions and rhetorical meanings hidden in two works, the type of construction of semantic units at different levels such as clause, sentence, verse and even verses with related and interdependent meaning (enjambment) and the combination of each of these levels have been investigated. In this regard, we have studied the coherence of the text through the continuity or discontinuity of the rhetorical meanings in each of the mentioned levels, and by specifying the distribution of conjunctions and knowing their types, we have examined and compared their rhetorical functions in two works. The results of the research indicate that Ferdowsi and Asadi Tusi, by creating a kind of temporal and spatial connection and cause-and-effect link between the sentences and by benefiting from all kinds of subordinating and dependent connections (conjunctions) in conjunctions as well as observing the temporal and logical order between the sentences in the disjunctions, have created a strong and logical link in the text and a special semantic coherence in the chain of narration of events.

Jacques Lacan is one of the thinkers who uses metaphor and metonymy - which are specialized terms in the science of rhetoric and linguistics - to explain the psychoanalytic concept of desire. In his view, desire begins through the intervention of a paternal metaphor and may always establish itself in a virtual process. Based on the occurrence of disorder in the metaphorical and figurative process, Lacan explained what type of psychosis the patient suffered from and what caused him/her to suffer. In this research, using the qualitative analysis method and based on the metaphorical and metonymic process intended by Lacan, the subject's desire (Shadi) in Mahsa MohebAli’s novel "Don't Worry" has been explained. Also, based on the mentioned model and criterion, the main character’s psychosis and her falling out of the scope of subjectivity have been explained. The results of the research show that the process of desire in Shadi's character worked metaphorically and accordingly, She was an obsessional subject. Shadi wants to hasten the satisfaction of his desire in order to achieve the phallus as soon as possible. She suffers from contiguity disorder, which refers to the impossibility of making metonymy. Shadi can not desire except when the signifiers related to the problem that caused her trauma are available to her.

Elegy about Imam Hussain (AS) and Ashura poems are very important in Arabic and Persian literature to some extent that the poets have addressed its various aspects and the mourners have dedicated the most impressive part of their poems to it. Focusing on the principle of coherence as the most important criterion of text formation, the present article tries to examine the coherence between the elements of the text by Mura'at al- Nazir. Seyyed Bahrul Uloom and Mir'aza have used this literary array a lot so that its abundant and appropriate use has made their poems coherent. This article, with a descriptive-analytical method, examines the coherence resulting from Mura'at al- Nazir in the poems of these two poets in a comparative way. In this way, firstly, the theoretical topics, the definition of coherence and compliance are presented based on library resources. This thesis continues to discuss Mura'at al-Nazir in Hosseini's elegies (a comparative study of Seyyed Bahrul Uloom and Mir 'aza's poems and at the end, it examines and analyzes the coherence of Mura'at al- Nazir by relying on the examples extracted from the poems. One of the achievements of the research is that both poets use Mura'at al-Naz through combination with other figures of speech such as: simile, antonym, metaphor, and allusion for more harmony and proportion according to different themes. Both poets have a coherent text, but Mir'aza's poems, considering that the audience of his poems is common people, therefore his poems have a sadder emotion and also, his poems seem simpler and smoother.

Simile represents the intellectual and mental essence of poets and writers, enabling access to their works' hidden layers of imagination and familiarizing the reader with their personal beliefs, life experiences, and perspectives on society. Similes are often influenced by the central interests and perspectives of the poet or writer, reflecting the prevailing thoughts and dominant culture of society. Similes are shaped by the personal and individual worlds of the poet or writer, as well as by the culture and beliefs of the community, thereby being influenced by these factors, whether consciously or unconsciously. Among the forms of imagination, simile has always been of particular interest to poets and writers. Houshang Moradi Kermani has also paid significant attention to similes. A simile is the most important and commonly used imaginative form in Moradi Kermani stories. In this descriptive-analytical research, simile, the elements of simile, the objectives of simile, and the role of simile in the stories of Houshang Moradi Kermani were examined. The research findings indicate that simile is used to enhance the narrative elements, such as atmosphere, characterization, tone, dialogue, and internalization of the theme. Similes are harmonious with the language and tone of the narrator and the story’s characters, with the similes used in the atmosphere of the story being more imaginative. The objectives of simile are primarily to express Situation of tenor, exaggeration, belittlement, and Imagination.

With the aim of identifying the linguistic features and expressive creativity of Rozbahan Baghli Shirazi, the present research has analyzed the "Sharhe Shathiyat" based on Roman Jacobsen’s (1982-1896)"Communication Pattern". The results of the analysis show that in the process of communication between himself and his audience, Roozbahan has used the capacities of language in its six roles, including: referential, emotional, persuasive, empathetic, meta-linguistic and literary (poetic). In the meantime, due to the fact that the author's goal was to decipher the shenanigans of famous mystics, the "referential role" and news reports have been used the most frequently. Roozbahan has also created empathy with the audience by widely using Quranic verses and hadiths in terms of intellectual and ideological sharing. Although this feature is in the conceptual field of the "role of empathy" of Jacobsen's model, it is different from this model and is considered among Rozbahan's linguistic creativities. The "persuasive role" of Sharhe Shathiyat is manifested in the form of addressing all the phenomena of existence, and the "paralinguistic role" in Sharhe Shathiyat is used to describe more than 200 scientific terms of Sufism. Payam's "literary/poetic role" is very frequent in this work, and due to Roozbahan's pure personal and intuitive experiences and his creative interpretations, the metaphorical mentality has dominated the Sharhe Shathiyat. However, among the types of roles, "emotional role" is more prominent because it is the present language of the speaker and his special feeling about what he said, in such a way that it dominates all propositions and even referential propositions.

One of the prominent concepts in formalism is “defamiliarization”. In this method, the poet, relying on the principle of strangeness and freshness of language, employs techniques that ultimately alienate the text from the audience. Deviation from norms is one of the main and effective methods of this approach. Leech categorizes defamiliarization into eight types: phonetic, semantic, syntactic, lexical, stylistic, dialectal, orthographic, and archaic. In Persian poetry, Khaghani Shervani is a norm-breaking poet who, relying on his abundant wit and artistic creativity, has used features in his poems that distinguish his poetic style from other poets. A large part of the defamiliarization in his poems is related to the structure and use of vocabulary. This article is written to investigate the structure of vocabulary and the use of different types of defamiliarization in Khaghani's poetry. We have used the descriptive-analytical method and focused on his collection of poems. We have concluded that a large part of the prominence and complexity of Khaghani's poetry is due to the use of various types of defamiliarization in the field of vocabulary. Khaghani has constantly been able to present the freshest poetic images and add to the freshness of his language by creating new words and phrases, using unfamiliar words from the Turkish language and other languages, words related to different religions and sciences, colloquial expressions, and using non-standard forms of words.

Critical discourse analysis is an approach that examines language as a form of social function and emphasizes on the reproduction of social and political power through text and dialogue. Discourse analysis or speech analysis refers to studies that analyze written, spoken or sign language. Fiction is considered the most serious format in terms of mixing with human, cultural and social dimensions. Therefore, it can be claimed that the capacity of the story in terms of proportionality with the discourse analysis is to the extent that the stories can be considered as the container of the discourse of the author’s time and the mirror of his society. One of the important components in critical discourse is Norman Fairclough's model. Using his components, one can find features in the text that are ignored by normal reading. Due to its unique nature and close links with society and social and political events, the novel "Jazirey-e sargardani" has a lot of significance with the method of discourse analysis and the discovery of its special stylistic elements; By pondering and re-reading it, one can understand the important events and the political currents of Iran and the biggest issues in the minds of the novel's characters. In this research, the interaction and intertextual communication of the discourses of the novel "Jazirey-e sargardani" by Daneshvar, with political-social issues, effective linguistic and paralinguistic features and logical relationships between words are investigated. According to the investigation, these results were obtained: that all the rhetorical and grammatical techniques, including the types of semantic layers, metaphors and their dynamic use, the choice of vocabulary appropriate to the characters, the process of modeling and metaphorical explanation, the selection of the third person point of view, the use of adverbs as (one of the most important linguistic profiles that show the extent and intensity of worldview) and... all serve the author's purpose i.e. to express the historical realities, the contemporary cultural, intellectual and social conditions of Iran and the spiritual and psychological concerns of his personal life.