فصلنامه شعر پژوهی (بوستان ادب)
سال دوم شماره 2 (پیاپی 4، تابستان 1389)

The limitations existing in the classical structure of rhetoric make reforming it quite urgent. Most rhetoric precursors have limited rhetoric into three main categories and have defined each category. ReMore recent scientists of rhetoric often follow this classification and the related definitions. However, it is too difficult to apply this classification to litrary works and find relevant examples that correspond to its categories. In other words, there seems to be an urgent need to create new classifications including different subcategoreis, which leads to the reform of the classical structure.One of the most significant subjects in this domain is the concept of symbol and its status and definition in rhetoric. As in such diverse fields as mythology, psychology, sociology, art, mysticism, etc, symbolism can lead to fundamental changes and reforms in rhetoric, through creating new areas of research.The present study analyzes symbol and symbolism and discusses ints status in Persian rhetoric.

In this paper it has been tried to investigate the issue of family in Qabusnameh. First, definition of family is presented and then different kinds of family are to be introduced. As the first stage toward studying the mentioned issue, it is necessary to introduce the marriage phenomenon, which is the first step in family formation, as well as its related problems such as the age of marriage, spouse selection, characteristics of the ideal spouse, and so on.In another part of the study we examine in detail the family members (parents and children) and their individual position and rights. Discussion on women and three age ranks as child, adult, and elderly forms another part of this research.In the end, after pointing out the economy of the family in Qabusnameh, we turn to study the family structure in this book, which has been defined as follows: kernel family, uni-spouse, father-raced family, patriarch family, exogamy family, and new-location family.

Since Persian Proverbs have a wide range of aethetic aspects, researchers have considered proverbs as a litrary genre. This article discusses three dimensions of Aesthetic: . Weight and rhyme of Persian proverbs.. Rhetorical dimensions in the field of meaning, expression and novel.. Humorous Language and expression of proverbs.In order to show the quantity and quality of weight and rhyme in Persian proverbs, a sample of one thousand proverbs was selected from five important sources. The result of statistical analyses showed that % of proverbs are prose and other 8% are rhythmic (% prosodic weight, 7% Non-prosodic and 8% with the internal music). Then after this review of statistical analysis, We analyzed each of these sectors and presented examples. Considering the fact that Persian proverbs in all aspects are close to the weight of folk poetry and by reviewing the comments of six folk poetry experts, proverbs have been described from this view point.Third section shows the role of audio elements and proportions and exquisite symmetries in making Persian proverbs melodic. At the end Well point to the important elements of humor and its tips.

Although there are a number of articles and books about the life and works of Arezu and some of his compositions have been revised and published, it should be acknowledged that none of these works deserves his name and status and they often repeat the clichés of the previous sources. For this reason, a serious study which is based on original sources seems necessary. The present study tries to realize this aim.

This study looks at the frequency of the prominent people and characters of the episodes in Sa’adi’s Boostan. The writers, then, have used terms that are technically used in writing stories to express their purpose, terms such as ‘character’, ‘roundedness’, and ‘flatness’. By character we mean an entity in the story that all the events and activities revolve around it. More specifically, the study seeks answers to the following questions: . What kind of characters are more prominent in the episodes of Boostan?. What are the features of the round and flat characters in Boostan?. What is the proportion of men and women characters?. What is the proportion of good and bad characters?. What is the proportion of religious, Mystic, historical, mythical and figurative characters?

Among the kings who are cited in Nizamis’ works, except Shirin and Marye, there are at least two other she-kings namely Nushabeh and Mahin-Banu. But so far no attention has been paid to study this new and interesting subject. In the present essay, for the first time, the reign of these women is analyzed, initially by reviewing its historic and philosophical aspects, and then by considering the original aim of Nizami by talking about it.First the personality, the style of life, and the reign of Nushabeh and those of Mahin-Banu are studied. Then, the reasons which have caused that such a great sage like Nizami pay attention to this question are demonstrated.

Imagery is one of the basic components of the formation of an artistic work. Fictional features that artists use to express their thoughts and ideas have roots in mystical and cultural beliefs. Therefore there is a relationship between imagery features of different arts and these arts influence each other in using imagery features.Literature and painting have served each other from a long time ago. To have a better expression of the literary text, painting pictures were used in the margin of the manuscripts. In fact, painting was the visual expression of the literary text, and has illustrated the literary concepts by script and color. In return, literature was the and mental expression of imagery feature. In Shiraz School's painting we can see a modern form of joining literature and painting. The painters of Shiraz School have innovated a special style in designs and made a deeper bond between the text and picture.Regarding the special bond of literature and painting of Shiraz School, we have studied the influence of the literary imagery features on the designs of Shiraz School. So, first of all, we have studied the relationship between the literature and painting, and then analyzed how literature influences the designs of Shiraz School.In this research we found a mutual relationship between the literature and painting. To achieve a comprehensive meaning of designs we should seek help from literary concepts. On the other hand, painting objectifies the literary concepts, too. In the designs of Shiraz School, the mutual and dialectical relationship between literature and painting has a visual impression on the designs of Shiraz School.