فصلنامه متن پژوهی ادبی
پیاپی 39 (بهار 1388)

Examination of languages and dialect forms, inherited from Iranian languages could help in understanding the Persian language itself as well as its grammatical elements and vocabulary. This study is aimed at examining the phonetic system along with discourse elements of Iron dialects. Among the most important grammatical properties of Iron dialect, the inflectional morphemes, linguistic elements or forms, and affixes can be considered. With respect to noun cases, this paper gives an account of inflectional morphemes and grammatical categories which represent ancient Iron dialects. The present study is an attempt to identify and understand adjective categories, different types of pronouns, verb patterns, and verb tenses.

This study first defines “adjunct” and addresses the other types of adjuncts in traditional grammar. Then, the concept of “figurative adjunct” is reviewed and the study suggests another division for the other types of adjuncts. This division is exploited on the basis of “foregrounding”, “automation”, and “literary functions” of language. It also discusses some of the characteristics of simile according to the novel division of adjuncts and gives an account of some ancient manuscripts. However, they are not in the category of simile adjunct. These kinds of simile consist of an abstract and a concrete noun which are called “objective adjuncts”. In addition, this paper provides some examples of this trope and continues with some comments on the results and conclusions are discussed at further length.

Linguistic acts enjoy two dimensions. A usual dimension which is deprived of artistic manifestations and an artistic one which takes different forms due to not having any role as a reference. In artistic language, various techniques are exploited. One method involves the repetition of sounds, words, and sentences. The first type appears at the level of lexicon, the second type at the sentence, and the third type at the wider and general level of speech chains. Sound and lexical repetitions are the most common forms though Persian poets made different uses of these techniques and some of these poets occupied a crucial role in bringing about such works. Mowlana has extensively used this technique which has provided a great linguistic music. Furthermore, it becomes accessible to the readers, and is written in a simpler language. This paper aims at examining the diversity of such repetitions in Shams sonnets from solely Persian linguistic perspectives and reveals the emergence of such methods. A technique which is Mowlana’s and is accounted as a particular feature of his poetries.

The aim of the present study is to investigate the performance of Persian- speaking children with Down syndrome in the comprehension of simple and compound syntactic structures. The participants of the study are 20 children of both genders, matched with the normal group based on their mental age of 7-8 years. This research applies both the descriptive and the experimental methods. To evaluate syntactic abilities of the participants, a test of linguistic comprehension was developed. The results of the research indicate that there is a significant difference between the performance of the down and normal participants with respect to the simple and compound structures in the comprehension test.

This paper is divided into two main sections. The first section describes the results of the investigations into the paradoxical images in Persian poems. In addition, it provides various evidence for putting forward a number of hypotheses which proves that riddles are the first manifestation of paradoxical images in Persian poems. As these images in the true sense of the word have been revealed with the advent of Sanaee and his Moghane’s poems in the area of Persian poems, the researcher has made a lot of attempts to present evidence of some poems of other poets who have lived before Sanaee or contemporary with him. The second section compares two different outlooks in order to identify whether there is any relationship between paradoxical images of these riddles and the paradoxical images of the other texts, mainly mystical texts. In this comparison Bidel’s poetry, which is a widely representative of paradoxical images in Persian poems, has drawn a lot of attention.

Mir Abulqasim Astarabadi is a renowned philosopher and mystic, Safavid period (11th cent.) whose philosophical and mystical wisdom are outstanding. The verses which are left from him are known as “Yaie Ode” that includes great concepts and represents his thought style, zeal, and wisdom. A literary man, reputable savant, lecturer and instructor of wisdom and philosophy, prominent mystic, commentator of mystical works, expert in alchemy and instinctive and intrinsic knowledge, and finally a salient poet are some of the features which are attributed to this fairly known figure by other literary men. Mir Fendereski enjoys such a complex character that it’s difficult to form a judgment about his thought style. This study is aimed at revealing certain features of this great philosopher and mystic by reading through some of his odes.

This study has focused on two major issues. Firstly, an examination of the meters and rhythms that Rudaki has exploited in the preface of Persian poems. Secondly, a deep contemplation of the meters while reciting or reading the poems. Regarding the first point, this study concludes that the poet is fully acquainted with the meters and rhythms of Persian poems and has made much use of those meters and has applied them extensively except for some specific meters that can have three reasons. Presumably, many poems are composed based on such meters which are not accessible owing to the extinction of some parts of the poems with the passage of time. Unfamiliarity with such meters or lack of experience can be a second reason. In addition, the poet can be unwilling to use the meters in his poems. The second part of this paper is devoted to the complexities or the difficulties in the study of Rudaki’s poetries which have been resolved with the aid of the musical system of Persian poems. Accordingly, the main conclusion to be drawn from this study is rectifying some verses of the poet’s collection of works.