نشریه مطالعات زبانی بلاغی
پیاپی 17 (بهار و تابستان 1397)

The art begins with an overwhelming feeling and affection on the soul of the artist and makes him create, create and create an artwork. This reaction, which is the result of the spiritual experiences of the artist, is one of the main elements and motivators in the compilation. One of the most important features of man is affection. This feature explains and points out the attitude of the human person, including the artist, to the phenomena and concepts of existence. The affection in the realm of artistic creation is how the artist interacts with the phenomena of the outside world. The main manifestations of affection are happiness, sorrow, love, hatred, despair, hope and regret. The sadness of emotion has always had a special place in poetry of our poets. The emotion of sorrow and regret is to correct the human nostalgia and regret of the past and the things that have been lost in the present. The purpose of this article is to investigate the emotion of regret and sadness and its role and place in the collection of Siavash Kasraei poems, which has been dealt with by descriptive-analytical method. The results of this research show that the emotion of regret and grief in the chess poetic manifestation is significant and can be considered as the reasons for the survival of his poem, kasraei’s regret can be divided into two categories of personal grief and social regret in the decoration of the word and its aesthetic elements, including poetry, ava, weight, vocabulary and division.

Having a look at preposition in Persian grammar sources, we find out that these five comprehensive prepositions "to, with, on, from, in" have multiple grammatical behavior. It means they are sometimes an independent word and make complement clause and sometimes they are a part of another integrated whole and don’t make it. If the word is followed by is a complement clause, it would be whether a common complement or a proper complement. Proper complement is the same as object and is only used with transitive verb which must have object ,but common complement is not considered as object at all and is used with different kind of verbs like: transitive, intransitive, active , passive, linking or state and action verbs. If the preposition does not complement clause, it will be a dependent word or a part of a compound verb or a verb clause. It also can make compound adjective or adverbial and adjective clauses.

Embellishments count as one of the salient features of literary function of language and they have been studied over a long period of time in Persian literature. Nevertheless not much attention has been paid from a linguistic-semiotic perspective. The present paper aims at investigating some embellishments in Persian poems according to Saussure dealing with the following questions:1- What aspects of Saussure’s viewpoint are adequate for explaining “pun”, “ambiguity”, “congeries” & “alliteration”?
2- Why does translation bleach aesthetical aspect of poems?
To answer the first question, investigating the data reveals that aesthetic aspect of aforementioned embellishments follows from the interaction of neighboring signs in the chain, which simultaneously causes interfaces between syntagmatic and associative axes to represent various activated relations between present and absent signs, according to their similarities in signifiers, signified or both parts of the signs. Homonymy and polysemy are of vital importance to represent these similarities, especially in the case of ambiguity and pun. In alliteration and some other cases of pun the combination and linearity of signs in speech chain yields a secondary motivated signifier (and consequently, a corresponding signified) activated in the mind. Aesthetical aspect of congeries rests on the representation of a semantic field (congruence) in the syntagmatic axes. Indeed, various signs in the speech chain, which have some semantic features in common, cause associative similarity by compatibility among their signified. The answer to the second question relies on sign values and social aspect of language system.

Consciuos avoidance of stereotypically prevalent structures both in meaning and imagination is one of the salient features of Bidel Dehlavis poetry which extensively enhances his works’ innovation, effectiveness and delightfulness. This ambigious parameter significantly appear in metaphors and allusions. Bidel Dehlavi’s sonnet scope from artistical efficiency could be divided into two forms: Simple and Difficult. The former refers to comprehensively simple metaphors which do no create so much ambiguity, but the latter group comprise widely frequent metaphors which play prominent role in his expression.
The second area of ambiguity in Bidel’s works relies in using allusions. It could be claimed that the part of allusions which seem oblique and unaccustomed orginates in customs, traditions, folklore, Iranian and Indian spoken language and Bidel’s symbolic expression. Accordingly, the sole route to get aquintance with his traditions, lookview, lifestyle and verbal features is deconstruction. Thereupon, the present study initially attempts to specify meaning innovation scope and then giving inexpicable and unfamiliar examples determine his artistic adroit and skill

The modification in language by the artist, creates an image; this transformation is shaped by the use of elements that are in the context of existing language and its inherent capabilities. With the discovery and utilization of these tools, artificer modifies the natural norms of the language and, through this manipulation, creates the image of creation. From this perspective, the book "Nafsat-al-Madsur" is full of fascinating imagery; On the other hand, how to start a speech and editing it in order to effect on the reader, has an important and determinative role, and the author can write the appropriate beginning, while also being able to duplicate the influence of his book. He also puts the reader in the background of the work and its concept. One of the finest and most influential techniques in this regard is the use of the primitive craft of the “opening the future”. In the book titled " Nafsat-al-Madsur", the author uses this technique twice: first, on the first page of the book, that contains "three-pages" full text, two words "sword" and " The pen " is seen at the center of the author's imagery; the second “opening the future” is seen almost in the middle of the book, in which author's illustrations are sequentially followed by various phenomena (like the Sky, the earth, aurora, morning, mountain and sea). One of the many types of imaging tools that Nasawi uses at the beginning of his speech to apply his image to transform his mental imagery into an image. This survey attempts to define, in addition to defining syntactic manifestations, two types of it, namely, the "amphibology metaphor irony” and "irony metaphor", which in the creation of images have an important role.

The aim of this study is to examine the conceptual-cognitive metaphors of the poetry Russian Nightmares, fourth volume, from the seven-volume collection called Left Eye of Dog, written by Panahi 2010 based on Fauconnier and Turner's Conceptual Blending Theory (2002) ( hencforth CBT) using mental spaces to describe the theory. They considered it as a special case of a more general and broader field. This broader variety is the analysis of mental mechanism when dealing with the conceptual domains. The authors of this study have examined the compositions and metaphors of Panahi's book known as "Russian Nightmares". The nature of the method of the present study was qualitative and the used method for analyzing the data was analytic-descriptive. The analyzed data has been chosen from his poets entitled Russian Nightmares. The examined and selected data are Panahi's poems, and the used tool is cognitive semantics, in particular CBT. The research results show that some used metaphors and compositions in these poems have created new spaces with the use of blending, composition, and completion so that it can make a new space in addition to source and target. In other words, the obtained results claim that Panahi has gone beyond conceptual metaphor theory (hencforth CMT) and he has used a higher model introduced as CBT with the use of which innovative and emotive metaphors have been discovered. Also, the research findings indicates the used metaphors by Panahi are from the type of double-space network.

Geneology, in its modern sense, has emerged from the ideas of Friedrich Nietzsche and Michel Foucault. Nietzsche attempted to attribute the cause of the existence of moral generations to behaviors of social classes. Foucault, while tracking Nietzsche's work, created the concept of Geneology based on the recognition of the systematic breakdowns of generations with an inverted approach from today to the past. Although Nietzsche has been influenced by Philology in this field, the Genealogical Etymology has not yet emerged. The present article is intended to introduce this knowledge. The research approach based on Foucault’s genealogy model, has been selected the identification of breaking points in current lexical generations. It is discussed in the theoretical basics of the Genealogical Etymology, about the equivalent value of relative languages and their internal value, as well as in the practical basics of this knowledge, about the separating how of the lexical generations and then' their dynasties and families. Finally, for example, we have done Geneology of "آتش" vocabularic generation. In summary, the word has seven dynasty and each dynasty, has one to a few family, whose relationship is still unknown.

In this article a distinctive simile in rhetoric is represented as negative and positive simile neglected by rhetoric scholar until now, while it has been influential in the formation of figures of speech. In negative and positive simile, a poet first rejects similarity of a topic to someone or something, and then immediately proves the similarity of the same topic to someone or something in the opposing point of the previous image. Author of the present article has described the quality of the type of simile relying on a number of instances in Persian literature. The oldest case of such simile is seen in an ode penned by Naser Khosrow. The aim of negative and positive simile, like any other simile, is describing a topic or exaggerating on it, but these rhetoric intentions are achieved through novel ways. By providing a kind of contrast and distinction between two images, a poet focuses on their similarity leading to stronger impression and sentiment. Such contrast gives a pictorial basis of meaning. In addition, employing negative and positive simile, poets establish connections between dissimilar individual and entities and make their readers surprised.

Although the history of the writing of rhetorical books and the introduction of literary industries in Farsi language is about a thousand years old, the scientific classification of the elements of the beauty of speech in ancient works is not so much known. Researches have been conducted in recent decades in accordance with the view of the new literary currents and the growth of linguistics. However, due to the lack of clarity of the mutual relations between industries, the vagueness of their aesthetic value and the observance of the position of each literary element in the system of the organ like of the work, these classifications have not yet met the expectations of the literary people. In this article, after reviewing and analyzing the old and new rhetoric texts, the "language architecture" approach is proposed for classifying literary industries. This method is based on the association of associate. The language architecture is classified the literary industry in four levels: verbal, semantic, visual, and weight. In this style, you are considering the categorical comprehensiveness, the aesthetic value of the industries, and their role in the structure and axis of the horizontal and vertical poetry and the formation of the language system and the specific mental geometry of each poet. The results of this research are a small step in explaining the architecture of language and the association study in the field of Persian literature, especially poetry.

The discovery of al-Asrar as a Persian prose book has verbal, lexical, spatial and syntactic features that each one is remarkable in its place. Perhaps the most important of them is the level playing of prose and the great attention paid to Old Persian language – both in the selection of words and in grammar –that makes reading this text more attractive. Considering that the third turn of this interpretation, that is, the mystical interpretation part of language and subject diversity, has a dominant literary and artistic aspect of language. From the point of view of the Religion, as well as from different perspectives of Sufi, you, from the perspective of the wise, the love-loving, and the sectarian, spoke of your subjects. And in the expression of each of the views, the language also has different characteristics; the linguistic analysis of the linguistic features of this valuable comment - especially in the third turn - seems essential. Therefore, the present study demonstrates the following hypothesis in order to reveal the rhetorical and linguistic values of Meybod's interpretation: The beauty of the third part of the collection, in addition to the variety of archetypes and techniques associated with the music of the word, is due to literary tricks from the rhetorical aspects of language. The research method in this research is descriptive and analyzes the content about the style (language) of the third turn of Kashf al-Asrar.

Cognitive linguists use metaphorical language as any form of abstract understanding and expression that is presented in the form of tangible concepts.
Because they believe that human beings, in the context of their relationship with the world around them, create concepts in the form of schematics in their minds.
One of these schemas is the motion schemas that the present study examined in Sohrab Sepehri's poetry. The results indicate that the symbolic and mystical poem "mosafer" is full of abstract themes and is a general schema of the concept of travel. Most of the metaphors of this poem are the type of movement used to convey the concepts of travel and they have a very important role in plotting the poet's mental images

Personification is one of the most important ways of creating imagination through which we can personify objects, elements, and abstract concepts. This method is called in the literature terminology personification. This study, this imaginative element has been analyzed in several aspects in the book of Nafsat al-masdur written by Shihaboddin Mohammad Khorandezi Zeydari Nasawi that is known as one of the famous Persian prose texts. It should be noted that Zeydari paid much attention to using personification, so that he considers all the concepts, elements, objects, and natural entities in the eyes of a living organism. The writer in addition to creating imaginative and innovative images could largely be successful in conveying emotions and inducing his feelings to the reader. In the meanwhile, he benefited from abstract elements more that the other things in making personification. It should be noted that all the pictures presented in this book through the personality, apart from the two cases, are rigorous and persuasive.

The main aim of this article is investigating the collaboration rate of authors of the journal of Linguistic and Rhetorical Studies via using scientometrics methods. The total issues of the JLRS which have been published during 2010-2018 was the subject of this research. The results showed that 215 authors had published 118 articles in JLRS and mean number of authors per article is1.8. From the viewpoint of gender, 64.6% of authors are men and 35.4% are women. The results also showed that the Semnan University is most prolific among other research institutes and scientific centers. Results also indicated that other universities such as Bu-Ali Sina University, University of Mazandaran, Allameh Tabataba'i University were in next situation. The results highlighted that collaboration coefficient was 0/4.