نشریه مطالعات زبانی بلاغی
پیاپی 4 (پاییز و زمستان 1390)

Orphi Shirazi is a powerful and visionary poet of 10th (Hijri) who initiated the circulation of a new style in Persian poetry. This poet who has a sharp vision and a creative mind was successful both in creation of new matters and innovation of new combinations and images. Orphi form his creation of content with very initiative skillfulness and use of imagination as well as figures of speech. In this article we try to, by analyzing Orphi`s poems, consider some of his principal level of language with a stylish view and analyze them form the point of view of imagination and figures of speech. To this effect we tried to consider orphi`s frequent imagination and figures of speech which have, stylish values through exact analysis of Orphi`s odes examples. In this research distinctions of Orphi`s poems are also analyzed from the point of view of imagination and figures of speech. The main reference of this study is orphi`s poems which are the basis of our analysis. Experts` points of views are also considered in this study.

Identification, collecting and studying on the local dialects, cause not only consolidation of cultural relation between today and yesterday, but also prevent destruction of dialects and provide a condition for improving and developing of national language and culture. Eshtehardi Tatty dialect, the dialect of the south-west Iran, with all that antiquity, is still alive and regarding its geographic region, had been remained intact until a few decades ago. But now for various reasons is eliminated against the power of national language. The presence of some elements of relation with the ancient language in this dialect, the maintenance of relation with the ancient languages of Iran and also the extent of lexical scope and diversity of grammatical structures are the main features of this dialect. In this article, according to a phonetic comparison between the common words of this dialect with Persian language, we have tried to present a clear picture of its phonetic features. Such a work has not been done so far and it can be very useful in understanding the nature of Tatty dialect and in discovering the relation and interaction of this dialect with the dialects in the same root. Our study shows that the phonetic distinctions of Tatty dialect with the Persian language appears in the first, middle and final part of words, and follows four phonological transformation, deletion, addition and metathesis.

Sadegh Hedayat is one of the first authors and researchers who has had a precise and scientific confrontation with vulgar culture of Iranians. He has used these elements in his stories while researching in vulgar culture and he has provided a clear image of the culture and traditions of his region. Stories of Sadegh Hedayat are an emerging point for many elements of vulgar culture as the most important part of his works, and are considered as cultural examples which by investigating and studying them, we can learn about cultural memoir of Iranians besides the cognition of their believes. In this paper, we are taking efforts to survey flashes of vulgar culture in the stories of Sadegh Hedayat and we are going to study the application method of these elements in stories of Hedayat. To achieve this objective, we have divided such elements in stories of Hedayat after proposing some discussions concerning vulgar culture and its inclusion and territory issues and we divided them into four categories of; traditions and believes, vulgar poems and songs, proverbs and vulgar language. Then, by providing statistical tables we have studied application of these elements in stories of Hedayat.

Some of the Grammar ians and linguistic on the scientists believe that Farsi language lacks Compound verbs. Another group, other hand, denies this idea and say that Farsi does. So they discuss in the types of compound verbs and the ways of discriminating them.One of the most important points of view about these verbs is M.Reza Bateni’s idea. So in this paper, after reviewing these points of view, we discuss about simple verbs and their functions. Also, we consider these questions: are simple verbs a linguistic necessity or an obstacle in language? And, whether the meaning of simple and compound Verbs are same or not? It seems that applying simple verbs finally leads to foregrounding and de-familiarization of language. Based on this, these verbs differ in meaning, structure and functions.

The plenty and variety of the Geminated Words indicates that certainly Gemination appears in the speech and speakers of the Persian language know this. The obvious reason is that Persian speakers whether young or old produce Gemination systematically and they have no problem in producing, it but there is hesitation if the sing of Gemination in writing is a cause of reading the stressed words fluently and correctly. The similar voices in some words are pronounced Gemination and in some without geminating, however their voice structure are the same. Generally geminating has an important part in the Persian language because it is the result of a method of language phonology that according to a unexceptionable method and unwontedly is used by the speakers. This article is written according to the library's method research and presented both descriptively & analytically.

Beyhaqi's history is one of unique texts in Persian Literature that has remained unrepeatable and unimitable because of it's mixing with music substantially. The history mixed with art; avant – gard art.Beyhaqi's history, although, is the production of combination of many elements, the role of music is undeniable in it's outstanding. Rhythmic prose is seen evidently in Khaje – Abdollah – e – Ansari's Monajat Nameh and Sadi's Golestan and other rhymed prose, that in there, rhyme and other abstract and verbal elements promote prose to poetry. But Beyhaqi's history isnt like them although it also uses from these elements.Rhythm in Beyhaqi's history derives from the music of works and it's connection with the structure of his text, that is, that a metre and order is in the western modern poem and Shamloo's poetry. This paper deals with Beyhaqi's history in this view point that is harmonic that like modern prose poem and the most important elements which have role of generation of music like: the music of words, the reapatition of word and voice, the music application of adverb, the word of "Ra", rhythmic composition, the syntagmatic of opposition elements, the role of simile, and the metathesis of components of qsentence.

This study is aimed at discussing the various types of rhetorical and semantic repetition in didactic poetry based on Bustan. To this end, it has primarily investigated repetition from the perspective of rhetoricians followed by the dialectic bond of language and mind in didactic poetry. In the third section, rhetorical repetition in Bustan has been scrutinized. At the end, a novel type of repetition in the area of semantics in Saadi’s discourse is introduced which reveals that this type of repetition is found in the area of semantics with the purpose of transferring information, meaning, and thoughts through linguistic functions than creating music and demonstrating aesthetic appeal in discourse. Hence, this kind of repetition enjoys more linguistic application besides inducing aesthetic influences in the text which is studied in the area of semantics.