جواد مرتضایی

Due to the link with the Qur'anic language and Muslims' verbal beliefs, the concept of metonymy has been considered as a controversial and important challenge from the beginning of rhetorical studies in the Muslim world. Farra, Ibn Abi al-Khattab Qureshi, Abu Obeida Moammar bin Muthanna, Jahiz, Abd al-Qahir al-Jurjani are the most prominent people who have taken the basic steps in formulating the definition of metonymy. It has, however, changed in to a rhetoric term near Sakkaki and khatib Qazvini and has been realized with the same definition till now. Nowadays, metonymy is repeated with the same traditional definition and the interests exist in ancient rhetorical texts, however the contemporary linguistic studies help greatly in making the classification and modern definition of topics in eloquence clear. Drawing the evolution has happened in the definition of metonymy and its interests, the present study is to analyze it on the basis of Jakobson's theory of "metaphorical and metonymic poles of language" and through the concept of association and the law of proximity, it attempts to prove that metonymy applications are actually figurative associations to the semantic interests of proximity; and it would be possible to take a new look on the discussion of metonymic interests and to facilitate its instruction using this approach.

‎“Distinction” is one of the main components for the success and ‎continuity of any literary work. “Literary distinction” has not been ‎studied directly and concentrated in Islamic rhetoric; but this topic was ‎always in the focus of Islamic critics and rhetoricians. The major problem ‎in this research is receiving the attitude of Muslim literature scholars ‎towards the topic of “literary distinction”. By relying on the original ‎references in literary criticism and Islamic rhetoric, this article intends to ‎find out the essence of this discussion from the standpoint of different ‎opinions of Muslim literature scholars. While the literary distinction is the ‎result of convergence function of “form and specific meaning” in the ‎Islamic rhetoric, the fundamental topics including specific meanings and ‎forms, discretion-creating domination, mutual meanings and forms, plus ‎their types and subtypes have been investigated.‎This essay tried to make up the effectiveness of Islamic literary criticism ‎in this field in order to criticize the classic literary works based on such a ‎standpoint that the creators of these words believed in

Allegory has an old usage in Persian poetry and it is one of the features of Indian style. Rhetoricians from past until today have had different ideas about its definition and types. One group took that as a kind of simile or metaphor and others took that as a figurative device and took the idioms as allegory too. This article tries to introduce and criticize different viewpoints and descriptions and present a distinctive description of allegory and introduce all kinds of that and make it notable that allegory is a kind of simile and thus it is an image and should be considered in imagery.

In today literary criticism, the elements that change the automatic language into poetic language have been discussed from the points of view of semiology, deviation of norms and imagery. An interesting thing is that the three mentioned viewpoints have come to one conclusion; that is, automatic language in poetry and literature deviates from its normal everyday function. But, with regard to details and terminologies, there are some differences in these three theories. In this article, it is tried to study the three viewpoints on the basis of their preciseness in explaining this topic and, finally, a comprehensive viewpoint about the conditions of transforming automatic language to poetic language is proposed.

Differences in manuscripts of almost all of the divans of Persian poets are due to conscious as conscious effect of manuscript writers. On the other hand, differences in different versions of the divan of Hafez were due to the poet’s editing rather than the writer’s tastes. In editing any divan of Hafez three principles must be considered. The first is attention to the ancient and reliable versions. The seconds is the authenticity of music in the poems. And the third is the relationship of meaning and imagination. In this paper only principles one and three are used to interpret a line of poetry of Hafez; the second principle is not effective in this poem.