لیلا الهیان

the ways to discover their beauty. In this study, the association of an image with another array is assumed to be one of the reasons for the dynamics of Shahnameh literary images. The simile is the most frequent image of the Shahnameh due to the requirements of the epic text. After extracting  the similes of the first volume of Shahnameh, the most widely used literary industries in verses containing similes were examined. eighty percent of the similes were associated with symmetry. Due to their significant frequency and the answer to which requirements of their epic species depend on their simultaneous use, both of them were assumed to be a stylistic component. Therefore, the reason for combination of these two and their effect on association, creation or strengthening of context, preventing the complexity of images and creating a narrative space, novelty of images and characterization in Shahnameh were studied and explained in three areas of language, narrative and rhetoric. The result is that the combination of semmetry and simile with a stylistic usage is used to continue the concept in the horizontal and vertical axis of the text, to avoid the vulgarity of simple and sometimes repetitive similes, to compensate for the shortcomings of characterization in the epic text and to maintain the story continuity used in the long text of Shahnameh.

From the beginning of literary studies, rhetorical techniques have been considered a literature grading tools. Although the functions of these aesthetic techniques are defined according to the audience, many techniques were considered as equal to literary techniques without having a true literary value to prove the beauty of the literary work due to the lack of purposeful and accurate explanation of the basics of aesthetics. In the present study, the definitions and different names of the congeries, as one of the main embellishment techniques in literature, were investigated via analyzing them, and other related literary techniques. In identifying the functions of this literary term, its role in traditional embellishment as well as in modern literature, such as criticism and stylistics, has been addressed. This is achieved through formulating the following questions “What literary techniques were mixed with congeries in terms of definition and literary role?”, “What is the relationship between redefining this literary technique and new fields of study, such as linguistics?” and “How can new tasks be assigned to improve the function of congeries through redefining it?” Accordingly, the definitions of congeries were examined from the beginning. Then the techniques that have commonalities with congeries in function and definition were recognized. In addition, the term collocation is also evaluated as a suggestion for completing the meaning, subdivisions, and tasks of congeries.

Indian subcontinent in the tenth has been one of Persian language and literature flourishing centers, somewhere far from its homeland. “Golbadan nameh”, the first Persian lady_written prose, which is belonged to this period, has been written by a non-Iranian lady. Golbadan as a woman with social prestige and observer of events, left memoirs of behavior of his father, Baber, and his brother, Homayoun. But it seems that this book is more than a memoir, it seeks to highlight, hide, or change things in a feminine way. The question of the present study was what historical-cultural issues “Golbadan nameh” addressed, especially in showing the ever-hidden part of governments, namely women, the interior and their relations, from a woman's point of view and in this way how the author has presented a historical narrative of his father and brother. For this purpose, after representing the historical content of the book, two issues worth considering, the position of women in the court as well as the beliefs and rituals that are represented during the represented memories, was investigated. As a result, it was found that the characters and presented memories are usually chosen based on the family relationship with the present king (Akbar Shah) and from a feminine perspective, the author seeks to prove the legitimacy of Homayoun Shah's rule, the loyalty of his other brother, Handal, their deep intimacy, and their efforts to honor women and family relationships.

Considering the rhetorical techniques of a literary work is one of the ways to discover the beauties of the text. Traditional rhetorical studies with a detailed viewpoint were often limited to determining frequencies and describing stylistic devices and their types in literary texts. In contrast, rhetorical stylistics is a new approach in examining the rhetorical features of a text that examines the effect of stylistic devices on the topic’s processing quality with regard to a particular genre. In this approach, we are faced with concepts from the fields of criticism, linguistics and the like. In the present article, simile in the Shahname, the most important Persian work in the epic literary genre, was examined based on this approach to show how Ferdowsi was able to benefit from this linguistic and rhetorical device in narrating the stories of the Shahnameh. Knowing the differences between the epic genre and other literary genres and the necessity of using special rhetorical techniques appropriate to this literary genre, Ferdowsi could create a creative work by using some linguistic and rhetorical devices, especially by simile. Since “simile” is the center of poetic fantasies in “narrative”, it has been of high interest to the poet as a stylistic component in narratives of the Shahnameh. In this article, the first volume of the Shahnameh was studied in terms of using the simile by using rhetorical stylistics approach in three parts of rhetoric, linguistic goals and narrative. And it was found that Ferdowsi has considered many capacities for simile. In addition to illustration and aesthetics, he has also used it in other branches of rhetoric, linguistics and narrative so that he does not have to use other boring and longsome techniques.

Teaching the “verb” is very important in learning the grammatical and semantic structure of any language. In Halliday’s functional grammar, verb is considered as “process” under the transitivity system. From the viewpoint of this system, verb has the ability to represent the experience in language; therefore, it is considered in the format of experiential metafunction. Process, event, being and not-being, feeling, and action are issues which appear in form of verb phrases. By considering the types and frequency of processes in educational texts, one can identify their approaches to the transfer of experiential concepts of the language and the diversification or non-diversification of processes and the educational outputs of these processes. The main purpose of this article was to explore the frequency of process types and investigate the embedding of those processes into educational approaches in three intermediate books titled “Let’s learn Persian”, “Modern instruction of Persian language”, and “Persian language”. Hence, the processes which appeared in the texts of these books and their types were specified in an analytical-statistical method. The results showed that in the three considered books, relational process has more frequency than the other processes. Since a wide range of sentences are made by relational process in the language, its significant frequency in elementary language teaching materials is educationally justified. However, the books considered in this paper related to the intermediate level. Furthermore, behavioral and material processes which represent most of the human’s life experiences are of average frequency in these books and for the learning and retention of these processes, the writers have resorted more to semantic variables such as partial or complete repetition, synonymy, collocation, and antonymy.

Sa’di’s Gulistan has always been considered as one of the most important sublime masterpieces of Persian literature. Regarding to stylistic researches on Gulistan, one of the peculiarities of Sa’di’s artistic techniques is to select the verbs in such a way to reflect the influence of didactic qualities. In Halliday’s systemic functional grammar, the verb category is also considered as a process of transitivity system (grammatical ability for representation of experience in language), ideational and experiential meta-functions. The study of the types and frequencies of the processes leads to the achievement of the author’s mental status and style. In the stylistic study of texts, transitivity system makes it possible to select the processes systematically and to represent the author’s intentions. The goal of this article is to study the main components of masterpieces like Gulistan and to describe its features. To attain this goal, having explained the processes and its types, seven parts of Gulistan (the first seven Babs) and their frequencies are studied at the first step. The study reveals that Sa’di has paid attention to the selection of the processes and the capability of the simultaneous artistic repetitions besides meaning and rhythm. Since most Sadi’s examples are of behavioral nature, it is concluded that the main concentration of Gulistan is on humans, social relationship and the didactic principles.

Context is a background in witch a text is created and understood. This background consists of time and place (i. e. co text of situation) or words and expression witch surround every word (i. e. co text). Concerning the context of situation the question is that in the old texts، specially the literary texts in which direct understanding of context of situation is impossible how it could be reconstructed? According to Halliday and Hasan (1985) this situation or those factors that affect creating a text، are constructed from three elements، with which the context of situation could be described. From this point of view، three elements such as field of discourse، toner of discourse and mode of discourse، are considered as three entrances to any situation and make the selecting a style possible. The collection of these elements called contextual configuration which plays an important role in structural unity of text. This study first of all، explains context and elements of contextual configuration and then considering these elements with the aims of studing the elements of situation and different part of contextual configuration in Golestan of Saadi. To do this، all discussable elements of transforming a meaning should be explained. As a result، it became clear that contextual configuration of Golestan is the main element of consistency of the text and it has made the connection of readers with the text during the centuries.

Paragraph is one of the units of meaning in the text which is greater than a sentence and is, in its turn, responsible for transmitting the meaning. This study aims to illustrate: What kind of sentences form a paragraph, What is the structure of sentences in a paragraph, What kind   of role occupy different paragraphs in a text, To make the author’s intention more clear how should be the paragraphs divided. A paragraph comprises of a topic sentence and supporting sentences and considering the position of different paragraphs in a text, three paragraphs can be distinguish for every text, i.e. introductory paragraphs, body paragraphs and conclusion paragraph. Since each Paragraph explains a respective independent subject, the paragraphs can be divided in to narrative paragraph, descriptive paragraph, cause and effect paragraph, comparison and contrast paragraph and composite paragraph. Understanding the parts of a paragraph correctly and having the ability to distinguish the different kinds of paragraphs help to understand the text properly, teach the correct way of writing, classification of subjects and avoiding the deviance of the main subject of the text and verbosity. With explaining the structure of a paragraph to determine the framework of the paragraphs and adoption an appropriate way for paragraphing the text in line with its subject, this article strives to make clear the functions of the paragraphs.

Texture or context is a lingual, environmental, temporal and spatial background where a text is created, understood and interpreted. A text without context is incomplete. Word or phrase of one context has different meaning in others. Likewise, a number of metaphors , allegories, ironies due to the lack of actual context remain undetected or are not received by writers correctly. The context in traditional rhetoric has been introduced with names such as “sayagh kalaam” (context of the words), “moghtaza-e-haal” (appropriate presence), “shan-e- nazul” (descent like) and in linguistics, during discussions on the discourse analysis, these go consistently with the language debate. In this study, an attempt is made to answer the questions as: what is the context? why is the study of context necessary in the text? what is the texture classification ? The texture is both linguistic and nonverbal. The linguistic context is a space in which the sentence is placed and it is understood with respect to before and after. The nonverbal context is a cultural and situational and it incorporates all outer lingual factors with which the text is understood. In each section of the paper, an attempt has been made to point the role of texture species in the textual analysis as well as the literary criticism.