جستجوی مقالات مرتبط با کلیدواژه « زیبایی شناسی » در نشریات گروه « ادبیات و زبان ها »

Art and aesthetics are broad components through which the world is interpreted, affecting imagination, creation and expression in a perceptual process. Aesthetic experience and knowledge challenge new methods and perspectives of the mind. "Nadia" by Andre Burton and "Three Drops of Blood" by Sadegh Hedayat serve as clear examples of objective and mental beauty elements that reveal the hidden reality of the deep mental state of man in his subconscious mind. They possess an ontological reality of which our consciousness has only grasped a small part. The purpose of analyzing the aesthetic elements of these works, which represent the needs of different areas of human life through intuition, reflection and attention to the transcendental world, is to create an interactive connection between human feelings, thoughts, wisdom and imagination. The goal is to understand how these works are written and why they hold value. In this research, using a descriptive and analytical method and the approach of comparative literature, we rely on the American critical school for qualitative analysis of the surrealistic aesthetic aspects of the works. We have concluded that the beauty of language and imagination in the superstructure part, and the beauty of the content in the deep construction part using the techniques of surrealism, are the constructive foundations of the beauty of these works that lead to the creation of spaces that is a rebellion to free the mind from limitations.

Al-Tafaseel is a renowned piece of modern satire that effectively communicates critical-political ideas to its audience by employing contrasts. This book possesses enduring allure and charm, in contrast to other works in its genre that typically have defined periods of relevance. The beauty of this work is mostly attributed to its language. Al-Tafasil's language is widely regarded by critics as being heavily influenced by the language used in Saadi's Golestan. According to the perspective of new criticism, the aesthetics of the Saadi’s language are formed by the harmonious blend of both the exterior and internal qualities of the language. Now, the question is: What advantages did Tavallali employ to effectively communicate the politically critical ideas on the aesthetic appeal of Saadi's language, which continues to be captivating due to its humor? To get the correct response, it is necessary to first understand key theoretical principles, such as the external and interior aesthetics of language. Next, the aesthetic aspects of Saadi's Golestan were examined in two distinct domains: external and interior. Subsequently, a descriptive-analytical investigation was conducted to explore the aesthetic qualities of the Al-Tafasil in these same domains, drawing comparisons to Golestan. The research findings indicate that Tavallali lacked comprehension of the intrinsic elegance of the Saadi language when crafting Al-Tafasil, which consequently hindered his utilization of its distinctive characteristics. However, he demonstrated a strong grasp of the outward charm of the Golestan language and effectively incorporated it into the development of the aesthetic qualities of the Al-Tafasil language. Consequently, the focus of describing things has shifted greatly towards the outward attractiveness of language. The most prominent examples of this aesthetic approach may be observed in language games, the incorporation of expressive aspects, and the introduction of novel verbal and semantic techniques.

Every new style of architecture is based on the principles, methods and traditions of the previous styles and always has an effect in the course of time that is worth immortality, which has a logical support and deep theoretical foundations. The use of geometric shapes in the architecture has a long history and importance in such a way that they were used in the construction of most temples and holy places. The importance of numbers and shapes is evident in the aesthetics of historical and religious places. Among these, number four and the square-shaped buildings have been favored by Islamic architects in a symbolic way. The purpose of the present research is to draw the attention of architects in the construction of Basila City, the seat of Shah Tayhour's rule in the Kushnameh system, to the concepts and methods that are based on human experiences and the identity sequence of human achievements with previous generations and preconceived notions. Man was created with the ability to respond to the natural and aesthetic needs of his time. The current research was done with an analytical-adaptive method and an inductive one, and the main elements of Islamic architectural aesthetics in the field of practice and opinion are identified. Also, appearance, strength, stability, symmetry, balance, and how they affect the construction of Basila City in Kushnameh system have been investigated.

Poem and prose are to literary genres with their particular functions. Prose follows a logical approach to describe an event, while poem is mainly based on emotions, feelings, and imagination. At times, however, prose deviates from its logical, descriptive approach by influencing the readers' emotions. Such a kind of prose is known as poetic prose. It is believed that the two novels of Thakirat Al Jasad by Ahlam Mosteghanemi (1953) and A Quiet Love Story by Nader Ebrahimi (1936-2008) possess traces of poetic prose. Adopting a descriptive-analytic approach, the current study examines poetic prose elements in these two novels based on the American school of comparative literature, whose scope is not limited to influence, but emphasize similarity, comparison, and literature aesthetics. Findings indicate that internal music (repetition and alliteration), metaphor, simile, oxymoron, verb contrast, and synesthesia are most outstanding manifestations of poetic prose in Mosteghanemi and Ebharimi's novels. The presence of these features have made their prose poetic, attractive, imaginative, beautiful, and refreshing. The difference between the two novels is that Mosteghanemi has used a significantly larger number of implicit metaphors in Thakirat Al Jasad.

One of the inherent tasks of literature is the creation of art and beauty Poetic emotions are produced in the form of imaginative language and with appropriate and pleasant music it finds a place to influence and inspire. The use of aesthetic elements in poetry and the audience's reception of the poet's emotions and feelings have a great impact on understanding the beauty of poetry. Nadem Qaisari is one of the contemporary Afghan poets who is not well known in the literary community of Iran. In this study, which is conducted with the aim of knowing the artistic arrangements and beauty of Nadem Qaisari's sonnets, the authors make an effort to examine the outstanding linguistic, musical and visual elements in the poet's sonnets and find out how they are related to poetic emotion. The results of this analytical-descriptive study show that Nadeem's sonnets are full of linguistic extranormatives, phonetic and musical highlights, harmony of image and emotion, original similes, special compositions and thematizations based on mythological and historical concepts. He has emphasised the aesthetic and artistic aspects of his poetry with a special view of the linguistic abilities and the different components of language.

This article is the first attempt to draw the aesthetic effects and images of Khansari's poems by Yusuf Bakshi, a poet of the second Pahlavi era (1919-1980) based on his poetry divan in the Khansari dialect. Among those who have been able to establish a close relationship between man and nature with the help of imagination, emotion and music, Yusuf Bakshi is the "poet of nature". Due to the fact that his poetic divan is "Dictionary of Khansari Dialect". But unfortunately, with the passage of four decades, no comprehensive research has been done on Surkhayal Bakhshi. In this article, after a brief description of the word Khansar, the biography of the poet and the Khansari dialect, all kinds of similes, allusions, punishments and original metaphors and the translation of his divan have been discussed.

The present research is a theoretical study conducted in the library research method. The scope and society under study is Yusuf Bakhshi's poetry library.

Bakhshi, following the poets of the Iraqi style and Farakhor Kalam, has used literary techniques, especially simile, metaphor, irony, and majaz in the form of Khansari vocabulary.

Bakhshi, in addition to the Divan poetry in the Khansari dialect, are also a collection of poems in Persian language in the formats It has various variations, but his fame among dialects is due to his poems in Khansari dialect.

As one of the most common types of postmodern stories, metafiction is a way in which the narrator mentions the process of being a story and story writing during the story. Reza Amirkhani, a prominent contemporary Iranian novelist, has a postmodernist approach in some of his novels and tries to direct his writings to the beyond through different methods. The authors of this research have investigated the aesthetics of metafiction in Amirkhani's novels by relying on the descriptive-analytical method, and in addition to definitions of metafiction and aesthetics based on the opinions of experts, they have examined the methods used by Amirkhani for the beauty of metafiction. This research shows that Amirkhani's use of language tricks such as marked names, repetition, separate writing of words, colloquial and colloquial language, multilingualism and language and verbal games, and literary tricks such as metaphor, simile, irony, adaptation and contrast in his novels cause The beauty has become a myth and it has been successfully created by the creation of the myth.

This article deals with the aesthetic analysis of three important stylistic dimensions (language, meaning, and music) in Rofūzehā (The Failed Ones), the satirical poetry collection of Abolfazl Zarūī Nasrābād. Inconsistencies and defamiliarizations in the realm of humor occur in various domains and delight the audience. By applying some rules to these three stylistic dimensions, Zarūī has created inconsistencies in poetry and has thus enlivened the humor in his work. The present authors have aimed to reveal the subtleties and techniques of Zarūī's humor and extract frequent features in determining the poet's stylistic identity. The research method is descriptive-analytical and library-based. The results of the research show that he has displayed his skills in the field of language through techniques such as coinage, colloquial writing, westernization, and traditionalism. Concerning meaning, he has transformed speech by nonsensical composition, omission, revelation, and contradiction. As for music in his poetry, he has created a proportionate and coherent atmosphere for humor by breaking the usual rules of meter, rhyme, and rhythm.

The study of the nature of beauty in various fields is the subject of "aesthetic" knowledge, which includes philosophy of beauty, beauty psychology, philosophy of art and art criticism. From an aesthetic point of view, it can be said that the main function of beauty is to create emotional harmony between man, nature and society. According to modern literary criticism, the only work in which the function of aesthetics - which proves that literature is an art - predominates - is a literary work. Discovering and adapting these new aesthetic features to Kalidar's novel will lead to understanding and receiving the artistic richness and discovering the literary institution of this work. The abundance of images, the organization of spoken music and repetitive human themes, the literary level of this novel is closer to the artistic standards of this literary theory.

Myths and mythical and epic figures are one of the important and valuable fields of culture of different nations, which have preserved their fundamental connection with poetry in various ways. Iranian poets have commented on these mythical and Iranian figures according to their attitude. The presence of these elements in Molvi's poems shows the prosperity, continuity and dynamism of these myths. Now, if the element of imagination is included in the myth, due to its aesthetic nature, it adds to the aesthetic aspect of myths and epics. For this reason, the purpose of this research is to investigate the aesthetic aspect of Iranian mythological and epic characters and figures in Rumi's poems, relying on Masnavi Ma'navi and Divan Shams. This essay is done with a descriptive-analytical method and looks at the mystical function of myth from Joseph Campbell's point of view. Results show that the presence of these mythological and epic figures shows the recognition and attachment of Rumi to ancient stories, mythological and epic characters of the Shahnameh. Also, among the literary arrays, allusion, simile, and metaphor are the most important images that have caused the mythical literaryness of Rumi's poems.

In the fiction literature of children and teenagers, the importance of fantasy and the influence of imagination has a special place. Considering the beauty of the components of imagination in creating an effective work, it shows the mental ability and the power of visualization in creating artistic effects that the author uses audience knowledge in the process of imagination to plan challenging and attractive situations through characterizations and The staging deals with it.In processing the imagination in the work of art, writers will be successful if they choose wisely and act purposefully.In this research, the author aims to analyze the aesthetics of imagination components in the characterization of the giant in two novels, The Great Kind Ghul by Roald Dahl and DVD Asrar al-Ghul by Mohammad Reza Marzouqi, in the form of content analysis and based on the psychological theory of imagination and characterization. Freud and with a documentary-library method, investigate and deal with the effect and importance of the role of imagination in the story and it can be concluded that the authors who have paid attention to the aesthetics of the imagination components in their work by increasing the quality of the story, attract the audience. have also been successful.

Poetry is the transmission of experience through the presentation of unexpected methods. Composition of phrases is one of the highlighting methods. Maulana Mohammad Baqer Khorde is one of the prominent poets of the Safavid era. He is one of the phrase composer poets. Various musical effects are seen in the poetic compositions. Music is one of the building elements of poetry, which is divided into three categories. External music (prosodic aspect of poetry), side music (epistrophe and rhyme), internal music (types of balances resulting from verbal communication and semantic proportions). In this article, an attempt has been made to examine the poetic phrase compositions of the Diwan manuscript of Maulana Mohammad Baqer Khorde Kashani's poetry from the perspective of inner music. The obtained results show that he used internal music to create a kind of unity in The axis of companionship and succession in poetry. In addition to the appropriateness, beauty and effect of the words, the linguistic richness of the poem and the semantic load of the compositions are also added. He has shown that he has achieved the ultimate goal of poetry, which is to express the meaning and inner meaning of poetry, by observing the appropriateness and connection between music and poetry with other elements.

Shab al-Zarif is one of the Syrian Arabic-language poets of the Mamluk period who was very skilled in the use of various genres and literary arrays. Among his beautiful and interesting arrays are four arrays: Hasan Tahir, Hassan Khatam, Hassan Tafam and Hassan Talil. In the present research, these four literary virtues in Shab al-Zarif's Diwan are examined from the aspect of aesthetics. The author of the present essay has done it in a descriptive-analytical way and based on library studies and has come to the conclusion that Shab al-Zarif has used the four literary virtues: Hassan Tahir, Hassan Khatam, Hassan Tafam, and Hassan Talil in a very artistic way. These merits, Hasan Talil compared to other cases, due to being accompanied by expressive arrays such as similes and metaphors, are among the imaginative and imaginative forms of rhetoric. By taking advantage of these literary qualities, Shab al-Zarif has increased the grace and prosperity of his speech after establishing his speech and meeting the needs of the audience, and has finally attracted the attention of the audience.

Music in poetry is a subject of particular importance that distinguishes the language of verse from prose. Extensive research has been conducted on various aspects of poetry and its four categories: external, peripheral, internal, and spiritual music. However, one overlooked aspect in the study of musicality in poetry is the dance of music in the vocabulary. This article aims to introduce this essential musical element, the fifth type of music in poetry, which elicits aesthetic pleasure and emotional response but has been neglected until now. We will explore the branches and influential factors of this beauty that enhance the enjoyment of poetry by examining the intentional expansion and contraction of elements such as syllables, vowels, and silences. This fundamental research is based on logical analysis and arguments drawn from documentary sources. The most prominent musical factor discussed in this study is the dance of vocabulary and music through the deliberate expansion or contraction of syllables, vowels, and consonants. These techniques amplify the musical beauty and evoke a more significant emotional response in the reader through the intentional expansion or contraction of a single syllable or word, along with manipulating pauses and silences between words, syllables, and consonants.

The school of formalism in literature is one of the schools of criticism that addresses the external form of literary works without paying attention to various factors influencing the literary text such as political and social phenomena. In line with the developments in the recent century, the quartet is a literary format that has been affected by its influences and witnessed many deviations from common traditions. Hence, the theory of the school of formalism can be applied for the criticism of the aesthetics of this type of poetry. Bijan Arjan is a modernist quatrainist who has been able to use modern elements and techniques in his work in addition to remaining faithful to traditions. The present essay tries to analyze the aesthetic aspects of Bijan Arjan's published quatrains using a descriptive-analytical method informed by the theory of the school of formalism. The findings of the research show that the use of form elements such as non-normativeness, regularization in the use of music and the use of the element of dominanance play the most significant role in the impact and beauty of his poetry. Norm deviation in both lexical and compositional domains, along with highlighting the forms, has made a better transfer of meaning possible in his text. regularization in the use of musical contour is accomplished in his work with the help of phonetic balance between consonants and vowels, use of puns, lexical balance through complete and incomplete identical repetitions at the level of words and sentences. In addition to adding musical richness to the work, this has helped his successful rendition of special concepts and feelings for the audience. As for music accompanying his work, his use of auditory, visual and grammatical rhymes along with the use of special versification is significant. Among the technical and formal elements, the one that is clearly more frequent than other elements is the element of dominanance. The dominant element in Bijan Arjan's quatrains is the use of image because of its high frequency of use. The aesthetic examination of Arjan's quatrains from the perspective of formalist criticism shows how the form of his quatrains plays a significant role in their sensory and semantic impact.

Self-censorship is an action during which the author takes into account the political and social conditions of the society and for the purpose of self-censorship, it is one of the actions taken by the author or poet, based on reasons such as the influence of individual power, social, political, religious and belief conditions and under the cover of titles such as Self-restraint and expediency are applied to the produced works. This action can be seen in the works of most authors of the Mughal period. Attamalek Joyni and Zaydri Nesvi are among these writers; Therefore, the present research was conducted with the aim of aesthetic investigation of self-censorship in Jahangasha and Naftha al-Masdoor; In order to clarify the beauty and self-censorship topics in the works of these two prominent writers of the Mongol era. The authors' method in this essay is descriptive-analytical and based on library studies. The results show that the authors of this period have played a major role in the beauty of this literary phenomenon by being ambiguous and using techniques and techniques such as metaphor, allegory, symbol, code and irony, and complexity.

In our era, aesthetics is considered a branch of philosophy that studies beauty and art. The beauty of speech is achieved by carefully selecting specific words at times, and by combining different styles at other times. Diverse styles give the text a luster and a unique beauty, distinguishing it from others. Stylistics is one of the latest approaches that seeks to explore aesthetic meanings in the text, focusing on the analysis of literary texts and their styles in order to uncover aesthetic values. The importance of stylistic analysis lies in revealing the aesthetic meanings in the text. This study examines the aesthetic aspects of the rhetorical styles in Sermon 155 of Nahj al-Balagha, where the remarkable creation of the bat is described. The study investigates the artistic and aesthetic aspects of the sermon through the lens of stylistics, aiming to uncover the most significant stylistic devices used and their role in its beauty. This is done through a descriptive-analytical approach and by drawing on statistical analysis. The findings of the research indicate that the most commonly used style in this sermon is the informative style, with the active sentence being the most frequently used (50 times), which enhances the dynamism of the sermon. Furthermore, the process of linking is extensively utilized. The conjunctions "و " (wa) and "ف) " fa) are used in this sermon to connect the different styles present, such as connecting the informative style, linking the subordinate clause to describe Allah further, connecting the introductory clause, and expressing the purpose of the bat carrying its offspring, which contributes to the aesthetic description of the bat.

As one of the most common types of postmodern stories, metafiction is a way in which the narrator mentions the process of being a story and story writing during the story. Reza Amirkhani, a prominent contemporary Iranian novelist, has a postmodernist approach in some of his novels and tries to direct his writings to the beyond through different methods. The authors of this research have investigated the aesthetics of metafiction in Amirkhani's novels by relying on the descriptive-analytical method, and in addition to definitions of metafiction and aesthetics based on the opinions of experts, they have examined the methods used by Amirkhani for the beauty of metafiction. This research shows that Amirkhani's use of language tricks such as marked names, repetition, separate writing of words, colloquial and colloquial language, multilingualism and language and verbal games, and literary tricks such as metaphor, simile, irony, adaptation and contrast in his novels cause The beauty has become a myth and it has been successfully created by the creation of the myth.