language

Language, nationality, and power have a mutual and influential relationship together, as society and its culture influence language and its words. Language also affects society, its culture, and the prevailing idea in it. Language changes according to the male gender or the female nationality. We see in men’s language words and styles that usually indicate power, anger, and violence, while we usually see in women's language words and styles that indicate softness, gentleness, and affection. This article studies the dialectics of the mutual relationship between language, nationality, and power in the novel “Night Mail” using a descriptive and analytical method. The article concluded that the novelist used, in the words of male characters, methods of command, prohibition, appeal, repetition, and the use of words associated with masculine characters to indicate the dominance of men over women, power, violence, anger, arrogance, and selfishness. As for the feminist characters, Muwafaqa used words and methods that indicate regret, compassion, crying, contempt, softness, and kindness, charged with emotions filled with a sense of contempt, weakness, expulsion, and migration through the use of the interrogative style to invite contemplation about the class antagonism between men and women, to remove them from society, and to show compassion through painful words to help women and raise her status and care for equality, then the simile method to indicate the participation and unity of Lebanese women in eliminating injustice and the rule of men over them, and on the other hand, the participation and unity of Lebanese citizens in the pain, misfortunes, self-destruction, humiliation, expulsion and displacement. Also, nouns and adjectives were used by the feminist characters more than verbs due to women’s tendency to describe and be flexible in proportion to their emotions, with the frequent use of the pronoun “y” in messages about women to indicate the ultimate uniqueness of women in society and their lack of status in it, while it was used by the male characters. Verbs, more than nouns and adjectives, indicate movement, strength, doing work, and managing matters.

In his outstanding work ,Golestan, Saadi displays his creative power through allegory. Saadi's awareness of the capabilities of the Persian language, along with his impressive language skills, has given this master speaker a special place in the world of literature. The art of allegory in addition to being an element of aesthetics is an efficient tool for gaining greater believability of different ideas and opinions. By using allegory the creator of the work achieves the objective of persuading the audience. The purpose of this research, with a qualitative approach and in a descriptive-analytical method, is to evaluate one of the pillars of Saadi's rhetoric, that is, the choice of "allegory" as an artistic and effective form of language and its relationship with the language of power. The necessity of this essay is not only acquainting the audience with the broad capabilities of the Persian language in creating outstanding works but also showing the position of this language with regard to aesthetic elements in representing cultural, social and historical issues. Hence, this essay can, from this perspective, be a guide for similar researches.

In novels that are based on principles of magical realism we could see mixture of imagination and reality. And work that has been created is unseparable mixture of them. Two novels of Ahle Ghargh and al- usfuryah by monirou ravanipour and ghazi alghosaibi is writen in style of magical realism. In this article we just deal with element of language and its characteristics. Method of research in this article is based on books and our Comparative method is based on American school. Genral result of this article is that both novels have modern language in general but their difference is that in Ahle Ghargh a natitve language being feeled and writer of al- usfuryah has used archaic words that have harmony with mythical atmosoher of novel. In the other hand novels have used believable,humouristic, critical and regretting tone in narrative of the novel. rythme of both novels in some situations is rapid and in the others is slow.

Nasir Khusraw’s poetry is full of intellectual arguments, religious topics, sermons, and wisdom, which has given his words a philosophical and somewhat complicated flavor. On the other hand, in his works, Attar of Nishapur has tried to present the heritage of Sufism of Khorasan and the poetry before him in a different style, through simple language, without glamor and impressive embellishments. The question of this research is whether the simplicity or complexity of language plays a role in the simplicity or complexity of the structure of poetic images. Adopting a quantitative and statistical method, the present research investigates the statistical and comparative analysis of the structure of the poetic images of Nasir Khusraw and Attar. The results of this study show that the simplicity or complexity of a poet’s language has little to do with the structure of his images. In other words, the geometry of the poet’s images cannot be considered simple or complex merely because of the simplicity or difficulty of his words. The language of Nasir Khusraw’s poetry is difficult and complex, but this feature has not had a significant effect on the geometry of his poem’s images, and most of his poetry’s images are simple and far from complex. On the other hand, the structure of Attar’s poetic images, despite the simplicity of the language and appearance, has a subtle and delicate complexity that cannot be understood except by analyzing the rhetorical materials used in the construction of the images. In other words, Attar’s language is simple but his images are complex.

Poetry is a fusion of thoughts and imagery. A poet"s thoughts flow through his/her language and manifest in the form of poetry. Language and thought share an inseparable bond. A poet"s language is shaped by his/her thoughts and perspectives; the simpler and clearer his/her thoughts, the clearer his/her language will be, distancing itself from complex interpretations and concepts. Sheikh AbulFaiz bin Mubārak, known by the pen name of "FaiziFayāzi" and recognized as "FaiziDakani", is a renowned Persian poet of the 10th century of Hijri following the Indian style. His poetic art, expressive style, exceptional talent, and delightful verses have garnered praise from biographers and experts.

This research, employing an analytical and descriptive approach, aimed to address the following question: What are the primary characteristics of the Divan of FaiziDakani from the perspective of language and thought?

According to the research findings, FaiziDakani was a pioneering poet of the Indian style and had played a significant role in its formation and evolution. While his poetic language was adorned with allusions, similes, and metaphors, he had particularly emphasized the use of allusions among all literary devices. Many features of the Indian style, which later became popular and common, were stylistically present in his poetry. The predominant poetic form in Faizi"s Divan was the sonnet. Love, mysticism, preaching, admonition, and pursuit of unusual meanings were the primary intellectual themes of his poems.

The proximity of his poetry to colloquial language, as well as incorporation and utilization of slang words and expressions, isthe key characteristics of his poetic language. Faizi has adeptly utilized the capabilities of the Persian language to create new combinations, thereby generating fresh meanings and images. From a literary perspective, he has employed similes, metaphors, and allusions more frequently than other literary devices. Love, mysticism, guidance, wisdom, attention to educational literature, and exploration of moral issues are the recurring themes in Faizi"s poetry.

This research examines the ontology of language in the existential poetry of Sherko Bekas through the lens of Martin Heidegger's philosophy. Employing an analytical-interpretive approach, the study focuses on Bekas's unique linguistic techniques and explores themes such as exile, identity, and existential dilemmas. The objective is to demonstrate how Bekas's works embody and expand upon Heidegger's ontological concepts. Selected poems from Bekas's collections, including Now a Girl is My Homeland and Butterfly Valley, are analyzed to illustrate how notions of existence, authenticity, and the role of language in revealing existence are reflected in his poetry. The findings highlight the richness of Bekas's poetry as fertile ground for Heideggerian existential inquiry and underscore the intricate relationship between language, existence, and human experience. This analysis not only enhances our understanding of Kurdish literature but also illuminates the application of existential philosophy within contemporary Kurdish poetry. Furthermore, it emphasizes Bekas's significance in articulating the complexities of human existence against the backdrop of Kurdish identity and the experience of exile.

Literary theory as a whole examines the relationship between authors, texts, and the world. In most literary theories, "world" is synonymous with community - the social sphere. Environmental critique and green studies extend the concept of "world" to include the whole environment. If we agree with the first law of the environment, that everything has to do with something else, we must say that literature as a linguistic text does not float at a higher level than the physical world, as an aesthetic element, but literature actually plays a role in a complex world. It plays a world in which energy, objects and ideas interact. For this reason, today, language and how it is used can serve as a metaphorical and symbolic representation of nature, as well as have a critical orientation towards environmental crises. This article, which is a qualitative research, has dealt with the relationship between linguistic text and the environment through analytical methods, and by analyzing the intellectual and theoretical frameworks of environmental critique, has also considered the issue of environmental linguistics. Examples discussed in this article include examples of poetic literature and dramatic literature. In fact, the main issue of this article is related to the key question of how the linguistic text (literature) can deal with the environmental crises of the contemporary world beyond the classical methods of literary criticism. It is an important human issue to assume linguistic responsibility.

For a long time, facing audiences with different ideologies, there is a need to master language skills, which should be crystallized in the form of communication strategies, so that the resistance and rebelliousness of the audience turns into obedience and persuasion. Therefore, language is a tool that, in addition to the capability of communicating and creating beauty, seeks to persuade and surprise the audience with an argumentative and protest mechanism. Persuasion is the purposeful language trick with communication mechanisms and strategies to organize specific behavior in discourse making. Therefore, the discourse maker tries to change the attitude and behavior of others by using linguistic strategies as one of the key components of soft power, and achieve specific goals by choosing diverse communication patterns and codified verbal styles.In this study, an attempt has been made to investigate and analyze the salient dimensions of the Prophet's rhetorical ability with a novel style through qualitative studies using a descriptive-analytical method, and to explain the hegemonic use of the Prophet's political language with regard to the context of the situation in which the existing political crises and social problems provide valuable and unique help. The Prophet (PBUH) has faced many challenges in deconstructing people's beliefs and habits. For this reason, he uses various strategies to persuade and guide the audience, one of the most important of which is affecting the audience. In contemporary linguistics, the applied dimension of language has a wide scope, and its argumentative aspect is considered a basic condition in discourse creation. Paying attention to the issue of what linguistic strategies the speaker chooses to attract and persuade the audience is one of the most basic strategies of applied linguistics and one of the important goals of this research. Since the sermon is one of the most prominent communication channels of the Prophet (PBUH) or others, it is full of arguments that are expressed with political, social, and cultural approaches. Due to the wide range of language strategies, this descriptive-analytical research with emphasis on library resources, in addition to expressing the beauty-creating and visual aspects of language, discussed its lexical, rhetorical, original ability, and logical analogy and examined its persuasive function in political and social fields. Although explaining the completeness of the linguistic and miraculous personality of the Prophet (PBUH) with human knowledge and human understanding is incomplete, it is considered to be the only progressive way to match his words and deeds.The present research seeks to answer the following three research questions:What language mechanisms did the Prophet (PBUH) use to persuade the audience?How is the course of political persuasion of the Prophet (PBUH) affected by the capacity of rhetorical language?How does the Prophet (PBUH) use textual similarities to persuade in transnational communication?The results showed that considering the importance of persuasion and its impact on the audience, the Prophet (PBUH) used this art of communication more than other communication strategies in political speeches and discourses, because it has more acceptance and public favor, and its communication methods are internal. In addition, it has close contact with the conscience and nature of the audience, and its result will not be accompanied by doubts. The strategy of persuasion was designed as a pre-written and managed process in the political discourses of the Prophet (PBUH) to achieve a policy and control the situation. In addition, it was used as a specific way to solve political problems.As a master of language, the Prophet (PBUH) optimally used linguistic tools and communication arts, rhetoric, and logic for persuasion to propagate religion and explain the political mission, in order to provide guidance and direction to the audience. Therefore, today politicians come to the conclusion that in order to persuade in the political and cultural arenas, one should take advantage of the language ability according to the interests of the audience.The most important strategy of Islam is to observe the principle of moderation in politics. Therefore, in the persuasive argument, in addition to his rhetorical ability that targets the emotions and feelings of the audience, the Prophet (PBUH) used his intertextuality politically and logically to provide the ground for awakening the thoughts of specific audiences. By adopting special communication strategies such as the art of persuasion, the Prophet (PBUH) succeeded in solving the social, political, and cultural knots of the target society.The approach of the communication mechanisms of the Prophet (PBUH) is to express clearly and simply. However, according to the context of the situation, he uses suggestive expressions in the form of metaphor, irony, and simile in political discourses.

The complexity of language has led to a wide range of methods and scientific approaches in its study, one of which examines the relationship between language and gender. This paper, using a descriptive-analytical method and a library-based approach, investigates how feminine gender influences the language of the novel Koli Kenare Atash. It explores the patterns through which femininity is expressed in the linguistic signs and language used in the text, and subsequently, how these usages represent female identity. In this novel, which seeks to portray the fragmented identity of women within a traditional society, the author initially embodies femininity through the unique application of linguistic codes in the narrative. These patterns include emotional language, monologue-driven speech, distinctive use of interrogative sentences, color terms, descriptive language focused on the body, lexical poverty, the language of silence, prescriptive language, sensory language, and the use of hesitation markers. Through employing these linguistic codes, the author successfully creates twelve linguistic subjects, each embodying various stereotypical roles and gender schemas associated with women.

Repetition is one of the predominant features of speech that can be examined at different semantic, syntactic, lexical, and phonetic levels. The major aim of the current research is to examine the notion of repetition at the lexical level as an artistic element. Throughout the old rhetorical books, repetition was more noticed in pragmatics and less in the field of rhetorics. In more recent researches, however, repetition is stated as a special artistic element, apart from techniques such as alliteration and paronomasia, which have been less discussed. Regardless of the dominance of this feature as a stylistic feature in the works of some poets, Saadi is one of the orators whose Repetition – especially in terms of vocabulary - is a prominent element in his sonnets and plays an important role in his speech and rhetorics. However, this aspect of Saadi's speech has not been addressed. The current research seeks to deal with the artistic codes of repetition as a literary art in Saadi's Ghazal. To that end, the quality of the Repetition in Saadi's sonnets with respect to vocabulary items was categorized into twelve methods, and an attempt was made to analyze a nu mber of Saadi's rhetorical tehniques of speech in the form of his artistic repetitions. This classification indicates that Saadi has made rhetorical repetitions in 72% of the cases and simple repetitions in 28% of the cases by using the 12 tricks presented in this research. Also, most of his repetitions are nouns, and among them, "heart", "head" and "friend" are the most frequent ones.

The image shines in the language and language is a social phenomenon. To this credit, the image is always a means of expressing the speaker's social experiences. Although experiences can be transferred through language. But the image both makes it easy to convey the message and doubles its impact. Shafi'i Kodkani, a poet, started in the forties, one of the most tense decades in society He quickly left the confusions of thought and expression behind and He was able to find a high position in the realm of contemporary Persian poetry. He is not only a poet; Rather, he is a rare researcher and poet. Therefore, he took effective steps in elevating the form of poetry. Because of his life experiences, he enriched the content of the poem to free the thoughts of the audience. In his research, Shafi'i has reflected more than anything on the structure of poetic language, both in poetry and in prose, especially Sufi prose. But in all the fields that he has chosen as the field of research, he has considered the sociological side of it. Because it is rightly believed that poetry is not for solitude; Rather, it is written for the unity of the people and their intellectual elevation. By examining some of the social images of his poems in "The Second Millennium of the Mountain Deer", this article aims to reveal his socialism in poetry and show some corners of his human and social emotions about the transformed society.

Hakim Elahi Ghomshei, according to his works, is one of the masters of philosophy, mysticism and poetry and one of the most prolific poets. Undoubtedly, among his many poems, his sonnets are the most suitable exhibition for the creativity and unveiling of the mystical states of a Shiite Sufi bound by Shariat. He considers the Shari'a not only the prelude to attaining the path; In any case, there is no escape from adhering to it. Because he considers these two as two sides of the same coin and inseparable and have a single source. This article, which is based on the many signs of the two categories of Shari'a and Tariqah in Hakim Elahi's sonnets, shows that his language is directly related to his thoughts and all his obvious fascinations, especially in the second period of his life, are reflected in his poetic language. Information related to this research was obtained through library studies and then described using analytical methods. The lack of analysis of his sonnets in connection with his emotional spirits justifies the need for research. In addition to the numerous results obtained from this study, its most important achievement is the striking alignment of his mystical turmoil with a language that is well able to describe these mystical moments.

Nowadays any research with a hermeneutic approach seeks to analyze the cause and to explain and to analyze a work in order to estimate the amount of interpretation of the commentator from the author's writing. Hans Georg Gadamer is one of the philosophers who, in hermeneutic terms, believes the reader's perception of the text as a kind of re-creation of the text and he believes that when language enters the text from the author's side, it has a new identity and a separate existence of its own. He believes that each work can have a separate meaning at any time and for anyone and the interpretation of any commentator, culture, history, language, attitude and philosophical point of view is also effective. This article is written with a philosophical hermeneutic approach and analytical-descriptive method, which seeks to examine the story of Suhrawardi's Red Intellect from Gadamer's point of view and his view of language, where any understanding of the interpreter of language occurs and in the end, it concludes that the central issues of the Red Intellect story are mostly religious, mystical, social, and psychological. In the end, the researcher concludes that the story of the Red Intellect can be interpreted from a folk tale to a mysterious story, but a critic among the clear definitions of the text can reproduce the independent religious and mystical understanding of the text. This means that reading the text at any historical moment is changing and reproducing the events of time and the interpreter's insight.

Sometimes the bitter events of life make the human soul, especially the tender soul of poets, who have extremely fragile emotions, so much that the beautiful phenomena and objects of nature, in their eyes and hearts, are completely lost. , it loses its color and takes on a nightmare-like shape. This research, using a descriptive-analytical method based on comparison, examines this approach in a sample of poems by two prominent contemporary poets, Shafii Kodkani and Amal Dangul, and tries to answer the question of how the nightmare appeared in the poetry of these two poets. found and what effect did it have on their language and poetic images.The findings of the research show that in the poems of these two concerned contemporary poets, there are many scary poetic nightmares and in many times, the unfortunate events of life force the poet to choose a harsh and Roughness and, as a result, playing songs that are inconsistent with the inherent tenderness of the poem, in this sample of poems, the cruelty and bitterness of the events have made the poet's feeling so weak that the pleasant description of the beautiful phenomena of nature and The tenderness of life, which is an inherent characteristic of poetry, has given its place to the description of heartbreaking events, and after that, the tenderness of language and poetic imagination has undergone a kind of fundamental metamorphosis.