parallelism

Holistic structure studies is a new approach in examining and analyzing works that have a macro-organizational structure. Texts such as Rumi"s Mathnawi al-Masnavi, which on the surface have an irregular arrangement and structure, but if you pay attention to its components with a holistic view, the meaningful relationship between its parts can be interpreted. Safavi (1386) during his studies on the structure of the Mathnawi, shows that Rumi used two methods of "parallelism" and "cross-reflection" to establish a meaningful connection between the stories and concepts presented in the Mathnawi"s six notebooks. In this research, an attempt has been made to study the fourth book of the Mathnawi from the perspective of the holistic structure with the semantic and semantic method to answer the question, what is the semantic structure and parallels used in this book?

The current research was conducted with an analytical method and a structuralist approach based on a holistic and semantic perspective.

The results of the investigation show that the fourth book has seventeen main discourses and the central core of the fourth book is also presented in the "9" discourse. Each discourse has sub-sections and sub-stories, and based on the topic of the discourses, it is the central topic of the fourth book of science, which is divided into three categories: "partial science, total science, and enlightened science".

Rumi"s emphasis is on the necessity of partial and general knowledge scholars to follow Ishraqi scholars. He described the first two groups as needing guidance and learning and considered only enlightened scholars to be omniscient by reaching divine knowledge and the light of truth.

"What time is it in your world?" Produced in the first years of the nineties, it is the first feature film of Safi Yazdanian, a documentary maker, in the romance-social genre. Although this film has faced numerous journalistic criticisms, it has not been analyzed through the lens of any theory. The value and centrality of time, as well as the duality of worlds, are depicted in this film in different ways. Due to the importance and central role of the element of time in the cinematic narrative and in order to describe and analyze the film methodically, in this research the component of parallelism is analyzed from the point of view of Gérard Genette, a French thinker.This article seeks to answer these questions; What systems and time components are represented in this film and how these components play a role in the relationship and relationship between the narratives of the film. The purpose of this research is to present a systematic model of time lapse, to show the application of hindsight and foresight components, and to explain parallelism in film sequences. The results of the research indicate; The final product of the filmmaker to show two different worlds is a film with complete and multifaceted time-lapse characteristics, which, while using a combination of time-lapse components, has the characteristic features of the parallelism component.

The creation of discourse categories, shaped by a particular worldview and narrative of the world, is inherently intertwined with linguistic processes. Confrontation and synonymy, as linguistic processes, play a significant role in shaping the worldview conveyed by texts. Leslie Jeffries (2010), a prominent linguistics researcher, has proposed a model for understanding the potential worldview impact of texts by analyzing textual contrasts and their regulation alongside established critical discourse analysis tools. Jeffries identifies various types of contrasts, including negative, transitive, superlative, shifting, privileged, explicit, parallel, and comparative, as well as relational, expressive, and metaphorical synonyms.This research investigates oppositional and synonymous structures within Abolqasem al-Shabi's "Ode to the Will of Life," employing critical stylistics to analyze the text and elucidate its underlying worldview. The analysis reveals that examining the conceptual relationships within the textual structure of oppositions and synonyms in this ode effectively illuminates worldview categories. Cognitive contrasts within the text, such as those between ambition and narrow-mindedness, exaltation and inferiority, hope and despair, struggle and resistance, and life and death, along with synonymous expressions, contribute to shaping a shared worldview of societal resistance against oppression and colonialism

Coherence means creating a relationship and continuity between two or more structures that are grammatically equal to each other. Today, there are many factors and tools to create continuity and organization of the semantic-syntactic structure of a text. The components of relational consistency are considered as one of the tools of integration between the phrases of a text, which was proposed by McHoliday and Ruqiyeh Hassan. Conjunctive elements include: Conjunctive elements can appear in four additional, causal, unexpected and temporal types. The element of time connection itself includes four components: sequential, simultaneity, referential and final. Based on the descriptive-analytical method, the present essay examines the role of the mentioned components in the syntactic-semantic organization of the verses of the Holy Quran. The findings of the research show that the components of relational consistency in the selected examples most connected the semantic structure of the sentences to each other, although these elements had an outward manifestation in most of the examples, but by reflecting more on the expressions, it can be realized that these components make the conceptual structure of the text. are linked to each other.

Undoubtedly, one of the glorious manifestations of Persian literature is Maulana Jalaluddin Balkhi (604-672AH). Although, as he deems himself a follower of Sanai and Attar Neyshabouri in Persian literature and mysticism, he is considered as the leader of all poets of mystical poetry. Melted in wisdom and love, Rumi lived in the seventh century AH, and due to migration from east to west of Iran, he remained obscure from historians and the rest of poets. However, during ninth century Abd al-Rahman Jami (817-898), a prominent mystic and poet, introduced Rumi in his memoir "Nafahat al-Ons", and provided the readers with useful biographical information about the poet, his family and his masters. From the ninth century onwards, Rumi's enthusiasm increased in the central and eastern lands of the Persian speakers. Of course, Sheikh Ajal, Saadi, because of globe-trotting, in his own words in "Boostan", went to "Rome" with friends, to visit Rumi, " The wise mystic", who is an exception to the ignorant, yet unaware of Rumi’s greatness. It is from the second half of the ninth century that Rumi's admirers rush to Konya to visit his tomb, and the poets of Persian literature engage in "imitation", "estimation" and "thematization" of his lyric poems and Masnavi. Mystics began to describe Masnavi and poets embraced his passionate poems warmly. The researcher in the present article in a "descriptive-analytical" method intends to introduce a number of great figures of Persian literature, from Saadi to Saeb, who have followed Rumi in lyric poetry.

Although we have access to a number of critical editions of Attār's works, there still remain some problematic and ambiguous points in his works that cannot be clarified merely based on the codicological details. To elucidate such matters, it is indispensable to analyze closely the different aspects of Attār's style based on the authentic documents to discover the general patterns. In this study, we deal with some of the symmetrical patterns recurring throughout all the layers (from the verses to the whole work) of Attār's original poems. These patterns are classified into four main groups including repetition, parallelism, congruency, and a particular recurrent structure. The study of these symmetrical patterns, combined with the other stylistic and codicological details, can help us with evaluating the authenticity of some of the confusing parts in Attār's works.

Dorreh Nadereh is a historical-literary text which is difficult to communicate with due to the stilted industrialization in language and the distance from the natural state. However, due to the alienation and the use of formative techniques, it takes on a special literature. Mirza Mehdi Khan Astarabadi in Dorreh narration has given a literary aspect to his expression so that linguistic prominence can be seen in it. Since the language in the text of the Dorreh is affected by defamiliarization, it is possible to retrieve and explain the alienation aspects of the discourse in it. The present study is the examination of prominent highlighting in the Dorreh Nadereh with a formalistic perspective (addition rule) and analyzes the arrangements that have realized the literature of the text by creating balance and acting on the outside of the language. Including these linguistic techniques, we can mention phonetic (Alliteration, magic of approximation, semantic sound), lexical (incomplete and complete similarity) and syntactics (Accompanying and substituting elements which have same rule) balance. The authors of this research have tried in a descriptive-analytical research, based on library sources to examine the aspects of balance in the text of the Dorreh Nadereh by mentioning and analyzing examples.Keywords: "Dorreh Nadereh"."Foregrounding"."Parallelism"."Phono-semantic"

Seyyed Hemyari is one of those famous ritual poets who, for explaining historical realities, not only has leaned on intellectualization and rationalism, but also uses emotional language. He artistically utilizes form for creating new senses and concepts so that he has attracted the audience’s attention while stabilizing his intended meaning in their minds. He builds his poems “simple but inimitable” which is a powerful artistic style. The researchers of this article have tried to conduct a qualitative study on “the Golden Ode” of Seyyed Hemyari. The findings of the research show that Seyyed Hemyari reaches unity and spiritual experience by using musical capacity of “Behr-e Kaamil”. The rhythm and music of this ode are the results of some vocalic repetitions which show the deliberate selection of the creator of this work. He creates aural and acoustic enjoyment for the reader and gives diversity and beauty to his poem by using invisible repetitions and words that have similar sound wave lengths. Seyyed Hemyari sounds amazing in semantic level. He uses the language which is brought under his control. But despite his artistic approach in applying deviation, revival and making new compositions, unlike the other ritual poets, he does not sacrifice meaning for form.

In this article, U. Marie Engemann has tried to indicate the method and internal cohesion of “The Bells”: a poem by Edgar Allan Poe, regardless of its apparent madness. This poem consists of four stanzas each of which is a symbol of a stage in the human's life for which a specific bell has been dedicated to. This poem follows trochaic meter in which the poet ingeniously has used catalexis in order to imitate the chime of bells. Throughout the poem, he has used different sound devices such as rhyme, sound patterning, alliteration, and onomatopoeia to create parallelism, and accordingly, he has conformed the chime of the bells to the dominant feature of each stage of life; thus, a meaningful cohesion has been created. This article can show how a poet may use different sound devices of his own language to create a parallelism between sound symbolism and meaning. The structure of the article has been changed a little by inserting the figures and the tables in the appendices into its straight text in translation so that it becomes easier for the readers to make a link between discussions and the data presented in each figure or table.

In this article, the aim of the authors is to study the role of repetition in creating music and parallelism in Nimayee poems in the three collections of poems by Mehdi Akhavan Sales: Zamestan, Akhere Shahname and Az Avesta. Accordingly, the researchers have investigated the various manners of repetition in creating parallelism in the poems at three levels: phonological parallelism, lexical parallelism and syntactic parallelism. The present article tries to show that the musical parallelism in Akhavan’s Nimayee poems rises from the phonological, lexical and syntactic repetition. The authors found that their phonological parallelism was based on consonant and vowel repetition in sentences and also linguistic expressions, variety of rhythms and the poet’s innovation in using some Nimayee rhythms. Moreover, the repetition of words in different manners and the use of rhyme and range have created the lexical parallelism in Akhavan’s poems. Finally, employing some figures of speech syntagmatically and paradigmatically have created the syntactic parallelism in this poems.

One of the most repeated words in Hafiz's Diwan is mey and its correlatives. In this assay the elements of this aspect have been researched in those lyrics which the main word is mey and its correlatives like bade and etc . Must say ; the methods of this research is descriptive and analytic. Finding show that the created images by Simile are various in its types, forms, and functions ;and among them Additional Eloquent Simile is the most frequently used . This subject inspires colour, brilliance , and flavor of mey (wine). In fact ; Hafiz by the means of them explains his feelings about this mysterious panacea beautifully. As to Parallelism(Symmetry) - the exquisite element that the most important usage of it ,is Association (of meanings) – Hafiz by selecting the words scrupulously , allows the word appears itself in his poetry completely and gives a permission to audience to find out its apparent or hidden symmetries and delicacies. As concerns the reflection of Metonymy (majaz) in mentioned verses , the mostusage of this device has been assigned to Metonymy of hal and mahal. Furthermore , as to parallel Ambiguity the word modam (continually) has the most linguistic prominence . As regards phonotactics Device (singing characters) must say in the main words of mentioned verses , repetition of word mey and consonant m have most of reflections . As to metaphor , the use of Animating metaphor is remarkable . Indeed Hafiz with simile of bade (wine) to beauties and attributing some deeds and characteristics to this wonder thing ; puts more emphasis on its features and effects.

This article aims to describe the properties of gapping in Persian in terms of studies conducted on gapping in other languages. Findings of this study show that there are some similarities and differences between gapping in Persian and those in other languages. The salient properties of gapping in Persian are as follows: contrastive relationship between remnants in the gapped conjunct and correspondents in the first conjunct; the possible omission of some VP-internal material along with the verb; recursivity of gapping; the obligatoriness of parallel word order in the gapped clause and in the antecedent one; the possible occurrence of gapping in comparative constructions and also its occurrence in the medial position of the second conjunct; and obligatoriness of the identical tense features and non-obligatoriness of identical agreement features in conjuncts.

The short story “Sharq-e-Banafsheh” is worth studying considering its eye-catching literary foregrounding, including parallelism and deviation. Each of the two concepts (parallelism and deviation) has several subcategories, most of which are easily found in the story. This characteristic can obviously reveal Mandanipour`s ability as a skillful writer in utilizing various literary potentials. The present article aims at answering the question, ‘What features have made “Sharq-e-Banafsheh” the most well-known work of Mandanipour?' To answer this question, the paper attempts to demonstrate different kinds of literary foregrounding used in this story based on the linguistic theory of Leech, while considering the prominent narrative elements that form the structure of the story. Actually, the writer is successful in making salient the theme of the story, which is an earthy-heavenly love. He has also pictured this love as mysterious by making his language ambiguous to some extent.

In line with Jakobson who presented the principle of equivalence (or parallelism) as characteristic of the poetic function، Marc Dominicy، his successor، defines his theory، in a perspective neo-Jakobsonien، by focuing on the question of the interaction of the form and the content. According to this theory، the formal equivalents in a poetic text act on the cognitive plan by the evocation of the prototypes pre-established. In this direction، the formal characteristics of the poem are necessary for the mobilization of a poetic interpretative procedure. The objective of this paper is to show، by resting on «the theory of the evocation» of Marc Dominicy and from some examples of the Gautier''s poetic work، the relationship established between the language and the reality and to see how the poetry is understood through the evocation. We try to follow the transformations which the expression undergoes in the passage of a narrative form in a poetic form.

Roozbahan Baghli's "Abhar-ol-Asheghin" is one of the most outstanding mystical works written in the epoch of mystical works, the 6th century A.H. It is written in a rhetorical mystical language with an especial attention to literary ellipsis and literary adjuncts which makes it prominent on both paradigmatic (vertical) and syntagmatic (horizontal) axis. The adjunctive linguistic elements, analyzed in this article, are the most important elements which make this work salient and balance the different layers of its language. Among these elements, the author has greatly paid attention to the parallelism resulting from anaphora (repetition of a word), especially the incomplete repetition. The frequent use of the this rhetorical figure (repetition) is the indication of the stream of consciousness of the author's language induced by his particular mystical moods and intuitional inspiring moments; in other words the parallelism which exists in Abhar-ol-Asheghin is the product of the repetitions based on alliteration. Rozbahan's stream of consciousness appearing on the paradigmatic axis of Abhar-ol-Asheghin has also increased the use of different kinds of simile, in comparison to metaphor, on the syntagmatic axis.

The Indian style of Persian poetry originated in the 11th century. Invention of new themes, fancy, brevity, paradox, personification, and most significantly, parallelism are among the characteristics of this style of poetry. Some other literary schools such as Vasukht, or shunning the beloved, preceded and coexisted with the Indian style. Since one can find the roots of any style or literary school in the preceding ones, one can find the roots of some characteristics of the Indian style, especially parallelism, and the concept of Vasukht, in some preceding styles, such as the Azerbaijani style or in the work of some celebrated poets like Nezamis.Since from among the characteristics of the Indian style, parallelism has a special place in Nezami’s Panj Ganj, after some preliminary words about Nezami and the Indian style and a review of the concept of Vasukht and the history of parallelism in Persian literature, we show the roots of Indian style features and the concept of Vasukht in Nezami’s Panj Ganj.