semantic function

One of the devices used in the Holy Quran is the connective such as "إن" and "لو". Given the special role of this syntactic device in understanding the meaning of the text, it is necessary to study  it thoroughly. This inquiry seeks to analyze the syntactic structure and semantic function of this connective device using a descriptive-analytical approach, and then to study its application and semantic function in the Holy Quran. The results show that at the level of syntax, the preservation of the meaning and conditional structure of these two connectives has been accepted by most grammarians. Regarding function, these connectives are used to remove doubt about incompleteness and convey generalization. Examination of the verses also shows that " لو " is used extensively in the Quran, while "إن" is used less frequently, and that semantic function of these words is clearly reflected in all the verses in which they are used.

binary opposition of place is a type of critical analysis that examines the differences between pairs of spatial words that contribute to the beauty of the text with their semantic functions. Since the presence of place is one of the most prominent features of Palestinian poetry Therefore, sometimes poets seek help from it in order to express their intentions and talk about their pleasant and unpleasant feelings. Naji Alloush, a contemporary Palestinian poet, was able to instill a network of his desired meanings and concepts into the audience by using the contrasting spatial structure and behind all these words, there is a place for his psychological, political and social concerns, which is indicative of his emotions and opinions. This research tries to investigate the most prominent contrasting places in this contemporary poet's poetry by using the descriptive-analytical method in order to achieve a correct understanding of the semantic relationship between two contrasting spatial concepts. The findings of the research show that spatial duals played an important role in conveying the poet's inner feelings towards two different places and expressing his thoughts. The most important dualities used are: connection and its contrast with separation, Homeland and its confrontation with exile, Here and its contrast with there. These duals express the concept of identity, anti-colonialism, the poet's concern for his homeland and the Arab homeland, and the sadness of a place of alienation.

The current research examines the multimodality of the film Freedom based on “Transpositional Grammar”. According to the framework proposed by Cope and Kalantzis (2020), meaning is presented through different forms. Accordingly, in each artwork, there are limited ways to present meaning. In the film, most of these forms are used, including image, text, sound, body, object, space, and speech. This research determines how to transfer the meanings presented in the film by collecting forms and examining the semantic function of each of them, including “reference”, “agency”, “structure”, “context”, and “interest”. According to this theory, the main meaning that is conveyed to the viewer in the film by various forms is “the presence and absence of freedom”. In this movie, the most used forms to convey meaning are “image” and “body”, followed by “speech” and “object”, and only in one case was “text”. Moreover, structure, reference, agency, and context are used for a specific purpose, i.e., conveying the meaning of “trapping” and then conveying the meaning of “freedom”.

Adjective is one of the three main elements of language that play a significant part in producing and conveying textual meaning. Robert Dixon, a contemporary English linguist, has provided a semantic typology of adjectives that consists of thirteen types. Adopting a descriptive-analytic methodology, the present study investigates the semantic and rhetorical functions of adjectives in the collected poems of Qeysar Aminpour according to Dixon’s model to see how the use of adjectives in the poems is related to the evolution of the poet’s attitudes. The findings of this research show that, apart from their primary semantic functions, adjectives and adjectival phrases play various significant aesthetic and rhetorical roles in Aminpour’s poems in creating music, poetic imagery, and such tropes as metaphor, simile, pun, allusion, and synaesthesia. It is also demonstrated that throughout Aminpour’s poetic career the frequency and functions of adjectives noticeably changed in accordance with significant changes in his attitudes toward both poetry and society. According to the data collected and analyzed in this study, four types of adjectives, i.e., speed, similarity, difficulty, and age, do not serve any rhetorical function in his poems, whereas the highest number of rhetorical functions is fulfilled by adjectives of physical properties, color, human propensity, and quality. Moreover, in terms of usage of adjectives and the number of their rhetorical functions the two volumes entitled “Sudden Mirrors” and “All Flowers Are Sunflowers,” written in the middle of his poetic career, are richer than the other two volumes of his poetry and the higher rate of using synaesthesia and pun in them signals the poet’s introversion and romantic mood in that stage. On the other hand, the higher number of adjectives of color and value in his first volume of poetry (“The Morning’s Breath”) accords with the poet’s mood during the Iran-Iraq War.

In the definitions of poetry, three elements of emotion, imagination, and music are mentioned. Persian prose texts have used more or less poetic elements in different periods. Sufi and mystical works, according to their goals and themes, have had a greater tendency towards poetic features, to the extent that understanding the subtleties of meaning and aesthetic expressions of these texts is dependent on the analysis of their images and musical effects. Based on this importance, the purpose of this article is to examine the function of one of the key elements of the poem; that is, music is one of the most important mystic prose texts in Kashf al-Mahjub Hujwiri, so that the level and quality of its poetry can be identified from this point of view. The findings of this descriptive-analytical research show that inner and spiritual music has a decisive function in Hujwiri's prose and helps to induce more effective concepts and mentalities. The expression of inner music that enhances verbal-phonetic harmony and appeal has been more than spiritual. Saj'; especially parallel, pun; especially periphrasis, repetition of words, phonology, and contrast are among the most obvious examples of inner and spiritual music in Kashf al-Mahjub, which often appear in these positions: mentioning the names of guardians (Oulia) and describing their personalities and conditions, anecdotes and reciting the words of the sheiks and their instructions and also explaining mystical terms, including concepts related to monotheism, knowledge of the self, death, annihilation and mystical survival, levels of behavior and condemnation of the self and the reprehensible world.

One of the most important artistic and creative features of the discourse of Hosseini Sharif Razi and Javaheri's mourning in the syntactic layer is the high frequency of pronouns. Although the variety of pronouns is less than other types of words such as nouns, verbs, adjectives and adverbs, but the noble treatment of them and jewelry can be a vehicle for creativity and poetic purposes. In the present article, the authors have studied the semantic and semantic functions of pronouns in the mourning of Hosseini of two poets using descriptive-analytical method and using statistical data. Some of the most important results of the article indicate that both poets, especially Javaheri, have taken advantage of this linguistic category creatively and poetically and have conveyed their desired meanings to the readers in the best possible way. Javaheri has used the pronoun as one of the important factors of textual coherence, semantic emphasis and suspension. Sharif Razi, by using the pronoun of the speaker, has placed himself in the category of Ahl al-Bayt and Bani Hashem.

Astronomical elements and expressions have always had a remarkable presence in the content and form of nation literature, especially Persian poetry. Complete perception of a majority of poems highly depends on understanding the semantic relations and aesthetic details of used astronomical issues and phenomena. Therefore, the present study aims to explain semantic and aesthetic function of consultation, as an important and determinative part of astronomical issues, in Rumi’s sonnets. Being a descriptive-analytical research, the current study reveals that Rumi has used the names of consultations 117 times. The most frequent ones include Aries (whose contemporaneity with the sun has depicted an impressive image), Leo, Taurus, and Libra. The most important implicit contents by these consultation are related contents to spiritual resuscitation, approximation, mystical love, demand, and the benefit from the presence of leaders, criticizing carnal affiliation and condemned world. Due to Rumi’s mystical-eloquence use of the names of consultations in the verses containing several images, figural function of consultation names has higher frequency, 139 times, depicted in the form of symbol, ambiguity, irony, and simile. Image mixture is one the remarkable parts in his sonnets including symbolic similes, irony-symbol, and simile-irony. Rumi has benefited from symbols in other images. Moreover, he has emphasized irony notably. The names of some consultations, also, have been used in ambiguous structure, especially proportionality.

Locale is one of the most important elements of poetry. In resistance literature, places have different semantic functions, depending on the emotions of the writer towards those places. These places are sometimes reminiscent of nostalgic childhood memories and a relief from the current pain and alienation, and sometimes express the poet’s intense interest in or hatred for the characters or events that are related to these places. Because resistance poets reflect the actual events of their lives and societies, and as they themselves have deeply felt the difficulties of resisting oppression and tyranny and have faced the difficulties of exile and persecution, the element of locale is prominent in their poetry. Yahya al-Samawi, a contemporary Iraqi poet, was one of the pioneers of Arabic poetry and one of the members of the Intifada in southern Iraq against the Baathist regime in 1991. Since then, as a result of his political stance, he has lived far from his homeland in exile. His experiences during the Iraqi Baath regime and his emigration followed by the occupation of Iraq by Americans led al-Samawi to pay special attention to Iraq and its cities. Therefore, the element of place is of great importance in his poetry. He consciously makes use of places in his poems to express different feelings such as love, homesickness, hatred, and praise, to recall his good memories and heal his pains, and to resist the oppressors and liberate his homeland. Therefore, this paper adopts a descriptive-analytical method to examine this element and its implications in his poetry.

The technique of rotation is one of the most important elements of contemporary poetry in a way that its function is not limited to the rhythm. Rather, it has a semantic function. Therefore, this technique has become particularly important due to conveying subtle meanings and emotions of the speaker. Therefore, the study of this phenomenon is considered necessary due to its semantic function and its important role in expressing the beauties of poetry and its music. Based on the descriptive-analytical and statistical methods, the present study aimed to examine the rotation technique and the way it has been used in Hayatleh's poems with the focus on both phonetic and semantic structures. The research findings showed that Hayatleh in the phonetic structure has benefited from a complete unit about 78.21%, and the reason behind it was the phonetic peak resulted from the repetition of ‘Mutafāʿilun’ units. The poet's inclination to Zahaf (deletion) in units about 63.82% indicated his concern for phonetic diversity, and its eruption to get rid of the monotony caused by rotated complete units. In many cases, Hayateleh has used other phonetic techniques such as synthetic parallelism, repetition, and variable free rhymes to intensify the phonetic space and made it cohesive and enriched. But, in the semantic structure, the poet aimed at drawing the reader's attention to the rotated word and emphasizing its semantic importance. In this respect, the poet has used this technique as a semantic concentration. The semantic axes in the rotation included stability and solidity, patriotism, murder and crime, and idealistic positive themes.

The color is one of the most influential elements of poetry; the child poets by using imagery and symbolism of Color, paint the world for children, from their perspective, and they help their intellectual, spiritual and social development, .hence, this article explains the importance of color in illustrating the child poetry, it examined the frequency and function of the element of color in child poetry by Suleiman Isah and Mustafa Rahmandoust. The results show that green color is the most frequent color in the poetry of both poets, they use the softness and freshness of the green color, they use a positive attitude that induces growth, fertility, goodness and blessing for society, and the future of children. Both poets are aware that children, because of their joyful spirit, they prefer a variety of gauges that fit together well, they have used color combinations; this feature has a higher frequency in Rahmandoust poetry. Both poets use the colors correctly, and suitable for psychological analysis of colors. Their similar implications for the use of the color element are the signs of both poets' awareness of importance and purpose of child poetry and their special focus is on familiarizing children with ethical, and patriotic and national concepts and values.

One of the topics used in historical grammar under the field of word making, is “Prefixes” and “Postfixes”. This naming is due to their positions in words. Some of the grammarians have introduced “Midfixes” as well. In another divisions, some of the grammarians, have categorized Prefixes and postfixes as derivatives and dedicatives. This research is an analysis of usage of post fixes and prefixes in translation of one of the Holy Quran which is found in third century. Prefixes and Postfixes in this old translation, sometimes have grammar usage which in turns constitutes adjectives and verbs. Sometimes they will change the meaning of words. The translator by the help of prefixes and postfixes has became able to use verbs with more strength. Of course prefixes and postfixes in sometimes make no changes to the meaning of words. It needs to say that in this regards, there is a research titled by “Holy Quran and Postfix and Prefix usage” written by Maryam Shabanzadeh & Mahmoud Barati. But there has been no research done to that subject of matter alone and the research is done by means of research in library and analysis based on frequency.

Allusion is a rhetorical technique which has always been effective in strengthening the semantic and aesthetic aspects of literary works, especially poetry. Poets always pursue different purposes in using allusion, such as ellipsis, assimilation, solidity, visualization, exaggeration, influence on the audience, etc. (A’la, 2010:59). Some traditional scholars have investigated allusion solely within the sphere of modern science;but thinkers who have newer insights, have considered it as an element of imagery, as well. Accordingly, allusion is believed to have two or more layers; an imaginative relationship is created between deep structure and superstructure which leads to “a kind of pleasure of association and spiritual music” (Shafiee-Kadkani, 1994: 310). Allusion can also accommodate other rhetorical forms in itself or its adjacent structure so at to highlight inspirational and imaginative aspects of speech. This is always helpful in addressing the functions of allusion in literary texts.Accordingly, the purpose of this research is to analyze contextual and rhetorical aspects of allusion in Saadi’s sonnets; a poet whose other subtleties and semantic/form based potentials of his word can be learned through the findings of this research. Especially since he explains some of his most fundamental thoughts through allusion hints. The main research questions are: what are the most prominent types of allusion in Saadi's sonnets? What contextual functions and semantic details are manifested in different types of allusion? In using allusion, which rhetorical technique has been more prominent?In this paper, the researchers tried to answer these and more detailed questions using an analytical approach.
Research This research is conducted using descriptive-analytical method. For the purpose of this paper which is an outcome of a research on on content and literary style of Saadi’s sonnets, after extracting and classifying of all types of allusion in nearly all of the Saadi’s sonnets and reviewing its various semantic-thematic functions, manifested rhetorical methods are examined. The ultimate description and analysis is performed based on the most prominent types and functions and the selected evidence.
Saadi's dominance over Persian language and literature has created a clear harmony between form and content of his word; i.e. “it first interests the reader and then reveals its content. Those who read Saadi’s sonnet pay attention to both side of language, form and content …” (BarzegarKhaleqi and Aghdaei, 2007: Introduction). This feature also appears when it comes to effects of allusion. Understanding the subtleties of this feature requires independent analysis of semantic and formal representations.Types of semantic and thematic functions of allusion in Saadi’s sonnet are: romance, mystical, and moral-ethical. Function of romance: contextualbasis of most of the Saadi's sonnet is composed of lovebased semantic clusters.Saadi “clearly expresses romantic concepts ... usingpleasant literary arrays, and this is the secret of his success” (Zarrinkoub, 1991: 253). Accordingly, one of his tactics is allusion. In this regard, the most important types of allusion are: historical-storytelling allusions, Quranic-narrative stories of prophets, and folklore and mythological-epic adventures. In Saadi’s sonnet, romantic function of allusion commonly is to describe conditions of love, quality of love, andbeauty and merits of the beloved. Mystical function of allusion in Saadi’s sonnet is significant useof romantic themes along with benefiting from mystical reflections.In line with these interpretations, Saadi’s use of allusion is important. In such sphere, most of his allusions are Quranic references and adventures of the prophets.On the other hand, Saadi's art gives him the power to use romantic and mythological stories for expressing these intentions.The most important semantic manifestations of this sphere are:mystical practices, satisfaction and surrender, drunkenness and mortality, concomitance of the right men, and fighting the ego. Moral-ethical functions: Saadi, who "is both master of love, and teacher of piety and wisdom; things that you can hardly find together in one person…” (Anvari, 2003: 37) never ignore giving advice, even in his sonnets.In this sphere, Quranic-narrative allusions are most evident.The most important implications are: humility, self-esteem, generosity, criticism, and worldliness.Rhetorical function: rhetorical manifestations of Saadi’s sonnets have subtile and ongoing effect on its deep structure. In respective order, the most central aspects of his rhetorical forms linked to a type of allusion are: simile, symbol, and ambiguity. Simile function: the most prominent type of allusion in this sphere is references to Quranic stories, especially the story of prophets. Romantic inspirations are the most important semantic function of alluding simile. Symbolic function: alluding keywords are used as symbols to amplify the effect of word in Saadi's sonnets. In this sphere, Quranic allusions, especially the stories of prophets as well as mythological-epical references are most frequent. The most important concepts also have romantic themes. Allusion and spiritual music: “spiritual music ... is created from contradictions or contrasts and any kind of conceptual correspondence” (ShafiiKadkani, 1994: 307). In Saadi’s sonnets, allusions are mostly used along with spiritual arrays appeared in form of ambiguity that is often of symmetry type. The important point of this discussion is symmetrical nature of allusion. Alluding ambiguity often use romantic-storytelling references, Quranic allusions, and stories of prophets, and they usually have romantic function.
The most prominent types of allusion in Saadi's sonnets are Quranic-narrative references and stories, especially adventures of the prophets, historical-storytelling tales (romantic adventures whose narrative aspect is dominant) and mythological-epical references. Allusion referring to folkloric beliefs are also in the next level of significance. The most frequent semantic function of allusion in Saadi's sonnets appears in romantic poems. In this sphere, allusion is mostly used to describe the estate of lover, the quality of love, and the virtues of beloved. In romantic sphere, romance stories are most manifested. Allusions to adventures of the Prophets, Quranic verses, folkloric culture and beliefs,and mythical-epical adventures are the next. Saadi’s romantic poems have the most variety in using allusion. The next level is mystical function. In this sphere, allusion serves the purpose of communicatingconscious and romantic conduct, satisfaction and surrender, drunkenness and mortality, following the truth carriers, and fighting the ego. Allusion to Quranic verses and stories of the prophets is also most evident. Saadi uses allusions with love theme to explain his mystics.Moral-ethical function is in the third place.In this sphere, allusions are often used to convey concepts related to humility, generosity, self-esteem, and greediness and worldliness.Quranic-narrative stories are the most prominent types of allusion in this sphere where the slightest variation in the use of allusion is evident.In the rhetorical function, metaphorical images are the most frequent. It is worth mentioning the repetition of adding simile that attracts attention due to its compression. In this sphere, Quranic stories, especially story of the prophets, the story of Yusuf in particular, have a special place.The most important semantic function of these allusions belongs to romance. Symbol is the next. Within this sphere, inspirational potential of speech is increased by enhancing the semantic function of symbolic allusion. In this structure, the most important mission of which is conveying of romantic concepts, the frequency love stories and stories of the prophets is more pronounced. Musical – imagery style of ambiguity is another technique. Within this sphere, where we are dealing with symmetrical ambiguity and symmetrical ambiguity, adjacency of symmetries resulted from allusion and ambiguity creates a chain of semantic connections.The most commonly used allusions in this sphere, where romantic function is more prominent, are love stories, Quranic references, and stories of the prophets.

Poets use a variety of methods to create in-depth themes and adorn their words. Speech scholars and critics have also attempted to find the tools and mechanisms for such methods, and establish rules using their theories. One of the methods to adorn words is using syntactic symmetric structures (syntactic repetition) which is created by taking account of the artistic aspect of language, and one can consider a number of functions for it. The repetition of syntactic model is an issue related to the form and structure of poem; thus, the secret about the beauty and musical richness of many poems by Khaghani should be searched in his form of poem. With his unique and amazing command on language and lexicon, Khaghani has tapped into syntactic symmetric structures with a very artistic method and with a high frequency to create themes and adorn the representations of his words. It is worth mentioning that the coordination of many of these methods with the overall meaning and purpose of the verse is worth noticing. This article attempts to explore the syntactic repetition functions in Khaghani's odes in terms of creating beauty and meaning and explain their emergence process; something quite particular to Khaghani's poetic style.

In this article, the noun-noun compounds collected from the Mo’in dictionary are investigated and 11 basic semantic functions (classes) are determined for them. The theoretical framework of this study is conceptual semantics (the semantic theory of the parallel architecture of grammar). In order to identify the semantic structure of these compounds, we should determine the semantic relationship between two nouns and find the semantic head of the compound. In this analysis, one noun can be an argument of the other noun or both of nouns can be an argument of another semantic function. This semantic function can be copied from the lexical entry of one noun or be one of basic semantic functions. In more complex situations, basic semantic functions can combine with each other. Therefore, a generative system is shaped, which can produce unlimited semantic relations between two nouns.