syntactic structure

A valuable prose text, Tārīkh-i Bayhaqī [Beyhaqi’s History], is a reflection of the thoughts, socio-political and spiritual beliefs of Iranians living in the fifth century. Using a descriptive-analytical method based on Jakobson’s communication theory, this study, examines the structure of sentences, types of sentences, and how they are applied, and annalyzes the important indicators of syntactic structures in Tārīkh-i Bayhaqī. It then identifies their connection with the intellectual and semantic features of Tārīkh-i Bayhaqī. The findings show that although the sentence structure in Tārīkh-i Bayhaqī often follows the common patterns of the fifth century, its prose is highly flexible and defamiliarized in the arrangement of speech components. Beyhaqi employed rhetorical methods such as topicalization, reattribution, composition, anaphora, and ellipsis, using verbs without subjects or agents, indirect commands, passive verbs, and the replacement of parallel syntactic structures, to indirectly express his thoughts. This not only embellished the speech and created unique structures but also transformed the pure and impartial narration of history into historical analysis by hinting at hidden and unspoken ideas. Ellipsis is used in most of Beyhaqi’s sentences to create complex sentences, textual cohesion, speed and rhythm in the speech, conservatism, as well as to indicate certain components as unimportant.

Shamsuddin Mohammad Asiri Lahiji Noorbakhshi is a mystic, poet and one of the sheikhs of the Noorbakhshi dynasty in the 9th and 10th centuries of Hijri. In this research, the Masnavi of Asrar al-Shuhoud by Asiri Lahiji has been examined in the field of stylistics of phonetic sentences.

Considering its theoretical nature, the present research was carried out using a descriptive-analytical method based on library and electronic studies. The target society and scope of the book "Secrets of Witnesses" is Shamsuddin Mohammad Asiri Lahiji with proofreading and introduction by Seyyed Ali Al Dawood.

Lahiji is the owner of initiatives in the creation of monadas and has made innovations in this field. Lahiji"s initiatives in the creation of monada include 37% of the total vocal sentences of this masnavi. Also, in this masnavi, unlike many poets, he has not placed himself in the position of a preacher, just as in most of the vocative sentences, he is not in the position of teaching concepts, and he has given mystical and moral teachings in the form of anecdotes and from the words of individuals and elders. The mystic recounts. In this masnavi, other than the calls of God and the calls of the soul and heart, the rest of the calls are noticeable. The positive audience of Lahiji are Sufi elders and the negative audience are people who are ignorant of divine knowledge and the way of mystical conduct. Another finding of this research is the influence of Lahiji on Attar and Maulavi, some of the vocal sentences of this Masnavi are only found in the works of two mystics of the 6th and 7th centuries, which has made Lahiji"s influence more obvious.

Among the results, finding out about the features of Neda and Monada in this Masnavi, the number of Neda sentences, the recording of each of them and the frequency of their repetition in the present research. According to the statistical community, Lahiji has used one hundred and eleven phonetic phrases, one hundred and seventy-six times in the text of this masnavi. The highest frequency among phonetic letters is the letter "ey". God"s call has the highest frequency in this masnavi. The lowest frequency also belongs to the names of people. Monada"s names account for a total of one percent of the phonetic sentences of this Masnavi. Often in the content of Naadi"s sentences, the message that is conveyed to the monada is mystical teachings such as seeking divine love, seeking no need from creation, leaving the world, the concepts of annihilation and survival, the way of connection and some moral characteristics, in the Masnavi of Asrar. Al-Shoud, phonetic letters are not always in phonetic position and sometimes express surprise, regret or wish.

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.

This article demonstrates how Persian and English translators have recreated the simile marker "k'ann", as one of the most prevalent words of resemblance, in a total of 25 verses of the Quran. Simile markers are considered one of the four componants of simile, and simile is one of the literary techniques that falls under the science of meanings in Islamic rhetoric. Recent studies have used figurative images instead of simile itself, which include sensory and imaginary elements. These two types of images are among the building blocks of rhetorical images that mainly serve the Quran's religious goals. This article aims to provide a descriptive and comparative analysis of selected translations, focusing on similes using "as if" as the most common form of comparison. Persian and English translators have mostly equated these images with textual images, and therefore, have translated them into a similar image in the target language. Translators have translated this simile marker as "گویی" in Persian and "as if/though" in English at the word level. Persian translators have used present or future tense verbs after this phrase, and English translators have used past tense verbs. However, it is necessary to pay attention to the textual features of similes in translating images. Overall, Persian and English translators have translated similes into similar but sometimes more explicit similes in accordance with Yarmohammadi's classification taken from Newnark. The acceptability of the translations by the readers on the one hand and the time, and the chronological order of translation, especially regarding the English ones, on the other hand have been the basis for selecting translations. On the whole, all translators have translated this simile marker literally.

Stylistics is a form of analysis which is primarily concerned with the field of literature. It approaches a literary text from different aspects, one of which is syntactic analysis. The study of the syntactic structures can shed light on the links between the thoughts. Each person, depending on their mental characteristics and the subject at hand, makes use of a number of different syntactic features. The present feature seeks to shed light on syntactic forms resilience poetry, drawing on the works of three poets: Muin Bseiso, Mohammad al-fitoori, and Adnan al-Saegh. Since this form of poetry mirrors the thoughts and beliefs of the people living in one particular society, it is inevitably realistic, alive, and dynamic. Given the biological and cultural diversity of Arabic-speaking communities, this form of poetry can take many different linguistic and stylistic forms. This very issue calls for further studies and research on the style and language of the poets of resilience poetry. On the one hand, each poet has made use of a different style depending on the extent to which he has been affected by the status quo and socio-political changes of his country and each poet enjoys a style which differentiates him from other poets. Therefore, cultural, social, and political environment of these poets, their position and prominent role in the contemporary Arabic poetry, all of which bear solid themes, have led to their selection. Given the wide variety of syntactic structures, only nominal and verbal structures, tense, and Modality are of concern to the present research. The aim of the present research is to shed light on the aspects to which poets have resorted to achieve the common goal known as reliance poetry. Therefore, the main research problem is to identify and stylistic study of the syntactic structures of these three poets. In this way, the idiosyncratic style is identified along with the type of their interaction with language.The present study follows a descriptive -analytical-statistical approach. Twenty odes from each poet on the theme of homeland were selected. These odes were selected to shed light on how linguistic and stylistic components were made use of to express their thoughts and beliefs and best depict this form of literature.With regards to the results, it was found that Bseiso’s style is characterized by nominal structures with verbal predicates. The political position of this poet as the head of the Palestinian communist party leader. On the other hand, his physical presence in the fights against the Zionist enemies could be considered as factors that could lead to his usage of singular pronouns in nominal structures. al-fitoori has mostly utilized nominal structures and singular pronouns to express his thoughts and feelings in his initial poetical works. This is due to the grim social and political situation of his time when colonialists were looking to destroy their culture and identity. He also consolidates his being and presenxe by using such structures. However, verbal sentences in al-Saegh’s poetry are more frequent compared to Bseiso and al-fitoori's and can be considered as one of his stylistic features. This can be due to the narrative and storytelling aspect of his work. The expression of such concepts inevitably entails the usage of verbal structures.In al-Saegh’s works, tenses are either past or present. He does not seek to escape from the reality by depicting the old world; rather, he levels criticism at the current situation of the society that cannot create a link between its two different worlds. To disentangle from this bipolarity, he creates another world in the past tense. Such a style is an indirect mode of expression to express objections. However, Bseiso and al-fitoori’s works are almost completely set in the present tense.Declarative forms are stylistic features of al-Saegh’s poetry. He makes flashbacks to the past and depicts the scenes in a natural way. Nonetheless, unlike al-Saegh’s poetical works, most of al-fitoori’s odes are a combination of different kinds of verbal modalities in the macro-structure of odes. However, in Bseiso’s works, due to his wrathful spirit, the decisiveness and function of the declarative structure is highly common. He has explicitly expressed bus thoughts using this structure and humiliates and ridicules his enemies by drawing on imperative and interrogative structures. However, imperative structures are less frequent in al-Saegh’s works. Due to his bitterness towards war, he does not try to persuade the soldiers to fight. His obligatory participation in war has played a role in this matter and has led to him using declarative and narrative forms to retell and depicts the status quo of the country. The essay aspect of his sentences, which is mostly reflected in his interrogative modes, is in fact coveted in despair and disappointment.

Investigating the syntactic and rhetorical structure of "Lit" in the Holy Quran."Lit" is one of the Letters similar to verbs inserted at the beginning of the noun phrase Its most common use is for wishes.Tamani is a wish that is impossible or far from expected, so the meanings of "lit" are Kash and Ey Kash.The word "lit" is used 14 times in the Holy Quran.The present study, with a descriptive-analytical method, aims to examine the verses containing "Lit" in terms of its structure and rhetorical meaning, according to The theory of commentators and grammarians.And to examine the reason for saying "Lit" and the Qur'anic wishes and narrators and the time of saying it.The result of this research shows that in all 14 cases "lit" has been used in its original meaning, meaning Tamani (impossible or far from expected) and its rhetorical purpose in most cases is to express regret and regret for the work whose time has ended and most of them It also flows in the hereafter and from the mouths of those who have rejected the laws of God and followed their personal desires and instincts.And In terms of structure, it is often expressed in the form of ya + lit + relative pronoun + present sentence with past verb.

Masnavi is one of the deepest works that has been constantly criticized, analyzed and evaluated from various angles. One of the distinctive and unique features of this masterpiece of Persian mysticism literature is the confrontational structure and the way of using this contrast in the syntactic structure of Masnavi sentences. Since the syntactic model of Masnavi in ​​the structure of reciprocal words in terms of semantic function of mystical concepts such as transcendence and superiority (command / soul of soul) versus (I / body / body), this article deals with the confrontational attitude of the structure of Masnavi sentences and its role and application in output. It deals with the meanings from the material position to the realm and the transcendence of the earthly "I" to the command in Rumi"s intellectual system and analyzes Rumi"s sentence processing by referring to the approaches of constructivist stylistics and semiotics based on text analysis in the form of structural and fundamental contrasts.

The present study was conducted with a descriptive-analytical approach.

In Rumi"s intellectual construction, all phenomena and events, including the syntactic structure of sentences, have been considered from different directions in the direction of the confrontation of body and soul or the world and the hereafter, and from the point of view of semantic and value burden of this confrontation.

By examining this syntactic structure, it can be seen that Rumi has surprisingly used this method for a purpose other than aesthetics and rhetoric in order to pay attention to the semantic dimension of contrasts within the framework of the mystical model.

 There is impressive relationship between the quality of syntax structure and rhetoric. Rhetorical aims are expressed by syntactic structures and in other hand the quality of syntax elements is influenced of conceptions and rhetorical aims. In this paper, one of the most important syntactic structures in the Persian language will be studied. This structure is “to conjunct sentences” which their verbs are different with each other. In the past, this structure was being used in order to express the rhetorical aims, such as showing the surety in doing of verbs. It will be explained that how this syntactic structure has been formed and what changes have been occurred in syntax of Persian language which caused to form this structure. Also we will mention the difference that each one of these forms has in comparison with others. Keywords: Persian language, syntactic structure, Rhetoric, Conjunction of sentence to sentence, moods conjunction.

Grammatical roles and functions of elements of speech comprise the syntactic structures of language. Farsi, considering its syntactic structure, is a free language in which the order of words is based on the speaker’s mentality, philosophy, and dominant thoughts. Grammarians study syntactic structures from a linguistic point of view disregarding their literary functions. Abd al-Qahir al-Jurjani, among rhetoricians, has studied the arrangement and order of words. According to his “theory of order” all syntactic structures and arrangements are a result of meaning construction in the speaker’s mind and thought. This article studies the frequency of omission and rearrangement of major components and syntactic structures of Naderpour’s poetry based on the theory of order. It indicates that his poetry is a varied and yet proportionate collection of common and fluent structures of Farsi. It is a product of the balance between meaning and syntax as well as the arrangement and order of the poet’s thought. His deep mental experiences as well as intimate and accessible poetic thought enable him to have a balance between the mind and the language where the former forms the meaning and the latter expresses it, so that his poetry is straightforward and lucid in conveying its meaning.

Statistical consideration of syntactic issues in verse and prose makes the analysis of verse and prose structure easier and helps us to understand how two poets use acquaintance techniques in conveying the message in their poems. Naser Khosrow and Sanaei are prominent ode composers in Persian literature. Investigating the syntactic structure of two odes composed in Bahr Hazaj shows the frequency of informative form, variety of adjectives, conjunction and simple sentences in Naser Khosrow poems. Meanwhile, the rate of verb transfer, prepositions, and conjunctions has more frequency in Sanaei’s poem. This feature makes Sanaei’s poem more technical. Examination of the lexical arrangement of the poems shows that Naser Khosrow’s poetry is closer to the standard and aimless language. The frequency of words related to the wisdom motif in Naser Khosrow’s poetry and words associated with the Love motif in Sanaei’s poetry are largely related to the dominant aspect in each of these two poems. This case study reveals that the dominant aspect in the formation of the syntactic structure and lexical arrangement of the poems of both poets have a direct and significant relationship. One of the reasons for the significant change in the syntactic structure of Nasser Khosrow's poems with Sanaei’s poems, which distinguishes each style of poetry, is the change in the dominant aspect. This research provides a model for examining the linguistic and literary characteristics of poets that can provide remarkable and authentic results.

The aim of this article is to investigate the words and syntactic structure in Siavash Kasrai's poems. Certainly, one of the most important aspects of poetry analysis for any literary researcher is to examine the poet's ability to take advantage of linguistic possibilities. Undoubtedly, one of the most prominent features of contemporary poetry is the poet's courage in using new words and using various syntactic structures. The studied poet, Siavash Kasraei, can be considered one of the successful followers of Nima Yoshij. The person who has used most of the linguistic possibilities and the variety of words and the use of old and new syntactic structures are the linguistic features of his poetry. Kasraee's attention to colloquial language words, along with the use of old vocabulary, did not cause the poetic and artistic creativity in his poems to decline. Regardless of the very small language slips, in general, the language of Kasra'i's poetry is a coherent and fluent language that often has a social color and smell. In this research, using descriptive-analytical method, we seek to study words and syntactic construction in the poetry of this poet.

Due to its natural features such as unparalleled eloquence and rhetoric, special style and style, pleasing meanings and concepts, and accurate use of words in various formats, the Holy Quran is one of the most coherent and complete texts and words consisting of seemingly simple and eloquent words. It has a deep semantic load and hidden and purposeful goals. Each of the words and verses of the Holy Quran have been put together for a specific purpose. Praise is one of the most widely used structures in the Arabic language. This research intends to use a descriptive-analytical method to examine different types and structures (praise and condemnation) in a syntactic and rhetorical way in the verses of the Holy Quran. The aim of this research is to accurately reveal many rhetorical expressions in the form of praise and condemnation with all its uses. Finally, it identifies its Qur'anic documents along with the rhetorical reasons for each of them. The result of this research shows that praise only expands and magnifies the expressions despite being in different syntactic structures and despite different translations of it in terms of rhetoric and meaning and It is better to use words that indicate plurality in translating these verbs.

Syntax is resulted from the rules governing the formation of sentences. Everything that distinguishes the literary language from the common language is exercisable on language syntax. The displacement of linguistic elements in the syntactic places is facilitated due to rhythm and rhetorical issues; so, each linguistic element displaced from its syntactic position can be measured and identified based on the basic syntax or zero degree of writing. Abdul Qhahar Jorjani believes in diversity through the displacement of linguistic elements in producing the syntactic constructs. Khaghani is a poet interested in diversity and has used various syntactic patterns in his elegies. In this research, 58 elegies of Khaghani have been categorized and their sentences have been counted by descriptive-analytic method, that analysis and statistical data indicate two general procedures: in the first one, the availability of repetitive syntax constructs in the vertical and horizontal surfaces of elegies has been identified due to their frequency and shows some characteristics of the elegies style. The statistical data of the second procedure indicates that syntactic abnormality in the elegies rhymed by noun, pronoun, adverb and noun phrases are more than rhymed by verb. As a result, 70.7% of the 6,391 sentences used in these elegies have normal syntactic constructs. Thus, the syntactic constructs of Khaghani's rhymed elegies are almost normal and in accordance with the basic syntax in the Persian language.

The realization of the argument structure of nouns corresponding with ditransitive verbs is a complicated subject since those nouns involve categorical, morphological, syntactic and semantic features of both nouns and verbs. The aim of this article is to survey the argument structure including categorization, syntactic structure and phonetic and semantic realization of main ditransitive verbs and their corresponding nouns in Hawrami Kurdish-a north western Iranian language. Dividing and describing the nouns into possessive and agentive nominals, this article analyzes and contrasts them with corresponding verbs under the framework of MP/DM. The results show that syntactic structure of main verbs and their corresponding nouns involve verbal category (VP) to introduce theme and low ApplP to introduce benefective goal or location. The subject of the sentence merges as the possessor in EzafPposs of possessive nouns and as the same agent in VoiceP of agentive nouns. The heads of the TP and CP select vP in statements; hence, the heads of PEP and DP choose nP in nominals. The root in possessive and the whole VP features in agentive nominal move to np and PEP to value their nominal and Ezafe features. Agentive nouns have more nominal properties and take plural, (in) definiteness, possessive and adjectival markers and also do not take manner adverbs. Therefore, argument structure analysis of nouns corresponding with ditransitive verbs using the MP/DM approach shows that syntactic structure is the driving engine for the categorization, syntactic structure and phonetic and semantic realization of possession and location transfer of ditransitive verbs and their corresponding nouns in Hawrami.

Idiomatic structures are of the forms which have been investigated to argue in support of some theories in Minimalist Program. In this regard the present study investigates the syntactic structure of Persian Idiomatic Expressions (PIE) in the frame work of minimalist approach. In this study a sample of 200 Persian idioms, selected randomly, have been studied to examine their flexibility in terms of their subjects, tenses and some other structures larger than Inflectional Phrase (IP). The study supported the idea that a phrase is formed by merging head ''X" and its complement, and X-bar with its Specifier to form X-bar and XP respectively. The analyses of the idioms shows that in the smallest form of idioms a verb is merged with its complement to form a "V-bar" and a V-bar is merged with a subject to form a VP. In this way the evidences from Persian support the idea of the Subject Internal Hypothesis. The study also shows that idioms in Persian are fixed in bottom up way in forming Phrase Structure as in V-bar, VP, IP(TP), CP respectively in clause structure level and even in larger ones.

This paper studies clause structure in Persian within the framework of Role and Reference Grammar (RRG). This theory deals with the interaction of syntax، semantics and pragmatics in grammatical systems and believes that understanding grammatical structure can only be possible through considering semantic and pragmatic functions of language. This theory uses a concept of the layered structure of the clause that is different from the other syntactic approaches in that it is based on two fundamental contrasts: the contrast between the predicate and its arguments، and the contrast between arguments and non-arguments. The functional elements or operators have separate projection in this theory. Information structure is also explored for the clauses. The interpretation of information structure in RRG، to a large extent، originates from Lambrecht (1994). There are two aspects for information structure which are related to one another. Eventually، the semantic to syntax and the syntax to semantic linking are shown in the linking part of this grammar. In fact the relationship between the three modules of syntax، semantics and pragmatics are formally indicated in this component of RRG. This paper explores the layered structure of simple sentences in Persian. It was demonstrated that the layered structure of the clause proposed in RRG works for Persian as well.

Structuralism mostly investigates narrative elements in stories. A structural narratologist basically intends to compile a coherent structure among other different aspects of a story. The present study investigates the structure of AmirArsalan story, the last important fragment of Persian folksy long story generation, according to some structuralist theories. According to Grard Genette, we can analyze AmirArsalan story at two levels of recite and narration. At “recite” level, it has been discussed based on narrative perspective. At “narration” level, the narrative structure has been investigated and then the similarities and differences have been mentioned compared to other folksy long stories. In the second part of narration level, its syntactic structure has been pointed out and we have tried to summarize the story characters, their acts, and manners in the most compact way.