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

In this study, the formalism of the ecological orientation of the novel Sayeh Malakh is based on the element of simile and using the technique of content analysis. Sayeh Malakh is one of the realist novels in the field of sacred defense literature, the realism of which is depicted in a comparative and tangible linguistic expression. The results of this study show that the simile in this novel is a key element in realizing the events of the story and since the events of the novel have taken place in a rural setting, most of the comparisons are about nature and the environment around which the main narrator lives and his epistemological world is quite familiar with. The environmental comparisons in this novel have played a major role in creating spaces, characterizations, and creating an environmental discourse and calling the environment to the center of attention and preventing it from fading. Most importantly, the analysis of the environmental discourse in this novel is based on three types of fear (fear of starvation, hunting, and darkness) that form the basis of human interaction with the environment.

Simile forms the deep structure of many innovative crafts, and in the rhetorical books of the early and late generations, various types and types of it are mentioned, each of which plays an artistic role in different ways in depicting and reflecting poetic imaginations; The efforts and careful analysis of rhetoric scholars in categorizing and classifying all kinds of similes are praiseworthy, however, sometimes in studying the literature of poets and digging into the imaginations of Persian speakers, we come across similes that are found in books. Rhetoric has not been investigated in a separate and scientific way; One of these similes is a simile with a completely independent syntactic structure and purposes, which is opposite to preferential similes. The present essay seeks to analyze these types of similes in the works of speakers of different periods in a descriptive-analytical way. The obtained results show that this type of simile has been used since ancient times and its oldest use was found in Ferdowsi's Shahnameh. These types of similes have different types, in some cases, the speaker portrays the simile - the opposite of the preferential simile - as inferior and less than the simile, and sometimes the speaker of the praise industry is similar to blame. takes advantage and uses the simile in a way that looks suspicious of it, while the purpose of the simile was to praise the simile, and finally, sometimes the purpose of the simile is not in the sides of the simile, but in the element of the simile. The third one, which is outside the pillars of simile, searched that the poet uses this type of simile structures to bow down or express its condemnation.

Elegy about Imam Hussain (AS) and Ashura poems are very important in Arabic and Persian literature to some extent that the poets have addressed its various aspects and the mourners have dedicated the most impressive part of their poems to it. Focusing on the principle of coherence as the most important criterion of text formation, the present article tries to examine the coherence between the elements of the text by Mura'at al- Nazir. Seyyed Bahrul Uloom and Mir'aza have used this literary array a lot so that its abundant and appropriate use has made their poems coherent. This article, with a descriptive-analytical method, examines the coherence resulting from Mura'at al- Nazir in the poems of these two poets in a comparative way. In this way, firstly, the theoretical topics, the definition of coherence and compliance are presented based on library resources. This thesis continues to discuss Mura'at al-Nazir in Hosseini's elegies (a comparative study of Seyyed Bahrul Uloom and Mir 'aza's poems and at the end, it examines and analyzes the coherence of Mura'at al- Nazir by relying on the examples extracted from the poems. One of the achievements of the research is that both poets use Mura'at al-Naz through combination with other figures of speech such as: simile, antonym, metaphor, and allusion for more harmony and proportion according to different themes. Both poets have a coherent text, but Mir'aza's poems, considering that the audience of his poems is common people, therefore his poems have a sadder emotion and also, his poems seem simpler and smoother.

Simile represents the intellectual and mental essence of poets and writers, enabling access to their works' hidden layers of imagination and familiarizing the reader with their personal beliefs, life experiences, and perspectives on society. Similes are often influenced by the central interests and perspectives of the poet or writer, reflecting the prevailing thoughts and dominant culture of society. Similes are shaped by the personal and individual worlds of the poet or writer, as well as by the culture and beliefs of the community, thereby being influenced by these factors, whether consciously or unconsciously. Among the forms of imagination, simile has always been of particular interest to poets and writers. Houshang Moradi Kermani has also paid significant attention to similes. A simile is the most important and commonly used imaginative form in Moradi Kermani stories. In this descriptive-analytical research, simile, the elements of simile, the objectives of simile, and the role of simile in the stories of Houshang Moradi Kermani were examined. The research findings indicate that simile is used to enhance the narrative elements, such as atmosphere, characterization, tone, dialogue, and internalization of the theme. Similes are harmonious with the language and tone of the narrator and the story’s characters, with the similes used in the atmosphere of the story being more imaginative. The objectives of simile are primarily to express Situation of tenor, exaggeration, belittlement, and Imagination.

Critical study of Iranian children's literature has not yet found its proper place, and it is necessary to critically examine all its constituent elements. In this relation, the 1990s is very important in the history of Iranian children's and adolescent literature from various aspects. For this reason, three hundred pieces of poems of age groups A & B and B& C of the Center for the Intellectual Development of Children and Adolescents, published in the 1990s, were selected for the following research. Then, the techniques of image creation and imagination processing were extracted in these works, in terms frequency. The result of this research indicates that, in the children's poetry of the 90s, the poets have most used repetition, both in form of alliteration and word repetition), followed by proportion, contrast and description. The use of similes is more prevalent than other figures of speech, offering deeper meaning as the age of the targeted audience increases. Personification, synesthesia, and metaphor take the next positions, and poetic etiology has not been practically much used for image creation.

The concepts of Ahura Mazdā and Ahriman in the Zoroastrian religious culture are intertwined with the concept of Mainyu, such that Ahura Mazda holds Spenta Mainyu within himself, and Ahriman is another verbal form of Angra Mainyu. In addition to these two antagonistic deities, Mainyu also applies to other concepts in Zoroastrian scriptures. These three concepts are still ambiguous and confusing, despite ongoing research, due to factors such as antiquity, semantic multiplicity, abstraction, and changes that have occurred over time in their meanings. The authors of this article have attempted to analyze and demonstrate these concepts from the perspective of the similes that have been formed around them, using a descriptive-analytical method and by extracting data from Zoroastrian scriptures. This is to show how simile, as one of the most important tools of cognition, has been used to visualize these abstract concepts and what visual and semantic characteristics have been explained for them. The results of the study show, firstly, that the authors of the scriptures under discussion have consciously used similes to relate the intellectual to the sensory as well as the tangible and the popular to bring these three concepts closer to the understanding and perception of the general public. Secondly, using simile to compare the concept of Mainyu to martial art terminilogy has defined a role for it beyond mere personification, identifying it as the agent and combatant soul of the world of Asha. Thirdly, while the similes referring to Ahura Mazdā maintain aesthetic criteria, the images associated with Ahriman have been chosen from among the most terrifying and striking phenomena in the view of that era.

Simile in Gholamreza Borousan's poems is one of the most important and practical tools of expression. In this research, similes of this contemporary poet have been analyzed and investigated. The scope of the research work is three notebooks of his free poems and the work method is descriptive-analytical based on statistical data. The analogies found based on the types of similes are based on the validity of the parties (sensual or intellectual, singular, binding or compound and multiplicity of parties), on the validity of similitudes (detailed or comprehensive, close or improbable, singular, multiple or compound and investigative or imaginative). It is divided according to the validity of similes (sentient and emphatic) and finally according to the number of similes (separate and ambiguous) and examples are mentioned for each case, and at the end of each discussion, the frequency of each simile is presented in tables. At the end, the frequency of the elements of his similes is given. The results of the research show that he is an allegorical poet and has followed a creative and original process in choosing and processing these allegories. So that most of these similes are of a strange type with a pseudo-imaginary aspect. His similes are mostly of the sensual type in which man and his belongings, nature and its manifestations, and objects and tools have a strong presence in them.

Color and image, which provide the main part of the beauty of an artwork, are effective in conveying the concept to the audience; therefore, the analysis of its components can be considered an indicator of the poet's special use of language and the distinction of the literary type of each work. Of course, beauty here is not only the use of literary arts. Poetry can also be beautiful without them. Here, the poet works on strengthening other tools in his hand and compensates for the lack of poetic beauty. In this study, structural and aesthetic factors are discussed, which play a different and deeper role in distinguishing the literary genre. Therefore, it has been tried to avoid as much as possible the mention of descriptive concepts that have been mentioned many times in various literary works. The considered works are the story of Sheikh Sanaan by Attar Nishaburi, the story of the Shah and the Maid of Rumi, and the poem Salaman and Absal by Jami. The main achievement of this research is to clarify the fact that the rhetorical and linguistic elements in Ramzi's romantic works, on the one hand, help to strengthen their lyrical dimension, and on the other hand, they have a great effect on the formation and opening of the identity of Ramzi. 

Simile is a straightforward method of creating imagery extensively discussed by rhetoricians. However, comparing something to itself is a rare form of simile in rhetoric and has been deemed unjustifiable by scholars. They argue that this simile lacks imaginative properties, requiring little effort for comprehension. Nevertheless, examples of self-comparison can be found in Persian literature, particularly in the works of poets, such as Attar, Nizami, Masoud Saad, Jamaluddin Esfahani, Molana, Zahoori Tarshizi, Akhwan Taalih, and Aminpour. Indian rhetoricians, including Mirza Khan Bin Fakhruddin Muhammad, Sirajuddin Ali Khan Arzoo, and Azad Belgrami, have provided detailed reflections on this simile. While simulating something to itself may not be entirely devoid of literary value, it can serve a creative purpose in certain contexts. In this descriptive-analytical article, we investigated the various dimensions of self-comparison. Initially, we reviewed the perspectives presented in different rhetorical books regarding this rhetorical technique and subsequently delved into its intricacies. Finally, we outlined the purposes behind employing this type of simile with a primary focus on poets and writers aiming to emphasize and express the perfection of Mamdouh's majesty. 

Hasht-Behesht is one of Amirkhosrow’s five Masnavids written in response to Nezami’s Haft-Peikar. By examining the similes in this poem, we found that the similes used by the poet were mostly concepts related to human and his belongings. Since this story has seven main structures and many palaces are described in these masnavi; Therefore, these places are topic. Nature and abstract concepts are sometimes used as image. images included nature, objects, cosmos bodies and animals are highest frequency. In terms of being sensory and intellectual, the highest frequency was related to sensory to sensory similes. In terms of extensive simile, the analogies of explicit similitude  and brief were more used. The poet has used eloquent similes and similes  addition in his stories. In terms of being singular and binding, singular to singular similes are more frequent than others. Beautiful compound similes can also be seen in this story. In evaluating the simile, we came to the conclusion that the similes in this masnavi are mostly singular, reality and non-allegorical. We also examined the combination of simile with other imagery and it was found that simile is combined with rhetorics such as simile, metaphor, allusion, allusineness and mythological concepts and added to the elegance and beauty of similes. In the end, we also pointed out the similes and novel and beautiful combinations used by Amir Khosro in this stoty. Amir Khosro has used almost all types of similes in this poem, and this shows the breadth of the poet's imagination and his ability to create images.

Malek osh-Sho'arā Bahār is considered to be one of the masters of Persian ode, but his masnavis were a strong means for him to depict various personal, social, political, historical and critical concerns. Since Bahar's masnavis constitute a significant volume of his poetic works (348 pages), his artistic personality and poetic performance cannot be properly evaluated if these masnavis are neglected. In the present research, while discussing the poet’s art of masnavi writing, fourteen of his masnavis are briefly introduced and his "Prison Poems", which are the most detailed Persian prison poems, have been examined and analyzed using descriptive and structural analysis method. This research attempts to show that Bahar has expressed his interest for innovation in poetry in masnavi writing. Moreover, in his use of a language influenced by street language and terms and phrases of spoken language, he created a moderate level of literary elements such as simile, allegory and allusion in these masnavis. However, description, narrative, simile, allegory and its types, especially proverbs, irony and allusions, are the most important literary elements in his "Prison Poems". Apart from their literary value, “Prison Poems” contain first-hand information about political strife and arrests of opponents and critics of the government and the state of Iran's prisons; in general, they are historically and sociologically valuable for the study of Iranian society in the previous century.

Yaghma Jandaghi is one of the most famous and prominent poets of the Qajar era who has written significant sonnets with moral and romantic content. Since the beginning of Persian poetry till now, rhetoric has always been taken into special consideration by poets, and one of the fundamental issues of rhetoric in any language is poetic imagination forms, including four general topics, namely simile, metaphor, irony, and metonymy, the thoughtful and appropriate use of which can add to the imaginative aspect as well as the richness of poems. Yaghmai Jandaghi's sonnets are highly important in terms of the inclusion of rhetoric, especially rhetoric and the use of poetic imagery. Yaghma’s sonnets contain moral and romantic themes, written in different meters and mainly in a style similar to that of Hafez’s poems. Since little attention has been paid to the issue of imagination forms in Yaghmai Jandaghi’s poems, in the present research, an attempt has been made to analyze the imagery techniques used in the sonnets of Yaghmai Jandaghi with an in-depth view and with respect to the poet's taste in using them as an aesthetic approach and expressive and artistic technique so that a manifestation of his poetic merits can be presented to the audience.

Hasan Ali Mirza Shuja al-Saltaneh, with the name Shekete, was the sixth son of Fath Ali Shah and one of the princes of Ghazal poets and scholars of the Qajar era. He is one of the poets of the second period of the return and literary revival movement, who tried to keep alive the memory of the old poets. Simile is one of the foundations of the science of expression and one of the most important differences between literary speech and non-literary speech. Examining and analyzing the realms of simile will lead to the discovery and recognition of the lyrical works of this era and the level of creativity and understanding of the poet's worldview. In this essay, the simile structure, as the main element and creator of the image in Shekaste Qajar's poetry, and the process of literary creation and stylistic developments of the rhetorical device, have been reviewed.

This essay has been reviewed based on analytical-descriptive method and things like similar elements and components; Types of similes based on singular, binding or composite validity of the simile parties; types of similes based on mentioning or removing the elements of simile; Types of analogies based on sensory or intellectual aspects of the analogies; Types of similes based on shape; Combining analogy with other industries; innovation in analogy; simile in simile; And the unconventional simile is analyzed.

Divan Sheskete contains five odes, 75 quatrains and 353 sonnets, in total, the poet has used 731 similes to present themes. He has had a great interest in combining similes with some imaginative techniques such as metaphor, simile, simile, allusion, contrast, repetition, allusion, irony, and employment; However, there is not much complexity and ambiguity in the structure of his metaphors.

The most similes in Shekaste Qajar's poetry are human beings and their parts and belongings, and the similes are usually chosen from among natural phenomena and human artefacts. In many cases, he has succeeded in defamiliarizing them by introducing a new element into familiar and well-established Persian similes and making them new; However, in general, his similes have still and static images.

As one of the founders of free poetry, Nazz Al-Malaika is considered one of the theorists of new poetry as well as one of the poets with style in contemporary Arabic literature. In his poem, Naz used rhetorical elements to highlight the theme and have a greater impact on the reader. Simile is one of the pillars of rhetoric from which other rhetorical forms are derived. In expressive topics, the first image-creating factor is the simile array; in such a way that it can be considered the simplest and most basic type of fantasy; Because it is easier for the mind to understand than other imaginary forms. Nazul Al-Malaika has used rhetorical tools efficiently and effectively in his poems. He has conveyed his thoughts to the reader in various ways by using similes and made the simile compatible with special images and performances. This research has investigated the function of simile and its types in Nazq al-Malaika's poems in a descriptive and analytical way and with library tools. Also, it has been divided from different passages in terms of sensory or intellectual sides, in terms of elements, etc., and the subtleties and subtleties of this artistic image have been analyzed. The results of the research show that after metaphor, simile is the most used literary technique in thin poetry, and among the types of simile, eloquent simile is the most frequent type of simile.

This article aims to explore the theoretical discussions surrounding simile in Persian rhetorical books. The study traces the evolution of the topic from the earliest available texts to contemporary rhetorical works. It examines in detail the authors’ perspectives on simile, their usage of terminology, and the aspects they may have overlooked. Many of these aspects are critically analyzed. Furthermore, a comparison is made between the terms and terminologies employed in earlier books and those found in contemporary rhetorical works, providing a basis for further and more comprehensive comparisons with reference to these texts. The final section of the article focuses on an implicit and elusive form of simile found in the Divān-e Hāfez. This particular type of simile, known as tashbih-e tabādor is intricately woven into the layers of artistry within Hāfez’s verses. Several examples of this phenomenon are presented and thoroughly analyzed.

To convince the audience or to express and convey their mystical concepts, mystics have used various linguistic and literary tools, which is one of the most effective ways to engage the audience is to use allegory. On the other hand, most of the poets have not neglected Quranic verses, hadiths, and the words of religious elders to strengthen their words. As the first person who officially introduced mysticism into Persian poetry, with the acceptance of the Quran and hadith among Muslims, Sana'i used verses and hadiths wherever he saw it necessary in religious and moral issues to prove his speech and convince and approve his audience and in this way, he easily makes his speech acceptable to the audience. In allegorical stories, using hadiths, he has dealt with concepts such as greed and avoidance of worldly friendship, sustenance, and sustenance, purity and sincerity, and imperfections of the world, keeping in mind the path of the hereafter. This essay was compiled by descriptive-analytical method and using library studies. And also to answer some fundamental questions, including the place of allegory in mystical literature, and to what extent Sana'i has used the allegorical method to convey and understand abstract concepts. It has reminded the value and capability of allegory in expressing one or more mystical or moral concepts.

A Compound simile is one of the finest types of similes that provide a complete picture of the association of two or more things. Compound simile has always been of interest since the first periods of Persian poetry and has also found a special effect in contemporary poetry. Shamlou is one of the most prominent contemporary poets, whose prose poetry (white poetry) is named after him and he has used compound similes in many cases and with great artistry. In this research, which is a library and is done with a descriptive-analytical method, the compound similes in Shamlou’s. Poems are examined in order to find out the artistic techniques of Shamlou in the structure of compound simile, the role of novel arrays in addition to the compound simile, and the purposes of simile. The result of the research showed that the plurality of tenor and vehicle, priority vehicle over tenors, and adding to compound similes are structural features of compound similes in Shamlou’s s poetry, and each of these features has been used to strengthen the music of the poem and also its semantic purposes. The purposes of simile are also significant in Shamlou's poetry; considering that Shamlou's poetry is a critical social poem and the poet has a rhetorical and critical tone in most of this poem, "condemning and making the tenors look ugly" and "arguing to express the possibility of the tenors" are among the purposes that can be seen in his compound similes.

In order to reach the field of comparative literature in the modern era as an emerging phenomenon in the field of humanities research, it is necessary to apply the knowledge that plays a role in the field of linguistics and rhetoric. Rhetorical techniques, after the knowledge of linguistics, in understanding the mechanisms of literary text creation and stylistic analysis of each work, are one of the keys to cross-cultural research. In this article we intend to explore one of the most fundamental arrays of rhetorical technique, like, simile, in Persian literature and the literature of Romance culture, to better show the role of one of the tools of imagination in two different fields of language creation. Therefore, it is tried to adapt the norms and practical foundations of the simile array, which is more developed in Persian literature than the culture of romance, to the European view of this concept.

Poetic imagery always discovers unknown realms and draws them into the realm of words; The vaste of poetic imagery is wide in poems . The imagery of poets according to their poetic experiences have a various origins. Some people use the city and urban life and modern phenomena as their source of inspiration in imagery, while others are more emphasis to nature and elements of nature, and some poets use religion as a source of inspiration in imagery. However, in the poetry of most poets, diversity is seen in the origin of imagery and the scope of imagery. But in this regard the images is a new have a effectiva than and interest than others. the variety of imaginary origins can be seen In Mohammad Reza Torki's poems. Because of this,effefort to be appear the roots of imagery in Torkis poem. The result of the research indicates that the inspiration of nature in the creation of the images, religious and religious elements and elements related to contemporary life are colorful in his poetic imagery and the origin of the symbol in his poetry is myth, history and religion.

As much as poets have tried to elevate their words, prose writers have also tried to elevate their works by using various rhetorical aspects.The simile has been the first imagery since the beginning of the development of Persian language and literature. Every poet wanted to make his words more imaginative, sublime and fresh than predecessors, and in order to achieve such a thing, he had to redefy trite similes. Metaphor in every poet's poetry is the result of exaltation and perfect simile of poets before him. Considering the passage of several centuries in the literary life of the Persian language and literature and passing through the stage of growth and development, Saadi and Jami should have either used new similes or changed the similes of the predecessors to create a fresh and new image in order to elevate their literary works. and accompanied by metamorphosis. Considering the fact that Saadi's words for commoners and elites have often been far from ambiguity, it is expected that he and his followers have tried more to change the words of the predecessors and less to create fresh similes. In this research, we have tried to answer the question that what devices did Saadi use in the fifth chapter of Golestan and Jami in the sixth shrine of Baharestan to redefy their similes? For this purpose, by analytical-descriptive method and based on the obtained evidence, we have shown that Saadi and Jami use the devices of conditional simile, preferential simile and conditional simile, conceit simile, metonymical simile, allegorical simile, equivalent simile and asymmetrical simile, similes and additional imagery, negleational similes, the use of vehicle, and rare words of comparison have been used to redefy similes and eliminate trite. equivalent simile, especially in rhythmic prose, can be used as a device with which the poet, like the asymmetrical simile, can redefy the simile and provide an opportunity for homophony. Although Jami intended to follow Saadi's style, he was not always successful. When sensitive simile becomes rational simile, or vehicle becomes unusual, Saadi's words are always firm and unambiguous ; But Jami's words become ambiguous. Saadi is also sometimes helpless in finding a clear point of resemblance for allegorical simile or preferential simile of reference type. The process of forming  imagery usually begins with simile and the poet has to leave one of Sides of comparison in order to defamiliarization. Metaphor is the result of defamiliarization, de-familiarity with trite metaphor. negleational simile is a metaphor for familiarity, de-familiarization and a platform for creating metaphors. The negleational simile is a vehicle for defamiliarization  and a platform for the creation of metaphor. In order to keep their words out of ambiguity, Saadi and Jami have tried not to use often far-fetched or pristine metaphors, and instead have become for defamiliarization with the metaphors of the predecessors.