فصلنامه زیبایی شناسی ادبی
سال ششم شماره 24 (تابستان 1394)

Nizami Ganjavi, the language of poetry is complex and metaphorical. He plays with many words for emotional impact on the audience tries. This article research on formalist theories based on the deviation is his poetic language. The most important aspect of deviation, to avoid the repetition of words and meaning is normal, what the poet always wanted. We can determine the elements in the context of artistic and poetic techniques in literary creation, he found out. Military, deviating from the standard language and defamiliavization, the language has been created. Of course, the deviation must be examined on the basis of language norm and its application time. In the structure of his poetry, musical deviation from the norm, lexical, grammatical and semantic are important.

Nature imagery for showing poet's desires and thoughts became so prevalent as Azarbaijani style was in its acmethatcan be found among the greatest and most famous poets like Anvari, khaqani, and Nezami. Sun is a natural element and the most outstanding tools for imagery. Its beauty and greatnesshas led to the formation of a set of beliefsthat together with artistic and literary techniques has enrichedthe images, as well as, the Farsi structures. This article compares the imagery ofsun in poems of Anvari, khaqani, and Nezami. Hiringfeelings acquired from sun imagery and using implicit and fabled meaning that in reality is the beauty andgreatness of the sun and also using Additions successive and image expression in single couplet; these poets have a lot in common in single couplet. But Khaqani's poetry is characterized byusing sun in portrait of a party, high frequency and repetition, imagery using the condition and addresse's traits, as well as, multiple literary arrays for showing portrait of sun.

The style and method of each of poets is hidden in their poems. By studying and investigating the works in poems of poets it can be understood that their way of compose; undoubtedly, to know Khayyam's way of poetry, too, we should contemplate in his Rubayyat. However, with respect to Rubayyat that others attribute to Khayyam, it makes the work difficult to the researcher. But in a way the best source to investigate the style and way of Khayyam's poetry is the Rubayyat that are left by him.
In so far as one of indexes of methodology in the work of poems is the study and survey of the rate and way of utilizing them in literary arrays; thus, regarding this question that if we can find out Khayyam's speech method through investigating arrays, in this study, it is briefly tried to survey the style and method of Khayyam in the case of quality use and its application in literary arrays.

From the formalistic and Pre-formalistic perspective, this paper examines the plot elements in Abutorab Khosravi’s Somnath's Divan. The distinctive features of the approaches between the storyline and plot manifest the disparity in their application. Utilization of clichés plot, consideration of curiosity and uncovered suspension, and disproportion in cause and effect networks are noteworthy features of Formalistic criticism. Besides, use of minute descriptions including point of view which manifests sub-plots of time and place, and use of nonlinear account based on frequent flashbacks are among the merits of the stories. But in Formalistic plot, for defamiliarizing, the author employs a variety of artistic techniques such as recourse to some post-modern elements, novelistic techniques dialogues, repeated use of circular forms, and estrangement of the ambiance of the story through the use of religious customs and Iranian miniature art. On the whole, the author is successful in only those stories that are built upon a formalist plot and defamliarization technique, and not in those with cause and effect criteria.

In this article, the linguistic characteristics at different levels (words, sentences, discourses) and features content that correspond to the most important story elements are studied and analyzed. The neorealist novel is full of beauties and can be explored from the perspective of aesthetics.

Submerged Metaphor was first found as a rhetorical device in late 2nd and early 3rd century AH. Experts in rhetoric distinguish between main metaphor and submerged metaphor. In Persian, Metaphor in nouns is called main metaphor and metaphor in verbs and adjectives is called submerged metaphor. Despite the figurative ascription in which the verb is attributed to an unreal subject, in submerged metaphor. We Consider the subject as real and interpret the verb based on similarity. In the present article, the authors try to investigate submerged metaphor in Amir khosro Dehlavi's khamse inorder to specify the Poet's use of this device in his poems. The methodology is analytical-descriptive in this article. The results show that Amir khosro is not an advocate of submerged metaphor. From the quantative perspective in his khamse which contains 18/000 Poems, Amir khosro has used submerged metaphor 63 times(58 metaphor in verbs and 5 metaphors in adjectives) in 44 poems. In shirino khosro, there are 25 instances of submerged metaphor which is the most frequent and Hasht Behesht with 2 instances of submerged metaphor is the least frequent. From the qualitative point of view, his use of submerged metaphor is free from any kind of florid or ornate orientation and its diction is quite natural and in full harmony with his other works.

Every lyric poetry and the poet's mind set to land region dominated universe, the incentive is coming forth. Sometimes the motivation was clear and that the writing of poetry, made its appearance and sometimes poet, ZhnytHayy already have in your subconscious mind and after awhile, it ZhnytHa, published poet influenced, resulting in poetry is coming. In this study, the origin of poetry in general and the emergence of talented in singing poetry, poets, studied briefly, then motives singing lyrics, introduced, categorized and analyzed. The results of this study, these cases can be noted:1 motives poetry, a broad measure that introduced all of them and it is not possible to put in a certain category.
2 motives poetry, in past periods of contemporary literature is very limited. 3 motivation for writing most of the lyrics is not expressed, especially in prior periods.