فصلنامه زیبایی شناسی ادبی
سال هفتم شماره 29 (پاییز 1395)

Cogntively speaking,the outside world facts are existing in themselves .However,their use in language are based on experiences .In semantic studies ,the elements in the text like words ,sentence structures are all meaningful and form a conceptual frame mingled together .They enable us to have a subjective reasoning or shape symbolic structures relevant to our pre-conceptual structures of the given experiences .The view of image spacing(lakeoff.1987) stresses that conceptual structures are based on image profiles and metaphor .In the story Morad,s Tree ,the writer of Marzban Name tries to portrait the high goal of self- knowledge through the metaphor Life is a Trip or image profiles like Loop,center-around,Source-direction-target .The present article tries to study some of the mental spaces used in this story of Marzban Name and describe the concepts of Trip,Tree,Hero,Test and the Old wise.

Simin Behbehani is one of the poetesses who had used the formalist's ideas and views in modern versing and employed a lot of linguistic deviations in her lyrics as the raw material of poem art. She used deviations and foregrounding to convey her romantic and spiritual feelings and ideological, cultural, and religious views. The required data gathered from library to investigate the creativityælinguistic deviations, and figures of speech. The method employed was descriptive and analytic. The results indicate that the Iranian lady employed phonological and semantic deviations more than other types which make her more brilliant than other poets with respect to foregrounding and stylistic art.

Abu-Saeed Abu-Al-Kheir is one of the great mystics of the fourth century and the first half of the fifth century, which, like some other mystics and Sufis left no written work from himself and those words of him which is received to us is the result of efforts of his friends and his loyal disciples who try to collect his words and statuses. The quatrains of Abu-Saeed are valuable part of Persian literature treasure and represent a part of language evolution in the fifth and sixth centuries of Hegira. In this query it is tried to study Abu-Saeed quatrains language with an aesthetic and structural approach. On this basis, quatrains language is analyzed and studied in four parts of phonetic, lexical, synthesis and syntactic aspects.

This research was conducted in order to examine the content functions and elements of the Farrokhzad poetry and their impact in the accentuation of the concepts of her poems and denote the meaning to the reader.
Application of language and awareness on its capabilities is considered as one of the most important characteristics of a poet.
This articles has examined the aspects of beauty which have offered Frough poetry a specific manifestation from content perspective and distinguished her from her contemporary poets. This research aim was to explain the nature of beauty and our perception and analyze the aspects of beauty. The research method was descriptive and analytical and the data were collected by documentary method. Frough Farrokhzad is one of the poets who could announce social challenges and her idealism by employing language and making new compounds and in this regard, she never sacrificed content and concept for meter. Of the aspects of beauty in the poems of Frough Farrokhzad employed for denoting contents and concepts, it can be referred to conceptualization, idealism, satire, universalism, contemporary life manifestations and social challenges.

The allegory is one of the most widely used categories in the poems of poets of various periods of Persian poetry. Due to the importance of this issue, various definitions have been expressed in rhetorical books. Khaghani, one of the most prominent and most prominent poets of his age (Seljuk), has a deep and deep-seated view of allegory, and does not allow any thought to fly to the summit of the summit of his poetry. He has grown so high that no one else has followed Yara. In this essay, various definitions of allegory are first expressed, then the expressions of allegorical games, which are in the form of games and hobbies, are discussed and used to instill wise thoughts. In the end, it has come to the conclusion that a large part of Khaghani's central thrust, which is one of the common features of this period, is manifested in his manifestations, and the application of analogy with various purposes and instruments in his poems is the best evidence of the personalization of poetry He is

In terms of deep structure, Bustan's tales, especially allegorical ones have a direct relationship with reflective aesthetics. Thus, this research attempted to analyze the author's reflective aesthetics, which gives depth and effectiveness to the work, based on the theories of prominent structuralists such as Todorov and Propp, examining the intellectual coherence and complexity of Bustan's tales through its structure and given Todorov and Propp's theories, and looking at the author's reflective aesthetics through the structure. Accordingly and taking such an approach, the current research was carried out based on the aesthetics and effectiveness of the work given the strong relationships between its elements, with the relationships between the elements of the works being stronger and more in agreement with Todorov-Propp theory, the effect of tales and transferring cultural elements from one generation to another, from an aesthetic perspective, through allegorical tales seeming to be more feasible and stronger.

'A' or 'Alif' the first letter of Persian alphabet, is a prominent vowel in Farsi language. It is the first letter of Abjad numeral system which represents number one in this system. Alif signifies the Taurus astrological sign. In mystical, philosophical, and rhetorical literature, Alif represents unique God, Holy Spirit, God's mercy; Adam's the father, abstract sphere, solitude, and the single mystery and etc. Due to its special form and position and some other unique features, letter Alif is one of the most used letters in order to create the original themes and poetic areas, mot and elegant expressions and compounds in Persian literature, poetry with Khorasani style.Alif is a leading in most of poetry by these poets meanings like consistent and firm colossal stature, handsomeness, oblong, tense and stretched. It also signifies greatness, proud and honor, slimness, uprightness, stability, resistance, persistence, staunchness, loyalty, faithfulness and standing on one's promise. Alif has fallen in love with its stature. Since Alif has accent-like sign overhead, it is rebellious. Despite having tongue, it is dumb and silent. It is regarded as one of the poorest in terms of wealth among letters. It symbolizes poverty, abjection, destitution, vacancy, pauperism, beggary, inexistence, absence, loss, and self-denial. It also suggests nakedness, nudity, embarrassment, self-evidence, preparedness, distress and confusion and adornment. It carries meanings like solitude, individualism, loneliness, uniqueness, detachment, freedom, honesty, frankness, and innocence. Alif is motionless and stagnant. Its creation begins with points and dots. All letters and numbers then are founded upon this letter. Alif is the first letter of creation. It also indicates minuteness, brevity and tininess. Alif is the most common simile in Persian literature and the poetry's and prose's images or contents used in Persian literature are described. It was compared to needles, thorn, moon crescent, sticks, pens and plumes, fingers, arrows, bolts, cedars, gallows and scaffolds, newly grown whiskers or beard, half or full moon, and etc. In this article, we try to study the literary, artistic, and video applications of letter Alif in poet's poetry with Khorasani style.