نشریه مطالعات زبانی بلاغی
پیاپی 16 (پاییز و زمستان 1396)

Iranian fiction atmosphere, in the past two decades, is strongly under the influence of Schools and literary movements, such as postmodernism. “Possible night” is Mohammad Hassan Shahsavari’s second novel that with seven years away, toward his first work "Pagard" published and was attracted by most of its readers. This novel consists of five chapters. One of the features of this work is rejecting and changing many events and incidents from previous seasons by changing the narrator in the next chapter. The method of this article is descriptive – analytical. Authors will prove this is a postmodern novel with components such as “metafiction”, “uncertainity”, “multiple ending”, “short circuit”, and “intertextuality”. Intertextual relationships in the novel include: some poems of Hafiz, Saadi, Ferdowsi. But one of the main intertextual relationship in this novel is related to “auto stop play” that is part of Milan Kundera’s “Laughable Loves” and Shahsavari in parts of his work deliberately benefited from that book.

T. S. Eliot, the father of new criticism, took into consideration an important subject in his literary arguments and approaches, something not much regarded and analyzed. That which can be an important criterion in valuating literary works and considered as a guidance for creating eminent literary works. In his new approach he described the works which as he called are “classic” ones. Such a work is not a classic one due to its antiquity or being compatible with the principles of classicism (school art of 18th century). According to Eliot a “classic” work is an outstanding literary work with excellent characteristics. These characteristics give the classic works an intrinsic value, beyond the accepted artistic, social and cultural principles of the time they are created in. In his view, classics possessed a special perfection and richness or as he expressed “maturity” in three aspects: maturity of language, maturity of culture, and maturity of writer. Because of these features classics can be accepted by readers of different cultures and countries and also in different times.

According to cognitivists Lakoff and Johnson unlike the traditional views, metaphor is not limited to words and language .Metaphor, in this view, is conceptual matter that created at the level of ideas and the human mind. So, metaphor, unlike traditional definitions, is not specified for poetry and literature and literary imagination, but covers our conceptual system from the most abstract to the most tangible ones and plays the main role in defining the realities of life. This article is intended to provide a comprehensive evaluation of conceptual theory of metaphor. The most serious criticisms of this theory come from the two domains, mainly criticizing the type of data and the methodology of this theory, and secondarily criticizing the results of the data in it.

Simile is one of the most important and useable fictional elements in prose and poem. This fictional element has been the poets’ and educators’ means to show their artistic skills in various ways. One of the ways of using similes is to include the simile elements in the structure of a noun category. Noun categories are the grammatical units, the core of which is a noun; and they are usually modified by a number of preceding or following modifiers. Noun categories, which comprise two different structures of genitive compounds (noun-noun) and attributive compounds (adjective-noun), can include the elements of simile. So far, the genitive similes with the structure of the genitive compound have been paid attention to. They have been made equivalents to the genitive eloquent simile in all of the recent rhetoric and eloquent works. However, this article puts forth reasons to show that it is not acceptable. Moreover, no word has been made in the early and recent books of eloquence about the similes with the attributive compounds. This study tries to investigate both noun categories of simile (compounds of genitive and attributive similes) with the help of new grammars and based on linguistics with a special emphasis on Hafez’s poems.

This study aimed to examine the linguistic style (in terms of vocabulary and syntax) and Sohrab Sepehri’s thoughts and his poems have been investigated in terms of style and voice with three styles of active, passive, and reflexive.
Although it’s not possible to have the exact demarcation between poetry collections of Sohrab and most of his poems contain those with the styles from previous periods, this poet has indicated passive and bonding style in his first collection entitled “Death of Colors” that depicts the outside world of his own. The collections entitled “The Life of Dreams, Debris of Sun, The East of Sorrow, The Water’s Footsteps, Passenger, and The Green Volume” that are based on his introspective and personal poetic intuition, have active and reflexive styles. In his last collection entitled “We Nothing, We Look” that is influenced by the awareness of disease, he has been involved in a romantic grief and by having lofty but vague language, his style becomes inactive and stationary and his voice changes to a quiet and passive mood.

Metaphor is a kind of inter-domain modeling that refers to understanding and expressing an abstract domain in a more concrete context. It is one of the most important issues in the cognitive field. Many researchers have confirmed that metaphor is conjured with our language. In preliminary studies, the frequency and the mode of metaphor application in different domains differed. That was why the authors decided to search the issue relying on the data in cookery and sport domains. So the two issues of cookery magazine and the two issues of sport magazine were selected randomly and all statements contained conceptual metaphors in these four magazines were extracted. The results and findings showed the metaphors’ multiplicity and diversity in sport domain and the little frequency and diversity of them in the cookery domain. Besides, based on the evidence obtained, the combat domain allocated highest prevalence and judging domain allocated the lowest in sport magazines. Extensive use of the metaphors in combat domain can be related to the spirit of competition in sport activities. In cookery magazines the highest prevalence belonged to the sphere domain and the size and direction domains allocated the lowest ones. Extensive use of the metaphors in cookery domain shows the significance of shape and form.

The Study of relationship between language use in literary works and power links literary studies to social sciences and linguistics, Because of its high frequency of presentation of political and social subjects in Constitution literature, it has the potentiality to be studied with regard to the ideological language use and the relation of language and power, specially Persian modern poetry which has come to existence with political and social modernism. The first modern poetry was composed by Lâhuti in 1909 named “Vafâ-ye be ʔahd” (Adherence to the Pledge). Applying Fairclough’ three-dimentional model in CDA, this research studies the relation between language use and power in “Vafâ-ye be ʔahd” in the era it is composed. Through explaining linguistic features, i.e. detailed linguistic analysis of the text indicates which discourses are articulated in the text and what relation this articulation has with power relations in the era of composing the text. To this end, Halliday’s SFG is applied in descriptive level and a part of interpretative level; and a part of Laclau and Mouffe’s discourse theory is applied in interpretative level too. The Study of this text shows that the adherence to constitution, feminism, and Islam discourses are articulated in this poetry and this articulation challenges arbitrary political regime and male-dominated social structures and propagates constitutional government and women empowering structures more than past.

No doubt the region and environment where artists live in, affect their minds, language and thus, many literary and stylistic techniques that come up in their works. Therefore, while considering regional stories, critics face similarities that are related to local color and regional features. Those similar elements are closely related to the local features of a region and which have had a long -held intimacy with these elements among and taking in those localities. In regional similes, figurative term is an element from the region which is often taken from the local nature or other features of the region in which the story is set. Comparing such similes in regional stories taken from the five regions of story-writing in Iran, namely north, south, Khorasan (east), Kermanshah (west) and Azerbaijan regions, is a worthwhile undertaking which highlights both the stylistic differences and the regional atmosphere affecting their creation. Thus, the present study aims at identifying the differences among the similes used in regional stories and considers such differences as major stylistic features of the stories. It also means to answer this main question whether there are important differences among the similes used in the stories from different regions or the detected differences can be taken as stylistic characteristics distinguishing stories from various regions. As our discussion would indicate, such differences and distinguishing features are quite tangible and regional similes are important elements pointing out the differences among the regional stories.

Using rhetoric and lingual tools within the domain of commercials has positive and undeniable effects on audience. In their main essence, commercials have four essential and important inducing thought and message, attaining audience’s trust, encouraging and persuading, and preserving the subject in mind. Because of their capacities, rhetoric and lingual methods are very useful to attain these purposes. This study is to examine rhetoric and lingual functions of commercials including allegory, simile, metaphor, synonymy, repetition, etc. which can leave the most effect on audience in reaching the mentioned purposes. Using these methods in commercials does not adopt the same form in affection and induction perspectives. The writers of this article have tried to reveal the importance and effect of these functions for commercial purposes by using objective evidences and to refer to discourse analysis of some of those evidences.

The brevity of modern poetry has emerged with new direction and different structures. Contemporary poets to make approach to symbolism as a factor for the development of brevity and compactness of art and with this artistic and rhetorical trick broaden the scope of their poem’s meaning. Then the disturbance and visual density away from their.
Poems that it was a deficiency of the lyrics predecessors.
In this paper, by studying brevity characteristics of symbol such as lack of symmetry, union of pictures and thought ,immensity and vague message, the nature of paradoxes, total reflection in the details, gloss and interpretation , we demonstrated symbolism in comparison with other types of imagery, in the concentrated expression and indirect is dedicated to the highest level.

This article check the Hafez's influence from a poet called Saif Farghani and then compares the two poets and check a brief overview of common themes and similar concepts and the same words in the court of both speakers. Hafez is the creator of the best sonnets of love-mysticism. And who have been studying in the Divan of contemporary and past poets, he has adapted many of his themes and figures of speech from them. Saifaddin Mohammad Farghani is one of the most famous and mystic poets of the seventh and eighth centuries, who lived 50 years earlier than Hafez. The consequences of the Mongol invasion and the unfortunate conditions of that era caused the poet to compose critical and social poems and this is the theme and poem style of most of his poems. Linguistic and words and themes subscribe are seen in the Divans of these two poets. Sometimes these similarities are mentioned in the same words, sometimes in terms of thought and content, in some cases, this convergence is also evident in both dimensions. These two poets, in addition to using words and vocabulary, according to writers that Hafez have adopted from Saif Farghani, There are similarities in their thoughts and themes in their poems that are not far away. Both of these poets have shown a tendency towards this way due to their disadvantaged social situation. The most dominant aspect of Saif Farghani's and Hafez Shirazi's thoughts is that both of them in freedom are the same. This research intends to study the adaptations of Hafez and Saifaddin Mohammad Farghani, the poets of the seventh and eighth centuries.

This research aims at the description and analysis of some aspects of the phonology of Dibaji variety from the perspective of Standard Generative Phonology. Dibaji is classified as one of the Caspian varieties of Western Iranian Languages family .The Dibaji dialect is spoken in the city of Dibaj, located in the North of Damghan city in Semnan province. The required data were collected through completing questionnaires and interviewing with five native speakers (mainly older than 45 illiterate and less educated). One of the authors of the present research is also a native speaker of Dibaji. This research is descriptive-analytical.The data are transcribed in International Phonetic Alphabet (IPA). The phonological processes studied in the research are assimilation, dissimilation, deletion, insertion, lenition, and metathesis. The processes are selected based on their frequent occurrence in the corpus and their remarkable differences with the existing phonological processes in Standard Farsi. After describing each phonological process, the related phonological rule was formulated to account for the existing regularity. If there is any rule interaction with other existing rules in this research, it is introduced and discussed accordingly.