فصلنامه زیبایی شناسی ادبی
سال دهم شماره 39 (بهار 1398)

Typology, as a sort of classification based on recordable formal or functional indicators, is able to analyze the narrator and the narrative action, to analyze the different kinds of activists, types of the actions, and finally, to analyze the audience (reader). Using an analytical library research method, the present paper first presents the narrative typology and examines its components; then, it presents a typological analysis based on mental-perceptual bases with such characteristics as the narrative perspective, the depth of narrative perspective, and the narrative mood as well as such time-based characteristics as the time of the narrative act, the order and the duration of time on the two stories of “The Bird Was Only a Bird” and “Both Sides of a Coin” from the story collection “The Dark Side of the Moon” by Hooshang Golshiri. It is then deduced that narrative typology is an innovative and functional method to analyze the modern fiction in structural criticism.

Although Ferdowsi, in Shahnameh, is a narrator of the epics that the nation of Iran has undergone over the years and centuries, but in the form of this narrative, it has not been neglected to address ethical and humanitarian issues. The characters in this work are both fighting for the establishment of the nation and for promoting the good ethos. One of the moral concepts in Shahnameh is the self-improvement or reformation of Duran, which Ferdowsi describes using the capacities of imaginary forms (likeness, metaphor, indecision, and permissible). In this article, based on a descriptive and analytical method, the work of these literary industries has been explored and explained in order to explain the issue of self-creation and its sharing with general audiences. It seems that among the imaginary forms, likeness has been the most frequent. Also, the most important personalities in Shahnameh are Rostam and Siavash. On the other hand, Afrasiab, Zahak, and Jamshid are the most prominent individuals who are remote from self-development. The solutions that Ferdowsi has come to achieve perfection and self-perfection has been better realized using imaginative capacities.

The imitation is one of the miracles and is considered to be the likeness of the likeness of which it is usually perceptible, in this way abstract concepts can be depicted. Gnostic in the interpretation of Majlisi Safi al-Shayh also has a great place and uses it to interpret mystical concepts. In this research, the allegory in the interpretation of the visualization from the perspective of various kinds of knowledge (due to short and high, validity and non-validity, and the instrument and its elements in it) has been studied and studied the elements of the validity of narrative allegories. The result of the research shows that in this interpretation, various forms, such as divine, division, division, division, and parable have been used, among which "paraphernalia" is most used. In terms of compactness and extension, the allegory is divided into two parts. The interpreter also has various tools, such as elements of nature, animals, objects and humans in making their wedding.

Satir is important as one of the species of verbal art from the perspective of aesthethics. DavoudAmirian )1349( is one of the satirical writers who has been able to become populrinto teenage literature. Many of Amirian’s works depict the imposed war of space. Of course, in order to transfer the sacred defense culture, he chooses a humorous way to reduce the horrors of war and its horrific events, and to transfer it into a joke form that is appropriate to the age of his audience. The use of a diverse and varied range of humor creation mechanisms is one of the stylistic features of the works of Amirian. According to the findings of this paper, these mechanisms are divided into two main categories: "usage-based mechanisms of language", which are less frequent, and "content-based mechanisms of language" that have a significant frequency. Of course, each of these two categories is divided into several types according to the patterns and theories of the world of satire, which are discussed in detail in this article. In orderto unveil some of the effects of aesthetics, the article will examin three ses of works of the author from the perspective of conventional patternes of the world of the satire and will classify the mechanisms of this thechnique in his works.

Rhetorical figure is a branch of literature and verbal ornaments that makes the ordinary word closer to the language of art and multiplies its effect on the audience. This knowledge tries to study the syntactic and semantic elegances of the speech and better indicates the art of oratory of poet or writer. One of these capable poets is Ghaznavi. Since the lyric is the best areas for performance of poet, this study is to examine the figures of speech in the lyrics of Ghaznavi and assess their frequency. The present study has been conducted through library method and based on the descriptive- analytic method. The results indicated that Rhetorical figures that are available in the beginning of the lyrics of Sanayee have been used in an artistic method among which verbal figures are more than spiritual ones. Also, from among the verbal figures phonotactics ones were more frequent ones and among the spiritual methods symmetry and antonym were more vital ones.

Aesthetic examination of irony, the Philosophy for Children Program (FABAK) has used storytelling as an effective tool to encourage children to engage in dialogue and participation in the Philosophical Research Society and the Rings of Discovery. Fabak commentators focus most of their efforts on children, philosophy, and educational theories and pay little attention to the independence, identity, and literary richness of the story and use it only as a tool. In Iran, with the "New Tales from Old Books" approach, it is necessary to pay attention to the importance of irony in the story. Acknowledging that the explicit expression of some meanings is not pleasant, but by irony, the same meanings can be expressed in an effective and expressive manner. The metaphor is more subtle than stating, because the metaphor is like a conceptual claim with a reason. The irony of the term is to convey the meaning of the audience from what has been said to what has not been said. The use of metaphor in the word has a variety of reasons, including politeness, illustration, reasoning, ornamentation, or the appeal of the word. One of the rhetorical industries and aesthetics of speech is the "irony" of which the stories of the child have benefited the most, and in various cases and with different motives, have various interpretations. In the present article, various uses of this method have been studied in a descriptive-analytic manner and by examining the irony in new stories from ancient books.

The authors of the Sufi scholars have written their works for various purposes. Certainly Khatib, the eloquent, and the mighty preacher are those who, in their work, have paid attention to the audience and readers, their speeches and their words, along with the beauty of eloquence and psychic And complexity so that all audiences and listeners can easily understand it. The imagination in Sufi texts is more than mystical, religious, and ethical issues, and usually comes from single and subjective affairs, which is different from the type of subject and view of the author. There is, of course, a mixture of that mysticism and mental relationship. Although the purpose of Sufism and mysticism is to walk through the stages of the process and reach the levels of perfection and happiness of man, Mowlana, given this irrefutable truth, and with the curve that was inherent in his being, is aware of the broad ability of literary works with The use of these techniques naturally brings life and movement into one's own thoughts, avoids distortion, creates colorful meanings and meanings, and makes your speech beautiful and impressive to your audience. To become more closely related to the ideas of the future, afterwards, and also on the highest altitude This takes place..

In Persian literature, the second and of course, the pervasive and dominant language of poets and writers is the language of colors. The language of colors is the language of expression of the internal emotions. From a long time ago, the poets and writers added the primer of colors to their non-verbal communication for showing more effect of their thoughts and emotions on the addressees, and they speak with them by using the language of colors. When they were happy, they use colors, and when they were sad,. They chose the color of blue for their unattainable goals, and light colors impressed their works for the expression of purity and sincerity. They selected the color in their frustration and despair. One of the poets whose poems are full of the language of colors is Ferdoosi. Ferdoosi applies the colors and the language of colors for induction of his thoughts in the universe of non-verbal communication as much as possible. By using colors and literary phrases, syntaxes, and metaphors made from colors, he illustrates the mental states of people, and he expresses the beautiful and colorful area of war and battle. By using this language, Ferdoosi shows up his internal feeling and emotions in a psychological extroversion. In this paper, with reflection on Ferdoosi's Shahnameh, we find out that most of the syntaxes, phrases, and metaphors in Shahnameh are shaped by applying the colors, and the language of color is one of Ferdoosi's languages in non-verbal communication.