نشریه مطالعات زبانی بلاغی
پیاپی 22 (پاییز و زمستان 1399)

The purpose of this paper is to explain the Forough's cognitive bases about the concept of death. This article intends to present the metaphors, similes, symbols, allegories of Forough based on Johnson pictorial schemas while using conceptual analysis method. Forough's pictorial schemas on abstract concept of death show that the metaphors of death is rooted in her lived experience and indicate her cognitive system. By identifying Forough's metaphorical mappings about death, it could be found the subcategories of the mappings, and understood how restricted numbers of mappings have shaped Forough 's life and thought and also unifies her attitudes and permanent reactions in physical, social, and cultural environment.

This paper is based on pragmatics and studies the person reference and referring devices in the Iranian Sistani folklore regarding the Accessibility approach. The study shows what the condition of applying reference is in the stories, and whether the employments of the different kinds of referring devices such as proper noun, pronoun, and zero anaphora is violating the general rules. Sistani is genetically related to the pro-drop language of Persian. The material was gathered from Sistan region in Iran by interviewing the consultants to narrate folktales and stories. The result shows that, apart from the frequent usage of proper noun for emphasis, the anaphoric zero has the highest range of occurrence and is the highest accessible marker in the context, and this violation, relating the ‘government and binding’ theory of Chomsky (1981), occurs because the discontinuity conditions, such as end of the clause-chain, does not force the anaphoric pronoun or proper noun to be used where they are expected to be. This is also shown by the statistical analysis, using Chi2 (P < 0.05). In the retrieval process, it is appeared that where zero anaphors are used, no matter how long is the distance between the anaphoric elements, there are no specific classifiers available to identify the referents more easily, and they are more or less accessible via the person markers in the verbs. And this is against Givon’s views (1983) of direct relation between little distance and the occurrence of a zero anaphors, and the principle of the usage of an NP. Concentration on the story by the listeners is crucial to cope with many zero anaphors to retrieve the referents, and this can show the long interest and concern of people in Sistani society with folktales and storytelling that has helped them to transfer this culture from generation to generation.

The analysis of literary texts owes a great deal to Halliday and Hassan’s Systemic Functional Theory. In this theory, language is the primary tool to convey culture. Each aspect of culture is introduced through specific function in holistic system. This text based approach possesses various tools in order to demonstrate cohesion in the text to transfer the connotation in speaker/writer’s mind which is considered as independent variable in this study, whereas the impact of Khaghani on Hafez in literal and meaning to create inner and outer structure of Moghanehee (a type of love poetry) has been chosen as dependent variable. Khaghani (1140-1215) was one of the most important poets had written Moghanehee poetry after Sanaee( 1094-1166) and Attar(1121-1239) and prior to Mawlavi (1270- 1339) and Hafez(1348-1413). Among the previous poets, Hafez was strongly influenced by Khaghni. Based on Halliday’s Systemic Functional Theory, this study tries to reveal the cohesion amount and its creating factors in the distiches of poems. From the distribution frequency and their percentages, it was concluded that the presence amount of cohesion tools in Kaghani’s Moghanehee distiches were more than Hafez’s. The statistical society in this study is 60 distiches (beit) from Moghanehee distiches of Khagani and Hafez. 30 distiches were chosen from each poet.

The prominent trait of Seljuk's monarchy, especially the early kings of this dynasty, is Iranian-Islamic bureaucracy, and effective presence of Iranian scientist ministers, who were political theorists themselves. this incident caused writing the separated histories about this important position, and its result is production of some works about ministers, and bureaucrats action, and character in this era; " history of minister" written by Abu Raja Qomi is one of these important historical works. Studying the styles levels of the book of "history of ministers" for representation, and analyzing of hidden ideology in language, and literature of this text is the main of this paper by using the research method. Findings of this paper include the following data: 1- at ideological level, author expressly, and partially narrates his personal judgments besides restating the history about bureaucrats' job skills, and moralities by using Islamic, and moral teachings. 2- At linguistic level, the privilege is by state nominal indicators, religious, and moral labeled words, and also mental words of religion, and moral fields that imply on religious prejudice, and tendencies of author. 3- At grammatical level, by using the simple, and separated sentences, active grammatical voices, declarative decisive form, author protect expressly uses of declarative phrases. 4- At rhetoric level, abundant use of eloquence means is lesser at service of ideology, and are for beauty of expression more. 5- at expertise level, with an expressive- Persuasive approach to prove, and encourage of its value system.

Epithet is a literary technique used in poetry and prose to express artistic meanings and concepts and to express emotions and feelings. Hedayat is one of the authors and founders of modern Persian fiction who has used this literary technique in his works, especially Blind Owl. In this article, this technique has been studied in a descriptive-analytical way, in order to show one of the beauties of this work, to determine its artistic ability and the beautiful taste of its author. The results show that most of the epithet used in Blind Owl are compound and simple, epithet which are in the form of similes, metaphors, ironies , personification, bombast, and conglobatio, and the highest frequency belongs to the personification epithet and the lowest belongs to metaphor.

Investigation of the functions of the name of Rustam in Shahnameh, based on semiotic systems Nowadays, semiotics, as a science that examines the signs in a text, has a special importance in the study of texts, especially literary texts and is considered an effective approach to entering some of the hidden layers of texts. Since semiotics examines signs in the form of a structure, in the study of literary texts, semiotic approach, faced with various systems that are examined with different angles. This research, by selecting two approaches, mythology and semiotics, tries to re-read Rostam's character in Shahnameh and to achieve this, examines the existence of this hero in the form of a sign structure. The root of the name of Rustam, his relationship with other characters in Shahnameh, the color of his flag and his marquee, his warfare, his horse, his war instruments, and etc. are among the most important cases that are placed in the structure of Rostam signs. the purpose of this research is to explain that What is related to the character of Rustam in Shahnameh, is in the form of a structure of signs, Which is through the study of the relationships between the Syntagmatic and Paradigmatic of this text, it is possible to understand the coincidence of functions of Rustam with everything that is related to him.

Rhetorical critique is one type of critique dealing with how the sender uses the language or any other symbol intentionally, the respondent and the location or context in which the communication is made. When a literary or non-literary work comes to being that has a persuasive effect and a work is called successful which has the greatest effect on the particular subject matter. Child letter is a type of didactic literature with an ancient background. The teaching of principles for better life in society, ethics, medicine, politics, astronomy, religion and so on are those teachings that dedicated fathers have left for their children in the oral form or sometimes in the form of letter and book from previous periods up to now. Hedayatol Motealemin fi Teb is the first book of child letter about medicine in Persian that the writer wrote it by his son’s request and clearly states that it was written for teaching medicine to beginners in an easy way. Given the importance of this work and having specific audience and subject, it is a suitable example for rhetorical analysis. Using tangible similes, examples, forms, personal experiences, paying attention to the current state, avoiding the useless verbalization, vocative and imperative face, having a critical and honest tune, Akhaveini could achieve his goal and fulfill his obligation for writing an easy and simple book for beginners.

One of the main topics of traditional rhetoric is the impact of speech on the audience. Accordingly, the more rhetorical the speech is, the more influential it is on the audience. Observance of addressee’s circumstances and positions should certainly be considered by a poet(ess) or an author in order to transfer his/her thought or passion to the audience in the best way. To do so, there are varied tools and methods. One of the most effective tools is to strike a balance in the phonetic chain of words or the vocabulary chain of sentences. This balance and coordination as well as the role speech musical plays on the audience is called "the magic of vicinity". Works in which “form” is more important than the “meaning” can be examined from this perspective. (Examining the types of balances and their role in influencing the audience). Among the various types of literature, children poetry has such an ability because of its well-formed nature. In this research, the writers' effort has been to study the magic of vicinity in child poetry using the formalist method and show which types of balances (phonetic, lexical, and syntactical) exist more in it. Further, the research attempts to demonstrate why and how these balances affect the audience (children).The findings of this study show that:1. There are a variety of phonetic, lexical, and syntactic equations (albeit with different frequencies) in child poems. 2. Nonsense elements that do not play a role in the meaning of poetry are considered as an effective factor in musical compilation in child poetry. 3. As the game for a child is the living itself (according to Jean Piaget, a child psychology theorist), and the child learns everything from the childish games, poetry and a variety of equilibrium, which can be considered as language games, are a suitable platform for the child's education and intellectual development.

The verbal music in poem, named  aesthetics, is the first and most important element of the beauty of poem and can fascinates addressee. Rhyme, radif in verbal music plays a very important role and serves as a pillar and reference in the music of every line. In this text, we explore types of rhyme and radif and their musical roles in Iraqi's sonnets. Iraqi is the great mystic and poet who lived in 7th century. We evaluated rhyme and radif, used in his poem book from different angels, in a descriptive-analytical way. The following results were achieved: Sonnets, have used common and frequently used rhythms.  His expression is fluent and understandable. 63% of the rhyme words  are ended with high syllable, in form of obligated  mordaf  to main redf and absolute mordaf to main redf. This issue provides the context for music of word and beautifies the thoughts. 24% of the rhymes ended with simple syllable have been in obligated and absolute form. In these  rhymes, for having the necessary condition for fluency of the music, vowels or a suitable radif with a high syllable have been used. 64% of Iraqi's sonnets have radifs, so the last consonant of the rhyme with poor pronunciation in these sonnets is well-pronounced and the necessary music of the poem is achieved. The phonetic relationship between the chains and sub-chains in the chain of words, between rhyme and radif, and the other words in each line has a good harmony and nice beautiful music.But in Iraqi's sonnets, contents are similar and  imagination is low, and repetitions of rhyme,  radif and the first line (Matla') are in excess of need.

Aristotle considered rhetoric the art of discovering and affecting the factors that were useful in persuading the audience, and in the rhetorical process. These factors must be respected following the requirements of the audience. According to Ethos, the statements of a speaker should express his personality and knowledge to compel the audience to listen to him. Granting the second element, Pathos, the speaker employs a variety of expressions to target and touch the feelings and emotions of the listener. The third side of Aristotle's rhetoric, Logos, relates to argumentation (inductive or inferential). Consequently, it is only when a lecture reaches its primary goal, that is the listener's conviction, that these three ideals are fully met. The principles of Aristotelian rhetoric are universal and can be identified and explained in Persian literary masterpieces, especially in the Ferdowsi’s Shahnameh. If we look at the verbal controversies of the stories of Shahnameh, particularly in one of the most outstanding ones, Zal and Roodabeh, it emits that the principles of the Aristotelian rhetoric can be studied and explored in these stories.

In this study, the discourse-oriented contexts of the narrative of Prophet Noah in Van Leeuwen's sociological-semantic framework have been examined in terms of the effectiveness of this model and its components in analyzing this narrative. Also, the way social agents are represented by the narrative of Noah and his people has been analyzed with respect to sociological-semantic components in order to produce and convey specific ideologies in the lower layers of the text in the condition of revelation era in the two surahs of Hood and Noah. This study with descriptive-analytical approach seeks to comparatively analyze the components of the discourse-oriented discourse of Noah (AS) in the two surahs of Hood and Noah based on the critical theory of Van Leeuween's discourse analysis and clarify the relation how to represent these components in diachronic approach with relavation era and the social status of Muslims. The results show that the representation of narrative social agents in Hood indicates that naming components with 22 used, deleting with 17 and indeterminate with 11 items have higher frequency than other components. This is in keeping with the conditions of the Muslims in the revelation era of the narrative that suggests the process of discourse is hidden. But in narrating the narrative in Noah surah, the low frequency components such as indeterminacy with 6 and deletion with 2 indicate the existence of openness in the discourse.

The structure of the sentence serves a fundamental function in the beauty of the literary text and inducing its concepts and themes. The sentence should be combined in a way that the audience position is considered. The vocabulary must be put together in a way that their syntagmatic and paradigmatic reach to ear a harmonic and subtle rhythm and their arrangement reflects the purpose and content of the text. The Al-Ashbah Sermon is one of the remarkable sermons of Imam Ali (as) that in addition to deep meanings and contents is full of structural charm beauties. One of these appeals appearing in this speech is the parallelism Rhythm that came from the frequency of structural equivalents on the surface of the syntactic textures of the sermon text; which ultimately helps to formulate the general music of that text. This research intends to study parallelism Rhythm and its relation with religious meanings and content and its requirements to study its frequency in this sermon with a descriptive-analytical approach to illustrate the unique rhetoric of Nahj al-balagha. This article also tries to take a modest step towards understanding the beauty of the structure and content of this valuable book. The results of this study indicate that both types of parallelism Rhythm (singular parallelism and binary parallelism) are observed in this sermon, although the recurrence of binary parallelism is greater than the singular parallelism.

In expressing his poems, the mystic uses a tool to induce his spiritual experiences to the audience more easily. One of these tools is myth. Accordingly, one can imagine that the illustrator tool - especially post-metaphors like “Myth” - has a significant contribution to mystical poetry. In mysticism, the poet's words are about spiritual and supernatural matters. Myth is from a different world and can be a good means for expressing spiritual things - mystical. In the Conference of the Birds, Attar Neishaburi has integrated myth and allusion creatively by deepening simile of beautifully created images with allusion rhetorical industry. In this study, while introducing this combined industry - the mythological allusion - we will show how Attar used the mystical experiences of this industry and how he linked the myth and mysticism. In other words, the purpose of this paper is to focus on myths and allusion in the form of puzzles and symbols understood and interpreted in the light of a kind of emotions and intuitions of the mystical and inner life, as well as the transformation of myth to mysticism and the transition of its elements and signs from epics historical and national episodes of mystical and spiritual ones.

This paper intends to investigate the rhetorical and stylish features of the Sa’di quatrain. This poetic format/form doesn’t enjoy the significant frequency compared to the entire relics of the poet; however, its study and cognition is of the significance because he has expressed a part of his feelings, desires and ideals in this poetic format. In order to achieve this goal, the quatrains of this poet have been studied at three lingual, literal and intellectual levels and endeavor has been made to determine his exclusive and style making elements and the axial thought as well as the spirit dominant on his quatrains texture should be revealed. The interesting point is that the major part of his quatrains sounds to be short lyrics that express the very thoughts dominant on his lyrics in a smaller container/form and the other part of it encompasses his thoughts of advice in Boostan and Golestan. His language in these poems is of the same sonnet poetry; that is   Easy and Unobtrusive. He has not been powerful in composing this poetic template/style, unlike his other works.

There will be always a connection between artistic creativity in a poem on one hand and the meanings and concepts conceived by the poet on the other hand, created either consciously or unconsciously. Viewing versed texts from a poetics standpoint will help us discover this connection and may deepen our understanding and pleasure from the text. This treatise seeks to clarify the various dimensions of the music of poetry in the long story of Sheikh San'an, and shows the existence of a connection between musical manifestations and what the poet intends to reveal to us. At the beginning the aesthetic capabilities of the four types of music discernible in poetry (external, internal, lateral and spiritual) which can affect and change the tone of speech, are studied and taken into account. Then manifestation of each type is detected and analyzed in the story of Sheikh San’an. From this study we can arrive at the following conclusions Firstly, the connection between music of poetry and its meaning and content is much more significant than what may be expected when texts are skimmed. Secondly, there are some capabilities in those four musical element of poetry that make contribution to meaning, which are not much considered and  are not studied yet. This research has shown how changing the semantic position in different parts of Sheikh San'an's story has caused musical changes in each section and how through a  fixed meter of prosody, musical adjustments have come to the aid of meaning.

Religious heritage is one of the most important poetry elements of poets in expressing inner feelings and their thoughts so that they have established an intertextual relationship in their poems with the word of revelation. One of the poets whose Qur'anic expressions and meanings are considered one of his most important sources of art is Hafez. In the present paper, based on the descriptive-analytical method, the comparative study of the intertextual aspects of the gene with the Islamic rhetorical theory in the Hafez Divan have been examined. Accordingly, the types of deliberate, implicit, implicit hidden intertexts and their comparative features in Islamic rhetoric, including guaranteeing, referring, solving, eliminating, paraphrasing, referring, adapting, concluding, and examining, are studied in this work. The purpose of this study is to study the use of the previous texts based on the theory of genes and their adaptation to Islamic rhetoric theory. Based on the present study, the most intertextitial, intermediate, and implicit interpolation in the Islamic language is Talmij. Thereafter, the most intentional inhumanity is the most frequent. The creativity of the author attracts and persuades the audience in how to use the earlier texts and the use of the intertextual element, and the creation of an ingenious link between the earlier texts and the present text, artistically.

“Vand” and “Âvand” are two of the main suffixes and dependent morphemes in Persian language which have appeared in the form of “vant” and “âvant” in Avestan. These two suffixes are used in different meaning functions which have transformed through the time. The main purpose of the study is to investigate the derivational form of language. It is considered through historical reasoning and documentations. The original forms of the words which are made from these two suffixes can be found in the names and adjectives of “Pahlavi” and “Avestan”, especially in the regions of Iranian civilization. Although these aren’t enough documentations in order to consider their assessment and functions. The changes which were made in the meaning function and combinational structure of these suffixes are dependent on innate language system and also are affected from historical evolutions. The time of the evolution can be randomly followed from the ancient and Pahlavi languages to the current Persian. The usage of these suffixes was gradually reduced in the middle of Islamic centuries. Their use is basically limited to spoken language and tribes, especially “Lor” ,  “Bakhtiari” and “Lak”.  “Kourd”, “Gil” and “Deylam” families have partly used the suffixes too.

Metaphorical mechanism of mind in sense-giving to the world is the pivot point of this research. The Contemporary Theory of Metaphor which maintains the role of metaphor in sense-giving to the world, is one of the biggest achievements of Cognitive Linguistics. Amongst different kinds of Conceptual Metaphors classified by this theory, Orientational Metaphors involve ways of sense-producing for the world's phenomena via the orientations. As we showed in this research, it might be intangible for a lot of speakers of a certain language how the natural phenomena get connected to spiritual concepts and characteristics – due to their orientational situation-, while there is no essential or natural relation between these concepts and those natural phenomena. By presenting some evidence of the main Persian literary texts, we have shown how the human kind borrows concepts from the theological, spiritual, emotional, physical, and sexual domains and projects them to the domain of natural phenomena. We are also trying to clarify that this projection is funded on the Orienational basis. These evidence declare the process of sense-production for the world through metaphors, and point to the undeniable role of literary texts in stabilization and internalization of conceptual metaphors and handing them over to the next generations.

It seems that much of the burden of the prose's beauties has been put on the shoulders of the language. Language as an important factor in creating amazing facts and historical thaumaturgies, has a paradoxical role. On the one hand, by expanding the imagination, it enhances the literacy of historical texts in a way that it separates the readers from this real world. And on the other hand with a linguistic look in creating logic and the casual relationship, it returns the audience to the context of reality so that they at the pinnacle of enjoyment and amazement take historical thaumaturgies as the truth. This article by investigating the story of the birth of the holy prophet Muhammad from the Sistan's history shows the writer's skill in this language ability and concludes that the mentioned writer has used the paradoxical function of the language in creating literacy and transferring facts for making the thaumaturgies believable.

Poems by Mikhail Lermontov, poet of the Russia 19th century, still among the critics and litterateurs have a valuable place. In Russian literature, Lermontov is known as a despondent peccable and romantic poet. One of the prominent features of his poetry is a contradiction, contrast and distressing hesitation in understanding the concepts. Lermontov by his poems creates an annoying duality in the reader. In this article the exciting themes and prayers of the poet's poetry and their features is mentioned. During the years 1829 to 1839 he created four poems entitled "Molitva / Prayer". A distinctive feature of these poems is that the poet speaks to God in his own unique way ("My Prayer"). By examining his prayerful poems we find that the poet, sometimes stands up to the God, even with his bite and rebellious nature (Poems of 1829 and 1833). The impression is that the hero of the work is grumbling and confronting the God or has no desire to ignore the thirst for poetry and earthly desires. But the two poems of 1837 and 1839 differ from his earlier poems in the way of speaking to the Creator of being. In this article we compare poems related to prayer and Lermontov's four poems which are entitled Molitva. By examining Lermontov's poems of prayer, we come to the conclusion that the first two poems (entitled "Molitva") are in doubt and contradictory to the creator, but the next two poems (also called "Molitva") characterize the poet's poise before God. They represent and express the spirit of the seeker, the religious beliefs and the true form of worship of a religious person, and the mystical spirit of the poet is expressed in them. Examination of these poems illustrates how the hesitant poet reaches self-knowledge and then theology through nature.