نشریه مطالعات زبانی بلاغی
پیاپی 23 (بهار 1400)

Postmodernism is a powerful cultural, political, and literary movement emerging since the 1970s. The history of human thought can be divided into three periods: premodern, modern, and postmodern. The third period, starting from the late 19th Century to the present time, replaces the discovery of reality with the creation of reality; during such a period, human contribution in knowledge construction becomes more predominant. This powerful movement is mainly based on theories provided by poststructuralists. Some components of postmodern poetry are as follows: in postmodern poetry, meaning is avoided and any type of meaning domination or strange narrative, based on strength of the poet in terms of meaning, is denied; belief in certainty and seriousness as features of art and poetry of the modern period do not exist in the postmodern artistic and literary school of thought; Form, structure, and meaning would be disarranged through schizophrenic images governing the poem, and its linear structure would be overshadowed. According to its founders, this type of poetry is rooted in the political, cultural, and social conditions of humans in the current era. One of the pioneering representatives of postmodernism in Iran is Ali Babachahi. His literary works are the best and most distinctive samples for explaining postmodernism and its language in Persian literature. The results of this article have been obtained through descriptive-analytical research and are based on document mining and library studies, as well as an inductive method based on the findings of authors. The following components would be dealt with in Babachahi poems: avoiding syntax; distracted language structure, the emphasis put on bypassing the wisdom, lack of integration and certainty, etc.

In this article, we have compared the ghazels of two poets, Mazhar Hamedani and Sa'adi Shirazi, the different aspects in order the semantic coherence in 8 parts; musical coherence, analogy the syntactic characters and the sentimental signification, symmetry the phrases, antithesis, analogy, artistic argument, multi semantics and fun of terminology. Sa'adi had invented, in Farsi's poetry, a kind of simple and liquid ghazel. It's simplicity and real expression of amorous attitudes are the most sensible traits of his poems. His wonderwork in the choose of the vocabulary and his method to combine and to put the words together, beside the simplicity, has reached to a solidarity of construction and signification of his ghazels. That is why he has been imitated by many of the poets of different periods, specially by who had said ghazels. Par example, the lyrics of Kadjar who had tried to have the same character of simplicity in their poems. Mazhar Hamedani, one of the Kadjar's poet, has pretended to poetize just like Sa'adi but somehow better than him. Then, it's not avoided to compare and analysis the poems of these poets by the style of Sa'adi. In this project, by using an analytical and comparative method, we have analysis 100 ghazels of each poet according to significate solidarity factors. By the results, the more similarity of these poems are related to solidarity of signification, utilization the interrogative phrases and creating the opposition significate.

The public field of poetic imagery includes major and broad topics. It involves four disputations: metonymy, metaphor, image, irony, and their alterations and branches. But among the topics of rhetoric science, several discussions can be added. In this way, we can extend the circle of the "terms", "the imaginary forms", and somehow the "image"; because in these cases, the forms that variegate depiction of meanings from the ordinary expression is the force of "poetic fancy". One of the most important elements is "hyperbole" and its various categorizations. The role of hyperbole in some episodes of poetry history, as well as in some literary forms, is the most prominent role, and one of the most notable categories of hyperbole is epic. The significance of hyperbole  in epic literature is very notable in as much as it involves all other rhetorical arrays.  This research will examine and compare the "hyperbole array" between two prominent Iranian epic literature, "Shahnameh" by Ferdowsi” and "Garshasbnameh" by "Asadi Tusi." We will compare using of rhetorical   features in these two works while weighing the dimension  of epics maturity.  Ultimately we concluded  that although rhetorical elements inthe hyperboles of Garshasbnameh  are more intense, hyperboles in Shahnameh, considering its epic atmosphere and fitting  with  other  elements of the genre, are more epic.

Ahmad Mahdavi Damghani believes that in the Persian language, there is no combination called the konj-e qana'at and that what is printed in the literary texts, called konj-e qana'at, is originally the ganj-e qana'at; in his opinion, there is no relation between the words konj and qana'at; and the konj-e gana'at is a well-known misconception that was created owing to the inadvertent scribes and errors of the editors. In this research, we have tried to study the relationship between the words konj and qana'at in the context of mystical poetry and have tried to show that konj-e qana'at is not a well-known misconception, and it is other than the ganj-e qana'at. The "konj-e qana'at" and "ganj-e qana'at" are two separate combinations that have been used many times in Persian poetry. Konj-e qana'at is a metaphorical combination that is rooted in the mystical worldview and ganj-e qana'at is an analogic combination taken from the Prophet's hadis.

Since the Quran has been revealed to mankind, its language, like other human behavioral patterns, follows the economical principle. One of the hallmarks of The Quran language is that it carries out the peak of messaging with minimal energy. Although this is done to the point that the message and meaning are not harmed. If equivalents and repetitive elements were  not removed from The Qur'an, it would  become filled  with unnecessary  phrases and words, in which case it would not only become long and frustrating but the transfer of meaning and message, which is the main purpose of this book of the celestial, was postponed. The present article, after studying the development of the theory of linguistic economics and defining the terminology and theoretical  foundations of the research, uses  an analytical and descriptive  method to examine the role of coordination Structure  in  explicit and short sentences and  to  align it with the principle of linguistic economics. The result of the research  shows that if the coordination Structure of Qur'an-Karim  in its deep structures has common elements of meaning and repetition, the common element of the meaning, which is repeated, eliminates in surface structure and leads to a short sentence, which is  related to the principle of the economics of language.

The history of mystic Persian literature makes outstanding perspectives for us, especially when it's connected to Quran and Hadith. The mystic authors and poets have emphasized the common gaining from these two main sources of Islam and have recommended it throughout the years. They also encourage others to use these sources with their especial artistic look. Attar Neishabouri is one of these kinds of authors. In his poems facing the Quran and narrations, he has an interpretative and Belaghat-centered look in addition to the common look. This study is tended to introduce examples of symbol-centered and Belaghi interpretations with a descriptive-analytic method. Surveys show that in Attar's poetry some of the symbols such as Gheble, the verse of light, the story of Ibrahim and the fight with Namroud, the slaughter of Ismail, Feron, and Gharoun, have a significant effect that elucidates his especial care to the history of prophets. It has also been seen that sometimes Attar links mythological and mystical symbols in his interpretations to present his mystic thoughts. In other times the insane savants become his speakers for protesting the disorderly of the society.

The present study investigated the typology of causative constructions in the Semnani language. The language  of Semnani is  one of the live languages  in Iran that is endangered  to gradual extinction. Therefore, the speakers of this language must study and  record it to save it  and prevent its extinction. Investigating the causative constructions of Semnani language, the present research tries to study the typology of causative constructions in this Language and to find  the similarities and differences between Persian and  Semnani causative constructions. Using the  questionnaire and interviews from ten Semnani speakers  and the descriptive-analytic  method, the researcher  investigated Semnani  causative constructions by the  typology method of causative constructions. The  research results indicate the existence  of compound causative constructions and simple ones including equal, unequal, and compound unequal lexical causatives, morphological  causatives (first, second and third types), and auxiliary causatives in the Semnani language.

Among the works attributed to Mowlana, Daftar-e Haftom (the Seventh Book) is more popular and important. The present study was conducted to investigate one of the most common stylistic features found in Mathnawi and Daftar-e Haftom. Given the wide usage of the vocative cases in Mathnawi and Daftar-e Haftom, and attributing this book to Mowlana, the present study sought to conduct a stylistic comparison of addresses, similarities, and differences between the two works in using vocative case. Since sentences with vocatives are speech-oriented, various applications of addresses by the poet would help identify perspectives, attitudes, and personal styles. Results of the present study indicated that Mowlana has been more successful in communicating with the audience and inducing his message using rhetorical methods and literary tools. However, the composer of Daftar-e Haftom failed to achieve much success in this regard, despite his efforts in creating stylistic poems.

Mystic prose is poetic artistic prose and what makes it stand out is the use of literary structures and poetic elements. Mystics offer religious and spiritual concepts in a beautifully shaped format, which is rich in language and prose. The aforementioned features have kept this type of prose from obsolescence and difficulty. For this reason, mystic prose has been in the center of attention for centuries and has many readers, just like rich poetry. Thanks to mystics like Eynolghozat Hamedani, Suhrawardi, and Rouzbehan Baghli, the sixth-century prose has always been at the highest level of lingual and literary aesthetics. This type of prose illustrates healthiness, rigor, delicateness, freshness, and whatever is expected from distinguished mystic prose. In this study, an attempt was made to analyze the metaphoric language of Rouzbehan Baghli in praising Prophet Muhammad (PBUH). We tried to scrutinize his innovation, which is the use of different stylistic devices and structures in the context of metaphors. Also, we hope to illustrate his other innovations in enchanting the audience with mystic prose.

Language, its use, and its limitations in mystical discussions have always been one of the most complex issues. The mystical language, which rooted in the mystic's inner experience, is based on a pre-existing vocabulary with new meanings, as well as on symbols and metaphors, to retell mystical experiences. The intertwined set of words and symbols based on the mystic's inner experience, strengthens the mystical language. Mystics and mystical philosophers have been among those who have taken this issue seriously. The intricacies of language in Islamic mysticism are well demonstrated in Ibn Arabi's works, especially in his interpretations of Qur'anic verses. Ibn al-'Arabi interprets the verses from a completely different point of view, and even gives completely contradictory interpretations to the appearance of the verses. On the other hand, in Zen Buddhism, we have many contradictions in religious sayings and anecdotes. Suzuki, the great contemporary thinker of Zen, finds these contradictions natural. In this research, we examine the position of language and its functions in Ibn Arabi's mysticism and Zen and show in a descriptive-comparative manner what Ibn Arabi as representing Islamic mysticism and Suzuki as representing Zen have their views on. The purpose of this study is to create new perspectives on comparative studies of mysticism. The findings of this study can be stated by Ibn Arabi and Suzuki as ineffective in conveying mystical experiences, but the approaches of each of these thinkers to use language in the transformation of experiences is different.