نشریه هنر زبان
سال ششم شماره 2 (دی 1399)

The word “kharābāt” in Persian literature, and especially in mystical literature, is one of the most frequent words. Due to various and sometimes contradictory meanings of this word which has thousand colors, it has been accepted in mystical literature. In the texts of Persian poetry and prose the word kharābāt and kharābāti (who belongs to kharābāt), and in particular, in the texts of mystical poetry and prose which are full of this contradictory word, because each Persian poets and writers use the word kharābāt in the different meanings. In this article, the different meanings of the word have been explored in Persian literature, and also the point of views of many Persian-speaking writers and poets, and in particular, the point of view of mystic Fakhr-al-Din Iraqi, have been explained in detail in this regard.

Hafez's poetry can be considered the most complex and mysterious poem in Persian in terms of using the capacities and artistic, rhetorical and semantic functions of language. In this regard, he goes so far as to say that in order to receive and understand the intellectual world of his speech, no part of his speech can be ignored and delayed. He has cleverly and consciously used all the subtleties and capacities of language to express his thoughts and draw his worldview, and he has benefited from them with all his skill... One of these linguistic features is the names of a kind of slaves and maids in different historical periods of Iran that were given to them for different reasons. It is because of the use of these linguistic tricks that Hafez's poetry has always been studied by literary scholars from various angles... On the other hand, since the most important stylistic and artistic feature of Hafiz is his astonishing use of ambiguity and its types, and especially the ambiguity of proportions, many scholars and poets have tried to extract the evidence of ambiguity and Its variants in his poetry show the different layers of semantics and linguistic mystery of his art and reveal the wonders of the prismatic relations of words in his poetry. In this research, an attempt has been made to show the artistic applications of the names of a kind of slaves and maids in the construction of proportionality and ambiguity in Hafez's poetry through documentary and analytical methods. The results of the research show that Hafez, consciously and prudently, uses the names of a kind of slaves and maids in a context of ambiguity and confusion in order to make the prismatic and engineered relations of his poetic words more artistic. And to convey his political and social ideas to the audience in indirect and multi-layered language.

The paper studies mental lexicon, describes its main features and overviews existing theories of information distribution in mental lexicon of a monolingual and bilingual person. As well, it compares the structure of mental lexicon with that of a paper dictionary, and the mental lexicon of a native speaker of the Arabic language with that of a non-native speaker. The researcher hypothesizes that due to some differences in the structure of mental lexicon of native and non-native speakers some explanations of lexical entries used in dictionaries that target native speakers may not be relevant for dictionaries that aim at second language learners. In order to prove this hypothesis a study was held in Qatar University which embraced two groups of students: students of the Arabic language as a native language and those who learn Arabic as a second language.

The Arabic language is accused of failing to keep up the scientific and digital development, and being unable to assimilate science and digital knowledge production and promotion. And since the Internet has become one of the reliable sources of information, the poor Arab scientific digital content has become questioning the reliability of the information available in the Arabic language, which necessitates developing authentic Arabic content that reflects Arab identity, heritage and civilization,. Therefore, this research aims to know the challenges that the Arabic language is facing today, and the reasons that prevent it from being matched to the digital age, in addition to revealing the secret behind the low quality of Arab digital content. We conclude with some recommendations that support Arab digital content on the network.

This research aims to highlight the falsities of William K. Wimsatt and Monroe C. Beardsley’s article “The Intentional Fallacy” (1946). These two New Critics believe that the intention of the author should not be considered when judging the text because the intention of the author is neither available nor desirable. The present research questions two of their cl aims that the intention is something separate from the textual meaning and that the authorial intention is private and biographical while the poem is public. To refute their claims, the research employs E.D. Hirsch’s concept of verbal meaning. Verbal meaning is simply a special kind of intentional object which he considers to be synonymous with textual meaning. The study goes beyond Hirsch’s ideas and claims that from the moment the author transfers his intention, through language, to the text, it is no longer an intention but the object. Language, according to the New Critics is a proper and reliable medium, so when Wimsatt and Beardsley question the authorial intention, they are actually questioning the very notion of language. Their second claim, that is the private nature of the author’s intention, will be rejected by borrowing T.S. Eliot’s analogy of the poet to a catalyst. Eliot shows that the poet does not include his/her personality traits in the poem. The achievement of this study is a new view toward the authorial intention, a view which is not based on personal and biographical factors but on verbal factors.

Cultural fragmentation as a result of collective trauma evokes the question of representation as a means of identification during conflict. In the period of intellectual revolution, language lies at the core of the problem since speaking is the negation of silence and silencing. The question of the appropriate way to express and reclaim one’s past, culture, and identity falls within the scope of historical constructors/ re-constructors’ negotiations. While some of them, including Ngũgĩ wa Thiongʼo, suggest writing in national and ethnic languages for the sake of their people, others like Chinua Achebe prefer writing in the dominator’s language to display and prove the culture of the dominated through creating an international discourse. However, the latter standpoint calls also for a New Language that is guilt-free using language appropriation. Toni Morrison’s Song of Solomon is worth pointing at work to illustrate the significance of language appropriation. Morrison assumes a kind of escape, a spiritual one, embedded in language. Milkman, the protagonist, has an identity that is split spatially as Homi Bhabha labels that. While his identity must just match his social reality, Milkman is stuck in the after effects of cultural identification. As a result, in order to piece together his fragmented reality, he must fly back to his origins. During his journey, he learns about the past through an encoded song, Song of Solomon. Although the lyrics are mostly written in English in addition to some African dialects, the song sounds like nonsense while it bears cultural connotations. Thus, language is used within a specific context that makes it able to cope with the signified.