نشریه مطالعات زبانی بلاغی
پیاپی 25 (پاییز 1400)

Aesthetic truth is an event that instantly evokes the concept of instability and vibrational motion of truth. Based on his understanding of beauty and art, the author finds a relationship with his imaginative power that makes the truth and essence of art and beauty the source of his work of art. In fact, recognizing the aesthetic qualities resulting from the search for sufficient beauty conditions, shows with what qualities the work evokes beautiful and sublime feelings in us. In the present study, the aesthetic aspects of "Decline of Colonel" by Mahmoud Dolatabadi have been studied using a descriptive-analytical method. While introducing and presenting the summary of the story, the most used aesthetic elements include simile, metaphor, irony, imagination, recognition, symbol, allusion, etc. As a result, the author had a wide choice for emplying poetic elements in the novel, and he has used imaginary forms, especially similes, to express similar situations and express the inner feelings of the characters, and has created an atmosphere that can make a deep impact on the audience.

Pun is one of the most important figures of speech and tricks that link Azerbaijani style poetry to its true essence, beauty. Nezami Ganjavi is one of the most prominent Persian language poets who has been able to make use of all of his pun capacities in musical and aesthetic richness of his works. In rhetorical books and stylistics, despite the presentation of various types of division, there has been little mention of aesthetic functions. Therefore, in the present article, with a descriptive-analytic approach, while presenting the exact frequency of puns in the poetry of Leili and Majnoon, Nezami's skill and ability to utilize various functions of the genus is analyzed and evaluated. According to a total of 1964 studies, a variety of pun were found in Leili and Majnoon, of which the pun mozare with a frequency of 35.9 and pun lahagh with a frequency of 31.3 were the best areas for Nezami's art. The result of this research suggests the creativity and diversity of pun's functions in the context of Nezami's poems like: strengthening the inner and outer music of the work, verbal and semantic coherence of speech, the literary resolution of the audience due to the understanding of the semantic relations of the components of the word, an artistic companion to other figures of speech(repetition, alliteration, allusion, antithesis) in a couplet.Keywords: Pun, Figures of sound, Rhetoric, Nezami Ganjavai, Leili and Majnoon.

"Critical Discourse Analysis" is a scientific and interdisciplinary approach that is rooted in critical linguistics and its main purpose is to study the use of language in society and politics. Critical discourse analysis deals with literature as communication texts through stylistics, literary criticism, and text analysis studies. Three issues of "language, ideology and power" are fundamental concepts in this approach. Discourse scholars try to discover the meaning - and more importantly - the ideology hidden in the text by describing and analyzing the linguistic structures of the texts and activating the text in its non-linguistic context. Three Nimai poems from the collection "Akhar e Shahnameh "composed by Mehdi Akhavan Sales have been studied in this article. The main question of this research is how Akhavan Sales uses various linguistic possibilities in articulating the discourse it believes in. The method of analysis of these poems is based on the three-dimensional model of "Norman Fairclough", a social linguist who has exceeded the analysis of critical discourse by adding levels of interpretation and explanation, beyond the level of description. Based on this model, it is clear that Akhavan Sales has articulated its various discourse and ideological layers by consciously using the possibilities of linguistic structures, including sounds, words and syntactic structure of the text. De-legitimizing the discourse of the dominant powers, highlighting the shortcomings of the existing discourse and despairing of changing the chaotic situation to a desirable and organized situation are the discourse-building elements of Akhavan Sales poetry in this collection.

The poetry in sixties has some certain features because of the socio-political environment, and especially the war. On one hand, poetry was a reflection of the atrocities of the Ba'athist enemy and on the other hand, it’s the reflection of self-sacrifice and resistance of the people of this country in an unequal battle. The researchers’ too much emphasis on the resistance poetry during this period has led to the marginalization of literary creativity and innovation in these poems. Considering this issue, the present study, investigates a less known type of simile in the poems of Seyyed Hasan Hosseini and Qeysar Aminpour and analyzes it as a stylistic feature. The paradoxical simile, is created through the combination of two concepts of simile and paradox, from two fields of rhetoric and prosody and in terms of structure and usage, there are three categories: The first category, in which tenor and vehicle are two fundamentally contradictory phenomena. The second category is paradoxical in the similarity. In the third category, the vehicle is a paradoxical item by itself and this paradox affects the totality of the simile. Innovation in the imagination by means of reconstruction in the simile format, surprising the audience and forcing him/her to discover the hidden beauty in the simile‚ and challenging the traditional rhetorical boundaries are considered as the characteristics of this sort of simile. The method in this study is descriptive-analytical and the data have been analyzed by using the content analysis method. The results show that the tendency of the poets to the Indian style‚ the conflicts in the society‚ the mental engagement of the poets and other things as so‚ are the main reasons for the creation of these similes.

One of the controversial issues in morphophonological studies is Phonologically-Conditioned Suppletion. Using a cognitive approach, the present study shows the existence of this phenomenon in Azerbaijani. Under Langacker’s (1987) Rule/List Fallacy, the lexicon contains unpredictable as well as predictable information. This paves the way for a better explanation of the lexicalization of phonological processes. Following Langacker’s Rule/List Fallacy and Bybee’s (2001) early morphologization (or lexicalization) of phonological processes, the authors believe that the lexicalization of such processes has occurred in Azerbaijani. Those processes are not productive anymore and they only exist as residues in the lexicon. In some cases, those residues are suppletive forms and the choice between them depends on the phonological context. The authors’ analysis is different from the other researchers’ generative analyses in which they have tried to explain such cases in terms of phonological processes. Nesset’s (2008) cognitive model is used to demonstrate the representations and relations between the allomorphs. This model is based on Langacker’s (1987) ideas and to date, it is one of the few “cognitive phonology” models in cognitive and usage-based linguistics. Wherever not referenced, the data in this paper is gathered by recording Azerbaijani speakers.

The science of stylistics is one of the sciences of Persian literature that does not have a long history. This knowledge in Iran also begins scientifically with the research of Mohammad Taghi Bahār. For some writers, stylistics is the only way that can scientifically show the individual differences between poets and writers and describes and expresses the author through the study and analysis of lexical features, syntax, sentence structure, virtual language, linguistic body. In European literature, too, the German Leo Spitzer is one of the stylists who has theorized in this field. In stylistic research, style is divided into three types: periodic, literary, personal and developmental. This study intends to examine the personal style of Moinuddin Jovayni in the Negarestan. Although this work is also written in the way Golestan Saadi(saʿdi); But in any case, each author has his own style that is unique. The research method is descriptive and analytical. The research findings show that Jovayni has used a special method in expressing mystical, moral, religious, etc. issues in the field of linguistic, literary and thought that distinguishes his personal style from other writers.

In English rhetoric, the epithet is when they use the characteristics of something or someone with its name or instead of its name. This definition is identical to "irony of the adjective" or "irony of the noun" in the Persian rhetoric. Studies show that some research has been done in this area and they have introduced epithet with greater development and have failed to provide brilliant examples of the use of this artistic tool. Epithet can be an artistic use of the adjective which makes the word more "literary". However, in the English rhetoric, epithet is more commonly found in epic texts, but research shows that in texts that value "rhetoric" and, more generally, "poetry", epithet emerges on a broader level. In the present study, Masnavi by Nizami (Haft Peykar), which is full of epic elements, is investigated and analyzed from the point of view of applying epithet and this question has been answered: What are the functions of epithet in “Haft Peykar” by Nizami? The results show that Nizami has made the most of epithet to create all sorts of ambiguities, paradoxes, descriptions, characterization and some other exquisite literary arrays. It seems that to find a variety of rhetorical arts, consideration of epithet in his works, especially “Haft Peykar”, is essential.

Humor is one of the most effective critical strategies in poem and prose. Some humorists use this kind of literature in order to reveal and reform the discursive, behavioral and intellectual deficiencies of a person or society. In so doing, they use a sugar-coated pill so that the audience would willingly accept it. Akbar Eksir is a contemporary poet whose works intermingle with humor through the employment of a simple, mild, and artistic language. He reminds us of the individual and social problems, hoping that they would be resolved. This research project aims to study the techniques of humor in Eksir’s poetry, trace some samples for each and then analyze them. The results of the study show that his books "Please Sit Down, Dear Chair", “Honeybees Have Got Diabetes", “Dead Pistachio Is Crushing Silence", “Fertile Grasshoppers", “Malaria", and “Makataonashim” have used some methods like hyperbole, understatement, incongruity and comparison, linguistic plays, surprise, inverted collocations, etc. The results show that linguistic plays and incongruity/comparison are the most widely used methods.

In the period of Persian literature, the poetry of the constitutional period is more than ever mixed with political themes, and political themes can be a proper basis for any kind of violence, including verbal violence. Farrokhi Yazdi is one of the prominent poets of this period who is a good example for studying verbal violence. Malkin (2004) is one of the scholars who have addressed the issue of violence in language. He introduces six patterns to illustrate how violence in language occurs, in which language provides a framework for the speaker to apply violence according to these patterns. In this article, we discuss how violence is manifested in 10 poems by Farrokhi Yazdi according to the discourse approach of Malkin (2004). Our criterion for choosing these poems was that Farrokhi used violent words and a violent tone more than any other in his poems. According to the results of this study, Farrokhi Yazdi has used the second pattern more than any other pattern of violence. According to this pattern, language can be a tyrannical weapon of domination and destruction. Frequent use of violent words by Farrokhi has made the second pattern more frequent than other templates. Farrokhi has used pattern number 5 less than the rest of the patterns. According to the fifth pattern, language can embrace and control power. This pattern, which examines the reflection of ideology in language, has been used less frequently in selected poems.

This article seeks to emphasize "the re-reading of the enduring literary works" and considers it a necessity to gain an understanding of them or to hear their unheard voices. "Re-reading" the enduring literary work as a necessity is a view put forward by the French philosopher and theorist Antoine Berman, which is in fact rooted in his view on existence. In his opinion, the truth of existence manifests in language, and the expression of this manifestation is in the written works of past, and according to him, all of them, are based on an oral structure, and carried by a voice, to be precise. The sonority of literary work is the one that guarantees its survival and durability, and on the other hand, takes it out of a fixed and controllable content. Accordingly, the literary work will become a fragmented truth that always needs to be re-read so that its unheard voices, or in other words, "pieces" of this fragmented truth, that the theorist calls the "lost pages", can be heard. To give objectivity to this view, the author has chosen Nasir Khusraw's Safarnama as the subject of study among the written literary works of Persian language. First, in the introduction, he discusses aspects of Berman's views about the literary work and its features and then, in the light of this view, he intends to hear newer voices from Safarnama, which are the product of re-reading. The approach of this article is inductive, that is, it tries to achieve, through questioning and answering, unheard voices of Nasser Khosrow's "deliberate silence" in Safarnama.

Rhyme in Persian poetry, from the ancient to the constitutional period and in practice, until the last half century, is one of the key elements of Persian poetry. In the last half, too, although the rhyme does not seem to have its past visage and appearance; but it still appears in Persian literature and its role has not diminished. Researchers in rhyming have listed functions and patterns for rhyme. Most of these roles are mentioned in books and articles. One of the roles that this article addresses is the role that rhyme plays in showing the dialect and accent of poets. Also, great Persian poets and writers have their own dialects and dialects have incorporated these dialects into Persian poetry. Since we do not have that exact pronunciation and accent today, and the Persian script is incapable of recording vowels; in some cases, we do not notice their dialect and accent, because we measure them by their modern pronunciation. Therefore, rhyme plays a decisive role in recording the pronunciation of words. Therefore, placing words in rhyme is one of the ways through which the dialect and dialect of poets can be understood. This research aims to address the role that rhyme plays in showing the dialect and accent of prominent poets.

Among the various Persian manuscripts that have survived in various libraries in Iran and around the world, Manuscripts of letter writing are very important for various linguistic, rhetorical, and historical reasons; For this reason, various pieces of research have been done in this regard so far but too many manuscripts are hidden in the corners of the world's libraries. Tohfa al-Monshi is one of these works that was written in the thirteenth century AH and the unique version of this work is available in the library of the Shura Council and is of great importance in terms of different language, rhetoric, and history. But so far it has not been corrected, introduced, and published. The topics presented in this treatise are so diverse in terms of rhetoric, language, and history that this treatise can be considered as a book of literary types. The results of this research, that is based on the manuscript of the work and library resources in a descriptive manner, show that the author has acted in an innovative way in categorizing rhetorical materials and teaching literary techniques; In citing poetic evidence, he has carefully used authentic sources; Has brought newly discovered verses and poems from poets in the text of the work; The six reasons for the precedence of secretaries over poets are well stated.

Conversational analysis is a field in discourse and researchers in this field have proposed methods for conversation analysis that are not comprehensive for all types of texts. In this article, while introducing these research, we will show how conversation analysis is performed and what questions should be answered. The main problem of this research is to propose a method for analyzing the conversations in literary and narrative texts. Using the existing approaches in linguistics, the method presented is more comprehensive. It seems that in conversation analysis, three levels can be considered: micro level means the structure of language in terms of words, grammatical constructions, sentence construction and metadiscourses. Intermediate level includes sequences and adjacency pairs, turn taking, speech act and implicature, and in macro level, i.e. conversation in relation to social action, frame and genre, and what can be examined at the level of explanation according to Fairclugh view. The approach of this article is theoretical and only one conversation from Beyhaqi’s work has been analyzed. Assuming that this conversation exactly was happened, another valuable aspect of Beyhaqi's history becomes apparent. These conversations reflect the power structure in the different social levels. The analyst, with the help of background knowledge and awareness of the ideas and social expectations accepted by the members of Ghaznavid court society, shows the relationship between discourse actions and social action.