مجله بلاغت کاربردی و نقد بلاغی
سال ششم شماره 1 (پیاپی 11، بهار و تابستان 1400)

This study tries to introduce a poet of the literary return period and a precious work from the unknown treasures of Persian language and literature called "The Mad of the Bedouin Religion" by analytical method and to answer the question of how the religion was able to The use of literary sciences and the skillful application of rhetorical techniques and the careful selection of original words, phrases and combinations, create pleasant music that achieves its goals; That is, to convey a message and create literary taste to its audience? The Bedouin sect is the only available source from the textual context of which one can understand the biography and worldview of the poet. To introduce this poet, verses from these lyric poems have been cited, which testify to the power of expression and the tenderness of his nature in poetry. By examining the textual analysis and how the rhetorical techniques were used in the Divan al-Maznab, it was found that the style of speech of the poets of the Iraqi period (especially Saadi and Hafez) had been preserved linguistically, literary and semantically.

One of the most important features of Ayn-al-Quzat is his Persian-writing with a very congent and masterful language. Therefore, the study of his works is of special significance from the perspective of Persian prose, language history, stylistics, etc., especially since it is related to pre-Mongol times and pre-Mongol works are more important. This article is based on intra-textual, stylistic and theoretical study, which is organized in an analytical-descriptive and library method. The domain and scope of the research are valuable texts of three volumes of nameha and Tamhidaat. In Persian works of Ayn-al-Quzat use the Iraqi style along with imagery figures of speech, linguistic features, and his original thoughts can be found in the fields as Quran, Mysticism, Jurisprudence, Philosophy and Persian and Arabic Literature. A few pages of article are also devoted to on the personal style of Ayn-al-Quzat. In the intellectual realm, these works are mostly dedicated to mystical subjects such as: mystical behaviors, the relationship between Old and follower, and the characteristics and duties of each, and in the literary realm, witnessing verses and traditions, Arabic and Persian allegories, poems, proverbs, allusions occur more. In the realm of linguistics, Arabicism and the use of verbs in certain forms have a high frequency. In personal style, applying short Arabic phrases at the end of most verses and the use of uncommon words have overtaken the rest.

The theory of cognitive or conceptual metaphors was first introduced by Lakoff and Johnson. According to this theory, the metaphor was not only a rhetorical element specific to the language of poetry, but they believed that the basis of human thought is metaphorical. Although cognitive metaphors were first studied in everyday language, but given the abstract nature of mysticism, it slowly opened its place in mystical studies. Love, as the key element of mysticism, plays an important role in mystical texts, especially mystical love. This research is based on the theory of metaphorical cognition of Lakoff and Johnson, followed by a deeper understanding of love in Attar and Mathnawi's rituals from the cognitive perspective. In this article, love is considered as the target domain and its source domains of it, are studied in the poetry of the two poets. Then a comparison has been made between the source domains of love in their works. The results of the research show that despite the similarity of the viewpoints of the two poets, there is a difference between Rumi's view and Attar's view. Attar focuses more on the aspects of the mastery and destruction of love, while Rumi notices more about the aspects of Uniting the enjoyment and sentiment of love. In fact, the movement to look at love from Attar to Maulana, from mastery and destruction of love, towards unity, the pain and suffering mixed with pleasure, and the inclusion of love.

The purpose of the semiotics of discourse approach is to achieve meaning through communicating between semantic and differentiating units at the macro level. This article examines how meaning produced and received in "Wuthering Heights". Discourse systems are either action-based or state-based, respectively, which are the generators of cognitive and emotional discourse systems, respectively. In this novel, the dominant discourse system is cognitive because the action is more sensible than state. Heathcliff and Catherine (two main characters) create the dominant love state and the main revenge action. Heathcliff, the main actant, gains the necessary mental, physical and financial competences and performs the action with a predetermined program. The actant reaches the evaluation and value stage by going through the qualifying, main and glorifying test. The value presented to these two characters is not financial, but a transcendent value in the name of love. Although, there are other discourse systems in the novel; emotional discourse system, different emotional states appear in several stages of the novel and Incidental discourse system: the presence of opposing systems such as birth and death is justified with no discourse except Incidental discourse system.

The term "rhetoric", which in the Islamic tradition has been equated with the term "rhetoric", has had two main meanings in ancient rhetoric: the first meaning is Aristotelian rhetoric, most commonly by rhetoric, techniques and tools. The other is the aesthetic or literary concept that links rhetoric with poetry, techniques, and imaginative tools. From these two approaches, three trends in the meaning and function of rhetoric emerged in contemporary times: the rational-philosophical approach, the stylistic-literary (poetic) approach, and finally the discursive-semiotic approach (contextual). The first two approaches are at odds; one draws rhetoric to the science of logic and the other links it to poetry. But the third approach seeks to extend the scope of this science so that it encompasses the two former concepts. In the history of Islamic rhetoric, such a triple approach to the concept of rhetoric is also available to critics and Islamic rhetoricians. The present study examines the evolution of each of these three approaches to contemporary theories in the field of rhetoric by studying descriptive-analytic method.

AbstractIn order to analyze conceptual metaphors in senior students texts, the research examined Academy of Persian Language and Literature corpus which was collected during taking a national achievement test called "AMZA". Conceptual metaphors were analyzed in 272 texts from three different majors- science, humanities, and mathematics- based on Afrashi and Hesami's (1392) proposed classification. Findings show that conceptual metaphors are used by girls more than boys and the difference is statistically meaningful. There wasn’t any statistical difference among students' conceptual metaphor usage in error level of five percent and students of different majors used conceptual metaphors equally. Among different types of metaphors, objective- to- subjective, objective-to- objective, and orientational metaphors have the most frequency in use. Structure-based and container-based metaphors have the most frequency of use among different types of objective- to- objective metaphors and its difference with other types is statistically significant. Examining origin and purpose fields in conceptual metaphors shows that concepts "human, place, container, object, and up" have the most frequency respectively in origin fields and "sky, life, time, future, and God" have the most frequency in purpose fields. These fields in students' writings are based on Kovecses's classification (2010) and indeed more various.

Music is one of the inextricable feartures of poetry which is produced by the agreement and harmony of word,symmetry and repetition in the form of traditional meter,rhyme and rhythm,refrain and use of thetorical devices.The poet by adding such devices to everyday normal language presents a kind of musical and impressive language and thus attracts the attention of the reader to his feeling and poetic imagination,augments the transference of his experiences to the addressee and double the effect of inducing his attitude. In this article the researcher shows how Hazin-e Lahiji employs Literary devices,harmony and order in different kinds of rhymed prose,embedding and symmetry,different kind of pun like perfect pun,complex pun,incomplete pun,refrain and rhyme to create music in his poetry.knowing the important role of lexical coherence in creating music and harmony in poetry,in this article first the question and the ways that lead the researcher to the predicted results are explained,then in the theoretical part the definitions and literature review will be introduced and in the practical part the different aspects of lexical coherence

From the end of the second century AH to the fifth century, rhetorical terms appeared. These terms were derived from research in the Qur'an and Arabic texts. Initially, the terms common among rhetoricians were limited to the beauties of the word, such as metaphor, simile, brevity, repetition, prostration, and genius. Over time, other rhetorical terms emerged. For the first time, Ibn Mu'taz in 296 AH spoke about the flaws of rhetorical techniques. Rhetoricians have considered the weakness of writing or the weakness of speech as one of the disruptive factors in speech. In Asrar al-Balaghah, Jorjani mentions for the first time the use of pre-dhikr and considers it as one of the types of weakness of authorship. Pre-reference is a kind of pronoun mutation in which the pronoun is placed before the reference. Some semantics have included pre-dhikr as in the field of Persian language like other rhetorical terms and, like the ancients, have considered it as a function of weakness of authorship and others have not considered pre-dhikr as inappropriate for Persian poetry. In this article, by expressing evidences of Persian poetry, it is tried to examine the preposition and it is shown that the preposition is one of the stylistic features of Persian poetry, and in cases where there is no drop in the verse, and by moving the pronoun and pronoun reference If the meaning of the verse is correct, it can be said that Azmar before mentioning is one of the beauties of Persian poetry.

Layer stylistics is a disciplined method for investigation of ideological and literary characteristics of each literary peace. The present study aims at examination of the poems of Molla Hossein Masiha (one of the poets of the 13th century in Minab), who versified poems in the realm of lamentations and ceremonial poetry by using this method and literary knowledge. The poems have been compiled in a book called “Unmanned Rakhsh”. The study is of analytical descriptive type and his poetry has been examined in five layers of phonological, syntax, rhetoric, lexical and ideological. The research findings indicate that from the viewpoint of phonology, this poet paid attention to the music of speech, and to reach this goal, he employed various figures of speech like alliteration, repetition, puns and rhymes. His words are marked, official, obsolete and alienated from the type of its allegory. The only prominent point in this field is using marked words. Syntactic layer of his poems includes elements such as sentence styles, verb voice, verb tenses, and grammatical voice. Most sentences in his poems are short and they are simple. Most verbs are simple past, present and verbs voice are active. Informative voice is the bold aspect in his poetry. Molla Hossein Masiha employed poetry for expressing Shia’s ideology. Words, syntax and figures of speech are explicitly employed for his ideological purposes.

Beauty of demand is one of the literary figures in which a need or request for something is expressed in a pleasant and effective way for the audience based on the speaker's state. This literary figure is expressed in different kinds of poetic formats based on certain characteristics such as the need, type of pleading and the audience. The core of this targeted language is demand, and the elements of structure of a poem such as words, imagery, tone, emotion, tone, poetic format and word setting, embellishing it with beauty, influenced by the factors such as the character of the poet, poetic style, audience type, political, social and economic condition of the poet's era lead to expression the demand in a way that, in this paper, it is analytically and statistically referred to as beauty of demand, and application of each method relating suitability of this literary figure is stated, as well. Then, the characteristics of each method are analyzed. It's worth saying that dividing the artistic tips used by poets in employing the literary figure and entitling each method based on the definitions of beauty of demand has no preceding.

Shamlou has used various linguistic techniques and artistic arrangements to influence the audience, and satire is one of the aspects of his poetry. The literary value of satire is the birth of certain rhetorical elements and their application to particular techniques. Satire has been classified in a variety of ways and in terms of structure, satire is divided into situational (circumstances) satire and verbal satire. The origin of this satire is the poet's life and worldview and with it, the claimants trample on hypocrisy, cruelty and ignorance. Techniques such as: the reconciliation of the appositives, exaggeration, contradiction, simile to animals, their allegory, and their subordinates, are more effective in creating satirical satire in Shamlou's poetry. In the verbal satire series, more linguistic-expressive games, irony and cursing are found in his poems. Many of these techniques have multiplied and combined their literary influence in one poem and Shamlou's style has been instrumental in foregrounding his satire. The satire in Shamlou's poetry is more in the depth of his work and the reconciliation of the appositives and contradictions is the most frequent and illustrated of most of his satireous techniques. This paper first introduces the rhetorical techniques of satire in a descriptive-analytical way and then analyzes it with evidence of the poetry of Ahmad Shamlou.

One of the literary techniques that has been the subject of much controversy regarding its definition, designation, typology, and functions is eltefaat (~ apostrophe), a technique that, considering Persian verse and prose and text-specific apostrophes, requires revision, redefinition, and illustration of its functions. We studied and investigated a large number of Persian poems and concluded that apostrophe is not limited to a rhetoric device, but rather has a semio-semantic function in the classification and analysis of literary texts, i.e. it is both a key element in interpreting literary texts, and a semantic criteria and distinguishing factor in classifying literary types. Through comparing the concept of ‘movement’ with that of ‘apostrophe’, we also take this technique to include any change and movement that occurs in the syntagmatic and paradigmatic axes of literary text. Other findings of the present research include categorizing apostrophe under one of the topics in semantics, namely fasl va vasl (separation and conjunction), as well listing new functions of apostrophe including interpretive, discoursal, symbolic, cohesive, and dialogic functions.