نشریه مطالعات زبانی بلاغی
پیاپی 26 (زمستان 1400)

Conterminous opposition is a term associated with the science of syntactic semantics. The term is the accompaniment of two reciprocal elements and also it is one of the hidden arts in Nezami’s poetry. In this article, based on the theory of syntax, an attempt has been made to study and analyze its various constructions and various patterns. Of these oppositional patterns the following items have been presented: Conterminous oppositions in a sentence with the same grammatical identity, conterminous oppositions with heterogeneous grammatical identities, inflectional and non-inflectional contrast, the study of proximity magic that repeats words based on contradiction, paradox equivocality, opposition, incremental pun, dynamic pun, and also music of the conterminous oppositions. The structure of literary images using oppositions, the union of them, and their difference are intellectually very important in poetry. The association of these patterns with other rhetorical and aesthetic elements increases their semantic capacity and rhetorical beauty. This diversity has made Nezami’s poetry more dynamic in terms of rhetoric, language, and meaning. Avoiding binary opposition, which is in three forms of subversion of values, a negation of oppositions, and addition of them is one of the most important opposition in Nezami’s poetry to express the desired meaning. In this research, conterminous oppositions are introduced and syntactic structure, especially the rhetorical structure of the verses that include this art, have been analyzed aesthetically in the two poems of Khosrow and Shirin, Lily and Majnoon of Nezami.

One of the prose works of Amir Khosrow Dehlavi is the valuable book "Rasa'il al-Ijaz", which was written in the early eighth century AH. The author, while using a lot of literary figurative devices in the text of the work, has dedicated its third treatise to rhetoric. In this sector, he has taken over some past figurative of the device and some figurative of the device in this sector, are made by Amir Khosrow himself, which shows his mastery and knowledge in this field.
Ambiguity or imagination is one of the literary figurative devices that has a special place in this valuable work. Observance of verbal proportion and also the ambiguity of proportion have a great role in this text. The abundant use of some special and rare figurative devices, such as "Tarjomat-al-lafz" and "Zemn-al-lafz" in this work, which according to the author claims, is one of his innovations, in line with the purpose of observing proportionality, is remarkable; But with a little care and comparison with other rhetorical books, we find that these figurative of devices are sometimes mixed with some similar industries, and some of them existed before Amir Khosrow with a slight difference, and their basis in previous rhetorical books, Been. Considering the importance and position of this work in the field of literary works of technical and artificial prose, the authors in this study, while examining the place of ambiguity in this work, critique and analyze some of its new figurative devices, such as "Tarjomat-al-lafz" and "Zemn-al-lafz".

One of the achievements of the Constitutional Revolution at various levels of society and consequently literary texts is to pay attention to women and discuss their issues and problems. for example, we can mention the works of Mohammad Mohammad Ali, in which women have a special position. he can try to show another voice (woman) that has been silenced in front of the dominant power and ideology of patriarchy by using the story of Rostam and Sohrab and recreating this story from Tahmineh's feminine point of view. This article is trying to answer the question that how the intertextual relations of this work with Shahnameh have led to polyphony and women's discourse in Tahmineh's story novel. Therefore, the article has shown the author's linguistic and sociological contradictions from the story of Rostam and Sohrab relying on the logic of Bakhtin's dialogue. the result of the issue has shown that the author in order to centralize the position of women in recreating the story of Shahnameh uses the features of women's discourse such as the color-word, women's perspective, women's words, women's emotions, and feelings, women's syntactic structure in sentences. Also, in the sociological contradiction of the Shahnameh narration, he has dealt with women's intellectual and financial independence, women's identity, struggle against women's being different, and so on.

Row is one of the elements of classical Persian poetry and as one of the main pillars of lateral music, It plays a major role in classical and ancient Persian poetry and contributes greatly to the melody and soft listening of the poem. In Persian poetry, at first the row was very weak; but as the poetry evolved and went through different stages of development, the wide usage of row were observed. One of the poets who paid special attention to ROW and ROW has a high frequency in his poems was Ghalib Dehlavi. In Persian lyric poems of Ghalib Dehlavi, the presence of row and especially long and difficult rows is prominent. In this article, the row in all Ghalib Persian sonnets has been studied and by providing accurate statistics, it has been determined that the number of different Ghalib sonnets is much more than his lineless lyric sonnets. The statistics of the types of lines in Dehlavi's Persian sonnets show that a verb-type row comprises more than half of all the lines of his Persian sonnets. On the other hand, the functions of the row in Ghalib Persian lyric poems have also been studied and it has been concluded that functions such as music and melody, row fit with the theme of the poem, accompanying and unifying the audience, integration of thoughts and imaginations of the poet, highlighting a specific image or theme and the richness of the lyric song with the similarity of row and rhyme has been considered by the poet in Persian lyric poems.

Cognitive deixis theory is one of the important issues in cognitive linguistics as determinants of the method of reference in the textual context. The aim of the present study is to investigate the application of the theory of cognitive deixis in the analysis of Persian poetry. The main claim made in the present study is that cognitive deixis are suitable tools for applying new methods in Persian poetry analysis that specifically analyze poetry based on types of references. In order to prove this claim and to study the application of this theory, first the theoretical foundations of cognitive deixis and its basic issues such as the theory of deictic shift have been discussed and then a sonnet by Saadi has been studied and analyzed. The results of the present study show that cognitive deixis and the theory of deictic shift can cover the gap that exists in traditional rhetoric under the category of reference, and by applying these theories, we can design a kind of reference-based analysis in Persian poetry.

Imagination creates an infinite atmosphere in the poet's mind that leads to his creativity and artistic expression. The core of poetic thinking is rooted in the poet's imagination; Because it shows the poet's attitude towards the world and its surroundings. This element is considered to be the main building block of lyrical and epic literature. The lyrical-epic poem of Vargheh and Galshah Ayouqi has been written following the structure and story of Arwa and Afra in Arabic, and according to its Arabic origin, it has revealed many cultural and social elements of the mentioned society. On the other hand, in the illustrations of this work, the system of imagination has been used in the form of nested systems and by using symbols with positive and negative evaluations. The main purpose of this research, which has been done by descriptive-analytical method, is to study and discover the imaginary system of Vargheh and Galshah systems based on Gilbert Durand's model. The results show that the system of imagination in this system, both in terms of positively valued symbols (ascending, spectacular and separating) and in terms of negatively valued symbols (falling, darkness and animal) indicates that an accident story is made and told in a completely primitive land with a special Arab cultural and social structure; Therefore, from this perspective, the system of imagination and the events of the story are in perfect harmony with each other.

Features as the syntactic foundation of the sentence constituents have a special role in the syntactic operations and derivation of the sentence. Merge operation is responsible for combination of the constituents and derivation of the sentence. In the derivation of the sentence, the constituents are put to together based on the hierarchy of the projections but this question is raised that how the computational system of Language determines the order of merge for constituents and prevents the syntactic ill formed sentences. In this paper based on the proposed “Proper Inclusion Relation” which regulates the order of merge for constituents, the derivation of sentence in the Persian language is studied. Based on this proposed relation, the computational system of Language only uses the constituents for merge and move that their morphosyntactic features are in Proper Inclusion Relation with each other. The results of this paper show that based on the theoretical foundation of this relation and considering the morphosyntactic features of the constituents in the Numeration and workspace of the computational system, the order of merge and the derivation of sentence in Persian language can be explained. Moreover, this relation can explain the free order of the adjunct in Persian language well.

“Language” carries “Ideology”; and “Power” has always used “Language” in the direction of its domination. The present article is devoted to Stylistic analysis and study some parts of a letter from Shah Tahmasb Safavid to Sultan Suleiman the Ottoman from the perspective of Critical Discourse analysi. This letter is one of the most important letters that was sent from Iran to the Ottoman court during the peace of “Amasya” and around the year 962 A. The authors first corrected the text of this lengthy letter based on a manuscript called "Collection of Commands and Letters" preserved in the Library of Islamic Consultative Assembly No. 3349 and Then, a part of it has been analyzed and interpreted based on Fairclough's semiotic - social approach, as well as one of the components of sociological – semantic of Van Leeuwen’s model and with the help of Wendek's cognitive - social approach strategies and also with the help of critical stylistic tools. This study shows how “Power” has used language to promote and stabilize its ideology and goals.The high abundance of religion institution codes at the structural level as well as the quantity and quality of codes compounds at the process level indicate the ideological orientation of the Safavid system and the reliance of the institution of power on the institution of religion and religious discourse. In this letter, discourses such as the legitimacy and superiority of the Shiite school can also be seen in the linguistic element of the “Index”. The linguistic features of this text also indicate the political-military “Authority” of the Safavid system at the time of the signing the peace of Amasya.

In Saadi's sonnets, there are extensive, artistic, and various manifestations of the binary oppositions. These oppositions have been examined in three levels of word, sentence, and sonnet structure. In the present study, Saadi's lexical binary oppositions have been investigated in three categories: linguistic, literary, and semantic.Combining linguistic contrast with verbal arrays, in addition to enhancing the music of the speech, has given Saadi's oppositions a stylistic characterization. Literary oppositions have detailed in three sections: allusive oppositions, appropriateness oppositions, and preferential simile. Saadi expresses his views on love and the beloved, the norms of society, and some social groups such as the pious, the Sufis, and the Rendans, using all kinds of semantic confrontations and his own special tricks in applying them. Saadi's Satisfaction and submission to God, on the one hand, and his efforts to defend love and aesthetics, on the other, have led to an issue entitled "Transform and Eliminate of oppositions" in the mental system and poems of this poet. In the present study, Saadi's different and specific view of oppositions is examined and analyzed. The basis of the research is the study of all Saadi lyric poems in the prescription of Mohammad Ali Foroughi.

The purpose of this study was to investigate the ‘prototypical model of love’ in the poetry story of ‘Lily and Majnoon’ by Nezami. To do so, the conceptual metaphors of love (Majnoon’s love for Leyli) were extracted from the corpus, categorized according to the source domains and then compared with the model of love proposed by Kövecses (1986/1988). The purpose was to see to what extent the model and the corpus are in line with each other. The results of data analysis showed that all the source domains of the prototypical model of love were also found in the corpus under study. This implies that there is a significant conformity between them. The concepts of fire, beauty, insanity, plant and bondage were found to be the most frequent source domains used in the corpus. Among three types of love metaphors, ontological metaphors and metaphors of unity were the most and the least frequent metaphors respectively. Also, the concept of ‘beauty’ and ‘fire’ were mostly used domains. The concept of ‘bondage’, with positive and pleasant implication, was the only source domain belonging to the typical model of love. There have also been cases where the conceptualization of love in the corpus was different from the theoretical model, including the use of the ‘plant’ as the source domain in mapping with the concept of love.

Gulistan, as a literary text reflecting various cultural issues from aesthetics to politics and religion, is an appropriate ground for the semiotic analysis of Saadi's meaning-making strategies to express these issues. The present paper with a descriptive-analytical method and based on library research seeks to meet this goal by examining Gulistan's first chapter through Juri Lotman's cultural semiotic approach and Klinkenberg's ideas about semiotic insecurity. Golistan's first chapter, representing the relationship between the king and his inferiors, focuses on the contrasts between Dervish and other social strata. This, as the major binary opposition through which Saadi expresses different cultural issues, has a close connection with the concepts of chaos and logos in semiotics analysis of which can help us find Saadi's major strategies to meaning-making. The opposition of chaos and logos is itself embedded in semiotic insecurity as an inseparable part of the discourse of power. The relationship between the king and his inferiors as a power relation mostly represents a breakdown of the political order which indicates that the domain of logos is plunged into chaos in two different ways. In the domain of logos depicted within the space of stories, the chaos caused by the inferiors dominates the political domain of order; however, it is subdued in the domain of logos outside of the space of the stories. This is while the chaos caused by Dervish, as a representative of a social stratum with a special discourse of its own, disturbs the domain of logos both inside and outside of the space of the stories. However, if the concept of power is defined as wider than the political power, Dervish's behavior does not disturb the domain of logos outside of the stories, nor is it regarded as chaos within the stories.

The present article, with the aim of measuring the effectiveness of the ideological square in the analysis of dramatic texts, examines racial nationalism in the discourse of the historical drama "Parvin, Sasan’s daughter". This research has a descriptive-analytical approach and shows how the ideology of nationalism is reflected in Hedayat's discourse using Van Dijk's discourse strategies. In this regard, the main question of this article is: how is the author's ideology manifested in the text of the drama and what discourse strategies have been used to explain it? To achieve this goal, the authors carefully studied the text of the work and then identified and analyzed the discourse components in it, focusing on internal and external actors. Findings show that Hedayat's enmity with the Arabs is generalized to a stronger opposition to Islam and the Semitic race. In his discourse with racial motives, the author seeks to remove these elements from the field of Iranian culture and identity. Using ideological strategies, Hedayat has reduced the error of insiders in his work, and highlighted the defects of outsiders, namely the Arabs. Although the author's ideology of modernity is not directly expressed in his language, it can be achieved by analyzing the discourse of the work.

The present study expresses and analysis of eloquence and imagination in the common views of Rumi and Ibn Arabi on the levels of Adam (AS). In the field of Islamic mysticism, we are witnessing one of the most comprehensive definitions of Adam, his high and exalted position with God, and his rank in the world system. Ibn Arabi and Rumi, due to having common doctrinal and intellectual sources (linguistic richness), have many common views and ideas about this divine prophet, and the reason for this is their common intellectual foundations, especially the Holy Quran, as the main source of knowledge and then Hadiths and Islamic teachings and lectures and teachings of former mystics. Therefore, both mystics have provided comprehensive definitions regarding the place of man in the system of creation. In this article, with a descriptive-analytical method, expressing the principles of Rumi and Ibn Arabi's thought about the levels and existence of Adam (AS) with similar allegories, after explaining and applying common and different concepts and components, we have achieved the same results, which are from: The creation of Adam, the caliphate and manifestation of the divine names, Adam prostrated and the teacher of the angels, the rebellion of Satan against him, the Lordship of Adam, the mirror of the attributes of truth and his position in the arc of descent and ascension, and that Adam is the pole and heart of the universe.They consider the link between the world of property and the kingdom, the keeper of the secrets of truth and the keeper of the world, the ultimate purpose of creation, and finally the place of the mercy of the Almighty over the universe.

Manuchehr Neyestani can be considered as the one of the pioneers of persian modern sonnet(Ghazal). Hussein Monzavi considered him one of the pioneers of persian modern ghazal and believed that his place in the changes and developments of contemporary Ghazal , It remains unknown. Neyestani's all-encompassing endeavor to achieve a new form in Ghazal has made him one of the first Ghazal poets that has taken a step in this direction. His efforts to expand the content and capacities of the Ghazal are also remarkable, and he has not paid much attention to the thematic clichés of traditional Ghazal and their repeated aesthetic criteria, and has replaced individualism, realism, and subjectivism.he has also created new and innovative images based on individual and personal perspectives and inspired by the elements and characteristics of its time and Environment. In the poetic language, he has broken the hegemony of literary language and He has introduced colloquial and spoken words and expressions in ghazal. The present study tries to examine and study the neyestani's modernities in the mentioned fields and to reveal the position of this poet in the dimensions of modernity in Ghazal.