نشریه پژوهش های دستوری و بلاغی
پیاپی 20 (پاییز و زمستان 1400)

Being inclusive of various discourses of different practitioners of fotowwat (generosity), Fotowwat-Nameh (the letter of generosity) is of great importance in political, social, moral, mystical, and literary researches on the subject of fotowwat, its history and effects on Islamic societies. In the meantime, the analysis of the discourse of Abu Hafs Omar Suharvardi’s Fotowwat-Nameh becomes doubly important due to the ijtihad and theorizing aspects as the author unifies the concepts of ethics and mysticism on the one hand, and the development of Shiite views in Sufism and fotowwat on the other . Based on the functionalist linguists’ methodology, this study has drawn on process-analysis to analyze the discourse of Soharvardi’s Fotowwat-Nameh, as well as to discover the mechanisms between the author’s language/mind and the cultural-social context of the text. The high frequency of mental, relational (descriptive/subjective), and existential processes suggest that the positivist and explanative acts are dominant which in turn lead to the legislation of the institution of Fotowwat, unification of the institutions of ethics, mystiticism, and politics, as well as legitimization of the Shiite base of Fotowwat under the direct support of caliph Alnaser le Dinellah. The significant frequency of these processes reduces the communicative and interactive actions of discourse in the text, and is a factor for strengthening the monologic discourse purposes, and for upholding the aspects of value, ideology in the empirical structure (legislative, legitimizing, positive and explicit) of the text.

War memoirs are among the most enduring narrative writings on the “holy defense” in Iran that masterfully offer an authentic account of the imposed war. Masumeh Sepehri’s Lashkar-e Khooban reports adventures of an intelligence agent in 31st Ashura Division. The book provides a series of reports from Valfajr, Badr, Valfajr-8, Karbala-4, Karbala-5, Beitol Moghadas-2, Beitol Moghadas-3, and Mersad military operations. The narrator is the intelligence agent and gives a vivid and inclusive report on these operations. Furthermore, the narrative is fluent and is cemented occasionally with humor, both of which add to its stylistic development. This paper is a descriptive-analytic study of Substitutable elements in the work that aim at expanding overall meaning in the text. Substitutable elements are language constructions that replace other elements and contribute to conveying meaning while making use of humor, emphasis and imagery. Substitutable elements play a twofold role in Lashkar-e Khooban: on the one hand, they enrich emotions and overall discourse to induce the ideological theme; on the other hand, they help expand the language and enhance word bank and grammatical structures, leading to a more eloquent narrative.

Onomastics is a science that encompasses a wide range of disciplines. This knowledge studies the letters from different social, historical, geographical, linguistic, etc. angles. It also help explain the significance of the names from different aspects. In the realm of language, too, the structure of names can be studied and analyzed from different angles. In the present study, we have examined the names of the main books in the field of rhetoric from the perspective of semantic core, clarity, and opacity in an analytical-descriptive manner. The results show that in names that "Balaghat" is the center of the title of a work and the title has an additional structure, the second component should be considered as the core of the work. this feature is also seen in works in which "Badie" is used; but in many nouns, which are preceded by "She’r", the core of the compound is the first part. What is very noteworthy in this study are the Arabic names, many of which can be considered as compound adjectives, although these adjectives do not reveal much about the subject or of the rhetoric. In addition, we are dealing with names in this field that should be considered to have no specific core. But in terms of transparency and opacity, it must be noted that in the name of books that have an additional structure, it often overshadows the core, or in other words, the whole combination, and affects it. Even in descriptive combinations, a word is often found that affects the whole structure. In general, the words "Balaghat" (rhetoric), " Sh’er" (poetry), "Adab" (literature), "Nazm" (verse), etc. are very prominent in these names. However, none of them seem to have made the name transparent; what makes the name transparent is the thematic context of the name or its situational context.

Up to now, many descriptions have been written on Rumi's Masnavi, one of which is the "Comprehensive Description of the Masnavi Manavi". This description is of interest to researchers in the field of Rumi due to its comprehensiveness and the relative needlessness for the audience to refer to other descriptions written on Masnavi. Despite the great efforts of Professor Karim Zamani in compiling the writings of other commentators and the explanation of some verses, there are some shortcomings in this description. The authors of this research, with full respect to Professor Karim Zamani, intend to critique and review the first book of the "Comprehensive Description of the Masnavi Manavi" by relying on the situational context of the verses and the signs of the text. Certainly, the critique of all the verses of this book is beyond the capacity of this research; Therefore, in this study, by categorizing the reasons for the deficiencies in the first book of this description and giving one or more related examples, an attempt will be made to provide a brief picture of the linguistic and rhetorical shortcomings of this description. Through reviewing the first book of this description, we found that due to such things as: ignoring the thematic context, being satisfied with the external meaning and not mentioning the esoteric and mystical meaning of the verses, incorrect reading of the verses, irrelevant explanations in the Brackets with the main purpose of the verse, ignoring the shift of the speaker and the addressee of the verses, ignoring the run-on-lines, etc., the meaning of some verses of Masnavi is contrary to the main intention and meaning intended by Rumi, and there is still a lack of proper description of the Masnavi Manavi.

Layered stylistics is identified as of one of the modern approaches in literary criticism analyzing the literal texts based on the five linguistic layers. The present article is based on analytical-descriptive method in order to identify and compare the phonetic layer of the language in the poems of Seyyed Hasan Hoseini. This research has also illustrated phonetic components in the poems including external and internal sides, as well as the semantic music. The findings of this study suggest that phonetic features of the poems have been realized far beyond pleasure and coloring in the function of their external music. In fact, the poets concern with the social realism is discovered by analyzing the phonetic structure in the form of external music. Using phonetic structure and mixing its various features, Hoseini has set to critique his society. The semantic music has helped the poet to create accurate images. As a result, this layer of stylistics has provided the audience with moving, poetic images.

The present study is a critique, study and description of a type of verb in Persian language that has a different structure from other verbs in the sentence. There are differences among Persian grammarians about this current construction, which has made it difficult to understand and recognize it correctly. Reflecting on the different names chosen for this type of verb reveals the intensity of disagreement and different perceptions in this field. These verbs have different titles such as: impersonal verb, imperfective verbs, compound pronoun, impersonal imperfect, the singular verb or impersonal verb. The present article examined and described this current special construction based on the syntactic and visual structure in sentence construction. To describe and introduce this current construction, some experts have dealt with examples from ancient Persian and others with examples from contemporary Persian. The authors of this article, however, describe the verb in a different and practical way using both approaches simultaneously. Because the exceptional structure of these verbs has led to different descriptions of them, these views have been criticized and examined, so that in the end, with a clear and precise linguistic description of this verb, small step is taken to better understand the Persian language. The research findings show that the current construction is always compound and usually transient, and its personal/impersonal status can only be identified based on the sentence structure. For various reasons, it is better to call it an exceptional compound.

Imagery is an important feature of adolescent’s poetry. Attractive imagery and the success of the poet in presenting the poetic images is dependent on the extent of the use of image-making illustrative elements in each poem. The purpose of this article is to examine the three types of image (descriptive, imaginative-realist and imaginative-dynamic) in selected adolescent’s poetry of the 90s. The frequency of each image has been extracted and analyzed in the poems of 20 poets of adolescent’s poetry (10 male poets and 10 female poets). The studied works are in the form of a collection of adolescent’s poetry today and are published by the Children and Adolescents Development Center. The research method is content-analysis and the data collection method is in the form of library documents. The results showed that descriptive images had the highest frequency and application. The reason for the great use of descriptive images is the poets' desire for nature and the use of natural elements for illustration. Imaginative-dynamic images, which play an important role in the animation and dynamics of poetic images, had a lower frequency.

The rhetorical and sociological critiques are two writing tools available for literature researchers. They are used for analysis of the writing. Now if we can provide a methodological and purposeful relation between these two types of critiques, the narrow boundary between literature sociology and sociological critique become more evident. Meanwhile the dynamism and fluidity of writing tools is strengthened and the capabilities of author and the capacities of its writing are known more than ever. The main question of current research is represented like this, how relevant and discussable is the relationship between rhetorical critique and sociological critique while performing literature researches? And essentially how can we achieve the dynamism and fluidity of critique through this path? In the current study, we tried to apply mixed method (basic and applied researches with quantitative and qualitative focuses) and by using library research over three less known stories of Gholamhossein (Stories of Morgh-e-Anjir, Pygmalion and Seda Khone), detect the boundary between literature sociology and sociological critique in a practical manner. In addition, a methodological relation is created between rhetorical critique (knowledge semantics, expression and prosody) and sociological critique (Pierre Bourdieu’s action). Overall, Research findings indicate that: 1) Using the knowledge of rhetoric, one can understand the habits of people, their capital and position in the field of social space, 2) As soon as there are changes in the capital and position of individuals, purposeful changes take place in the rhetorical sector. 3) With regard to this, not only the story is examined in the literature layer of the text, but also the functionality and dynamics of the literature are explained. 4) It is also possible to understand the abilities of a writer such as GholamHossein Saedi, how delicately he writes and gives a rhetorical color to sentences, and with this change, the characteristics of sociologists also change. This research is an introduction to new research in the field of literature and is a beam between multiple beams.

The position of words in a sentence and its effect on rhetoric is one of the most important topics that Abdul Qahir Jorjani has raised in "Nazm" theory. He examines the position of elements under the heading of "preposing and postposing", and, of course, in relation to definition and refinement. Jorjani’s ideas are consistent with information construction and subject-information construction in Halliday's "Functional Grammar" theory which focuses on lexical arrangement in sentences. Vocabulary arrangement can be considered as one of the most prominent features and the basis of syntactic structure in the Garshaspnameh and the story of Bijan and Manijeh. Therefore, in this study, we have examined the prepositions and postpositions of the main elements of a sentence and analyzed the rhetorical function of each in about 3000 sentences of the two poems. In this regard, first we examine the frequency of preposing and postposing of the main elements in sentences which have a subject and also the sentences with a deleted subject in the mentioned range of two poems. Then we have entered the statistics in the tables representing the distribution in terms of number and percentage creating a precise analogy between the poems. Then, with reference to the table related to each section, we have analyzed the rhetorical function of the elements according to its position in the sentence. The results of the research suggest that in addition to compulsion in observing the meter, rhetorical intentions such as emphasis, paying tribute, humiliation, confinement, etc. have a significant effect on preposing and postposing the main elements of the sentence, and on the position and order of words in Ferdowsi and Asadi Tusi's poems. The Main rhetorical method of the two poets is their foregrounding of of the main elements, especially the verb as a means of emphasis.

This study has investigated the aspects of musical familiarity in Mahmoud Kianoosh's children's poems with a formalistic approach and an analytical-descriptive method. Russian formalists pay special attention to language, and especially to the music of language, to the extent that they prioritize speaking over what is being said. The composition of children's poetry is also based on the central axis of language music. In this transition, the importance of paying attention to musical factors in children's poetry becomes more apparent. Factors that lead the word towards poetry and, according to the formalists, lead to linguistic prominence. From applying this theory to Kianoosh's childish works. The linguistic distinctions in the external and peripheral music axes, two obvious factors emerged that have caused the linguistic importance of his youthful poems. With the help of classical and modern poetry, he has identified the language of children's poetry and led it to be musical. Kianoosh's art uses rich types of rhymes and dynamic rows, relying on selected prosodic weights, and in the sense of hearing, it is like arrogance and pride. He uses his ability to take advantage of the pleasant weight of the stream and pay attention to the functions of the line and the rhyme and focus on matching the theme with the poetic weights and has shown the audience the use of verses and sequences related to the theme of the poem. He has deliberately and consciously used every musical element in the poem to turn the child's poem into a creative and dynamic poem. Therefore, he should be considered the pioneer of modern child poetry in Iran.

Civil law is one of the laws that have a wide role in determining and examining human rights, their specific rules and regulations. Due to the importance of civil law in ensuring the safety and health of society, it seems necessary to observe the grammar and principles of Persian writing; because incorrect phrases and incomprehensible sentences confuse law enforcers and cause differences in inference from the law and loss of the rights of its subjects. Therefore, for the correct implementation of the law, everyone must understand, not be specific to a certain class. Therefore, observing the principles of Persian writing is one of the most important duties of any writer in writing any type of writing and causes clarity, maturity and semantic accuracy of writing, which in addition to protecting the language and institutionalizing the correct writing pattern, causes More readability of the text; Durability, efficiency and effectiveness of the work. Therefore, in writing and compiling law books, one should be very careful so that it does not go beyond its framework and spelling, grammatical and linguistic errors do not get into it. In the present study, the pathology of civil law from the perspective of Persian writing principles and grammar has been studied with a descriptive and qualitative method based on library study. Target; It is practical and pays attention to the correction and editing of legal and legal sources by those involved in this field with the help of experts in Persian language and literature.

The present study has investigated the speech acts in the interrogative sentences in Salman Savoji's poetry in a descriptive-analytical method. The research findings show that there is a coherent link between Salman's language and his thought i.e. the poet uses language appropriate to his audiences’ position and social status. Salman has used the most questions in his expressive acts. First, he seeks to convince the audience and attract their participation and approval. Salman uses these questions to express his views and gain the approval of the person who is eulogized. Second, he seeks to exaggerate, highlight, and emphasize the content of the speech which corresponds to the texture of the ode, the descriptions, exaggerations and imaginative praises of a eulogy. To observe the didactic aspect of his poetry, and also to maintain the high dignity of the eulogized person, Salman, in the persuasive acts, avoids the direct asking of his request. Doing so, he lowers the obligatory and reprimanding connotation of his words resulting in the audience’s lack of willing to oppose him. Expressive acts usually have close and intertwined meanings. This conceptual affinity creates a vast network of intertwined concepts or "conceptual auras." Therefore it becomes possible to engage the audience's feelings in reading the text and strengthen the desired effect by reinforcing the emotional richness of the words. The speaker's words are explicit and unambiguous in commissive acts, so due to the multi-layered nature of literary texts, this act has little place in poetry.