نشریه مطالعات زبانی بلاغی
پیاپی 28 (تابستان 1401)

Adding "-i" suffixes to words ending in the [i] vowel creates an odd pronunciation. Although there has been a tendency to avoid this phonetic occurrence, Dari Persian has shown evidences of this phenomenon for a long time. In Rumi's poetry, these pieces of evidence are abundant and appear more as forms of defamiliarization that show distinction and emphasis. In this way, he places a phonetic anomaly in the realm of his aesthetic norms. On the other hand, this stylistic distinctive creates a sign indicating the uniqueness of his experiences and the moments he talks about. In this way, it paves the way from formal and phonetic phenomena to narrow mystical significations. It should be noted that this article is a report on a much broader research that has been prepared over the years based on the numerous shreds of evidence in Rumi’s works and Persian poetry and prose that will be published in the future.

One form of sentence used to convey secondary meanings is the imperative mood. This article focuses on types of sentences involving imperative mood and conveying secondary signification in Rumi’s Masnavi, which he used in his work with his mastery of language and knowledge of conceptual capacities.  The study   The purpose of this study is to investigate the style and structure of imperative sentences in the third book of Masnavi Sharif.   The authors aim to investigate Rumi’s intention in employing imperative sentences and the ensuing secondary meaning with highest frequency. The type of research is basic and descriptive-analytical, and the findings are examined based on content analysis. The statistical population of the research is the third book of Masnavi. The result of the research indicates that Rumi has used all the secondary meaning, and imperative sentences with secondary meaning are not clearly limited to the same cases mentioned in the books of meanings. Also, the most widely used of secondary meaning are guidance, rest, desire, persuasion and encouragement, pain and supplication, and the expression of multiple meanings has been done simultaneously in one sentence by the speaker.

One of the approaches to structural analysis of narration is Vladimir Propp's morphology which focuses on characters actions. This descriptive and analytical research draws on Propp's morphology to analyze and compare  the narrative structure of verse romances Hosn and Del, by Molana Mohammad Ibn Yahya Sibak Neishabouri, with Jamal and Jalal byMohammad Nazl Abadi.’. Both these works, which have a mysterious and mystical substructure, are dealt with in this study to examine and evaluate their rate of efficiency and structural compatibility to Propp's model. The results of this comparative study indicate that these verse romances are similar in terms of structure, functions, and characters, and to a great extent compatible with Propp’s theory. The difference is that actions are   non-consecutive and there are omissions and additions of some functions in both narrations. Also, among Propp’s seven character types, some of characters are merged or removed due to similarities in their functions, depending on the storyline.

Tadhkirat al-Auliya is the only prose of Attar. This book consists of a main and a supplementary part. There are different opinions about the author of the supplement. Some say its author is Attar, and others believe that someone else wrote and added it to Tadhkirat al-Auliya. This study has analyzed and compared the cohesion of the main section of Tadhkirat al-Auliya with the supplementary section in two sample Tadhkiras; Hallaj Tadhkira from the main section and Khavvas Tadhkira from the supplementary section. The study is carried out based on systemic-functional Grammar of Halliday and Hasan, according to which each text is examined from the perspective of three metafunctions: ideational metafunction, interpersonal metafunction and textual metafunction. In the study of textual metafunction, the method of discourse in the context of the work is discussed. Cohesion is one of the factors that is explored in the analysis of textual metafunction along with other factors. In the study of these two Tadhkiras, it was found that, although the Khavvas Tadhkira is shorter than the Hallaj Tadhkira, the number of cohesive elements in it, except in one case, is higher than the Hallaj Tadhkira and it shows more structural cohesion. It should be noted that these differences are not very remarkable, and when these elements are put together, the results are thought-provoking. The closeness of the number of elements of cohesion reveals the stylistic similarity of Tadhkiras to the reader. Assuming that the author of both Tadhkiras is Attar, this slight difference can be due to the passage of time and the use of new sources, which has led to more cohesion in supplementary Tadhkira.

Majdieh Treatise, written by Mirza Mohammad Khan Majdalmalek, is one of the first critical works of Persian prose in the Nasseri period. In line with the awakening movement of constitutional literature to enlighten the thoughts and reform the affairs, this work depicts the disorders of the era in the form of a stable prose, with a critical and humorous language. Many critics have spoken about the literary significance of this work, alongside its socio-historical values. The book's editor, Saeed Nafisi, has called it the greatest masterpiece of Persian prose of the thirteenth century. The main objective of this research has been to search for the excellent literary coordinates of this work and analyze its prominent linguistic and rhetorical features with a constructivist stylistic approach. In this article, the stylistic features of Majdieh's Treatise were examined by descriptive-analytical method, at three levels; linguistic, rhetorical and intellectual and the following results were obtained. At linguistic level, the use of Arabic words, combinations, pronouns, and morphological scales are dominant, which distances the text away from the simplicity of language and adds a variety of literary and artistic capabilities to it. The most important syntactic features of the work are the use of descriptive verbs and its predictive aspect with high level of certainty. At literary level, there is an extensive use of novel figures of speech such as pun, saj’, internal rhyme, leonine verse and parallelism, which create a strong inner verbal music as well as rhetorical effect in this work. Extensive use of novel figures of thought such as contradiction, allusion, congeries, and allegory, in addition to providing the author with the opportunity for reasoning, analogy and affidavit, makes the text more poetic and, in some cases, brings closer to technical prose. At rhetorical level, the use of metonymy and irony- is more artistic compared to other rhetorical tools, due to their effective role in humor. At intellectual level, the main discourse of the work is comprised of criticism for lack of justice, incompetency of government officials, criticism of the economic situation and governmental corruptions and the presentation of reform /ideal proposals in various political and social dimensions.

To remove the sense of habituation from words, the poet sometimes make changes in word combinations as well as structure and syntax. This de-habituation is called defamiliarization, which aims to impress the reader by giving him/her a sense of pleasure. To that end, the poet distort the familiar world of language by using the words other than their normal and habitual way, which is indeed the language of poetry. Defamiliarization is one of the most widely used literary techniques in Hossein Panahi’s poetry. The technique develops the human sensory understanding of life and creates a new world by creating a distance from common linguistic and literary norms. The result of this different understanding and perception provides the pleasure that is one of the literature ends. The conclusion is that, by examining the poems of Hossein Panahi, in addition to finding examples of what have been enumerated as foregrounding, we find examples that de-familiarize the language. Most of the manifestations of defamiliarization are in the form of phonetic names and spoken language at the phonetic level, and expression of visual scenes in language at the metaphorical level. He also used the syntactic and lexical potential to cross the normative boundaries of the current language. This research, conducted by content analysis method with a descriptive-analytical approach, examines the poems of the contemporary poet Hossein Panahi from the perspective of linguistic and rhetorical de-familiarization. The analyses revealed that Panahi’s poetry depicts various forms of deviation, among which syntactic deviation, repetition, conceptual defamiliarization were discussed and examples were provided. In Panahi’s poetry, defamiliarization has both helped to enrich the language and generate beauty and fluency in conveying the message.

Structural semantics, based on Structural Linguistics, was affected by Ferdinand de Saussure's ideas which ensued many semantic studies. This approach explains the methodological study of meaning in the structure of text in terms of how linguistic units become meaningful. In this approach, the value of each linguistic unit is determined in relation to other linguistic units, and to examine the meaning of each unit, all relationships such as semantic contrast must be considered in semantic network analysis. The frequency of linguistic unit "Nazar" and its role in stylistic examination of Saadi's sonnets can show the significance of methodological study of these sonnets in relation to how the mentioned linguistic unit becomes meaningful. Excerpts from Saadi's sonnets provide us with a way to conduct a more detailed analysis of the semantic stylistics of Saadi's sonnets. This qualitative research explores the study of a literary text via a linguistic and stylistic method and aims to deal with the semantic implications of the "Nazar" unit in two semantic domains of love and mysticism and analyze it in a coherent semantic network.

An exegesis of the Qur'an published by Paul Nwyia is attributed to Ja'far al-Sadiq. Paul Ricoeur, French philosopher and literary man, is one of the most remarkable theoretician of literary and philosophical hermeneutic. In this research, referring to the hermeneutics of the Ricoeur and its characteristics, Ja'far al-Sadiq's exegesis is investigated. The mystical hermeneutics of Ja'far al-Sadiq's interpretation are almost in accordance with the hermeneutics of Ricoeur. Interpretation and polysemy in mystical exegeses start with this interpretation. Everyone understands the words and verses of the Qur'an according to his degree of understanding and aspect of being. Based on Ricoeur, metaphor and symbolism are abundant in this exegesis, while myths can only be found about the angels and the Fall of Adam. Stories follow the rules that Ricoeur has expressed for narrative hermeneutics. Ricoeur believes that all interpretations are rightful, but in Islamic mysticism, absurd interpretation of verses is not acceptable.

In order to investigate the relationship between ideology and power, the present paper has studied the social discourse of caste in the story of "Anushirvan and the Shoemaker," drawing upon Michel Foucault’s views within the theoretical framework of new historicism. By analyzing the concept of the caste system in this story, the study aims to explore the hidden layers of the text, namely the relationship between ideology and power in Anushirvan’s time. It is also aimed to examine the role of Zoroastrian ideology in promoting and institutionalizing the caste system. To achieve this goal, the present study is organized around two main questions: 1. Is the content of discourse on caste in Anoushirvan’s era a function of the socio-political situation around it? 2. How is Anoushirvan's ideological views on power revealed in the text of Ferdowsi's story? This is an archival study, conducted with a descriptive-analytical approach. The findings of this study shows that the discourse on caste, with the aid of religion as an ideological institution, helps superiors like Anushirvan rule the society and persuades inferiors to accept the status quo. In this way, caste becomes a tool for those in power to generate ideology and suppress their "subjects."

In the process of achieving literariness, language moves away from its usual form, and linguistic elements in the text go beyond conventional types for an artistic usage. In outstanding literary works, there is a special link between the content and the way linguistic units are used in different layers. Haft Peykar is also one of the unique works, in which Nezami used various linguistic capacities at various levels to strengthen the content and create a kind of stylistic distinction in this masterpiece. A literary work consists of intertwined layers. Therefore, analyzing the text of Haft Peykar with a layered stylistic approach is a proper way to discover the linguistic capacities and artistic function of language units. Accordingly, the role of each layer in the production and transmission of the message is specified in the analysis of that layer. Among the linguistic layers, the phonetic layer is considered as an introduction to language analysis since sound is the first tangible sign of language. In addition to their role in increasing musicality, the components that can be studied for their external, internal, spiritual, and lateral music have found an artistic function concerning the meaning in the Nezami’ words so that even the smallest linguistic units play a significant role in producing and transmitting the message of the work. The rhythmic capacities in the external music cause the music that governs the different spaces of the text to be consistent with the content and the induction of meaning. In lateral music, the purposeful selection of rhyme scheme Rhyme scheme and the resulting melody facilitate signification, production and transfer of meaning from the sound level to the content. Literary techniques are used in the inner music similar to perceptual coding, which leads to readers’ further contemplation and also creates a kind of hypertext signification. The connection of spiritual music with content and the creation of marginal meanings is a novel method that has bestowed a kind of stylistic distinction to Nezami’s words.

Understanding the single words of the Holy Quran depends on principles and rules, knowing and explanation of which paves the way for better understanding of the meaning of the words and ultimately facilitates reaching the divine purpose of the verses. One of the good works in the area of exegesis of the single words of the Quran is The Qamus of the Quran by Seyyed 'Ali Akbar Qorashi. Using a descriptive-analytical method, the present article explores the principles and rules of lexicology of the Quran from the viewpoint of The Qamus of the Quran. The extracted samples have been selected randomly. Studying the book and discovering and examining the principles and rules used by the author, it is understood that the author has systematically explained the words of the Quran with the use of various authentic works and based on clear principles and rules. The book is comprehensiveness in explanation and description of the matters. The author’s method of analyzing the single words maintains a thriving spirit in research and criticism, which is one of the most important reasons for reaching remarkable innovations in this regard.

The rhetorical system of prose texts written after the Mongol invasion often differs completely from the texts written before that; the rhetoric of syntactic often makes the rhetorical frame of the pre-Mongolian texts and, in contrast, figurative language and oratory make the rhetorical structure of post-Mongolian texts. This difference is most of all related to the purpose of the text according to the author’s view and the choice of an appropriate aesthetic system. Unlike the artistic structures of rhetoric of syntactic, the techniques of figurative language and oratory are not compatible with the main purpose of prose texts which is to convey meaning to the reader. Choosing such a rhetorical approach by the author shows that post-Mongolian Persian prose texts have faced a serious crisis in making sense to the extent that verbiage has dominated the texts. This research aims to investigate the rhetorical shift in prose texts from the rhetoric of syntactic towards figurative language and oratory based on the analysis of specific examples.