مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 75 (امرداد 1401)

Mohammad Yousef Kalhor Kermanshahi, alias to Yousef, is a talented poet and writer of the thirteenth century AH. He is one of the powerful speakers of the literary return period whose scientific and literary position has not been researched as much as he deserves. He has some valuable works on poetry and prose. There is a collection of poems among his works that has been composed in various forms of ode, Gazelle, Masnavi, a piece of poetry. The current study mainly aims to investigate stylistic analysis of his poems and lyric poems. Besides, revealing the linguistic, literary and intellectual approaches of this poet will also lead to the discovery of some historical and cultural facts of Iran.

Due to the theoretical entity of study that is based on descriptive-analytical research in library, the society in question is the Divan of Mohammad Yousef Kalhor Kermanshahi that is corrected, explained, annotated and suspended by Mohammad Ibrahim Malmir and Azadeh Hosseinzadeh, and published by Ansari Publications.

Yousef"s innovations in the field of words and inventive compositions have caused his poems to have a special appearance among all his contemporary people. The themes of love, ritual, mysticism, praise and boasting are among the ideas that dominate his poems. Besides, simile, allusion, irony and personification are among the most prominent figurative languages that have been frequently used in his poems.

Examining the main features of these poems shows that Yousef"s poetic language is mostly simple, mature, pleasant and free from the flaws of eloquence and rhetoric.

Educational literature in the general sense refers to poems and works that contain topics such as wisdom, advice and ethics. In the works of poets of different eras, there are many poems in moral teachings. In this article, moral virtues based on the model of Khajeh Nasir al-Din Tusi in the book of Naseri ethics have been studied.

The research method in this article is a library and using the content analysis method of qualitative type, the necessary analyzes will be performed and finally the research findings and results will be presented in a descriptive-analytical and inferential form.

Khajeh Nasir looks at ethics in Nasserite ethics with a philosophical approach and divides practical wisdom into three categories of ethics, housekeeping and civilized politics and divides ethics into two categories of virtues and vices. He believes in the four main virtues: wisdom, courage, chastity and justice, and puts other virtues under the subset of these four main virtues and believes that these four main virtues are obtained from the different functions of the three different powers. Examining the poems of the poets of the Awakening period, it was found that among the four main virtues, the poets of this period paid more attention to the virtue of justice.

The most important moral virtue in the subgroup of the main virtue of wisdom that the poets of this period have dealt with is the attention to science and knowledge that has been proposed by poets to compensate for the backwardness of the country. Under the main virtue of courage, these poets have paid more attention to issues such as diligence, humility and courage. Regarding the main virtue of chastity, the subjects of chastity and hijab, contentment, good mood, and patience are more frequent. In the sub-category of the main virtue of justice, poets have paid more attention to issues such as religiosity, truth and honesty, kindness to parents, compassion and rewards.

Many ancient literary works are full of sublime and valuable topics and concepts that are known as educational literature among literary genres. Even some of these educational resources have concepts that can be adapted to new theories of various sciences such as education and psychology. One of these new theories is the "Bandura learning" theory. In this article, the methods of education and learning and its adaptation to the above theory in the textbooks of the fifth to seventh centuries have been studied.

This article has been done by library-document method of content analysis.

By studying and examining the works of educational literature, evidence can be obtained that show that many creators of literary educational works have dealt with various methods and methods of education and learning, which in many cases can be consistent with new theories of psychological learning. These rich sources, which may have nurtured many contemporary theories of psychology, remain largely unknown in this regard. Examining these works and adapting them to contemporary learning theories such as Bandura theory is one of the innovative aspects of the present study.

Many of Bandura"s views on education can be seen in the textbooks of the fifth to seventh centuries, and each of these speakers in some way in their teaching stories and advice have referred to the elements of education and learning, among which theories. Triple interaction of person, environment and behavior; Observational learning, patterning and reciprocal algebra can be mentioned. Due to the fact that the educational materials, under the influence of previous works, are very similar to the statements and beliefs based on the theory of intertextuality, but the difference in their style and manner of expression has distinguished them.

Handwritten texts, which have remained of the ancestors and are technically called manuscript, are the main part of cultural heritage of every nation and country. Therefore, scientific maintenance, conservation, correction, and research of them are the cultural obligatory. Javaher Al-asrar couplet poem by Rashidaye Tabrizi is one of these invaluable manuscripts which is now under our correction and this article has been written to introduce it.

The present research is a theoretical study that has been done by library method and descriptive-analytical method. The study area and population is a manuscript of javaher al asrar.

This couplet poem, as its name shows, is about mineralogy, and is worthy in terms of science history among the other literary works. In the literature, there has been no study about two remained versions of this manuscript.

This investigation aimed to answer the questions as to: Which topics was Javaher Al-asrar written about? in which style and structure was it composed? and concluded that its main topic was mineralogy, and the poet talked about eight pricey gems in eight detailed chapters. He appropriately used the historical stories, and started each section and unit with a quatrain in an innovative way. In terms of language, he focused on making an incorporation more than anything else.

The written heritage of the past is one of the most important components of culture and civilization in human societies and until this heritage is not accurately and scientifically corrected and published, the cultural face of any nation will be fully revealed. It is not possible. Therefore, the correction and revival of manuscripts, which, like strong chains, connect yesterday and today, is one of the priorities of literary scholars. One of the examples of such works of Divan Ansari is the queen of poets in the court of Mahmoud Ghaznavi and one of the greatest praisers of Persian poetry. Although this divan has been corrected and published twice by Yahya Gharib and Mohammad Dabirsiyaghi, but because the copies available to them are not authentic copies, there are problems in both editions.

In this theoretical research that has been done in a library style, with a descriptive-analytical method and relying on the printing of the secretary and the manuscripts that we have obtained, correcting verses from the elemental divan far from taste and The personal taste is based on the stylistic characteristics of the poet and his contemporaries.

Elementary poems have been corrected twice so far by Yahya Gharib and Mohammad Dabirsiyaghi, both of which are accompanied by problems that prevent the reader from receiving the exact meaning of his poems, and this is due to the fact that these two proofreaders They have not seen any elements of the elemental court.

By referring to the numerous manuscripts that we have obtained and considering some elements of the elemental style and his contemporaries, it was concluded that the defects in the corrections made from the elemental poems, or due to the mistakes of the scribes or proofreaders.

Gulistan of Sa’adi is among the literary works which has always been noticed and imitated to a great extent due to its specific features of structure and content. These imitations are sometimes seen in the content and other times in the prose and structure of the later works coming after Sa’adi. Qa’im Maqam Farahani is a politician who has been quite familiar with Gulistan and has considered it while authorizing his Monsha’at. This research has been conducted having the following goals: realizing the depth of impact ability of Qa’im Maqam from spiritual music of Gulistan, comparing Gulistan and Monsha’at in the use of rhetorical figures, recognizing the similarities and differences in expression style of Sa’adi and Qa’im Maqam, and understanding the type of intertextuality.

This research has been done in a descriptive-analytical manner. In order to do so, rhetorical figures containing: simile, metaphor, kenning, and trop are extracted and counted and then are analyzed and compared based on some drawn diagrams. The study area is the first hundred pages of Gulistan and Monsha’at.

In this book of Qa’im Maqam, in addition to some of Sa’adi’s expressions and poems, imitations of structural qualities of Gulistan can be also detected in the prose poem. Qa’im Maqam has mostly followed Sa’adi in terms of using figures of speech such as rhyming prose and monophony, but he has not pursued the expressive rhetorical figures used in Gulistan. The biggest difference between Sa’adi and Qa’im Maqam is in the use of kenning. kenning has a higher frequency in Gulistan than in Monsha’at. This is due to the thematic difference between the two works, which implies the speech to be clearer and leads the kenning of the speech to be more ambiguous.

Qa’im Maqam has consumed more extensive similes in comparison to Sa’adi. It also seems that he has used less metaphors but more similes in general than any other rhetorical figures in his own Monsha’at. Also, the use of metaphor, trop, and kenning is spotted less in Monsha’at. The general result is that Qa’im Maqam has been influenced by the internal music of Gulistan rather than its spiritual music.

Iskanderbeg Turkman is one of the most prominent secretaries of the Safavid period and a special secretary of Shah Abbas I, who wrote many letters of the Safavid period. One of the most notable works of the Safavid period is the book History of the Abbasid Scholars, which is the main subject of this research and was created by this master secretary. In this research, an attempt has been made to examine the stylistic and writing features of this book. Because this work, as one of the most detailed and famous works of the Safavid period, can be a significant example of the intellectual and writing style of the teachers of the Safavid period.

The present study was conducted in a descriptive-analytical manner based on library studies.

In comparison with the various and compelling works of the Safavid period, this work has been somewhat faithful to the simplification method that Skanderbeg emphasizes; But Skanderbeg being the secretary and secretary has caused this work to be written in the style of secretaries, in a compulsive and secretarial way. In writing the book, the author has used two methods of simple and artificial prose. Phrases and secretarial tasks that were used in most of the books and letters of that time are less mentioned in this book, and contrary to the mental background, such things as prostration, use of synonyms, addition of additions, puns, Arabic poems, etc. are as common as other texts. Or letters of the Safavid period have no frequency.

The talent and literary knowledge of Skanderbeg the secretary has become one of the reasons for his success and the permanence of his work. Balanced use of literary industries such as metaphor, simile, metaphor, rhyme, citation of Quranic verses and the use of Persian and sometimes Arabic poems and ‌‌‌… has increased the richness of the text and the effect of the word and in this regard can make the book more important puts.

Majles-e-Ara is a version of moral-narrative educational texts of the 11th century AH written by Mohammad Mohsen Shirazi in forty hadiths and Majlis. The purpose of this study is to express the characteristics of the stylistic index of this work. Research

The present study is a theoretical study and has been done in a documentary (library) method.

The present study is a theoretical study and its method of data collection is documentary (library).

Categories such as the use of words, phrases, hadiths in Arabic, the use of the ancient form of continuous verbs, the use of prefix verbs, the omission of verbs to the verbal counterpart, the use of the plural verb for the singular verb, the use of prayer verbs, interest Taking from rhetorical and spiritual rhetorical industries such as rhyme, pun, simile, metaphor, allusion, etc. are important linguistic and literary features of the work. In terms of intellectual level, he has dealt with moral issues such as advice, sermons and guidance by quoting verses and hadiths from the Prophet (PBUH) and the Imams (AS) and the poems of great poets.

Majles-e-Ara is a prose work mixed with order and has a simple and fluent prose, and at the same time it has convincing words and coherent and strong combinations and includes subtle and long themes and is close to the words of prominent masters of past centuries. It seems that in this case, Saadi"s method in Golestan has had an effect on the author of the work, in which the frequency of literary arrays such as prostration, pun and metaphor is higher.

The Baroque literary school, which was formed in Europe after the glorious renaissance, had new features that doubled the beauty of literary works. The themes observed in this literary school were so prominent in the minds of our poets several years ago that they were not explicitly evaluated. In this regard, the similarities of the themes of this school and Khaghani poetry made us to do research in this field, because we believed that many commonalities can be achieved in the style of Khaghani poetry and the Baroque literary school.

This research is based on a descriptive-analytical method, in which we first identify the themes of the Baroque literary school, then extract its common points and Khaghani poems and interpret and analyze them.

Although Baroque themes in the West originated several centuries after Khaghani, its characteristics can be well reflected in Khaghani"s poetry, and this shows that the poetic style of our ancient poets had certain characteristics, but the same Western theorists have not studied those poems in detail; While they have many hidden angles to illuminate.

The themes of the Baroque literary school in a general perspective in Khaghani poetry are significant and its characteristics are quite clear. The lack of imitation of the ancients, animation, the existence of themes of mortal thought and contradiction, etc., the common themes of the Baroque literary school and Khaghani poetry made it worth considering. In this research, using the evidence of Khaghani poems and their adaptation to the themes of the Baroque literary school, we have proved the common themes.

Stylistics is of special importance as a science that examines the different domains of a work and its creator, relying on the objective and real issues in the text. This knowledge shows its values ​​when the studied work is also considered in terms of the presence or antiquity of the author, and because many works written in the Safavid era are known only as a manuscript and a place beyond the "catalogs". Have not been found or the introduction and correction and expression of stylistic features in its various layers include important cultural features that pave the way for cross-textual research and other literary sciences. In addition, it sometimes reveals historical and social manifestations. Sheikh Allameh ibn Ail Danieli is an unknown poet among the many poets of the Safavid era who not only he but also his works have remained unknown. In this study, while introducing the manuscript of the book "Jawahar al-Adraj and Zawahir al-Abraj", we have examined the ode at the end of this poem from different stylistic points of view so that readers can compare the evolution of the tenth century ode"s poem with later periods.

In this research, the poet ode"s poem has been studied in different fields of stylistics (linguistic, literary and intellectual).

In phonetic studies, it is revealed that the weight of the ode has changed drastically and has been composed according to the most frequent weights of the ode. The music of the poem has a natural state, and the words lead the ode to the poet"s naturalism rather than to the audience"s attention to mystical matters. Mystical terms have only a theoretical dimension and the poet has used them based on his information and resources. Since the period of the poet is the period of the domination of religion and Shari"a, the existence of praises which is one of the principles of the ode is about the Prophet (PBUH) and Ali (AS) with the only difference that he is not present in this ode and is not alive. Its condition is not found in this poem as it was used in the poems of previous periods.

The frequency of tangible and objective words shows that the poet, in spite of using mystical terms, is a bold poet and seeks to make tangible and tangible things perceptible by using objective words. The high frequency of words related to nature indicates the poet"s interest in nature and elements. He is a poet who opposes politicians and criticizes and judges their oppression in this story.

Centralization is a challenging and emerging perspective in the field of narrator discussions and perspective in narratological theory that discusses the perceptual aspects, emotional and ideological reflection of the narrators and focuses on who sees the world of fiction. In this article, an attempt has been made to examine the story of "I turn off the lights, Ms. Zoya Pirzad" from a focal point of view and in psychological terms. The reason for choosing this approach is that in this story, the author has explicitly and explicitly used the category of "who sees" in the context of centralization. The first person narrator of the story, Clarice, by focusing her attention and perception on the mindsets and inner selves of her identity and those around her, finally at the end of the story changes her worldview to the narratives of identity, gender, love, emotional and cognitive issues in the field. Psychology and social challenges.

This article analyzes the content of the data from the perspective of centralization and from the theoretical point of view of post-genetic issues and what Raymond Keenan has considered from the story of I turn off the lights and then analyzes the content of this data.

The story of the lights I turn off is a reflection of a woman"s focal point of view in contemporary fiction of the eighties. As the focal point of the story, Clarice focuses on the past and the present and seeks her identity, part of which is her ethnic heritage in the collective subconscious. What affects her feminine identity, and by focusing on it, she intends to align the audience with it, is the need for the attention of others and the avoidance of criticism.

In centralization and its emerging topics, the audience becomes acquainted with the perspective and worldview of the reflectors of the story to their inner and outer world and sees the invisible. By analyzing centralization, it is concluded that Clarice, by focusing on inner thoughts, psychological aspects with cognitive, emotional, and ideological dimensions, can reflect her lost identity and lack of intellectual independence. Achieve a mirror of her life performance and in this reflection achieve her change of attitudes towards the roles of female identity, wife, mother, family and a social activist. It also reflects and challenges its pessimistic thoughts, which are the result of ethnic subconscious heritage, and forms new changes with a new focus on life and community, and the family.

Shah shoja’ (733-786 AH) is the most prominent king of the Muzaffar dynasty and one of the greatest kings of the eighth century in Iran. He was interested in poetry, literature, and the training of scholars and poets, and had gathered many of them at his court. He is the main audience of Hafez"s poems. In this article, we intend to discuss the role and influence of Shah shoja’ on Hafez"s poems. For this purpose, while introducing Shah shoja’ and expressing his role in the scientific and literary process of the eighth century, we presented two newly found sonnets from him and these two sonnets in terms of style with two sonnets from Hafez who welcomed these two sonnets of the Shah Brave is composed, we compared.

The present study is a theoretical study in the form of library research. The area and community studied are books on eighth-century history, literature, and poetry, as well as manuscripts that include poems by Shah shoja’.

Remained Arabic and Persian poems and also letters from Shah shoja’ demonstrate his cognition of eminent poets such as Sa’adi and Ferdowsi. He also annexed some poems from these poets. Furthermore, Shah shoja’ was proficient in poet criticism.

Shah Shoja "as a cultured audience and people of taste and literature, in addition to understanding the poems of Hafez and other poets, has not been ineffective in their formation and type of poetry; In such a way that Hafiz has composed two lyric poems in response to his lyric poems, Informed Salman Savoji has changed his ode due to criticism of Shah Shoja’ and Ezz al-Din Motahar has guaranteed five verses of the verses of the brave king in his ode.

In recent decades, stylistics research has led to a lot of growth. One of the branches and fields of stylistics is the study of female"s intellectual style and writing. In some women"s novels, even written by female writers, although the main characters are female, but with a negative attitude, they emerge in the form of a lower intellectual and cultural level than men, and in these novels, it has been talked about against women, with the production of superstitions and negative imagination. In this study, the main purpose is to investigate the negative feelings of contemporary female writers towards female personality in the intellectual style of Shahrnoush Parsipour Moniro Ravanipour.

This research has been done in a descriptive-analytical manner using the method of intellectual stylistics. The samples were randomly selected from the two authors.

The production of superstitions against women, the negative feelings of female characters towards each other in the novel, and the horizontal violence against each other, contrary to feminist theories, in order to strengthen the power of patriarchy in the novels in question, have been clearly considered by the authors.

In the novels of Shahrnoush Parsipour Moniro Ravanipour, the main characters are women but women have less education and social and cultural activities than men, and their most important concern is trivial issues. The intellectual level of some contemporary writers, including Shahrnoush Parsipour Moniro Ravanipour is influenced by the prevailing discourse, the same patriarchal discourse, in a way, regression about women can be found in their works

Sharafnameh is an important source in the history of the Kurds and the land of Kurdistan. Wiki is one of the most valuable sources in the study of the local history of Iran and the Ottoman Empire, especially in the tenth century. This work, in addition to narrating events, includes a wealth of information on the style of government, the tax system, the judiciary, and the geographical information of Kurdish sources. Our aim in this research, considering the value of this work and with the intention of recognizing and introducing it further, is to study its structure and content and to show its stylistic components. By describing and analyzing Sharafnameh in three levels: linguistic-structural, literary-artistic, aesthetic and content-intellectual, the author has tried to show the valuable and salient points of the work to the audience.

The research method in this article is descriptive, analytical and the information has been collected by searching library resources. The scope of the study is Sharafnameh book, in which many examples of stylistic and content characteristics based on inductive method have been mentioned.

The findings of the study indicate that Sharafnameh has the same characteristics of historical prose of the Safavid period and is considered as a legacy of the Timurid period, which is influenced by factors such as the spread of the Turkish language as a result of Turkish rulers and rulers and the influence of Shiite scholars in promoting The Arabic language, as well as being influenced by the cultural context of the Kurdish-speaking land, is rich in Turkish, Mongolian, Arabic, and possibly Kurdish or Kurdish-like words.

One of the features of the prose of this book is the artistic use of rhetorical industries in the field of rhetorical and spiritual rhetoric, among which; Prostitution in the realm of novel rhetoric and intensive simile, allusion and irony in the realm of spiritual novelty are the most frequent literary arrays. Sharafnameh intellectually includes features such as; Elitism is a critical Shari"a and at the same time a praiseworthy approach to the Kurds. Other features of the prose of this book are etymology and repetition of synonyms. The author of the book, in the preface and all the chapters of the book, stretches the speech as much as he can with a concise prose, and when his intention is only to mention an event, his words are simply desired. Mirsharafuddin"s pen is fluent and easy to understand, except in rare cases.

Biddle Dehlavi,a famous Indian poet, is a poet and illustrator who took the word “color” out of its specific meaning and turns it into various and pleasant forms with a relative and compositional mind and with that word, the network has created a very wide association. The purpose of this researches to study and analyze some of Biddle’s illustrations and innovations with color motifs from a linguistic and to rhetorical perspective and to explain and clarify its connection with his ideas and thoughts.

The present research has been done by descriptive- analytical method and library method. The main source of the work was Bidel Dehlavi’s Divan, edited by Akbar Bahdarvand, which was published by Negah Publications.

In Biddles Divan, the word “color” has been used more than seven hundred times, so much so that in addition to the “poet of mirrors” attributed to him by Dr. Shafiee Kadkani, he can also be called “poet of color”. color is used in Biddeles poems sometimes linguistically and sometimes in literary and rhetorical structure. Sometimes it is intended in the literal sense, and sometimes in the virtual and unreal meaning. Thus, this element has played a significant role in shaping the meaning and form of his poems.

From a rhetorical point of view, the remarkable frequency of new and abnormal metaphors with the element of color has added to the ambiguity and richness of Biddles speech. The images that Biddle made with the word color are more in line with his mystical beliefs and are summarized in the concept of transformation, destruction and annihilation, which he used in the form of rare metaphors, similes and pristine and fresh allusions and it shows a world far from the mind, chaotic and surreal. From linguistic point of view, additional compounds made with “color” have the highest frequency, especially compounds such as “color circulation” which are related to the mysticism of the poet’s existential unity.