مجله فنون ادبی
سال چهاردهم شماره 2 (پیاپی 39، تابستان 1401)

Abhar-ol-Asheghin, as a volume that uses complex, metaphor-based language, is thought-provoking and obscure. Despite the fact that previous studies have been conducted on the book, its linguistic and intellectual features are not yet fully known. Due to the linguistic features of Abhar-ol-Asheghin and the capacity of conceptual metaphor theory for simultaneous analysis of language and thought, the current study investigates the conceptual metaphors in Abhar-ol-Asheghin by relying on the structural relations between them. This study does not consider the metaphors to be of the same value; instead, it deals with the structure arising from the relations between conceptual metaphors by considering ‘the expansion of the mappings of a conceptual domain’ in the process of ‘entailment’. ‘Paradise’, ‘light’, and ‘beauty’ are the most significant conceptual domains in the text and have been used for the metaphoric understanding of the fundamental concepts in Rouzbehan’s mystical thinking. Other conceptual domains in the text are activated through the expansion or re-examination of these domains. It can be said that the structure arising from the relations between conceptual metaphors in Abhar-ol-Asheghin has three layers: first, Paradise, light, and beauty; second, the expansion of the conceptual domains in the first layer; and third, the re-examination of the conceptual domain in the first layer with the aid of a few other conceptual domains.

The author's gender and the reflection of the elements arising from gender in terms of writing techniques are influential in how the narrative is formed. In this regard, the present study aims to compare the narrative style of Khaneye Edrisi Ha by Ghazaleh Alizadeh, and Sal-e Balva by Abbas Maroufi from the same perspective. Feminist theorists believe that the gender of the author is influential in the texts. Due to the spread of feminist issues in the field of literary criticism in today's world, the component of ‘women's writing style’ has become one of the main topics of text analysis based on the methodology of women's criticism. One of the methods that can be widely used in feminist literary criticism is to study examples of women writing styles in literary works. In this study, most of the important coordinates of women's writing style, consisting of fourteen main and influential components, as criteria for measurement and comparison, are considered by the authors: 1) the strong presence of female characters, 2) maximum use of point of view to reflect the author's views, 3) the saliency of the nature of nostalgia or homesickness as one of the common themes in women's writing style, 4) the reflection of ‘waiting’ as an inseparable feature of women's personality, 5) women's meticulousness, 6) the clear manifestation of the concept of ‘love’ and its related feelings and emotions, 7) anti-masculinity, 8) attention to women's body and physical abilities, 9) the manifestation of a kind of solidarity and cooperation between women, which is called ‘sisterhood’, 10) the use of a formal and polite form of language, 11) the use of special vocabulary that indicates the family issues and a woman's preoccupation, 12) the color words, 13) words and emotional reactions, and 14) multilingual signs The results of the study show that although the author of the novel Sal-e Balva is male, based on the gender of the protagonist who is Nooshafarin as the basis of his narrative style, except in a few cases (such as pornography and the use of incomplete sentences), he was well able to create feminine writing. As in most of these components, the narrative of Sal-e Balva has many similarities with the narrative of Khaneye Edrisi Ha. As far as can be said, the author of the novel Sal-e Balva has used feminine writing techniques in a way that conflicts with her gender. Although Khaneye Edrisi Ha is a feminist novel in general, and in most of the characteristics of feminine writing, this kind of author’s attitude is clearly reflected. But the author's narrative, contrary to expectations, in a few cases (such as the characterization of Shaukat as the hero and the use of female characters in words), clearly shows manifestations of masculine writing. In sum, the authors of both novels have creatively and coherently used feminine writing techniques to achieve their goals, and this fact has brought advantages to both novels.

The book Hamleye Heydari by Mirza Mohammad Bazel Mashhadhi is one of the prominent Persian religious epics of the 12th century. This verse epic is about the campaigns of the Prophet of Islam (PBUH) and the wars of Imam Ali (AS). Using adjectives is among the methods that Bazel Mashhadhi paid special attention to in shaping the structure of his epic language. The use of adjectives in Hamleye Heydari, both artistically and non-artistically, is a tool that the poet has used to describe characters, battle scenes, animals, objects, and to show his emotions and feelings. This descriptive-analytical study aims to identify and introduce the characteristics of religious epic works. The attributes have been investigated and expressed in two categories: linguistic (grammatical) and artistic (rhetorical). Also, the most important function of adjectives in this epic work is investigated. The results of this research show that Bazel Mashhadi paid more attention to the use of subjective adjectives from linguistic and rhetorical points of view than to the use of ironic adjectives. The function of these attributes has led to better visualization and objectification of epic scenes. This can be considered an important factor in the fame and longevity of this epic work.

Formalism is a school that looks at literary works regardless of possible historical, social, and political influences. Skaz is the tone of the narrator of a poem or story. Obviously, due to the difference in the atmosphere of the poems, the tone must also change accordingly. Factors such as the choice of the prosodic meter of poetry, rhyme and line music, and imaginary forms are influential components in changing the poet's tone. Also, the degree of presence or absence, as well as the simplicity or difficulty of these components, in a text, reveals the importance of the poet's attention to tone differences. With that in mind, Fazel Nazari uses a joyful meter that fits the romantic atmosphere of the poem, while the meter of his lament has been chosen to be depressing and sad. In romantic lyric poems, he uses rhymes and long lines to make the poem more musical; but in the lament, a short line is enough. Moreover, the presence of images is much more prominent in his romantic poem than in his lament and he uses the magic of proximity to create music in lyrical spaces.

The rhetorical technique of “Adaptation” refers to the process of taking the sacred word [divine word/the words of religious leaders] and applying it to the speech of humans. This technique, like many other innovative techniques, is generally considered a decorative tool due to the dominance of the ornamental approach over novel science and its other functions have been neglected. The present study has tried to distance itself from this approach in a descriptive-analytical way both theoretically and practically. In this regard, on the one hand, by designing and examining the ideas of rhetoricians regarding the technique of adaptation, and on the other hand, by presenting and analyzing several examples from both the Arabic and Persian languages, it has tried to highlight the argumentative-persuasive function of this technique. Furthermore, based on one of the arguments presented by Perleman and Tyteca titled “argument from authority”, a model of the function of the technique of adaptation is presented. The conclusion of the discussion is that the speaker, based on this model, uses the sacred texts as an argument, proof, and a valid reason to confirm and prove his claim, and through it, he convinces his believing addressees.

Since traditional rhetoric is not an answer to the study of many images of modern poetry, including the images of symbolist poets and their dependents on abstract images, new foundations must be laid by which the beauty of these works can be analyzed. Mahmoud Fotouhi’s book Image Rhetoric, by separating the images related to each literary school, including classicism, romanticism, symbolism, myth, and image, has explained specific visual principles and functions for each of them. By means of those principles and image characteristics that he presents about each school, the poetry of the poets of the mentioned schools can be examined and analyzed. In this research, the Image Rhetoric book of Mahmoud Fotouhi has been critically examined. Since the problems of the book in question are numerous and do not have any structural or thematic similarities, the authors refrained from categorizing the problems and indicated the pages of each case with a separate number. The results show that the book has 10 problems. The most important problems are the contradictions and inconsistencies of the author’s view about general attitude, examples of unimagined poetry, and the belief in meaninglessness.

Among norm-deviationist poets, Nizami Ganjavi can be considered as a poet, who has used the method offoregroundingin hisspeech.In Nizami's works, metaphorical language compared to other literary techniqueshas been mostly utilized. Yet, we cannot overlook the other literary techniques in his works.Different norm deviations, such as melodic, grammatical, and lexical deviations are apparent in all Nizami's works.He has soartistically deviated from the standard language and attracted the reader to his poems using varieddefamiliarizations.He has not only used deviations as a means of stimulating the reader’s mind in his poems, but also as a way of controlling the Metresinthem.When examining norm-deviation in old works, it is necessary to consider the standard language of the poet at the time of writing his worksinceconsidering the contemporary language by the researcher results in errors. This important principle is regardedwhen investigating norm-deviation in Nizami's works.