مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 79 (آذر 1401)

During its historical and cultural relations with Iran, Russia was able to have a tremendous and necessary impact on the intellectual level of Iranian writers by creating and exporting the school of socialist realism. In fact, after the establishment of the new style in Russia and the emergence of the ideological role of art, the presence and abundance of party ideologies, especially after the first conference of Iranian writers in July 1325. Not only was Iranian writers influenced by those ideas and consequently the writing of party novels, but at some points (especially in the forties and fifties) the main themes of the country"s outstanding works were derived from the ideals and slogans of this movement.

The present article is based on descriptive-analytical research method and written using library tools. The statistical population of the study also includes eight novels, four Russian novels: Gorky"s mother, how did steel melt? From Stravsky, Iron Flood by Sarafimovich, and Defeat by Fadiyev, and four Persian novels: Her Eyes by Alavi, The Daughter of a Peasant by Etemadzadeh, My Deer Husband by Ali Mohammad Afghani, and Neighbors by Ahmad Mahmoud.

The most important intellectual components and ideas of socialist realism in Russian and Iranian novels are: "Party writing", "Populism and attention to the deprived masses", "Optimistic presentation of the work", "Type" "Construction", "evolution of characters", "apostasy", "showing the material roots of phenomena" and "realism".

Iranian novels have received an undeniable and undeniable influence from Russian novels written under the school of socialist realism. In fact, Iranian writers, as efficient, enlightened and directional intellectuals in political thought, by using the partisan ideas used by Russian writers in their novels, while creating similar works, introduce idealistic and revolutionary ideas into society.; Ideas that had not been presented in the intellectual sphere of Persian literature before. However, it should be noted that the intellectual similarities between Russian and Iranian writers are not exactly the same, and Iranian writers, despite being influenced, have made significant changes in light of different geographical and cultural conditions.

 Mesbah al-Arwah is the name of an imaginary travelogue to another world, the composer of which is considered to be Shams al-Din Mohammad Bardsiri or Uhud al-Din Kermani. In 1966, Seyyed Zia-ud-Din Sajjadi introduced and published a 638-bit Masnavi called "Khatm al-Gharaib" attributed to Khaghani. Later, some scholars raised ambiguities about the name and author of this Masnavi and various opinions were presented. In the present research, an attempt has been made to prove that the author of this Masnavi and Masnavi Mesbah al-Arwah was one person.

 The present study is a theoretical study and has been done in a descriptive-analytical manner. In this research, based on the hypotheses, a stylistic comparison has been made between Mesbah al-Arwah and Masnavi 638 bits on three levels of thought, language and literature. The study population was the Masnavi "Mesbah al-Arwah" edited by Badi"al-e-Zaman Forouzanfar, published in "Yaman Yafakhar Kerman 2: Shams Bardsiri" and "Khatamat al-Gharib Masnavi attributed to Khaghani" by Zia-ud-Din Sajjadi, published in "Zamin" Farhang.

 By stylistic comparison between the two works, it is clear that they have similarities in the linguistic realm of the vocabulary and the syntactic construction of sentences; Among other things, the words created by the poet himself can be found in both works. Also in the literary realm, the frequency sequence of using different types of literary arrays is largely the same in both works. In the realm of thought, the key themes of the 638-bit Masnavi can be found in the themes of the Mesbah al-Arwah.

 According to the similarities found, it can be concluded that the two works are the work of one person and the linguistic and literary developments in Mesbah al-Arwah indicate that the 638-bit Masnavi is the result of inexperience, and Mesbah al-Arwah is the result of the poet"s maturity; Of course, the identity of this poet is still a matter of ambiguity, and determining whether Shams Bardsiri is the author of these two works or Ohad al-Din Kermani can be another subject of research.

Description is a tool that the creator of the work uses to highlight in words. In literature, the description is a kind of linguistic preparation with a rhetorical approach by the speaker to visualize and objectify a kind of experience and sometimes the speaker reveals his encounter with the world around him and the world inside him. From the beginning of Persian poetry until now, prominent poets have used description tools in different ways and for different purposes and to different extent in all types of literature (epic, lyrical, didactic and dramatic). In this research, the types of descriptions and its techniques in the epopee of "Kushanameh" by Iranshah ibn Abi Al-Khair (sixth century) are examined.

This research was conducted in a descriptive-analytical manner. The method of collecting information is also library.

The most important descriptions of this epopee fall into two general categories of epic and lyrical descriptions. Most of the language possibilities that Iranshah has used in his descriptions are first "puns" and then "additional and descriptive compounds". In terms of expressive possibilities, he compares the most frequent array. The metaphors, metaphors, allusions, and other rhetorical techniques in the pamphlet are usually not new or innovative. Apparently, Iranshah"s greatest effort has been to narrate the story clearly. This, of course, has not diminished the strength and glory of the descriptions and language of this work, and it can be considered as having the necessary characteristics of a successful epic work.

Iranshah has tried to use epic elements and motifs in all his descriptions so as not to diminish the epic color of his work. In fact, it can be said that the main element of Kushnameh"s descriptions is epic. People, animals, objects, places, nature, and abstract concepts are some of the things described in this system. Most descriptions are related to the first group, people and human beings; Because this is an epopee of human epics. Also, the description of sunrise and sunset is the most frequent description of Iranshah in the field of nature in this work.

One of the characteristics of religious poetry in contemporary literature is containing critical-instructive tenors conforming to the political and social evolutions, viewed from Constitutionalism era up to the Islamic Revolution in Iran in this article, Manqabati poems written by poets describing the Imams of the Infallibles have been studied with the aim of examining critical educational concepts.

The method for data collection was using library and index cards and data analysis was descriptive and analytic. The content of analysis was selected from the eulogies of the poets from Constitutionalism era up to the Islamic Revolution in Iran.

Findings of the study revealed that the poets used the religious poems as a basis for demonstrating critical-instructive concepts in order to reform the society and instruct and moralize the readers and audiences. Criticizing the disorders of society, recommending the correction of the affairs relying on the religious instructions, criticizing the demeaning of religion in the society, Gnosticism, recommending the resistance and being faithful against absolutism and colonialism, devotion to Immams, seeking help from Immams to solve personal and social problems, freedom to Qods and Palestine, and awakening the Islamic World are the concerns of panegyric poets.

Contemporary panegyric poets do not see eulogies as just praising and lamentation of Innocent Immams. They made this type of poem for criticizing people"s morals, the rulers" imprudence, correcting the affairs of nation, resistance and being faithful against absolutism and colonialism, inviting to campaign and hopefulness of relief of problems.

Eyn al-Ghozzat Hamedani (492-525 AH) in his book Tamhidat, based on his personal perceptions and perceptions, has made extensive and deep interpretations of mystical, religious and Quranic content. The ontological view of the same judges finds meaning based on the term allegory. The purpose of this article is to divide the concept of representation from the point of view of Eyn al-Ghozzat Hamedani.

In this article, the authors have done research using descriptive-analytical method of collecting library information.

The ontology of the Eyn al-Ghozzat sometimes leads to the ontology of Prophet Muhammad and the devil; In a way, without them, existence becomes incomprehensible. The embodiment, the simile, the unity of existence, the divine manifestation and the like, is the classification resulting from this ontological and sometimes ontological view of the same Eyn al-Ghozzat.

The Eyn al-Ghozzat have been very meticulous in explaining the term allegory. He has indirectly divided the term allegory into subsets of embodiment, simile, unity of existence and manifestation, and the like.

Out of body (departure of the soul from the body) is one of the important issues in Islamic mysticism that mystics have discussed with the belief in the incorporeity. In this article, with the aim of examining the common intellectual style of mystics in believing the Out of body, the interpretations and allegories of Out of body, its conditions, requirements and examples in the texts of mystical order and prose have been studied.

Data collection was done by note-taking method with a general review of mystical texts in a library and the article was written in a descriptive manner by selecting a sample of outstanding works of mystical texts.

There is a belief in the Out of body in mystical works. Mystics believe that some saints reach a level of behavior where the body becomes like a garment for them and the soul can bring it out. They have also repeated the interpretation of the bird and the cage that the soul is released from the cage of the body like a bird. God"s love, austerity, abandonment of material belongings, asceticism and self-cultivation are the conditions and necessities of Out of body. Out of body is different from voluntary death, but the mystic who have reached voluntary death are easier to Out of body. The dignity of mystics is an example of Out of body that is repeated in mystical texts.

Out of body in Islamic mysticism has been a common thought and common thought style of mystics in different periods. Their constant effort is to acquaint the soul with the Alawite world, which is caught by the descent into the material world and is in opposition to the body. Because he belongs to another world and is single, sometimes the human soul leaves the body to connect with the Alawite world or revelation, dignity and mystical experience.

Stylistics is one of the effective scientific solutions in introducing the various features and characteristics of a work. Rahim Moeini, Kermanshahi, nicknamed Moeini, is a talented contemporary poet and songwriter and one of the most powerful speakers in the field of lyric poetry, whose literary position has not been deservedly researched and explored. One of his outstanding works is the collection "Burn the candles". This article examines the stylistic features of this collection at three levels: linguistic, literary and intellectual.

In writing this article, the poetic features and characteristics of Rahim Moeini Kermanshahi in the collection "O burn the candles" have been introduced in a descriptive-analytical manner and in three axes of language, literature and thought on his lyric poems.

Rahim Moeini Kermanshahi is one of the poets of the contemporary era who has mostly acted in the style of Iraqi style poets in his sonnets. His poetic language is moderate and in terms of literary delicacy and intellectual and semantic level can be said to be a follower of the ancients.

Moein Kermanshahi has used the standard language more at the linguistic level and the characteristics of archaism, colloquialism and the use of Arabic, ancient and ancient words are found in a balanced way in his poetry. Literally, like the Iraqi style poets, he has used novel and imaginative arrays in moderation. Complaints about the times, counseling and educational topics, attention to love and the beloved, and to some extent attention to mystical topics are his intellectual characteristics.

Image is one of the important elements of beauty in poetry. Using this element, the poet obtains his emotional experiences and mental perceptions with the help of literary industries and rhetorical methods such as similes, metaphors, ironies, metaphors, etc. in an artistic and captivating way. Sa’adi has also benefited a lot from this kind of expression. Therefore, in this article, the image of the lover in Sa’adi"s lyric poems is discussed from the perspective of two images of simile and metaphor.

This article explains the images in a descriptive-analytical manner. First, definitions of the image are given, then the images related to the lover in three hundred and sixty Sa’adi ghazals from the book "Saadi"s lyric poems" have been studied by the efforts of Khatib Rahbar (1998) from Mahtab Publishing.

The result of this research, after examining the images in Sa’adi"s three hundred and sixty sonnets, indicates that the images that mean and They better represent the mental minutes in Saadi"s poetry, they are classified into three groups related to emotions, body, and lover traits.

Lover traits (61%) have the highest frequency and images related to the lover"s body with (6%) have the least use. These images - which reflect the poet"s conscience in the form of words and form the basic element of his poetry - show the power of words, eloquence and pleasantness of his words.

Style is a human phenomenon and, like a human being, it is multifaceted. Knowledge of style requires a complex discipline of comprehensive study. Stylistic analysis of fiction works is done in three axes; One is the stylistics of the language of the story, which includes three levels of phonetics, lexicon and syntax; Another is literary stylistics, which includes the literary creations of the text and is formed through similes, metaphors, metaphors, and so on. And finally the intellectual stylistics that explores the components and dimensions of the content and thought of the text. In this research, an attempt has been made to identify the linguistic, literary, and intellectual elements that make up the style of Fathullah Biniyaz"s stories in order to distinguish his style of stories from other authors.

This research is based on descriptive-analytical method and its information has been collected through library resources.

According to the studies, the stylistic linguistic elements of Fathullah Biniyaz"s stories at the lexical level, lexical conversationalism, excessive use of adjectives and adverbs, subordination of adjectives and additions, variety of current aspects including news, obligatory, etc. At the syntactic level, too, the use of short and simple sentences, the multiplicity of verbs, and the subordination of verbs are stylistic elements. The stylistic literary elements in this author"s stories are the use of metaphors of allegory and irony, which is not very frequent.

The main feature of needless stories that can be said to have overshadowed almost all the stylistic layers of his works is the induction of feelings of loneliness, despair and despair; As most of the attributes, constraints, verbs and literary industries in these texts have been selected under the influence of these feelings; Consciously or unconsciously. Abundance of focused words, nationalities, simple and compound verbs, short and reporting sentences are other linguistic features of his works. The intellectual foundations of his works can be summarized in death, loneliness, social criticism, cold relations and monotony of life.

Mirza Mohammad Nami Kermanshahi is one of the renowned poets of the 13th Century. In this essay, an attempt has been made to answer the question: What has caused the presence of figures of speech in his style? The study of style and content in the poet’s divan from the three intellectual, lingual, and literary aspects based on the existing scripts was the methodology of the essay.

An analytical-descriptive method has been used in writing this essay.

By reviewing Nami Kermanshahi’s divan, we can point out these prominent poetic features in his style. 1-Significant Lingual Features: A) Phonetic Features The lack of metric variety, metric slips, a greater frequency of poems without Radif than those with Radif in all used forms except for Ghazal, and a tendency to use literal figures of speech. B) Lexical Features: Frequency of Arabic words, exploitation of colloquial words, formation of words and composition, exploitation of modern words. C) Syntactic Features Subject-verb disagreement, ancient verbs, two prepositions for one complement, noun-adjective agreement. 2-Significant Literary Features: Types of alliteration, types of repetition, schemes of balance, paradox, allegory, allusion, simile, metaphor, trope, and irony. 3-Significant intellectual features: The concepts and teachings of Quran and Hadith, moderate mysticism, eulogy, lamentation and description, astronomical expressions and beliefs, music-related expressions, academic interpretations, diseases.

Five manuscripts of his divan have been identified that were the source material of this essay. His divan includes qaside, ghazals, qet’e, Chronograms, rubáiyát, two masnavis, and one tarji’band. The exploitation of figures of speech and the creation of vivid and poetic images are among the general features of his poems. Except for a few cases, he does not pay much attention to rhyme, especiallly the long ones. His fondness for the members of Ahl al-Bayt is visible in most of his poems.

Haft Peykar is the fourth poem of the five Nezami treasures, the story of Bahram Gour"s joys and the stories of women from seven climates. In this research, the text of the poem is examined with the aim of showing the linguistic structure of allusions.

This research is of theoretical type based on library resources and descriptive-analytical method. The statistical population of the study is Haft Peykar poem edited by Hassan Vahid Dastgerdi. For this research, 280 samples of irony have been extracted from the system and their linguistic structure has been examined from the perspective of superstructure. And to avoid duplication of samples, it is enough to mention one sample for each of the categories. And to avoid duplication of samples, it is enough to mention one sample for each of the categories

In the Haft Peykar, there is a close connection between the spread of words in content, form and linguistic and rhetorical methods. And the text is very integrated in this regard and in this context, we cannot mention the poet"s excess in spreading words but the shortness of the sentence in expressing the allusions is not as evident in the works of lyricists such as Hafez.

In terms of the structure of metaphorical sentences, almost all the allusions in this work are in the form of compound verbs, sentences, prefix verbs or prefix compound verbs, and finally compound nouns and adjectives, respectively. The grammatical structure of the allusions of this system is in the form of present expressions, compound verb, prefix verb, compound prefix, master group, compound adjective and compound noun.

opposition has always been debated in Shahname, the greatest Iranian epic work. Considering its mythological nature, most of the studies in this literary work have focused on the opposition of good and evil forces. This point of view is so frequent in the studies of Shahname that all the characters of the stories are presented as the symbols of good and evil forces. In this research, contradiction in Shahname is considered by a completely different angle.

our theoretical framework in the present article is critical discourse analysis. In critical approach, Identity is defined as the opposition of self-other relation. Based on this method, classification of self-other happens following the presence of oppositional discourses in the text.

by analyzing stories of Shaname in critical view, we found that tension and conflict (whether internal or external) in the flow of stories occur as the the result of oppositional discourses in the narration and these discourses provide the ground for the construction of “self-other” or “we-us” relation. Also, as the mythological texts are symbolic in nature, by critical look on the narratives, new undiscovered aspects have revealed which were hidden underneath the stories.

considering the stories in critical view, we reached at some micro discourses that all of them can be placed under one macro discourse and that is deconstruction discourse versus adherence to structure. This means, the political-social system of ancient Iran with its manifestation in Shahname, has always been dependent on the former traditions and structures and any kind of deconstruction leads to conflict. Heros have always been loyal to the former structures and any change in the system would not be tolerable by them.

Children"s poetry is one of the types of children"s literature that has its own characteristics. Rhythmic and musical, the use of weights and rhymes appropriate to their age, simple language, beautiful themes and imaginative elements are the most important features that poets in this field should consider. The beauty of the poems of this age group will fertilize their musical taste and aesthetic talent. This research has been done with the aim of reflecting the aesthetics of children"s poetic literature with the focus on the poems of Afsaneh Shabannejad, Mahmoud Kianoosh and Nasser Keshavarz.

The research method is descriptive-analytical in which data and information are collected by library method and many diagrams are drawn.

Shabannejad, Kianoosh and Keshavarz using various and happy weights, desirable rhyme, various rows, types of repetition and puns which are the most important verbal industries and the use of imaginary forms such as simile, metaphor, irony and permission as well as recognition, sensibility, appropriateness , Contrast and exaggeration add to the beauty of their poems and attract the child"s audience.

The study of aesthetics in the poems of three poets showed that in the section related to weights, the variety in the poems of the farmer is more significant. In the use of imaginary images and novel arrays, Nasser Keshavarz has used the arrays of repetition, sensuality, proportionality, contradiction and exaggeration in beautifying and attracting the audience more than Kianoosh and Shabannejad. Permissible) and punishment has shown more attention than the farmer and Shaban Nejad.

Humor is a subtype of literature and a product of protest, and one of the most important arenas for the emergence and effect of humor in the contemporary period has been the press. According to satirists, the most important function of press humor is its critical and journalistic nature, and due to this nature, press humor is directly tied to the ruling institutions. In this research, three prominent publications Nasim Shomal, Towfiq, and Gol Agha from the three periods of constitutionalism, Pahlavi, and Islamic Revolution were selected as examples and analyzed from a literary point of view.

The method of data collection in this research is library and based on note-taking, and data analysis is done descriptively. On this basis, at the beginning, the important books in the field of satire in Iran were studied and noted, and then the relevant press was studied and the data was analyzed based on the extraction of literary arrays and rhetorical techniques.

Political and economic criticisms are the main basis of humor in this press. Daily news in various fields, precision in the process of social life, communication between people in the society are among the most important sources of finding topics for the satirists of these three publications.

Irony and sarcasm, irony and allegory, simile, metaphor and contrast are the most used rhetorical techniques in these texts. The language in these publications is simple, and Nasim Shomal has a more formal and literate language due to its earlier time and the poetic aspect of Seyyed Ashrafuddin.

By breaking the everyday and known language standards, the poet or writer takes the language away from the norm of normal speech and gives it a new shape and color; In such a view of the poem, we encounter deviation from the norm. Norm avoidance, as it is related to determining proportions with different styles, also finds special coordinates in children"s poetry. In order to distinguish literary language and poetry from normal and mechanical language as much as possible, the norm-avoidance technique requires more use of highlighting and de-familiarization. Geoffrey Leach for the first time determined eight types of norm avoidance and tried to show that the prominence of the text and moving away from the automaticity of the text occurs at eight levels: lexical, syntactic, phonetic, written, semantic, dialectal, stylistic and temporal. In this article, norm deviation in children"s poetry is examined based on Leach"s theory.

The method of this research will be descriptive-analytical, and the method of collecting information in a library-like manner relies on study and comparison to get the foundations of theory explanation and then analyze them.

In children"s poetry, the use of less commonly used words or words that are suitable for children"s tone and language are examples of lexical deviation. When the poet is trying to direct the audience"s mind from the message to the text, he uses a wide variety of semantic avoidance. Although the child does not understand imaginary arrays, the mental images resulting from metaphors and similes are attractive and entertaining for him. The use of words of geographical dialects causes the dialect deviation of the text, but this type of deviation is very rare in children"s poetry.

The most specific and appropriate form of stylistic deviation in children"s poetry is the use of colloquial and colloquial words, which the child is more familiar with. Abnormality of time is less seen in children"s poetry.