فصلنامه زیبایی شناسی ادبی
سال سیزدهم شماره 53 (پاییز 1401)

Salman Herati is one of the prominent contemporary poets who, by using simple language and creating pure and fresh compositions, was able to express many of his social and political, ritual, religious and idealistic concerns in his poems. He has never sacrificed the content and theme of his poems to the surface and external layers of the poem (rhyme and weight...), but his poems are always in terms of literary creations, melody, simple and clear language, careful choice of words, beautiful descriptions, imagination. Strong, the harmony of image and emotion, artistic and story techniques, the use of historical and mythological elements, and having a deep meaning and concept, have been worthy of attention. In this article, which is written in an analytical-descriptive way, attention is paid to the most significant content and conceptual expressions from the perspective of intellectual aesthetics in Salman Herati's poems. The obtained results show that Salman is interested in concepts and approaches such as idealism and libertarianism, ritual and religious attitudes, martyrdom and martyrdom, patriotism, revolution, manifestations of resistance and stability, nature, resurrection and death, love. , justice and anti-colonialism and some social components such as philanthropy have paid special attention, and among these things, religious and ritual themes as well as politeness have shown more special attention.

Due to the nature of war in the minds of men and women, there are significant similarities and differences between the conceptual metaphors and schemas used in the male and female narratives of war. In the formation of conceptual metaphors in female and male narratives, different areas of origin in female and male narratives of sacred defense have been used. The cultural meaning of sacred defense in female narratives is different from the cultural meaning of this phenomenon in male narratives. The present study is a descriptive-analytical study that has studied the conceptual metaphors and cultural schemas in the feminine and masculine narratives of the sacred defense with the help of the library method. And the femininity of war can be examined in the form of conceptual metaphor theory and schemas? What are the similarities and differences between the conceptual metaphors and schemas used in the male and female narratives of war? What areas of origin have been used in the formation of conceptual metaphors in male and female narratives? What is the difference between the cultural meaning of war in female narratives and the cultural meaning of this phenomenon in male narratives of war? The results indicate that the differences between male and female conceptualizations of war can be examined in the form of conceptual metaphor theory and schemas.

Extracting literary points and beauties, due to the miraculousness of the Quran, has always been prosperous among rhetoricians. Based on this, many early commentators of the Quran, in their writings, while discussing other Quranic issues, have also spoken about rhetoric in order to understand the miracles of this holy book and to find its artistic crafts, unfortunately, some of the literary beauties of their words, Until now, it has remained far from the eyes of the scholars of rhetoric or has been given less attention. Since receiving the explanatory notes and subtleties not only reveals the rhetorical wonders of this holy book, but also reveals its hidden meanings and hidden treasures, so that rhetoricians can learn more about the literary beauty of texts and hidden meanings. It is necessary for them to benefit from the discovery, examination and analysis of these beauties from their writings. The present article is a research in which the authors have tried after examining the books of Persian rhetoric with an analytical-descriptive method, as well as through library studies and direct reference to the Persian interpretations of the Holy Qur'an, the literary beauties that have remained away from the eyes of the rhetoricians, or After analyzing the examples, the authors conclude that in the early interpretations of the Qur'an, there are special crafts such as: the occasion, the suitable word, the halal dawn, the grace of zikr and the grace. The mentioned and... have been used

Rhetoric is a method that can be used to influence the listener or reader, and it is divided into three parts: meaning, expression, and innovation. The science of semantics, one of the tools to understand the beauty of a text, can be a suitable criterion in evaluating the poem and text of a poet or writer. In this research, in a descriptive-analytical way and with library tools; The secondary purposes in the rhetorical use of Musnadali's situations in presenting or delaying and addressing, mentioning or omitting, knowing or rejecting, adjectives and binding have been analyzed based on the books of rhetorical sciences. The analysis of the book of Anas al-Taibin shows that the mention of the Musnadaliyya was more important than its removal, and it seems that his goal in both cases of mentioning or removing the Musnadaliyya was to express the content more in the shortest time, with the greatest emphasis. and in presenting and delaying the Musnadali, the presentation of the Musnadali is more important than its delay, and the Sheikh's motivation for presenting and delaying the Musnad Aliya was for the purposes of "putting the Musnad Aliya in the audience's mind" and expressing "pain and sorrow". For more emphasis, Sheikh Ahmad Jam introduced the Musnad Aliyah by adding it to a noun, pronoun, or adjective, and used the Musnad al-Nakrah less than the Masnad al-Marafa.

Loss is a dynamic and living phenomenon that changes over time and in its extent, many changes occur. One of its most important features is borrowing from other languages. In the constitutional period, this issue was done in the poems of poets such as Iraj Mirza, due to factors such as the prevalence of printing industry in Iran, familiarity of Iranians with European literature, translation and publication of European works, etc. Is. In this research, the authors have used a descriptive-analytical method and with the help of library tools to "study Western words and expressions in the illustration and thematic creation of Iraj Mirza's poems". The findings of the study indicate that Iraj used Western words in his poems and the frequency of French words in his poems in relation to administrative terms is the most Western words and social and political terms, military, Western tools. In everyday life, modern, cultural, literary, and scientific places are next in order. In this regard, the poet, more in a humorous way, has used novel and expressive industries in order to be able to acquaint people better with the situation of his time.

The entry of postmodern poetry to Persian Literature, led to some poets of the seventies making some modifications to the statistics and literary rules. Ali Babachahi has decided on the clarification of some features by presenting a postmodern poem scheme. The features read as uncertainty, free verse reading, death of the author and paradox all if which being fully traceable in poem collections called “Drizzling” and “ Mind tortures me” .It ‘s been meant to analyze the weaknesses and strengths of this kind of poetry by perusing the stylistics studying them in three aspects of linguistic, content and literariness in this research .

Music is one of the prominent features of language and music of speech is one of the most prominent manifestations of poetry. Poetry does not have much effect and beauty without having musical aspects. One of the main characteristics of Nimayi poetry, in comparison with classical poetry, is the evolution in the types of verbal music and the use of its types. In this article, which has been done in a descriptive-analytical manner, the types of music (external, lateral, internal and spiritual) in Nosrat Rahmani's "Koch va Kavir" collection have been studied. The results show that Rahmani in this collection has used internal music (types of repetitions and puns) to create a kind of unity in the axis of companionship and the effect of his words. To create fit, beauty and rhythm of his poems, he has used external and side music. In this section, Rahmani has used about twelve prosody weights. Most of his quatrains in this collection are without "rows" and only the rhyme forms the side music. He has also used the aesthetic elements of speech such as (simile, metaphor, proportion, paradox, sensuality, symbol, permissible and contradiction) to add semantic richness and strengthen the spiritual music of his words. And finally, the use of pure and beautiful combinations with respect to the connection with music and imagination, has caused it to be closer to the ultimate goal of poetry.

The term " Magic vicinity " is a term that Shafi'i Kadkani applied to some Phonetic and musical balances in the language. He has described and explained this term extensively in the article " Magic vicinity". In some cases, the common sound between words, regardless of their semantic dimension, becomes the reason for their presence together, and this phonetic feature and musical magic justifies the connection between these words. The companionship and Magic vicinity between words that have common sounds, fascinates the audience so that they do not feel the meaning distance between these words and accept them as a unified and related words.The effects of magic vicinity in Persian poetry are very wide. Shafii Kadkani in his article on magic vicinity and other researchers have discussed its manifestations in Persian poetry. Even though Shafii Kadkani himself is the creator of this term and in his poetry we can see unique examples of the use of this literary device, but no research has been done on the effects of magic vicinity in his poetry. This defect caused we dedicate the present research to this topic and analyze the different manifestations and functions of the magic vicinity in his poetry. The result of the present research shows the wide application of this literary device in Shafii Kadkani's poetry and the amazing examples of this literary device with different functions in his poetry.

Romanticism, one of the most complex and widespread literary schools, emerged as a groundbreaking phenomenon in the late eighteenth-century. The school developed in an era of outstanding scientific, social and political changes in Europe. In the same vein, Iranian constitutional movement introduced Romanticism as a novel intellectual approach in Persian literature. Although Simin Behbahani cannot be regarded as a follower of this literary school, many of her poetic imageries enjoy attributes associated with imagery employed in Romantic poetry. Her poems are similarly replete with imagery which express the poet’s attitude and vision and outstandingly convey her emotions.This article takes a descriptive-analytical approach to Simin Behbahani’s poetry in her three outstanding collection of poems: A case of A Line from Speed and Fire, Arzhan Plain, and A Window of Freedom. The article is an endeavor to study some attributes of romanticism in Simin’s poetry as transformation of nature, individualism, ambiguity in imageries, dynamics of language and transcendence of the images, and melancholy.Ambiguous combinations and imageries, implied meaning and expressions of feelings, transcendence of nature, individual and social melancholy, and personalization of various symbols are amongst attributes which reveal Simin’s poetry to bear influences of romanticism.The findings yield significant implications on Simin Behbahani’s poetry with regards to Persian modifications introduced to romanticism which most visibly concentrate on transcendence of nature and individualism.

The color is a fundamental element of nature, and if we get the color of nature, it will not remainStaying with regard to the importance of color and its relation to nature, the comparison between the two poets of nature, Manouchehri DamaghaniThe poet Khorasani style and contemporary poet Sohrab Sepehri discuss the differences between the two poets in the application.Check color. Given the fact that the poet is basically an outspoken Khorasani style,We move away from Khorasani style poetry to a close contemporary era with totalitarianism and subjective and symbolic concepts.We face more. Since the color has long been the interest of many of the artists in the paradise of poets, the writing of this text is intended to illustrate the difference between the views of both contemporary and traditional poets by writing this article, Forcing himself to judge and share what these two poets share and disagree with.

Irfan is the most suitable and shortest possible way to reach the truth. A penetrating, passionate and ambiguous phenomenon that causes states and changes that are questionable from the eyes of others. These developments are so effective and continuous that the language and words of the mystic are also affected by it and in many ways deviate from the common language, and of course, this pleasant alienation is mostly due to the use of metaphors. . Metaphor is one of the most important central roles and obscuring factors in mystical texts; A word that has not been used in its original meaning and can naturally induce multiple impressions to the reader's dynamic mind. But what is the central role of metaphor in mystical texts and how have mystics used it in their words? In the present article, an attempt has been made to discuss the pivotal and central role and the position of this array and its use in mystical language and texts.

Beauty has a deep connection with poetry. In the aesthetics of poetry, imagination, music and novel elements are the most important factors in the beauty of poetry. These beauty factors are not specific to a period and the poet, but in the contemporary era, the role of these factors has become more colorful. One of these contemporary poets is Ali Babachahi, he is from Bushehr and is from the land of waves and sea and is a naturalist poet; For this reason, one can examine the aesthetic effects in his poems. In our studies, we have come to the conclusion that most of his poems are based on descriptions and similes, and that natural elements are most used in his similes and metaphors. Most metaphors are sensory to sensory. In terms of spiritual music, the contradiction in his poetry mostly includes the contradiction between two names and adjectives, which expresses the opposition of good and bad in his life. Literary allusions have a special place, he has established a deep connection between his poetry and his senses through sensuality. Phonetic and phonetic elements such as phonetics and puns play an important role in the inner coherence of his poetry. Repetition is the most widely used method in his poetry. In foreign music, he has used most of the usual weights of Persian poetry and most of the weights are gentle. Rhyme and line have been very effective for the richness of the poem and the musical appeal of his speech.

Punishment is one of the most important literary techniques and verbal arrays that increase the music of poetry and its beauty. Given the importance of this industry in the field of poetry and literature and its impact on the beauty of poetry, the present study is dedicated to examining the beauty of puns in the poetry of one of the most powerful Arabic-speaking poets of the Syrian land named Shab Al-Zarif; Because this poet wrote pleasant and delicate poems and was very skilled in using all kinds of novel crafts to the extent that his poems were accepted by the literati. This research has been done in a descriptive-analytical manner and based on library studies. The result of the research shows that Shab Al-Zarif has used all kinds of puns in expressing his desired concepts and themes. He has used this array in different ways and in a very beautiful and desirable way in his divan and he has been very successful in this field. The use of this array has also had a great impact on the melody of the poem, the rhythm of the words, the strength of the link between word and meaning, increasing the musical aspect of the poem and finally attracting the audience.