نشریه مطالعات زبانی بلاغی
پیاپی 30 (زمستان 1401)

Within the framework of critical discourse analysis, Theo Van Leeu wen's social network representation model shows the hidden layers of meaning by examining the contrasting functions in linguistic choices. This paper focuses on a descriptive analytical study of the discourse structure in Suvshun based on nomination and social actors categorisation in Van Leeuwen's model. The purpose of this study is to show the importance of linguistic usage in discourse analysis of the text and the level of influence of discourse elements such as power, ideology and politics on the author in the representation of social actors. Comprehending a story depends as much on "socio-semantic" features as on the appearance of the language. In Suvshun, Daneshvar expresses the political, social and cultural issues of her time in symbolic language. She also portrays individual and social changes, especially in women, by making full use of symbolic names. The results of the study suggests that nomination and categorisation and their subsets, especially informalization, are used more frequently. Moreover, the implication of names and social classes is consistent with the author's viewpoint and perspective and influenced by power, ideology and politic. While the author uses symbolic Iranian and Islamic names to show the inseparable connection between Iranian and Islamic thoughts, she depicts the tension related to Iran cultural transition from tradition to modernity and the evolution of social and individual criteria. Furthermore, she uses discursive features to sketch a new social role for Iranian women so as to explain their role in the social transition.

Salman Savoji is one of the poets who have widely used the rhetorical capacities of interrogatives in poetry. Studying Savoji's sonnets through the analysis of the secondary purposes is a way of understanding his composition style and layers of thought. Since in sonnet 521, Savoji uses a rhetorical question with 39 secondary purposes, it seems necessary to investigate his sonnet from the intentionality perspective of interrogative sentences. The aim of the present study is to investigate and classify the secondary purposes of interrogatives in Savoji's sonnets through an archival descriptive-analytical approach. Findings suggest that the poet’s use of rhetorical questions pursues four aims; increasing the emotional burden of words, exaggeration, highlighting and emphasizing, reducing command and reprimand and gaining the approval and support of the audiences. Through rhetorical questions, Savoji has been able to create new meanings with artistic arrangement of vocabulary and the conscious syntactic manipulation. In this manner, he has also been able to make his verse more impressive and increase the influence of his words by creating semantic plurality and multilayered texts and to satisfy the audience by the use and function of such rhetorical questions.

One of the main features of literary texts is its openness to hermeneutics and equivocality, which is the result of using figurative language or literal devices. One of these literary devices is irony, a kind of bilateral or sometimes multilateral statement, which best serves to surprise the reader.  In ironical utterance, there is some sort of ambiguity and contradiction in meaning which reinforce proliferation and paradoxicality. In other words, irony is a useful literary device for the writer or poet to show a reality behind apparent behavior and utterance of the characters to the intelligent reader. Irony as a literary device, irony is observed in the works of Attār and particularly in his well-known Manteq al-tayr [The Conference of the Birds]. By the use of irony, the writer succeeds in bestowing a mystic atmosphere to the story. Attār uses rhetoric in general and irony in particular both to express his complex mystic experiences and give a sense of fulfillment to the readers. The present research has endeavored to explore role of irony in the narrative development of “Sheikh San’ān” through a qualitative descriptive- analytical method.

“A” or “Alif” the first letter of Persian alphabet, a major vowel in Farsi, is the first letter of Abjad numeral system which represents number one in this system. Due to its special form and position as well as some unique features, letter “Alif” is one of the most abundantly used letters by Persian poets such as Sa’di, Hafez and their contemporaries to create original themes and elegant expressions.  This article written by descriptive-analytical and library methods deals with two structures of literary application of Alif to answer the question that how do Sa'di and his contemporaries use the rhetoric and literary contents of alphabetical letters in their poetry. The first structure includes poetic images, literary contents and interpretations based on the shape and feature of “Alif”, and the second structure consists of verb and nominative phrases resulting from this letter's shape and feature. By analysis of these two structures, it can be said that Sadi has used this letter much less than the others for making poetic contents. The presented contents by Sadi from the letter Alif have social and moral aspects and delicate literary and artistic points. In these contents, Molavi emphasises on explaining the internal and rhetoric thoughts with social and moral aspects, as he is the most… poems in this case by using the letter Alif. After Molavi, Sheikh Kamal Khojandi has created many literary works by using letter Alif. Other poems are Ohadi Maraqeie, Amirkhosro Dehlavi, Hafez, Khajavi Kermani, Seif Forghani and Araghi have noticed the application of letter Alif for creating contents.  

Ādāb al-ḥarb wa’l-Šajāʿa by Muhammad ibn Mansour ibn Sa'īd, nicknamed Mobārakšāh and known as Faḵr-e Modbber, is one of the early 7th century A.H. literary works. In this book, the author mainly describes the subjects of politics and governance, hippology, and militarism. Ādāb al-ḥarb wa’l-Šajāʿa has a notable lexicographic significance due to considering various types of terminologies, specific phrases and interpretations. However, unfortunately, the book has not received due attention, and the lexicographic values have not been thoroughly known so far. In this contribution, we have tried to present several newly described lexical values of Ādāb al-ḥarb.  This can help the documented lexicons and most probably a base for the correction of the prevalent mistakes in the lexicons.  It may also assist lexicographers to write future lexicons. For this purpose, and in order to achieve the most accurate recordings of this book, we have used several available manuscripts in addition to the printed text and have presented the results of our findings according to The Deḵhodā Dictionary, which is the most comprehensive Persian lexicon reference.

Despite the significance and spread of innuendo as an indirect expression especially in literary works, the preceding and recent rhetoric have sufficed to short definitions and a few instances about it.  Beside the critique and analysis of those definitions and references to some of their deficits, this study is to suggest a more comprehensive definition beyond the insufficiency of the previous ones. We would also talk about the two features of "time and place circumstances "and" structure and nature" of innuendo sentences. In so doing, for the former one, the condition and mood of the speaker and the audience are discussed. Then, the second feature addresses the deep connection of innuendo and semantics. Ultimately, it is to be clarified that innuendo holds different rhetoric and artistic usages and significances in construction of various composition and statements, such that the level of implicit implication, audience's perception of innuendo, ease of denial, etc. is not the same in different sentences, and speakers consciously would employ suitable sentences regarding time and place circumstances.

Social semiotics is an approach that seeks to achieve its hidden semantic layers by examining the signs in the text. The novel the name of all the dead is Yahya, the latest work of Abbas Maroufi, a social novel that has a wide possibility for meaning through social signs. In this research, we have tried to use the persistent social signs of Pierre Guiraud to deal with the important groupings of the story that are the basis of its conflicts and events, as well as how to organize the groups and express the author's belonging to them. The result of the research, which is based on qualitative analysis and based on library and documentary studies, shows that social signs in this novel have a characterizing function, and through them, the author has formed two main reciprocal thought groups, one is non-framework oriented and seeks freedom of action in choice and thought, and the other is framework-oriented and seeks to monitor and evaluate religious beliefs and practices and relies on existing traditions. This approach establishes a deep connection with and is supported by the ideology that governs society. The multiplicity of signs and the expansion of the concepts used by the author for the members of the first group, and the restriction or elimination of signs for the second group are indications of his alignment with the beliefs and actions of the first group and its superiority over the thoughts of the second group. The author considers the confrontation between these two groups as dividing the society and suggests accepting the differences in religious and doctrinal matters and traditional beliefs as a way for its unity.

In the past one hundred years or so, Hafiz poetry and life have been the subject of close attention by scholars of Persian literature. The scholarly approaches to Hafiz poetry and personality have been very different. Research on Hafiz has been done from different perspectives; both holistic and detailed, formalistic and semantic, modernist and traditionalist. In this paper, the authors have taken a comprehensive look at 20 different approaches to Hafiz poetry and character, and have briefly summarized eighteen of the twenty approaches, two of which are discussed in detail about literary or semantic and rhetorical approach. And in analyzing the approaches, they have specified each of them as holistic or detailed, formalistic or semantic and traditional or modern.

One of the important manifestations of music in Hafiz' poetry is the use of its elements and terms to create verbal beauties and imaginary as well as to reflect various ideas. Among the literary creations made with these elements, personification and its dynamism are of prime significance. The musical elements in Hafiz’ poetry are personified in a way to express human emotions and the thoughts which are in fact the main concerns of the poet.In the present study, an attempt has been made to investigate the most prominent personified manifestations of musical elements in Hafiz' poetry according to the structural and musical features and nuances of each and determine its function in reflecting the poet's thoughts. In addition, we have tried to make sufficient use of musical sources close to the poet's age to analyze musical elements.

Anwari’s divan is of prime importance and worthy of consideration from different perspectives especially from the linguistic one. He wrote poetry in five different forms: qasideh, qit’ah (fragment), ghazal (lyric), maṯnawi, and ruba’i (quatrain). However, what attracts one’s attention to his poetry is the versatile language and mode of expression he employs in different literary genres and forms. Consequently, although there are apparent similarities as to the thought and language of his composition, the stylistic characteristics of his poetry should be separately analyzed with regard to every given form. Employing an archival descriptive-analytical method, this article deals with the stylistic and linguistic peculiarities of his poetry regarding the forms, themes and audience appropriation in selected poems from his poetry collection. Results obtained from the analysis of Anwari’s poetry suggest that the poet employs different modes and techniques of expression appropriate to the subject matter, form, object of praise (mamdouh), and audience. In general, Anwari’s poetry can be studied in four types of language registers: 1) language appropriate to court and praise poetry; 2) language appropriate for advice; 3) language of the common people and in some cases the language of the lower class of the society: 4) lyrical and romantic language. With a fair and careful evaluation of Anwari's poems, it is proved that he can well handle the variety of forms and themes and the variety of language and expression in proportion to them, merge the word and the meaning in proportion to each other and make the most of language to express conceptual delicacies. Using various contemporary sciences such as medicine, astronomy, logic, etc., and at the same time approaching the language of the common people, Anwari created a modernity in the language of poetry. His poetry collection includes exemplary praise and court poems, poems palatable to common people’s taste and fascinating portrayal love poems.

Among mystical Maṯnawis, Attār's Manteq Al-Tayr has fluent verses with an abundance of amusing allegories to the extent that enthusiastic researchers have explored various aspects of the poems and highlighted their beauty. But, the mesmerizing resurrection and beauty of Attār's words is surprisingly innovative and pleasing. In this paper, the author tries to analyze the structure and aesthetic aspects of verbs under components such as verb omission, verb precedence, prepositional verbs, conjugation verbs, reciprocal verbs, separable verbs, verb pun, and imperative form of verbs in Attār Nīšābūrī’s Manteq Al-Tayr.  It is aimed to provide answer to the following questions; to what extent the aesthetic aspects of verbs are reflected in this work and how much has it contributed to the artistic composition of poems? The results of the research, based on an analytical-descriptive method, show that verbs in Attār's poetry comprise one of the most important aesthetic and pictorial factors of the work. The verbal and conceptual omission of verbs, verb puns and the separation of verb components are highlighted in this work, fascinating the reader by adding to the aesthetic functions of the work and enhancing the verse musicality.

Nizami has used many techniques to decorate his masterpiece Khosrow and Shirin. One of these techniques creating musical effects, foregrounding, literary taste, and individual style is using adjacent similar pairs of words; pairs of words with a high co-occurrence which are used intentionally and wittily to make poetry free from automatization. Adjacent similar pairs are employed in the work in two ways. A number of them (such as noqre and naqare, nâfe and nife, etc.), as verbal or conceptual figures of speech, have been termed pun, repetition, interrelated terms, and the like. Some others having only similar phonetic structures have not been yet given a specific name as a type of figures of speech (for instance arqanooni and arqavâni, khask and khastegi) all the verses of Khosrow and Shirin were dealt with, searching for similar pairs of words. The study aimed to introduce the stylistic feature and foregrounding techniques express the importance and frequency of the similar pairs of words and show how their use help prevent the automatization of poetic language. The result obtained from the research demonstrates that the presence of adjacent similar words is systematic and reveals a variety of functions. The creation of a variety of music, tonalities, and thought-provoking literary foregrounding has required Nizami to repeatedly use adjacent pairs. The research approach is completely new and has expressed a stylistic feature that has been neglected despite its significant frequency in Khosrow and Shirin as illustrated with several examples.

Attention to literary history and biography through writing Tazkira (biographies), especially during the Mughal Empire's reign in India, has been more prominent than ever. Biographers employed various means to enhance their books' literary status and demonstrate their power in creating a literary work. One of these means is the use of stories and narratives about outstanding characters. In order to better understand these narratives and measure literariness of their language, it is required to use such means as the study of linguistic foregrounding. According to Russian formalists, standard language defamiliarization leads to the creation of a literary text, and the means of defamiliarization is the linguistic foregrounding in two ways; extra regularity and deviations. Undoubtedly, the stories in biographies have been a proper platform for establishing the biographers' position as a writer aware of linguistic subtleties. This article seeks to display such literariness in the biographies.