فصلنامه زیبایی شناسی ادبی
سال چهاردهم شماره 55 (بهار 1402)

Poetic imagery always discovers unknown realms and draws them into the realm of words; The vaste of poetic imagery is wide in poems . The imagery of poets according to their poetic experiences have a various origins. Some people use the city and urban life and modern phenomena as their source of inspiration in imagery, while others are more emphasis to nature and elements of nature, and some poets use religion as a source of inspiration in imagery. However, in the poetry of most poets, diversity is seen in the origin of imagery and the scope of imagery. But in this regard the images is a new have a effectiva than and interest than others. the variety of imaginary origins can be seen In Mohammad Reza Torki's poems. Because of this,effefort to be appear the roots of imagery in Torkis poem. The result of the research indicates that the inspiration of nature in the creation of the images, religious and religious elements and elements related to contemporary life are colorful in his poetic imagery and the origin of the symbol in his poetry is myth, history and religion.

Time, as one of the important components of "narrative", has always been one of the important topics of the science of "narrative" and the theorists of this field have discussed it. In the meantime, "Gerard Genet", as the most influential theoretician about the time of the text, has presented an independent theory about the factor of time and its role in the narrative, order And it is often distinguished. Looking at the play as a text with a conventional structure and relying on time, which includes elements such as: confusion, conflict, complexity, suspense, crisis, disaster, and landing, which follow each other in a certain order; The present research intends to use a descriptive and analytical method, while examining the temporality of the narrative play "Dehani Per Ya Kalagh" written by "Jamshid Khanian", to answer the question: what effect does the temporal model used in the play "Dahani Per Ya Kalagh" based on the approach of "Gerard Genet" have on Does this work have a structural aesthetic? Since time is one of the influential components in Jamshid Khanian's dramatic works, this article aims to show, based on the approach of "Gerard Genet", the special temporality used in the play "The Crow's Mouth" as a narrative, in order to plan and discover the hidden cause in The events and payment of the structure, creating suspense and attractiveness for the audience and adding depth and richness to the characters have been effective.

Rhetorical forms are important elements of semantics that, in addition to linguistic functions, have a tremendous effect on the outcome of meaning. Ferdowsi and Nezami are so intertwined with word and meaning that on the one hand in linguistic richness and on the other hand reinforcement of meaning is very important. Irony is one of the forms of expression and artistic style of speech and usually has a high frequency in the poetry of poets, and military and Ferdowsi speech and poetry are no exception to this rule. The purpose of writing this article is a comparative study of irony in Khosrow and Shirin Ferdowsi and Nezami. The research method is descriptive-quantitative. The results showed that the number of allusions in Khosrow and Shirin Nezami is far more than the allusions of Khosrow and Shirin Ferdowsi. The irony is more than the verb in the military work and Ferdowsi has used the irony of the name and adjective more in this. The reflection and frequency of cryptic allusions, implication and elaboration are low in both works, its percentage is very low in Khosrow and Shirin Nezami, but no frequency was found in Khosrow and Shirin Ferdowsi.

As one of the most common types of postmodern stories, metafiction is a way in which the narrator mentions the process of being a story and story writing during the story. Reza Amirkhani, a prominent contemporary Iranian novelist, has a postmodernist approach in some of his novels and tries to direct his writings to the beyond through different methods. The authors of this research have investigated the aesthetics of metafiction in Amirkhani's novels by relying on the descriptive-analytical method, and in addition to definitions of metafiction and aesthetics based on the opinions of experts, they have examined the methods used by Amirkhani for the beauty of metafiction. This research shows that Amirkhani's use of language tricks such as marked names, repetition, separate writing of words, colloquial and colloquial language, multilingualism and language and verbal games, and literary tricks such as metaphor, simile, irony, adaptation and contrast in his novels cause The beauty has become a myth and it has been successfully created by the creation of the myth.

Self-censorship is an action during which the author takes into account the political and social conditions of the society and for the purpose of self-censorship, it is one of the actions taken by the author or poet, based on reasons such as the influence of individual power, social, political, religious and belief conditions and under the cover of titles such as Self-restraint and expediency are applied to the produced works. This action can be seen in the works of most authors of the Mughal period. Attamalek Joyni and Zaydri Nesvi are among these writers; Therefore, the present research was conducted with the aim of aesthetic investigation of self-censorship in Jahangasha and Naftha al-Masdoor; In order to clarify the beauty and self-censorship topics in the works of these two prominent writers of the Mongol era. The authors' method in this essay is descriptive-analytical and based on library studies. The results show that the authors of this period have played a major role in the beauty of this literary phenomenon by being ambiguous and using techniques and techniques such as metaphor, allegory, symbol, code and irony, and complexity.

Literary aesthetics is one of the most important and significant methods of investigating the concepts and themes of literary points and the manifestation of the beauties in the language of poetry, which has been given a lot of attention. Phonetic and lexical levels are among the areas that can be investigated in the language field according to the theory of "norm avoidance". This means that the developments that occur in the phonetic level of the language ultimately cause its stylistic identification in the musical field. Examining lexical aesthetics also has a decisive role in distinguishing the style of poets' poetry. This article, which is done in a descriptive-analytical way, is devoted to the investigation of phonetic and lexical aesthetics in two prominent works of the Third Brotherhood (from this Avesta - the last of the Shahnameh). The obtained results indicate that Mehdi Akhwan Al-Talihi chose deviation from standard language rules as a method for creating pure poetic themes and creating stylistic distinction in musical and linguistic fields. In phonetic aesthetics, Akhwan has used processes such as: Abdal, ghosts, relief, intensification, deletion and addition in the most beautiful way. The lexical aesthetic of Akhwan has also been done mostly in the areas of composition and archaism in the fields of (noun-verb-adjective and letter).

Imagination is the essence and the main substance and constant element of poetry and it is something that comes from the power of imagination. Imagination is the measure of artistic value and validity of poetry. If we accept that poetry is the entanglement of thought, emotion and imagination in a melodious language, and that imagination is the main element of poetry, then we will realize the importance of imagination in the field of poetry. One of the most beautiful elements of imagination is metaphor, which has many types but In this article, it is tried to be investigated in general under the title of Masraha metaphor and Makaniyeh metaphor and to determine the amount of imagery with this element in the poems. To express his feelings, the poet chooses the most general element of imagination, i.e. metaphor. Based on this, three romantic poems which are similar in terms of theme, situation and romantic images have been chosen to examine the element of metaphor in them in order to know that in these poems, in different situations that occur in the story, To what extent have the poets decided to use the element of metaphor to convey their meaning? In this research, three love poems have been studied in a descriptive-analytical way, and the evolution of the images of fantasy from the 4th century to the 8th century has been examined. Also, a statistical chart of imaginary elements has been prepared,

Conversations have been prevalent in the famous works of Persian poets and writers from the past until now in different ways. In the Shahnameh, the conversation is generally done in two ways, the face-to-face conversation and the distant conversation, and each of these conversations is done with different people and with specific goals and perspectives. The dialogues of each story express the characters of that story and it is through the dialogues that one can reach the hidden angles of the characters of the stories. The story of Zal's love for Rudaba is one of the most important love stories of Ferdowsi's Shahnameh. Because the result of this love is the birth of Rostam, the great hero of Shahnameh. In this research, the author is trying to investigate the syntactic norm avoidance with a descriptive-analytical approach and a library tool in romantic dialogues in the story of Zal and Rudaba. Also, investigate innovation and norm avoidance at its syntactic level. The results of the research show that Ferdowsi, in the story of Zal and Rudabeh, has distinguished his language from the standard language by using syntactic avoidance and has somehow made his poem stand out. In this type of norm avoidance, Ferdowsi messed up the structure governing the language and used the grammatical features of the language to highlight, and tried to create in this field.

One of the sub-branches of Ghanaian literature in Persian is Ḥabsiyeh or prison name. Among Iranian poets, Masoud Saad has the most imprisonment. His poetry of imprisonment in the context of words expresses various tones that play a significant role in creating atmosphere and conveying his message. The constituent elements of different tones in Abyssinia have influenced the connection with the reader and the aesthetic of his poetry. The purpose of this research is to investigate the effective factors in creating tone and its types in Masoud Saad's habisiyeh. In this research, we have investigated the factors that were effective in the variety of tone in his poetry with library tools using descriptive and analytical method, and we have come to the conclusion that many elements such as images, music, sounds and tones suitable for confinement, weight, vocabulary, from The factors that create the tone in Masoud Saad's imprisonments are: he has used protesting, aggressive, complaining, sad, helpless, etc. tones in making his imprisonments. This variety of tone has an effect on his success in conveying the message, for this reason, without understanding the type of tone, it is difficult to understand the meaning and structure of his poetry

Shams's essays is a book containing mystical thoughts and thoughts, which includes discussions about Sufism and mysticism. Cognitive linguistics emphasizes physical experiences in mental processes and the connection between mind and language. The purpose of this research is to understand and explain the connections between Shams Tabrizi's mind and language in his articles with the help of cognitive metaphor theory. The analysis of the topic shows that language in the form of metaphorical systems has a close connection with the worldview of Shams. What makes this connection strong is the writing of the visual schemas of the mind on the general principles of Shams' worldview and the organization of metaphorical writings and coherent networks of metaphors on the axis of the macro-cognitive model.. It shows a general view of conceptual metaphors in Shams's articles. The metaphorical system of Shams's articles is similar to his contemporary mystical writers. In Shams' narrations, Etgar is only the domain of destination, words and speech, which is conceptualized sometimes in the form of a breakable object, sometimes in the form of a plant, and sometimes in relation to color, in such a way that the unconsciousness of the anecdotes and Shams' lack of focus on a The single subject is one of the factors that made his style stand out from others in metaphorical conceptualizations.

The problem of the present research is to discover the aspects of literature in the script of Hazardastan as the most famous work of Ali Hatami. Hatami is one of the most influential characters in Iranian cinema whose unique narratives and dialogues in his scripts are unparalleled in the history of Iranian cinema. But it is unique. To the extent that even some of the dialogues and monologues of his works have become proverbs, and clearly the traces of unique dialogues of his works should be searched in the field of Iranian classical literature. In order to solve the problem and achieve its goal, with a descriptive-analytical method, the literature of Hatami's thousand-hand dialogues has been examined from two aspects: firstly, the aspects of the author's use of rhetorical and aesthetic literary techniques have been studied, and on the other hand, using the theory of intertextuality Borrowing aspects of this work from classical literature have been analyzed. The results of the present research show that, first of all, the literature of the dialogue-oriented text of Hazar Dastan is due to the author's benefit from all kinds of verbal and spiritual literary techniques; It is like a metaphor/animation, simile, irony, alliteration, sarcasm and pun. In the next stage, it was found that Hazardastan is connected with the treasure of Iranian literature using explicit and implicit intertextuality.

 Simile is one of the imaginary images that is used a lot in children's literature, especially poetry. Among the elements of simile, likeness and simile are more important because simile shows the speaker's imagination, and simile also shows a common relationship between the two elements of simile and simile, which often does not exist in the same way in both. . In this research, the poems of Nasser Keshavarz and Afshana Shabannejad have been studied in terms of the realm of similes and the type of similes in terms of functionality and imagery, and the result is that the most similes of Shabannejad include elements of nature and the most similes of Keshavarz They include nature and animals Also, both poets have mostly used the pseudo-image aspect and the function and mobility in the aspect of pseudo-images have been less desired, therefore it can be concluded that according to both poets, one of the goals of children's poetry is to depict nature and elements. It is related to it. 

In this research, in addition to comprehensive and clear definitions of story elements, in a descriptive-analytical way, "examining the style of storytelling and the narrative structure of the Masnavis of Khaldbarin, Nazer, Manzoor, Farhad, and Shirin Vahshi Bafghi and comparing it with the standards of contemporary literature" . The findings of the research show that in the wild works, story elements are used to advance the stories, and a design based on causal relationships strengthens them from the beginning to the end. Therefore, the orderly series of events and causal relationships between them encourage the reader to continue the story; In composing Farhad and Shirin, Vahshey Bafghi paid more attention to the quality of elements and its coherence than other poems. In examining the style of storytelling, the quality of using elements such as: plot, characterization, debate and conversation, point of view, theme, and in the narrative structure, tools such as: description, change in point of view, conflict, knotting, diversity in dialogue, staging and methods of This type is examined from the point of view of contemporary storytelling.