نشریه مطالعات زبانی بلاغی
پیاپی 31 (بهار 1402)

The school of Ahmad Ghazali, his beliefs and interpretations in the context of mysticism, have gained a special aspect of form and meaning. Ghazali's avoidance of directly and openly dealing with the field of mysticism, apart from the heterogeneity of the textual context of his works from other mystical works, has also caused ambiguity in the textual context. In the book of Ghazali's accidents, countless double confrontations can be seen at the surface level; however, due to the transformations that have occurred in the level of relationships and other levels related to them, the authority of the text of love stories has turned into a temporary and transitory situation. Therefore, at the level of deep construction, aligned with Derrida's logic, sometimes by deconstructing the strains of dual oppositions and transferring them, the levels of reality have been transformed into other levels of abstraction, and by creating new links between them, the arena of single meaning and certainty Meaning is challenged. This method has sometimes been associated with changing the value of signifiers, and sometimes by using both this and that style, instead of either this or that style (replacing difference instead of distinction), has caused the creation of a new level based on paradox. In the following article, after understanding terms such as: authority, familiar and foreign boundaries, difference and distinction, levels of abstraction, connection and difference, based on the descriptive-analytical method, the types of paradoxes in Ahmed Ghazali's accidents have been investigated.

The element of description is always considered one of the basic foundations of fiction literature with any writing style, but its appearance in realist works is more distinctive; Because there is enough space to present a verbal description, i.e. ekphrasis, in order to better visualize the audience. In recent decades, several theories of the functions of description have been proposed in various works of Western theorists, and there have been talks about the importance of this element; On this basis, the realist work Zari Zir Baran by Ahmad Mahmoud was researched. Ahmad Mahmoud is one of the prominent and distinguished writers of the contemporary era, whose environment and geography have   influenced his language and writing style, and this impression is undoubtedly due to the power of the descriptive element in hisstories. Zairi Zir Baran story collection includes twelve short stories. These stories, while simple in expression and content, depict the author's descriptive style in expressing his dominant themes and concerns. By pondering in this collection of stories, we correctly understand that description is one of the main essences of this work; And the way events happen, the state of characters and situations with the author's descriptive pen creates an artistic world. These descriptions give the story a drama and are realistic. In this research, we understand that the author's purpose of description is to show the pain and suffering and failure of the people of the south, and directly and indirectly, she instills the poverty and tyranny of the world in her story to the reader. This research has been carried out with a descriptive-analytical method and a library method, and while briefly stating the concepts of ekphrasis and description (the history and functions of description), it tries to examine the descriptions in the mentioned realist work by mentioning sufficient evidence. Criticize the author's purpose of bringing such descriptions.

Although the role of the press can be examined from a social, political and cultural perspective, it cannot be ignored that the emergence and expansion of the press has had a profound effect on our language; In particular, the influence of Persian prose on the press is undeniable. The press has a prominent place in the contemporary history of our country; Thus, the study of developments related to the contemporary history of our country without considering the role of the press will be incomplete. Stylistic analysis of the prose of twenty newspapers from the early years of journalism to the end of the Qajar period is the main subject of this research. In this research, an attempt has been made to examine the stylistic features of these newspapers in five related phonetic, lexical, syntactic, rhetorical and ideological layers. For this review, we selected 50% of the text of an issue from each newspaper. In this study, the citation research method was used and to answer the questions and information required, we also referred to the content of sources and references related to the research topic in the form of books, articles and dissertations. The results show that in the phonetic layer; Some historical variables are evident. Also, the music and the song resulting from the rhyme and the phonology (repetition of a phoneme) have somewhat added to the beauty of the text. In the lexical layer; Political codes, Shari'a, and Arabic and foreign interpretations have a high frequency. One of the characteristics of the syntactic layer is that it shortens most sentences as well as uses a basic style. In addition, a high percentage of the way to remove verbs is related to symmetry. In the ideological layer, the influence of layered stylistics, lexical and syntactic layer is well evident. Also, the stylistic features of the newspapers of this period were compared with the prose of the literary genre of the same period.

Reza Barahani in the 70s proposes a new theory called "languageality". The aim of which is the freedom of language from the shackles of meaning, conventional imagery and other issues that he believes are imposed on language. Baraheni's theory attracted some attention as much that Seyyed Mehdi Mousavi tried to use some of these topics in the old form of lyric poetry. Fereshteha khodkoshi kardand is mentioned as the first collection of postmodern sonnets. In the language of this collection's sonnets, there are certain grammatical approaches that indicate his influence on Baraheni's theory of linguistics. In the present study, with a descriptive-analytical approach and by the method of poetry language library, this work has been studied in two axes of grammar and syntax. In the morphology part, the deviation that Mousavi has done under the influence of Barahani in the field of Letters and compounds has been examined and in the syntax section of the deconstructions that have taken place as a result of escape from patriarchal syntax and launcher displacements application are explained. In the end, it was found that the confusion of vocabulary and sentence syntax showed a disturbed and chaotic structure in the text of the sonnet, which, while different, lacks the necessary aesthetics and emotion.

Layered stylistics is a method of contemporary stylistics that examines and analyzes works in a textual manner based on the layers that create them (lexical, phonetic, syntactic, rhetorical, and ideological). Using layered stylistics, one can achieve the characteristics of individual style, ideas and ideology that govern the text of the poet or writer. The main question of the research is how can the stylistic features of Farokhi's poetry be studied and determined using layered stylistics? This research deals with the descriptive-analytical method and library method to study the stylistic features of Farrokhi's poetry collection with a layered stylistic approach. After analyzing the characteristics of Farrokhi's individual style in the lexical layer, the frequency of sensory words is glorious with structural codes. From the stylistic feature of the syntactic layer, we can point to the shift from the standard syntax, the emphasis on the verb and the institution, as its tools, which has led to the formation of a continuous and active syntactic style. By examining the syntactic layer in the sections of word quality, markup arrangement, style and structure of sentences, etc., each section has a special stylistic feature. The verb and the institution have the most movement in the sentence level and the frequency of compound and simple sentences has caused the combined style. Sentence structures have rhetorical continuity. In the aspect of verbs, they have a predictive and then an emotional aspect and a high frequency. In terms of constraints, time and state constraints have a high frequency. In the grammatical sound section, the text has an active sound due to the frequency of transitive and quasi-unknown verbs, and also the expressive sound is the last component of light sound in Farrokhi.

The subject of the present study is to analyze of the discursive logic of the author-narratorʼs continuous metatexts in the Shazdeh Hamam by Papoli Yazdi(1327- ) based on the metatextuality of the Genette(1930-2018). Shazdeh Hamam is the autobiography of Mohammad Hossein Papoli Yazdi, five volumes of which have been published so far and the first volume has been reprinted 34 times up to now, which shows the good popularity of this book. Part of this popularity in addition to the author-narratorʼs style prose, honesty, and frankness in revealing the facts, is related to its continuous metatexts; because the author, once in the role of narrator, recounts the events of his life and another time, in the role of a researcher, analyzes them. This issue turns the author-narrator an impartial narrator to an intervening narrator. The present study intends to analyze the discursive logic of continuous metatexts in the first volume of the book Shazdeh Hamam using descriptive–analytical method and the theory of Genette metatextuality. The reason to choose the first volume is the distance between the writing and the occurrence of events in which the existence of metatexts and their discursive logic are illustrated vividly. Also, the model of Theo Van Leeuwenʼs legitimation which offers four strategies for accreditation, moral evaluation, rationalization, and myth-making, has been used in this article. The result shows that achieving the desired situation forms the core of the author-narrator discourse; a discourse that is based on the critique of the current situation. This criticism which is the product of the author’s knowledge, practical experience, his expertise, education and teaching in prestigious European universities, has made him to use metatexts in explaining the cause, interpretation, enlightenment, solution presentation, and the cases like this.

In the rhetorical and discourse studies of literary works, the study of the moods of the sentences is of great importance. The mood of the sentence expresses the poet's certainty in his words and exposes the extent of his relationship with the audience. The subject of the sentence and the effect of its cognition on the writer-reader relationship in traditional rhetoric and semantics has been considered by great rhetoricians such as Abdul Qahir Jorjani, Sakaki and Qazvini in the field of statement and composition. In western linguistics, modern critics and linguists such as Michael Halliday and Roger Fowler have also introduced the mood of the sentence more extensively than traditional rhetoric, examining it as the most important element in the interactive function of language. In this research by descriptive-analytical method, we examine different types of sentence moods (imperative, interrogative, conditional along with vocative, benedictory and descriptive moods) and analyze each one’s situation and function within about 3000 sentences in Garshaspnameh poem from Asadi Tousi and the story of Bijan and Manijeh from Ferdowsi's Shahnameh. In this regard, first we have analyzed the different moods of the artworks in the mentioned range, then we have entered the statistics obtained from the studies in the tables representing the distribution in terms of number and percentage so that by referring to numerical statistics, an accurate comparison between the artworks can be established. The results show that the main burden of information flow is on the dialogue atmosphere and because the variety of moods throughout the narrative has disrupted the monotonous framework, unparalleled dynamics can be seen in the artworks. Knowing the effect of dialogue on the expression of emotions, Ferdowsi has purposefully used it. The large number of sentences with interrogative, imperative, benedictory and vocative moods compared to Garshaspnameh will prove this claim. Although the use of imperative, descriptive and especially interrogative moods is considered as the textual values of the two artworks, but the story of Bijan and Manijeh can be considered more challenging than Garshaspnameh due to the greater dispersion of sentences with interrogative moods.

Folk tales can be explored from different aspects and dimensions, including rhetorical dimension. In this article, three Kurdish stories of "Shoor Mahmud and Marzingan", "Sheikh Farrokh and Khatun Esti" and "Shaykh Sanan" which have been compiled by Qaderi Fattahi Qaderi have been analyzed and analyzed rhetorically.  The descriptions mentioned in these stories have found special rhetorical effects in accordance with the thoughts and lives of Kurdish speakers. In addition to rhetorical study of the descriptions of these stories, we have adapted them to similar examples in Persian order texts and folk poetry. The result of this analysis and adaptation is that these three Kurdish folk systems are intellectually and linguistically similar to the Khorasani style and are rich in terms of literary types, but in comparison with the examples of Persian order texts, the simile element has a higher frequency in them.Further searches in the rhetorical analysis of these stories showed that the simile-driven rhetoric of these stories has similarities with the rhetoric of folk lyrics, especially folk dobits, but there are also several cases in these stories that are special and unique and there are not about the same authors searching for them in official literature and folk poetry.

The music of poetry is one of the most beautiful and appealing elements of poetic texts, which is found in Anvari's sonnets, which is accompanied by repetition and balance. Anvari, with the help of phonetic balance, and the use of a slight balance, used many different metaphors in his poetry, which increased the rhythm of his sonnets. He balances the types of repetitions with a slight balance so that repetitive consonants and vowels with a high frequency of consonants "D", "R" and enjoyment of the long vowel "A" are the lyrics. In the discussion of lexical balance, Anvari uses a variety of repetitions of a complete linguistic form, which is well known by repeating the types of nouns, verbs, and words in the beginning, between and in the rhyme position, so that repetition of the verb in the rhyme position is more frequent. He uses the complete repetition of a linguistic form in the form of menadas and sentences, and by using; a repetition of an incomplete linguistic form makes it possible to use a variety of puns in the sonnet, which is more pronounced with repetition of puns and lines. . Thus, it can be said that Anvari has given certain music to his sonnets using a variety of consonants and repeating a complete and incomplete linguistic form. We have identified in Anvari's sonnets, and then analyzed each of them, specifying the frequency of each in the form of graphs.

Amir Khosrow Dehlavi (725-651 AH.) is one of the most knowledgeable and capable writers and poets and at the same time one of the lesser known figures of Persian literature. Amir Khosrow, was born in 1253 in a place called Patiyali, Uttar Pradesh. His real name was Ab'ul Hasan Yamin al-Din Khosrow whereas Amir Khosrow was his pen name. Also known as Amir Khosrow Dehlavi, this creative classical poet was associated with the royal empires of more than seven rulers of Delhi. The life history of Amir Khosrow is truly an inspiring one and he is considered to be one of the first recorded Indian dignitaries who are also a household name. Known for his immense contribution in literature and music, this legendary personality was born of a Turkish father and an Indian mother in a village in India. His fame in our time is much less than his fame in his time. The lack of accurate editions of his work and the scant research on his life, writings, and poems confirm this claim. Amir Khosrow has tended to innovate in music and rhetoric. He has innovations in these two areas. In the third article of “Rasa'il al-Ijaz” or “Ijaz-e Khosrawi”, entitled "Fi al-Latayf men al-Masnouāt", this poet has spoken about the word ornaments created by him. He also in this article talked about the changes he made in the old word ornaments. Among the authors of Persian rhetorical books, Seyf Jam Herawi, the author of “Jame 'al-Sana'i va al-Aouzan” (before 778 AH), for the first time attributed inventions in rhetoric to him. Also this work has been continued by the Vaez Kashfi in “Badāye al-Afkar fi Sanaye al-Ash'ar” (between 875 and 910 AH.), Azad Belgerami in “Sobhat al-Marjan fi Asāre Hendoustan” (1177 AH.) and “Ghezlan al-Hind” (1178 AH.), and Allameh Shebli Nomani (d. 1332 AH.) in the “Sher Al-Ajam”. Thus, a number of rhetorical inventions have been attributed to this poet. These speech ornaments have Arabic names. This article has been written with the aim of narrating and analyzing opinions about Amir Khosrow's rhetorical inventions. The method was analytical-descriptive and based on library sources. First, unknown rhetorical inventions are defined. Then the background of those inventions and similar ones in Persian rhetorical works are analyzed. Because it should be clarified whether their attribution to Amir Khosrow is correct or not? The impact of these inventions on the aesthetics of poetry has also been investigated.

Nowadays, in stylistic studies, as well as in the criticizing and analyzing of literary works, the study of motives is one of the important factors of cognition styles and one of the main instruments of measurement and critique in terms of their frequency and function. Among the styles of Persian poetry, The Indian style and among the Indian style poets, Saeb came to enjoy the motif as one of the most prominent features of the Indian style and Sa'eb poetry. In this research, Motif, means the words by which the poet relies on illustration, theme design, and the creation of associate network, such as dew, bubbles, tear of kebab and paper flowers. “Thom on the wall” is one of the most popular motifs with more than 90 repetitions in Sa'eb poetry. Based on the various features and aspects of this motif, he created various themes and images. In this paper the researcher applied a descriptive-analytic method to analyze the illusion cluster of this element to study the of Sa'eb's image on its basis.

The translation of Molana's books as a one of the greatest literary works of Persian literature is considerable with the modern theories of translation's skills, structurally and contently. Antoine Berman with his theory "Endances eformantes" (deconstruction tendencies), emphasized on the importance of the others and underscored the main text and he believed that the translators must be respect the first text and be faithful toward it.  In this paper, by using Process- oriented descriptive translation studies, we examine the Arabic translation of Seirolebad Elalmaad by Yusef Abdulfattah using the eight parameters of Berman's theory: Rationalization, Clarification, Ennoblement, Glorification, and the Destruction of underlying Networks of Signification, Quantitative and Qualitative impoverishment. The conclusion shows that the main reasons of deviation in Arabic translation from Seirolebad Elalmaad belongs to:  translator's lack of acquaintance to Persian language, the grammatical and lexical differences between Arabic and Persian and naturally it is resulting from the unconformity of culture, civilization, and tradition of these two nations.

The translation of Molana's books as a one of the greatest literary works of One of the main sources of imagery in the poetry of children and adolescents is the elements of nature. In this research, ten natural phenomena have been selected in the poems of 27 poets of different periods of time. The research method is library, analytical and statistical. First, the number of images used is extracted, then the contribution of each of the poets in creating the original images is determined. According to the data in Table one‚the most frequent new images are related to the rainbow (0.72), the sun and the moon (0.64) and the lowest images related to wind and breeze (0.43) and spring (0.35). In table two, the original images of each of the poets are collected. Jafar Ebrahimi 3/ 17‚ Asadullah Shabani 9/ 11, Qaisar Aminpour 8/ 8 are the most illustrative poets. Due to the nature, purpose and attention to the needs and minds of young children, poets who have written more for this group of poems, have less time to illustrate. Poets have used various imaginative techniques of sensory-abstract similes, eloquence, discernment and sensuality. In these illustrations, most of these elements have been used: human features, nature and products, objects, safe and place, animals, special terms.