مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 89 (مهر 1402)

Description is kind of linguistic action that can be present in any kind of discourse, whether literary or historical. The appearance and formal features and characteristics of the description provide the possibility to make good use of descriptive statements in the analysis of historical texts. The main purpose of this essay is to show the types of description in artificial prose based on the theory of description in the two books Tarikh Jahangosha and Tarikh Vassaf.

In this research, it has been tried to examine and cite enough examples and evidences from the two works of Tarikh Jahangosha and Tarikh Vassaf. The method of the present research will be done by following the method of structuralisms and the authors have tried to avoid mere compliance in the methodical control of this method.

The result of this research shows that in Jahangosha history and Vassaf history, we are faced with a variety of descriptive statements that the authors have used description not only for decoration but also to make the text artistic and to induce content.

The results of the research show that the special narration of Jahangosha"s history and Vassaf history of historical events have changed these two authors status from historians to literary artists. By using description as a stylistic component in the form of structural descriptions (short, detailed and long, implicit, explicit, obvious) and also paying attention to the rhetorical aspects of the image, these two writers (historians)have been able to remove the propositions of the historical narrative from pure narration and artistic aspects. and increase its literature with the help of description.

Indian style poetry is an example of poetry in Persian literature that spanned from the 9th century to the 13th century. This style is considered the most non-political period of poetry in Iranian literature for the reasons that we will discuss in this essay. In this research, an attempt has been made to find out the causes of evasion of critical and political literature in Indian style.

This article is a theoretical study with a library research tool and a descriptive analytical method, which has analyzed the critical and protest content of Indian style poetry.

The most important factors that have led to the avoidance of protests in this period are the homogenization of the institution of power and politics, the authority of the Safavid government, religion and its related strictures and fear of the rulers, traveling to India, finding a way and the influence of the Persian language in India. The type of literary form and its change from ode to sonnet, the fields of Sufi thinking and isolationism, the writing of poetry by some non-Iranians, and dozens of other big and small factors, including the lack of motivation to express protest, can be mentioned.

From the collection of these factors, we found that the literature of this period was far from protest and critical thoughts, and poets did not pay attention to political issues for the reasons mentioned, as a result, Indian style literature was different from other literary periods in terms of political approach.

Mohammad ibn Yusuf Ahli Shirazi is one of the poets of the 9th and 10th century AH whose poetry is similar to the Iraqi style. He is definitely one of the poets of the Shia religion, who has praised the imams of Athar many times in his poems. The stylistic analysis of his poetry as a poet at the end of the Iraqi style and the beginning of the Indian style is important from a literary point of view. In this regard, the aim of this research is to analyze his poetry on three levels: linguistic, literary and intellectual.

In this research, using the "library" method of collecting information, firstly, the Divan of Ahli Shirazi"s poems was carefully studied and appropriate and desired evidences and examples, which showed the stylistic features of his poetry in three levels: linguistic, literary, and they show an idea, it is noted. In the following, based on the descriptive-analytical method, these evidences have been analyzed. It should be noted that the version of Diwan Ahli Shirazi corrected by Hamed Rabbani (1965) is the basis of this research.

The poetic language of the Shirazi people is simple and fluent, and the characteristics of the old Persian language are rarely seen in it. Also, there is no mention of heavy and uncommon Arabic words in Persian language in Ahli"s poetry. From a literary point of view, similes, especially detailed similes, eloquent similes, and eloquent similes are the most frequent rhetorical techniques in his words. Puns and phonemes are at the top in the verbal industry. Another characteristic of Ahli poetry in the literary layer is the diversity of using rhetorical techniques. Also, "love" is his main symbol, especially in his sonnets. Sometimes the themes of Qalandari"s mysticism can be seen in his poems, which does not have a significant frequency, but it is another telling of his personality and thoughts. In his quatrains, he is close to Khayyami"s thought and emphasizes the brevity of the world, seizing opportunities and happiness. One of the other important aspects of Ahli"s poetry is dealing with Shia themes and praise and praise of Shia imams, or writing elegies for them, especially in the mourning of Imam Hussain and the events of Karbala.

In general, it can be said that Ahli Shirazi"s poetry is significant in terms of dealing with various subjects and themes, from earthly love and male lover to Sagiyeh poems, Qalandari mysticism, religious and Shia themes, and the events of Karbala. Also, simple language and clear rhetoric, far from complexity, are other features of his poetic style.

The manuscript of "The Ship of Muns al-Oshaq and Tohfe al-Afaq" by Suleiman Qonodi in 860 A.H. It has been collected and written. This ship contains 11,600 verses of poems by seventy-eight famous and little-known or unknown poets in the seventh, eighth and ninth centuries. Some of the poets of this ship do not have divans or their divans have been lost throughout history, and some of their poems can be found in this ship. Two poets of the 8th century, named Mohammad Asar Tabrizi and Mir Kermani, are among them. The author of this research tries to introduce them and analyze their stylistic features in three linguistic, literary and intellectual levels.

The research method in this thesis is qualitative and content analysis type. The desired information has been extracted from library sources and reliable internet sites and collected through the FISH tool, and the obtained information and statistics have been criticized and evaluated.

In the analysis of the stylistics of the lyrical poetry of two poets, it is in line with the common prosody and rhyme of Persian poetry in the external and background music. In internal music, the array of puns and repetition is widely used, the main characteristic of which is word repetition. At the literary level, detailed simile, metaphor, simile, and metaphor are frequent. At the intellectual level, their lyrical poems contain mystical and romantic themes.

Arabic and Old Persian words have a low frequency in the poems of two poets. Their language is simple and fluent and is closer to today"s language. Mohammad Asar and Mirkermani have used various types of images, among which similes and metaphors are more frequent. There is no brevity in their poems. Their lyrics are romantic and describe the beloved, but sometimes they add complaints and grievances to it. Some sonnets also have mystical thoughts.

Narratology is a field of criticism and literary theory that tries to find out the general mechanisms of meaning-making in all types of narratives through a detailed analysis of narratives. This method of criticizing literary texts can be done in various ways, including narratology in the style of Roland Barthes. According to Barthes, in addition to having secondary cultural, ideological and political meanings, narratives shape our perception of the world around us. Based on this, the main goal of the upcoming article is to analyze the contemporary Persian novel "Azade Khanom and its author" according to Barth"s five codes and to represent this complex and multi-layered work with the help of these codes of the underlying and hidden layers.

This research was done in a descriptive-analytical way. With the approach of narratology, he collected information in the manner of five codes of Roland Barthes.

In examining the narrative structure of "Azadeh Khanum and its author" based on Roland Barthes" five-code model, it was observed that the narrative structure of this novel is different from other Persian novels. Its different parts are in terms of time, space, and events without a linear sequence. and are a logical sequence. According to Barthes" model of narratology, semantic symbols have a prominent and meaning-making function in this narrative. Because each of the characters, places and events have implicit meanings that include the theme of the novel.

In the semantic codes, the implied meaning is checked based on the characteristics of the characters in the story and their actions. In these codes, it was stated that the key signifier and the central role of the novel "Azade Khanom" are. The same name includes the theme of the novel, freedom; The opposite point evokes captivity. In symbolic codes, it was stated that two different views (Dai Oghli and Beb Oghli), the class of the powerful and ordinary people, men and women, are always in opposition to each other in the intellectual system of the society.

The satirist uses methods and tools to ridiculously explain all kinds of anomalies. Irony, as one of the rhetorical tricks of humor, is divided into many types, including existential or philosophical irony. In this kind of irony, existence, God and the action of the Almighty are the target of satire. Objection to God and complaining about the system of existence are in opposition to the subject of the meeting place of the mystics and the majority of theologians, that is, the promise to the good system.

This article is written based on the descriptive and analytical research method and using library tools. The statistical community of the research includes Khayyam"s quatrains and Attar"s masnavis: Asrarnameh, Mosibatnameh, Elahinameh, and Manteq al-teyr. The present study, which has been prepared in a descriptive-analytical manner, examines the irony of existence in Khayyam"s quatrains in the place of a philosopher"s mental exudations in comparison with Attar"s Masnavi as an extract of prominent mystical thoughts.

In 21cases of using the irony of existence in Khayyam"s quatrains include 12astonishments of the philosophy of life,7criticisms of the destruction of beings and 2protests against the lack of justice. In Attar"s Masnavi, only once the philosophy of life has been destroyed 4 times,13 times the category of poverty, and in 5cases the bewilderment of lovers has been satirically criticized.

According to the findings Unlike Khayyam, who indirectly challenged the work and burden of existence by referring to the heavens and the universe, she openly targeted God in the form of a narration with a sarcastic tone and took advantage of the safe position of the free rationales. Philosophical sadness is much more pronounced in the quatrains containing the irony of Khayyam"s existence, and only in two quatrains involving the lack of justice, his pain and social concern can be expressed; But Attar"s pain in expressing his criticisms and objections is both philosophical and social, as well as caused by romantic passion and helplessness.

The sentence is the largest linguistic unit in the structure of the Persian language, which is placed at the head of the word and group. In this article, according to the syntactic part of the role and reference theory, the compound sentences in the first volume of the Shahnameh are examined and it will answer these questions: can it be possible to prove the brevity of the Shahnameh by examining the compound sentences in the Shahnameh? What pattern does the structure of compound sentences follow in the section of focal inconsistency with addition?

This article is done with descriptive-analytical method. In this article, first by calculating the Morgan table, the sample size was determined in the first volume, then the verses were placed separately in the Morgan table and the scope of the research was obtained.

The compound sentences of the Shahnameh have used three patterns in order of frequency: a) follower sentence in the first stanza and base sentence in the second stanza, b) base and follower sentences in the same stanza, c) follower sentences in the second stanza. And the base in the first stanza.

In the first volume, 225 bits contain compound sentences and 20 bits are dedicated to focal inconsistency with addition. In compound sentences where there is no description, there is no place for atnaab, and despite the omission of sentence components, you can see the strong presence of conciseness in these sentences. Due to the use of compound sentences in one verse and the lack of extension of the sentence to the next verse or verses, the linguistic structure of the Shahnameh has structural brevity in the syntax of words, which brevity is the most frequent method of elimination.

Literature is a foundation for showing anomalies and disordered social situations, and over time, this critical view has entered all political, cultural, social, artistic, etc. fields and has caused profound changes. In accordance with these developments, fiction literature has been able to create a discourse whose product is the production of a new literary form and context, so that it can draw a clear horizon for the advancement of humanity in this valley. In classic stories, the central character connects cause and effect with his presence in the story, but gradually in modern and post-modern stories, the element of causality is absent and the fictional characters are unable to express cause and effect relationships. The purpose of this article is to examine the evolution of fictional literature based on the element of character in three eras: realist, modern, and post-modern.

This research was done in an analytical-descriptive manner and based on library sources; Describing the stories in terms of content and theme in the three mentioned periods, as well as comparing the speech of the characters and their effect on direct and indirect action on the verbs of the story, is one of the analytical and descriptive methods of this research.

The findings of this research show the place of dialogue element in the characterization of the writers of all three periods. In realistic stories, the conversations during the story are based on the outside world. In the modern period, due to the predominance of the inner world, conversations are often monologues and in an irregular and scattered form, and in postmodern stories, the conversation has more interaction with mental conflict and has a lot of irregularity.

The common thread of all three periods is the formation of the theme of the story based on the dialogue element; Also, the author"s ability to emphasize the types of dialogues in the fiction works of each period is one of the most important verbal and non-verbal factors of the characters in the progressing process of the story.

In recent decades, women storytellers have created outstanding works in the field of contemporary Persian novels that follow social concerns and reflect the shortcomings and needs of society. In the meantime, the novel "Toubi and the meaning of the night" by Shahrnoush Parsipour is important because it reflects the efforts of a number of women to change their social position, and its analysis is necessary to explain women"s patterns. By creating female characters, the author has tried to deal with variables such as: the dominant and patriarchal discourse of the society, gender and ideological implications and explain the position of women. With this credit, the aim and issue of the current research is to investigate the variables mentioned in this novel.

This research was done by descriptive-analytical method and referring to library sources. The scope and scope of the research is the story "Toubi and the meaning of the night" from Shahrnoush Parsipur.

The main ideological implications in this story are: "Eastern mysticism, myth, magic and superstition", "religious and religious concepts", "patriarchy". Also, the class conflict and the formation of a kind of transformation in the cultural and social arena in the actions of personalities such as Tubi, represent women"s efforts to get out of the discriminatory conditions of the patriarchal society and achieve identity independence.

This novel generally tells about Parsipour"s concern about women"s issues, gender hierarchy and ideologies governing women.

The figurative function of sentences and their secondary meanings is one of the topics discussed in the science of semantics, which is expressed in the form of a question, and considering the fact that interrogative sentences are considered essay sentences, the purpose of interrogatives is to obtain information and news. is. In most rhetorical books, thirty-two cases are considered as secondary objects for interrogative sentences. The aim of the research is to find out what concepts Nizami Ganjai intended to express through the use of rhetorical questions.

In this research, which was carried out using a descriptive-analytical method and a library tool, the secondary purposes of interrogative sentences in the poetry of Khosrow and Shirin Nizami were investigated and analyzed.

It should be mentioned that 446 rhetorical interrogatives are used in the poetry of Khosrow and Shirin. The use of this volume of rhetorical questions shows the richness of themes and concepts and the rhetorical value of Khosrow and Shirin.

The results of the research indicate that most of the interrogative questions of Khosrow and Shirin contain the implicit meaning of helplessness and expression of despair, and Nizami in his poem has used all the linguistic tricks and abilities in the structure of the science of meanings well and has expressed his speech in such a way The art is decorated in such a way that the optimal use of the science of meanings has made the words of Khosrow and Shirin"s poem lasting and affecting.

Romantic poems form an important part of Iran"s lyrical literature, and they are also considered to express the cultural characteristics of different historical periods of this land. The event of love and the situations and conditions of the lover and the beloved are the main elements of these systems and depending on the social atmosphere of each period, it has its own characteristics and differences from other periods.

In this article, the discourse analysis method is used to examine the states of love in love systems.

In these systems, what determines the states of love is dependent on extratextual factors and elements, conflicting discourses, intellectual and cultural context, religious and racial tendencies.

The states and characteristics of lovers before Islam and the states of lovers after Islam have obvious differences, which is largely due to the change of the religious-cultural and political discourse before Islam to the Islamic era and Its effect is on the pillars and people of the society and, accordingly, on the moods and characteristics of the lover; As compared to the atmosphere of the cultural-social society of the Islamic period, the open atmosphere governing the relationship between men and women in the pre-Islamic period, the extraordinary tolerance regarding sexual affairs and relationships, marriage and family relations, in fact, the things that were forbidden and condemned in the Islamic period And it was reprehensible, it made it possible and it has been reflected as a part of the dominant culture in the romance poems of this period.

Form is the form of order used to express the content of literary and artistic works. Absence of form in poetry is distancing from the effects and principles of order and disrupting and breaking the texture and meaning of the poem. The aim of the research is to investigate and introduce the components of form avoidance in postmodern sonnets with a descriptive-analytical method.

In order to understand the connection of literature in different eras and the degree of changeability and production of various forms and literary anomalies, this study has been carried out with an analytical and comparative method. The present essay, using the descriptive-analytical method and using library studies, has analyzed the postmodern lyric poetry of the following poets: Mohammad Sa’eed Mirzaei, Seyyed Mehdi Mousavi, Azadeh Besharti, Vahid Najafi, Bahman Ansari, Fatemeh Ekhtesari, Asqar Ma’soumi and Elham Mizban.

In the linguistic and literary part, the signs of postmodernism in the poems of Besharti, Najafi, Mirzaei, Mousavi, Ekhtasari, Ansari and Mizban in the form of manipulation of the lines and rhymes of the ghazal, the use of self-made, unintelligible words, alien, strange and original imagery, expressing the imagination and desire of the poet in the sentences of the sonnet, deviation from the rules of syntax, phonetics and writing and grammar of the Persian language.

In this research, these results have been obtained that the most significant methods of form avoidance in postmodern sonnets are phonetic and linguistic breaks, visual breaks, tongue twisters, breaking the border between truth and illusion, abnormal change of rhyme, row and syntax along with innovation and There are changes that are used to fight against the tradition and to express better and more easily the intention and mental meaning.

Women, as half of the human body, are considered one of the most important social components, which has been of interest for a long time. In this regard, the epic system of Ferdowsi"s Shahnameh is very important as a work emerging from Iran"s cultural, historical and social heritage. The richness of this work and its importance are so great that many epic and historical poems have been written in imitation of it. Tabrizi Shahanshahnameh is an example of these cases. Examining the category of attitude towards women and her position in these two epics not only defines the position and dignity of women in ancient Iran, but also clarifies the attitude towards women in society from Ferdowsi"s lifetime to the end of the Mongol rule. The authors try to compare the position and role of women in these two important works.

This research was carried out by descriptive analytical method and using library studies.

Although there are no negative words and phrases about women in Tabrizi"s Shahanshahnameh, the gendered view of women and the use of women for sexual desire diminishes the dignity of women in the Ilkhanid period and makes women inferior and in the area Wisdom, dedication, loyalty and rulership are assigned secondary roles for them. However, even though there are few negative verses about women in the Shahnameh, they play more important roles in the stories and have received more attention.

Women in Ferdowsi"s Shahnameh have a more suitable position than women in Shahanshahnameh.

Although simple writing is more or less seen in most periods of Persian poetry, it is a dominant trend in the contemporary period. A flow that is more prominent in the formal dimension of language and this simply leads to the transfer of the content of the poem. The purpose of this research is to investigate the stylistics of simple writing in the poems of Bijan Jalali, Omran Salahi and Shams Langroudi.

The method of this research is analytical and descriptive based on library study, and the statistical population is the poets" poems.

Simplification of features such as simplicity in language, attention to both language and content, short sentences, realism, everyday images, avoiding symbolic themes, paying attention to life and its authenticity, using seemingly insignificant subjects, avoiding fancy literary language and allowing entry All the words have poetry.

Jalali pays more attention to the content than the language, and the course of his poetry has rarely undergone linguistic and intellectual evolution in half a century. Even though Salahi is a content-oriented poet, he has a clean language that has kept the practice of simple writing from the beginning to the end of his poetry. Although at the beginning Shams wrote poetry under the influence of Shamloui language, he gradually turned to a kind of simplicity in his poetry and continues to move in this direction and create new poetic experiences.

The present research can investigate that part of songwriters and poet"s imagination which figure out stylistic features (Ebtehaj, Safa, Taraghi). They are also seystematic and have same order.These songs which are the best artistic and literary masterpieces of these mentioned poets, because of their artistic and literary creation and genius of poets gain stylistic personalization and have became basis of the special method,individual special style and periodical style of songwriting.In this research,we adopted the most famous songs of in 1960s and1950s which were the most popular collections of art works.This paper aimed to introduce the effect of kinds of images on making the famous orchestrates and new art style.

This research used analysis-descriptive method.The materials included taking notes from references while researching and the sample was just famous songs in1950s and 1960s which registered in the mentioned poets"s works.

The present paper lead to the conclusion that the famous lyrists who have literary and artistic genius are successful in methodic and systematic image processing and they can gain literary personalization.

The image, imagination, and conceptual power are first of all Targhee; Then Ibtahaj and finally Ismail Navab Safa have a commendable art and creative pen in their artistic creation.