نشریه مطالعات زبانی بلاغی
پیاپی 32 (تابستان 1402)

A remarkable part of Persian literary heritage consists of the Qur’anic allusions and themes which are essential elements of rhetoric and poetics. Undoubtedly, the perception of the above-mentioned allusions and indications in the poetry of literary figures adds to the grandeur of their diction and doubles the pleasure of discerning this beauty. The present analytical-descriptive research introduces and explores the depiction of semantic and inspirational functions and intentions of Qur’anic verses in the poetry of Sabāhi Bidgoli, one of the most well-known figures in the period of Literary Return. The methods of depiction, referred to in the books of rhetoric and employed in the poetry of Sabāhi, are reviewed within 3 parts: direct usage (verbal, conceptual, and bilateral), changing the verse application, and allusive usage. This article has dealt with the poet’s approaches to undertaking those methods. The main research question is that, in addition to making use of common and known methods of receiving influence from the Qur’an, what less recognized techniques has Sabāhi taken into consideration? What are the semantic functions and intentions related to those techniques in his poetry? The research results show that, in addition to conventional methods such as adaptation, quotation, translation, and conceptual usage for emphasis and confirmation, and rhetorical functions; Sabāhi has also dealt with some lesser-known techniques among poets including: A) changing the verse application in a descriptive and discriminative approach, aiming to highlight the subject and theme; B) allusive usage for comparison or statement of preference. In the first technique, the main subject of the verse is in contrast with the subject intended by the poet. Sabāhi makes use of this technique for highlighting and defamiliarizing the subject in his poetry. In the second technique, by associating everyday natural and lyrical phenomena and subjects as well as religious characters and the Qur’anic events, the poet attempts to introduce the aforementioned themes in line with the allusions and stories in the Qur’an. Among the methods used in the poetry of Sabāhi, the allusive method with the approach of comparison and preference has the highest frequency.

The aim of the present study is to examine the historical evolution of the prefixal verbs in Dibaji dialect. One of the important factors in the evolution process of languages is grammaticalization, in which lexical categories become grammatical morphemes or grammatical categories become more restricted than before. The reverse process is called degrammaticalization.In the present article, we intend to examine the evolution of prefixal verbs in Dibaji dialect and find the answer to the question whether grammaticalization occurred during the change of the prefixal verbs of this dialect or these verbs were degrammaticalized. In order to answer this question, we examine the evolution of verbal prefixes and the formation of these prefixal verbs over time. Studying the ancient texts of Iranian languages, we indicate that the prefixes of these verbs were lexical items in the ancient period, which were decategorized and evolved into current forms by acquiring a grammatical role and changing into affixes. Then, we indicate that the degrammaticalization process has occurred by attaching verbal prefixes to simple verbs and the formation of prefixal verbs.In this research, more than 300 prefixal verbs were collected and analyzed in a descriptive, analytical and comparative way.

In traditional rhetoric, pun and saj’ (Persian rhymed prose) are two figures of speech that shape the beauty of language through musicality of speech. Abdolghaher Jorjani considers the merit of pun in conceptual requirement; it is well received when meaning calls for it. In Masnavi Ma'navi, by Jalaleddin Mohammad Balkhi aka. Rumi, the use of pun and saj’ is remarkable, but the linkage created between these figures of speech and meaning gives a distinctive feature to Rumi’s poetry. This can be observed, for instance, in binary oppositions which have made use of the literary device of pun and saj’. Accordingly, the hypothesis of this research is that many binary oppositions in Masnavi are related to those words which have pun or saj’ in them, and the opposition between verbal balance and conceptual distinction adds to the eloquence. As the theoretical background of the research, a structuralist approach to literary criticism is initially considered to extract binary oppositions, which are then are separated and classified based on the puns and saj/. The research method is descriptive and the results of analyses are as follows: (1) binary oppositions in Masnavi are accompanied by puns and saj’; (2) among all types of binary oppositions in pun and saj’, pun in different initial letters and parallel use of saj’, which both have the strongest sense of musicality,  show the most frequency; (3) many of the binary oppositions appearing in the words with pun or  saj’are not included in diction rules of the language and are Rumi’s poetical innovations; (4) the function of binary oppositions accompanied by pun and saj; is considerable in rhyme making or verse making.

Discourse markers are language elements that linguists do not have a consensus about their nature as well as their role and function. The present study aimed to investigate the function of Persian discourse markers as reference elements, based on Fraser's (1999, 2006) approach. For this purpose, a corpus of two types of political and economic texts was selected. Taking print run and history into consideration, 16 editorials of Kayhan newspaper for political texts and 15 editorials of Donya-e-Eqtesad newspaper for economic texts were analyzed, and the discourse markers were classified into four categories: contrastive, elaborative, inferential and temporal. Data analysis showed that the formula presented by Fraser (1999, 2006), for the sequence of sentences connected by discourse markers, is slightly different in Persian and should be rewritten as S2+DM.S1 /S1.S2 + DM. Furthermore, based on the importance of the information contained in the sentences preceding and succeeding the markers, they can be divided into cataphoric marking (markers placed after the main message), anaphoric marking (markers placed before the main message), and joint marking (markers placed between two main messages). Data analysis indicated that contrastive and elaborative markers are considered as joint marking, and inferential and temporal markers are anaphoric marking in Persian. Based on the research findings, it can be concluded that discourse markers can have a referencing function in information structure.

Proverbs are among the valuable components of folklore and oral literature of any culture, revealing plenty of cultural and historical facts. In the present study, we intend to deal with the representation of women in South Taleshi (Siyahmazgi variety) proverbs, idioms and expressions. The design of this descriptive-analytical research is a mixed methods study with field data collection through semi-structured interview with native speakers.  The collected proverbs, idioms and expressions were determined in terms of meaning, concept and theme and classified in 19 semantic categories. These data were analysed in the framework of Lazar (2007) feminist critical discouse analysis. One of the important results is that, according to the significance level of One-sample Colmogorov-Smirnov Test, there is a significant difference between the types of women representations. The results show that, in the society in question, gender is perceived as an ideological structure; based on hierarchical relations of domination and subordination, women are in the subordinated class and are considered of little value. They are also portrayed as dominated, weak, evil, and greedy.

Fereydoun Tavallali was among the most significant contemporary artists who established a new genre in Persian satirical writing. Due to such innovations, he maintained a decisive and influential presence in the literary and political circles in Iran for almost a quarter of a century. Despite the passage of time and the obsolescence of the sociopolitical events of that era, Tavallali's satire has maintained its charm for the Persian speaking audience. Seemingly, a crucial reason for the fineness of his satire is his command of text-based and functional linguistics. Regarding functional linguistics, text coherence is considered as a crucial component of literary works. Michael Halliday's theory of lexical coherence and Ruqaiya Hasan's theory of cohesion and cohesive harmony are among the most practical contemporary theories through which one can acknowledge the degree of coherence and magnetism of a work such as Al-Tafasil by Tavallali. This research uses a descriptive-analytical approach to investigate Tavallali's satires, with an emphasis on Halliday and Hassan's theory of lexical coherence. The results show that Tavallali has utilized the elements of lexical cohesion to create the satire in Al-Tafasil in a way that such elements have enhanced the coherence of structure and content of his satire and given more depth to his intended concepts. He has employed word repetition to enhance the coherence of the overall context in a novel way and has also used Saj' (rhymed prose) to create coherence and cohesion among successive sentences. Tavallali’s use of paronomasia, morphological derivations and alliteration has also merged the successive sentences in a solid sequence. Regarding the harmony of words, he has also made an innovative use of congeries, contrasts and synonyms; the use of contrasts is very proportionate and synonyms are used less often. Instead of using -congeries in one sentence, they are used separately in short sentences, which brings about the higher frequency of verbs and conjunctions in the text. Tavallali has thus deepened the internal coherence of the text with an enhancement of musicality and tone and has aligned the language with his political, critical and revolutionary goals.

Imagery is considered as one of the most important artistic aspects in the literariness of any work of art. This becomes more important in narrative poetry because, if depicted properly, it will encourage the audience and create an emotional response in him to hear the rest of the narration. One of the famous stories of Persian classical literature is the story of Bahram Gur, which is represented both in Ferdowsi's Shahnameh and Nezami's Haft-Peykar. In this article, we have compared the rhetorical imagery concerning this story in the two aforementioned works. To this end, we have examined and compared the imagery created by the two poets in the two categories of “imagery describing actions” and “imagery depicting the setting”. The result of this study shows that, concerning imagery describing actions, there are more action-based and dynamic images in the story of Bahram Gur in Shahnameh than that of Haft-peykar due to the narrative pace of events and actions as well as the high frequency of verbs. With regard to the imagery depicting the settings, Ferdowsi’s version presents more adventurous and plausible images than those created by Nezami. However, images of feasting and battlefield settings are abundantly portrayed in both works.

The concept of desire was particularly important in Freud's teachings, and he paid attention to penis as an important element in male biological structure. Using Saussure's linguistics, Lacan was able to provide a linguistic reading of the concept of desire and penis. Therefore, the Freudian penis gave way to the Lacanian phallus, and desire was also recognized as a linguistic category along with other concepts such as lack and excess. In this research, our qualitative library-based reading of the corpus discusses the position of the phallus as a linguistic factor that always keeps the subject away from objet petit a. The results obtained from the Lacanian reading of the above-mentioned stories show that the characters in these stories have accepted their castration from the very beginning and, with the hope of attaining the phallus, they have entered the field of signification by desiring The big Other, which has in turn referred them from one sign to another. As a subject, these characters have never been able to obtain the object of their desire, and desire as a linguistic matter is always represented by a lack or an excess. The subject's encounter with the lack of the object of desire causes the reproduction of the signifier and preservation of language, and the encounter with the excess of the said object leads to the symbolic death or psychosis of the subject.

Pastoral tales, as one of the most important type of oral texts, have intra-textual and extra-textual features related to the situational context of the text. Kurdish pastoral are an arena of confrontation for binary opposition the interpretation of which, at both linguistic and narrative levels, will reveal aspects of structural and semantic structure of the text. The present study has tried to study binary oppositions in Kurdish pastoral tales at both narrative and linguistic levels from a semiotic approach. To this end, ideas from linguists and cultural semioticians as well as structuralists’ views in the field of narration have been employed. The results of the research show that, in Kurdish pastoral tales, the hero on quest challenges oppositions and negative semantemes in order to reach the valuable object and the desired world. In this procedure, the hero considered as a cognitive agent and the self belonging to a culture, interacts with the ecosystem of "other" and "another." The hero then achieves the desired result in a process of “removing alterity”  or ”fighting against the other” Eventually, by rejecting the alien world and the undesirable other, he returns to his culture and the world in which peace and balance is restored.

The present study examines and analyzes approaches to conceptualization of love in the work of contemporary poet Yadollah Behzad Kermanshahi. Adopting the method of description and analysis of data and relying on foundations of conceptual metaphor, this study tries to discover the hidden layers of imagery through identifying and analyzing the source domains of the metaphors   and to explore the thoughts predominating over the poet’s worldview. The results indicate that Behzad uses a wide variety of source domains such as anthropomorphism, reification, foodification, spatiality, elements in nature, health and illness, heat and light, shackles and imprisonment, sacred tasks and affairs, and schemas related to journey and direction. It must be noted that the hidden layers of these images entail positive meaning and concepts of love to the extent that, even when the poet uses negative source domains, his view of love is still positive and reassuring. Therefore, it could be stated that the poet assesses love with an absolutely affirmative worldview, considering it as a miracle that is the essence and delight of life and gives rise to hustle and bustle and fruitful activities in the world.

Reformulation markers are a subset of meta-discourse markers by which the second statement expresses or explains the first statement from a different point of view to make it easier and more convenient for the audience to understand the message. The present research aims to investigate the frequency, function, and type of reformulation discourse markers in English and Persian corpora in linguistics to discover differences and similarities. The English and Persian texts each contain 50 randomly selected articles. Considering the congruence and suitability of Hyland's (2005) model with the scientific discourse, it was used to identify reformulation markers. Murillo's (2012) model was also used in two corpora to study the function of reformulation markers. The obtained quantitative results show that the frequency of reformulation markers in the English sub-corpus is more than in the Persian one. The most significant reformulation markers in the English sub-corpus belonged to "i.e.," and in the Persian sub-corpus is "/ya’ni/". Based on the form, 50 different reformulation markers were found in the overall corpora. The results show that the highest frequency of the reformulation markers function in two sub-corpora is related to the interpretation of explicit meaning (descriptions and specifications). The lowest frequency of the markers function links to implicit meaning (mathematical operations).

Masoud Kimiyaei is famous for scriptwriting and filmmaking, but he has showcased his art in literary creation by writing a novel, Jasadhaye Shishei. The main question of the present research is to what extent the author is aware of the principles of story writing and has utilized those principles, and to what extent his skill and experience in filmmaking has been effective in writing this novel. In this article, using the method of content analysis, the writing techniques used in the text of the novel and their consistency have been evaluated. The title, chapters and structure of the novel have been explained. The author has been successful in using historiographic metafiction to approach the subject of the story. Characterization of the novel is generally satisfactory; however, in some cases, the narrator passes judgment instead of storytelling through the character’s actions or sayings. The characters language is compatible with their position, level of literacy and responsibility, though the narrator introduces some characters haphazardly. The author utilizes Cinematic capacities thoroughly in giving depth to characterization, narrating details of the setting, activating and visualizing the abstract issues, choosing the viewpoint, mixing discourse with images and depicting poetic exegesis. Meanwhile, the author’s interest in visualization brings about redundant sequencing in the novel, which leads to a voluminous text.

Recently, some academics have used the title "zabānshenāsi ye rāyāneshi" in the naming of academic fields. Before that, this combination was created and published in the Academy of Persian Language and Literature. In this article, the method of making the second part of this name, "Rāyāneshi", its origin and source is discussed and it is shown that this word, which is made from the Pahlavi language, Its construction is in conflict with the language rules, Persian grammar, and Persian language patterns is wrong, just as the word "rāyāne", which was created by the Academy of Iranian Language (Farhangestān II) equivalent to "computer", is wrong according to the rules of the Persian language, and although it has fewer problems than "rāyāneshi" It is acceptable due to high usage.Of course, the word "computer" was established and common in the Persian language, and there was no need to create an equivalent for it, and today it is more common than "rāyāne". In this article, it is shown that the use of "rāyāneshi" is not acceptable in any way.

Elegy has always been a popular genre, especially in poetry. This type of composition, due to its special subject matter, has special features and crafts to convey the message and relate to the audience. Composing poetry about Ashura, as one of the manifestations of love for the family of Prophet Mohammad (PBUH), has especially has received more attention after the victory of the Islamic Revolution, and many poets have experimented in this field. In this relation, the poems of Qaisar Aminpour as one of the poets of this group received much attention. In his Ashura poems, a cherishing and warm verbal language flows along with the clarity that can be seen in his other poems. In the present study, the element of tone was studied with respect to the sincere and indirect transmission of the message of sorrow and grief. Considering its importance in conveying the implicit message of the text, it was revealed that the poet has observed the tone and subject matter of the poem in choosing the form. He has considered the rhythm and its propriety with the sad atmosphere of the poem in order to choose the metrical pattern. He has also used rhyme and rhythm and their phonetic compatibility as an important principle to align with the audience. Aminpour has also made use of figurative language, especially metaphors to depict the poetic landscapes the musicality of sounds and the magic of the proximity and contiguity of letters as a style to create a more emphatic tragic tone in Ashura poems.