پژوهشنامه نقد ادبی و بلاغت
سال دوازدهم شماره 2 (پیاپی 30، تابستان 1402)

Literary language or poetic and rhetorical language is a term that is sometimes used against automatic and everyday language and sometimes it is used against scientific language; In addition, it can be placed in the middle of these two types of language. Although Literary language is a phenomenon within the language system, it has its own definition, characteristics, components and functions. Although literary language is a phenomenon within the linguistic system, it has its own and different definition, characteristics, components and functions. The most outstanding feature and element of literary language is the avoidance of reality and the expression of possible worlds for the audience, the creation and presentation of impossible worlds, the possession of the essence of imagination and creativity, the benefit of aesthetic factors and, in addition to that, the avoidance of norms that can also Foregrounding (highlight) and defamiliarization. Dealing with the subject of the use and function of literary and poetic language has a long history as old as the debates between formalists and semanticists and the use of terms such as matter and substance of the past to material and preparation or plan and story of the contemporaries (artistic devices). The main purpose of this research, which is done in a documentary-descriptive way and to some extent analysis of literary content, is to study and research the works and texts of one of the mystics of the 5th century Hijri; That is, Khwaja Abdullah Ansari, from the perspective of the language of literature and the discovery of elements and components of poetic and rhetorical language, dealing with linguistic and aesthetic categories, and finally the connection of literary language with mystical language in the works of this mystical writer. At the end of the current research, we come to the conclusion that although Sheikh Al-Islam Ansari is a great mystic and the main purpose of creating his works was mostly education, sermons and speeches, explanations and expressions of verses and hadiths for disciples, students and audiences, and often His words have flowed in states and stages of fascination, absorption and mystical drunkenness, but Khajeh was not oblivious to their aesthetic benefits, and the presence of these elements and components of literary language and its connection with the mystical language of Sheikh Ansari, caused a difference in his literary style and Even achieving personalized style; The method and model that after him has been welcomed by many mystics, Sufis and writers of taste and style.

In the Persian language, there exist established conventions for representing numbers that exhibit limited variability. Numbers are a collection of terms employed for quantifying various entities. The utilization of numbers, their combinations, and associated concepts holds a prominent role across a wide spectrum of disciplines, including philosophy, logic, mathematics, and literature. In certain instances, specific numbers may even acquire a revered and valuable significance in the eyes of diverse cultures. The significance of numbers extends to the extent that certain religious traditions have harnessed them to further their objectives and communicate their ethical and societal perspectives. Despite this, in the realm of rhetorical works, particularly within the domain of stylistics, there is relatively scant attention given to this abstract form. Consequently, this research endeavor aims to introduce and scrutinize the framework of this abstract representation. In this study, a descriptive-analytical approach was employed to introduce and analyze the composition of the figurative imagery found in the poems of Khaqani. Additionally, an effort was made to quantify the occurrences of associated elements and numerical values. This research aimed to address two primary inquiries: firstly, to determine which structure occurs most frequently in the amalgamation of specific numerical elements, and secondly, to identify the predominant numerical values used in Khaqani's poetry. In accordance with the syntactic framework elucidated by Shafi'i Kadkani in his work "The Poet of Mirrors," the structural organization and composition within Khaqani's poetry can be delineated as follows: 1. The concatenation of numerical values with material dependents followed by numerical values; 2. The juxtaposition of numerical values with material dependents and subsequently with abstract numerical values; 3. The amalgamation of numerical values with abstract dependents succeeded by numerical values; 4. The fusion of numerical values with abstract dependents followed by abstract numerical values. In order to acquaint the readership with this intricate syntactic structure and the amalgamation of distinct numerical elements within Khaqani's poetic compositions, the author has conducted a comprehensive examination of these specialized numerical dependencies and their corresponding values within these four structural patterns. The utilization of various numerical values in the creation of unique numerical combinations is a distinctive stylistic trait of Khaqani. Consequently, this approach often deviates from conventional norms in many of his poems. Through the employment of this artistic technique, Khaqani has ingeniously crafted novel compositions, enhancing the beauty of his words. Within Khaqani's poetic works, specific numerical values and their dependencies are diverse, encompassing figures such as one, two, three, four, seven, one-two, one hundred, one thousand, one hundred thousand, as well as various fractional quantities. Among these specific numerical combinations, the most frequently occurring pattern comprises the sequence "number + material-dependent + material numbers," while the least frequent is the combination of "number + abstract-dependent + material numbers." Structurally, figures such as "one," "three," "four," "one-two," and "half" signify scarcity, while "hundred," "thousand," and "hundred thousand" denote abundance. A more detailed examination of Khaqani's compositions, as found in his Diwan, reveals variations such as those involving the prefix "a few," stanzas featuring two dependencies, and compound combinations, albeit these are exceedingly rare.

Surrealism can be considered a school of honoring the hidden mind. Although the process of literary movements before that had adopted approaches in the praise of the hidden mind, but Surrealism brought this process of praise to worship. All the concepts provided by them have been respected and validated in relation to the hidden pronoun. In the eyes of surrealism, the superior reality created by the hidden mind, the highest point of the passport to enter the hidden mind, the astonishment of the hindrances and obstacles of the hidden mind, the objective coincidence proving the prophetic power and the upper hand of the hidden mind, the surreal moment is the gateway to the realm of the hidden mind, the love-inducing of the hidden mind. , the dream is the pure source of the hidden mind, fantasy and illusion are the arms capable of fighting the enemies of the hidden mind, humor is the healer of the hidden mind, automatic writing opens the way to enter the hidden mind, the madness of the hidden mind's cry, a surreal object that embodies a manifestation of the hidden mind and surrealistic depiction is a gift of the hidden mind. To the captives of the real world. By embarking on a series of bold but not blind experimentation, Surrealism marked the personal discovery of the principles that are referred to as the Principles of Surrealism. The vision of this experimentation lies in the knowledge of the history of such experiments. The importance of these concepts is not limited to a specific climate and time, and before and after surrealism, many artists have made this personal discovery in all parts of the world. Therefore, these common principles of all time and place are at the center of this research. The first step is to find out whether these principles of timelessness and spacelessness were also the opinion of the talented contemporary Iranian poet, Ahmad Azizi, or not? And in the next step, he examines how Ahmad Azizi pays attention to these principles, and in the third step, he examines the points of commonality and difference between the views of this Iranian poet and the French school. In this process, there are surprising co-conspiracies in the principles of superior reality, the highest point, the amazing, objective coincidence, surreal moment, dream and illusion, humor, automatic writing, alignments in the principles of the surrealist object and imagery, as well as undeniable and of course contemplative co-conspiracies in the principles of madness. , drunkenness and drugging and finally love are observed between these two views. As a result, this research leads us to believe that Ahmad Azizi is an artist who in his own unique way addressed these common principles, and from this unique way, the pleasant Iranian-Islamic scent can be smelled.

One of the remarkable topics in the history of Persian poetry is »pen name« and choosing pen name. According to the remaining documents in the works of poets, the more we come from the fourth and fifth centuries (.A .H)  to the later centuries, the more the necessity of having a pen name among the poets becomes apparent; By mentioning this fact that as we approach the contemporary era, the repetition of pen names and also their function with a not very favorable semantic load is increasing. In this article, with the aim of a more detailed knowledge of the social contexts of Persian poetry, the introduction and examination of humorous, rare and sometimes derogatory pen name have been specially discussed. First, there is an introduction in the definition, background of the pen name, how and the criteria of its selection. Then, explanations and notes about strange and humorous pen name are presented, and in the continuation of it, thirty-eight cases of such pen name have been introduced. These poetic titles are often taken from the names of animals, emotional defects, physical defects, and the names of some foods. Thirteen of these cases are from the names of animals, such as »dog«, »cat«, »crow« and »jackal«; Eight examples of humiliating descriptions such as »idiot« and »scrap« have been selected. Six pen names are chosen from among physical defects such as »one-eyed«, »thin bearded« and »blind«. In three cases, they used the names of objects such as »basket« and »horn«. Two pen names are used from the names of plants, such as »beetroot« and »flixweed«, and in two cases, from the names of edibles, i.e. »dupiazeh« and »kaka«. A poet with the pen names »Jenn« is seen. Another poet's pen name is "Di-Dim-Dam" which is considered a kind of sound name. A poet called himself »Gharmand« (that is, a person who lives in a cave) and another person called himself »Appetite« because he wrote a poem about food. As a result, the pen names are mostly taken from the names of animals, and among the names of animals, the name of »dog« is seen more often. The historical range of such pen names is from the 9th to the 14th century, and geographically, the city of Isfahan has the largest share. Most of these poets have few names, and the examination of their brief biographies in the books of Tazkira shows that sometimes they deliberately put strange pen names on themselves, and in some cases, the people around the poet or the literary community labeled the poet with such pen names. The mind and language of many of these poets have been inclined to humor and sarcasm, and in the very few examples that remain of their poems, they have mentioned their strange pen names.

“Kalila and Demna” was originally written in Sanskrit. This book, after being translated into Pahlavi by “Borzoye Tabib” during the Sassanid period, faced a great fate and was translated into most languages of the world. Kalila and Demna is actually a policy under the cover of allegorical and moral stories. Apparently, its author intended to use this cover and allegory; Especially “Fable” prevents the audience from a clear understanding of the main subject of the book, i.e. political teachings. The subject of this study is to examine one of the main stories of this book; That is, “the lion and cow” is using the theory of “Aesthetics of Perception”. The story in question is one of the most prominent secret stories of this book and the scene of the power struggle between the lion (ruler) and a jackal named Demna (revolutionary person). The official narration of this story, which is related to the territory of a young lion and his followers and the accidental presence of a cow (Shanzabeh) among them and the events that followed, has tried to rely on the originality of the authors' opinion and implicit bias towards the ruler. It is to make Demna appear guilty in the process of Shanzabeh's death and consider the reason for his trial and death to be only a conspiracy to kill Shenzabeh. While the fight of Demna with power and crossing the red lines and openly criticizing the lion has put him in such a situation. By using the theory of "Aesthetics of Perception", we can find signs in the story that show that the main reason for designing this story was the opposition of Demna to the rulership. The aforementioned theory, which has a deep connection with literary studies, was founded at the University of Konstanz- Germany- by Eiser and Yaos, and became known as the Konstanz School. Considering the fixed meaning of literary texts to be baseless, Eiser and Yaos believed that it is possible to discover the meaning by reading and lead the readers to play a role in the production of meaning. This research was done to answer these questions:1. Is the existing text and reading of the story of the lion and the cow the most acceptable reading of the story? 2. How can the story of the lion and the cow be interpreted based on the theory of reception and provide another reading of it? As a result of this research, by using the descriptive-analytical method and using library resources, he has tried to analyze the story of the lion and the cow, based on the originality of the reader's understanding, and search for Demna 's work, and get a new understanding of the story and it shows that has not been presented so far. The results of this method which is based on different readings is to create pluralism and open new horizons. Thus, the result of this study, if successful, can be a model for interpreting similar texts.

The discussion of genres and the division of literary works into different categories according to their appearance or semantic aspects is one of the branches of the development of literary sciences such as stylistics and literary criticism. In terms of historical record, Aristotle and Horace were the first to classify different works, and Aristotle mentions three genres "epic, lyrical and dramatic" in his art of poetry, which of course is the "dramatic" type. It is divided into two sub-branches of "tragedy and comedy". This division in the literature of different nations takes into account the special characteristics of the works of each nation and their language and other cultural, historical and social specialities. In Persian literature, three genres are mentioned: epic, lyrical and didactic. Although in the new era, other types such as short & long stories, essays and biographies are also mentioned. One of the points of difference between Aristotle's division of genres and the division of Persian literature is that Aristotle pays attention to content and semantic criteria in his division of genres, but in Persian literature, the division of genres is based on criteria Formally and outwardly, it has been done. Nowadays, it is necessary to pay attention to literary genres in the review of literary works and it helps the researcher not to get confused in the research and the research work can be done easily. Of course, it should be noted that literary works cannot be classified under the title of a specific and absolute genre. Because every literary work always has a set of genres in it, among which, the presence is more prominent and colorful. One of them marginalizes other genres. Therefore, in examining the literary type of a work, we seek to find the most frequent genre in that work and place the mentioned literary work under the title of the same genre.The present study is an attempt to answer questions of this type: what is a literary genre? In the literary works such as "Hossein Kurd Shabstarai,  Bighami`s Darab Nameh  and Nezami`s Chahar Maghaleh ", which literary genre is and prominent? What variables should be used to determine the literary type of a work? After the definitions of the genres and literary works mentioned, the mentioned questions were answered with a library and descriptive method and at the end of the work it was determined that Hossein Kurd Shabestri has an epic genre. Beghmi's Darab Nameh has a lyrical genre and Chahar Maghaleh has a didactic genre. In order to determine the genre in the mentioned literary works, three variables of the way of presentation, the subject and content of the work, and the tone of the work have been used.