نشریه مطالعات زبانی بلاغی
پیاپی 33 (پاییز 1402)

Abdul Hossein Zarrīnkūb is a prominent Iranian researcher and writer whose extensive research in various fields and his tremendous power in writing and research have made him one of the remarkable contemporary researchers. One of the research methods that Zarrīnkūb uses in most of his works is "note writing," a method which has enabled the author to provide further explanations about the main text as well as presenting extra information about documentations and sources. In this manner, Zarrīnkūb has owned specific style in most of his works to the extent that a significant part of the final pages of his works is dedicated to "notes." The notes are closely related to the original text, and the investigation of their rhetorical-linguistic features makes it clear that they have given a special structure and coherence to Zarrīnkūb’s works due to the author’s unique linguistic and rhetorical explanatory style in writing marginal information, documentations and references.  This feature has made the contents of his main texts more methodical and orderly, which has become one of the components of Zarrīnkūb's personal style and research methods. This descriptive-analytical study has aimed to examine linguistic and rhetorical features of his note writing style so as to shed light on minute details that represent the writer's thought and language style in his “notes.”

As one of the components of Iranian poetry and art, ambiguity was put forward with the tendency of modern aesthetic taste to read ambiguous texts and to highlight the role of the audience in receiving meaning, especially after the rise of romanticism. By using polysemy and creating conceptual gaps in the structure of the poem, the modern poet creates lasting, creative, and dynamic literature. In this article, Ahmad Rezā Ahmadī’s (1940) poetry collection, Pattern has been investigated concerning its aspects of ambiguity, based on William Empson's (1906-1984) point of view in Seven Types of Ambiguity. This qualitative and quantitative research has a conceptual model and involves questions. The content analysis technique is used to collect data which is then analyzed, employing William Empson's theory of ambiguity. By examining new-wave poetry based on the types and the degree of ambiguity, we will recognize new horizons of aesthetics that will help us improve our interpretation skills and enjoy modern poetry more. By introducing new-wave poetry in his collection Pattern (1962), Ahmadī tries to embed the social content of his poems in the structural and linguistic ambiguities. Language, structure, and content are intertwined in his poetry in such a way that the content itself is a part of the structure and language games. Scattered and contradictory imagery, assimilation and repetition, ambiguity and uncertainty indicate that Pattern is composed by an improvisational, hesitant, and of course creative mind, and it requires an enthusiastic and active reader to delve into the texts.

The aim of this article is to conduct a linguistic-rhetorical analysis of semantic marking in three long stories by Leilā Sabūhī in order to show the author’s esthetic from a linguistic perspective; i.e. how the author has used combination in the contiguity axis to convey her topic and content to the audience in a precise way. This study is a qualitative library research, which was carried out with analytical-descriptive and narratological methods. The results indicate that, in writing the stories, the author has given a poetic aspect to her work through rhetoric, simile and allegory. She has brought the signified of the language system closer to the examples of the outside world and in a special and innovative way invented novel similes. And, instead of using the elements of selection and substitution to create poetic words, she has described and imagined her words through the axis of contiguity by creating new similes, bringing her text closer to the world of poetry. This has caused the narrative beat to slow down the plot and affect the tone and atmosphere of the story. The tone and atmosphere are the same in all three works, and the reader feels that he is following the first work. Finally, the author’s narrative technique involves present and creative imagination and   focalizations through rhetorical marking (simile and allegory).

Irony, as a literary element, brings to mind two external and internal meanings and leaves the reader'sIrony, as a literary element, brings to mind two external and internal meanings and leaves the reader's understanding in suspense and postpones his reception. From the point of view of aesthetics, because it creates images, it creates artistic beauty; Therefore, irony has a special place in literature, and poets have taken advantage of it in order to avoid direct and explicit expression, and they have presented their intention and objectivity in the form of this expression. Non-verbal communication and body language is also one of the manifestations of normal and everyday language, which is considered a helpful element; This means that non-verbal behavior can be used along with verbal communication, and with its help, one can convey one's intention to the audience better, more accurately and sometimes more effectively.Various reasons can be listed for the great influence of irony in words, one of which is the close connection of irony with non-verbal behaviors and the semantic connection and conceptual dependence of these two categories. In the present essay, the author investigated the ironies derived from the concept of non-verbal behaviors with a descriptive-analytical method and a case study of Ferdowsi's Shahnameh and came to the conclusion that a large part of the ironies was adapted from the concept of non-verbal behaviors and there are comprehensible semantic relationships between these two categories and understanding the semantic relationship between these two categories of literature and language leads to the discovery of a subtle relationship between literary language and ordinary language. Movement behaviors, facial behaviors, environment and physical appearance are respectively the most frequent behaviors from which allusions in the Shahnameh have been received.

The issue of gender connection and language and the language specific to each gender is known as linguistic behavior in the topics of grammar, terminology, meaning, and conceptualization.The interests and habits and intellectual, linguistic and verbal tendencies of both men and women show that the topic of female and male is important in the presence and extent of using vocabulary for each gender.The culture of the society has determined the language and the way of speaking and the choice of words for each gender.Part of the topic of female and male archetypes of anima and animus is revealed in the context of language, text and linguistic behaviors.This research will investigate the gender signs of feminine and masculine words in the anima and animus aspects of the text of the stories by the descriptive-analytical method and the library study tool. In order to understand the connection between linguistics and psychological criticism with the literary types of stories and novels, it is necessary to conduct comparative-analytical studies. In this research, the results have shown that the realistic style and the reflection of the society's culture and the spirit of the nation in the stories of Al-Ahmed and Daneshvar have caused the expression of anima and animus in the language of the characters to be less. These two authors do not show such unusual contradictions in the society of that period.The prominent elements and components of feminine and masculine words in the manifestations of anima and animus in the works of Jalal Al Ahmad and Simin Daneshvar are:Emotional, romantic and caressing words, abusive and harsh words and sentences in women's speech, color words, children's words, adjectives for women or men, words related to the roles of women and men in the family and society, language related to communicating with the opposite sex, words that specific to the appearance of women or men, interrogative words and formal, standard and popular words and Feminine and masculine words superior and inferior.

This article deals with the aesthetic analysis of three important stylistic dimensions (language, meaning, and music) in Rofūzehā (The Failed Ones), the satirical poetry collection of Abolfazl Zarūī Nasrābād. Inconsistencies and defamiliarizations in the realm of humor occur in various domains and delight the audience. By applying some rules to these three stylistic dimensions, Zarūī has created inconsistencies in poetry and has thus enlivened the humor in his work. The present authors have aimed to reveal the subtleties and techniques of Zarūī's humor and extract frequent features in determining the poet's stylistic identity. The research method is descriptive-analytical and library-based. The results of the research show that he has displayed his skills in the field of language through techniques such as coinage, colloquial writing, westernization, and traditionalism. Concerning meaning, he has transformed speech by nonsensical composition, omission, revelation, and contradiction. As for music in his poetry, he has created a proportionate and coherent atmosphere for humor by breaking the usual rules of meter, rhyme, and rhythm.

Connotation or the indirect expression has been of crucial significance regarding literary criticism and rhetorical studies and aesthetics; so that, to be thoroughly perceived, needs an intense consideration beyond the lexical levels or verses and sentences, and what should be studied are the structure and the whole context of the work and the minor and the main elements of a work concerning the main constituent context. In this structural study, the narrative element has an important role; and only by applying a minute research on the components of the narrative structure and the correlation of these components with themselves and with the whole text in several aspects like connotation, an appropriate result could be achieved. Some of these above-mentioned constituent components and elements of the text are considered as lexical and syntactical layers (linguistic field), image: simile, metaphor, and allegory (rhetorical field), and drama (dramatic field) that are engaging in creating implemented meaning.Although the connotation is observed in different layers in Ferdowsi's poetry, insisting on the vocabulary and semantic layers this study has investigated the connotative meaning of Narges dožam (the sad narcissus) in the introduction of the Rostam and Esfandiar story finally had demonstrated this of eyes, crown, and drunkeness has three implicit meanings and the obtained results illustrate the consistency of the narrative context.

The current research examines the two books Khumrehand Tanour va Dastanhaye digar- written by Houshang Moradi Kermani - from an environmental linguistics (aka. ecolinguistic) approach. In the present study, among Arran Stibbe’s eight environmental stories, five stories of Ideologies, Evaluations, Identities, Erasure, and Salience, have been reviewed and analyzed. Determining the occurrence percentage of stories and analyzing these statistics in the body of research has been done using a descriptive-analytical method. It can be said that there is a downward trend in the level of realization of environmental stories of Salience, Evaluations, Ideologies and Identities. The story of Erasure which has a negative value, shows a small percentage of occurrence in these books. Evaluating stories based on ecosophies suggests that philosophies such as “Valuing life,” “Wellbeing,” and “Respect for the lives of all species” have a high frequency in these texts. Philosophies concerning “Now and future” and “Environmental limits” are also discernible in the research data. Except for two short stories, the stories of these two books show Kermani's positive view of ecosophies. Education plays a very important role in achieving the goals of culturization, value creation and modeling. Among the most valuable resources for promoting environmental cultures are media, books and institutions such as education and pedagogy. Reflecting on children and adolescents’ books can be a way to spread and institutionalize environmental culture.

Various kinds of Food not only have physiological and biological functions, but are integrated into our social and cultural systems. As part of our cultural semiotics system, food forms a continuum on which different marked and unmarked food elements are arranged. Like other semiotic systems, food items are influenced by cultural and social factors. In order to investigate the effect of the authors’ gender on the use of food elements, a number of 12 novels from contemporary male and female authors were selected and analyzed. In both gender groups, unmarked items were used more frequently than the marked items. However, the function of items used in each group was different. In the works of male novelists, the frequency of the unmarked food items was higher than the opposite group. However, female novelists used a wider variety and diverse types of unmarked foods. Regarding the marked category, both frequency and diversity of the marked elements were significantly higher in women's texts. The common marked features identified in the texts belonging to both groups were ‘happiness’, ‘belief’ and ‘empathy’, but there was no case for ‘wealth’ in the men's novels. The findings of this research indicate a significant relationship between gender and food function in the corpus of the study. The variety of food and the greater number of these items in the works of female writers are consistent with the preoccupations and concerns of Iranian women compared to men. The findings of the present research show an iconic relationship between the cultural and social tendencies of two gender groups and its representation in their works.

Maulana Khalid Naqshbandi is one of the Sufi scholars, scholars, theologians, and Kurdish poets who, apart from numerous works in Islamic sciences, mysticism, and Sufism, in various poetic formats, including: odes, Maulana Khalid Naqshbandi is one of the Sufi scholars, scholars, theologians, and Kurdish poets who, apart from numerous works in Islamic sciences, mysticism, and Sufism, in various poetic formats, including: odes, poems, ghazals, and masnavis, poems in Persian and It is written in Kurdish and Arabic; In this research, the prosody weights of these poems have been examined and analyzed based on the standards and rules of prosody. The variety of prosody weights and the familiarity of this poet with various Persian and Arabic weights have revealed and highlighted the literary point of his poems. The obtained results show that the variety of prosody weights in his Persian poems is more than Kurdish and Arabic poems. The unique and beautiful point in his poems is that he has used the characteristic bahur of Arabic poetry in the composition of Persian masnavis, and he has benefited from the characteristic weights of the quartet poetry in the composition of the poetic forms of the piece and the sonnet. The weights of his Kurdish poems are syllabic and folkloric. He used his Sufi thoughts and beliefs in his Persian poems in the style of Iraqi style poets and used weights in their works.

The influence of Islam and the development and spread of the Arabic language in neighboring countries such as Iran, led to the use of the Arabic words in the Persian language. Persian was so mixed with Arabic that it is now impossible to separate Arabic words from Persian language. Concerning the significant role of rhyme in poetry, especially in odes, poets chose words from Arabic when they faced hassles in matching the rhyme. When we examine the course of odes in Persian language, many Arabic words can be seen in the rhyme scheme, even in the earliest remaining odes. In addition, poets have used obscure and abandoned Arabic words in the rhyme of their poems. In the early prose texts, however, very few Arabic words were used. Some poets such as Manūchehrī, Anvarī and Khāqānī have used more Arabic words in their poems. Meanwhile, in sonnet, obscure and abandoned Arabic words have been used less frequently in Persian language. In Masnavis, rhymes follow the style of their era; that is, Arabic words are few in the first centuries of Persian poetry and are used more often in the following centuries. Also, the last letter of the rhyme affects the word selection of the rhyme significantly. If the poet chooses the letter " گ", the rhyming words become Persian. This article examines the role of rhyme in the use of Arabic words, starting from early poets such as Rūdakī, Farrokhī, and Manūchehrī. The statistical results of the use of Arabic rhymes are then shown in the form of a diagram.

Content for laughter and sarcasm, whether in the frame of comedy or in the context of ridiculous works, has a long history. The experiences of the practitioners in this field have had a great impact on the general thoughts and lifestyle of the people, and in recent centuries, theorists have examined the philosophy of its operation from various angles. The most significant theorization in this field is Bakhtin's dialogism, which is based on the language play he names as heteroglossia. after the concept has been discussed in the study of novel and other discourses of social and literary satires such as "Carnival,"  "parody," and so on. The interpretation and deconstruction of polyphonic conversational logic within the infrastructure of creative misreading and the humor in carnival discourse and parody can be conducted in terms of employing Russian Formalist notion of familiarization,  the disconnection and isolation of text from normal structure in French deconstruction and the psychological evolution of humor to creativity.The result of this descriptive study, an analysis based on library and internet sources, indicates that Persian parodies share intertextual features and borrow from polyphonic language of Carnival. These parodies are the same as literary comedies that has gone through a journey from the domain of humor to creativity with an intentional failure in the imitation of the content, language or style of serious works.