مجله فنون ادبی
سال شانزدهم شماره 4 (پیاپی 49، زمستان 1403)

Metrical units have a special place in the study of prosody, and as such, scholars have always paid particular attention to their scansion and naming. Parviz Natel Khanlari was one of the first to address the topic of metrical units in modern Persian prosody. Khanlari proposed ten metrical units—four of which are disyllabic and six trisyllabic—to describe the meter of Persian poetry. Despite the innovation of this new approach in prosody, some weaknesses prevented it from gaining acceptance among scholars. This research critically evaluates Khanlari’s method of structuring metrical units, aiming to identify its strengths and weaknesses. Additionally, by addressing these weaknesses and improving the theory, it seeks to enhance the effectiveness of this method. This study demonstrates that by completing and refining Khanlari’s approach, it is capable of describing Persian poetic meter, providing a novel understanding of the nature of metrical patterns, and can aid in simplifying the teaching of prosody while deepening its comprehension. For the first time, in this study, Khanlari’s units are practically applied, and the following proposals are made to complete his theory: organizing scansion based on repetition and alternation while avoiding irregular patterns, showing repetitions and alternations larger than three syllables; adding a unit to Khanlari’s six trisyllabic units; using a shortened monosyllabic unit and explaining the naming of shortened units.

Exaggeration is among the most prominent rhetorical techniques that has long been of significant interest to linguists and scholars, specifically under the discipline of Badi (rhetorical embellishment). What is important about this rhetorical technique, like any other rhetorical technique, is the process by which it was created and how it is received and read. This study adopts a descriptive-analytical approach to answer this fundamental question and utilizes Grice's "Cooperative Principle" from pragmatic theory to analyze the structural-semantic process of this rhetorical technique. The results indicate that the creation of the rhetorical technique of exaggeration is fundamentally based on the non-observance of what Grice calls the Maxim of "Quality" because, in the process of creating this technique, the person refuses to provide correct and arguable information to the audience, thus refusing to comply with The Maxim of "Quality". Of course, it should be noted that the failure to comply with the Maxim of Quality in this process was intentional and in some way obvious and recognizable [= Flouting the Quality Maxim] and not with the purpose of deceiving or misleading the audience [= violation the Quality Maxim]. Rather, he does this with the aim of guiding him to "Conversational Implicature".This study can be considered an accurate criterion for distinguishing exaggeration from lying.

In contemporary eras, considerable emphasis is placed globally on the adaptation of literary works. Artists in various fields, including performing arts, cinema, visual arts, etc., each employing their unique approaches, have drawn inspiration from these works, resulting in the creation of notable and prominent pieces. Among these artistic endeavors, cinema, being a comprehensive form of art with enhanced capabilities relative to other media, has played a significant role in the realm of literary adaptations. Nevertheless, in Iran, despite its wealth of literary works, there has been relatively limited attention devoted to literary adaptations. An exemplary instance of adaptation characterized by imagination and allegory is Nezami's Haft Peykar. Given the allure that works featuring elements of imagination, allegory, and symbolism hold for adaptation in visual arts, particularly in cinema, this study aims to explore the potential for theatrical and cinematic adaptation within the framework of Nezami's Haft Peykar, focusing specifically on its ‘Fifth Dome’. The diverse array of imagery, vivid descriptions, robust narrative structure, exceptional characters, and engaging conflicts and suspensions collectively contribute to rendering this narrative amenable to a compelling and respectable film adaptation.

In this study, harmony is used in the general sense of compromise, coordination, and unity. Music is one of the constructive elements in the formation and structure of poetry, which highlights the speech and has a close relationship with the poet's emotions and intentions. By choosing an external melody that matches the meaning, that is, rhythm as one of the branches of music, the poet increases the effect of his poem and promotes its artistic and literary value. This leads to the communication of the meaning and the veiled emotion, in the deep structure, of the poem. Consequently, it will form spiritual coherence and phonetic melody by employing other poetic musical devices. The purpose of this research is to investigate the quality and quantity of the types of bahrs (prosodic meters), and specifically, to analyze the degree of their coordination with the emotions and feelings of Anvari in his odes. This research is done using the descriptive-analytical method and library sources. In the selected odes, 9 bahr (prosodic meters) and 37 meters are used, with the highest frequency, respectively, for Ramal, Khafif, Hazaj, Mozare, and Mojtath. Metric variations, arrangement of syllables with distinct quality, that is, paying attention to the type of syllables in the speech structure, such as long and elongated syllables or short and moving syllables, and the low use of poetic license has resulted in admirable coordination with the poet’s emotions of contemplation and hesitation, sadness, and delight. The use of the above cases in Anvari’s poetry has led to the rise of emotions in both individual and social aspects, giving his poetry the opportunity to get out of the shadow of pure imitation and praise. This, even, prevents him from imitating a leading poet, Abol Faraj Runi, in changing his poetic style. Abul Faraj's intellectual horizon only appears in the domain of eulogy and personal gain; however, Anvari is not indifferent to social issues and events. Thus, he, unlike his master, has established a sort of coordination between meter and emotion.

Metaphor and metonymy are applied routinely as ongoing linguistic phenomena in meaning extension. The present study, paying attention to Persian complex verbs, i.e. compound and phrasal verbs containing loanwords, examined the metonymic and metaphoric meaning shifts of the loanwords in Persian light verbs. Evidence is mainly extracted from the Persian Dictionary of Secret Words and is analyzed based on the cognitive model proposed by Ruiz de Mendoza and Galera-Masegosa (2011). The results showed the independence of metonymic processes and the dependence of metaphors on the metonymic shifts. It was also found that the processes involved in Persian are far more complicated. A total of twelve patterns were categorized, eight of which were unique to Persian. Among these, three patterns were based solely on metonymy and others were obtained from the interaction of metaphor and metonymy, namely: metonymic expansion of the metaphoric domain, metonymic reduction of the metaphoric domain, a successive chain of expansion and reduction of the domain, metonymic expansion of the source domain and metonymic reduction of the target domain, metonymic reduction of source domain and metonymic expansion of target domain, double reduction of source and target domain, metaphoric amalgams of two target domains in a single source domain, and metaphoric chain with metonymic reduction of the first source domain. The other four patterns corresponded to ones proposed by de Mendoza and Galera-Masegosa (i.e. metaphoric expansion of source domain, metaphoric reduction of source domain, metaphoric reduction of target domain, and metaphoric amalgams). A total of nineteen patterns were obtained, which shows that human language has a high capability in the interaction of metaphor and metonymy.

Jacobson )1959) divides translation into three categories: intralingual, interlingual, and intersemiotic, and considers adaptation as a form of intersemiotic translation. This descriptive-analytical study aims to investigate the relationships between a classical narrative—the story of Sheikh San'an from Attar’s Conference of the Birds—and a modern movie—The Forbidden Fruit written/directed by Hassan Fathi in the 2000s. The study seeks to demonstrate, through various examples, that this movie is influenced by the story of Sheikh San'an and it is a kind of adaptation. Thus, in the process of converting the semiotic system of an ancient text into an audiovisual system, which is considered a form of intersemiotic translation, the existing intertextual relationships are decoded. The results show that, according to the classification provided by Andrew (1984) for adaptation, this intersemiotic translation is of the first type, with borrowing evident in many structural and thematic elements. In this adaptation, the filmmaker did not aim for complete fidelity to the original text, nor was its originality fully preserved. Instead, many elements of this ancient literary work were borrowed and modified to suit the constraints of the medium, cater to the preferences of the audience, and align with the objectives of the film.

Khaled Hosseini, the acclaimed Afghan-American novelist, is renowned for his poignant narratives that delve beyond mere storytelling into the complexities of psychology and sociology. His novels, which resonate with diverse audiences, are celebrated for their rich character development and strong themes, capturing the attention of literature enthusiasts. These works skillfully speak across generations, unveiling the intricacies of familial bonds, secrets, and legacies, appealing to readers captivated by multi-generational tales and the dynamics of complex characters. Moreover, Hosseini's works offer profound insights into the culture, history, and social norms of Afghanistan. By evoking emotions ranging from the anguish of betrayal to the joy of connection, his writing fosters empathy for the characters, setting his prose apart from other literary works. The masterful intertwining of psychological themes with cultural authenticity solidifies his standing as a distinguished literary figure. This study aims to dissect various aspects of Hosseini's work with a focus on analyzing psychological elements. It seeks a deeper understanding of the intricate relationship between literature, psychology, and sociology depicted in Hosseini's prominent works, highlighting literature's power to touch the human heart and soul.