نشریه مطالعات زبانی بلاغی
پیاپی 3 (بهار و تابستان 1390)

The present research is an attempt to investigate and compare textual cohesion in khorasani and Iraqi styles. As such‚ the stories of ″Hasanak vazir″ and ″Afshin an Budolof from Tarikh Beyhaghi are examples of Khorasani style and stories of ″Shir and Ghav″ and ″Buf and Zagh″ from ″Kelileh and Demne″ as examples of Iraqi Style were analyzed and compared based on the model introduced by Halliday and Hassan (1976). The results of the study indicated that in both styles the linking factors were used more than grammatical and lexical factors. In general‚ 39.82 % of the whole lexical items in ″Tarikh Beyhaghi″ were those that made textual cohesion possible. This number declined to 24.86% in Kelileh and Demneh. The chi-square test was also used in order to see whether the difference between cohesive elements in the two styles were significantly different or not. It was found out that in many cases the difference was significant leading to the conclusion that the Khorasani and Iraqi styles are significantly different in terms of textual cohesion.According to the obtained results one can‚ in view of textual cohesion‚ consider special characteristics for Persian literature based on which the texts of Persian literature can be compared and classified.

Formalism is an impressive movement at the beginning of the 20th century A.D. which even after a century, still keeps its theoretical values and is new in surveying texts. It was a movement of tendency from content to form in Russian literature. Among its famous characters are Victor Shklovsky, Boris Eichenbaum, Tomashevski, Yuri Tynyanov, Roman Jakobson, Jan Mukarovsky and even Bakhtin. From the beginning, they paid attention to Device and Defamiliarization, then to Parody and Function. “Ghorab” by Ziya Movahhed is a work that has many formalistic aspects in itself. His poem has Defamiliarization, Foregrounding and also Irony in form and content. This article attempts to examine Ziya Movahhed’s “Ghorab" from different formalistic aspects.

Sadegh Hedayat is one of the first authors and researchers who has had a precise and scientific confrontation with vulgar culture of Iranians. He has used these elements in his stories while researching in vulgar culture and he has provided a clear image of the culture and traditions of his region. Stories of Sadegh Hedayat are an emerging point for many elements of vulgar culture as the most important part of his works, and are considered as cultural examples which by investigating and studying them, we can learn about cultural memoir of Iranians besides the cognition of their believes. In this paper, we are taking efforts to survey flashes of vulgar culture in the stories of Sadegh Hedayat and we are going to study the application method of these elements in stories of Hedayat. To achieve this objective, we have divided such elements in stories of Hedayat after proposing some discussions concerning vulgar culture and its inclusion and territory issues and we divided them into four categories of; traditions and believes, vulgar poems and songs, proverbs and vulgar language. Then, by providing statistical tables we have studied application of these elements in stories of Hedayat.

To receive the special features of classical texts, it’s necessary to read these texts in a right and methodic way, especially when sometimes this process affects the texts fluency. Correct reading of these texts, on the other hand, is more important in demonstrating historical features of language.This paper is an effort in order to complete and support the evidence of Saeed Hamidian’s article. Mentioned paper is a study in the “right pronunciation of third person singular bound suffix in the Persian classic texts and rhyme position”. Based on this study, the correct way to “--sh” pronunciation, is “-e-sh” not “-a-sh”, for example “Aqhoşeş” (his/her embrace) instead of “Aqhoşaş”.In this paper we add some new evidence from reliable sources and texts to pre-mentioned ones of Hsmidians, this new evidence can be used in future linguistic studies

Imagery such as simile in traditional poem has two major tasks; explaining and describing the thought, and decorating and arranging the speech. Simile as the most applicable imagery in poems of Naser Khosro is a tool for explaining and describing the poet's mind and less has been considered as an artistic and decorating element.The main purpose of this study is examining the vehicle in the complete works of Naser Khosro and of course vehicle was chosen because it draws the environment, ideology and the internal world of the poet. It's variation of vehicles is considerable in the complete works of Naser Khosro which we divided it's most important types into 3 groups in this article, including: nature and the elements related to it, like animals and mountains, group two includes cultural issues like religious and mythic concepts, features of aristocracy, behaviors in dressing and eating, and the third group includes daily observations of the poet.

In first encounter with Simin Behbahani poetry the application of novel and unprecedented meters and versatility and plurality of prosodic meters in her poetry are significant. She offers a particular novelty to her poems by innovations in meters of her own poetry and she also made new and untried methods in Persian poem by proceeding modern concepts of the time in figures of novel meters. Up to 90 percent of Simins poems which were composed between 1352 – 1381 have novel and scarce meters. However, at first her poems do not seem to be rhythmic because readers are not familiar with Simins novel meters, but gradually by the more application of the meters and becoming familiar with them, their elegance and beauty will be sensed. Never the less Simin tried further than various traditional and prevalent meters, over 63 novel and unprecedented metes, and 25 rare and scarce meters on whole. In this article we will introduce the novel and invented meter and the scarce and unprecedented meter in Simins poetry and we will represent one sample of her poem for each meter.

Imagery such as simile in traditional poem has two major tasks; explaining and describing the thought, and decorating and arranging the speech. Simile as the most applicable imagery in poems of Naser Khosro is a tool for explaining and describing the poet's mind and less has been considered as an artistic and decorating element.The main purpose of this study is examining the vehicle in the complete works of Naser Khosro and of course vehicle was chosen because it draws the environment, ideology and the internal world of the poet. It's variation of vehicles is considerable in the complete works of Naser Khosro which we divided it's most important types into 3 groups in this article, including: nature and the elements related to it, like animals and mountains, group two includes cultural issues like religious and mythic concepts, features of aristocracy, behaviors in dressing and eating, and the third group includes daily observations of the poet.