نشریه مطالعات زبانی بلاغی
پیاپی 6 (پاییر و زمستان 1391)

The purpose of this paper is to examine the origins of Theory of intertextuality in traditional Persian rhetoric. According to M.H. Abrams, intertextuality through the following occurs: Quotes, repeat and change the form and content features, Or through forced participation in the use of language and literary treasure of the traditions and rules. Among the critics of classical Iranian, theory of intertextuality, is not hidden. Terms of Iranian critics varied with terms of modern western critics. A brief discussion of the theory was common among Islamic rhetoric scientists. This concept was used in discussions of literary Srqat. This concept is also used in the adaptation and imitation. This paper attempts to address these issues.

Iranain folk stories can be checked from different viewpoints. Despite their title of "folk" that somehow, can be considered as no high level and fine texts, they are not entirely devoid of literary and artificial values and aesthetic aspects. These stories have been quoted in crowded circles and their writers or narrators, in addition to the characteristics like entertainment, variety of characters and events, humor and a happy ending, have had enough emphasis on the aesthetic aspects of their tales to attract their audiences and keeping them interested in their narrations to the end. Some of these tales are combination of top and folk styles and especially in the passionate, decisive and heroic moments or emotional scenes, the writers or narrators have been tried to show their more aesthetic powers and literary enthusiasm in their narrations. Thus from an aesthetic point of view, we can find several samples and examples of rhetoric in them. This article tries to find rhetorical aspects of the seventeen Iranian famous folk stories and analyze them to show their literary values.

Hierarchically speaking the image is prior to conception and speech. For human beings before starting to generate speech open their eyes to see the concrete form of reality and having gone through the experience begin to practice imagining and thinking about them and then the medium of language comes as a means of expressing those thoughts and communicating with other people. In terms of image order and replacement of one fact and reality for another first stands allegory through which the pictorial totality of a passage is a virtual reality that replaces a general image of a concrete reality. Second in ranking are symbolic evidences which have smaller and limited region than allegory, and must be searched in atmospheres, nominating, characterization and totally in parts of images of a context. After that, in third step, are the metaphorical images, of course in type of poetical not metaphor in its general meaning that includes symbol and metonymy, that in its special literal meaning, usually consists of one simple simile and in those by using one point of resemblance and similarity, something simulates to something else and by this way only we have one constant or movement image, of course with much extended movement is represented that has not the spread of symbol that is used spread setting and movement in it.

This study tends to investigate the effect of gender on the imperative, interrogative and exclamatery sentences in the Persian language. For this purpose, eleven short and long Stories from ten contemporary writers were selected. The results show that the gender effects are two kinds: some of the sentences were used only by a particular gender and some others were used due to some social factors such as social status and age of the user. For instance, the women with lower social status tended to use less imperative and more interrogative and emotional sentences than their counter parts. It seems that, for the sake of clarification and discovery, women tend to ask men more questions. The application of more emotional statements on the part of women in their interaction is also worth noting.

Iranain folk stories can be checked from different viewpoints. Despite their title of "folk" that somehow, can be considered as no high level and fine texts, they are not entirely devoid of literary and artificial values and aesthetic aspects. These stories have been quoted in crowded circles and their writers or narrators, in addition to the characteristics like entertainment, variety of characters and events, humor and a happy ending, have had enough emphasis on the aesthetic aspects of their tales to attract their audiences and keeping them interested in their narrations to the end. Some of these tales are combination of top and folk styles and especially in the passionate, decisive and heroic moments or emotional scenes, the writers or narrators have been tried to show their more aesthetic powers and literary enthusiasm in their narrations. Thus from an aesthetic point of view, we can find several samples and examples of rhetoric in them. This article tries to find rhetorical aspects of the seventeen Iranian famous folk stories and analyze them to show their literary values.

Before producing speech, human beings create an image of the concept of what is to be said in their minds. A host of these conceptions form ideas in our minds but the image and concept are prior to these ideas and it is through reviewing, simile, comparison, analogy, and recurrent associations of the same images that we conceive an idea. Therefore, seeing precedes thinking and thinking that comes with conception and visualization precedes speech. So we have: picture concept thinking speaking. Accordingly the popular saying, “Oh Brother you’re the very thinking” has something before it, i.e. image and visualization and something after it, i.e. language and speech. If metaphor, simile, allegory, and symbol are related to the domain of image, concept, and visualization, all types of metonymy—except for resemblance—are specifically discussed in the arena of language. This paper seeks to offer a different categorization of metonymy and the author has meant to encompass multiple types of metonymy in this smaller and more manageable category: concomitant metonymy, metonymy of proximity, and metonymy of resemblance.

The present article is an attempt to keep and remind some of the Iranian dialects which are about to be forgotten. Sorkhei dialect is one of these dialects which is spoken by the people of Sorkheh. Sorkheh province is one of the cities within the 20 km southwest of Semnan, edge of the salt desert. Sorkheh population is over 9700 people. Sorkhei dialect is considered a dialect of the Caspian Sea and Western New Iranian. Introduced Sorkheh city, geographic location, symbol of transcription and structure of present verb cases are discussed in this article.