ADAB PAZHUHI
Year:2012 | Volume:6 | Issue:19|Papers Count:7

When Greek poetics, through Translation Movement, was transferred to Islamic countries, it encouraged the Muslim philosophers to bring their own theories about poetry, as can be seen in the works of Fārābi, Avicennā, Abolbarakāt of Bagdad, Averroes, and Nasir of Toos. These ideas entered The School of Rhetoric by Hāzim Ghartājeni and others. Muslim philosophers are not to be considered the mere translators of Aristotle’s Poetics because they brought changes to his theory, among which the Greek tradition of geneography. This article concentrates on the civil functions of poetry as introduced in the works of Muslim philosophers who essentially considered two cognitive and educational-moral functions for poetry. It should be noted that the philosophers’ ideas can be followed both in their psychological and logical works.

This article studies the basic themes and subjects related to discursive genres and literary genres which include: 1. The recurrent genre of speech acts which is the source of producing speech in similar situations; 2.any speech that depends on certain genre (s) in a way that it is impossible for poets to create their totally independent genres; 3. Writers and poets can’t create their works except by benefiting some literary genres, although creativity is always a crucial item in their works; 4. In modern literary theories, the dynamic nature of literary genres is emphasized up to the point that it may cause its death; 5.a specific text or speech might be related to some or several genres; 6. Literary and discursive genres do not limit themselves to categorization but they possess an interpretive function and make a link between the speaker and the addressee.

When analyzing style, we always come to two contrasting categories: linguistic style, and literary style. Linguistic style investigates the signs of a specific language to discover its general rules; these rules systematically describe the sounds, words, and the syntactic structures of the language and provide the speakers with definite criteria and norms. Literary style, from the other side, focuses on the elements of a work specified for its ways of using linguistic elements and tries to find out the ways through which the work goes beyond the general rules of language. This article, in describing the literary style, follows three hypotheses: 1. It is impossible to give a universal and proper definition of literary style; 2. it is possible to describe the literary style and examine the described elements; 3. Both literary and linguistic style contain the same elements, but while these elements are deliberate and systematic in the former, they are random and casual in the latter.

Investigating the role of description and narration has always been important in studying literary genres, and narratology, in our time is an independent field of study. A fiction, although intermingles description and narration, indicates, from one side, the actions and accidents that constitute narration, and represents, from the other side, the things and characters that produce description. This article studies the importance of description in novel. One aspect of this study is the relation between description and narration that necessarily emphasizes the impact of description on the physiognomy of narrative. This study, therefore, after a historical review of description in novel, deals with the structure of description to examine, ultimately, the most effective functions of it in novel by adopting the perspective of structural analysis.

This article centers around a decisive factor in murdering Esfandiar which has not been noticed yet, and tries to find out how Fate supported by Mithra determines the destiny of Esfandiar. To keep promises, is one of the duties of Mithra who punishes those who break promises. Goshtasb is among the ones to be punished because he has repeatedly promised the kingdom to Esfandiar but has not kept his promise. As the final consequence, Rostam, according to Mehryasht, kills Esfandiar in a battle.

Time is a metaphor that shows itself in transition, repetition and space; Man is the only being who endures and knows himself in metaphor. Fictional narratives are the most distinguished structures to represent man’s existential time, so they not only cause identities but are affected by them. This article tries to prove, through tracing out the different interpretations of time in fictional narratives (myth, epic, legend and tale, romance, historical novel and novel) that they have introduced new identities to each specific period. These identities, apart from interpreting time, have interpreted themselves. Te central idea of the article is that Iranian fictional narratives have experienced time differently, compared to the western narratives, and as a result, Iranians, being primarily influenced by the analogical imagination of mystic discourse, have experienced the historical narratives much later.

A crucial point in studying metaphor is to consider a reliable linguistic unit for understanding metaphors. The traditional search of meaning based on words has never been a success in proper analysis of metaphors. This article in its attempt to find out the more reliable units than words for getting the deep meaning of metaphors concentrates on the metaphorical adjectives, and proves that to understand these adjectives one should go beyond the lexical level to deal with the co-occurring units in the syntactic level. In this regards the semantic unit for understanding metaphors is no longer “word” but “sentence”.