JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2011 | Volume:3 | Issue:4 (10)|Papers Count:13

One of the most important devices in poem is the repeatation of vowels and consonants is named alliteration. Important is that alliteration has two functions, sound function and meaning function. In this article an attempt has been made to present a modle for analyzation of alliteration.

One of the easiest and at the same time the most practical ways of investigating a text stylistically is to investigate the text from three points of view: Language, Thought and Literature. Accordingly, it is important to pay attention to phonetic, lexical and syntactic levels while investigating a literary text linguistically. This method has always been emphasized by the stylistic proponents, especially structural stylistics proponents. Taking this position in investigating the language of the literary text, its lexicons and sentences are analyzed from the viewpoints of collocation and substitution, making use of the archaic terms, brevity of expression, displacement of the sentence particles, selection of words with regard to collocation, kinds of adjectives and ellipsis of some items and … that lead to complication as well as bizarre uses and the reasons for such uses and if they lead to lack and damage of eloquence.Accordingly, in this research, the words and the sentences of Rahat Al-Sodoor and Ayat Al-Soroor by Ravandi are investigated from the point of view of eloquence and its weakness in lexicon as a stylistic technique for a better and clearer understanding of this literary text. Therefore, the weak eloquent points in the lexicon and sentences of the book are highlighted and then the ways they are used are extracted, explained and justified.For this aim, after a brief and general introduction to Rahat Al-Sodoor and Ayat Al-Soroor and its literary value, the samples extracted from the book are mentioned and then the weak points of eloquence are categorized on the basis of oratory books especially Ma’alem Al – Balagha, their frequency of each will be shown in statistical diagrams and finally the results of each are explained by practical reasons.

With persistence track new poem Persian since Ms. Forugh Farrokhzad at this side to fase at Ms. Tahereh Saffarzadeh which although to publish the first work in beginning forty decade but mainly is evolved in fifty decade. Saffarzadeh to emerge special creativity at publicity collection of poems like Tanin Dar Delta 1349, Saddo Bazovan1350, and Sefre Panjom 1356 and quickly taking into consideration.In this paper to emphasize on agent of notion, because it is dominant agent in poem of Saffarzadeh. Perhaps notice at this agent and emphasize on it and notice at quality to become consolidated and to be assimilated it in her poems, can to emphasize on necessity notice to spread the notion in poem.Then we would divide the notions at two sort political and societal, and analysis them.

This article is after various styles of Persian poetry and tracing the two layer styles after Iraqi style (Esfahani style & Hindi style), to highlight characteristics of Hindi style, along with Bidell style.Reviewing the poetic techniques- that comes whit specific concept of synthetic literature - & introducing the Ambiguity as prominent characteristics of Bidells poetic styles, is one of the issues that has been discussed in this research.

Despite investigation of mental, lingual and literary common characteristics of each era, we have still a long way to understand the poetical secrets of superior literary works. To understand such secrets, we have to investigate individual differences of such works, the differences caused as the result of getting far from language norms with the previous works creating the individual style. Such characteristics of individual style in Golestan are hidden in different fields including musical, lingual and grammatical fields. In this paper, Golestan grammatical field and method of using verbs have been investigated.

Methods and art styles which Beihaghi has used in writing his book, has made it so prominent among the all Persian historical works. In this story, both words and meanings are full of eloquence. Here, the writer has tried to study Beihaghi’s art styles and his eloquence in the meaning and content in related to Beihaghi’s master piece and the most tragic story of his book which is Hasanak-e-Vazir. The main question of the present essay is that Beihaghi has tried to prove Hasanak’s innocence by different ways, like tools of eloquence and styles of prose in his era. The present article tries to show notes and cases in this story by mentioning some proofs of killing Amir Hasanak-e-Vazir. Using verses, discourses, allusions and allegories is Beihaghi’s style to make characters and analyze them psychologically, which some examples of these, can be seen in “An eye full of water” in Hasanak-e-Vazir, and we will allude to it here.

In this article, imagination and imagery in the Shahriyar poems will be study and will try discuss from his certain stylistic features and innovations in this field. with a regard to this that the imagery and imagism reveal the attitude of poets and there point of view we decide hereby demonstrate his particular vision of nature and the outside world. then we have discussed on stereotyped images in his poems and have revealed the influence of classic Iranian literature in this field. Consequently is discussed from the innovation in his images and have declared effect his environment and his times in his imagery and new phenomena and features of contemporary life and its in his imagism. then we have listed some of his images the result of his personal experiences of rural life in the poems and effects of rural life in his imagery be studied.

In this essay we have an intention that consider of two thought style in rabe, e and baktash story.This story is explanation of love event between rabe, e, daughter of ka, b ghozdary balkhy and baktash, slave of her brother, hares that many of love story result in separation.This versified story first composed by Attar e Neyshabory in Elahy name and then composed by Reza Qoli khan Hedayat in Golestan e Eram very detailer than Attar narrative.In the preface first we introduce the poets of this versified story and then we explanation the story.Then in the general distribution we consider thoughts of two poets and their style in this story.

The impact of region and geography on the writings of story writers is quite obvious; however, measuring the amount of influence that such factors might leave on a work of literature needs a careful analysis. To carry out such an investigation, we have chosen Ahmad Mahmoud who is considered as one of the most renowned regional novelists from the south of Iran. Over the last 50 years, Mahmoud’s works have been very popular among Iranian story readers. The regional features as well as the kind of life that Mahmoud led and also the exploitation of an easy and smooth language that is filled with regional color and palpable regional issues created his unique style of writing novels and short stories.The current paper will initially discuss Mahmoud’s writing legacy quite concisely and will then randomly choose and study some of the most repeated concepts of his works that can be considered as the stylistic features of his works. Since stylistics focuses on the study of forms, no critical analysis was made on the content of the stories investigated in this research. The current research paper will at the end come up with answers to the following questions: what are the most distinct stylistic characteristics of the stories of Ahmad Mahmoud? and can he be considered a trailblazer in writing such stoires?

Despite of the numerous editions of khaghani’s divan and three well-known correction of his divan, literary scholars are still deprived of an authentic and reliable text. In This essay an attempt has been made to determine and to analyze the reasons for this deprivation. Therefore scientific and new criteria, proposes for new correction and presented several instances of D.r Sajjadi and D.r Kazzazi corrupted records.

One of the features of the intellectual of Attar's Sufism that his poem style is distinctive of other mystical poets, Attar particular application of the concept of "pain" is. in dominant of mystical poetry and prose texts, "Pain" is seeking the same that is considered the first valley; while Attar, especially in "mosibat name" a special personify to this concept place and it before the rank of Seeking, the seeker of provocative in garlic integrity knowledge and pain from the beginning to the end of the poem as the inner and Steering master that at absolute connected, is emphasized. This article will try the special and diverse applications of Attar, of the pain concept, as one of the features of personal style explor and this concept that Attar in it's gamut is the theorist, as the dominant element in integrity garlic of "mosibat name" disciple, will be explained.

Considering the historical background of Persian poetry and literature and Iranian interest in literature, the necessity of New Computer Research and interdisciplinary science in this area is inevitable. One of the fields of Persian poetry is using “madde tarikh” which no computer related work has been done in this field. “madde tarikh” is a phenomenon of the seventh century onwards has been common in Persian literature in which the date of various events including accession, death, or murder of king and poet and... are mentioned in a poem indirectly through summing the weights of all letters of the poem. Mentioning the dates in this way is called “madde tarikh”. This problem (given a date we must find a meaningful phrase for it) is very similar to knapsack problem.

Semispace is a short space between the segments of a compound word that is distinguished from a complete space between the very words from each other. The semi space in Persian scripts is observed only by computer (i.e. by pressing two buttons together (cntl -) after returning as amount of a space from two joint letters. The size of a semi space is fitted the space between the disjoint letters in Persian, like the word."زرد" However Semispace is a tool used for separating the segments of linkable compound word. This article shows argumentatively that Semispace cannot always help to maintain the independence of a word and reading correct, but is considered as a justification for generalizing separation to all the morphemes of words, as the adherents of disjoint writing claim. In addition, the guideline of putting semispace between words, and as a result of it, separating compound words for handwritings, nastaliq, broken (shekasteh) and sols fonts is not basically effective, and even computer users have difficulties in using it.At last, it prove linguistically that writing compound words continuously is appropriate to Persian language writing system, except for esthetic considerations.