JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2020 | Volume:13 | Issue:3 (49) |Papers Count:12

In the last two decades, stylistics studies have grown dramatically. One of the branches of the new style is the style or womanly writing that has attracted the attention of social linguists. In this research, womanly style layers have been studied based on levels such as phonetic, lexical, syntactic, applied and rhetorical. The results of the study of female style layers in the writings of women can be summarized as follows: The phonetic level in the language of women is not much different from the language of men, except in the difference in the tone, which is the tune of the tune that expresses the emotional and patriotic tone of women. The level of the vocabulary related to the sex of women and the expressions and phrases of the female word, such as the use of colorful words, erotic curses, which are in their words. The syntactic level is related to the use of simple sentences, related sentences, the elimination of sentences and emotional terms. The level of rhetoric shows that in the works of women, likenesses, indignation and metaphors are widely used. The applied level expresses the polite and official tone of the language of women. The main purpose of this research is the discovery of the structural features of Novels which is based on the womanly stylistics view.

Collection of Compositions or Javame-ul-Ensha by Hossein Heravi is one of the most important Administrative Book remaining from Sultan Hossein Bayghra II. Within this secretarial work, one could identify the beaurucrartic developments and issues thereof during the last days of the Tamurid Period. It provides the reader with valuable literary and historical insights into the tumultuous administrative situation during the end of tamurid era which is incident marks one of the most prolific cultural periods. The unique copy of Javame-ul-Ensha which is held under number 4301 in Ottoman Noor Library in Turkey, has never been reprinted and much is not known about its author beyond his name, Hossein Heravi. He has not be referenced in none of the text dating from that period. By reviewing the stylistic characteristics, it is seem that the letters of introductions is filled with literary arrangement and all types of oratorical and novel constructs. The main text of the letters are somewhat more simple than the letters introductions. The most outstanding linguistic characteristic of Javame-ul-Ensha is the propensity if Turkish, Mongol and Arabic terms as well as Arabic idioms, phrases and broken plurals. The literary style of the letters owes much to authors' use of all kinds of Aliases, rhymed prose, counterpoints, paronomasia, alliterations, contrastive, selected attributes, colloraries, and poetry (Arabic and Persian) as well as hints. A number of epistles point out to the deterministic and mystical attitude of the author.

During the long and glorious time of the Persian mystic and literary works, the Holy Qur'an has been the greatest source of inspiration for poets and writers who have been used in various forms and Conceptual, tale and other artistic and narrative techniques. These approaches to the use of new literary theories are referred to as intertextuality which, like the ancestors, are not just about describing the amount or expressions of use, but what is explained and why it is explained. In this research investigated in Mathnavi and especially in the sorouri’ s interpretation. The intertextuality of Masnavi and the Qur'an means any use of the Rumi, consciously or unconsciously of the Holy Quran, which has long been considered by the researchers and has been addressed more or less by its importance. But what has been discussed in this paper is the study of this issue in one of the famous Masnavi's interpretations, the name of the narrator from Mosleh-al-din Mostafa bin Sha'ban Sorouri, the oldest full version of the explanation of Masnavi in Farsi, outside of Iran. The remarkable thing is that Sorouri himself was the interpreter of the Qur'an, and has written commentaries such as Anwar al-Tanzil, of Ghazi Beizavi on the marginal lines. This point has made it clear in its description of the intertextuality of the Quran and Masnavi, and in addition to the verses and hadiths mentioned in the text of Mathnavi, other elements of the Qur'anic verses, in persuasive text or in conjunction with a Qur'anic or mystical narrative, To illustrate this, the explanation and analysis of both aspects from the perspective of intertextuality approaches is discussed in this paper.

Tajikistan contemporary poetry has been influenced by Russian literature as well as Persian literature. In the illustration of poetry, it has been inclined toward the history of Persian literature and they have used ancient techniques in the creation of the imaginary forms. Personification, metaphor, simile, paradox, pun, allegory, euphemism, etc are the most common figures of speech in Tajikistan contemporary poetry. Paradox has also been used in Tajikistan contemporary poetry frequently. Tajik poets such as Bozor Sobir, Dara Nejat, Ali Mohammad Moradi, Asgar Hakim, etc from the fourth generation and Gulrukhsor, Mohammad Ali Ajami, Nizam Qasim, etc from the fifth generation have been influenced by contemporary and pioneering Iranian poets such as Nimā Yushij, Akhavā n-Sā les, Ahmad Shamlou, Forough Farrokhzad, Sohrab Sepehri, Siavash Kasrai, etc from the first and second generation of contemporary Iranian literature; therefore, they have presented their poems in an innovative forms.

One of the most important scopes which has preoccupied mystics like Molana is human emotions. As such, "pain and suffering"_ its meaning and the poet's way of confronting the very concept_ constitutes a wide range of Molana's discoursal_thinking collections. In the current study, the researchers firstly attmpted to obtain a category of reasons behind the emergence of pain in Molana's, and second to investigate whether human pain and suffering are intended for ultimate purpose and ethics or not. Third, ways of pain elimination or its alleviation from Molana's viewpoin are illustrated. In conclusion, Molavi's style and mindset with respect to the issue of pain is clarified.

Literature is one of the arena in which iranian’ s women appeared well and gave them he chance to express their sociat sitation and wishes. Every writer benefits effective ways to express his or her view points in the field of literature novel is one of the various forms used by many writer women to show the society’ s tangible facts. Contemporary female writers particularly simin daneshwar paid special attention to show women issues in her works. there for the aim of writing this essay is to study feminism and literature evolution after islamic revolution both qualitatively and descriptively. thus, attention to the quality of the produced knowledge related to women from the beginning of the islamic revolution to the present time to show the followed way in recent decades has been studied in researchers done. of the most important findings of this research (study) is to recognize the period of stabilization of women’ s place in the field of story writing in literary arena after islamic revolution.

Seven Thrones or "Haft Orang" of Jami and his trinary Divans is full of allegories or allegorical tales. Exuberance, diversity, quality and how to employ the allegories is one of the manifest style of his poem that he has used it as a helpful operant for realization and justification the sequacious’ mentality. Allegory, short or long, have a narrative structure and in this research, with scrutiny the quantity, quality, wellness, innovation and fault of allegories in Jami’ s poetical works, six allegories have been studied and analyzed exteriorly and semantic. In the exterior analyze, with scrutiny the kind of allegories and reduction them to syntactic abstraction, we have analyzed the created space for character’ encounter and exact description of space and characters of the tale and in the semantic analyze, we have analyzed the preface versicles of allegory, the tale character’ s request, the commitment and the law in the tale space, the contact between the request and the law and message of allegory. The exterior analyze with scrutiny the exuberance of versicles, the diversity of subjects and the exact description, points to efficiency of the allegory for realization the poet’ s message and the semantic analyze with qualitative scrutiny of realization the message explains the mystical view of Jami.

Narration is the most basic part of the story and its skeleton. Narration is the manner or technique by which the story is narrated by the author. The narrative structure of the stories determines the artistic value of the story, and in order to study this criterion, it is necessary to examine the narrative style of the stories separately or comparatively. In this paper, based on the narrative style, two popular social novels by two renowned Arab and Iranian writers, The Yacoubian building by Alaa Al Aswany, and Bioten by Reza Amirkhani, are investigated. After reviewing and analyzing the two novels, it became clear that the personal narrative style of these two authors was largely similar. The particular styles of Aswany and Amirkhani in these two novels are "suspension, anachronism and time deletion, descriptive pause, short circuit and focalization. " The results of this study show that both authors have used a kind of short jump in the process of story suspension to generate interest in the audience and from the perspective of the plot element processing, we also see a kind of action system. The two novels are very similar in structure and content and have a strong connotation because of reason and the causal relationships. The narrative structure of time in both is circular, nonlinear and lacks proper order and sequence, which leads to anachronism. The use of temporal summaries in both works has given rise to short frequency. Aswany and Amirkhani, with their inner focalization. Stand beside each character and express their goals with his voice and language.

Madhush Golpayegani is one of the anonymous poets of 12th century who has got numerous works of poetry and prose. Among his valuable works is the Divan of the poetry, which includes: sonnets, idols, pieces as well as rubaiyat. This study investigates the style and content of his sonnets from the intellectual, linguistic and literary aspects. The purpose of this enquiry was to review the poet's ability as a sonneteer of the literary restoration era. The results of this study showed that he was a capable poet and sonneteer who exactly knew previous sonneteers and reflect their literary, linguistic, and intellectual aspects on his sonnets.

The Hamleh-ye heydari is one of the epic poems written by Mashhadi in the Ferdowsi Shahnameh. This poem is a historical-religious work whose main theme is the narration of Muhammad's life story and his wars, the expression of Ali's heroics. And their miracles and miracles are historical events related to the early days of Islam and recorded in the course of history and history, in fact the historical aspect of the work is quite evident and history has become the ground for linking historical and sometimes extraordinary events. The poetic purpose is a religious and religious purpose. In this paper, which is written in a descriptive-analytical way, we have studied the stylistics of this work. The main purpose of this article is to investigate and determine the stylistic features of the Haidari attack. The results of the research show that the selection of transverse breeches due to the high syllables and the closure of the pulse has caused the epic linguistic proximity. Repetition of phonemes, words, words, and puns has increased the introspection of the poem. The stylistic structure of the words has created a mixture of rich, religious and epic language that is incompatible with the logic of the epic style and the presenting of the verb, the use of specific Shahnameh syntax, and the syntactic and syntactic properties of the word. He is. The literal co-ordination of the word is more based on imitation; it is the most sensory-like analogy that corresponds to the epic space of the work. The metaphors are more mockery and non-epic; it is more folk and interactive and has no epic spirit.

Pronouns as a class of words have characteristics that give them a special place among other classes of words. In the semantic context of a text, the use of pronouns and their frequency bear on the semantic field and analysis of the relations governing the text. Since Saʽ di’ s sonnets are the superb examples of the interrelation between structure and meaning, the present article tries to analyze wthe use of “ second person pronouns” and their employment by Saʽ di in the beloved-addressee discourse, and its comparison with “ first person pronouns” as the two ends of a “ dialogue” .

Each literary movement or school has presented a unique definition for nature and so we are confronted with plenty of perspectives. This difference in perspectives is pronounced more in schools of classicism, romanticism, naturalism and symbolism. These movements are characterized by ‘ high regard for nature’ , ‘ to follow and imitate the nature’ s way’ and ‘ focus on nature’ , and thus, led to misinterpretation and wrong results in analyses. This study examines the different perceptions of nature and how it is viewed in each of these artistic and literary schools and explores the concept of ‘ nature’ by providing the examples from each of them. Then, comparing the concept of nature with poems of modern Persian poets, it will try to make an accurate classification in which each poet is attributed to his own naturalistic perspective.