JOURNAL OF THE FACULTY OF LETTERS AND HUMANITIES (KERMAN)
Year:2013 | Volume:16 | Issue:33|Papers Count:16

Rhetoric is the science which surveys sentences and their figurative meanings. One of the important issues in rhetoric is “interrogation” and its secondary meanings. Interrogative sentences abound in literary works and are used for presenting a variety of concepts. Most often interrogative sentences do not seek to make the unknown understand, which is their main purpose. In spite of the importance of interrogative sentences, there are problems and deficiencies in Persian rhetoric works dealing with these sentences.Considering the definitions and examples of interrogative sentences proposed in rhetoric works, this study will survey the subject of interrogation through the examination of some of the important Persian rhetoric works. Survey of these definitions and examples reveals that some is sues need to be revised in these works. Some difficulties and deficiencies of these works include: mere imitation of Arab Rhetoric, inattention to changes in the meaning of some titles in Arabic and Persian languages, inconsistencies between secondary meanings and their examples, inattention to selecting a proper title, incorrect reading of poems and lack of knowledge of rhetoric researchers about the meaning of poems.

Style is the current and distinctive features figuring in an author's works. Any text could be examined stylistically, from linguistic, intellectual and literary point of view. The linguistic level may be divided further into phonetic, diction and grammar levels.This study compares the texts of Eghd-ol-olaand Semt-ol-ola from the phonetic, diction and literary viewpoint and concludes that, despite the long interval of more than a hundred years, Naser-o-din MonshiKermani has been greatly influenced − in writing Semt-ol-ola − by Afzal-o-din Kermani' sEghd-ol-ola.

The three prose epics of HoseinKordShabestari, ShiruyehNamdarAndMalekJamshidshare the important characteristic of following a single model in their motif structure recurring constantly throughout the works.This could be traced back to the oral quality and the tradition followed by the narrators of epics.The present study first introduces these epics and then examines their motifs in four categories: epic-Ayyari motifs, supernatural motifs, love motifs and religious motifs. Another important factor that leads to difference between these works and other prose genres is the motif of "Ayyari" found in epics.

One process of word formation in derivational morphology is functional shift or conversion in which a part of speech changes to another without any formal change. In this article, it is tried to survey some kinds of functional shifts in the special stylistics of the eleventh century poet, Tarzi Afshar. It is also intended to explain the major characteristics of Tarzi’s lexical stylistics in conversion.

In order for a better understanding of the stories of Hezar-o Yekshab, it is essential to have information about magic and witchery; the present study, therefore, examines the role of witchery in these stories.Magic, its different types and different methods of witchery are analyzed and evaluated through different parts of the book. The results of this study clarify the main theme of stories of Hezar-o Yekshab that has played an important role in Iranian prose literature.

Point of view and narrator are toolsin the hands of an author for introducing characters, increasing story interest, and communicating information to the reader.The present study examines 39 stories written for the age group A (up to age 7) for the point of view and the narrator. According to the examination, most of these stories use dramatic point of view. There are also other points of view such as limited omniscient, omniscient and first person. Four types of narrators were traced in these stories of which the low-informed narrator has the highest frequency.

It would seem impossible to benefit from literature to bring about the ideas of nations together without a study of their poet’s common style characteristics.A comparative study of the sonnets of Saeb and SeiidaNasafiindicates an abounding use of symbols such as “the detached lover, mirror, nightingale, butterfly, fire, flame, …” introducing many images and literary traditions into poetry. The question is why poets took advantage of symbols and how the novel ideas and the proper style to them.To Saeb and SeiidaNasafi, symbols are but tools to deal with the question of love and insanity, selflessness, annihilation, union with God, ….This study aims at examining the similarity of evolution of mirror as symbol in the poetry of SaebansSeiidaNasafi.

Despotism and tyranny of the governments leave no opportunity for free expression and criticism; as a result, the committed writers try to implement styles to express their beliefs indirectly. In Beihaghi’s History, the writer tries to select, deliberately and consciously, poems from other poets in order to arouse readers’ emotions and to -indirectly- criticize Masoud’s government.Based on the examination of the inter-textual and infra-textual signs, this study aims at analyzing the associations of these signs on the paradigmatic axis to arrive at a new understanding OF Beihaghi’s History.

Sonnet is one of the most significant poetic forms in expressing different themes, especially romantic and mystic ones. Sadi is considered as one of the highest summits of Persian sonnet from the 8th century onward. He influenced many of the later poets specially the 8th century poets including Khaje Hafez, KhajuKermani, EmadeFagih. …. One of the best followers of Sadi in composing sonnet is SayyedJalaloddinEbn-e SayyedAzododdinYazdi known as "Jalal", who is an 8th century poet and a contemporary of Hafez.This study compares the sonnets of Jalal Azodwith those of Sadi, and concludes that Jalal has been influenced by Sadi in different fields of theme, image, structure of discourse, combination and interpretation, meter, rhyme and radif.

As a poet, BadrChachi (AH 745) was inclined toward literary figures.His fondness in compounding new words led him to introduce novel compounds into his poetry. Badr’s migration from Chach in Tashkand to India, due to Mongolia sedition, and his being away from the literary context of Iran made his language seem older than that of poets in the 8th century.While editingBadr’s works, words and expressions were found which have not been entered into any of the accessible dictionaries. This study is an attempt to offer the meaning of these words and expressions, considering the commentators’ explication and the demand of the related verses.

In order to discover the rhetorical techniques of a text, it is necessary to consider the shortcomings of traditional rhetorical studies such as the combination of rhetoric with other sciences and with figurative language. It should also be noted that the theoretical and practical framework of Persian rhetoric is achieved through search in the literary masterpieces of this language.None of the books written on rhetoric is devoted wholly to Persian language. Regarding the basis of rhetoric −the appropriateness of speech and the conditions of the time − and reflecting upon the rhetorical mysteries of parts of Persian literary texts, issues such as integrity, apostrophe, exaggeration, dialog and tone in the domain of rhetoric are presented and it is concluded that the sources of rhetoric as a science in any language are the literary masterpieces of that language.

Due to the conditions of the time or for their personal likings, all poets have taken advantages of symbolism and symbols. MolanaJalaladdin has also depicted his three friends, Shams, Salahaddin, and Hessameddin, through the language of symbols. At times he has compared them to the sun, which has long been the symbol of warmth, and holiness; at other times he uses symbols such as water as the origin of life, mirror as the symbol of purity, and hawk as a symbol of power and value.Molana symbolizes his enemies as bats, golden swords ….The present study aims at examining and comparing the three friends of Molana as depicted in Divan and Mathnavi.

This paper studies the nature of Persian compound verbs based on Lieber's lexical semantic representation theory. This theory, using seven semantic features and a principle called co-indexation principle, studies lexical entities and their contribution in compounding, derivation and conversion and presents one semantic skeleton and one semantic body for each lexical item even for affixes. The skeleton consists of one or more semantic features and one or more arguments and the body consists of two layers.It is claimed in this study that all sentences had been basically constructed on simple verbs; however, as a result of changes in the semantic body of simple verbs they have lost their event argument, and they cannot individually predicate an event; therefore, one argument of the simple verb in the sentence is co-indexed with one argument of the argument structure of the simple verb to from a compound verb. It is also shown that compound verbs in Farsi are syntactically subordinate compounds and semantically endocentric in which the verbal element is the head and pre-verb in the argument structure of the compound verb, is subordinate.

There is a frequency of critical perspectives in old Arab literary books the main subject of which is criticism. These perspectives have paved the way for the emergence of later critical schools. Therefore, the background for a major part of literary criticism can be traced back in the literature of the past. Obviously, people like KhajehNasirTusi in Asas-ol-Iqtebas, Ibn-e-Tabataba in Ayar-o-Sher, Ibn-e-Motaz in Al- Badie have expressed views on the questions of imitation, imagination and fantasy. Through analyzing their speeches, it can be concluded that many of the criticisms of the eras after them or even the contemporary period are based on the same words of the past. Ibn-e- Tabatabais one of those who have talked about speech (especially word and meaning) and figurative language (specially allegory).The history of some of the comments in these two cases can be found in his books, especially Ayar-o-Shshe’r.