JOURNAL OF LINGUISTIC AND RHETORICAL STUDIES
Year:2022 | Volume:13 | Issue:29|Papers Count:13

Due to the fact that our books of law are taken from and influenced by Arabic jurisprudence and language, Arabic jurisprudential terms have become common in the law. This influence is of such a nature that it affected Persian words to the extent that Arabic rules have been applied to Persian words as well. The importance of civil code in ensuring the safety and health of society necessitates paying attention to the text and principles of Persian writing and the use of Persian words because what gives a text credibility and coherence is the way it is written and the maturity of its prose. Therefore, via a library-based descriptive and qualitative as well as the opinions of students, graduates, professors of law, Persian language and literature, this study has reviewed and evaluated civil code. The purpose of this research is to draw attention to the need for linguistic correction of legal sources and trimming the Arabic words by those involved in this field with the help of the experts in Persian language and literature. As such, in some articles, the juxtaposition of Arabic words has complicated the text of the law, and it is therefore suggested to use common Persian words and expressions as much as possible in writing legal texts, especially laws.

“Dandanieh” is one of the few odes composed by Rudaki Samarkandi, which has fortunately been preserved from looting and insurrections and has been registered as a valuable heritage of Persian literature. Apparently, in this poem by Rudaki, there have not been many changes in terms of the number of lines and the preservation of words. In the present article, based on stylistic criteria as well as various evidences of Persian literature and occasionally Arabic, an attempt has been made to correct the following verse: “My heart was a treasury full of treasure and a treasure of speech, the seal was our sign of the Letter and the title of our poem.” The editors and commentators of Rudaki's Collection of Poems have made diacritic placement and interpreted "Seal" (Mohr) as "Affection" (Mehr) in the second hemistich. According to the other components of the verse such as "letter" and "title," however, it can be understood that this word should be considered as "seal"(Mohr). Of course, the commentators’ mistake was due to the attempt to make the second hemistich meaningful, unaware that the word change and misspelling of "Saha-Nameh" (Seal of the Letter) to "Neshan-Nameh" (Sign of the Letter) is the main problem that has occurred in the verse.

The present study aims to examine the application of linguistic-literary terms, or more precisely, morphological, syntactic, literary, and rhetorical terms in classical Kurdish literature, using descriptive-analytical method. For this purpose, the statistical population of the research on the poetry of Nali, a famous poet of classical Kurdish literature, was narrowed down to his dīwān. Benefiting from his mastery of literary and Arabic sciences, Mullah Khedr Ahmad Shahvies Mikaeli known as Nali (1800-1877) artistically used these terms in his poetry in many cases. The result of the research shows that the poet intentionally benefited from this technique for certain purposes. In other words, in the present study, based on the analysis of monostich, stanzas, and verses written by Nali, it is argued that the application of such terms is mainly aimed at an underlying semantic structure that is not usually interpreted explicitly in official literature. His poetry, therefore, reveals two - and sometimes three - levels of meaning based on this technique. In addition, the application of these terms in the context of technical and rhetorical images has led to creation of several tropes including simile, synecdoche, metaphor, irony, ambiguity, and paradox.

In this article, the causes of 19th & 20th-century English audience's considerable attention to Hafiz’s poems are studied based on the reader-oriented Reception Theory. This attitude of growing attention had special social, cultural, and literary causes, which are defined in Reception Theory as paradigms. By identifying the literary paradigms of the English society and the literary horizons of expectation in this period, the reasons for the English interest in Hafiz’s poetry are explained. The Horizon of Expectation is the most important discussion in Reception Theory, introduced by Hans Robert Jauss, which includes all literary and social factors stimulating readers to refer to a literary work. The readers identify their expectations according to these horizons. If their expectations from the text are satisfied, they continue reading; otherwise, the text is considered as "dead". In the case of Hafiz’s poems in 19th & 20th century, we consider the combinations of horizons and readings. The results show that in these two centuries, the literary paradigms in the English society were so developed that Hafiz’s poems could satisfy the literal expectations of England and even go beyond them so as to influence their own writings.

Although romanticism is a literary school, it can also be considered as a literary discourse since it creates a particular perspective and a special world in the sphere of human thought. Nima Yoshij is one of the first proponents of such a discourse in contemporary Persian poetry. He has showcased his commitment to such a view in some of his poems and has created images in them that are in line with the dominant thought in the intellectual space of the poem. The results of this study show that Nima, with his accurate knowledge of Western literary schools, has consciously composed poems in which the characteristics of Romanticism can be easily found. Also, the images in these poems are naturalistic, nostalgic, individualistic, imaginative, and anti-rationalist, which declare their harmony and cadence with the dominant discourse of the poem.

 Faez Dashti (1834-1911) is one of the southern lyricists and representatives of folk poetry and popular and indigenous literature of this region, who pays special attention to didacticism. He has been called the most emotional poet of the common people and folk culture. With an overview of Fayez's couplets, one can understand the presence of his emotion and delicate feeling and poetic taste along with various local elements. In his romantic and lyrical poems, he has referred to moral and educational issues and has effectively used rhetorical tools, especially semantics. He has been successful in conveying moral concepts and teaching them to its audience, using semantics and its appropriate tools such as interrogative, declarative, and imperative sentences in an effective way, hence simultaneously highlighting the presence of the audience in the text. In this research, the authors have studied this category of sentences and their secondary meanings in a library-oriented descriptive-analytical manner. And, the highlights of the three topics of semantics, namely interrogative, imperative, and declarative as well as their function and effect in conveying the poet's didactic themes effectively in his romantic and lyrical and poems have been discussed and explained.

Schemata are mental images, taken from one's embodied experiences, through which abstract concepts are understood. The present article aims at introducing kinesthetic schema and identifying its function in conveying themes in Forough Farrokhzad's poetry. The application of linguistics theories in literary criticism makes such research significant. The body of the data has been gathered by attributive method. Then, the data has been studied with descriptive-analytical method. The findings of the research revealed that kinesthetic schema in Forough Farrokhzad’s poems convey meanings such as loneliness, frustration, avoiding guilt, description of earthly love and desire for change, description of social deviations and anomalies, remembering and forgetting the past and thinking about death.

Schemata are mental images taken from one's embodied experiments and based on which concepts are abstracted. The present article aims at introducing movement schema in Forough Farrokhzad's poems. Meanwhile, it tries to Specify the role such schemas in conveying the themes of the poet’s poetry. The application of theoretical linguistics issues in literary criticism makes such research significant. The body of the data has been gathered by attributive method. Then the data has been studied with descriptive-analytical method. The findings of the research revealed that movement schema in Forough Farrokhzad’s poems convey some meanings such as 'loneliness', 'frustration', 'refusing guilt', 'description of love' and 'desire for change', 'description of social deviations and anomalies' remembering and forgetting the past' and 'thinking about death'.

In the present study, the novel Tibetan Dream by Fariba Wafi is examined in the framework of critical discourse analysis using Theo van Leeuwen's model. In this novel, the representation of social actors is a platform for presenting the views and ideologies that the text seeks to establish. The identity of the social actors is depicted at the beginning of the novel in such a way that the reader follows up the text to discover this identity in order to recognize the implicit meanings in the text in relation to their actions. Using Van Leeuwen's sociological-semantic components, the relationship between ideological processes and discursive structures can be identified. In this way, power formation mechanism and ideology and its role in the explicitness and secrecy of the actors as well as the nature of their interactions or confrontations can be evaluated. Accordingly, in the qualitative analysis of the present study, an attempt has been made to explain the ideological attitudes of social actors from the perspective of women's class system in relation to discourse-oriented components. This study shows that most of the sociological-semantic components used in the novel include omission, activation, passive representation, nomination, categorization, anachronism and symbolization. These components serve to describe the social and ideological mechanisms governing women social system.

Saeb Tabrizi is the most prominent poet of Indian lyrical poetry. The presence of repetitive elements or motifs in his sonnets can express the poet's mentality as well as a picture of his contemporary movements of thought. The motif of Joseph the prophet with a frequency of 937 times is one of the most widely used allusive motifs in his poetry. The poet has used this motif to express various ideas and mentalities and has used the story of Joseph and its elements to make each of those ideas tangible. This study has aimed to analyze the mystical functions of the motif of Joseph with a library-based and descriptive-analytical method.  For this purpose, after explaining and analyzing the meaning and functions of the motif based on the relevant literature, the elements of the story of Joseph have been discussed according to the storytelling process in the Holy Quran. Then, the mystical functions of each element have been studied and analyzed in line with the quranic narration. The analyses reveals that the poet used the allusive motif of Joseph’s story to express various mystical concepts and topics such as, conflict of reason and love, manifestation, mystical quest, austerity, patience and love and goodness, even though he found contradictory functions especially on the subject of love and goodness, austerity and pride and love and manifestation.

Examining imagery is a way of recognizing the similarities and differences of literary works and clarifies the style and artistic value of the work and determines the extent of the poet's power of innovation and use of the heritage of the past. Also, the attractiveness of works of art is due to the way they are structured, and this structure shows their distinction and superiority over other literary works. Rhetorical figures are the most important literary language figures in which the process of literary creation is more prominent than other language figures.Simile, is the most fundamental pillars of rhetorical figures such as metaphor, metonymy and characterization are caused by it. In this study, imagery in Xosrow and Ŝirin, from various aspects such as the Modal analogy, sensory and intellectual, singular and complexity, morphology, frequent use of metaphor and simile common are evaluated, classificated, and compared, and after adjustment for a variety of similes, a scientific and statistical analysis is presented. The main focus of this study was to compare the types of similes, in terms of the aforementioned characteristics, to determine the rate of innovation and imitation of Nizami.The story of Xosrow and Ŝirin, is 5300 bits, which in 1005 bits (19 percent), the simile is used. The highlights of this research, is a new and innovative imageries in the Nizami's similes which shows initiative and creativity in bringing new meanings and themes.

Astronomical elements and expressions have always had a remarkable presence in the content and form of national literatures, especially Persian poetry. Full perception of a majority of poems highly depends on understanding the semantic relations and aesthetic details of the used astronomical issues and phenomena. Therefore, the present study aims to explain semantic and aesthetic functions of constellations, as an important and determinative part of astronomical issues in Rumi’s sonnets. Being a descriptive-analytical research, the current study reveals that Rumi has used the names of constellations 117 times. The most frequent ones include Aries (whose contemporaneity with the sun depicts an impressive image), Leo, Taurus, and Libra. The most important implicit contents by these constellations are related to spiritual resuscitation, approximation, mystical love, demand, benefits of the leader’s presence, and criticizing carnal possessions and the condemned world. Considering Rumi’s mystical-eloquent use of constellation names in the verses containing several images, figural function of constellation names has higher frequency, 139 times, the most significant of which are depicted in the form of symbol, ambiguity, irony, and simile. Multiple imagery, including symbolic similes, irony-symbol, and simile-irony is remarkable in his sonnets. Rumi has benefited from symbols in other images. Moreover, he has emphasized irony notably. The names of some constellations have also been used in ambiguous structure, especially proportionality.

Aesthetics is one of the fundamental topics in philosophy, whose origin dates back to Plato's time and before him. To this day, aesthetics has subsisted through the ideas of Western and Islamic thinkers. As a ubiquitous interconnected text, the Holy Quran is distinguished for its miraculous rhetoric. This distinction can be observed in every chapter (sūrah) or verse (āyah) of the Qur'an, each of which boasting an astounding rhetorical style. The purpose of this article is to study the expressive elements in terms of aesthetics in the Holy Qur'an since expressive elements make it possible to gain experience and document it. The method of this research is analytical-descriptive. The results show the expressive elements in the sūrahs of the Holy Qur'an are inseparable from the others, and all are parts of the same body. In order to explain the thoughts and messages of the Qur'an, it is necessary to consider the artistic-literary features along with the thoughts and topics.  In the studies done on the aesthetics in the expressive elements of the Holy Quran, the elements include the semantic, the musical, and the structural ones. It should also be said that the Holy Qur'an has used the method of imaginative expression in the subjects and has placed its rule of expression in it.