JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2020 | Volume:13 | Issue:6 (52)|Papers Count:13

In the age of acceleration and mastery of technology, time saving is an inevitable necessity. And consequently, saving the Speech is a plausible way to make the most of opportunities. In different periods of Persian language, briefness has been the dominant rule in rhetoric and has remained valuable works in Poetry and prose in the manner of narration. In this research, after defining the literary genre of Minimalism and expressing its features, in connection with the set goals, the narratives of Rozeh khold Majd khafi are explored from a minimalist perspective and explained the structural similarities of this new genre with storybooks. After reading the text, it was found that they were technically equivalent to minimalist structural patterns such as briefness and compactness, simplicity of design, time and place constraints, and characters, benefiting from an attractive theme and simplicity of language. And in some aspects, such as the social status of the characters, the mix with literary figures of speech, verses and traditions, ethical and social themes, the narration of the past tense, and the presence of supernatural elements differs with the elements of minimalism. Research Method based on Library research and the research findings are processed in a descriptive-analytic way.

The present study aims to investigate the concept of wine (Mey in Persian) as a fundamental concept in Persian lyric literature focusing on the most important transformations in the poems of Rudaki, Sanaie, Nezami, Atar, Molavi, and Hafez. As discourse semiotics is studied within the evolution of structuralism, this study, with an emphasis on the structuralism view, first investigates the evolution of Mey based on the syntagmatic, paradigmatic and contrastive relations and then using discourse semiotics, it deals with the meaning boundaries to show the evolution path of Mey as one of the most fundamental concepts in Persian lyric poetry. The reason for considering such a continuum in the investigation of Mey (from word study to discourse analysis) is that such fundamental concepts are not merely the words which are used only for naming and referencing, but they change into a complicated integration and floating signifier and have a profound connection with the poet's lived discourse. They are on a continuum from meaning boundaries of reference to the interactive and ultimately to the melting in evolution.

Bahr. ol. maā ref masnavi. The seconde work of Shahab ol din Ali Daniali fasavi jahromi is a voluminous poetical work which has over 19000 verse and has composed on fā ē laton faelaton faelon rhytm. There are 2 hand written versions of this masnavi in library of parliameut assembly with number 9371 first and second versions have been corrected in contrastive approach. theme and content of this masnavi is mystic and morality. present research is a descriptive analytical study in library and was done on the basis of bahr_ol_maaref text. the objectives of this research is to study handwritten version and recognizing the poet source as well as poet cultural contemporary situations and also analyzing its style features. The main questions of this article is that what are the most obvious style features of bahr_ol_maaref masnavi? The result of this study shows that the style characteristics of the masnavi are: simple and fluent language composing creative content, alleviation words marked with a wovel point word reduction, applying Arabic words, obvious of imaginative forms of the extent that word and meaning oppose to each other such that don’ t cause to complexity of speech.

Mystical writers and poets have addressed the story of the prophets, in particular the story of Prophet Moses (AS) with different mystical approaches, and have used it to lay out the foundations and concepts of mysticism and the teaching of mystical teachings. The purpose of this study is to answer the question of what kind of mystical writers have been dealing with the story of Prophet Moses during the three fifth to seventh centuries. The results of the research show the difference in the view, the level of understanding and the purpose of the mystics in using the story of Prophet Moses. Therefore, the mystical approaches to this story can be summarized in the following three centuries in four devotional, romantic, symbolic and interpretive approaches. It shows that the proponents of mystical texts are from a devotional approach to a romantic, symbolic, and interpretive approach, and in another sense, the advancement of mystic language is changing from phrasal to metaphoric language and from an aesthetic point of view to mystical themes.

There are different ways of thinking in different areas between preIslamic and post-Islamic Iranian. Through considering the existing text from ancient times and modern times, some of the differences can be specified. Ardaviraf-nameh (300 C. E. ) and Mi'râ j Nâ ma (9 AH) are two spiritual travel books which have been written between these two era with similar content. Through considering the content of these two books, the different ways of thinking of the Iranian during the period of religious transition can be specified. The present study aims at considering this process and tries to concentrate on the role of women.

Research in the stylistic characteristics of a writer with a Conversation approach can lead to a better understanding of the literary work’ s space. In a conversational text, all sounds are heard, and the writer’ s voice is not dominant, but the author gives all voices equal opportunity, and all sounds with equal and opposite sounds equal to the ear. The novel is the best background for the creation of the conversational space. This research has examined five contemporary index novels (“ Savushun” by Simin Daneshvar, “ Gypsy by the fire” by Moniro Ravanipor, “ Touba and the Meaning of Night Novel” by Shahrnush Parsipur, “ We get used to it” by Zoya Pirzad, “ Idrissi's house” by Ghazaleh Alizadeh) in order to explore conversation elements with descriptive-analytical method and in documentary-library method. In response to the main question of this research, can the conversation be a personal style trait for these authors? It should be said that these authors have created a dialogic and multi-voiced approach using a variety of techniques such as angle of view rotation, cross structure, genre of magical and intertextual realism, polyphony and multilingualism. The most commonly used polyphonic component is the style component, which directs the dominant discourse of the text to the author's view and reduces the burden of conversation dialogue. The intertextual conversation of these novels together is the discourse of resistance and the voice of protest against traditional and patriarchal discourse.

Expressing a theme in various forms and paying more attention to the presentation of words is a major feature of Khaghani's and Azerbaijani style poetry. One of the most frequent issues in the Azerbaijani style poems which, in addition to the sociology of literature, is also aesthetic, is jealousy, rivalry and hostility. Persian poetry lost its base in the sixth century due to political and social changes, and with the full establishment of the Seljuk government, no attention was paid to poetry and poetry. Local governments did not have the greatness of the Ghaznavis court, and the way to go for the competition among the poets. Therefore, the poets used all kinds of slander, spooks, and speeches to go to court, in addition to distinguishing their innovations and humiliating others' poetry. In Azerbaijani style poetry and in a broader perspective, Azerbaijani style poets are very prominent in "artistic expression", "modernism" and "escape from vanity". Hence, the subject is artistically reflected in most of the poems. The present research tries to answer the following question: How is jealousy, rivalry and hostility reflected in Azerbaijani style poetic and versatile arts, and what is its social and cultural context? The results show that Azerbaijani style had used a wide variety of elements to illustrate the subject: using historical, mythical (Sami and Persia), religious (Jewish, Islamic, Zoroastrian, Christian), animals (reptiles, birds), Aquatic plants. . . ); Plants (flowers, trees, fruits) and. . .

Beyhaqi History One of the most important Persian prose texts during the last millennium has been revered by lovers of Persian literature. This book has a multiplier of what we have now, missing sections, and despite being centered on Massoud Ghaznavi, it is not merely a historical book, but has political, social, cultural and, in particular, political ideas Ghaznavi's rulers-in the area of controlling criminals, have been through mere suppression or with specific measures and measures to prevent crime. Therefore, the authors seek to find a model of criminal policy in the history of Bayhaqi in view of the above, and which model is closest to today's model. Tracing some of the political manifestations and features of the authoritarian system in this work leads to the study of a new concept of criminal policy (especially authoritarian criminal policy) from this topic.

One of the most essential investigations and the basic studies in the domain of Hafez is the identification and analysis of works conducted on Hafez and his lyrics. Hafez Divan is an illustration of the common themes between Iranian people and his poems as the essence of Iranian culture. Therefore, whatever has been mentioned in his poems is an indication of Iranian beliefs on that topic. The recognition of the variety of topics in this domain is for providing the reference and use and for avoidance of repetition. In this paper, introducing approximately 391 papers on Hafez and his lyrics from 1371 to 1380, the researchers examine the papers that have especially been published on the stylistics issues of Hafez poems. In so doing, the papers which are similar in topics or have some similarity are categorized under the same class and the researchers have tried to depict a picture of the stylistics of Hafez poems in 70 th decade. The results obtained from the data are then tabulated and are shown in pictures so that the readers are provided a comprehensive and concise overview of the research on Hafez in 70 th decade.

Bidel Dehlavi is considered as one of the prominent poets of Indian school of poetry in Persian literature. He improved the imageries and poetic imaginations of this linguistic style. Studying the simile in his sonnets reveals many ambiguities and images. In this paper the researchers use the explanatory-analytical method based on Brook-Rose method which is a grammatical and linguistic way and due to this way, they could have found many of Biedel's similes. By this method, we can reach the poet's mental world, intellectual concerns and study the poet's worldview. This essay shows more than any kind of simile, Bidel Dehlavi used the form of copula in his sonnets and this one is the most prominent features of his simile structure. Compared to other poets of this style, equations and parallelism have lower frequency. Then genitives and new compound combinations have the next place in his sonnets. Similes related to places and then objects are also frequent in his poems.

"Symbol" is a word that also means apparent to the reader the whole wide meaning and practice of using or how to apply, and processing concepts become the symbol of the "symbolism", said. One can be extended metaphor prayer with the difference that the symbol rather than a hidden meaning are faced with a range of meanings and also no evidence Sarfh. Because of the diverse nature and mysterious symbol has also been influenced by the social and political conditions, its importance in contemporary poetry and the poetry of sacred defense is very high. So the important thing is that we are faced with a variety of symbols, features and quality of their applications in the field of poetry. This study investigates to get reliable answers to this symbol in the seventeenth Congress of Sacred Defense poetry and the poetry greats such as Salman Harati, Hassan Hosseini and Tahereh Saffarzadeh. Symbols in the Sacred Defense poetry, the components and elements of the two groups of icons and symbols of the abnormal nature of the semantic divide into two symbols of black and white icons. Of course, in this context, as opposed to semantic and symbolic concepts of evolution and expansion of its main features are considered. Identify symbols and explore its implications for understanding poetry is very important and useful, so close to its categories (like metaphors that are similar to the symbol) identified and separated. Typically the application icon in the Sacred Defense poetry following two modes: the richness of literary poet or poem no more symbolic space, symbol applies, or the atmosphere of the poem is symbolic. In this case, to achieve meaning and correct image of poetry, symbols must be considered in relation to each other. White symbol frequency Sacred Defense poetry lot of black icons (to induce positive meanings of concepts) and to visualize concepts around two axes of good and evil in contrast to many of the white symbols are symbols of black or symbolic texture creation or evolution their meaning.

Rashid al-Din Vatvat is one of the most famous poets of the sixth century AH whose skills in the use of words and verbal/spiritual devices has made him a unique poet of his day. Thus, studying the aspects of his poems can distinguish his linguistic and literary distinctions from his other contemporary poets. Given that most scholars in the style of Rashid's poetry have confined themselves only to its literary level and have neglected both its intellectual and linguistic levels, the authors of this article aim to introduce the unique linguistic, literary, and content characteristics of Rashid's poems through stylistic approach of analyzing his poems. The results of the present study indicate that Rashid's lines are linguistically strong and sometimes comparable with Khaqani's poems. He chooses words with particular skill, and his speech is devoid of any defects in eloquence. He used the Arabic words with a full rhyming vocabulary, and obsolete words rarely appear in his poems. He makes exquisite and innovative compositions with his dynamic talents; however, in many cases he sacrifices meaning for rhetoric. Therefore, Rashid's poetry illustrates the transformation of Persian poetry from Khorasani style to Iraqi style. What distinguishes Rashid's poems from those of other poets of his day is the predominance of the moral and social themes that have been served. This, together with the poet's attention to rhetoric, implies social and moral crises of his age.

Haj Mirza Ma’ sum Khavari Kozekanani Kashan is the poet and religious scholar of the thirteenth century (AH) and a Scholar of the return period of literature. The poetic works of the poet are thirteen thousand three hundred and forty-seven verses written in the style of the return era poets, showing that the poets of the era, such as Abul-Ali Ganjavi, falaki Sharavani, Khaqani, Jami, Nizami, and Mohtasham Kashani, were considered and revived in the works. The question that arises is that in view of the critical correction of the Divan and the study of the linguistic and stylistic coordinates of his poetry, what period of Persian poetry (Khorasani or Iraqi) should he be examined in? In this article, we have tried to show that the geographical location of the poet and his place of residence in Azerbaijan and Kashan has had a profound effect on the poet's language and expression and that the poet's words are influenced by the atmosphere of his place of residence. Our general understanding is that the Khavari, a religious personality, has used poetry and literature in general as a means of conveying his desired concepts and thoughts.