JOURNAL OF LINGUISTIC AND RHETORICAL STUDIES
Year:2019 | Volume:9 | Issue:18|Papers Count:13

The term "Balā ḡ at" in Islamic literature and its equivalent in the literary tradition of the West, the term "Rhetoric", has had three main meanings up to the present time: the first meaning is the Aristotelian understanding of rhetoric, which is condoned with the which relates to the Rhetoric and techniques and means of the audience's persuasion; Second, is the aesthetic or literary meaning connects rhetoric with poetry and techniques of imagination; and finally a new approach to rhetoric that tries to extend the scope of this science in such a way that the two previous concepts are combined together. "Allegory" is one of the rhetorical tools that have taken into account all approaches in the history of rhetoric. In other words, the aesthetic and persuasive capacities of allegory have led to pay attention to the works of rhetoric with various contributions to the concept of rhetoric. The purpose of this research is to redefine the various rhetoric's definitions and perspectives on allegory and explain its rhetorical power in the light of various approaches to rhetoric.

The issue of the present paper is, to investigate the Adab e Inshae written by Norbakhshi. This work is also recorded as the Inshay e alam Ara. Adab e Inshae deals with the theoretical approach to the issue of Epistolary in the Safavid era. The present work is classified into a coherent structure; the first Section of this book is introduction as a Fatiha. It consists of three chapters as a Lamae and the final section as Khatimah. The author's perspective on this text is a rhetorical review of Epistolary Persian prose. There are six manuscripts from this work. This text is only a part of the introduction and the beginning of the first chapter. The author's particular method in the present work is unique among the works of the others, because he considered Persian prose with an exclusive approach to Persian prose Epistolary. In addition, the literary techniques which required by the secretaries are described in an example. In the Safavid era, technical prose is highly regarded by writers. The examples cited are often prose and sometimes poetry. Norbakhshi is the poet of the Safavid era and his pseudonym has been Sayyed. At the beginning of the text, the characteristics of the secretaries of the court are enumerated. The author of this article has tried to study textual aspects at first instance, and then examines the structure and content of the effect. The article will also describe the author's description of the book. The final part of the article is devoted to the study of the style of the work.

Cohesion is one of the interesting topics for linguists, including functional linguists to analyze the text. In their view text analysis is the study of communication, correlation and links, between the sentences in written and verbal texts. In other word, the important thing in this analysis is the concept of cohesion and how the meanings of sentences or propositions in a text are connected together. This paper, discussed and analyzed the cohesion of “ Adl" a short story from the book “ Short Stories” by Sadegh Chubak by using the Theory of Halliday and Hasan (1985) in the functional linguistics. According to this theory, having cohesion is a feature of a text. Thus, the poetry and prose texts according to their own content and how to use cohesion elements are distinct, and distinguished in terms of grading of cohesion. In the present study, it is examined how to use elements of cohesion in the text, and the application of each elements of cohesion were compared. After analyzing the data, it was concluded that the grammatical cohesion used much more than lexical cohesion in "Adl" short story, and the most of the examples of grammatical cohesion are related to personal references. This conclusion is entirely consistent with Chubak's salient stylistic features, such as; Characterization, folk writing, swiftness and describing the subject of the story. Characterization of the story and describing their actions were shaped in real environment by using slang, colloquial expressions and personal references. The results of this study confirms the high frequency of grammatical cohesion elements than the lexical cohesion elements in fiction literature. Using the correlative conjunction "And" between two clauses called additive conjunction in Halliday's Theory has a high frequency in Chubak’ s prose. The effect of "And" and using short sentences to speed up the prose is one of the Chubak’ s stylistic features which is obvious. Speed and acceleration in prose is the feature of short story. Chubak creates a simple, coherent prose without complexity, by using more grammatical cohesion elements, so there is not appeared any slightest meaning gap from start to the end of the story.

Surveying on the main meaning of the vocabularies is one of the essential requirements in the field of the culture and literature. "Shadurvan" is one of the controversial words which, even though used in the old texts many times, and has been considered different meanings in dictionaries, but its original meaning is ambiguous and there is not enough explanations about it. Among the researchers and scholars in the Persian language background, Emile Benvenist, a French scholar believes that “ Shadurvan” originally means the platform and the throne of the elders and kings, and has been derived from the Parthian language. In this paper, other evidences of the application of this word’ s meaning in Persian dictionaries and texts of Persian poetry and prose has been collected and analyzed. Also the meaning of the "the Shadurvan’ s lion" that has meant lion on the curtain, has been criticized.

One of the important functions of language is conveying each person’ s emotions to another people. Emotions are abstract concepts that should be converted into concrete concepts in order to become comprehensible; Metaphors and adjectives are common tools for changing abstract concepts to concrete ones. In this study we try to answer the following question: “ Has the Persian language changed regarding to the use of violent verbal tools? ” In order to answer this question, we have to understand if the mental and cognitive representation of anger in language has had an ascending development or a descending one? One of the representations of expressing emotions such as anger in everyday language is through the daily newspapers published in that language. In other words, the text of a newspapers reflects the thoughts and speeches of that society. Thus, the study of anger in this research has been limited to the metaphors representing anger in Persian and also the adjectives that using this emotion in a corpus consisting of Persian newspapers. This paper is based on the theory of conventional metaphors in such important papers as Lakoff and Johnson 1980 and Lakoff 1993. The metaphors are recognized here according to the Metaphor Identification Process (MIP) in Pragglejaz (2007). In sum, 100 editorial or leading articles, 2 important and bestselling newspapers, namely ‘ Keyhan’ and ‘ Ettelaat’ which have an archive of at least 50 years (50 of each newspaper and 1 of each year) were chosen randomly for this research and 18 source domains were identified for the metaphors. The importance of this study is that, it reveals the changes in using violence in Persian according to a natural and real corpus of popular newspapers published in Persian, and also shows its relationship with the important social and political changes of each decade. This way, a cognitive pattern of Persian based on the development of violence change in this language and its representation in Persian newspapers will be achieved. The results of this study shows that the political and social factors have been influential in the development of violence change in Persian newspapers.

In this article, after a brief description of Nizari Qohestani and the poetry of Az-har and Maz-har, the theoretical discussions such as style, stylistics, and layer stylistics are defined. Then based on Cochran formula and statistical methods, benchmarks such as the sequence of sentence components, style and structure of sentences, the length of sentences, and the perspective, the semantic role of sentences and imperative language is analyzed. The results of this research show that although this opus is a poetry, but more than 60 percent of the sentences have standard and natural structures. The average length of sentences is 5. 4 words, which indicates short, clear and explicit sentences. 80. 58% of the sentences are simple and independent, the style of this work is discrete. 90. 09% of sentences are declarative and nearly 90 percent are predicative and 73. 1 percent of the sentences have an active tone. Considering that this poetry is an epic Gemini and needs an active subject.

The incoherent structure and disturbed formulas of some lines in Hafez's ghazals have been studied for a long time. Scholars` research on Hafez have made much endeavor, to either justify the aforesaid structure or rather offer the possible rationale behind this lack of coherence. By reviewing them even briefly, one can lend more credibility and value to some proposed hypotheses and theories in that respect, and conveniently put the rest aside. In this paper, while examining the question, I investigated thorough a selected body of the major existing hypotheses which have set themselves the task of explaining this peculiar structure in Hafez's ghazals. Then, I proposed new insights for its understanding which aimed to justify the incoherence of the lines and the diversity of the topics of his ghazals from a musical perspective. To that intent, I formulated my hypothesis based upon the poetic texture and the intertextual relations of Hafez's poems as a whole.

In contemporary theory of metaphor, time is one of the abstract, figurative domains and it is recognized by an objective thing such as place, and it has cognitive sight. In this research firstly, conceptual and time metaphors are explained and then some evidences are mentioned from Tarikh Beyhaghi concluding vocabularies, compounds, new and arbitrary metaphoric sentences. The most important approach is, understanding the newness and the arbitrariness of metaphors and their relation with each section of the research. It is shown that as Beyhaghi goes toward internal quotation, the degree of newness and freshness of his work increases. Researcher searched the existence and quality of time metaphor in the text of Tarikh Beiyhaghi and studied how time, relates to other elements. Finally time is categorized in three groups: " time as an object (movable, stable or other form)", "time as a space or surrounded area", "time as a living creature". Researcher believes that this categorization not only is newer and more concise than others but also it shows the various applications of time metaphor in Beyhaghi's language.

Metaphor plays an important role in the conceptualization and understanding of human, and nowadays it is considered as one of the tools of the human`s cognitive system. By studying metaphors in any languages we can find a way to the minds of the users of that language. It's hard to believe that Love is like a war, because love is spiritual, emotional and desirable for all individuals and nations, but there is such a metaphor in Persian language and literature. The purpose of this article is reading and Extraction the metaphors of love in two literary works “ The Ghazlites” of Attar and Iraqi. The results of this article Prove that Persian language uses words of the battlefield to introduce love. Replacement and non-abstraction in this field, reflects the hidden ideas of poets, and shows that these maps follow the conceptual metaphor of "love is human". This metaphor is so high frequency in Persian literature. It seems that without the help of war, we cannot talk about love.

The term "verse" in the Persian Dari literature refers to two meanings: one's poetry rhyme and another is syntactic. This essay describes the concept of order as aesthetic quality in syntax and separates it from the term "verse" meaning "poetry rhyme". First, it introduces the theory of order and descent; then, by explaining the two concepts of the basic order (constructive syntax) and the artistic order (constructive syntax), it tries to discuss the role of syntactic reciprocity in the process of artistic writing and the formation of literacy, and the value Reveal a recipe in literary language. Artistic dehumanization is achieved through the manipulation of a synonym for updating information. In this paper, the concept, syntactic dynamism is also considered as an aesthetic process in reading poetry.

The rhyme has always been one of the main pillar of Persian poetry. For that matter, poets spend many times to make rhyme and accentuate it. From the initial centuries of Persian poetry to the present time, many changes have been happen in rhymes. Some rhymes in the poems of some poets that have existed for a certain time and have not been used thereafter, “ Emaleh” and “ Dal-zal” are examples of these rhymes. Making rhymes to “ Momal” words are not specify to Arabic words and are also used in Persian terms. But most of these rhymes are Arabic, which are matched with unknown “ ya” . “ Emaleh” Rhymes in the early periods of Persian poetry are few; but in the following periods they have increased. These Rhymes and “ dal-zal” rhymes used until eight centuries. In Dahl-Zal rhymes, "Persian zal" and "Arabic zal" rhyme together. In the following periods, there is some changes in the pronunciation of these Persian words, and all of “ mojame-zal” change into “ mohmale-dal” . The pronunciation of the “ Arabic-zal” remains, and through these types of arguments, we understand that the pronunciation of a “ Persian-zal” , is similar to Arabic or has the same pronunciation. Another case is, study of the changes that poets make in the rhymes. Poets such as Sanaie, Molavi and Saadi have been more educated in this regard, and Molavi is one of the most prominent. This article examines these cases in the poetries of Persian poets from the fourth century to the eighth century, which is the period of growth and development of Persian poetry.

This research deals with the metaphors that are used in Divan Shams based on happiness feeling. The theoretical basis of research is the conceptual metaphors theory that has expanded metaphor from a purely aesthetic instrumental to a worthy approach for understanding and thinking. Molana has gotten help from the "object", "animal", "food", "plant", "market", and "place" to explain many of happiness features in Divan Shams and he could make this concept concrete and objective. The present research which has been conducted through a descriptive-analytical method, attempts to discover and explain the relationship between metaphor with thought foundation and Molana's thinking world. By cognitive analysis of happiness metaphors in Divan Shams, we can find that this feeling in Molana's intellectual system is something spectacular, tangible, gustable, and audible and somewhat smoothie. Also, the statistical results used in this study indicate that the human being area and the function of sight sense with the highest frequency have the most role in the cognitive process of the happiness metaphors in the mentioned work.

Gaston Bachelard, the philosopher, epistemologist and French man of letters is including those people who discuss imagination and what shapes it. In his opinion, the four elements play an important role in the creation of literary images. These elements subconsciously appear in the mind of poets and in the time of imagination have an essential role in the creation of images. Fire is of the elements that Bachelard particularly phenomenology that and believes each poetic word has a fire in its chest and all literary images require the element of fire. He considers two aspects of fire such as good and evil and its purification and destruction properties. He also believe on four nodes, in connection with the fire, that like Freud borrowed their names from mythology and scholars. This study relying on Bachelard ideas, tried to read and analysis the poems of Mehdi Akhavan Sales, to reach the fire and related concepts in images and poetic interpretations.