JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2020 | Volume:13 | Issue:9 (55)|Papers Count:13

in this article, with a view to the feminist approach, we have studied and compared the theories of four contemporary men and women. in this default approach, we have found the difference in fiction and narrative style of male and female writers. the results of this study show that the main themes in men " s works are politics, society and economics, while the theme of the story is the theme of women. in this regard, in the case of women, we have seen patterns and patterns that are not in the works of men; such as the type of woman 's look and difference in characterization of woman among the two categories, expression of female experiences, betrayal, betrayal, gender stereotypes, rape, violence against women and … . needless to say, the story of men 's narration of women is different from women.

The literary origin of the modern-day style is geographically ascribed to the West (Europe), which reached the East at considerable intervals. Although there has been a history of ancient oral and sometimes written legends and anecdotes in all Eastern countries, there is a fundamental difference between these types of narratives with short stories and novels. Translating the works of Western storytellers provided an introduction to the literary genre of fiction for the eastern regions, and consequently for Iranian writers, and especially for western Iran, a look at the structure and content of Western Iranian writers' stories suggests this influence. The present study, while investigating the effects of the fictional index of these areas, has analyzed how the storytelling began and the structural and content development of storytelling in western Iran. Studies show that the stories of the writers of these areas, in simple realistic narrative (social realism), narrate the lives of people suffering from poverty, ignorance, day-to-day living, and the bottlenecks of living. In terms of fictional elements, the subject of stories, climate, narrative style, and personality type are the most prominent structural indicators of Western Iranian writers' stories. The subject of their stories mainly focuses on issues and realities in western Iran (Pahlavi era) such as poverty, unemployment, local oppression, violence against women, most of them narrative and narrative, in the form of subordinate personalities of color. And the smell of climate is expressed.

From long time ago, woman’ s being concepts and components always was known in the process of interacting with mens, but due to social structure developments and evolution in different fields. The opportunity of women’ s strong presence in Iran’ s contem porary literature had been created. Although women by entering to the world of novels were able to display their social individuality which is seemed to be their intellectual views ina believable way. Forming woman’ s and men’ s different language behavior is the result of their different use of language charts. Feminie writhing which is in gender linguistic field contains all dimensions of writing which is in gender linguistic field contains all dimensions of language like voice, world, morphology and syntatic system. Flence in this article, the effect of female gender variable on coversations and how this variable provides manifestation of different gender patterns and distinctive linguishtic species will be discussed. Since the characterization of a woman is a determining factor in her type of speech and language and this is the result of the author’ s attitude and society’ s view of her, there fore in this research attemped to analyze the woman’ s discourse review with a sociological approach by studying four novels. Surashun, I turn off the lights, her eyes and missing soluch. Also an inconsistent speech which reflecting closes world view and different layers of society’ s woman will be studied, infact the purpose is reviewing linguistic behaviors of characters not their social rols. Findings of current research suggest that components like attention to details while describing, avoiding bawdiness and taboo words, more accurate applying of color words, using polite forms of speech, internal conversations, uncertainty of speech and bounding to speech grammer in women language is higher than men. According to women’ s and men’ s language criteria and stylistic features in these novels, gender strucking language in women written novels has become more manifested than men writhe novels.

Naziri Neyshabouri is the greatest lyricist in the Gorkani Mogolan period and one of the most famous poets in the tenth and eleventh centuries AH. But it has not been taken into consideration as befits this great poet. The present study investigated the techniques of using kinds of simile, their frequency and Neyshabouri's attitude to different kinds of simile in analytical-descriptive manner, in terms of eight forms of simile, content, elements, compound and singular, both parties of simile (sensational and intellectual) and theme in Naziri's odes and lyric poems. Statistical and scientific analysis of each of the similes will be presented to elaborate the aesthetic criteria of Naziri's poetry.

Emad Khorasani is one of the anonymous contemporary poets who, unfortunately, has not been properly researched. Half of his poems are lyric poems that appear in the first volume of his divan. In Ghazalsarai, he is a follower of the poets of Ghazalsara in the past, especially Saadi and Hafez. His lyric poems are romantic and use less philosophical and social themes. But in the second volume of the Divan (other formats) he has turned to social and critical themes. In this library-style article, the stylistic features of his poems are examined at three levels: intellectual, linguistic, and literary. The results of the research show that throughout his poems, especially his lyric poems, happy weights, along with sad and heavy weights, are quite effective in creating suitable lyrical spaces. Emad's language is simple, fluent and understandable in his poems and is far from artificial and complex. The use of words in the ancient sense and the use of old verbs, especially in his lyric poems, is remarkable. In other formats (Vol. II) he has used slang and modern words. Emad uses some syntactic features of Khorasani style with high frequency, such as: displacement of sentence elements, pronoun mutation, etc. In terms of literary features, metaphor and metaphor have many frequencies in his poems. The metaphors of his poems are generally stereotyped and close, and the current allusions and ima are more frequent than other allusions. Insinuation and ambiguity are also more common among innovative industries than other innovative industries.

Repeatable poetic themes and contents, evolution and recreation, and some of them have been repeated in various poets’ works; so that the audience is familiar with poetry, by reading various poets or poetic verses and images of a particular poet, leads to another poets’ poem and find some common features among them. The purpose of this paper is to study the repetition in poem and the study of the reasons of repetition themes and ideas in Saadi's sonnets which has been paid to this issue by analytical-descriptive approach. The results has showed that The reasons of repetition of theme and thoughts in Saadi’ s sonnets are different; such as iterations from the general style of the period, the same emotional states, encouraging a special emphasis on thinking, associated with this content because of the rhyme and the same row, according to network poet proportions acceptance of poets and multiple use of a source. he with creativities in recreation and changing the themes, prevented the dust and boredom of repeated old issues and on the other hand the integrity and continuity and emotionality has been shown in his sonnets.

Manuscripts are valuable treasures of any nation, which reflect the culture and civilization of a nation. In the present study, the stylistic features of the "Writing a translation Doro Al-nasir fi Al-nasihate va Altahzir", the work of Dabir Alam, one of the authors of the Qajar period, have been analyzed and evaluated, which is one of Fable's educational works; So far no research has been done in this regard. The purpose of this study is to examine this manuscript in terms of calligraphy and stylistics. This research, which is based on documentary-descriptive and based on library studies, seeks to answer the question, what are the most obvious stylistic features of this work? The findings of the present study prove that due to the mastery of Alam in Arabic and Turkish in the above version, the influence of these two languages can be understood. Also, the characteristics of Qajar prose style, which is the return to the style of old books, are evident in this version. Dabira Alam has commented on works such as Masnavi, Golestan, Kelileh and Demneh, etc.

Allegory, which has found a special place in educational and mystical literature by applying mental concepts, can also be studied from a stylistic point of view as one of the poetic industries at the literary level. Tangible examples are a quick and convenient way to understand moral teachings and mystical ideas. Among the Persian mystics, Maulana has taken the lead in mystical allegories. In the Masnavi Manavi, Fih Ma Fih, Majales Sabe and Makatib of thought have adorned themselves with the adornment of allegory in order to bring the deep mystical concepts closer to the minds of the audience and mystics. In the present study, using the library method, analytical-descriptive methods with the help of exemplary evidence and finally presenting the table to examine the concepts and structure of mystical allegories, two books "Fih Ma Fih" and "Majales Sabe" have been discussed. It is also answered in the question, "In the allegories of these two books, what is the connection between the elements of the allegory, that is, what is the example with the parable? " The semantic domains of allegory are located at three levels: theology, anthropology, and ontology. Anthropology has the highest frequency, and the subject of mysticism and knowledge includes the highest frequency.

Shahrashobs is one of the most important works in the social history and identification of elements of Iranian folk culture. These works are often poised to introduce jobs in society and can well depict the social and cultural conditions of their time and provide useful information on the sociology and history and elements of folk culture of a city or region. The poem is investigated in this research and its composer, according to the evidence, appurtenant to brilliant epoch of composing Shahrashob(a poem describing the occupations and mé tiers, or describing goodness and abominations in a town), in Persian literature, and contemporary with the king of Safavi sultan solomon (the rule of 1695 to 1727 AD). This opus in comparison to manuscript and typographic opus in the history of Persian literature, with the abundant disparity, is supreme and best Shahrashob (both in terms of the number of distiches, (both in terms of workmanship and artistic-literary, and inclusion social punctilios and minutes of the literary type itself). . There is only one copy of this opus at the Library of Tehran University numbered 4344. This research introduces the opus and its composer, as well as analyzes some of its literary and intellectual properties. It should be noted that the manuscript is emended by the authors of this article and is circulation.

The ode is known as one of the oldest forms of poetry that poets have used it as a field for expressing their feelings since the birth time of the Persian Poetry, and they have written many of their Panegyrics and illustrations in this format. The glorious period of the flourishing of Persian Idyll came to an end in the sixth century, and then from the beginning of the seventh century onward it declined gradually and deviated from its originality and main structure. However, it was revived together with its original structure within the Constitutionalism era. In the contemporary period, many poets have written poems in this format. This research focused on Mazaher Mosaffa (the manifestations of the Purity) as a main figure in this field due to the use of this form and style of poetry with his own venture to break the tradition. The Mazaher Musaffa continues many traditions of Persian poetry. But he would not follow the classical traditions in the Idyll. Although some of his poetic Odes have proven to be as strong, solid and mature as those written by the ancient elders, the modernity of the time mostly dominates his works. His question is what is the structure and characteristics of his odes and poems that distinguish his works from contemporary and ancient poets? . This article aims at providing the best model and context to get acquainted with the structure and content of Mosaffa's poems; we applied the statistical methods in research and conducted the analysis. For this purpose, his poems were examined in three levels: linguistic, literary and intellectual, along with the frequency of using arrays (verbal or spiritual). Finally, New and ancient phenomena were examined within his works.

The use of figures of speech is the distinctive characteristic of the poetic expression as it reveals and fabricates the aesthetic vision of the artist and creates a sense of wonder in the reader through defamiliarization. The study of the figures of speech enables the readers to get familiar with the artistic vision of life as depicted in a poet’ s works. It is through the use of figures of speech that a poet creates a unique vision and image of life in his/her poetry; this poetic recreation of the world sets a poet apart from mere versifiers. The present study focuses on the use and the structure of similes in Zolalili Khonsari’ s Odes to bring this unique feature of his poetry into spotlight. It must be mentioned here that the use of similes as a major topic of prosody fabricates the idiosyncratic features of a poet’ s style.

Dual contrasts are one of the approaches of poets and writers to express their thoughts and thoughts. In this approach, based on the theory of dual contrasts, to understand the thoughts, ideas, and ideologies of poets and writers that lie in these dichotomies, they must be brought together and then understood by considering their differences and similarities. Molavi's Masnavi is one of the literary works in which many metaphysical and supernatural ideas have been exploited by the use of dual opposites. In this descriptiveanalytical approach, this study has explored Molavi's Masnavi based on the theory of dual conflicts. The findings of the study indicate that Rumi, by raising the contradictions and dichotomies in Mathnavi, explicitly attempts to make semantic connections or confrontations with them by confronting them. He encounters reason and love, the world and the hereafter, body and soul, form and meaning, old and seeker. . . His mystical system of thought builds on dual contradictions and shows that these teachings go beyond sensory and material thoughts.

The subject of the present study is the study and comparison of common themes in the Tohfatol Al-Gharib of Tabari and the Ajayeb nameh of Hamedani. The technique of writing and researching wonders of the world has been considered by interested writers in different eras. Most researchers have categorized books and writings on the subject of exotica in the category of geographical books, but it should be noted that the scope of the contents of these books exceeds the geographical limits and the examples mentioned in them as an encyclopedia of The various sciences-albeit sometimes with the imagination and exaggeration-can be examined. The two works studied in this study were written about half a century apart, and due to the antiquity of the book of Tohfatol Al-Gharib, some of the contents of this book can be seen in the wonders of Hamedani's letter. The main question of the research: To what extent has Hamedani used the themes of the Tohfatol Al-Gharib in his work and what are the differences between the common themes of the two books? The possible answer to this question is that Hamedani has taken about half of the themes of the book Tohfatol Al-Gharib in the field of writing miracles from chapters twenty-one to twenty-six of this book. The differences between these themes are very small and are mainly related to the location of those phenomena or the name of the amazing phenomena.