JOURNAL OF LINGUISTIC AND RHETORICAL STUDIES
Year:2020 | Volume:10 | Issue:20|Papers Count:20

Conceptual blending theory was introduced to explain human creative ability in linking elements in different domains and to find a shared schema structure between them by Fauconnier and Turner (2000). This article tries to evaluate the adequacy of this theory in cognitive semantics in the field of advertising by examining samples of radio and television advertising teasers. For this purpose, 50 radio teasers and 50 television teasers were considered as samples of the use of innovative language, the conceptual combinations used are extracted and their conceptual blending networks are drawn. The results of the research show that the attention of the creators of advertisements emerging and emergent meaning as an aspect of creativity and its use as a means of attracting and encouraging the audience in these teasers is significant. The use of the blending in radio teasers is more than twice the size of the television teasers. The presence of the image in the television shows seems to take up a lot of meaning transfer and the linguistic language has a little chance of emergence in comparison to the visual text. It was also found that, among the types of blending, the application of the single-scope conceptual blending in the propaganda of both media is more common. There are a few mirror and double-scope blending, and none of the teasers surveyed included a simple blending. Considering the common use of metaphor in the language, believing in a metaphorical intellectual system and familiarity of the audience with this category, one can justify the more frequent single-scope blending.

This study aims to identify the styles of satirical language in proverbs of Sistan. Sistani dialect is related to the people who live in northeast of Sistan and Baluchestan province. Sistan with thousands of years antiquity is a land of ancient language, culture and customs. There are lots of proverbs in this dialect which prove this matter. Collection of data is done by library method and interview with several informants. Descriptive-analytical methodology is used in this research. Among around seven hundred collected proverbs only the ones with satirical language aspects were analyzed. By analyzing the contrast and difference between discourse and situation in the proverbs of this study, around seventeen satirical components from hyperbole, inner conflict, comparing congruous matters, oxymoron, irony of situation, hyperbolic compliment were identified. The results of this study showed that the common speech in most proverbs and local adages of Sistani people is satirical, ironic and sarcastic language which is resided pleasantly in the most summarized speech.

Rhythm, in Molana's great poetical sonnets, is one of the outstanding stylistic points in Molana's rhetoric and musical poems. His affinity with music and Samaa and his mystical appreciation of human internal Samaa as well as that in universe, resulted in such a variety in meters. The present text which is on meter and versification variety and its beauty and appropriateness with Molana's circumstances in Shams' sonnets, has been taken from Dr. Mazaher Mosaffa's lecture on Molana Commemoration in central library of Tehran University in 25 Dec. 1973. The lecture, along with 7 tables of sonnets' meters, was previously published in Rahnamaye Ketab (1975, Vols. 7-9) which truly witnesses his poetic dexterity on Farsi and Arabic versifications. To commemorate the most eminent prose and sonnet poet of our time, and with Dr. Amirbano Karimi Firouzkohi (Mosafa)'s attempt, a part of that valuable lecture is granted to be published here with no change.

Since the expression of mystical experiences in the form of a limited and inefficient material language is a very difficult and challenging task, the mystics have used the artistic capacities of the language as a parable to explain and understand their mystical thoughts and experiences and to persuade the audience. Ein al-Qodat Hamedani is one of the mystics who has found this linguistic sense in his works. But it is worth noting that sometimes the judge makes a certain statement of the allegory that, in addition to the apparent level of the word, we are faced with a paradoxical and contradictory structure at the spiritual level. This form of allegorical expression, which brings to mind the structures of Pseudo-disbelief in the language, can be called "Shathi allegories". In this brief, it is intended that this approach and application of allegory in the works of Ein-al-Qozat Hamedani be examined and based on the cluster of images and motifs derived from the particular mystic worldview. Since the frequency of the allegory in the letters and arrangements is more than other works of Ein al-Khedat Hamedani, the two works have been constructed in this study.

Metaphor in the West countries is an issue that has been examined from a variety of perspectives. In the Islamic rhetorical tradition, metaphor has a more limited realm for its definition and application. All the metaphor theorists, both in the West and in Islamic rhetoric, believe that metaphor, in addition to the literal meaning, has a secondary and figurative meaning, but there are two opposite views. Donald Davidson and Mohammad Reza Isfahani do not accept this basis. In their views, metaphor, in addition to the literal meaning, has no other meaning, and the issue of metaphors relates to their application and is related to the effect that makes this application in a particular context. Many articles and treatises have been written about Davidson's theory, while the theory of Sheikh Isfahani remains unknown even among the Iranian rhetoricians. This article deals with the similarities of Davidson's theory and Isfahani's view.

Mazaher Mossafa’ s poems or continuant couplets which are collected in ‘ The Proceedings’ (Noskhe-ye Eghdam) are noteworthy from different perspectives: the interaction between the poetic side and narrative aspect; the romantic color; story-telling and the transition of memories, especially childhood ones; parading personal experiences and describing the details; climatic coloring and the reflection of the folklore, passing through the most personal agonies to national distress or even the historical injuries of Iran; the role of association in altering atmospheres; weird conversations, from addressing a mountain to addressing a mirror and even to addressing his two year old brother passed away before the birth of the poet but granted his name and memory and birth certificate to him. This piece of writing is an endeavor to pinpoint these perspectives, though in short, emphasizing the prominent cases, particularly focusing on the status of this distinct collection in order to recognize the unnoticed facets of the poet.

The contradiction is one of the techniques of art defamiliarization that highlights the context. This literary style is a basic feature in some fictional works. Story writers have been able to disassociate the distinction between fictional and real worlds and create a kind of uncertainty in the story. Conscious usage of this feature removes achieved results, thus makes reader surprised and doubtful. To reflect human situation in order to influence more on audience, the writer choosing contradiction method and reader, being involved, tries to identify and understand such contradictions. In order to create contradiction in “ Hezaro-yekshabeno” and “ Paribad” , Oloomi take advantageous of semantic contradiction. He uses paradoxical characterization, interference between real and fictional world, the intersection of genres, and repetition-based implication to show semantic contradiction in two mentioned stories. In this research, we aim to examine the types of semantic contradictions as a stylistic element in these stories by a descriptive-analytical method.

The main topic of this paper is prove that Sa'adi is a prosodic poet. In this article, Saadi's poems are examined from two perspectives on the number of meters and creativity in utilization of meters. The author first proposed two criteria and then introduced the prosodic poets throughout the history of Persian poetry. The main part of this paper has two parts: First, after examining Saadi's poetry and Golestan's poems by using printed text and manuscripts, all the meters of Saadi's poems are shown in a table (41 meters: 13 in Arabic poems and 30 in Persian poems, by lowering 2 common meters). The second part of this article shows Saadi's creativity in Golestan poetry. Too much meters and make new meters by changing the meters of Arabic poetry ("Iranicized meter") and his "musical eloquence" in Golestan's poems, are the reasons to prove that Sa'adi is a prosodic poet. In this paper, the errors of previous researchers have been criticized.

This article aims at revealing the suggestive eloquence of silence and indicating some effective factors which influence on it. Hence, it is discussed how deliberate silence might enact implicitly in the verbal interaction within a text. The retrospect thought of rhetorician, poet, and author seems to be a significant factor in leading the degree of that eloquence of silence. This research focuses on the most crucial factors in controlling and leading this silence in the corpus of Persian literary texts; which the most important are the context and the audience. The samples are selected from the authentic literary texts, both verse and prose, to include all possible eloquences of silence in various contexts. The results affirm that the absence of retrospect verbal interaction or the eloquence of silence is widely implicit in the texts and functions as an efficient act while affecting the audience or reader more than other figures of speech.

Some researchers consider the couplet poem to be different in terms of musical aspects. One of these differences is the less usage of identical ending syllable in couplet poem. This article will examine the identical ending syllable in couplet poem. Factors such as literary types, different periods of Persian poetry, description or narration may affect the amount of using this element. For this reason, this element has been investigated in the mystical literary genre (Hadiqat al-Hagiqah, Rahiq al-taghigh, Makhzan al-Asrar) and lyric genre (Varaqe and Golshah, Weiss and Ramin, Leilly and Majnoun) and emphasizing the thousand verses of each of them. The research shows the use of identical ending syllable in couplet poem has increased, over time. In addition, there is no significant difference between narrative and non-narrative poems in the use of identical ending syllable, but the distribution of identical ending syllable is not the same in different parts of couplet poem. In different literary genres, use of the identical ending syllable is different. In the lyric poems, Poets used less than mystical poem.

Khaje Yousuf-e Hamedani is a relatively unknown mystic intellectual in the fifth and sixth centuries and his only remaining book is Rotbat Al Hayat. Khaje Yousuf set the book based on questions and answers. In this book, he answers the questions in a hypothetical audience, in simple language, according to the mystical teachings. The text of book is very close to poetry. Undoubtedly, in addition to the element of emotion, in which it is clearly recognizable, its characteristic feature is the music of the word. The author spoke in the book in "The Secret Language. " In this interpretation, in addition to paying attention to the mystical delicacy, he also mentions the elegance and beauty of the Persian language and eloquence and rhetoric. In addition to the verbal and spiritual terms, there are some extrinsic factors (the use of non-adjectives, extra combinations, synonyms, total infinitesimals, infinitive, continuity trivial verbs with "simple mania +", prepositions, adjectives, "A" and "and" and "+" but ") and syntactic factors (simple language context, short sentences, vocabulary position, deletion, repetition, queries and turning points) have created a specific song in the prose of the book. In this paper, the linguistic coordinates of this book (with an emphasis on musical elements) have been introduced on the basis of the speech act and discourse analysis.

This study analyzes one of Hafez’ s lyrics, with the approach of cognitive poetics, based on the ideas of Margaret Freeman (2002), Fauconnier (2002) and Turner (2005). The theory of cognitive poetics refers to the language of literary texts, the general structure of the work, and the arrangement of linguistic units, which is based on deductive reasoning. The above theory examines literary work in three levels of attribute, relational, and system mapping. The research question is “ whether with the approach of cognitive poetry we can achieve a result of the systematic structure of the general Hafez ghazal or not? And is there any different reading from this ghazal with this approach? The present study, by studying the conceptual spaces in their poetry and their function for constructing a coherent whole based on the theory of cognitive poetry, has come to understand the world of the text of the sonnets discussed and outlines patterns used by the author to present his intellectual world. And the system of the structure of the ghazal under discussion a coherent military, in which the freedom and the turning of love or drunkenness are clearly seen, that reveals itself to the inflexibility and limitations of the wisdom.

The purpose of the present study is to analyze the content of the 10th grade English textbook based on educational goals and to compare it with the similar basic English textbook in Germany. The study is an applied one and its research method is descriptive and content analysis. The results show that 10th grade English books in Iran are mostly based on learning through the analysis of language components such as grammar, vocabulary, and reading skills, and the authors of the book have paid less attention to practical aspects such as conversation and practice. By analytical comparison of the Iranian book with the German book it was found that the culture of the target language should be addressed, texts and exercises should be more varied, and more attention should be paid to economize on the of paper. The findings of this study can assist policy makers as well as material developers in providing appropriate content in language teaching textbooks.

Coherence theory of Holiday is used for determining cohesive clause and the degree of coherence of a text by semantic relationships among sentences and different parts of that text. But one of the functions of the theory is determining intertextual relationships among different texts. Indeed, the main issue is determining cohesive clause among sentences in different texts such as sentences of a text for achieving results and valuable information about the relationship among texts by analyzing the percentages of cohesion factors. Halliday hasn't pointed to this function of the theory and also there is not any research about that, too. In this article after insetting the theory of cohesion, four versions of dropping Abuhamze in well in four works: Tabaqat e sufi, translated treatise of Qshyryh, kashf al mahjub, Tazkara tul aulia analyzed and the degree of cohesive relation of these works determinated by determining cohesive clause among works. In end, degree of narrator withdrawal and using of previous works and how to use and apply works, are determinated to achieve the rate of using and withdrawing a narrator from the narratives preceding him and the manner in which these narratives are used by him, and another valuable information about the relation among these texts. The results of determining the percentage of total cohesion factors among these four narrations show that the translated treatise of Qshyryh with Tabaqat e sufi has the highest percentage of coherence; kashf al mahjub is more coherent with the translated treatise of Qshyryh rather than with Tabaqat e sufi and Tazkara tul aulia is the most coherent with the translated treatise of Qshyryh and it has the same coincidence with Tabaqat e sufi and kashf al mahjub. By comparing these results as well as determining the percentage of coherence factors among these narratives, according to the type of cohesion, gives us other valuable results that are referred to in this research.

Rashid Vatvat is among the famous poets and writers of the sixth century and his Persian letters is one of the most brilliant examples of prose texts in the prose literature of his period. It is so prominent that in recognition of the individual style of writing, this period is so important. In this work he has provided a perfect structure with the use of bizarre word, similes, harmony and the harmony of form, content, and the order of the words. So he examines the style of his letters in the recognition of his intellectual, personality and artistic dimensions. On the other hand the study of different styles of authors and ports in the form of layered analysis is a new method that has developed the discussions of style more precise and more scientific. Therefore the purpose of this paper is to analyze and investigate the phonic, vocabulary, and syntactic layers of his Persian letters in an analytical descriptive way. In order to show the macro layers by dividing the layers into the layers of decomposition and analysis the use of text based music using abstract vocabulary, blazonry and highlighting of the words is the creative use of language elements (simile, metaphor, metonym), axial morality, visualization and conception in Persian letters as the main feature of the author's style.

A negative outcome of modernism or relying on modernist epistemology is to suppose material nature as a dead body. Modern human, while struggling to benefit and survive, not only fights with fellow human beings, but also ruins nature as is one of his obstacles. Among attempts of scholars in different domains, to concern such an epistemic crisis about nature, a review on the thoughts of mystic poets and artists can be beneficial culturally and cognitively. This research, using a descriptive-analytic method and relied on hermeneutic approach which tries to have a review on the intellectual system of Naeem Farasheri, the great Albanian Persian poet. The research, studies his thought about the beliefs of cosmic sense, and imagining the universe as an alive creature, to represent basic discourse propositions of his world-view and poetic style. The results of the research show that Naeem Farasheri, inspired by epistemological principles of Iranian-Islamic Mysticism and Sufism, and benefiting from intellectual and artistic system of Iranian great poets, such as Rumi and Attar, who uses conceptual metaphors like, “ nature is human, and human is nature” and frequently addresses the universe as an alive creature.

This study investigates the rhythm in Persian poetry based on what Persian native speakers read and perceive, not based on current postulated metrical rules. The study has been done from the perspective of rhythm and linguistics (by parsing the stressed syllables). It is hypothesized that there is a difference between current postulated metrical rules of Persian poetry and the way it is read naturally by Persian native speakers. Fifty verses with different metrics from the 3rd to 15th century's poets were chosen based on their frequency of use in Persian poetry. Then they were given to 20 people who could read poetry correctly and they were recorded. Other than briefing and providing a sample, they were asked to tap on the tables rhythmically like what they do in clapping. Around 900 audio files were analyzed and the place of stress in syllables were determined. Some patterns were found through the analysis. Then the major patterns were picked based on their frequency. Based on the prominent pattern, the suggested parsing were proposed. It was indicated that Persian speakers perceive the alteration in verse initial metrics in addition to the alteration in verse final metrics. They do rhythmic parsing differently from the traditional postulated metrics. They keep reading different rhymes in iterative patterns. Therefore, it has been suggested that verses can be parsed based on the number of the short syllables, but not the number of syllables as hypothesized in traditional Persian metrics.