Pazhuhish-i Zaban va Adabiyyat-i Farsi
Year:2017 | Volume:- | Issue:45 |Papers Count:7

One of the controversial issues related to metaphor is implicit metaphor. There is no evidence of this metaphor in the first rhetorical works. Later, Jurjani discussed this type of metaphor but didn’t give a name to it. Since this term was coined, there were argues whether it is right or not. Some did not accept it as a metaphor; some recognized it as a kind of implicit simile, and some just repeated other’s views. Some researchers tried to solve the issue by considering it a kind of personification. However, they have finally admitted that the implicit metaphor is broader and more inclusive than personification. In addition to studying and reviewing this term chronologically in rhetorical works, in this paper, it is shown that rhetoricians were more interested in lexical aspects of this term rather than the definition of metaphor and focus on the implicit metaphor from a terminological aspect. While based on the definition of Sakkaki and some other rhetoricians, this structure is considered "metaphor", terms such as being “imaginative” can not be accepted. Personification, submerged metaphor, and animism must be recognized as branches of the implicit metaphor, not as alternatives for it.

Muslim Mutakallimun can be considered pioneer linguists in the east due to their attention to language. Since they were focused on studying different aspects of the linguistic I’jaz of holy Qoran and because of their contemplation in the themes related to the word of God like Hoduth and Qidam, they have discussed studied delicate linguistic topics like descriptions, functions, semasiology and hermeneutics. Abu Yaqube Sejestani is an Iranian Muslim Mutakallim in 4th century (Hijri). He paid serious attention to mind and language as a system in "Kashf ol Mahjoob", and introduced a communication theory based on the “system of speech and language” including three dimensions named "Qasd", "Tab’? " and "Orf".Sejestani believes these elements are meaningful and significant when they are all together, therefore any deficit in these elements, omission or ignoring even one element will result in a disconnection between speech and the speaker, and therefore, breaking the speech chain and failure in communication. The advantage of his theory of communication is that he addressed hermeneutics, especially in holy texts. By introducing and analyzing “Sejestani’s system of mind and language, and communication theory” in this paper a clear description of his priceless ideas is presented.

Title is one of the most important keywords in literary texts. If titles as signs and spotlights are chosen right and wisely, they can be represented in the context and structure of a literary text in two ways. Fist, regarding aesthetic aspect of the literary text which highlights the importance of selection of a good title in creating a coherent text. Second, its role in meaning perception and understanding the content of the literary work. Title can shed light on the probable ambiguities for the audience and results in better understanding. The more the title is artistic, beautiful and brief, the easier is communicating the meaning, content and features of the literary text. In the history of Persian poetry, although the poets were not unaware of the importance of “titling” they mostly didn’t choose any title for their works. A large number of verses and poetic works are known just as collection (divan) or complete work (koliyat). Moreover, in poets’ collections, instead of titles for most poems, their literary forms (ode, sonnet, ..) are mentioned. Part of this article is about the titles that most probably were given by those who prepared the manuscripts or by those who reviewed the sonnets, odes, Qate and other literary forms in collections of poems. Another part of the article studies and analyzes “title” and “titling” during the history of Persian literature in different eras from Safavid to Qajar, Pahlavi, and contemporary era.

Grotesque is a concept and attitude in art and literature to which some features are assigned such as contradiction, horrifying, marvelous, abnormal, ridiculous and some how tasteless, grudge, disgust, and so on. A theme or subject that due to being unfamiliar, and strange, or because of excessive exaggeration and amazement evokes an obscure or confusing feeling in the audience or transfer controversial concepts and feelings to the audience. The Genghis attack, the Mongol dynasty, and its consequences paved the way for the genesis of grotesque concepts and images of this era. In this research, in addition to introducing grotesque, some of its instances and evidences are studied in one of the most important historical- literary works of the Mongol era. The results show that the section on the history of Mongols and Ilkhanate in Jami' al-tawarikh includes such unreasonable, uneven narratives, and superstitious affairs about Mongols that accepting them as the history is so difficult. It seems that the author was obliged to hypocrisy, flattery and recording some extreme and unacceptable issues - which can be called grotesque.

Ahmad Hamedi Isfahani is an important poet in the ninth century (AH) who lived at the court of Sultan Mehmet for more than two decades. His poems are mostly in Persian, and some in Turkish.Despite its importance, Hamedi's collection of poems, written by him, has never been corrected and printed. According to lots of evidence in Hamedi's poems, he can be considered as one of the most important pioneers of the school "Wuqu" and romanticism. Some of the most prominent features of the Hindi style are also found frequently in his poems. Although Hamedi's poems are very interesting in terms of quality and stylistic features, they have not been noted in the books related to literature history and stylistics. This could be due to the inaccessibility of his collection of poems. In this paper, in addition to presenting a biography of Hamedi's life, it is shown that Hamedi is one of the unknown pioneers of “Wugu” School of literature in ninth century whose poems are based on special themes and ideas. The importance and necessity of revising the books about the history of literature and stylistics based on newly found literary works is also explained.

Ballad (Tasnif) is the best and most beautiful manifestation of the connection and affinity between poetry and music. Constitutional period is considered the period of the evolution and eminency of the genre of ballad which enters a new level by the work of Aref Ghazvini. Meanwhile, Malek Al-shoara Bahar along with Aref enters this field with a huge literary and methodical knowledge. In this study, in addition to introducing “ballad” as a “literary genre”, Bahar’s ballads are studied and structurally analyzed. The forms of these ballads and their main aspects including rhythm, format, and the interaction, and interrelatedness of these two categories, and other deconstructions found in them have also been analyzed. The results show that “melody” and “rhythm” play a major role in the external structure of ballad, and through full dominance on it, make the structure and form of the ballad different from the structure and accepted format of the traditional poetry, and accompanies it with “rhythm” and “musical system”. The use of several prosodic metres in one ballad, changing the speech metre in accordance with a change in rhythm, and the application of rare and unprecedented prosody, and innovative poem forms are all the results of this attitude and the dominance of rhythm and melody over the speech.