LITERARY TEXT RESEARCH (PERSIAN LANGUAGE AND LITERATURE)
Year:2019 | Volume:23 | Issue:79 |Papers Count:8

Often, literary texts are influential, in addition of aesthetic and imaginations. One of the factors in the influence and rhetoric of the word in these texts is the multidimensional meaning of the text and its interpreting capability. In Hafez's poems, there are many couplets that are multi-dimensional and they have the capacity to interpret two or more distinct meanings. In this paper, by analyzing descriptive method, we will examine how Hafez has made his words polysemic and multi-dimensional and, finally, he made effective his speech with what tools, techniques and arrangements, and does Hafez use these measures deliberately and consciously? The results of the studies showed that some of Hafez's skills in creating the semantic capacities and fertility of text are: using of polysemic words, using of metonymy in new semantic contexts, the floating of different meanings in the general context of the word due to specific syntactic structures, suspension of meaning due to two-sided or multidimensionality of reference of the pronouns, the possibility of conversion of additional compositions, and simultaneous using of different capacities of the kind of “ ya” in Persian Language (Unity, indefinite, Infinitive). Moreover, Hafiz's frequent use of these techniques in many couplets Indicate his intention in this work and Conscious and purposeful presence of these devices in his poem.

The "other" is one of the main concerns of Bakhtin and his works. In this research, with the aim of improving the quality of works and by analyzing Bakhtin's philosophical conception of otherness, we have been looking for the presence or absence of "another" in the novels of war and we studied these works in a descriptive-analytical Method. Findings show that the novels of war from this perspective can be divided into three categories: 1. works in which "the other" is briefly and indirectly mentioned. 2 works in which "the other" has many examples among characters, but eventually, he was influenced by the author's voice and condemned by his judgment. 3. works in which "other", in addition to a diverse presence in the form of characters, has equaled the position of the author and has led the work to multiplier and has moved the work to the polyphonic. In the present article, it has been analyzed in the following three works as examples of each category: Safar be Geray-e 270 Darageh (Journey to 270 degrees), Zemestan-e 62 (winter of 1362), Safar ba Mashin-e Ghiamat (Chess with Doomsday car).

"A", "Alef", "aA" and "HAMZAH" are the first letter of the alphabet of the Persian language and Arabic, and the first letter of the words "Jommal and Abjad". The letter "alef" is used in constructing the concepts, combinations and themes of Persian literature in comparison with other letters of the Persian alphabet, and is one of the most widely used ones. By studing the literary and artistic use of the letter “ alef” in the lyrics of Khorasani style poets, it became clear that in most of the poems of this style, the letter “ alef” represents and reflects the Loneliness, the essence of God, honesty, purity, leadership, high and tall stature, Pride, slimming, weakness, endurance, rebellion, smoothie, silence, bilingual, poverty, begging, lack, nakedness, happiness, the first creation, being small and etc. Also, in the simile, the thorns, the crescent of the new moon, the cane, the pen, the finger, the cedar, the narrow waist and. . . have been made to the alef. According to the poetic evidence presented in this study, we can say that in the style of Khorasani, like other literary styles, the poets, having regard to the form, mode, and property of the letters, especially the letter alef, have created themes and by creating compounds, phrases, expressions and images, they have benefited from the form, mode, and features of the letter alef. According to the findings of this research, Anvari more than the other poets with his own style in Khorasani style, was more interested in Imagination, creating beautiful themes, literary and artistic combinations derived from the form and the mode alef. Pictures and themes based on the letter alef in Anvari's poems are the best and most beautiful artistic themes in this style. After Anvari, Naser Khosrow is also a very active poet in the field. Although the subtlety and elegance of Compositions and pictures of Naser Khosrow in his works is not like Anvari, but they have a lot of literary and artistic value. Poets such as Suzani Samarghandi, Amir Mo'ezzi, Qatran Tabrizi, Mansour Hallaj and. . . who are mentioned in the text with poetic evidence, have paid attention to create images, artistic and literary themes and combinations, though they are very few.

This research has been written in the review and critique of Shafiei Kadkani's views on mysticism and its language. In this view, mysticism is an artistic look to religion, and its language is poetry, and according to I. A Richards's classification, the literary critic, it is an emotional language, and it is a language without logic truth and false, and in contrast to the referential language, versus reference language, are considered to be a valid and empirical science and in other words, it can be acknowledged and denied, as in the experimental sciences. According to a study carried out in this study, which analyzes the content of Masnavi's verses and Rumi's way of expressing of the main elements of Islamic mysticism, Sufism cannot be explained except in the context of epistemology. In Rumi's view, Sufism has a look and an epistemic nature that its criterion, unlike the artistic look, is truth, not beauty, and the language of its propositions is epistemic and sometimes epistemic emotional and the criterion of truth in these, It is not an intrinsic and "honest artistic" type, but it is of an external and logical kind. In addition, Sufism, unlike art, which is tied to language due to communication, is not affiliated with language. Therefore, the mystic eventually prefers silence.

In this paper, we first discuss the definition of thought from the perspective of the old scholars of the science of logic, wisdom and mysticism. Then, from Masnavi's verses and Fih Ma Fih, we refer to the definition of thought from the point of view of Rumi. Today, theories of linguistics and the relationship between language and thought are based on the principles of Rumi's ideas in this field and its various topics are categorized and described; topics like: The definition of man in relation to the power of speech, Thinking in the creatures of God, the expression of thought through the speech, the division of speech into external and internal, Intrinsic language or inhibited thoughts, the reason for the lack of complete appearance of thought, empathy and being a simultaneous, Men of God and the scope of their thoughts, the language of secrets, the emergence of thought with non-language tools, ways of thought spreading, the sea and the boundaries of thought and. . . Several definitions and examples from six books of Masnavi, along with the related and contemporary sciences, have been collected and classified.

Zohuri Torshizi is one of the pioneers of the Indian style who lived in the blossoming times of this style and along with such poets as Orfi, Naziri, Taleb Amoli, Saeb Tabrizi and Bidel Dehlavi are from the great Indian style masters. His works have a lofty position in poetry and prose and has kept its value until our times, especially in India and Pakistan. "She Nasr" (Three Prose) is one of those works that is mentioned in most of the dictionaries, and is acceptable as Saghinameh, but it is anonymous and does not have a position like Shaghinameh and today few know it. The present paper reviews research on the text of "Three Prose" that it is based on five manuscripts and a copy of the lithograph and the quality of imagery has been studied in it. The purpose of this article is to determine the place and value of “ Seh Nasr” through the artistic criteria of the same period and before it. Zohuri Torshizi’ s “ Seh Nasr” has in itself all Indian style standards as one of the Hindi style masterpieces which was accepted by the poets and literati of that period and besides, it has beautiful styles of speech used especially in Sa'di Golestan. These coordinates reveal the need for a wider examination of Hindu style works, in addition to determining the value of "She Nasr".

Defamiliarization is one of the most fundamental concepts in the theory of Russian formalists whose purpose is to examine the aspects of language that lead to literary creation. Literary techniques literary techniques are repeated due to their abundant use and lose the ability to make strangeness. In a broad definition, defamiliarization is all the techniques and techniques are which writer or poet employs them to make the world alien to the eyes of the audience. By making changes to the old and repetitive techniques, artists make the form and language more prominent and the emergence of literary language. The poet changes the reader's ordinary receptions with defamiliarization, which is also called "literary technique". this article, titled "Defamiliarization and foregrounding in the works of Mehdi Akhavan Saleh", attempts to analyze the poems of this capable poet of Persian literature from various aspects of language, expression, aesthetics and "defamiliarization", which is the main purpose of this research, drawing on formalist views on recognition and highlighting, relying on the formalist views on defamiliarization” and “ Forgranding” . The investigations in this article show that Akhavan Sales has benefited from defamiliarization method Very much and thus, he has foregrounded his poetic language.

The treatise of Bahr Al-Haghighah Ahmad Ghazali is one of the Mystical "deconstructed texts" whose content is based on "Revelation in Awakening" in seven distinct sections. In this thesis, Ghazzali has attributed his mystical experiences to a special "special special" audience in different stages of his revelation and on each of the seven occasions; he has been expressing the necessities of different degrees of revelation, and representing and describing the mystical status of the seeker in this path. This research attempts to study the way of representing each of the mystical situations in the revelatory discourse of this treatise, relying on Ideational Metafunction in Halliday's systemic functional Grammar. According to the diversity and difference between the mystical states of the seeker and the effect of the discovery in each of the seven occasions, one of the types of language processes has been overcome. The most prominent of the attributed state to God is "intuitive love" which expresses the tension and the two-way relationship in different aspects of the apocalypse, but the mystical modes have changed in each occasion due to his spiritual talent. Hence, in describing and representing the mystical states of this partner, a certain stream of linguistic processes has been formed, each of which has been used to describe and represent states such as "amazement and perplexity", "drunkenness", "silence", "fading", and finally, "his arrival to the stage of revelation. The significant frequency of the material processes of the "to go (Raftan)", Relational processes of the infectious "to be (Gashtan)", and the mental processes of the "to see (Didan)" and the course of their evolution and the evolution of them. It is an indication of the emphasis on "the necessity of mystic effort, his spiritual transformation and preference for observation on other discovery levels "in this discourse.