Apostrophe is an aesthetic technique which can cause defamiliarization in texts, since using thie technique we can change the repetitive structure of the text. Imam Ali, who was a masterful writer, uses this technique to impress the audience. The present paper first gives an account of apostrophe and its links to defamiliarization, and then offers examples of it in the work of Imam Ali. The results show that Imam Ali uses this technique for different purposes: admonition, attention, rewarding, generalizing, expanding the application, respecting the speaker etc.

Literary texts are the manifestation of the author’s unique perspectives and expressive techniques. One of the stylistic devices that renders discourse literary is apostrophe (eltefāt), which—based on the theoretical framework of Jonathan Culler (rather than traditional Persian literary criticism)—encompasses multiple levels that connect it to the present discursive moment. This study, conducted through a descriptive-analytical method and based on library research, examines and analyzes Majāles-e Sab‘eh by Mowlavi through the lens of apostrophe. The research findings indicate that apostrophe serves as a key to understanding the significant persuasive power of Mowlavi’s discourse in this work, contributing to the exposition and elucidation of his intellectual system. Given the didactic and sermonic nature of Majāles-e Sab‘eh, the first level of apostrophe appears most prominently, as it actively engages the listener, drawing them out of passivity and into the spiritual and dramatic atmosphere of the text. The second and third levels reflect Mowlavi’s worldview of wahdat al-wujūd (the unity of being), wherein all creatures possess consciousness and a right to life. The fourth level reveals Mowlavi’s restlessness and spiritual fervor, while the fifth level reflects deeper self-awareness and introspection.

It is clear that standing on the rhetorical glands and clarifying their secrets is one of the most important Qur'anic topics. This study deals with this semantic aspect of the Holy Qur'an in light of one of its rhetorical arts, which is called "attention". The researcher in this research is not in the process of defining what is stated in the rhetorical books, such as the definition of "attention" or its designation in the Quranic verses. Rather, it seeks to clarify what has not been mentioned in these books, any indication of this work or its reason and its communication in some of the verses. The "Attitudes and their Significance" played an important role in understanding some of the Qur'anic verses and their interpretation; however, some of the commentators did not refer to the ruling of this work and its reasonableness in their interpretations even though they were in the Arabic language. They seem to have been able to explain some verses of the Koran correctly. The researcher, through his research, realized that the revelation in the Quranic verses has rhetorical connotations such as: "remembering the right of godliness to worship and vengeance. "; "Exaggerating the positive of obedience and leaving the nerve, and describing the Prophet as an illiterate prophet to praise and increase "The majority of the divine will and its inevitable execution"; "the depiction of the intensity of fear and the monk" and other judgments and convictions. Finally, it should be noted that the approach adopted in this article is the technical approach.

The main purpose of Defamiliarization that is usually done through highlighting and breaking the norm of speech in discourse is drawing attention of the audiences to the subject.Defamiliarization disrupts the normal and the expected process of speech.One of the Defamiliarization and high lighting styles of speech is “Apostrophe” (Elefat) that has been used frequently in Nahj-al-Balaghe sermons along with other rhetorical techniques. This makes Imam Alis (AS) sermons more attractive and more effective. In these sermons, the full interaction between thought and speech produce fruitful results and supreme thoughts flow through the selected word, and effective and appropriate style.The present study tries to investigate in a descriptive- analytic way the application of Apostrophe (Eltefat) through changes in different styles including manipulation of pronouns, persons and numbers. It also attempt to prove the hypothesis that many kinds of Apostrophe (Eltefat) in Nahj-al-Balaghe have been used considering their rhetorical intentions. These Apostrophes influence different levels of speech behaviors through changes in pronouns, persons, verb tenses, syntactic structures and so on.

Apostrophe means paying attention to someone or something. It is a literary technique which has not been studied deeply despite its widespread role in foregrounding the literary language, norm-breaking and creating a sense of defamiliarization in the audience. Its meaning is limited to the "transferring the speaker from the absence to the audience and vice versa". In rhetorical texts apostrophe is attributed to the three areas of semantics, eloquence and rhetoric. Such triple attribution is due to two factors: the mixing of rhetoric areas in previous periods and the extension of apostrophe's meaning in rhetorical books. But it seems that a variety of notions which are raised in traditional rhetorical books should be examined in the field of semantics. The only type of apostrophe which can be analyzed in rhetoric is the one proposed in some contemporary books as the result of semantic extension and is used in the vertical axis of poem. Therefore, regarding semantic extension, we consider apostrophe as any change in semantic structure, narrative, texture, etc which occurs without any background and surprises the reader. The presence of different types of apostrophe in various branches of rhetoric and literature lead to the creation of many names for this literary technique. This technique was not called apostrophe in the first period of the Arab rhetoric which coincided with the rise of Islam in Ibn Motaz period. It was always called “metonymy”. Then Asmaee used apostrophe in its technical sense in the second century (A.H) and Ibn Motaz presented it in Albadi. Gradually and in later periods rhetoricians such as Qodame Ibn Jafar, Ibn Rashigh Ghiravani, Abu Halal Asgari etc. gave other names to this technique such as inflection and dissuasion, completion, objection, Estetrad, Talvin, Shojaol Arabiyat and so on. Apostrophe has the same meaning in Persian rhetorical books. The first rhetorical book is Tarjomanol Balaghat written by Radviyni which is an imitation of Mahasenol Kalam by Marghinani. After that other rhetorical books were written to imitate it. Fortunately, contemporaries present apostrophe in their books such as The Art of eloquence by Mohammad Rastgoo and the works of Poor Namdariyan such as Journey in the Mist, Missing at the Beach and It the Shadow of the Sun.Types of apostrophe are not directly presented in rhetorical books. In the following section, some definitions of apostrophe are presented. We study each of them in terms of new meanings and add a number of new types.1. Change of register in language: change of context and structure of a literary language to a slang language and vice versa.2. Colloquial change: successive changes to address several audiences.3. Grammatical change: changing pronouns, verbs and so on4. Semantic change: it can be recognized only through semantic analysis. It includes varieties such as mentioning individual words in a speech or prayer after the speech, semantic change in poetry and hidden meanings. 5. Apostrophe5.1. Appealing technique which means that the poet asks for an invisible power.5.2. Rhythmical change: a sudden change in rhythm during the speech such as the poem of Jamshid, the sun and some of Molana's sonnets.5.3. Narrative change: (story in story mode): consecutive stories which are not related to each other such as Baha Valad's Maaref and Molana's Masnavi. Each technique has rhetorical and literary functions which are its aesthetic criteria. Zemakhshari was the first person who presented the technical and aesthetic values of apostrophe. He considered apostrophe as the criterion for consciousness of the reader which brings him joy and happiness. Other rhetoricians followed Zemakhshari and mentioned this advantage for apostrophe. Here we mention other rhetorical functions for apostrophe which are associated with linguistic concepts:1. Norm-breaking, defamiliarizing, foregrounding: apostrophe destroys the familiar and common processes of words and sentences and hence creates pleasure and surprises the reader. Thus, words become foregrounded and more pleasant and tasteful.2. Art ambiguity: apostrophe creates the sense of defamiliarization and unexpected changes and makes the text ambiguous. it makes the reader to explore and understand the ambiguity and the result would be the reader's enjoyment.3. Increasing text coherence: apostrophe in its broad sense is based on the collocation axis. Semantic cohesion and coherence can be achieved by the collocation of couplets and hemistiches. Although using apostrophe destroys the form and body of the language, it makes more motivation and tension in text and strengthens the vertical axis of the language and finally increases the coherence.

Three main elements of recipient, enunciator and utterance are involved in any enunciation. Studies performed on apostrophe by the Western scholars and Iranians show that how this rhetorical device targets the reciepient while Arab rhetoricians discuss that apostrophe affects both the enunciator and the utterance. The Holy Quran is the most important text in Arabic, and Arab rhetoricians refer to Quranic verses as the main evidence of their theory on apostrophe. In this article, while studying the different types of apostrophe in Quran, we will show how it affects all three elements of enunciation.

Apostrophe is one of the literary methods and technique of which meaning is not only limited to transfer of pronoun from third person to second person and vice versa but also this technique includes any irregular change in status and vertical axis of the poem. This research intends to mention linkage between this literary technique and some features of Indian style such as equation method, theme analysis and polysemy in literature considering semantic expansion of Apostrophe. Result of the research shows that a kind of Apostrophe- semantic conversion-is consistent with the mentioned features of Indian style son that one can include equation method, iqal and Apostrophe in one group and regard Apostrophe technique as one of the factors of linkage and cohesion of apparently scattered literature of Indian lyric poem. Therefore, Apostrophe is one of the features of Indian style and increase of text cohesion is regarded as one of its eloquence functions.

In order to discover the rhetorical techniques of a text, it is necessary to consider the shortcomings of traditional rhetorical studies such as the combination of rhetoric with other sciences and with figurative language. It should also be noted that the theoretical and practical framework of Persian rhetoric is achieved through search in the literary masterpieces of this language.None of the books written on rhetoric is devoted wholly to Persian language. Regarding the basis of rhetoric −the appropriateness of speech and the conditions of the time − and reflecting upon the rhetorical mysteries of parts of Persian literary texts, issues such as integrity, apostrophe, exaggeration, dialog and tone in the domain of rhetoric are presented and it is concluded that the sources of rhetoric as a science in any language are the literary masterpieces of that language.

Apostrophe is a figure of speech by which the poet breaks away from the common form of enunciation. It has also a very effective role in awakening and absorbing the audience. In many Arabic and Persian books on rhetoric, apostrophe is referred to as a “change of view”. There are a few types of apostrophe each of which can be studied in two areas of rhetoric (badi’ & ma’ani) and grammar. Considering the wide implications of the concept, this article has tried to suggest a new definition and to come up with a clear distinction of various forms of apostrophe. Making much of the advantages of the traditional books on rhetoric, the present study also aims to point to new aspects of the concept such as defamiliarization, deviation, text coherence, artistic ambiguity…. The article has shown that the traditional badi’ with its outdated approach can no longer address the needs of contemporary literature. Therefore, a comprehensive critical analysis of badi’ figures including the apostrophe seems to be inevitable.

Althouhg writers and poets know the art of apostrophe and its examples in the Holy Quran, the poetry of the pre-Islamic era and consequently in Persian poetry, Tarjomān al-Balāghe is the oldest rhetoric work that apostrophe has been mentioned in it. The author not only considers the differences between apostrophes in the Arabic and Persian languages but also shows the formation of the array in the two languages. However, after Tarjomān al-Balāghe, this array has been mentioned in most rhetorical books. But most of these sources are influenced only by the Arabic language and at the same time regardless of what is presented in Tarjomān al-Balāghe, they have dedicated their efforts to adding void comments with no artistic aspects in this industry. According to this study, Persian rhetoric works have enhanced the complexity of the art only by adding the extra details, regardless of the specific features of this language and the scientific criticism of the apostrophe, whereas the description of this array in Tarjomān al-Balāghe is very simple and clear and it is completely compatible with the characteristic of the Persian language and the spirit of this language. Radviāni in Tarjomān al-Balāghe has defined the lexical meaning of apostrophe as “looking back”. In this idiomatic definition, it is said that when the poet means another meaning by a distich, it is called apostrophe. He also quotes Ebne Mo’taz’s viewpoint and says that the narrator turns from addressee to absentee, and from absentee to addressee. Radviāni has given two definitions of the apostrophe array. His first definition is how this array was flown in Persian. Another definition refers to how this art was formed in Arabic, and for the second definition, Radviāni is influenced by Mahasan al-Kalam by Marghinari. Distinguishing between how to flow this in the art in Arabic, and how to form the apostrophe in the Persian language shows that Radviāni has considered Mahasan al-Kalam by Marghinari and consequently Badaye’ by Ebne for writing his book. In this respect, , not only he was not a mere imitator, but also he tried hard to adapt these industries with the spirit of the Persian language. In this article, the researchers reviewed the books of the Tarjomān al-Balāghe, Hadaiq al –Sehr Fi Daqaeq al-She’r, al-Mo’jam, and Adab al-Badye’ regarding the apostrophe art. We support Radviāni’s definition based on transferring one meaning to another. It is consistent with the structure of the Persian language, and Tarjomān al-Balāghe has innovated this definition. A comparative and intertextual study of the Tarjomān art in prominent Persian rhetoric books shows that rhetorical schools have called this art “Tarjomān”, and lexically have mentioned meanings such as “looking back” and “re-looking” for it. In terms of terminology, Tarjomān is defined as follows: a) The point of view of speech from the absentee to the addressee and vice versa. All rhetorical scientists in the statistical community of the research except Shams Qais Razi have expressed this definition. b) Transferring from one meaning to another or using a proverb or a phrase of prayer or emphasis to clear up the ambiguity and concern of the listener. Radvināi, Vatvat, Shamse Gheyse Razi, Kashefi Sabzevari, and Ataolah Mahmood Hosseini have mentioned this definition. c) The definition related to returning from past or future to imperative or predictive to the future tense with the past meaning or vice versa is only proposed by Ataullah Mahmoud Hossini in Badaye’ al-Saneyi. It is said that what is acceptable in the definition of the Apostrophe is transferring from one meaning to the other, which is proposed by the first book of Persian rhetoric, Tarjomān al-Balāghe