One of the main themes in the history of Persian literature is praise which has been used by poets in different ways. Rhetoric scholars have considered praise as a technique with unique characteristics. This research investigated the technique applied in the Rhetorical works of the Persian language by using a descriptive-analytical method. There were a total of 13 arrays of Rhetorical techniques assigned for praise themes, all of which were regarded as Rhetorical semantic techniques. Among them, 3 techniques of Ebdā’ (innovation), Ta’kid alMadh bemā Yashbah al-Dham (emphasis on praising, which is like blaming), and Estedrāk (paradoxical praise) had greater Rhetorical values because of the equivocalness they created in the reader's mind. Still, the technique of Ta’kid alMadh bemā Yashbah al-Dham had been further the focus of Rhetoricians and mentioned in all the Rhetoric books. Among the Rhetorical works, the book of Badāye’ al-Afkār fi Sanāye’ al-Ash’ār mentioned more praise techniques than others (i. e. 9 techniques). What was clear in this regard was the Rhetoricians’ diverse and sometimes disparate opinions in terms of naming, defining, and mentioning examples of the techniques. Introduction One of the main themes in the history of Persian literature is praise which has been used by poets in different ways. As it appears from the history book of Sistan, the first Persian poem has also had a praise theme. Even one of the researchers believes that the history of praise poetry goes back not only to the time of establishing the courts’ power but also to prehistoric times. According to (Shamisa, 2004, p. 256) “praise poetry is somehow rooted in the prayers, praises, and hymns that have been written about the gods and their manifestations in ancient times". The subject of praise is one of the first critical themes in the field of literature and has been the focus of writers and critics. Qudāma ibn Ja’far considered praise as the first goal of poetry in his famous book entitled Naqd al-She'r (critic of poetry) written in the 4th century and has assigned particular characteristics and conditions for praise poetry. “Madiha (eulogy) has several parts as desired by the praisers and it is necessary to focus on the special meaning of each of these parts of praise” (Qudāma ibn Ja'far, n. d, p. 174). In this research, various ways of praising were examined in the authentic Rhetorical works, from Tarjomān al-Balāgheh (Rhetoric translation) to present a new look at Rhetoric. The main goal of the present study was to find out what techniques the court poets had innovated in order to express praise themes and how successful they had been in creating literary beauties. The basis of this research was referring to Persian Rhetorical works though in some cases, the Arabic Rhetorical scholars’ opinions were cited as well. In most of the Persian praise poems, the praised one was one of the persons related to the court, especially the king. For this reason, there were several praise techniques that were dedicated to praising this group. Methodology This research uses a library approach and a descriptive-analytical method. It could be considered the first attempt made in the field of categorizing, criticizing, and analyzing the ways of praising in Persian Rhetoric. Discussion and Results Due to the importance of the subject of praise in the history of Persian poetry, poets have used various methods to praise the praised ones. Rhetoric scholars have considered each of these methods as a separate technique and mentioned some evidence for each of them. It should be said that in this study, only the techniques related to praise themes were taken into account as there were some techniques, which were dedicated to praise and the poets could also express other themes through them. For example, San’at Moghāyira (technique of paradox), which was mentioned in Dorreh Najafi, was believed to be applied for both praising and blaming, or the technique of ‘Edmāj’ that was mentioned in the book of Abda’ al-Badāye was defined as “a technique by which the speaker addresses another issue during conveying his meaning of praise or blame or any other meanings, whether it is related to the first issue or it is of a different kind” (Gorkani, as cited in Ghasemi, 2010, p. 38). Such techniques were not regarded in this research. On the other hand, the characteristics and styles of some techniques, such as Towsim (marked praise) or Hosn-e Takhallos (well-delivered praising) are only used in poetry (although praise has been used in both poetry and prose). Therefore, since Rhetoricians’ dominant focus in providing the related evidence has been on poetry, the approach taken in this study was based on poetry. The analysis of Rhetorical works showed the following 13 arrays or techniques to present praise themes,: 1) Ta’kid al-Madh bemā Yashbah al-Dham (emphasis on a type of praise, which is like blaming), 2) Madh-e Movajjah (excusable praise), 3) Ebdā’ (innovation), 4) Towsim (marked praise), 5) Ettefāq (coincidence), 6) Etterād (successive ancestral praising), 7) Estedrāk (paradoxical praise), 8) Madh-e Mothannā (doubled praise), 9) Tarjih (preference), 10) Hosn-e Takhallos (well-delivered praise), 11) Tasallof (adulatory praise), 12) Jam’e Mo’talef va Mokhtalef (collective and distinctive praise), and 13) Do’ay-e Ta’bid (eternal blessing). Of course, some of these arrays were more focused on by Rhetoricians. Conclusion Out of the Rhetorical techniques, 13 techniques were found to have been used by the speakers presenting praise themes. All these techniques were considered to be Rhetorical semantic techniques. Among them, the 3 techniques of Ebdā’, Ta’kid al-Madh bemā Yashbah al-Dham, and Estedrāk had more Rhetorical values since they created equivocalness in the reader's mind. Accordingly, it could be claimed that the speakers had added to the treasure of Rhetorical techniques in the Persian language by presenting praise themes while creating literary beauties. These 13 techniques were different from those like Edmāj or Moghāyereh (contradiction), which were associated with other themes besides praise. Two techniques of Ta’kid al-Madh bemā Yashbah al-Dham and Madh-e Movajjah were found to be used by Rhetoricians, the former was mentioned in all the Rhetorical books and the latter was used except in Al-Mo’jam. On the other hand, the 3 techniques of Madh-e Mothannā, Tarjih, and Tasallof were mentioned only in one book. Among the Rhetoric scholars, Wā’ez Kāshefi, the author of the book Badaye’ al-Afkār fi Sanāye’ al-Ash’ār paid more attention to these techniques by mentioning 9 of them. The least attention was paid by Shams Qais Rāzi, who mentioned only the 2 techniques of Towsim and Ta’kid al-Madh bemā Yashbah al-Dham. In the meantime, what seemed to be more prominent was the Rhetoricians’ disparity of opinions for naming and defining these techniques. For example, they mention even 5 terms for the technique of Madh-e Movajjah.

The present article, in eight chapters, deals with one of the newest discourses on methodology of economics. After giving thanks to his colleagues in economics, the writer examines the Rhetoric of economics as a disciplined conversation. Then, the official methodology of economics has been deliberated in this article. On next chapters, the paper suggests that modernism and unofficial Rhetoric of economics are obsolete. That the Rhetoric of economics is a literary and a metaphorical matter, and that the alternative to modernism is not irrationalism, and finally the good of Rhetoric are the last discourses of it.

In this paper, having examined the differnces between classical and modern text, we compare the audience"s position in these two categories of discourse. It is a truism that parallel with changes in factors governing discourse, Rhetoric takes new meanings too. Modern Rhetoric is dominated by "interpretation"; in classical Rhetoric however, exposition is the overriding element and writer Rhetoric gives place to reader Rhetoric. Here, following some relevant theoretical discussions, Persian poetry is examined with respect to the reader"s relation with the text. It is argued that understanding "Gnostic" and original modern poetry requires reader Rhetoric. Overall, based on this perspective, the contemporary Persian poetry can be divided into three classes: 1. Single-meaning poems which are often easy for readers to communicate with them. 2. Explicable poems which have one explanation. 3. Interpretable poems which have extensive ambiguity of meaning.

The ease and perseverance of Sa'di's words in the first encounter with each poet is very appealing and pleasant, especially when it becomes more apparent that Sa'di's attention to artistic practices in exploiting the Rhetorical Rhetoric in his sonnets. One of the topics discussed in the science of meanings, bound and limitation. In fact, this method is one of the factors of the emphasis in theology used to highlight and influence.The Rhetoric scholars of Arabic have pointed to various ways to create a falsehood, which in the Persian language, like other topics of semantics, has been referred to in the same way, regardless of the specific structure of the Persian language, while many of these are not compatible with the structure of Persian language. There are other things that are not at stake. In this research, we tried to investigate the linguistic structure of the false poster created in Saadi's lyrics, in Persian, what methods exist to create a confinement in the word which is considered from the point of view of the aesthetics of art, Rhetoric, and applied semantics siege of cases and generalizable laws, thanks totheartand interest Saadi, speaking in the trick also pointed out that the language and found that the language persian Rhetoric measure of artistic speech in Saadi poem lyric.

In the contemporary era, many efforts have been made to update the knowledge of Rhetoric. Therefore, the two terms "modern Rhetoric" and "Rhetoric modernization" are two of the most comprehensive terms among contemporary Arab scholars, which have occupied a significant part of contemporary Rhetorical discourse from the late nineteenth century to the present day. Rhetoric modernization refers to a series of efforts that re-examine some or all of the issues of traditional Rhetoric and make suggestions for its improvement. For the first time, Sheikh Muhammad Abduh from Al-Azhar called for updating the sources of Rhetoric, and al-Jabr al-Zumt in his writings called for Rhetoric modernization. The discourse of Rhetoric modernization has always been challenged by the discourse of traditional Rhetoric, and the beginning of Rhetoric modernization has been accompanied by a critique of theoretical foundations, methodological issues, and the analytical approach of traditional Rhetoric. From the beginning of the call to modernize Rhetoric to the present day, criticism of traditional Rhetoric has increased,therefore, reading the works done in the field of modern Rhetoric, we encounter a significant amount of criticism that requires independent scientific research to provide a basis for avoiding excesses in judging and evaluating the Rhetorical achievements of predecessors. This research has tried to examine and critique the criticisms of traditional Rhetoric through a descriptive-analytical method and has achieved the following results by examining and criticizing the critical views of Rhetoric modernization experts: The greatest criticism of contemporary scholars is the influence of Rhetoric on Greek philosophical thought and the evaluation of texts. In a sense, their most important weaknesses are summarized in the incorrect comparison of traditional Islamic Rhetoric with traditional Greek Rhetoric, which have different socio-historical contexts, as well as incorrect comparison of Rhetoric with contemporary critical schools that have different approaches and practical functions.

Repetition is one of the predominant features of speech that can be examined at different semantic, syntactic, lexical, and phonetic levels. The major aim of the current research is to examine the notion of repetition at the lexical level as an artistic element. Throughout the old Rhetorical books, repetition was more noticed in pragmatics and less in the field of Rhetorics. In more recent researches, however, repetition is stated as a special artistic element, apart from techniques such as alliteration and paronomasia, which have been less discussed. Regardless of the dominance of this feature as a stylistic feature in the works of some poets, Saadi is one of the orators whose Repetition – especially in terms of vocabulary - is a prominent element in his sonnets and plays an important role in his speech and Rhetorics. However, this aspect of Saadi's speech has not been addressed. The current research seeks to deal with the artistic codes of repetition as a literary art in Saadi's Ghazal. To that end, the quality of the Repetition in Saadi's sonnets with respect to vocabulary items was categorized into twelve methods, and an attempt was made to analyze a nu mber of Saadi's Rhetorical tehniques of speech in the form of his artistic repetitions. This classification indicates that Saadi has made Rhetorical repetitions in 72% of the cases and simple repetitions in 28% of the cases by using the 12 tricks presented in this research. Also, most of his repetitions are nouns, and among them, "heart", "head" and "friend" are the most frequent ones. Introduction:Repetition is one of the features of speech that can be examined at different semantic, syntactic, lexical, and phonetic levels. Repetition is sometimes the cause of the vulgarity of the speech and sometimes it leads to elevation. Therefore, the existence of Repetition is not a sign of weakness or strength of speech, and can be criticized and evaluated depending on various factors. In the old Rhetorical books, Repetition was more in the pragmatics and less in the field of Rhetorics. In today's researches, Repetition as a special artistic element, apart from techniques such as alliteration, paronomasia, or the like, has been less discussed.Materials and Methods:In the current study, followed by extracting examples of Repetition in Saadi's ghazal, with a descriptive-analytical method, the types of Saadi's Rhetorical tricks in Repetition will be categorized and analyzed. The framework of this research is Saadi's Ghazals based on Foroughi's correction. In order to extract evidence, Ghazalyat was studied from the beginning and the related evidence was collected. It is not possible to mention all the evidence and under each subject, the evidences in which the desired feature is more obvious are mentioned. As it was declared, the basis of examining the Repetition technique is the Beyt, and the meaning of Repetition is lexical repetition.Results and Discussion:The major aim of the current strudy is the investigate Repetition at the lexical level as an artistic element. Saadi is one of the orators whose Repetition - especially in the field of vocabulary - is a prominent element in his ghazal and plays an important role in his speech and Rhetorics. But, this aspect of Saadi's speech has not been paid attention to. This research seeks to deal with the artistic codes of Repetition as a literary art in Saadi's Ghazal. For this purpose, the quality of the Repetition of words in Saadi's ghazal was categorized into twelve methods and an attempt was made to analyze some of Saadi's Rhetoric in the form of his artistic Repetitions.Conclusion:After exploring examples of Repetition in his speech, twelve tricks, categories and examples of his poetry were mentioned under each item. After scruitinizing the cases of Repetition in Saadi's speech, it seems that he has created regularity, proportionality, symmetry or artistic addition through Repetition. It is rare that he repeats a word in simple ways in his poetry. Usually, by adding an artistic seasoning, a syntactic game, construction or other language games and innovations, he has made repetition the sweetest part of his speech.

One of the arguments in Rhetoric is to examine the use of interrogative sentences in secondary purposes. The main purpose of the interrogation is to obtain information; but up to 32 secondary purposes have been written for Interrogations in some Rhetoric books. In this descriptive-analytical study, the secondary purposes of the interrogative sentences in Saadi's Bustan have been analyzed. The purpose of this research is to determine what concepts Saadi has intended to present through Rhetorical questions. The fundamental question in this research is to identify, to what extent did Saadi use the interrogative sentence in presenting his themes and concepts? The research is based on the assumption that due to Saadi's mastery in Rhetoric criteria of language, he has taken great advantage of the secondary capacities of the interrogative sentences, especially in conveying themes of reproach and denial. In Saadi's Bustan, in total, 379 cases of Rhetorical interrogations have been used. Out of which, in 289 cases, the poet used one type of interrogative tools to ask questions, which included a variety of 19 questions. Of these 19 cases, only the Arabic word "kaifa" serves as a question mark. The word "Che" has been used 129 times, accounting for about 47% of all query words in Bustan. In many cases of Rhetorical questions, he begins the interrogations by the word "no". The poet's intention in this way of expression is to draw the reader's attention and emphasis on the theme. In total, 379 cases of Rhetorical interrogation have been utilized in the Saadi's Bustan. These questions have raised 32 different themes. What is important in terms of the style and understanding of the poet's thinking is that in 241 of these questions, directly or indirectly, ethical themes are presented.

New Rhetoric and contemporary Rhetorical criticism have so much potential to create useful and effective points of view in criticism with an educational approach. This research, using a descriptive-analytical method based on collecting library data, explained the necessities of the Rhetoric of education, described new Rhetoric and contemporary Rhetorical criticism, and analyzed the efficiency of their features in response to the Rhetoric of education needs. According to the results of this research, new Rhetoric and contemporary Rhetorical criticism with features including attention to both the text and the audience, moving the adjective ‘Rhetorical’ from describing the type of the text to describing the method of criticism, borrowing from other disciplines, being unlimited in using of methods and tools and approaching to create formulas, are the most appropriate theoretical backgrounds to shaping a scientific model of criticism with an educational approach. The use of these backgrounds has requirements the most important of them is preparing the Rhetorical matrices that relate text elements to the audience aspects.