دانشگاه اصفهان فنون ادبی 20088027 9 2 2017 08 23 The usage of adjectives in the contemporary poetry کاربرد صفت در شعر معاصر 1 16 21765 10.22108/liar.2017.21765 FA لیلا کردبچه دانشجوی دکتری زبان و ادبیات فارسی دانشگاه اصفهان، اصفهان، ایران حسین آقاحسینی استاد گروه زبان و ادبیات فارسی دانشگاه اصفهان، اصفهان، ایران 0000-0009-0009-0009 سیدمرتضی هاشمی استادیار گروه زبان و ادبیات فارسی دانشگاه اصفهان، اصفهان، ایران Journal Article 2013 08 24 Deviation from the norm, deviation from the rules that governing on the syntagmatic relations of the words, adding the rules on the standard language, displace in parts of sentence, and manipulating in accepted structure of grammar, are collection of methods that most poets use, for arriving to the language of poetry. Principally, use of methods in language that focuses on language instead of message creates foregrounding in language of poetry. Foregrounding in language of poetry, takes shape in two kinds of deviation and extra-regularity, and deviation, takes shape with displace and manipulating in parts of different areas of grammar. Adjective that has a secondary role in the structure of sentence, is so flexible, and has suitable context for deviation. Different deviations in this area, especially in contemporary poetry, create significant variety in application of adjective. In this article, examining deviation of adjectives' structure rules in contemporary literature, we have discussed importance of adjective as unessential grammatical component in deviation. In addition, we have shown flexibility of adjective to acceptance of deviation, and reviewed its impact on richness of language in Persian poetry. On the other hand, we have shown that most of deviation types in adjective structure, had been available in past literature (poetry and prose), for this reason, past literature considered as a treasures of language structures. Adjectives are groups of words, which describe nouns and determine one or more of their characteristics such as their state, number or amount, etc. In fact, adjectives are so important that some scholars believe that they are more important than simile, metonymy and metaphor. Moreover, they state that the best way to express an image is via using adjectives. Furthermore, some have written about the structure of adjectives, which are being investigated grammatically using two different approaches: Firstly, adjectives are investigated as one of the seven parts of speech. Secondly, they are investigated within linguistic contexts, i.e. sentences. The present paper attempts to study some frequent adjective constructions, which deviate from standard linguistic rules, so that they cause defamiliarization in the poetic language. In this paper, investigating the deviations from rules in the use of adjectives in contemporary poetry, we have considered the role of adjectives as a dependent one, which indicates the importance of other dependent roles in the syntactic construction of the Persian language. Moreover, investigating deviations from the rules of the standard language in case of adjective constructions emphasizes the flexibility of adjectives in bringing about types of deviations. This indicates the fact that how much manipulating the construction of this dependent can add up to its functional variety, increase its capabilities in the syntactic construction of the sentences, and lead to great linguistic achievements in Persian poetic language. In this research, we analysed types of deviations in the use of adjectives such as ‘comparative adjectives’, ‘phrasal adjectives’, ‘negative adjectives’ and their subcategories in contemporary poetry. However, via introducing examples of these deviations in classical poetry, we emphasized the existence of such strategies in the history of Persian literature to indicate that using this strategy in contemporary poetry is not innovative, but it’s restructuring classical linguistic constructions. That poets have paid special attention to the manipulation of adjective constructions indicates the importance of adjectives in foregrounding the language. Studying deviations from the rules of language in adjective constructions, which had existed in classical poetry as well, shows that some contemporary poets have been aware of linguistic achievements of the classical literature. Moreover, this is an indication of the existence of rich inventories of linguistic achievements in the classical poetry. Knowing these achievements can enrich contemporary poetry as well, especially, when this can increase the domain of foregrounding in language to give the chance to the poet to foreground the language from various dimensions. هنجارگریزی از زبان معیار، انحراف از قوانین حاکم بر همنشینی واژه‌ها، افزودن قاعده‌هایی به برونۀ زبان معیار، به‌هم‌ریختن نحو جمله‌ها و دخل‌وتصرّف در ساختمان دستوری زبان معمول و متعارف، مجموعۀ روش‌هایی است که اغلب شاعران برای برجسته‌سازی زبان از آن بهره می‌برند. این برجسته‌سازی‌ها به‌شکل هنجارگریزی‌هایی صورت می‌گیرد که خود انواع گوناگونی دارد؛ چون هنجارگریزی نحوی، که کاربردهای خاصّ صفت، زیرمجموعۀ آن قرار می‌گیرد. صفت که نقشی فرعی در ساختمان جمله دارد، به‌دلیل انعطاف‌پذیری بالا، همواره بستر مناسبی برای دخل‌وتصرّف شاعران بوده و هنجارشکنی‌های شاعران در این حوزه، به‌ویژه در شعر معاصر، تنوّعی چشمگیر در کاربرد صفات ایجاد کرده است.در این پژوهش، با بررسی گونه‌های انحراف از قوانین حاکم بر کاربرد انواع صفت در شعر معاصر، به اهمیّت صفتدر هنجارگریزی پرداختیم. افزون بر آن، نقش صفت را نیز در غنای دستاوردهای زبانی شعر فارسی بررسی کردیم، و همچنین نشان دادیم که اغلب گونه‌های هنجارگریزی در ساختمان صفات، در ادبیات قدیم ـ اعمّ از نظم و نثر ـ سابقه دارد و این نوع دخل‌وتصرف‌ها، عملاً رویکردی به سازه‌های زبانی کهن محسوب می‌شود.

https://liar.ui.ac.ir/article_21765_2e6f297ed13f88e6714e3f72bab82c35.pdf

دانشگاه اصفهان فنون ادبی 20088027 9 2 2017 08 23 Structural Analysis of time in “Derakhte Anjir Maabed” novel based on Gennetes theory تحلیل ساختاری زمان در رمان درخت انجیر معابد با تأکید بر نظریة ژنت 17 32 21766 10.22108/liar.2017.21766 FA صفیه توکلی مقدم مربی گروه زبان و ادبیات فارسی، دانشگاه پیام نور، تهران، ایران فاطمه کوپا استاد گروه زبان و ادبیات فارسی، دانشگاه پیام نور، تهران، ایران Journal Article 2015 08 17 Time is one of the important elements of the story that Genette surveys, emphasizing on its importance, and narrative structure of the story in the frame of concepts order, duration and frequency. Current study is a survey with modeling of Genette theory, the lastest novel by Ahmad Mahmoud with analytical-descriptive method. This survey shows the narrative stating author associated with the movement of events in time and he has could show with overcoming of element of time new techniques of writing story in his works. In “Derakhte Anjir Maabed” novel such as modern novels, the plot begins from the middle story and author from beginning throuth mental associations of characters, disrupts the logical order of events and makes narrative indirect. The central association of narrative in style of the stream of consciousness stories, in addition to breaking time borders, leads to the early realist narrative toward the imajinary and surrealistic fiction. More associations have a semi-conscious state or unconscious and appear to form improvisational through expression one word or similarity of position and sometimes are near into the realm of interior monologue or surrealism. Reapeted Heteradiegetic Analepsis associated with function refers to last person, resolves text complexity and reopens story nodes. Because of the special structure of story that insists on Analepsis, see less Prolepsis and Prolepsis appears only in scope of expression in the wishes of persons story and their idealism. Function of prolepsis is creating a kind of suspense in story and speeding up the narrative text. Analysis of the Duration in "Derakhte Anjir Maabed" expresses this point that author with narrative ten-year time span in thousands of pages, speedily continues the tale especially in past time. The general duration of the story is 3/6. The author anywhere sees necessary speeding up in narrative with summary, some times in detail to events and turned to scene and description. He goes into detailed writing in description of persons, objects and places that all these create decelerating in the story. Sometimes he describes only a narrow perspective of characters and space of story, sometimes shows to reader internal dimensions of mind characters and intellectual concerns in the form of interior monologue. Frequent reapetions in different narrative levels and references to unnecessary events that lead structure story from reality to imagination damage the analepsis. In this story, among the kinds of frequency, singulative frequency is too much. “Derakhte Anjir Maabed” novel is narrated from third-person point of view and narrative focus is kind of zero focalization. The author selects third-person and omniscient view to overlook the story and say whatever he wants or is necessary through the narrative's characters and events. تحلیل ساختاری زمان، یکی از رویکردهای جدید در حوزة نقد ادبی به حساب میآید که دریافتی جامع از ابعاد زیباییشناختی و نظام نحوی حاکم بر داستانها ارائه میکند. ژنت از جمله نظریهپردازانی است که با تأکید بر عنصر زمان، به بررسی مناسبات و روابط زمانی در متون روایی بر اساس مفاهیم نظم، تداوم و بسامد میپردازد. این جستار در پی آن است که با بررسی آخرین رمان احمد محمود، «درخت انجیر معابد» بر اساس نظریة ژنت، چگونگی ساختار زمانی در این روایت را با شیوهای تحلیلی- استنباطی واکاوی کند.برآیند این واکاوی نشان میدهد که نویسنده با بنانهادن طرح روایت بر ساختاری غیرخطی، داستانی مدرن خلق می‌کند که عنصر زمان در آن نقشی اساسی دارد. تداعیهای آگاه یا نیمهآگاه، منطبق با مؤلفههای جریان سیّال ذهن که از طریق همسانی مکانی یا کلامی روی میدهد، موجب بازگشتهای مکرّر زمانی به گذشته میشود. کارکرد اغلب این گذشتهنگریها، رفع پیچیدگی متن، اشاره به گذشتة اشخاص و یا بازگشایی گرههای داستانی است. بررسی تداوم داستان نشان میدهد نویسنده بهخصوص در زمان گذشته، داستان را با شتاب به پیش میبرد و به اقتضای طرح داستان، گاه با حذف و تلخیص بر سرعت روایت میافزاید، گاهی با صحنه نمایشی و توصیف، به تفصیل رویدادها را شرح میدهد. انواع بسامد مفرد، مکرر و بازگو در داستان کارکرد دارد و کانون روایت، سوم شخص و دانای کل است.

https://liar.ui.ac.ir/article_21766_76ae4f65887e30428f998701cff43ed3.pdf

دانشگاه اصفهان فنون ادبی 20088027 9 2 2017 08 23 The study of allusion and adapted Qur'anic and Hadith themes in Amir Khosrow Dehlawi’s "Noh Sepehr Mathnavi (Mathnavi of the Nine Skies)" بررسی تلمیح و اقتباس مضامین قرآنی و احادیث نبوی در مثنوی نه‌سپهر امیرخسرو دهلوی 33 52 21767 10.22108/liar.2017.21767 FA امیدوار عالی محمودی دانشجوی دکتری زبان و ادبیات فارسی، واحد نجف آباد، دانشگاه آزاد اسلامی، نجف آباد، ایران سید مهدی نوریان استاد گروه زبان و ادبیات فارسی، واحد نجف آباد، دانشگاه آزاد اسلامی، نجف آباد، ایران محمد فشارکی استاد گروه زبان و ادبیات فارسی، واحد نجف آباد، دانشگاه آزاد اسلامی، نجف آباد، ایران Journal Article 2015 07 08 The Qur'an has always been the fountain of inspiration for Muslims and the greatest school of education for the believers and truth-seekers. Qur'an is outwardly and inwardly full of beauties and mysteries which manifest themselves according to the disposition and understanding of those who appeal to it. To express their understanding, mystics and poets have often cited Qur'an and it is mirrored in their words impressively as it is. One such poet is Amir Khusro Dehlawi, the Indian-born Persian mystic-poet, whose poetry is valued as inspired by the Qur'an. The evaluation of the Qur'anic light and allusions in his "Noh Sepehr Mathnavi” helps better understand the formation of Qur'anic allusions in the Persian literature. 1-Introduction Ab'ul Hasan Yamin ud-Din Khusrow, the most well-known Persian poet of the Indian subcontinent, was among those who were affiliated with Chashtieh sect. "In his youth, he served Nizamuddin Auliya who was of the celebrated religious elders of dehli at that time (Zarrinkub, 2010). He has left many Persian poetry and prose works in India, in which he has addressed Qur'anic verses and prophetic Hadith along with his display of beauties of Persian literature. 2-Discussion Regarding the spread of Sufism and the principles of Islamic Sufism among the Muslims of India, the writers and poets employed Qur'anic concepts in the form of "allusion, adaptation, translation, adaptive versification, etc." to articulate their Sufi thoughts. In this respect, Amir Khusro Dehlawi, who is both a great and celebrated mystic and poet, has best employed two literary figures of allusion and adaption in his Noh Sepehr Mathnavi. It is necessary to evaluate these two rhetorical figures in Noh Sepehr Mathnavi to realize the formation of Qur'anic allusions in Persian literature and to make use of the valuable literary-mystical heritage of great Persian poets. 3-Introduction of the Noh Sepehr Mathnavi Amir Khusro Dehlawi wrote Noh Sepehr Mathnavi in 718 (of the lunar calendar) in nine Sepehr (skies), each of which was different in meter from other skies, in the name of Qutubuddin Mubarak ibn Alla od-Din Khilji known as Qutb od-Din Mubarak Shah – the last of the Khilji dynasty. While writing delicate lines, he has praised the Lord and eulogized the Holy Prophet (PBUH) and, at the same time, he has reported certain historical occurrences and battles in the work. 4-The ways Noh Sepehr Mathnavi is influenced by Qur'anic allusions and Hadith Nabawi 4-1. Direct influence: in the sense that the poet has cited all or part of a verse in his poem in the form of a line or couplet with an alteration, for example: His flag is soaring over the cloud * In the help of God for victory he’s clad (Noh Sepehr) “When comes the help of God, and victory” (An-Nasr, 1) He who names himself a shepherd * He ought to keep an eye on the sheep The prophet’s Hadith: “All of you are play the role of a shepherd to each other and are responsible. You will be questioned about this. A sovereign plays the same role toward his subjects and is responsible to them” (Foruzanfar, 2006). 4-2. Indirect influence: every now and then, the poet has used the gist of a verse in his poem. The cumbered accounts best suits thrones * Reckoned as clean is the book of the good (ibid) “But as for him who is given his book in his left hand, he shall say, 'Would that I had not been given my book * and not known my reckoning!” (Al-Haqqa, 25-26) 4-3. Association of meanings: Sometimes, the poet expresses his words in a way that the diction associates with Qur'anic allusions and Hadith Nabawi though he does not intend any allusion or adaptation. The fire struck from the rocks thereupon * Created stars as if from the new moon (ibid) By the snorting chargers, * by the strikers of fire (Al-'adiat, 1-2) 5- Conclusion On reading Noh Sepehr Mathnavi, one might consider Amir Khusro Dehlawi a poet interested in Qur'anic themes and Hadith Nabawi. In the light of his attachment to and knowledge of Qur'anic mysteries, has proven to be a remarkable representative of Persia literature in India. The evaluation of allusion and adaptation in his work helps better understand the same reflection of Qur'anic mysteries and prophet’s Hadith in Persian literature and fathom out the influence of words of mystic in formation of literary traditions of Persian language. قرآن برای مسلمانان همواره سرچشمۀ الهام و بزرگ‌ترین مکتب برای پرورش مؤمنان و جویندگان حقیقت بوده است. ظاهر و باطن قرآن سرشار از زیبایی‌ها و رازهایی است که به فراخور استعداد و فهم متوسلان بدان، رخ می‌نماید. عارفان و شاعران، برای بیان یافته‌های خود، از کلام قرآن شاهدانی آورده‌اند که جلوۀ آن در آیینۀ سخن تماشایی است. امیرخسرو دهلوی شاعر عارف‌مسلک پارسی‌گوی سرزمین هند یکی از کسانی است که شعر او، با الهام از قرآن، ارزش والایی یافته است. بررسی پرتوها و اشارات قرآنی در مثنوی نه‌سپهر او کمک می‌کند تا روند شکل‌گیری زبان اشارات قرآنی در ادب فارسی را بهتر بشناسیم، به‌ویژه اینکه او از مسلمانان پارسیگوی در شبه‌قارۀ هند بوده است و به یکی از سلسله‌های بزرگ صوفیه، یعنی طریقۀ چشتیه، منسوب است. این مقاله با هدف معرفی ابعاد قرآنی این اثر و آشنایی علاقه‌مندان با آثار ادبی الهام‌گرفته از وحی الهی و احادیث نبوی فراهم آمده است.

https://liar.ui.ac.ir/article_21767_a113e0ec0b67e803614ea1f7cf5b4631.pdf

دانشگاه اصفهان فنون ادبی 20088027 9 2 2017 08 23 The Analysis of Narrative structure of Bad Az Payan novel by Fariba Vafi تحلیل ساختار روایی رمان بعد از پایان نوشتة فریبا وفی 53 66 21768 10.22108/liar.2017.21768 FA تیمور مالمیر استاد گروه زبان و ادبیات فارسی دانشگاه کردستان، سنندج، ایران چنور زاهدی دانشجوی دکتری زبان و ادبیات فارسی دانشگاه کردستان، سنندج، ایران Journal Article 2015 08 07 Abstract Feriba Vafi is a hard working novelist of our time. Her first novel was ‘My bird’ has been worried to alleviate the plight of women in the society. In her last novel by the name of ‘bad az payan’ she deals with women issue continuously. But to intensify the effective ness of the story in the community and proper to time condition besides the choice of subject, she has used plot, signs and particular way of telling narrative. In this paper based on the account of Todorov analyzes we study the thematic link, plot and the way of telling narrative. The actions and reactions of characters in the novel ‘bad az payan’ represent an attempt, consciously or unconsciously, more or less, to recover and to reconstruct women’s identity. The plot reflectively addresses the social and partly the familial problems of the community of women. In this novel, the journey leitmotif serves to portray a departure to independence, knowledge and a better life; yet the problems persist and the journey continues, a journey which is associated with solitude and disorderliness. Notwithstanding, the journey is an ‘evasion, as the journey of the characters of the novel is represented as an evasion, in one way or another. Men and women set out the journey hoping to find a better situation, leaving a self-made bitter situation. The narration of Shahrzad in ‘hezar-o yek shab’ has dramatically influenced this novel in terms of such elements of narration as the use of subplots, multiple narrators, which serve to highlight narration as opposed to verbose ‘story-telling’ with which men identify women. That is to say, the type of narration invoked by women is distinct from that of men; this distinction, on the one hand, represents an old style which has bolstered the retention and survival of women, on the other, it represents a mockery towards the masculine world. It, therefore, implies that the reason why women have adopted a narrative discourse is because of their predisposition to bring about a change in their lives. The narration is structured as follows: 1. the present incidents, 2. the narrator’s thoughts and reveries, 3. the memory of past events by the narrator, 4. narration of past events to the narratee, 5. narration of the narratee’s past events, 6. narrator’s conjecture about the other’s mind. The narration of these six components is based on a combination of three tenses: Past events that are being reviewed The present recurrence of past events The narration of the two former narratives The characteristic feature of the author’s style is the particular combination of time and narration. That is why an abundant number of propositions in this novel belongs in the narrator’s memory of past events and the recurrence thereof. The plot of the narrative revolves around correspondence; correspondence, which is the essence of life, ultimately turns into identity following a sequence of conflicts. Identity signifies ‘an end’; as long as there is correspondence, there is life, however, in the course of suffering or sickness, identity looms in. The deep structure of the narrative is that, for its continuity, life is contingent on correspondence. When there is a death or an end, there is no correspondence, and this serves to signify the fact that correspondence underlies life. This is reminiscent of love which ends with union, though it begins with an enthusiasm and affection which get intensified in the face of stumbling blocks and problems. The title and the theme of the novel is based on the desire to found a real life on love, a type of love which is congruent with the current age and lifestyle. The breaks and unions in the narrative are based on old-fashioned love traditions which doomed to failure; while the new age entails a new perspective on the love relations. The title serves to highlight the same theme. Love in past ages was a pioneering affair on the part of men, and this has been portrayed in the novel as an ephemeral emotion which recalls a master-slave or boss-employer system. At its face value, this status quo has only given rise to masculine heroes, a heroism which has resulted but in vagrancy and disorderliness. Heroic ethics have downgraded in this novel; there is no hero, but a character. Past heroes are alluded to but their heroism is displayed as detriment to the lives of the heroes that is why heroes regret their actions. As for women, their current status is represented as much better than the past. Notwithstanding, feminine culture is considered to be crucial to the amelioration of human relations. این مقاله به واکاوی ساختار روایی و شیوۀ خاص روایتگری در رمان بعد از پایان فریبا وفی پرداخته است. وی از داستان‌نویسان پرکار عصر ماست که از اولین رمان وی پرندة من تا کنون دغدغۀ او کاستن از گرفتاری‌‌های زنان در اجتماع بوده است. رمان بعد از پایان، آخرین رمان اوست که همچنان به مسائل زنان می‌پردازد، اما برای تأثیر بیشتر داستان در جامعه و متناسب با اوضاع زمان، علاوه بر انتخاب موضوع از روش، طرح، نشانه و نحوة روایتگری خاصی استفاده کرده است. در این مقاله، بر اساس روایت‌شناسی تودوروف به تحلیل پیوند درونمایه، طرح و نحوة روایتگری این رمان پرداخته‌ایم. کنش و واکنش شخصیّت‌ها تلاش برای بازیابی و از نو ساختن هویّت زنان است. طرح داستان مبتنی بر تناظر است که به مشکلات اجتماعی و خانوادگی زنان می‌پردازد. ژرف‌ساخت داستان نیز این است که تناظر، مبنا و لازمة تداوم زندگی است. مشخصة اصلی سبک نویسنده پیوند خاصِ زمان و روایت است. به همین سبب، گزاره‌های بسیاری از رمان به تکرار و مرور گذشته‌ها و خاطره‌‌های راوی تعلق دارد. نام و درونمایة رمان مبتنی بر این آرزو است که زندگی واقعی بر مداری از عشق استوار شود؛ عشقی که در دورة جدید و متناسب با وضعیت زندگی عصر حاضر باشد. وضعیت زنان در زمان حال بهتر از وضعیت آنها در عهد قدیم است. با وصف این وضعیت، فرهنگ زنانه لازمة بهبود روابط انسانی معرفی شده است.

https://liar.ui.ac.ir/article_21768_647717013822009b76a4b9cde3743b6c.pdf

دانشگاه اصفهان فنون ادبی 20088027 9 2 2017 08 23 The study of polysemy of derivative suffix "-ین" based on literal texts بررسی چندمعنایی در پسوند اشتقاقی «ین» با تکیه بر متون ادبی 67 82 21770 10.22108/liar.2017.21770 FA علی اکبر باقری خلیلی دانشیار گروه زبان و ادبیات فارسی دانشگاه مازندران، بابلسر، ایران روجا آدینه پور باقری دانشجوی دکتری زبان و ادبیات فارسی دانشگاه مازندران، بابلسر، ایران Journal Article 2014 06 16 Derivational word, based on the structural theory, is made up of a free morpheme and at least an affix. Based on this theory, the root of the derived word is not necessarily verbal; it can be a nominal or adjectival, etc. Furthermore, an affix can change the category and the meaning of the word and create polysemy. A polysemy is a linguistic unit having multiple meanings (Safavid, 1390: 111). Polysemy is studied in different levels such as morpheme, word, phrase and sentence; and conveying meaning, special usage and aesthetic aspect are some of the reasons of polysemy (Ibid: 111, 113). Polysemy in syntactic level means that “morphemes induce different functions or meanings with different units while they are placed in syntagmatic axis” (Ibid). Polysemy in this study is mainly of the tense type and the unit to be studied is the morpheme (-ین) in Farsi which will be considered in syntagmatic axis. 1. Lexical Meaning The morpheme (ین-) in Persian language is one of the suffixes which is annexed to parts of speech such noun, adverb, adjective, pronoun and even verb. In some of these cases, the category of word changes and in some it remains unchanged. One of the discussions about the derivational suffix (ین-) is word-formation and semanticization to lexemes. Suffix (ین-) is substituted in the adjective position functions as semanticization not conveying meaning. Some of the most important sorts of semanticization can be cited as follows: 1) Material: Suffix (ین-) is mostly used to indicate the material of the substantive or the noun substituted by it, such as ‘ahanin’ and ‘charmin’. 2) Tense: Suffix (ین-) sometimes is used to indicate time proportion such as ‘emroozin’, ‘dooshin’, and ‘emsalin’. 3. Ordinal: Suffix (ین-) in some case is the sign of ordinal adjective such as ‘avvalin’, ‘dovvomin’, ‘nakhostin’, and ‘akharin’. 4. Similarity: One of the semantic functions of suffix (ین-) is similarity. It can be considered in different aspects: 1) Similarity in Color: the words derived from suffix (ین-) indicate different colors considering contextual conditions such as ‘bossadin’, ‘aghighin’, ‘meshkin’, and ‘anbarin’ 1) Similarity in Nature: sometimes the purpose of using derivational adjectives from suffix (ین-) is to create natural similarity between adjective and substantive such as ‘ahanin’ and ‘rooin’ sometimes indicate hardness and impenetrability rather than material 3) Similarity in Smell and Scent like ‘anbarin’ or similarity in taste and flavor like ‘shakarin’ and ‘shirin’. 5. Weakness and Debility: one of the points which must be considered in studying the semantics of derived words from suffix (ین-) is the significativeness based on the sentence context. For example, the adjective ‘barfin’ in the compound ‘shire barfin’ , although it means ‘made of’ snow, it here does not refer to the material but it functions as an adjective. It is attributed to the weakness and debility of ‘snow’ which gives the concept of weakness and debility to its substantive ‘shir’. It is the same as in the compounds of ‘tanesofalin’ and ‘kaghazindivar’ 6. Implication and Mixture / participle: the derived suffix of (ین-) sometimes signifies the concept of implication and mixture and grammatically it is considered as participle such as ‘khoonin’ in ‘tire khoonin’ or ‘meshkin’ in ‘meshkinghobar’. 7. Possession: Some of the relative adjectives with the suffix (ین-) indicate the concept of ‘subject’ and in such cases the possessor of the adjective is a state or phenomenon such as ‘ghamin’, ‘khashmginand, and ‘rashkin’. 8. Noun Thing: Suffix (ین-) hardly makes a noun thing added to an imperative verb. For example, ‘koobin’ means made of wood by which in the past the launderers beat the dirty clothes to be washed. 2. Transmission of Meaning Transmission of meaning as one of reasons of existence of polysemy “actually is a kind of semantic extension and Olman believes that they are usually manifested in adjectives. For a linguistic form, they find different meanings because of syntagmatic structures with other forms which at first they are fully dependent on syntagmatic forms and then they find different meanings for speakers” (Safavi, 1390: 114, 247). Therefore, meaning transmission and semantic extension in derived words with suffix (ین-) occur when the derived word loses its position and participial function in the syntagmatic axis, replaced the noun and accepts its functions and roles. For example, in Persian language the word ‘negarin’ is a relative adjective in paradigmatic axis and in some cases it rests in the position of adjective in syntagmatic axis and its meaning is dependent on noun such as ‘negaringolshan’. But it sometimes substitutes the noun under the influence of semantic association, and transfers the meaning of substantive to it. In this way, one of the meanings of ‘negarin’ in pure Persian is ‘sweetheart’ and it has been so established in semantic extension that ‘mashoogh’ has turned into one of the real meanings of it and its usage with substantive is not common. 3. Rhetorical Figures Applying rhetorical figures is one of the functions of derived words with suffix (ین-) to convey meaning and another reason for existing of polysemy and in addition to using words, it is appeared in metaphoric and figurative forms, syllepsis, equivoque, oxymoron and zeugma. واژة مشتق در دستورهای مبتنی بر نظریة ساختاری آن است که از یک تکواژ آزاد و دست کم یک وند ساخته شده باشد. بر اساس این نظریه، پایهواژة کلمات مشتق الزاماً فعلی نیست و میتواند اسمی و وصفی و... نیز باشد. همچنین، وند می‌تواند مقوله/نوع و معنای واژه را تغییر دهد و چندمعنایی پدید آورد. چندمعنایی یعنی یک واژه از چند معنی برخوردار باشد و میتواند در سطح تکواژ، واژه، گروه و جمله بررسی شود. انتقال معنا، هنرآفرینی و کاربرد ویژه از مهمترین علل پیدایش چندمعناییاند. پسوند «ین» از پسوندهای زایا و فعال زبان فارسی است که با ساختن واژگان اشتقاقی، چندمعنایی پدید میآورد. نوع واژگان مشتق از پسوند «ین» غالباً صفت نسبی است و بنابراین، در جایگاه صفت مینشینند و معانیشان وابسته به همنشین، یعنی موصوف آنهاست. واژگان مذکور گاهی تحت تأثیر همنشینی معنایی، جانشین موصوف می‌شوند و تغییر مقوله، انتقال و افزایش معنایی را سبب می‌گردند. هنرآفرینی از دیگر کارکردهای واژگان اشتقاقی با پسوند «ین» برای انتقال معنا و عامل دیگر پیدایش چندمعنایی است که افزون بر کاربرد واژگان به‌شکل استعاری و مجازی، بهصورت آرایههای استخدام، ایهام، تضاد و جناس نیز نمود پیدا میکند.

https://liar.ui.ac.ir/article_21770_b9029139ae60c530a517e119ed2a9015.pdf

دانشگاه اصفهان فنون ادبی 20088027 9 2 2017 08 23 Functions of compound sentences in saadi`s Boustan کارکرد جمله های مرکب در بوستان سعدی 83 102 21772 10.22108/liar.2017.21772 FA اکبر صیادکوه دانشیار گروه زبان و ادبیات فارسی دانشگاه شیراز، شیراز، ایران حسن دست موزه دانش آموختة کارشناسی ارشد زبان و ادبیات فارسی، دانشگاه شیراز، شیراز، ایران Journal Article 2014 08 26 Saadi not only changed the structure of the words but also he changed the structure of the sentences and he made the poems understandable for the public. (He linked the poem to the language of the public. From the point of the structure of the sentences Boustan is unique among Saadi’s Poems. The most important reason of Saadi’s fluency and his attractive speech is in the order of the words. There is no way to understand the beauty of Saadi’s speech except scientific studying of his poems. The writers tried to study Boustan from the point of compound sentences and decided to know the way of the usage of the compound sentences in Boustan. You can answer this question by scientific study and using the numbers and statics. One fourth of boustan poems – 1000 verses were chosen and we studied them to know how the compound sentences are used and we presented the results in the form of numbers and statistic. Persian Grammar written by Dr. Anvari was selected to see the different samples of compound sentences and matching Boustan poems with them. Then according to comparative and percentage graphs, we studied the data obtained from the tables and graphs. Saadi has used the compound sentences more than the simple sentences. These kinds of sentences have been used a lot and variously that we can say it’s a feature of Saudis’ style. The verses made of just a compound sentence were used more than other kinds. And it can be considered as Boustan feature. There are 655 verses that were composed just of a compound sentence. In other words 60 percent of Boustan verses include a compound sentence. Compound sentences include two parts, a base and a follower or more. In this study, the compound sentences were divided in to three groups: a compound sentence with a follower, two or three. A compound sentences made of a base and a follower are more than ones with two followers or three. The verses including a base sentence followed by a follower sentence are more than ones including a follower sentence followed by a base one. Among the 550 verses made of a base and a follower, in 342 verses, a follower sentence was followed by a base one. The above mentioned number is 62/2 percent. In 208 verses (37/8 percent) a base sentence was followed by a follower. In order to answer this question that why Saadi has used this sample (base+ follower) a lot, we studied its rate in each chapter and it was concluded that introduction which involves general issues , prays and admiration ,this sample(follower +base) has been used more. But in all of the chapters the number of verses including this sample (base + follower) is more and this difference is meaningful. Totally the number of verses including this sample (base + follower) is more than ones including this sample (follower +base). Perhaps its most important reason is because of the different mental effects of these two kinds of sentences. The interesting point of compound sentences including a follower, indicates that each of the base or follower sentence is in a hemistich. This sentence (base or follower) starts and ends in the same hemistich. It seems that Saadi tends to use a hemistich rather than a verse to convey his meaning. Verses including base and follower sentences, the rate of base or follower sentences which starts and ends in different hemistiches is extremely low. Some of the compound sentences have more than one follower. There are 95 verses in the studied ones that have two followers. In these sentences Saadi tends to use base followed by a follower. There were 9 (1 percent) compound sentences with three followers in the studied verses. Some of Boustan verses include 2 compound sentences using two compound sentences in a verse using at least four sentences (2 base sentences and 2 follower sentences). One of the most significant feature of Saadi’s speech is using four sentences in a verse made of eleven syllables. Because of the variety of phrases and verbs, changing the parts may lead to the poem ambiguity. That’s way Saadi separates the verses so and not to be any links between two of them. He divides ever verse into two parts and puts a phrase in each part. No interference can be seen between the parts of the base and follower sentences in the verses made of two compound sentences. In this way, the base and follower sentences combine independently. The verb isn't usually omitted in these kinds of verses. Follower sentence is considered as a role of base sentence. Follower sentences have been used as adjectives or adverbs and they haven't been used as subjects or objects. And the number of follower sentences which has been used as the main role of base sentences is less. In other words Saadi firstly concentrates on the main part of the sentence and finishes it. And then mentions the non important parts in a form of follower sentence. افصح‌المتکلمین، سعدی شیرازی، از بزرگ‌ترین ارکان ادب پارسی است. بخشی از صیت و شهرت سعدی در گرو سعدینامه یا همان بوستان است که از مثنویهای اخلاقی برجسته و باارزش حوزۀ زبان و ادب پارسی است. این کتاب بیمانند،زبان سخته و پیراستهای دارد که نظر هر مخاطبی را به خود جلب میکند. این میزان از شایستگی در گرو ِشگردهای هنری و زبانی فراوانی است که شیخ اجل بهکار بسته است. از ویژگیهای دستوری آن، استفادۀ گسترده از جمله های مرکب است. در جمله‌های مرکب، به جای نقشهای دستوری مفرد، جملۀ پیرو به کار میرود. جملههای پیرو از لحاظ معنا از مفردات غنی‌ترند؛ زیرا وجود فعل در آنها موجب انتقال مفهوم، وجه، زمان و شخص به مخاطب میشود که افزونی توصیفگری و تحرک و پویایی کلام را در پی دارد. در این پژوهش که کاملاً جنبۀ آماری دارد، 1100 بیت از بوستان را به عنوان جامعۀ آماری از متن برگزیده و از دیدگاه «کارکردهای جملههای مرکب» بررسی کرده‌ایم. مبانی نظری و تعاریف اصطلاحات را از دستور زبان فارسی، تألیف دکتر حسن انوری و دکتر حسن احمدی گیوی، برگرفته‌ایم. بر اساس مهم‌ترین نتایج به‌دست‌آمده، در بوستان کاربرد جملههای مرکب به مراتب بیشاز جمله‌های ساده است؛از میان آنها، جملههایی که از پایه و یک پیرو ساخته شدهاند، بسامد بیشتری دارند که معمولاً هر کدام در یک مصراع بهکار میروند؛ در بیشتر جملههای مرکب، پایه بر پیرو مقدم شده است؛ جمله های پیرو بیشتر در نقش غیراصلی به کار رفته است.

https://liar.ui.ac.ir/article_21772_974b70604b7efe648db43c5c1e3fd3dd.pdf

دانشگاه اصفهان فنون ادبی 20088027 9 2 2017 08 23 Language, Metaphor, Truth: The Role of Metaphor in the Development of Post-structuralism, based on Derrida's Ideas زبان، استعاره، حقیقت (بررسی نقش استعاره در تکوین پساساختارگرایی: با تکیه بر آرای دریدا) 103 118 21775 10.22108/liar.2017.21775 FA فردین حسین پناهی دانشجوی دکتری زبان و ادبیات فارسی دانشگاه کردستان، سنندج، ایران سید اسعد شیخ احمدی استادیار گروه زبان و ادبیات فارسی دانشگاه کردستان، سنندج، ایران Journal Article 2014 08 23 Poststructuralists, especially Derrida rely on processes and mechanisms such as deferment, trace and otherness to deal with the criticism of binary oppositions and metaphysics-based approaches. Despite the emphasis post-structuralism puts on its own mechanisms and approaches, explaining the theoretical deep structures of post-structuralism (and especially the ideas of Derrida) helps to realize the fundamental role of metaphor and metaphorical functions in the development of its theoretical foundations. This paper seeks to demonstrate that post-structuralism is essentially formed based on the metaphorical nature of language, and its theoretical and methodological bases are also inspired by the mechanisms of "metaphor" and "metaphorical function". On the other hand, it is the basis for a critique of post-structuralism. The results of this study show the other functions of "metaphor" in the evolution of human cognitive and thought system. Derrida takes différance as the prior aspect in (to) language. He believes there is no truth beyond the system that is based on différance and otherness in language since such conceptions as center, truth, reality, origin, existence, absolute signification, and signified never come to be. This approach is the ground for Derrida's view of such categories like the rejection of signs, plurality of signification, plurality of identity and absolute subjectivity, priority of text, floating of signifier and deferral of signified. Among the fundamental oppositions that Derrida addresses to deconstruct, the opposition of signifier / signified is of great importance, as it affects his approach to oppositions such as: speech / writing and form / meaning. Derrida's purpose of deconstructing such oppositions is to criticize their metaphysical deep structures, and to cut the metaphysical roots of sign. Relying excessively on the "signifier" and its functions in the referral system of language, Derrida neglects the important role of the "signified" in identification of the signifier in this approach. There stands a permanent gap between the signifier and the signified, however, the identification of the subject relies on its reference to the signified, and it represents the proportionality and ontological conjugates extant between them. Interpreting all ideas "in language" and "through language", ignores many deep and deciding bases. The recognition of reality in human perception system is based on a metaphorical process that is formed by distancing from the reality, and through the transfer from one signification to another signification. On the other hand, the mechanism of human mind is based on separating the things and putting them (or their components) "in relation to one another". In such a case, the integral concepts like truth, center, origin, and existence, would never find linguistic and mental manifestations. Accordingly, Derrida does not believe in the existence of truth, center or origin that are beyond différance as the prior aspect to language. Although metaphysics is itself a system of signification, its deep structure, as well as its relation to intuitive perceptions (not concepts) makes metaphorical and referral mechanisms underlying language to ultimately operate on a metaphysical ground. As his methodological approach shows, Derrida finally, and in spite of his claim, has operated on a metaphysical ground. The deep structures of Derrida’s ideas are more specifically in common with the ideas of Maimonides, and this shows that Derrida was influenced by his ideas. پساساختارگرایان، به‌ویژه دریدا، با تکیه بر فرآیندها و سازوکارهایی چون تعویق، فاصله، ردّ (trace) و غیریت، به نقد تقابل‌های دوگانه و رویکردهای مبتنی بر متافیزیک پرداخته‌اند. با وجود تأکید پساساختارگرایی بر سازوکارها و رهیافت‌های خاصّ خود، با تبیین ژرف‌ساخت‌های نظریِ پساساختارگرایی (و به‌ویژه آرای دریدا) می‌توان به نقش بنیادین استعاره و کارکردهای استعاری در تکوین مبانی نظریِ آن پی‌برد. در این مقاله، به دنبال اثبات این مسئله هستیم که پساساختارگرایی در اصل بر مبنای سرشت استعاری زبان شکل گرفته است و مبانی نظری و روش‌شناختی آن نیز ملهم از سازوکارهای «استعاره» و «کارکرد استعاری» است. از سوی دیگر، این مسئله مبنایی برای نقد پساساختارگرایی است. نتایج این پژوهش، کارکردهای دیگری از «استعاره» در تکوین نظام فکری و شناختی بشر را نشان می‌دهد؛ چنان‌که استعاره (و کارکرد استعاری) نقش تعیین‌کننده‌ای در تکوین مبانی نظری پساساختارگرایی ـ به‌ویژه آرای دریدا ـ داشته است. دریدا با تکیه بر سرشت استعاری زبان، به دنبال گسستن ریشه‌های متافیزیکیِ نشانه بود، امّا با توجه به هیمنة گسترده و عمیق معارف و مفاهیم متافیزیک، رویکرد دریدا، به‌‌رغم خواست او، در نهایت به عرصة متافیزیک بازگشته است؛ همچنان‌که نتایج این تحقیق تأثیرپذیری دریدا از آرای ابن‌میمون، متکلم معروف یهودی، را نشان می‌دهد.

https://liar.ui.ac.ir/article_21775_2203b86047f1c55f43f9bfb20b61ab57.pdf

دانشگاه اصفهان فنون ادبی 20088027 9 2 2017 08 23 The morphology of Khwaju Kermani’s Gol and Nowruz in the lLight of Vladimir Propp’s method ریخت‌شناسی منظومۀ گل و نوروز خواجوی کرمانی، براساس نظریۀ ولادیمیر پراپ 119 132 21900 10.22108/liar.2017.93862 FA حمیدرضا فرضی استادیار گروه زبان و ادبیات فارسی‌، واحد تبریز‌، دانشگاه آزاد اسلامی‌، تبریز‌، ایران 0000-0009-0009-0009 فرناز فخیمی فاریابی دانشجوی دکتری زبان و ادبیات فارسی‌، واحد تبریز‌، دانشگاه آزاد اسلامی‌، تبریز‌، ایران Journal Article 2015 01 27 Abstract Vladimir Propp (1895-1970), the Russian scholar, analyzed a lot of the Russian folk tales and recognized common themes within. He broke down the stories into “morphemes” and documented 31 elements or narrative units that contained the structure of so many of the stories. Propp gave each element a symbol, thus allowing a story to be described by a series of those symbols. He broke up fairy tales into parts. Through these parts he could organize the tale into a series of sequences that took place within the Russian fairytale. Typically there is an initial situation, after which the tale usually takes the following thirty one functions. Propp concluded that all the characters could be set on into seven extensive character functions in the 100 tales he analyzed. This paper, explores “Gol and Nowruz” which is an adventurous and exciting tale of Persian literature; the tale is Nowruz’s quest to find his beloved “Gol”. For this purpose the paper, an introduction of morphology and “Gol and Nowruz” have been outlined then the tale has been analyzed in the light of Propp's patterns in order to determine to what extent this tale is in parallel with Vladimir Propp’s Morphology of the Folktale. Considering the motion sequences in each of Propp’s the expansions, and comparing it with the interpretation of the tale, it is recognized that the sequence of functions are not in complete parallel. In the analysis of the tale, we come across with seven movements; a search begins, hero moves first to find his beloved (a), but before reaching to her, the second movement, type (H and M), the third movement (H), the fourth movement (H), the fifth movement (M), the sixth movement (H), and the seventh movement (M), occur. The hero solves the problems and moves from one stage to the next and finally achieves his purpose. It is revealed that the lines of the tale do not meet the Propp’s paterns and it is not in parallel with it completely, because, encountering the problems, the desires and motivations of the characters are different; and it is the most significant factor why there is a difference between the tale and Propp's pattern of movements. However it is significant that all extensions of Prop’s classifications can be traced in the tale. Comparing the narrative line of the tale with Propp’s patterns we can find that the tale has the 28 functions, out of the 31 Propp's functions, in common with Propp's functions, and we can conclude that this tale is consistent with the patterns of Prop. Prop concludes that all the characters could be resolved into 7 broad character functions in the tales he analyzed and have done the the same here: The villain and The false hero (the Dragon of Roman Empire, Shebel Zangi, Farrukh Rooz with his army and the storm of magic). The dispatcher (Shervin), the helper and the donor (Mehran, Yagoot, Bakht Afrooz, the Old Priest), the princess or prize (Gol), the hero (Norooz). The paper explores the characters’ tendencies which can be interesting too. ریخت‌شناسی قصه‌های عامیانه در سال 1928م. با فرمالیست روسی «ولادیمیر پراپ» آغاز شد‌‌. اساس کار وی بر پایۀ اعمال شخصیت‌های قصه نهاده شده است و در سال‌های اخیر‌‌، یکی از شیوه‌های رایج در تحلیل ساختاری قصه‌ها بوده است‌. در این مقاله‌‌، منظومۀ گل و نوروز بررسی شده که از جمله قصه‌های پرماجرا و مهیج زبان فارسی است و موضوع آن تلاش و جست‌وجوی نوروز برای به دست آوردن معشوقش گل است‌‌. برای این منظور، ابتدا مقدمه‌ای دربارۀ تعریف و تبیین ریخت‌شناسی‌‌، پیشینۀ تحقیق و معرفی گل و نوروز مطرح شده، سپس قصه براساس الگوی پراپ، مانند وضعیت آغازین‌‌، غیبت‌‌، کسب خبر و‌... تجزیه و تحلیل شده است‌. این پژوهش بیانگر این است که گل و نوروز تا حدود زیادی ویژگی قصه‌های عامیانه را داراست و الگوی ساختاری موافق با الگوی پراپ به دست آمده است‌.

https://liar.ui.ac.ir/article_21900_64bded06c8532560ecdc918e10709749.pdf