دانشگاه اصفهانفنون ادبی2008802710320180923Application of Word Eloquence Pattern in the Process of Word Selection through Writingکاربست الگوی فصاحت کلمه در فرایند واژهگزینی در نگارش1162302410.22108/liar.2018.110403.1361FAالهامسیداناستادیار گروه زبان و ادبیات فارسی، دانشگاه اصفهان0000-0009-0009-0009Journal Article20180423Writing is a tool for transferring of concepts, information and findings and it is subject to certain rules and principles in every language. Paying attention to the writing principles and avoidance of writing mistakes necessitate precise and systematic codification of the writing principles. One of these principles of systematic writing is paying attention to the smallest semantic unit, i.e. word, when writing. The recognition of the word and its proper application is the prelude to the correct writing. Offering an efficient pattern for the selection of the words assists correct writing. Word is the smallest part of writing and it plays an effective role in text formation. The coherent and principles connection of the words is of a considerable importance in writing. Failure in selecting correct words bars the advance to the next stage that is the very topic of coherent writing; therefore, correct writing depends on the precise and right selection and application of the words. In writing books, discussions on words are scattered about two parts, namely formal and lingual editions. In formal edition, the spelling method and cursive writing and block lettering are discussed. The discussion is solely related to the appearance of the words and the method of writing them. In lingual edition, as well, attention is directed at some wrong structures in writing of words; for example, words are discussed in discussions on various kinds of borrowing, serotyped writing, prolixity and so forth. But, an independent discussion regarding the principles of choice of word is missing from these books. Considering the importance of word selection and its being emphasized in rhetoric, enjoyment of such knowledge and, of course, its topics can set the ground appropriately for elucidating the principles of choice of word in Persian language. <br />There are discussions put forth in rhetoric that are significantly connected to the grammar and writing rules; some researchers have pointed to the relationship between grammar, semantics and their differences: “grammar predominantly discusses the dos and distinctions; but, rhetoric substantially deals with such topics as artistic applications and the more effective choices and probabilities … also, the discussions in semantics are mostly related to the meaning that can be somehow considered as spiritual aspects of grammatical issues” (Shamisa, 2014, 31). But, discussions about the link between rhetoric and writing are amongst the topics that have not been yet considered the way they deserve. <br />Verbal eloquence and fluency is amongst the discussions closely related to writing in rhetoric. Eloquence in rhetorical books is proposed in three levels, word eloquence, discourse eloquence and speaker’s fluency. In discussions on lexical eloquence, emphasis is made on the words’ meanings, grammatical dos and don’ts, lexical euphony and agreeableness of the lexical sounds as well as the application of the words and these topics are all closely associated with writing style, especially choice of word. In fact, the thing that is posited in rhetoric as “eloquence” is the discussion about the writing dos and don’ts. Some researchers believe that this part of rhetoric should be placed amongst the topics discussed in grammar (see also, Vafa’ei and Aghababa’ei, 2015: 46). Although such subjects as eloquence and its types feature grammatical infrastructure in some discussions (like opposition to the analogy). it is not completely matching with the grammatical rules and it is found interlaced with writing style in many of the cases. <br />Considering the importance of words in writing and knowing that the emphasis is made on the conditions of selecting an eloquent word in rhetoric, the present study takes advantage of lexical eloquence pattern to take into account certain conditions for word selection in Persian language. Of course, the conditions mentioned for lexical eloquence in rhetoric are more of an affirmative aspect and the issue has been criticized to some extent; but, these same affirmative properties guide us to the optimum pattern of word selection. According to the descriptions presented up to here, the primary study question is that can the word eloquence pattern in rhetoric be used to offer an efficient pattern of word selection? So, the objective of the present article becomes the investigation and analysis of word eloquence pattern in rhetoric and then applying it in word selection. <br />Pondering over the rhetorical books indicate that the rhetoricians have made suggestions for the proper selection and application of words that can be appropriate solutions for choice of words. It was made clear in an investigation of the word eloquence in rhetoric and taking it into consideration in word selection process that: <br />- The thing that is proposed in rhetoric as “word eloquence” is a perfectly writing discussion that is intermixed in some of the cases with grammatical dos and don’ts. <br />- Many factors cause letter cacophony and discordance of words’ euphony amongst which lengths of words, types of consonants and vowels and their style of arrangement can be pointed out. <br />- Word lengthiness or combination in writing can cause damages to language in two respects: 1) it can cause pronunciation cacophonies and 2) discord the writing system of the language. Thus, the collocation of the letters is of a considerable importance in both speech and writing while, in the majority of the definitions provided for letter cacophony in rhetorical books, it has been to be connected with pronunciation. It seems that the term can also incorporate the inappropriate collocation of letters in writing system of the language. <br />- Although strangeness/novelty of the usage is mostly applied for the obsolete and abandoned words from the perspective of rhetoric, it can be expanded to the words that do not feature the required validity and applicability in the standard Persian language and are not authenticated by the language specialists. Disregarding the obsolete and unfamiliar words, other word groups can be considered as instances of strangeness of the usage, including stereotyped writing, strange exotic words, unfamiliar colloquial words and some homonyms. <br />- The discussion about opposition to the analogy in rhetoric is perfectly laid on the foundation of grammar and its most important examples in choice of word and word use areas pertain to two parts: 1) borrowing from Arabic and other languages; 2) lack of paying attention to the morphological and semantic rules of Persian language. <br />- Antipathia of audition overlaps with letter cacophony in pronunciation area and it encompasses the use of heinous and bad words in rhetoric.نگارش ابزاری برای انتقال مفاهیم، اطلاعات و یافتههاست که در هر زبانی تابع قواعد و اصولی است. توجه به اصول نگارش و پرهیز از کاربست خطاهای نگارشی نیازمند تدوین دقیق و نظاممند اصول نگارش است. یکی از اصول نگارش، توجه به کوچکترین واحد معنایی در نگارش یعنی واژه است. ن است. شناخت واژه و کاربرد صحیح آن مقدمة نگارش صحیح محسوب میشود. ارائة الگویی کارآمد برای گزینش واژگان به نگارش صحیح یاری میرساند. به نظر میرسد در علوم ادبی مباحثی مطرح است که میتواند الگویی برای گزینش واژگان باشد که ازجملة آنها بحث فصاحت و بلاغت و شرایط دستیابی به آن است. صرفنظر از کاستیهای بحث و نقدهایی که بدان وارد است، با بهرهگیری از این چارچوب و رفع کاستیها و مشکلات آن میتوان الگوی کارآمدی برای فرایند واژهگزینی در نگارش ارائه کرد؛ بنابراین در این پژوهش این الگو در فرایند واژهگزینی بهکار برده میشود. نتایج نشان میدهد شرایطی که در کتابهای بلاغی برای فصاحت کلمه در نظر گرفته میشود، با اندکی تغییر و بسط، در حوزة نگارش مفید خواهد بود؛ ازجمله اینکه غرابت استعمال، همنشینی نامناسب حروف در نظام نوشتاری زبان را نیز دربرمیگیرد؛ همچنین اگرچه در علم معانی غرابت استعمال برای واژههای مهجور و متروک به کار میرود، این اصطلاح میتواند با توسع معنایی برای الفاظی که روایی و کاربرد لازم را در زبان فارسی معیار ندارند نیز بهکار رود.https://liar.ui.ac.ir/article_23024_11befb79109dbd985e6cd3d673a29d45.pdfدانشگاه اصفهانفنون ادبی2008802710320180923The analysis of macro-structure of Parvin Eatesami's tales within the framework of linguistic formalismبررسـی ساخت کلان (چارچوب فکری) دیوان پروین اعتصامی بر اساس رویکرد زبانشناختی صورتگرا17302302510.22108/liar.2017.100115.0FAایوبانصاریمربی زبانشناسی همگانی دانشگاه پیام نور تهرانعلیرضاشانظریاستادیار زبان و ادبیات فارسی دانشگاه یاسوج0000-0001-7874-4796سید علیسراجاستادیار زبان و ادبیات فارسی دانشگاه پیام نور، تهرانJournal Article20161005Linguistics, as the other sciences, has divided into branches one of which is macro-linguistics. IN macro-linguistics analysis, text is studied based on the relations among different parts of it. The objective of the present study is the macro-analysis of Parvin Eatesami's tales based on Woodbury (1987, cited in Fabb, 1997) - Khanzadeamiri (1379) formalist model. This study is descriptive and the methodology is quantitative content analysis. As a whole, the results of analysis showed that the model with some modifications is recognizable in macro-structure of Parvin Eatesami's tales. One of obtained conclusions in this analysis is that Advice constituent/episode is in the main focus in Eatesami's tales. The analysis showed that the model with some modifications is recognizable in macro-structure of Eatesami’s tales. In the analysis, 2728 lines/verses out of the total 6824 analyzed lines, 39/98 percent, has been devoted to this episode/constituent. So, advice constituent is the main constituent in Eatesami's tales, and this matter indicates the instructive essence of this work.هدف از این پژوهش مطالعۀ چارچوب فکری-صوری دیوان پروین اعتصامی با تکیه بر اصول یکی از شاخههای زبانشناسی است. زبانشناسی، مطالعه علمی و بررسی متنی و گفتمانی زبان است و همچون سایر علوم تقسیمات و انشعاباتی یافته که زبانشناسی کلان نیز یکی از این شاخههاست. در این نوع بررسیها، متن از لحاظ روابط فراجملهای مطالعه میشود، و از این طریق، روابط میان بخشهای تشکیلدهندة یک متن، و ساخت کلان (بافتار) متن مشخص میگردد. در تحقیق حاضر، از الگوی وودبری (1987) – خانزاده امیری (1379) استفاده شده و روش تحقیق از نوع توصیفی و تحلیل محتوای کمی است. به طور کلی، تجزیه و تحلیل حکایات در سطح ساخت کلان نشان داده است که در ساخت کلان دیوان پروین اعتصامی چارچوب ارائهشده در الگوی مذکور قابلتشخــیص است که البـــته برای تکمیل آن، تغیـــیرات و اصلاحــاتی نیز صورت گرفته است. از نتایج بهدستآمده در این بررسی مشخص شد که سازة پندواندرز در دیوان پروین اعتصامی محوریت دارد. از مجموع 6824 مصراع بررسیشده 2728 مصراع به سازة پندواندرز اختصــاص دارد که 97/39 درصد از کل مصراعها را شامل میشود. بنا براین سازة پندواندرز، سازة محوری و اصلی در ساخت کلان دیوان پروین اعتصامی تلقی میشود که این موضوع خود نشاندهندة ماهیت تعلیمی اثر مذکور است.<br /> <strong> </strong>https://liar.ui.ac.ir/article_23025_d6cc543f82fff5b4bf9765020f412160.pdfدانشگاه اصفهانفنون ادبی2008802710320180923Formalistic analysis of the three domains of language, music and aesthetics in "Arghavan" a poem by Hushang Ebtehajبررسی فرمالیستی شعر «ارغوان» از هوشنگ ابتهاج در سه حوزهی زبان، موسیقی و زیباییشناسی31482305510.22108/liar.2018.105854.1210FAمحسنذوالفقاریاستاد گروه زبان و ادبیات فارسی دانشگاه اراکزهراموسویاستادیار گروه زبان و ادبیات فارسی دانشگاه اراکعلیخسرویدانشجوی دکتری گروه زبان و ادبیات فارسی دانشگاه اراکJournal Article20170809Based on the formalism school, the discovery of the beauty of a text, or so-called "text literacy", is one of the most important issues to be considered in the critique of a literary work. Focusing on the "text" itself, the theorists of this school try to discover the causes and factors that turn the ordinary and everyday language into a poetic language. According to them, using different techniques such as "defamiliarization", the world of the text can be alienated from the viewpoint of audiences. In the formalistic approach, the form and content of a literary work are not independent of each other, rather the content is represented in form; hence, the content and the theme of a literary work can be comprehended through the study of the form and structure. "Arghavan" is a brilliant poem with a social theme by Hushang Ebtehaj who is one of the famous figures of contemporary poetry. The dominant feelings in this poem are sadness, grief, and regret that, because of the lack of freedom, are imposed on the heart of the imprisoned poet. But his idealistic mind craves blowing up for flight and release. In a formalistic and analytical approach, this research aimed to study the linguistic, musical and aesthetic domains in "Arghavan". The formalist analysis of this work shows that the artistic techniques used at the three mentioned domains help to discover hidden aspects beyond the thought and ideas of the poet. Therefore, going beyond the words, linguistic interpretations, and syntactic functions in the poem, it was aimed to find answers to the following questions: <br />1- How are the grief- and regret-centered emotions of the poet represented in the form and structure of this poem? <br />2- How effective are formalist features in the acceptance and durability of "Arghavan" poem? <br />3- How can focusing on the form and structure reveal the implicit and latent ideas in the poem? <br />This review shows that this literary work has two major characteristics that have a profound and long-lasting influence on the mind and thought of the audiences that make the poem acceptable to them. The first one is the use of the communicative language in the poem which creates an intimate and close relationship between the poet and the audience. The other characteristic is the focus on the quest for freedom and the hope to release, which is a pervasive and universal human-social concept. Accordingly, the poet's ideas and social concerns, as well as his emotional and personal feelings are intermingled in a coherent manner and properly represented in the form and structure of the poem, making it a perdurable literary work. In addition, there are other reasons for the success, attractiveness, and durabi<em>lity </em>of this poem that can be detected in the three domains of language, music, and aesthetics, which include: <br />1. Domain of language: use of lexical terms connoting negative emotions, such as gleam, wretched, forgetfulness, penetration, pale, prisoner, mourning, and sorrow, which imply the grief and sadness of the poet, use of the attribute of art instead of the noun, anomalies in the construction and application of verbs, transposition of the parts of speech in a sentence, "Archaism", establishment of a variety of semantic relations, and use of colloquial language. <br />2. Domain of music: use of heavy and dragged mater consistent with the content (faeilaton), the artistic use of the accompanying music (bringing rhymes in seven strings out of the total of ten lines of poetry and applying the row in six cases), amplifying internal music through the repetition of consonants and vowels (phonemes), and use of different types of puns. <br />3. Domain of aesthetics: use of images in balance, consistent with the poet's feelings, use of metaphors, metaphorical combinations, personification, metaphorical symbols that make up the dominant part of the poem, use of allusion to avoid explicit expression of items, use of various rhetorical instruments and verbal and semantic artifacts such as simile, repetitions, synesthesia, hyperbole, paradox, etc. <br />Ebtehaj used the mentioned features, and applied formal elements and various techniques to create an artistic and enduring work called "Arghavan" and he succeeded in transferring his emotions and feelings to the audience. Because of these features, critics place a high value on "Arghavan". <br /><strong> </strong>«ارغوان» شعری درخشان با مضمونی اجتماعی، سرودۀ هوشنگ ابتهاج از چهرههای مشهور شعر معاصر یا نیمایی است. عواطف غالب بر این شعر غم و اندوه و حسرت است که فقدان آزادی بر دل شاعرِ دربند مستولی گردانده است، اما اندیشۀ آرمانگرایانۀ او در انتظار دمیدن صبحی برای پرواز و رهایی است. این پژوهش با رویکردی فرمالیستی و با روشی تحلیلی سعی دربررسی شعر ارغوان در سه ساحت زبانی، موسیقایی و زیباییشناختی دارد. بررسیهای صورتگرفته در این پژوهش نشان میدهد دلایل موفقیّت، جذابیّت و ماندگاری این شعر در هماهنگی میان کاربرد زبان عاطفی و پراحساس، وزنِ متناسب با محتوا و اعتدال در بهکارگیری فنون بلاغت بهویژه استفادۀ هنرمندانه از زبان استعاری است. این عوامل، شعر ارغوان را در ترازوی نقد ناقدان وزین کرده است. ابتهاج با بهکارگیری شگردهایی در هر یک از این سطوح (زبانی، آوایی و ادبی)، توانستهاست به گونهای موفق عاطفه و احساس خود را به مخاطب انتقال دهد.https://liar.ui.ac.ir/article_23055_b748822e411163074f679968553e2bd0.pdfدانشگاه اصفهانفنون ادبی2008802710320180923Maqameh and Picaresque: Is picaresque influenced by Maqameh?مقامه و پیکارسک: آیا سبک داستاننویسی پیکارسک از مقامهنویسی تأثیرپذیر بوده است؟49642308710.22108/liar.2018.100347.1005FAمحمودبشیریدانشیار زبان و ادبیات فارسی، دانشگاه علامه طباطباییرضاجمشیدیکارشناس ارشد زبان و ادبیات فارسی، دانشگاه علامه طباطباییJournal Article20161123Centuries after Maqameh had come to the fore, stories by the name of ''Picaresque'' began to be written in Spanish literature which had numerous similarities with Maqameh. Picaresque can be regarded as the evolutional forms of romances with a different subject matter. Lazarillo de Tormes is the first picaresque story which has been written in 16<sup>th</sup> century in Spain. Narratives of picaresque have numerous similarities with present-day stories, so much so that, some designate Don Quixote de la Mancha- one of the latest picaresque- as the first novel. Since Spain was conquered by Umayyad dynasty, connections were formed between Arabs and Spanish which lead to scientific, artistic, and cultural exchanges and bilateral use of cultural resources. Since picaresque was formed in Spain and because of its similarities to Maqameh, the hypothesis comes to the fore that it originates from Maqameh. This has been referred to in some works which we have made mention of them in the literature. However, we oppose this hypothesis by showing their differences and foregrounds of Picaresque in Europe as well as its social-historical factors. <br />In 4<sup>th</sup> Islamic centuries, a species of prose came to the fore in Arab literature which was called Maqamat. It rapidly gained prominence because Arabic prose in this era had been tended to decorum and artifice and the appearance of Picaresque paved the way for the pens who adored artifice. Mohammad Taghi Bahar believed that Maqameh was a translation of "Gath'' in <strong>Mazdayasna</strong> (<strong>Zoroastrianism</strong>) which has survived after Islam. These excerpts in <strong>Mazdayasna</strong> were melodious and its syllabic poems had symmetry, balance and interval silences; just how Maqamat seems to be (Bahar, 1349, 2<sup>nd</sup> v: 234). Picaresque was a story written by a picaro in which a satire of his era and the people is narrated (Sibre, 1389:4). This literary genre appeared in 16<sup>th</sup> century in Spain and spread to other European countries like France, Italy, Germany, and England. The myth of Hermes can be regarded as the prototype of picaro. According to Greek myths, he was the god of roads, commerce, fortune, sports, and rhetoric. Hermes used to deceive people and trickery was one of his features (Manser, 2009: 219). Picaresque can also be a mixture of "picaro", "picador", "Picards", and "picaroon". <br />Maqamat in its theme is influenced by the social and cultural situation of its era. Beggary, deceit, and tongue are some common themes of Maqamat which is a mirror of the social and cultural situation of that time. Picaresque is in its turn a micro history conflated of literary and historical narratives which its roots should be sought in humanism (De Haan and Mierau, 2014: 1-2). Since picaresque has come to the fore because of a protest to the feudalism of Spain in 16<sup>th</sup> c and the quasi- religious reign of the era, has been labeled as humanistic works. <br />Considering similarities of Maqameh and picaresque, the appearance of Maqameh six century before picaresque and in Spain, the hypothesis has taken some force because Arabs lived and ruled Spain in that period and the bilateral relationships of them cannot be neglected. Nonetheless, these similarities do not provide a solid ground for the hypothesis because these similarities are there in postmodernism, symbolism and Persian classic literature. <br />In addition to differences between the two which outnumbers their similarities, the second reason to reject the hypothesis is the fact that picaresque came into the fore influenced by a foreground of European story writing, holy Books, romance, Aesop's fables, The Fabliau, joke books, novella, and etc. the third reason is the social-cultural condition of Spain in 16<sup>th</sup> centuries and the influence of the life of picaro, Picards, picaroon; just as the influence of the rhythmic style of Quran and traditions of Abu-Zayd Sorooji, Abbas doos, Tarrar Basrah is evident. Furthermore, the fact is that picaresque was not directly influenced by Maqameh because of the three explicit intertextual relationships (quotations, plagiarism, and implicit intertextuality), none can be trace in picaresque from Maqameh. <br />Picaresque should be considered as the product of Spanish social condition of that period of time, not an imitated one nor influenced by eastern prose. This story genre, indeed, was taken from the lives of the poor and picaro of that era of Spain which criticized feudalism, quasi-religious reign, and churches. It is a satire on the miserable state of the poor and their hopeless struggle for bread. At best, Maqameh can be considered as one of the foregrounds of picaresque.برخی معتقدند روایات پیکارسک در ادبیات اروپایی براساس مقامهنویسی در ادب عربی و فارسی شکل گرفته است. مقامه نوعی مجلسگویی است که در آن قصهها و حکایاتی با نثر مصنوع و مسجع و در موضوعات گوناگون بیان میشود. تکدیگری، دزدی و سخنوری موضوعات اصلی مقامات است. پیکارسک نیز گونهای از داستان است که در قرن شانزدهم میلادی در اسپانیا به وجود آمده است و روایتکنندۀ داستان فردی حیلهگر، دزد و سخنور است که با انواع ناملایمات روزگار درگیر است. ازلحاظ ساختار و موضوع، شباهتهای فراوانی میان مقامه و پیکارسک وجود دارد و البته تفاوتهای میان آنها نیز اندک نیست. روش نگارش یافتهها در این مقاله تحلیلی-توصیفی است و در آن، تلاش بر این بوده که شباهتها و تفاوتهای میان مقامه و پیکارسک با تحلیل (بررسی تکتک اجزاء) هریک از آنها بیان شود تا بدین وسیله مشخص شود مقامه بر پیکارسک تأثیرگذار بوده است یا نه. به نظر میرسد به دلایلی همچون تأثیرناپذیری مستقیم پیکارسک از مقامه، شکلگیری این گونۀ داستانی همسو با پیشینۀ فرهنگی-ادبی اروپا و تأثیرپذیری آن از شرایط تاریخی-اجتماعی اسپانیای آن دوران، بتوان این فرضیه را مردود دانست.https://liar.ui.ac.ir/article_23087_698e56eed49f7121271778707c41735d.pdfدانشگاه اصفهانفنون ادبی2008802710320180923A sociological criticism of Jalal Al-e-Ahmad’s story ‘The Setar’ with an approach to the writer’s creativity and aesthetic techniques in the storyنقد جامعهشناختی داستان سهتار جلال آلاحمد با رویکردی به خلاقیت نویسنده و شگردهای زیباییشناختی داستان65782307510.22108/liar.2018.94130.0FAاشرفخسرویدانشآموخته دکتری گروه زبان و ادبیات فارسی، دانشگاه اصفهانفخریزارعیدانشآموخته کارشناسارشد گروه زبان و ادبیات فارسی، دانشگاه شهرکردJournal Article20160426‘The Setar’ is a short story written by Jalal Al-e-Ahmad. This article, with an eclectic and combined method, aims at criticizing technical and aesthetic aspect of the work along with its social content, to show how the author utilized these elements in order to express social thoughts. Al-e-Ahmad is not an introverted writer who has fallen into his own minds and is ignorant of what goes on in society. He is a social and realistic person. The Setar represents part of the author's thoughts and criticizes him for some social damage, albeit indirectly, with the effect of satirical taste. The author depicts the conflict among religious extremist group, fanatical superficial observers, and one-dimensional artists, and, of course, guides the story in such a way to criticize the unaware, worldly, and fanatical religious group and provokes the reader to sympathize with the boy who plays setar (a music tool). In fact, the author complaints more about bigotry and instrumental utilization of religion and considers its adverse consequences as destructive. It is also a show of wealth and well-being of a number of people and the poverty of another group.In addition, the author criticizes beliefs and prejudices that have entered the society in the name of religion that must be broken and moderated. Human interest is a social issue that is of utmost importance in short stories. The writer is indifferent to the society and the educational system, human interests, contradictions and inconsistencies, and false calculations in his work. <br />Characterization, tune, spatiation, description, conflict, suspension, complication and resolution, how to begin and end the story and other techniques of story writing, along with literary techniques, give a unique representation to the story, and make it interesting in terms of form and content. The element of ‘waiting’ which is considered to be the most important feature of the story, is extremely high. Al-e-Ahmadartistically utilized literary techniques such as humorous expression, repetition, paradox and simile and mixed his thoughts to art to make his story influential. The bitter satire used by the author to express social issues has made the story very attractive.It is hoped that this article could be a pattern, though incomplete, for similar cases and would complement and refine the next-generation scholars in order to provide more context for interaction between researchers in the fields of literature and sociology.آثار ادبی دورة بیداری و بعد از مشروطه جنبة اجتماعی و سیاسی فراوانی دارند و میتوان آنها را از دیدگاه جامعهشناختی نقد و بررسی کرد. سهتار جلال آلاحمد ازجملۀ این آثار است. در این مقاله، روش نقد داستان، تلفیقی و ترکیبی و با تحلیل محتوای اجتماعی اثر و بررسی جنبههای فنی و زیباییشناختی آن همراه بوده است تا نشان دهد نویسنده چگونه عناصر فنی داستاننویسی و شگردهای زیباییشناختی ادبی را به کار گرفته است تا اندیشههای اجتماعی و موضوعاتی مانند افراطیگری، تضاد طبقاتی، باورها و سنتهای غلط و علایق انسانی را بیان کند. آلاحمد از عناصری مانند شخصیتپردازی، کشمکش و توصیف و شگردهای ادبی چون بیان طنزآمیز، تکرار، پارادوکس و تشبیه کمک گرفته و اندیشههای خود را با هنر آمیخته است تا داستان خود را اثرگذار و جذاب کند. امید است این نوع پژوهشها بتوانند نقدهای تلفیقی و چندجانبه را که نسبت به نقدهای تکبعدی کاملتر و جامعترند، گسترش دهند و جایگاه خود را در پژوهشهای ادبی بیابند.https://liar.ui.ac.ir/article_23075_25adacd4db2b31b55e9960c148e9968e.pdfدانشگاه اصفهانفنون ادبی2008802710320180923Test analysis in Ferdowsi's Shahnameh in terms of basics, goals, forms and quiz constructionتحلیل آزمون در شاهنامه؛ براساس مبانی، اهداف، اشکال و ساختار آزمونها79962312810.22108/liar.2018.104280.1151FAمحمودآقاخانی بیژنیدانشجوی دکتری ادبیات حماسی دانشگاه اصفهان، اصفهان، ایراناسماعیلصادقیاستادیار گروه زبان و ادبیات فارسی دانشگاه شهرکرد، شهرکرد، ایرانJournal Article20170522<strong>Abstract</strong> <br />In Ferdowsi's Shahnameh, Passing through the fire, falling into the blood, conquering hard and difficult fortresses, answering to the mysterious questions and passing of the kings is one of the most important bases for testing the heroes in which the heroes must go through an important and difficult test to achieve their goal. The passage of fire (or VER) to prove innocence in the story of Siavash, flooding in the blood to escape from the fateful destiny in Zohak's story, choosing the kingdom to determine the new king in the story of the kingdom of Kikávos,the test of choosing Zal’s husband, the sons of Fereydoun and Goshtasb by the priests, the Shah of Yemen and the Kaiser of Rome, testing the hero in the story of Haftkhan Rostam and Esfandiar, are the most important tests in Ferdowsi's Shahnameh. The purpose of this research is to analyze the basics, goals, forms, and structure of various tests in Shahnameh. This research is fundamentally based on library studies and descriptive-analytic methods. Heroes who have a godfather and support of God and who seek a clean and good development will easily pass these tests and triumph, but Zahak, who is bad, will fail in his test. All tests have the same structure, in the 1st place, the situation is balanced, then it changes with an incident and eventually the balance is restored with the action of the hero and the test. <br /><strong>1. Introduction</strong> <br />In Shahnameh, in order to make a great work for a great outcome, it will lead to true victory, justice and defeating lies and injustice; heroes must pass through difficult tests and get rid of ignorance and foolishness, and Come out of the story while they get learned and wise. Examinations in Shahnameh are for the prompting to the pious kingdom, kingdom, and proof of innocence, spousal and immortality (Maskob, 2010: 33). Although sporadically, fire as a natural element in some research has been discussed, the purpose of the test was not to analyze it and how it was expressed; to take into account one of the functional roles of this element. Studies have not done so far on the basics, forms, goals, and structure of tests, especially the blood test, the choice of spouse, the kingdom and hero evaluation in a separate and scientific study. <br /><strong>2. Discussion and analysis</strong> <br />The most important tests of Shahnameh and their structural elements are shown in the following table: <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /><strong><em>Test result</em></strong> <br /> <br /> <br /><strong><em>The purpose of the test</em></strong> <br /> <br /> <br /><strong><em>Examiner</em></strong> <br /> <br /> <br /><strong><em>Test receiver</em></strong> <br /> <br /> <br /><strong><em>The basis of the test</em></strong> <br /> <br /> <br /><strong><em>Exam’s name</em></strong> <br /> <br /> <br /> <br /> <br />Siavash victory and purity <br /> <br /> <br />Proof of innocence <br /> <br /> <br />Siavash <br /> <br /> <br />Kay Kāvus <br /> <br /> <br />fire <br /> <br /> <br /><strong><em>Near fire</em></strong> <br /> <br /> <br /> <br /> <br />Defeat Zahhak and Evil <br /> <br /> <br />Escape from ominous fate and rebirth (immortality) <br /> <br /> <br />Zahhak <br /> <br /> <br />Zahhak <br /> <br /> <br />Blood <br /> <br /> <br /><strong><em>Passing blood</em></strong> <br /> <br /> <br /> <br /> <br />Victory of the Fereydoun Boys and Marriage to Yemen's King's Girls, Zal marriage with Rudaba and Vishtaspa with Ketayon <br /> <br /> <br />Choosing a Spouse and Ensuring the Competency, Wisdom and his Physical Fitness <br /> <br /> <br />The sons of Fereydoun, Zal and Vishtaspa <br /> <br /> <br /> <br />King of Yemen, Fereydoun, Manuchehr, Kaiser Roman <br /> <br /> <br />Fighting and mysterious questions <br /> <br /> <br /><strong><em>Marriage test</em></strong> <br /> <br /> <br /> <br /> <br />Conquest of the Bahman Fort and the Kingdom of Kay Khosrow on Persia <br /> <br /> <br />Getting into the kingdom,Measure competency in athletics, and wisdom <br /> <br /> <br />Fariborz <br />Kay Khosrow <br /> <br /> <br />Kay Kāvus <br /> <br /> <br />Conquer the fort <br /> <br /> <br /><strong><em>Choose a Kingdom</em></strong> <br /> <br /> <br /> <br /> <br />Win over enemies and achieve the goal <br /> <br /> <br />Coming to the fortress base, Rescue Shah (Prince), measure the competency in wisdom and athletic <br /> <br /> <br />Rostam <br />Esfandiar <br /> <br /> <br />Kay Kāvus <br />Vishtaspa <br /> <br /> <br />Passing the khan <br /> <br /> <br /><strong><em>Hero testing (Haft Khan)</em></strong> <br /> <br /> <br /> <br /> <br /> <br /> <br />In the Shahnameh of Ferdowsi, the examiner is usually the kings (Fereydoun, Kay Kāvus, Manouchehr, Vishtaspa, Zahhak, Shah Yemen and Qaisar-Rom), Clergymen and priests (in the test of Zal and Siavash); and heroes (Zal) and tested; Shah (Zahhak), Princes (Fereydoun’s boys, Siavash, Esfandiar, Vishtaspa, Kay Khosrow, Fariborz); and the heroes are (Zal and Rostam). <br /><strong>3. Conclusion</strong> <br />Usually the heroes who seek to spread goodness and dominated evil with the support of God and the great power, they will come out of this test. As in Siavash's story, near fire proves the innocence of Siavash. Another test in Shahnameh is a blood test in Zahhak's story. Zahhak aims to change his fateful destiny to kill and sacrifice humans and animals and tries to change his fate which was killing by Fereydoun with creating a tale of blood that will fail in this test. Test the choice of kingdom in the story of Kay Kāvus’s kingdom and choosing Kay Khosrow after opening the Bahman fortress, Testing the hero in the story of Haft khan Rostam and Esfandiar, Choosing a spouse test For the sons of Iraj by Sarv Shah (king of Yemen), Zal and Goshtasb are among the most important other tests in Ferdowsi's Shahnameh. <br />The goal of these tests is to measure the competency and the wisdom of heroes, and they have a mythological meaning. With the exception of Zahak in the blood test, other heroes of the Shahnameh tests, who have a godsend of God, and they have the support of Allah and seek to develop purity and goodness, simply pass through these tests and win. All tests have the same structure: Initial balanceà Collapse balance and unstable situationàre-balance (A new steady state that takes shape).هدف این پژوهش، تحلیل مبانی، اشکال، اهداف و ساختار آزمونهای مختلف در <em>شاهنامه</em> است. این پژوهش به شکل بنیادی، بر پایة مطالعات کتابخانهای و به روش توصیفی ـ تحلیلی انجام شدهاست. آزمون (ور) گذر از آتش برای اثبات بیگناهی در داستان سیاوش، آزمون فرو رفتن در خون برای رهایی از سرنوشت شوم در داستان ضحاک، آزمون انتخاب پادشاهی برای تعیین پادشاه جدید در داستان پادشاهی کیکاووس، آزمون انتخاب همسر برای زال، فرزندان فریدون و گشتاسب توسط موبدان، شاه یمن و قیصر روم، آزمون سنجش قهرمان در داستان هفتخان رستم و اسفندیار، از مهمترین آزمونهای موجود در <em>شاهنامه</em> فردوسی به شمار میروند که قهرمانان برای رسیدن به هدف خود، باید آنها را پشت سر بگذارند. قهرمانانی که از فرّ ایزدی و حمایت خداوند برخوردارند و در پی گسترش پاکی و خوبی هستند، بهآسانی از این آزمونها میگذرند و پیروز میشوند؛ اما ضحاک که نمودار بدی است، در آزمون خود شکست میخورد. تمامی آزمونها ساختاری مشابه دارند؛ بهگونهای که در ابتدا وضعیت متعادل برقرار است، سپس با بروز حادثهای دچار تغییر میشود و درنهایت، با اقدام قهرمان و انجام آزمون، تعادل دوباره برقرار میشود.https://liar.ui.ac.ir/article_23128_af627dc7b1f2f531c402d076b087819b.pdfدانشگاه اصفهانفنون ادبی2008802710320180923Tips for editing the ancient texts according to a figurative deviceملاحظات ویرایش متون کهن با توجه به «هنرسازه»ای بدیعی971142313010.22108/liar.2018.94070.0FAعلیجلالیدانشآموخته دکتری زبان و ادبیات فارسی دانشگاه اصفهان، اصفهان، ایرانمنوچهرفروزنده فرددانشجوی کارشناسی ارشد فرهنگ و زبانهای باستانی دانشگاه شهید باهنر کرمان، کرمان، ایرانJournal Article20160112<strong>Abstract</strong> <br />One of the concerns of editors in editing ancient texts is adherence to orthography the manuscript or use to new orthography Persian language. Indeed, in editing ancient texts we cannot adhere to all the rules of the new orthography. Because poets sometimes have decorated their poems based on ancient orthography features. For this reason editors should note that sometimes accuracy of meaning is depends on the particular orthography. <br />The basis of this figurative device is formal elements of Persian Orthography and languages and symmetry. In this orthography we can paste some words together and write them separately and in general, a word can be written in different ways. This Properties of orthography makes the word in combination with other words find new meaning and in proportion or conflict with other word in the text create a semantic relationship. On the other hand, mankind has seen everything symmetrically and considered this symmetry a sign of beauty. In Persian literature Symmetry, both formally and semantically, has created many beauty and most rhetorical tricks are the result of symmetry. <br />Evidence shows that poets and authors are not used this figurative device for hobby but they used this device consciously. They have used too much from properties of orthography that causes bi-readings, amphibology of proportion, distortions, etc. <br />Orthography elements that make up this figurative device can be divided into four categories: <br />1- The rule pasting words together. This rule is one of the oldest traditions of the Persian orthography of course, without a special rule, such as: <br /> <br /> <br /> <br /> <br /> <br />وقف خواهد بُد تا حشر <span style="text-decoration: underline;">برین</span> شوم حشَر <br /> <br /> <br /> <br /> <br /> <br />آخر ایران که از او بودی <span style="text-decoration: underline;">فردوس</span> برشک <br /> <br /> <br /> <br /> <br /> <br /><strong> </strong><strong>(</strong>Anvari, 1376: 203) <br />“بر این “in the second hemistich to fit the “فردوس “written connected. Modarres Razavi in your printing adhered to this orthography. <br />Remove tittle “است” and word previous connection to «-ست». The scribes in some periods attached «است» to The Previous word. Even «-ست» attached to the words with «هـ» without pronunciation and removed their «هـ»; such as افتادست. <br /> <br /> <br /> <br /> <br /> <br />کارم بکا<span style="text-decoration: underline;">مست</span> الحمد لله<br /> (Hafez) <br /> <br /> <br /> <br /> <br /> <br />عیشم <span style="text-decoration: underline;">مدامست</span> از لعل دلخواه <br /> <br /> <br /> <br /> <br /> <br />Proportionality "= مستdrunk" with "=مدامconstant (= wine)" and "=عیشmirth" Depends on adhere to old Orthography. <br />3-Paste words to preposition “به ”, such as: <br /><span style="text-decoration: underline;">پسر</span> دفع آن ندانست <span style="text-decoration: underline;">بسر</span> در آمد<strong>(</strong>sadi, 1381:79) <br /> «بسر»in proportion with children, brings to mind the word "= پسرson". <br />-4 Twofold writing, such as: <br /> <br /> <br /> <br /> <br /> <br />گاه <span style="text-decoration: underline;">موج</span>یم و گاه <span style="text-decoration: underline;">دریا</span>ئیم<br /> (Shah namat allah vali) <br /> <br /> <br /> <br /> <br /> <br /> <br /><span style="text-decoration: underline;">غرقۀ بحر</span> بیکران <span style="text-decoration: underline;">مائ</span>یم <br /> <br /> <br /> <br /> <br /> <br />The final word in first hemistich According to the current Orthography is written «ماییم» but «ماء» in meaning “آب =water” in «مائیم» has proportional to” غرقه= flooding",” بحر = دریا =sea" and” موج =wave" and so in this verse as «مائیم» is true. <br />Of course, we can divide these orthography elements into two categories: pasting words together («است» و «به») and Twofold writing But since each has its own evidence and seems had been raised to poets and writers in particular were introduced separately. We can divide the evidence on the basis of artistic creation. For example: 1. The dual ambiguity of two types of reading 2. Distortions proportion 3. Pun writing 4. Pun Anagram, Etc. But because this figurative device is based Orthography We knew better basis of Division be the factors of Orthography. <br /><strong>Figurative device in contemporary literature</strong> <br />This figurative device for contemporary poets is a new artistic source that it has been less attention. As: <br />دیشب باران قرار با پنجره داشت <br />روبوسی آبدار با پنجره داشت <br />یکریز به گوش پنجره پچپچ کرد <br /><span style="text-decoration: underline;">چک چک، چک چک</span>... <span style="text-decoration: underline;">چکار</span> با پنجره داشت؟<strong> </strong>(Amin poor, 1388: 89) <br />In the example above «چکار» cannot be written «چه کار» because artistic elegance of poetry in repeat of «چک»By writing, «چه کـ[ار]» disappear.دربارۀ رسمالخط قدیم نسخههای خطی در بیشتر کتب تصحیحی و کتبی که دربارۀ نسخهشناسی و تصحیح متون نوشته شدهاست بحثهایی به چشم میخورد؛ اما دربارۀ استفادۀ هنری شعرا از ویژگیهای رسمالخط کهن کمتر سخن به میان آمدهاست. در کتب بلاغی نیز دربارۀ انواع ترفندهای بدیعی سخن رفتهاست؛ اما سخنی از ترفندهای بدیعی وابسته به رسمالخط نیست. هنرسازهای که در این جستار بررسی میشود، در شکل ظاهری و نوشتاری یک اثر ادبی جلوهگر میشود و وابسته به رسمالخط خاص زبان فارسی است و از هر دو حیث صورت و معنا زیباییآفرین است. در واقع، مبنای هنرسازۀ بدیعی مورد بحث، یکی عوامل صوری خط و زبان و دیگر مبحث تقارن و قرینهپردازی است که از کهنترین عوامل نظم و زیباییبخشی در اقسام هنر است. تتبع در اشعار شاعران و بسامد استفاده از این هنرسازه نشان میدهد شاعران در استفاده از آن خلاق و آگاه بودهاند. جستوجو در متون منظوم و منثور فارسی و گاه مقابلۀ چند تصحیح از یک اثر برای یافتن مواردی از هنرسازۀ بدیعی مدنظر، روش این پژوهش است.https://liar.ui.ac.ir/article_23130_a820ee12c68837d32f721796d02ec3e4.pdfدانشگاه اصفهانفنون ادبی2008802710320180923Maqamat al-Hariri's Impression on Saadi's Golestan and Bustanتأثیر مقامات حریری بر گلستان و بوستان سعدی1151282313110.22108/liar.2018.102468.1088FAمحمدعلیمحمدیدانشیار گروه زبان و ادبیات فارسی دانشگاه یاسوج، یاسوج، ایرانJournal Article20170227<strong>Abstract</strong> <br />Saadi who is renowned as the "King of the Realm of Literature", in addition to his own innate sense and inherent faculty, benefited from various sources, for his eloquence. One of these sources and references has been the unique masterpiece of the Arabic letters, Maqamat al-Hariri by Abu-Mohammed Al-Qasim Hariri Basri (446-516 H = 1054-1122 AD). This work, owing to its inclusion of nice and astonishing anecdotes, abundance of figures of speech, esthetic requisites of speech and frequent usage of the Qur'anic Verses, Hadith, Arabic poems and proverbs, attracted Saadi's attention. As Saadi used to study at the Nezamieh school of Baghdad, he became familiar with the book. Saadi's attention to Maqamat is to the extent that he has mentioned it in Golestan and Bustan, in a number of occasions. It is worth mentioning that the Persian literary figures and poets had never deemed themselves to be needless of Maqamat al-Hariri; however, it seems that Saadi has been interested in the book, more than anyone else. As a consequence, in the Persian poetry and literary works, the strongest inspiration from the book can be seen in Saadi's words. As a matter of fact, the rhetorical style of Saadi'sGolestan is similar to Maqamat to a great extent. As Bahar, Malekosho'ara( poet laureate) asserts " Golerstan is the second Maqamat al-Hamidi" which is, in turn, regarded as an utter imitation of Maqamat al-Hariri. In short, Saadi has mentioned some points in Golestan and Bustan which are indicative of his attention to Maqamat al-Hariri. The inspirations of Saadi from Maqamat al-Hariri are of two categories: The first category includes verbal inspirations, so that we can sometimes see that Saadi quotes some words from Maqamat al-Hariri, which are used in the Persian literature for the first time, e.g. juxtaposing the two words of /ʔeʃa/ (=the night prayer)and /ʔæʃa/ (=supper) or the two words of /ʤəʊʔ/ (=hunger) and /hoʤəʊʔ/ (=sleep) and sometimes a complete phrase has been cited, e.g. /be hokm-e zæruræt/ (=as the need arises). The second category, which is more important than the first, is the citation of similar concepts, which sometimes includes a phrase, e.g. " practical effect on distant people" (making some people cry) or lack of competence in asking and answering questions, in which Saadi renders Hariri's word "missing all arrows in the quiver"to "He dropped the arrow of the reason quiver". And sometimes, Saadi utilizes the gist of a tale narrated by Hariri, and develops it very delicately and artistically by changing the characters and sets it in a new design, as if it has happened to him himself, e.g. the Euphrates Narrative of Maqamat al-Hariri, mentioned in the 4<sup>th</sup> chapter of Bustan, under the topic of "Anecdote of the Scholar".یکی از آثار مهم و اثرگذار بر کلام سعدی در <em>گلستان</em> و <em>بوستان،</em> <em>مقامات حریری</em> است. این کتاب را که سرشار از انواع ظرافت کلام عرب است، بهحق میتوان نمونۀ عالی فصاحت در ادب عرب شمرد. سعدی که سالها در بغداد زندگی کرده است، با این کتاب انس تمام یافته است و اشاراتی که بهویژه در بوستان دارد بهطور تام بر این علاقه و انس دلالت میکند. از مطالعۀ آثار سعدی و <em>مقامات حریری</em> و مقایسۀ آنها این نتیجه حاصل میشود که سعدی در بیان مطالبی بهطور مستقیم از <em>مقامات حریری</em> اثر گرفته است. این تأثیرات شامل دو جنبۀ لفظی و مضمونی و محتوایی است. در این مقاله اثرپذیری کلام سعدی در <em>بوستان</em> و <em>گلستان </em>از <em>مقامات</em> حریری نشان داده شده است.https://liar.ui.ac.ir/article_23131_491765c4996007e074e7aadf7cf600e0.pdf