University of Isfahan Literary Arts 20088027 14 2 2022 06 22 Paradise, Light, and Beauty: Fundamental Metaphors in Abhar al-Asheqeen Paradise, Light, and Beauty: Fundamental Metaphors in Abhar al-Asheqeen 1 16 26815 10.22108/liar.2022.131742.2094 FA Samira Bakhtiarinasab Ph. D. Graduate of Persian Language and Literature, Faculty of Literature and Humanities, Shiraz University, Shiraz, ‎Iran Kheyrollah Mahmoodi Associate Professor of Persian Language and Literature, Faculty of Literature and Humanities, Shiraz University, ‎Shiraz, Iran Journal Article 2021 12 07 Abstract Abhar-ol-Asheghin, as a volume that uses complex, metaphor-based language, is thought-provoking and obscure. Despite the fact that previous studies have been conducted on the book, its linguistic and intellectual features are not yet fully known. Due to the linguistic features of Abhar-ol-Asheghin and the capacity of conceptual metaphor theory for simultaneous analysis of language and thought, the current study investigates the conceptual metaphors in Abhar-ol-Asheghin by relying on the structural relations between them. This study does not consider the metaphors to be of the same value; instead, it deals with the structure arising from the relations between conceptual metaphors by considering ‘the expansion of the mappings of a conceptual domain’ in the process of ‘entailment’. ‘Paradise’, ‘light’, and ‘beauty’ are the most significant conceptual domains in the text and have been used for the metaphoric understanding of the fundamental concepts in Rouzbehan’s mystical thinking. Other conceptual domains in the text are activated through the expansion or re-examination of these domains. It can be said that the structure arising from the relations between conceptual metaphors in Abhar-ol-Asheghin has three layers: first, Paradise, light, and beauty; second, the expansion of the conceptual domains in the first layer; and third, the re-examination of the conceptual domain in the first layer with the aid of a few other conceptual domains. Introduction Abhar al-Asheqeen features a complicated language due to the accumulation of images and similes, and to understand it, one has to go through the tangled corridor of its words and images. The theory of conceptual metaphor and explaining the relationship between abstract and concrete concepts is a suitable approach for analyzing the language and thought of texts such as Abhar al-Asheqeen. The main purpose of the present study is to find the most important conceptual metaphors in this text according to central ideas and their expansion in the process of implication and the structural relationships of metaphors with each other. Preliminary Research Research about Rozbahan’s Abhar al-Asheqeen is abundant; however, the followings are among those conducted with a conceptual metaphor approach. Agha Hosseini et al. (2016) propose the concept of simile based on which they further examine the conceptual domains of Abhar al-Asheqeen, and conclude that there are 44 conceptual ideas in this text. Fotoohiroodmojeni and Rahmani (2017), in their article ‘the Function of Metaphor in Expressing the Mystical Experiences of Rozbahan Baghli in Abhar al-Asheqeen’ argue that the most significant conceptual metaphor of Abhar al-Ashqeen is the one where the world is assimilated to a gown worn by the bride of truth. However, this conclusion is based on the concept of mystical experience and previous research on Rozbahan without a thorough analysis of other metaphors available in Abhar al-Ashqeen. Hashemi (2015) is another researcher who has examined the conceptual metaphors related to the concept of love in several mystical prose texts, including Abhar al-Ashqeen. Discussion: Conceptual Elements in the Text of Abhar al-Asheqeen Heaven, light, and beauty are the three macro conceptual domains and the central mappings in Abhar al-Ashqeen that we further study. 32.1. The Central Concepts of Abhar al-Ashqeen 32.1.1 Heaven In Abhar al-Ashqeen, eternity is illustrated as the garden of paradise. This metaphorical understanding appears in the form of compositions such as the eternal garden in the text. Also, the garden is an objective concept for the perception of eternal beauty; the sort that the beauty of this world resembles. 32.1.2 Beauty The second concept that Rozbahan uses to talk about eternity is beauty. Combinations such as the beauty of the kingdom, the beauty of meaning, the beauty of spirituality, and the beauty of observation confirm this metaphorical perception. 32.1.3 Light Rozbahan perceives eternity and its related concepts as light. Holy souls, glory, nature, heaven, goodness, faith, step, attributes, happiness, power, and manifestation are among the eternity concepts acting like a source of light that vanishes with distance. In addition to the metaphorical use of light in the Qur'an, which is Rozbahan's source of reliance, light is a tool and radix for seeing, and based on the common metaphor to know is to see, light is connected with the concept of knowledge. This is where the concept of hijab, which can potentially exist in the concept of light, emerges in Abhar al-Asheqeen. 32.2. Development of Central Schemes The conceptual layers of heaven, light, and beauty in the place of the central mappings are expanded according to the process of implication and provide a context for understanding other mystical concepts in the framework of modern worldview by becoming macro conceptual schemes. 32.2.1 Heaven as a Central Concept From the expansion of the central mapping of heaven, the concepts of hell, sky, road, and sky appear in the text of Abhar al-Asheqeen. To understand eternity, heaven is considered to be at the highest level of the sky while the hell is at the lowest level to imply the concept of an accident. As heaven in the holy texts is considered as a garden in the sky, every other entity appearing in the sky relates to heaven in Abhr al-Ashqeen. Therefore, concepts that are somehow synonymous with eternity, or related to it, are understood as the sky in this text, and the sky, per se, is like a way between heaven and hell. From the expansion of the concept of the sky, the holy territory of God and metaphors such as “the heart is the earth" are obtained. 32.2.2 Beauty and Light as Central Concepts As explained earlier, the concepts of eternity and accident are understood as light and beauty. Based on this premise, the relationship between eternity and accident is explained. In Abhar al-Ashqeen, the concepts such as window and mirror, container and content, and ‘eltebas’ are used to metaphorically understand this relationship. 32.2.2.1 The Concepts of Window and Mirror There is a relationship between the beauty of the accident and the eternal beauty; the former is the source of the perception of the latter. Also, based on the general metaphor ‘to know is to see’, seeing the beauty of an accident is like knowing (perceiving) the eternal beauty. As a result, the combination of this general metaphor and the concept of beauty generates ideas of window and mirror in Rozbahan's mindset and adds to the conceptual domain of beauty. Also, objective concepts such as wine in a glass, Meshkat, candle, and bowl that all express the idea of content and container, are used to understand the relationship between the accident and eternity and fall under the metaphor ‘the accident is the container of eternity’. The metaphorical concept of Eltebas also stems from the concepts of beauty and light. Eltebas implies both covering and revealing and is used for the perception of beauty. Comparing the three sets of window and mirror, container and content, and Eltabas, it can be said that the first two explain a facet of the relationship between accident and eternity; the former has more of an epistemological dimension while the latter has more of an existential nature. But the metaphor of Eltebas shows both aspects at the same time. 32.3 Recognition of the Central Concepts Sometimes abstract concepts are multifaceted and complex; that is why several conceptual factors are used simultaneously to understand them. Moreover, as the conceptual domain of the origin might be too complex or abstract, it is perceived in a metaphorical process. Some of the conceptual metaphors of Abhar al-Ashqeen are the result of such recognition. Rozbahan uses the conceptual domains of the king, war, mine, and bridge to metaphorically recognize more abstract mystical concepts. Conclusion Eternity is understood through the three concepts of paradise, light, and beauty in Abhar al-Asheqeen. These have been developed in the central mapping of the text and have caused the emergence of other metaphors. Spatially imagining eternity (heaven) helps form a coherent structure of conceptual metaphors in such a way that it can be said the most important metaphorical mapping in Abhar al-Ashqeen is the perception of eternity as heaven, and further as light and beauty. This metaphorical understanding has created a coherent structure comprising three stages. The first is the metaphorical understanding of eternity (heaven, light, and beauty); the second is the expansion of the metaphors related to the first stage (hell, sky, window, mirror, etc.); and the third is a process of metaphorical recognition. This process refers to the role of previous metaphors in understanding other aspects of the main worldview concepts (king, war, mine, and bridge). The remarkable point of this generative structure is that the metaphors of Eltebas, bridge, and sky, despite implying the important worldview and mysticism of Rozbahan, in an expletory process of expansion, have risen from the heart of early metaphors. This coherent structure with three layers, in addition to an illustration of the power of the primary metaphors and central mappings of Abhar al-Asheqeen, expresses the deep reconnaissance of Rozbahan and his mystical experiences that constantly give birth to new mystical concepts. This very feature distinguishes Rozbahan from other mystics. His discovery approach and the formation of the important elements of his worldview based on the metaphorical recognition and re-identification of the fundamental elements make Abhar al-Ashqeen a perfectly reliable example to show the power of conceptual metaphors in the generation of meaning and conception in the process of ‘requirement’ and relying on ‘central mapping’. Also, these two terms from the conceptual metaphor theory could provide a reliable criterion to determine the important metaphor(s) in the text. Abstract Abhar-ol-Asheghin, as a volume that uses complex, metaphor-based language, is thought-provoking and obscure. Despite the fact that previous studies have been conducted on the book, its linguistic and intellectual features are not yet fully known. Due to the linguistic features of Abhar-ol-Asheghin and the capacity of conceptual metaphor theory for simultaneous analysis of language and thought, the current study investigates the conceptual metaphors in Abhar-ol-Asheghin by relying on the structural relations between them. This study does not consider the metaphors to be of the same value; instead, it deals with the structure arising from the relations between conceptual metaphors by considering ‘the expansion of the mappings of a conceptual domain’ in the process of ‘entailment’. ‘Paradise’, ‘light’, and ‘beauty’ are the most significant conceptual domains in the text and have been used for the metaphoric understanding of the fundamental concepts in Rouzbehan’s mystical thinking. Other conceptual domains in the text are activated through the expansion or re-examination of these domains. It can be said that the structure arising from the relations between conceptual metaphors in Abhar-ol-Asheghin has three layers: first, Paradise, light, and beauty; second, the expansion of the conceptual domains in the first layer; and third, the re-examination of the conceptual domain in the first layer with the aid of a few other conceptual domains. Introduction Abhar al-Asheqeen features a complicated language due to the accumulation of images and similes, and to understand it, one has to go through the tangled corridor of its words and images. The theory of conceptual metaphor and explaining the relationship between abstract and concrete concepts is a suitable approach for analyzing the language and thought of texts such as Abhar al-Asheqeen. The main purpose of the present study is to find the most important conceptual metaphors in this text according to central ideas and their expansion in the process of implication and the structural relationships of metaphors with each other. Preliminary Research Research about Rozbahan’s Abhar al-Asheqeen is abundant; however, the followings are among those conducted with a conceptual metaphor approach. Agha Hosseini et al. (2016) propose the concept of simile based on which they further examine the conceptual domains of Abhar al-Asheqeen, and conclude that there are 44 conceptual ideas in this text. Fotoohiroodmojeni and Rahmani (2017), in their article ‘the Function of Metaphor in Expressing the Mystical Experiences of Rozbahan Baghli in Abhar al-Asheqeen’ argue that the most significant conceptual metaphor of Abhar al-Ashqeen is the one where the world is assimilated to a gown worn by the bride of truth. However, this conclusion is based on the concept of mystical experience and previous research on Rozbahan without a thorough analysis of other metaphors available in Abhar al-Ashqeen. Hashemi (2015) is another researcher who has examined the conceptual metaphors related to the concept of love in several mystical prose texts, including Abhar al-Ashqeen. Discussion: Conceptual Elements in the Text of Abhar al-Asheqeen Heaven, light, and beauty are the three macro conceptual domains and the central mappings in Abhar al-Ashqeen that we further study. 32.1. The Central Concepts of Abhar al-Ashqeen 32.1.1 Heaven In Abhar al-Ashqeen, eternity is illustrated as the garden of paradise. This metaphorical understanding appears in the form of compositions such as the eternal garden in the text. Also, the garden is an objective concept for the perception of eternal beauty; the sort that the beauty of this world resembles. 32.1.2 Beauty The second concept that Rozbahan uses to talk about eternity is beauty. Combinations such as the beauty of the kingdom, the beauty of meaning, the beauty of spirituality, and the beauty of observation confirm this metaphorical perception. 32.1.3 Light Rozbahan perceives eternity and its related concepts as light. Holy souls, glory, nature, heaven, goodness, faith, step, attributes, happiness, power, and manifestation are among the eternity concepts acting like a source of light that vanishes with distance. In addition to the metaphorical use of light in the Qur'an, which is Rozbahan's source of reliance, light is a tool and radix for seeing, and based on the common metaphor to know is to see, light is connected with the concept of knowledge. This is where the concept of hijab, which can potentially exist in the concept of light, emerges in Abhar al-Asheqeen. 32.2. Development of Central Schemes The conceptual layers of heaven, light, and beauty in the place of the central mappings are expanded according to the process of implication and provide a context for understanding other mystical concepts in the framework of modern worldview by becoming macro conceptual schemes. 32.2.1 Heaven as a Central Concept From the expansion of the central mapping of heaven, the concepts of hell, sky, road, and sky appear in the text of Abhar al-Asheqeen. To understand eternity, heaven is considered to be at the highest level of the sky while the hell is at the lowest level to imply the concept of an accident. As heaven in the holy texts is considered as a garden in the sky, every other entity appearing in the sky relates to heaven in Abhr al-Ashqeen. Therefore, concepts that are somehow synonymous with eternity, or related to it, are understood as the sky in this text, and the sky, per se, is like a way between heaven and hell. From the expansion of the concept of the sky, the holy territory of God and metaphors such as “the heart is the earth" are obtained. 32.2.2 Beauty and Light as Central Concepts As explained earlier, the concepts of eternity and accident are understood as light and beauty. Based on this premise, the relationship between eternity and accident is explained. In Abhar al-Ashqeen, the concepts such as window and mirror, container and content, and ‘eltebas’ are used to metaphorically understand this relationship. 32.2.2.1 The Concepts of Window and Mirror There is a relationship between the beauty of the accident and the eternal beauty; the former is the source of the perception of the latter. Also, based on the general metaphor ‘to know is to see’, seeing the beauty of an accident is like knowing (perceiving) the eternal beauty. As a result, the combination of this general metaphor and the concept of beauty generates ideas of window and mirror in Rozbahan's mindset and adds to the conceptual domain of beauty. Also, objective concepts such as wine in a glass, Meshkat, candle, and bowl that all express the idea of content and container, are used to understand the relationship between the accident and eternity and fall under the metaphor ‘the accident is the container of eternity’. The metaphorical concept of Eltebas also stems from the concepts of beauty and light. Eltebas implies both covering and revealing and is used for the perception of beauty. Comparing the three sets of window and mirror, container and content, and Eltabas, it can be said that the first two explain a facet of the relationship between accident and eternity; the former has more of an epistemological dimension while the latter has more of an existential nature. But the metaphor of Eltebas shows both aspects at the same time. 32.3 Recognition of the Central Concepts Sometimes abstract concepts are multifaceted and complex; that is why several conceptual factors are used simultaneously to understand them. Moreover, as the conceptual domain of the origin might be too complex or abstract, it is perceived in a metaphorical process. Some of the conceptual metaphors of Abhar al-Ashqeen are the result of such recognition. Rozbahan uses the conceptual domains of the king, war, mine, and bridge to metaphorically recognize more abstract mystical concepts. Conclusion Eternity is understood through the three concepts of paradise, light, and beauty in Abhar al-Asheqeen. These have been developed in the central mapping of the text and have caused the emergence of other metaphors. Spatially imagining eternity (heaven) helps form a coherent structure of conceptual metaphors in such a way that it can be said the most important metaphorical mapping in Abhar al-Ashqeen is the perception of eternity as heaven, and further as light and beauty. This metaphorical understanding has created a coherent structure comprising three stages. The first is the metaphorical understanding of eternity (heaven, light, and beauty); the second is the expansion of the metaphors related to the first stage (hell, sky, window, mirror, etc.); and the third is a process of metaphorical recognition. This process refers to the role of previous metaphors in understanding other aspects of the main worldview concepts (king, war, mine, and bridge). The remarkable point of this generative structure is that the metaphors of Eltebas, bridge, and sky, despite implying the important worldview and mysticism of Rozbahan, in an expletory process of expansion, have risen from the heart of early metaphors. This coherent structure with three layers, in addition to an illustration of the power of the primary metaphors and central mappings of Abhar al-Asheqeen, expresses the deep reconnaissance of Rozbahan and his mystical experiences that constantly give birth to new mystical concepts. This very feature distinguishes Rozbahan from other mystics. His discovery approach and the formation of the important elements of his worldview based on the metaphorical recognition and re-identification of the fundamental elements make Abhar al-Ashqeen a perfectly reliable example to show the power of conceptual metaphors in the generation of meaning and conception in the process of ‘requirement’ and relying on ‘central mapping’. Also, these two terms from the conceptual metaphor theory could provide a reliable criterion to determine the important metaphor(s) in the text.

https://liar.ui.ac.ir/article_26815_cfda7f7b1814cc57d4e9bdbe5f7f58f4.pdf

University of Isfahan Literary Arts 20088027 14 2 2022 06 22 Comparing the Effect of Gender Factors on the Writing Style of the Novels Sal-e Balva and ‎Khaneye Edrisi Ha Comparing the Effect of Gender Factors on the Writing Style of the Novels Sal-e Balva and ‎Khaneye Edrisi Ha 17 32 26581 10.22108/liar.2022.131845.2097 FA Reyhane Mirza Alian M. A. Student of Persian Language and Literature, Faculty of Humanities, Vali-e Asr University, Rafsanjan, ‎Kerman, Iran Zahra Sayed Yazdi Assistant Professor of Persian Language and Literature, Faculty of Humanities, Vali-e Asr University, Rafsanjan, ‎Kerman, Iran Saeed Hatami Assistant Professor of Persian Language and Literature, Faculty of Humanities, Vali-e Asr University, Rafsanjan, ‎Kerman, Iran Journal Article 2021 12 13 Extended Abstract The author's gender and the reflection of the elements arising from gender in terms of writing techniques are influential in how the narrative is formed. In this regard, the present study aims to compare the narrative style of Khaneye Edrisi Ha by Ghazaleh Alizadeh, and Sal-e Balva by Abbas Maroufi from the same perspective. Feminist theorists believe that the gender of the author is influential in the texts. Due to the spread of feminist issues in the field of literary criticism in today's world, the component of ‘women's writing style’ has become one of the main topics of text analysis based on the methodology of women's criticism. One of the methods that can be widely used in feminist literary criticism is to study examples of women writing styles in literary works. In this study, most of the important coordinates of women's writing style, consisting of fourteen main and influential components, as criteria for measurement and comparison, are considered by the authors: 1) the strong presence of female characters, 2) maximum use of point of view to reflect the author's views, 3) the saliency of the nature of nostalgia or homesickness as one of the common themes in women's writing style, 4) the reflection of ‘waiting’ as an inseparable feature of women's personality, 5) women's meticulousness, 6) the clear manifestation of the concept of ‘love’ and its related feelings and emotions, 7) anti-masculinity, 8) attention to women's body and physical abilities, 9) the manifestation of a kind of solidarity and cooperation between women, which is called ‘sisterhood’, 10) the use of a formal and polite form of language, 11) the use of special vocabulary that indicates the family issues and a woman's preoccupation, 12) the color words, 13) words and emotional reactions, and 14) multilingual signs The results of the study show that although the author of the novel Sal-e Balva is male, based on the gender of the protagonist who is Nooshafarin as the basis of his narrative style, except in a few cases (such as pornography and the use of incomplete sentences), he was well able to create feminine writing. As in most of these components, the narrative of Sal-e Balva has many similarities with the narrative of Khaneye Edrisi Ha. As far as can be said, the author of the novel Sal-e Balva has used feminine writing techniques in a way that conflicts with her gender. Although Khaneye Edrisi Ha is a feminist novel in general, and in most of the characteristics of feminine writing, this kind of author’s attitude is clearly reflected. But the author's narrative, contrary to expectations, in a few cases (such as the characterization of Shaukat as the hero and the use of female characters in words), clearly shows manifestations of masculine writing. In sum, the authors of both novels have creatively and coherently used feminine writing techniques to achieve their goals, and this fact has brought advantages to both novels. Extended Abstract The author's gender and the reflection of the elements arising from gender in terms of writing techniques are influential in how the narrative is formed. In this regard, the present study aims to compare the narrative style of Khaneye Edrisi Ha by Ghazaleh Alizadeh, and Sal-e Balva by Abbas Maroufi from the same perspective. Feminist theorists believe that the gender of the author is influential in the texts. Due to the spread of feminist issues in the field of literary criticism in today's world, the component of ‘women's writing style’ has become one of the main topics of text analysis based on the methodology of women's criticism. One of the methods that can be widely used in feminist literary criticism is to study examples of women writing styles in literary works. In this study, most of the important coordinates of women's writing style, consisting of fourteen main and influential components, as criteria for measurement and comparison, are considered by the authors: 1) the strong presence of female characters, 2) maximum use of point of view to reflect the author's views, 3) the saliency of the nature of nostalgia or homesickness as one of the common themes in women's writing style, 4) the reflection of ‘waiting’ as an inseparable feature of women's personality, 5) women's meticulousness, 6) the clear manifestation of the concept of ‘love’ and its related feelings and emotions, 7) anti-masculinity, 8) attention to women's body and physical abilities, 9) the manifestation of a kind of solidarity and cooperation between women, which is called ‘sisterhood’, 10) the use of a formal and polite form of language, 11) the use of special vocabulary that indicates the family issues and a woman's preoccupation, 12) the color words, 13) words and emotional reactions, and 14) multilingual signs The results of the study show that although the author of the novel Sal-e Balva is male, based on the gender of the protagonist who is Nooshafarin as the basis of his narrative style, except in a few cases (such as pornography and the use of incomplete sentences), he was well able to create feminine writing. As in most of these components, the narrative of Sal-e Balva has many similarities with the narrative of Khaneye Edrisi Ha. As far as can be said, the author of the novel Sal-e Balva has used feminine writing techniques in a way that conflicts with her gender. Although Khaneye Edrisi Ha is a feminist novel in general, and in most of the characteristics of feminine writing, this kind of author’s attitude is clearly reflected. But the author's narrative, contrary to expectations, in a few cases (such as the characterization of Shaukat as the hero and the use of female characters in words), clearly shows manifestations of masculine writing. In sum, the authors of both novels have creatively and coherently used feminine writing techniques to achieve their goals, and this fact has brought advantages to both novels.

https://liar.ui.ac.ir/article_26581_a4ac12109a006b1cf2e0a37c3d6b500b.pdf

University of Isfahan Literary Arts 20088027 14 2 2022 06 22 Investigating the Use of Adjectives in Hamleye Heydari by Mirza Mohammad Bazel‏ ‏Mashhadhi Investigating the Use of Adjectives in Hamleye Heydari by Mirza Mohammad Bazel‏ ‏Mashhadhi 33 52 26846 10.22108/liar.2022.131106.2080 FA Mojtaba Hamzehee M. A. Graduate of Persian Language and Literature, Faculty of Literature and Humanities, Zabol University, Zabol, ‎Iran Ali Reza Mahmoodi Associate Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Zabol ‎University, Zabol, Iran Mohammad Mojavezy Assistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Zabol ‎University, Zabol, Iran Journal Article 2021 12 29 Abstract The book Hamleye Heydari by Mirza Mohammad Bazel Mashhadhi is one of the prominent Persian religious epics of the 12th century. This verse epic is about the campaigns of the Prophet of Islam (PBUH) and the wars of Imam Ali (AS). Using adjectives is among the methods that Bazel Mashhadhi paid special attention to in shaping the structure of his epic language. The use of adjectives in Hamleye Heydari, both artistically and non-artistically, is a tool that the poet has used to describe characters, battle scenes, animals, objects, and to show his emotions and feelings. This descriptive-analytical study aims to identify and introduce the characteristics of religious epic works. The attributes have been investigated and expressed in two categories: linguistic (grammatical) and artistic (rhetorical). Also, the most important function of adjectives in this epic work is investigated. The results of this research show that Bazel Mashhadi paid more attention to the use of subjective adjectives from linguistic and rhetorical points of view than to the use of ironic adjectives. The function of these attributes has led to better visualization and objectification of epic scenes. This can be considered an important factor in the fame and longevity of this epic work. Introduction Mirza Mohammad Rafi, known as Bazel Mashhadhi (1112 or 1124 AH), is one of the prominent poets of the 12th century. Hamleye Heydari is his biggest and most famous work. This work is one of the religious epic poems which contains twenty-four thousand verses in Bahr Mutaqareb (Safa, 2008, p. 375). Its subject is the history of the Prophet of Islam (PBUH) and Imam Ali (AS) and the efforts of Amir al-Mu'minin to spread Islam and overthrow the enemies of the Prophet (PBUH) (ibid: 589). Hamleye Heydari is simple and comprehensible to the general public. Mirza Mohammad Bazel Mashhadhi has tried to add to its excitement by telling stories and beautiful descriptions and making it attractive and passionate. There is no praise for kings and courtiers in this verse. Although Bazil himself had a job in the court, he did not praise anyone other than the Prophet (PBUH), Imam Ali (AS) and Ahl al-Bayt Asmat and Tahart. Bazel has tried to mention the stories of the beginning of Islam, and in this work, he has avoided the excesses that have been used in other epic poems in mentioning events; instead, he has used descriptions that are understandable for people. In creating these descriptions, the use of attributes, especially expressive attributes, has played an important role. Materials and Methods Due to the importance of this epic masterpiece, in this study, the use of adjectives and their most important functions in the generalities of Hamleye Heydari have been investigated from the linguistic (grammatical) and artistic (rhetorical) aspects. Results and Conclusions In the investigation of the narrative poem of Hamleye Heydari, the use of adjectives has been investigated. Adjectives are very significant and extensive in Hamleye Heydari, and Bazel Mashhadhi has used this literary trick well in his epic descriptions. These attributes can be divided based on the structure, rhetoric, and function, and even special attributes of religious and Shiite epics. In this poem, artistic adjectives had the highest frequency in the form of subjective adjectives and then in the form of compound adjectives. Also, the use of artistic attributes in its rhetorical form can be seen widely in Hamleye Heydari, while artistic attributes have wider use in the form of irony. In addition, in order to express his religious and Shiite ideology and beliefs, Bazil Mashhadi paid special attention to religious leaders and especially Imam Ali (AS) by using these attributes to make the language and descriptions of the attack more effective, beautiful, and epic. Hamleye Heydari has taken the initiative in this regard, which has caused the fame and longevity of this epical religious work. Abstract The book Hamleye Heydari by Mirza Mohammad Bazel Mashhadhi is one of the prominent Persian religious epics of the 12th century. This verse epic is about the campaigns of the Prophet of Islam (PBUH) and the wars of Imam Ali (AS). Using adjectives is among the methods that Bazel Mashhadhi paid special attention to in shaping the structure of his epic language. The use of adjectives in Hamleye Heydari, both artistically and non-artistically, is a tool that the poet has used to describe characters, battle scenes, animals, objects, and to show his emotions and feelings. This descriptive-analytical study aims to identify and introduce the characteristics of religious epic works. The attributes have been investigated and expressed in two categories: linguistic (grammatical) and artistic (rhetorical). Also, the most important function of adjectives in this epic work is investigated. The results of this research show that Bazel Mashhadi paid more attention to the use of subjective adjectives from linguistic and rhetorical points of view than to the use of ironic adjectives. The function of these attributes has led to better visualization and objectification of epic scenes. This can be considered an important factor in the fame and longevity of this epic work. Introduction Mirza Mohammad Rafi, known as Bazel Mashhadhi (1112 or 1124 AH), is one of the prominent poets of the 12th century. Hamleye Heydari is his biggest and most famous work. This work is one of the religious epic poems which contains twenty-four thousand verses in Bahr Mutaqareb (Safa, 2008, p. 375). Its subject is the history of the Prophet of Islam (PBUH) and Imam Ali (AS) and the efforts of Amir al-Mu'minin to spread Islam and overthrow the enemies of the Prophet (PBUH) (ibid: 589). Hamleye Heydari is simple and comprehensible to the general public. Mirza Mohammad Bazel Mashhadhi has tried to add to its excitement by telling stories and beautiful descriptions and making it attractive and passionate. There is no praise for kings and courtiers in this verse. Although Bazil himself had a job in the court, he did not praise anyone other than the Prophet (PBUH), Imam Ali (AS) and Ahl al-Bayt Asmat and Tahart. Bazel has tried to mention the stories of the beginning of Islam, and in this work, he has avoided the excesses that have been used in other epic poems in mentioning events; instead, he has used descriptions that are understandable for people. In creating these descriptions, the use of attributes, especially expressive attributes, has played an important role. Materials and Methods Due to the importance of this epic masterpiece, in this study, the use of adjectives and their most important functions in the generalities of Hamleye Heydari have been investigated from the linguistic (grammatical) and artistic (rhetorical) aspects. Results and Conclusions In the investigation of the narrative poem of Hamleye Heydari, the use of adjectives has been investigated. Adjectives are very significant and extensive in Hamleye Heydari, and Bazel Mashhadhi has used this literary trick well in his epic descriptions. These attributes can be divided based on the structure, rhetoric, and function, and even special attributes of religious and Shiite epics. In this poem, artistic adjectives had the highest frequency in the form of subjective adjectives and then in the form of compound adjectives. Also, the use of artistic attributes in its rhetorical form can be seen widely in Hamleye Heydari, while artistic attributes have wider use in the form of irony. In addition, in order to express his religious and Shiite ideology and beliefs, Bazil Mashhadi paid special attention to religious leaders and especially Imam Ali (AS) by using these attributes to make the language and descriptions of the attack more effective, beautiful, and epic. Hamleye Heydari has taken the initiative in this regard, which has caused the fame and longevity of this epical religious work.

https://liar.ui.ac.ir/article_26846_ffde41402d688ee578302a8de6696409.pdf

University of Isfahan Literary Arts 20088027 14 2 2022 06 22 Investigating the Reason for the Distinction between Skaz and the Magic of Proximity in Two ‎Sonnets by Fazel Nazari Investigating the Reason for the Distinction between Skaz and the Magic of Proximity in Two ‎Sonnets by Fazel Nazari 53 70 26828 10.22108/liar.2022.133674.2142 FA Ziba Ghalavandi Assistant Professor of Persian Language and Literature, Faculty of Literature and Humanities, Salman Farsi University, ‎Kazerun, Kazerun, Iran Sayyed Mahdi Mousavi Nia Ph. D. Student of Persian Language and Literature, Faculty of Literature and Humanities, Salman Farsi University, ‎Kazerun, Kazerun, Iran Journal Article 2022 05 23 Formalism is a school that looks at literary works regardless of possible historical, social, and political influences. Skaz is the tone of the narrator of a poem or story. Obviously, due to the difference in the atmosphere of the poems, the tone must also change accordingly. Factors such as the choice of the prosodic meter of poetry, rhyme and line music, and imaginary forms are influential components in changing the poet's tone. Also, the degree of presence or absence, as well as the simplicity or difficulty of these components, in a text, reveals the importance of the poet's attention to tone differences. With that in mind, Fazel Nazari uses a joyful meter that fits the romantic atmosphere of the poem, while the meter of his lament has been chosen to be depressing and sad. In romantic lyric poems, he uses rhymes and long lines to make the poem more musical; but in the lament, a short line is enough. Moreover, the presence of images is much more prominent in his romantic poem than in his lament and he uses the magic of proximity to create music in lyrical spaces. Introduction Formalists consider the most important feature of a literary work to be its distinct structural, phonetic, syntactic, and semantic forms and its literary functions as a whole. They introduce literature as a complex system of forms that can be analyzed at various levels in relation to each other. These levels start from analyzing the characteristics of images and imaginary forms, continue with the criticism and analysis of each verse, and finally, lead to the discussion about the literary type of the work. The formalistic examination of a literary work from the point of view of artistic creation has a wide scope to the extent of all subtleties, innovations, arrays, and other overt and hidden literary creations created by the creator of the work. Therefore, the analysis of a literary work, even if it is a short sonnet, requires precision in all the hidden subtleties that give the text a literary character. It should be noted that in rhetorical books, applying the title "literary" to a text does not mean privileging the literary nature of that text. Rather, as it was said, any tool that transforms the text from plain language to a different text will be considered in this topic. Formalism is a school that examines literary works regardless of possible historical, social, political, etc. influences. For a critic with this idea, literary texts are like industrial pieces, which precision in their intricate parts and proof of the relationship between their parts give them a rhetorical and literary character. Materials and Methods The present descriptive-analytical study is conducted using a library method. In this regard, after choosing two sonnets written by Fazel Nazari in two different spaces, the authors have tried to analyze the differences between the two by referring to the definitions. Results Fazel Nazari's style in narrating the events and observing the speaker's tone is based on allusion in drawing different poetic spaces. But the allusion is one of his poetic literary innovations. In previous Persian literature, allusion refers to an event that happened in the past, and to explain it, it goes to the findings of the mind and review of the audience's knowledge. Among the most important tone-creating elements that can confirm the intuitive and tasteful use of skaz, three are more important. The ability to criticize and analyze skaz depends on the music of the word and relies on the identification of the element of tone and skaz. Therefore, the three components (i.e. prosody meter, rhyme and monoryhym music, and imaginary forms) are examined in line with the atmosphere and theme of the poem. Prosodic Meter In the two poems of Fazel Nazari, although there is no separation between the meter and the movement of the music, its reception requires a tasteful accuracy in addition to the accuracy in the phonetic field of the words. The second sonnet has a tragic and courageous approach. It is as if the poet has voluntarily stepped into a slaughterhouse and came to the altar of love with the utmost enthusiasm, and this issue has a special place in the history of mystical poetry. In the two sonnets, due to the distinction between the topic and the space of the poem, the skaz also works according to the space of the poem. That is, the skaz manifests itself by relying on the prosaic music of the poem and by moving from a melodious weight to a meter of falling in connection with the tragic and mournful environment of the poem. Rhyme and Monorhym Music The approach of the first sonnet with regard to the space of its meaning, and relying on music, is derived from the same aspect that is noticeable in the reading of the poem. The melodious tone of the letters in a poem depends on the consonance, alignment, companionship, and proximity of the letters, which can create sound while relying on their semantic identity and making the sound stronger. Imaginary Forms In the first sonnet, which is written in a romantic mood, there are 19 metaphors and 10 similes in 7 verses. This means that, on average, there are more than four similes and metaphors per verse. It is natural to expect that in a lyric with a romantic atmosphere, the frequency of imaginary forms will be different compared to a similar lyric but with a different atmosphere. That is why in the second sonnet, which has a total of 9 verses, only 9 metaphors are used. That is, for each verse, a metaphor is used and there is no simile in this sonnet. In terms of the difficulty of using metaphors and analogies, it is also important to explain that, in elegies, the poet prefers not to use similes and difficult metaphors in order for the audience to connect with the content and mournful atmosphere of the poem more quickly. In addition, the audience of mournful poems is often a mass of people. Discussion and Conclusion Based on the results of the study, it can be concluded that: 1) In choosing the meter, Fazel Nazari has used the utmost precision in matching the topic with the rhythm and tone of the poem. In this way, for the romantic sonnet, he used the usual weight of ‘Fa'elaton Faalaton Faalaton Faelon’ and for the mournful sonnet (i.e. the second sonnet), he used the meter of falling ‘Mufatelon Fa'elat Muftelon Fa’. 2) In using skaz, the aspect of background music is very important. Obviously, rhymes and monorhymes that have more musical ability are more suitable for romantic songs. Hence, Fazel Nazari has taken advantage of this function in the romantic lyric by observing the phonetic consonance of the two and also by using the long monorhym that adds to the musical burden of the poem. 3) Taking advantage of the capacity of imaginary forms also depends on the theme and atmosphere of the poem. Therefore, in romantic poetry, skaz demands more imaginary forms and more abstract images. For this reason, Fazel Nazari has used more imaginary forms in his romantic lyric. 4) The magic of proximity is the consonance of musical consonants and vowels in words. In the two analyzed sonnets, depending on the space of the poem, wherever the space of the poem has a romantic mood, more proximity magic is used. But on the other hand, in the elegiac poem, this artistic creation is less visible. Formalism is a school that looks at literary works regardless of possible historical, social, and political influences. Skaz is the tone of the narrator of a poem or story. Obviously, due to the difference in the atmosphere of the poems, the tone must also change accordingly. Factors such as the choice of the prosodic meter of poetry, rhyme and line music, and imaginary forms are influential components in changing the poet's tone. Also, the degree of presence or absence, as well as the simplicity or difficulty of these components, in a text, reveals the importance of the poet's attention to tone differences. With that in mind, Fazel Nazari uses a joyful meter that fits the romantic atmosphere of the poem, while the meter of his lament has been chosen to be depressing and sad. In romantic lyric poems, he uses rhymes and long lines to make the poem more musical; but in the lament, a short line is enough. Moreover, the presence of images is much more prominent in his romantic poem than in his lament and he uses the magic of proximity to create music in lyrical spaces. Introduction Formalists consider the most important feature of a literary work to be its distinct structural, phonetic, syntactic, and semantic forms and its literary functions as a whole. They introduce literature as a complex system of forms that can be analyzed at various levels in relation to each other. These levels start from analyzing the characteristics of images and imaginary forms, continue with the criticism and analysis of each verse, and finally, lead to the discussion about the literary type of the work. The formalistic examination of a literary work from the point of view of artistic creation has a wide scope to the extent of all subtleties, innovations, arrays, and other overt and hidden literary creations created by the creator of the work. Therefore, the analysis of a literary work, even if it is a short sonnet, requires precision in all the hidden subtleties that give the text a literary character. It should be noted that in rhetorical books, applying the title "literary" to a text does not mean privileging the literary nature of that text. Rather, as it was said, any tool that transforms the text from plain language to a different text will be considered in this topic. Formalism is a school that examines literary works regardless of possible historical, social, political, etc. influences. For a critic with this idea, literary texts are like industrial pieces, which precision in their intricate parts and proof of the relationship between their parts give them a rhetorical and literary character. Materials and Methods The present descriptive-analytical study is conducted using a library method. In this regard, after choosing two sonnets written by Fazel Nazari in two different spaces, the authors have tried to analyze the differences between the two by referring to the definitions. Results Fazel Nazari's style in narrating the events and observing the speaker's tone is based on allusion in drawing different poetic spaces. But the allusion is one of his poetic literary innovations. In previous Persian literature, allusion refers to an event that happened in the past, and to explain it, it goes to the findings of the mind and review of the audience's knowledge. Among the most important tone-creating elements that can confirm the intuitive and tasteful use of skaz, three are more important. The ability to criticize and analyze skaz depends on the music of the word and relies on the identification of the element of tone and skaz. Therefore, the three components (i.e. prosody meter, rhyme and monoryhym music, and imaginary forms) are examined in line with the atmosphere and theme of the poem. Prosodic Meter In the two poems of Fazel Nazari, although there is no separation between the meter and the movement of the music, its reception requires a tasteful accuracy in addition to the accuracy in the phonetic field of the words. The second sonnet has a tragic and courageous approach. It is as if the poet has voluntarily stepped into a slaughterhouse and came to the altar of love with the utmost enthusiasm, and this issue has a special place in the history of mystical poetry. In the two sonnets, due to the distinction between the topic and the space of the poem, the skaz also works according to the space of the poem. That is, the skaz manifests itself by relying on the prosaic music of the poem and by moving from a melodious weight to a meter of falling in connection with the tragic and mournful environment of the poem. Rhyme and Monorhym Music The approach of the first sonnet with regard to the space of its meaning, and relying on music, is derived from the same aspect that is noticeable in the reading of the poem. The melodious tone of the letters in a poem depends on the consonance, alignment, companionship, and proximity of the letters, which can create sound while relying on their semantic identity and making the sound stronger. Imaginary Forms In the first sonnet, which is written in a romantic mood, there are 19 metaphors and 10 similes in 7 verses. This means that, on average, there are more than four similes and metaphors per verse. It is natural to expect that in a lyric with a romantic atmosphere, the frequency of imaginary forms will be different compared to a similar lyric but with a different atmosphere. That is why in the second sonnet, which has a total of 9 verses, only 9 metaphors are used. That is, for each verse, a metaphor is used and there is no simile in this sonnet. In terms of the difficulty of using metaphors and analogies, it is also important to explain that, in elegies, the poet prefers not to use similes and difficult metaphors in order for the audience to connect with the content and mournful atmosphere of the poem more quickly. In addition, the audience of mournful poems is often a mass of people. Discussion and Conclusion Based on the results of the study, it can be concluded that: 1) In choosing the meter, Fazel Nazari has used the utmost precision in matching the topic with the rhythm and tone of the poem. In this way, for the romantic sonnet, he used the usual weight of ‘Fa'elaton Faalaton Faalaton Faelon’ and for the mournful sonnet (i.e. the second sonnet), he used the meter of falling ‘Mufatelon Fa'elat Muftelon Fa’. 2) In using skaz, the aspect of background music is very important. Obviously, rhymes and monorhymes that have more musical ability are more suitable for romantic songs. Hence, Fazel Nazari has taken advantage of this function in the romantic lyric by observing the phonetic consonance of the two and also by using the long monorhym that adds to the musical burden of the poem. 3) Taking advantage of the capacity of imaginary forms also depends on the theme and atmosphere of the poem. Therefore, in romantic poetry, skaz demands more imaginary forms and more abstract images. For this reason, Fazel Nazari has used more imaginary forms in his romantic lyric. 4) The magic of proximity is the consonance of musical consonants and vowels in words. In the two analyzed sonnets, depending on the space of the poem, wherever the space of the poem has a romantic mood, more proximity magic is used. But on the other hand, in the elegiac poem, this artistic creation is less visible.

https://liar.ui.ac.ir/article_26828_86e444e48405b900a845fa58729af0fb.pdf

University of Isfahan Literary Arts 20088027 14 2 2022 06 22 Explaining the Argumentative-Persuasive Function of the Rhetorical Technique of ‘Adaptation’ based on the Argumentative Technique ‘Argument from Authority’ Explaining the Argumentative-Persuasive Function of the Rhetorical Technique of ‘Adaptation’ based on the Argumentative Technique ‘Argument from Authority’ 71 92 26820 10.22108/liar.2022.133876.2151 FA Hassan Rahmani Ph. D. Graduate of Arabic Language and Literature, Faculty of Literature and Languages, Arak University, Arak, Iran. Qasem Mokhtari Associate Professor, Department of Arabic Language and Literature, Faculty of Literature and Languages, Arak University, Arak, Iran. Mohammad Jorfi Assistant Professor, Department of Arabic Language and Literature, Faculty of Literature and Languages, Arak University, Arak, Iran. Ebrahim Anari Bozchlooi Associate Professor, Department of Arabic Language and Literature, Faculty of Literature and Languages, Arak University, Arak, Iran. Mahmoud Shahbazi Associate Professor, Department of Arabic Language and Literature, Faculty of Literature and Languages, Arak University, Arak, Iran. Journal Article 2022 06 07 Abstract The rhetorical technique of “Adaptation” refers to the process of taking the sacred word [divine word/the words of religious leaders] and applying it to the speech of humans. This technique, like many other innovative techniques, is generally considered a decorative tool due to the dominance of the ornamental approach over novel science and its other functions have been neglected. The present study has tried to distance itself from this approach in a descriptive-analytical way both theoretically and practically. In this regard, on the one hand, by designing and examining the ideas of rhetoricians regarding the technique of adaptation, and on the other hand, by presenting and analyzing several examples from both the Arabic and Persian languages, it has tried to highlight the argumentative-persuasive function of this technique. Furthermore, based on one of the arguments presented by Perleman and Tyteca titled “argument from authority”, a model of the function of the technique of adaptation is presented. The conclusion of the discussion is that the speaker, based on this model, uses the sacred texts as an argument, proof, and a valid reason to confirm and prove his claim, and through it, he convinces his believing addressees. Introduction Adaptation technique is one of the rhetorical techniques included in the textbooks of Islamic rhetoric under rhetorical science with the aim of teaching the methods of beautification of speech, a beauty which, unlike the beauty resulting from the other two rhetorical sciences, semantics and utterance, is temporary and not inherent. Of course, such a belief does not assign a place to rhetorical science in the semantic processes of speech and lowers the status of rhetorical techniques to the level of a decorative tool that can be removed at any moment, without creating the slightest defect in the speech. Materials and Methods The current research is based on the descriptive-analytical method and is based on library sources. In order to provide a clear picture of the argumentative-persuasive function of the technique of adaptation, it has paid attention to one of the contemporary linguistic-cognitive theories under the title of ‘argumentation’ and based on one of its argumentative techniques ,the exploration of what and how this type of adaptation works has been discussed. Finally, while examining examples of this rhetorical technique in both Arabic and Persian languages, a model of its argumentative-persuasive function has been presented. Discussion It goes without saying that under the above belief, as the decorative function of verses and hadiths in the heart of texts is paid attention to, other and perhaps more important functions are not paid attention to. However, this is not just limited to this rhetorical technique. The current research aims to discuss one of the most important functions of the adaptation technique. To be more precise, this research is based on the belief that the theologian's purpose in using the holy texts is not simply to enlighten his words, but in some cases, he decides to take help from the influence and power of such texts in order to prove his claim and convince the audience of his claim based on the confirmation he gets from them. This type of function can be referred to as ‘argumentative-persuasive function’ and it can be read in the light of the argumentative technique of ‘argument from authority’ included in the ‘theory of Argumentation’ of Perleman and Tyteca, according to which personal actions or speech or an institution is considered to be a proof of the correctness of certain propositions. Results The results of the present study indicate that in the process of adaptation, it is possible to use the verses of the Holy Qur'an, hadiths, and narrations as a reliable and valid proof to confirm and strengthen one's claim, and by using the authority and influence of these Islamic holy texts make the audience convinced. Such an adaptation is the especially effective when dealing with a person who seeks to confirm and strengthen his claim by guaranteeing human words. In addition, the best way to counter the claim of someone who clings to the authority of the scriptures is to cling to the same type of holy authority. Of course, it should be kept in mind that this is possible only when the parties have a common understanding of the holy texts; otherwise, this argumentation mechanism could not lead anywhere. Providing a model of the argumentative-persuasive function of the technique of adaptation as proof of dominance is the important achievement of the present study. Abstract The rhetorical technique of “Adaptation” refers to the process of taking the sacred word [divine word/the words of religious leaders] and applying it to the speech of humans. This technique, like many other innovative techniques, is generally considered a decorative tool due to the dominance of the ornamental approach over novel science and its other functions have been neglected. The present study has tried to distance itself from this approach in a descriptive-analytical way both theoretically and practically. In this regard, on the one hand, by designing and examining the ideas of rhetoricians regarding the technique of adaptation, and on the other hand, by presenting and analyzing several examples from both the Arabic and Persian languages, it has tried to highlight the argumentative-persuasive function of this technique. Furthermore, based on one of the arguments presented by Perleman and Tyteca titled “argument from authority”, a model of the function of the technique of adaptation is presented. The conclusion of the discussion is that the speaker, based on this model, uses the sacred texts as an argument, proof, and a valid reason to confirm and prove his claim, and through it, he convinces his believing addressees. Introduction Adaptation technique is one of the rhetorical techniques included in the textbooks of Islamic rhetoric under rhetorical science with the aim of teaching the methods of beautification of speech, a beauty which, unlike the beauty resulting from the other two rhetorical sciences, semantics and utterance, is temporary and not inherent. Of course, such a belief does not assign a place to rhetorical science in the semantic processes of speech and lowers the status of rhetorical techniques to the level of a decorative tool that can be removed at any moment, without creating the slightest defect in the speech. Materials and Methods The current research is based on the descriptive-analytical method and is based on library sources. In order to provide a clear picture of the argumentative-persuasive function of the technique of adaptation, it has paid attention to one of the contemporary linguistic-cognitive theories under the title of ‘argumentation’ and based on one of its argumentative techniques ,the exploration of what and how this type of adaptation works has been discussed. Finally, while examining examples of this rhetorical technique in both Arabic and Persian languages, a model of its argumentative-persuasive function has been presented. Discussion It goes without saying that under the above belief, as the decorative function of verses and hadiths in the heart of texts is paid attention to, other and perhaps more important functions are not paid attention to. However, this is not just limited to this rhetorical technique. The current research aims to discuss one of the most important functions of the adaptation technique. To be more precise, this research is based on the belief that the theologian's purpose in using the holy texts is not simply to enlighten his words, but in some cases, he decides to take help from the influence and power of such texts in order to prove his claim and convince the audience of his claim based on the confirmation he gets from them. This type of function can be referred to as ‘argumentative-persuasive function’ and it can be read in the light of the argumentative technique of ‘argument from authority’ included in the ‘theory of Argumentation’ of Perleman and Tyteca, according to which personal actions or speech or an institution is considered to be a proof of the correctness of certain propositions. Results The results of the present study indicate that in the process of adaptation, it is possible to use the verses of the Holy Qur'an, hadiths, and narrations as a reliable and valid proof to confirm and strengthen one's claim, and by using the authority and influence of these Islamic holy texts make the audience convinced. Such an adaptation is the especially effective when dealing with a person who seeks to confirm and strengthen his claim by guaranteeing human words. In addition, the best way to counter the claim of someone who clings to the authority of the scriptures is to cling to the same type of holy authority. Of course, it should be kept in mind that this is possible only when the parties have a common understanding of the holy texts; otherwise, this argumentation mechanism could not lead anywhere. Providing a model of the argumentative-persuasive function of the technique of adaptation as proof of dominance is the important achievement of the present study.

https://liar.ui.ac.ir/article_26820_6c1e4437a2b748feeca8b6fcd750a128.pdf

University of Isfahan Literary Arts 20088027 14 2 2022 06 22 A Critique of Mahmoud Fotouhi's Image Rhetoric A Critique of Mahmoud Fotouhi's Image Rhetoric 93 100 26871 10.22108/liar.2022.134081.2155 FA Fatemeh Modarresi Professor of Persian Language and Literature, Faculty of Literature and Humanities, Urmia University, Urmia, Iran. Hadi Tite Ph. D. Student in Lyrical Literature, Faculty of Literature and Humanities, Urmia University, Urmia, Iran. Journal Article 2022 06 19 Abstract Since traditional rhetoric is not an answer to the study of many images of modern poetry, including the images of symbolist poets and their dependents on abstract images, new foundations must be laid by which the beauty of these works can be analyzed. Mahmoud Fotouhi’s book Image Rhetoric, by separating the images related to each literary school, including classicism, romanticism, symbolism, myth, and image, has explained specific visual principles and functions for each of them. By means of those principles and image characteristics that he presents about each school, the poetry of the poets of the mentioned schools can be examined and analyzed. In this research, the Image Rhetoric book of Mahmoud Fotouhi has been critically examined. Since the problems of the book in question are numerous and do not have any structural or thematic similarities, the authors refrained from categorizing the problems and indicated the pages of each case with a separate number. The results show that the book has 10 problems. The most important problems are the contradictions and inconsistencies of the author’s view about general attitude, examples of unimagined poetry, and the belief in meaninglessness. Introduction The image, or what is referred to as imaginary images, is considered one of the basic features and pillars of poetry. Nezami is among those who agree with this view and called it falsehood: “Do not twist in his poetry and in his art/ because his lies are his best” (as cited in Vahid Dastgardi, 2009, p. 66). In fact, it is through imagination that poetry is considered false and the dimensions of objects change, and it is possible to penetrate and capture objects and phenomena. As can be seen in Nezami’s poetry, he is an image-oriented poet. Among contemporaries, Nader Naderpour and Yadullah Royaei have given more importance to the image than others. Royaei clearly declares in the book ‘from the Red Platform’ that “a poem is not a poem if it does not have an image, it is an admonition, and a sermon, what we call an image today, was called a fantasy in the past. A poem without an image is a low-value poem” (Royaei, 2017, p. 151). Forough Farrokhzad says about the image in Naderpour's poetry: “Naderpour's poetry is completely empty in terms of content. He is a skilled illustrator, but what does the image do for me? What does he want to express with these pictures? It doesn't say anything; it has nothing to say. In terms of form, it is a ruler and centimeters” (Farokhzad, n.d, p. 13). However, Naderpour himself has admitted that “I never use the image just for the sake of the image, because this element, like the word, is a means to create understanding” (Naderpour, 1966, p. 4). In general, the image and method of its application and its necessity have always been disputed. According to Forough Farrokhzad’s words, it is clear that the image was separate from the meaning, while in modern poetry, the image and the meaning cannot be imagined separately and are mixed together. One of the disadvantages of traditional rhetoric is that it imagines the image separately from the meaning, regardless of the context and structure of the text. Another disadvantage of traditional rhetoric is the belief in definite meaning. In other words, traditional rhetoric does not accept images that can be interpreted (e.g. new symbols created by the poet) and has no way to analyze them. One of the good features of Fotouhi’s book of Image Rhetoric is dealing with these types of images and presenting myth as an image (although before him Shamisa also presented myth as an image in his Bayan book). Also, the divisions provided by Jarjani about paradox, allegory, and divisions are related to allegory, separating the characteristics of the image in each school and explaining the functions of the image in each of these schools. The artistic-literary aspect is one of the novelties of Fotouhi’s book. Materials and Methods The research method in this descriptive-analytical study is the library method. In this research, using the above method, the rhetoric of Mahmoud Fotouhi’s image has been examined from a critical point of view. Results In modern rhetoric, belief in the definitive, singular, and final meaning is considered incorrect. In a literary text, whenever we want to return a literary line to fluent prose, it loses many of the semantic features of the previous text, and it is never possible to fully understand what is written in the literary line. Regarding the issue of meaning, it is never complete and is always ‘absent’. Some critics think that the absence of meaning means ‘meaninglessness’. However, there is no meaninglessness, and in Saussure's opinion, there is always a signification with everything. Fotouhi has spoken of both definite meaning and meaninglessness, and this is a wrong perception of meaning, especially in extending it to the image. In classicism, the meaning serves the image, and in modern poetry, they often cannot be separated and mixed together. Fotouhi believes that a poet who does not have a general attitude is a poet without style, and this shows that in his view, the general attitude is the main and key component, while it is possible that a poet constantly changes his point of view in his poems. For such a poet, ‘instability’ and ‘change’ are the basic elements of his poetry, and his style is also formed based on these two elements, and it cannot be said that he is a poet without style. Some of the examples of poetry that Fotouhi mentions in the chapter on non-image poetry have images that should be noted. Many of these imageless verses become poems by being placed in the structure of the poem and the context they have, not by themselves alone. Just as it is not right to examine an image independently of its structure, it is not correct to examine a verse alone, and it is necessary to examine a verse in connection with other verses and in a conversational context. In this regard, many of the verses that appear to be prose become poems. Abstract Since traditional rhetoric is not an answer to the study of many images of modern poetry, including the images of symbolist poets and their dependents on abstract images, new foundations must be laid by which the beauty of these works can be analyzed. Mahmoud Fotouhi’s book Image Rhetoric, by separating the images related to each literary school, including classicism, romanticism, symbolism, myth, and image, has explained specific visual principles and functions for each of them. By means of those principles and image characteristics that he presents about each school, the poetry of the poets of the mentioned schools can be examined and analyzed. In this research, the Image Rhetoric book of Mahmoud Fotouhi has been critically examined. Since the problems of the book in question are numerous and do not have any structural or thematic similarities, the authors refrained from categorizing the problems and indicated the pages of each case with a separate number. The results show that the book has 10 problems. The most important problems are the contradictions and inconsistencies of the author’s view about general attitude, examples of unimagined poetry, and the belief in meaninglessness. Introduction The image, or what is referred to as imaginary images, is considered one of the basic features and pillars of poetry. Nezami is among those who agree with this view and called it falsehood: “Do not twist in his poetry and in his art/ because his lies are his best” (as cited in Vahid Dastgardi, 2009, p. 66). In fact, it is through imagination that poetry is considered false and the dimensions of objects change, and it is possible to penetrate and capture objects and phenomena. As can be seen in Nezami’s poetry, he is an image-oriented poet. Among contemporaries, Nader Naderpour and Yadullah Royaei have given more importance to the image than others. Royaei clearly declares in the book ‘from the Red Platform’ that “a poem is not a poem if it does not have an image, it is an admonition, and a sermon, what we call an image today, was called a fantasy in the past. A poem without an image is a low-value poem” (Royaei, 2017, p. 151). Forough Farrokhzad says about the image in Naderpour's poetry: “Naderpour's poetry is completely empty in terms of content. He is a skilled illustrator, but what does the image do for me? What does he want to express with these pictures? It doesn't say anything; it has nothing to say. In terms of form, it is a ruler and centimeters” (Farokhzad, n.d, p. 13). However, Naderpour himself has admitted that “I never use the image just for the sake of the image, because this element, like the word, is a means to create understanding” (Naderpour, 1966, p. 4). In general, the image and method of its application and its necessity have always been disputed. According to Forough Farrokhzad’s words, it is clear that the image was separate from the meaning, while in modern poetry, the image and the meaning cannot be imagined separately and are mixed together. One of the disadvantages of traditional rhetoric is that it imagines the image separately from the meaning, regardless of the context and structure of the text. Another disadvantage of traditional rhetoric is the belief in definite meaning. In other words, traditional rhetoric does not accept images that can be interpreted (e.g. new symbols created by the poet) and has no way to analyze them. One of the good features of Fotouhi’s book of Image Rhetoric is dealing with these types of images and presenting myth as an image (although before him Shamisa also presented myth as an image in his Bayan book). Also, the divisions provided by Jarjani about paradox, allegory, and divisions are related to allegory, separating the characteristics of the image in each school and explaining the functions of the image in each of these schools. The artistic-literary aspect is one of the novelties of Fotouhi’s book. Materials and Methods The research method in this descriptive-analytical study is the library method. In this research, using the above method, the rhetoric of Mahmoud Fotouhi’s image has been examined from a critical point of view. Results In modern rhetoric, belief in the definitive, singular, and final meaning is considered incorrect. In a literary text, whenever we want to return a literary line to fluent prose, it loses many of the semantic features of the previous text, and it is never possible to fully understand what is written in the literary line. Regarding the issue of meaning, it is never complete and is always ‘absent’. Some critics think that the absence of meaning means ‘meaninglessness’. However, there is no meaninglessness, and in Saussure's opinion, there is always a signification with everything. Fotouhi has spoken of both definite meaning and meaninglessness, and this is a wrong perception of meaning, especially in extending it to the image. In classicism, the meaning serves the image, and in modern poetry, they often cannot be separated and mixed together. Fotouhi believes that a poet who does not have a general attitude is a poet without style, and this shows that in his view, the general attitude is the main and key component, while it is possible that a poet constantly changes his point of view in his poems. For such a poet, ‘instability’ and ‘change’ are the basic elements of his poetry, and his style is also formed based on these two elements, and it cannot be said that he is a poet without style. Some of the examples of poetry that Fotouhi mentions in the chapter on non-image poetry have images that should be noted. Many of these imageless verses become poems by being placed in the structure of the poem and the context they have, not by themselves alone. Just as it is not right to examine an image independently of its structure, it is not correct to examine a verse alone, and it is necessary to examine a verse in connection with other verses and in a conversational context. In this regard, many of the verses that appear to be prose become poems.

https://liar.ui.ac.ir/article_26871_31e5bc6fd9fcd6c5b101ad41d6e21ec5.pdf

University of Isfahan Literary Arts 20088027 14 2 2022 06 22 Phonological Norm-Deviation in Nizami's Works: Makhzan-al-Asrar, Khosrow o Shirin, Leyli o Majnun, and Haft Paykar Phonological Norm-Deviation in Nizami's Works: Makhzan-al-Asrar, Khosrow o Shirin, Leyli o Majnun, and Haft Paykar 103 118 26876 10.22108/liar.2022.130727.2070 FA Nasrin Shariati Ph.D. Student of Persian Language and Literature, Faculty of Literature and Humanities, University of Isfahan, Isfahan, Iran Zahra Karami Ph.D. Student of Persian Language and Literature, Faculty of Literature and Humanities, University of Isfahan, Isfahan, Iran Fereshteh Parsa Ph.D. Student of Persian Language and Literature, Faculty of Literature and Humanities, University of Isfahan, Isfahan, Iran Mojtaba Razavi Ph.D. Student of Persian Language and Literature, Faculty of Literature and Humanities, University of Isfahan, Isfahan, Iran Hajar Fathi Najaf Abadi Ph.D. Graduate of Persian Language and Literature, Faculty of Literature and Humanities, University of Isfahan, Isfahan, Iran 0000-0009-0009-0009 Journal Article 2022 03 07 Among norm-deviationist poets, Nizami Ganjavi can be considered as a poet, who has used the method offoregroundingin hisspeech.In Nizami's works, metaphorical language compared to other literary techniqueshas been mostly utilized. Yet, we cannot overlook the other literary techniques in his works.Different norm deviations, such as melodic, grammatical, and lexical deviations are apparent in all Nizami's works.He has soartistically deviated from the standard language and attracted the reader to his poems using varieddefamiliarizations.He has not only used deviations as a means of stimulating the reader’s mind in his poems, but also as a way of controlling the Metresinthem.When examining norm-deviation in old works, it is necessary to consider the standard language of the poet at the time of writing his worksinceconsidering the contemporary language by the researcher results in errors. This important principle is regardedwhen investigating norm-deviation in Nizami's works. Introduction The study of norm-deviation was first articulated by formalists like Roman Jakobson and Jan Mukařovský. The school of formalism emerged from the collective activities of people like Jakobson. We can hardly name a Persian poet like Nizami that has versified his poems with the help of norm-deviation as the primary means. In this article, we defined extra regularity after defining defamiliarization and foregrounding. Examples weregiven from the four works of Nizami, i.e., Makhzan-al-Asrâr, Leyli o Majnun, Haft Peykar, and Khosrow o Shirin. Then, we thoroughly discussed norm-deviation and its kinds, and eachkindof the eight norm-deviationswas reviewed. Finally, phonological norm-deviation was examined and some examples weregiven for every sub-kind. Defamiliarization Defamiliarization in literature comes from norm-deviation; in fact, norm-deviation creates artistic works, which poets and authors create with the help of languagebecause of the relationship between language and literature. The creations are used by language and contribute to its growth. Foregrounding is the usage of the elements of language in a way that both considers the tone and is unconventional. Geoffrey Leech believes that foregrounding is created from norm-deviation and extra regularity;in norm-deviation, a deviation is made in the rules governing language and in extra regularity, new rules are added to the language. No deviation from the norms of language is made in extra regularity. Rather, new rules, which differ from norm-deviationin origin,are added to it because norm-deviation is a device of poem and results in a poem, but the result of extra regularity is tone and melody. Geoffrey Leech divides norm-deviation into eight variations:lexical, grammatical, writing, semantic, dialectal, stylistic, historical, and phonological. Lexical norm-deviation:Amethod that the poet uses for foregrounding by creating new words is called lexical norm-deviation. Semantic norm-deviation:Every semantic figure of speech, such as simile, metaphor, and metonymy, is considered a semantic norm-deviation. Grammatical norm-deviation:Regular conventional grammatical rules in different languages create a kind of habituation to those rules. Changing these rules is called grammatical norm-deviation. Dialectal norm-deviation:Sometimes, the poet or author brings in words to the standard language used in speech in his dialect. In case he brings words that do not already exist in the standard language, his norm-deviation is called dialectal norm-deviation. Stylistic norm-deviation:The poet can diverge from the standard language and use colloquialism.For example, when the word کژ (kazh) is followed by the meaningless word مژ (mazh), it removes the word کژ (kazh) from the written language and brings it into a colloquial language. Historical norm-deviation:In historical norm-deviation, familiar words from anold language are often used or the ancient form of the words are used; for example, using نبشت (nebesht) instead of نوشت (nevesht). Phonological norm-deviation: phonological norm deviation is any kind of disobeying the standard language by phonological rules that results in the creation of new phonological norms. Although in Nizami's works, especially Makhzan-al-Asrar, semantic norm-deviations, particularly metonymy and metaphorwereused more than other norm deviations, his works werefull of foregrounding. Conclusion Although among Nizami's works, especially in Makhzan-al-Asrâr, semantic norm-deviations and specifically metonymical and metaphorical oneswereappliedmore than lexical norm-deviation, many instances of lexical foregrounding werefound in his poems. Nizami made a leverage of foregrounding so masterfully that he not only boosted the inner rhythms of his poems, but also constantly influencedhis reader’smind with words that had lost their emotional effects in the standard language due to the familiarity of the reader’s mind with them. Among norm-deviationist poets, Nizami Ganjavi can be considered as a poet, who has used the method offoregroundingin hisspeech.In Nizami's works, metaphorical language compared to other literary techniqueshas been mostly utilized. Yet, we cannot overlook the other literary techniques in his works.Different norm deviations, such as melodic, grammatical, and lexical deviations are apparent in all Nizami's works.He has soartistically deviated from the standard language and attracted the reader to his poems using varieddefamiliarizations.He has not only used deviations as a means of stimulating the reader’s mind in his poems, but also as a way of controlling the Metresinthem.When examining norm-deviation in old works, it is necessary to consider the standard language of the poet at the time of writing his worksinceconsidering the contemporary language by the researcher results in errors. This important principle is regardedwhen investigating norm-deviation in Nizami's works. Introduction The study of norm-deviation was first articulated by formalists like Roman Jakobson and Jan Mukařovský. The school of formalism emerged from the collective activities of people like Jakobson. We can hardly name a Persian poet like Nizami that has versified his poems with the help of norm-deviation as the primary means. In this article, we defined extra regularity after defining defamiliarization and foregrounding. Examples weregiven from the four works of Nizami, i.e., Makhzan-al-Asrâr, Leyli o Majnun, Haft Peykar, and Khosrow o Shirin. Then, we thoroughly discussed norm-deviation and its kinds, and eachkindof the eight norm-deviationswas reviewed. Finally, phonological norm-deviation was examined and some examples weregiven for every sub-kind. Defamiliarization Defamiliarization in literature comes from norm-deviation; in fact, norm-deviation creates artistic works, which poets and authors create with the help of languagebecause of the relationship between language and literature. The creations are used by language and contribute to its growth. Foregrounding is the usage of the elements of language in a way that both considers the tone and is unconventional. Geoffrey Leech believes that foregrounding is created from norm-deviation and extra regularity;in norm-deviation, a deviation is made in the rules governing language and in extra regularity, new rules are added to the language. No deviation from the norms of language is made in extra regularity. Rather, new rules, which differ from norm-deviationin origin,are added to it because norm-deviation is a device of poem and results in a poem, but the result of extra regularity is tone and melody. Geoffrey Leech divides norm-deviation into eight variations:lexical, grammatical, writing, semantic, dialectal, stylistic, historical, and phonological. Lexical norm-deviation:Amethod that the poet uses for foregrounding by creating new words is called lexical norm-deviation. Semantic norm-deviation:Every semantic figure of speech, such as simile, metaphor, and metonymy, is considered a semantic norm-deviation. Grammatical norm-deviation:Regular conventional grammatical rules in different languages create a kind of habituation to those rules. Changing these rules is called grammatical norm-deviation. Dialectal norm-deviation:Sometimes, the poet or author brings in words to the standard language used in speech in his dialect. In case he brings words that do not already exist in the standard language, his norm-deviation is called dialectal norm-deviation. Stylistic norm-deviation:The poet can diverge from the standard language and use colloquialism.For example, when the word کژ (kazh) is followed by the meaningless word مژ (mazh), it removes the word کژ (kazh) from the written language and brings it into a colloquial language. Historical norm-deviation:In historical norm-deviation, familiar words from anold language are often used or the ancient form of the words are used; for example, using نبشت (nebesht) instead of نوشت (nevesht). Phonological norm-deviation: phonological norm deviation is any kind of disobeying the standard language by phonological rules that results in the creation of new phonological norms. Although in Nizami's works, especially Makhzan-al-Asrar, semantic norm-deviations, particularly metonymy and metaphorwereused more than other norm deviations, his works werefull of foregrounding. Conclusion Although among Nizami's works, especially in Makhzan-al-Asrâr, semantic norm-deviations and specifically metonymical and metaphorical oneswereappliedmore than lexical norm-deviation, many instances of lexical foregrounding werefound in his poems. Nizami made a leverage of foregrounding so masterfully that he not only boosted the inner rhythms of his poems, but also constantly influencedhis reader’smind with words that had lost their emotional effects in the standard language due to the familiarity of the reader’s mind with them.

https://liar.ui.ac.ir/article_26876_bfe970bc2cd884bbe982951134600550.pdf