University of Isfahan Literary Arts 20088027 14 4 2022 12 22 Analysis of Meta-textual and Intra-textual Factors on Literary Taste in Chahar Maghale and Labab al-Bab Analysis of Meta-textual and Intra-textual Factors on Literary Taste in Chahar Maghale and Labab al-Bab 1 20 27267 10.22108/liar.2023.135444.2194 FA Zohre Mohammadi Ph. D Student of Persian Language and Literature, Faculty of Literature and Foreign Languages, Kashan University, Kashan, Iran Hosein Ghorban Poor Arani Associate Professor of Persian Language and Literature, Department of Persian Language and Literature, Faculty of Literature and Foreign Languages, Kashan University, Kashan, Iran Reza Ruhani Associate Professor of Persian Language and Literature, Department of Persian Language and Literature, Faculty of Literature and Foreign Languages, Kashan University, Kashan, Iran Journal Article 2022 10 16 The standards and the taste for art are being constantly changed and transformed. Anthologies, as a summary of the audience's views and taste, are a mirror and a reflection of the evolution of literary taste standards in any era. The process of formation and the direction and evolution of literary taste in each period can be well understood by analyzing works in different periods. In the present study, the literary taste was determined by examining Chahar Maghale and Lababal-Bab from a sociological point of view. The foundation, social context, and criteria for selection are important factors in directing the literary taste of the time from the perspective of the authors of these two anthologies. The mutual benefit of the masters of power and masters of art in immortalizing and preserving each other's names, the artist’s colleagues, personal acquaintance of young artists with famous writers and artists, and literary criticism are considered to be the most important literary metatextual features that shape artistic tastes from the point of view of the authors of these two anthologies. The balance and comparison of poets, observance of verbal and semantic proportions, and hyperbole are among the outstanding intratextual features of the criticism of taste in the discussed anthologies. The social class of the artist, the glory of power, perfectionism, and artifice, the metatextual value-creating criteria, improvisation and conciseness, and the use of literary devices are all among the examples of intratextual beauty in the studied anthologies. Introduction The philosophy of aesthetics, i.e., the concept of beauty and conversations about beauty, exists among the opinions of philosophers and ancient thinkers, but the limits of the definition of beauty are not clear. Some historians and philosophers believed that the concept of beauty, like other generic concepts (nature, truth), is a vague and absurd mental generalization (Winer, 2008, p. 1507). There is various evidence of the transformation of examples of beauty in all branches of art, especially literature, over time. One of the main reasons for the changes in examples of beauty is that the aesthetic taste and the taste of the times are subject to change both among speakers and creators of works and among their audience, and taste is often considered the criterion for measuring the beauty of literary works. The anthologies in the Persian language are among the manifestations of the criteria of artistic virtuosity and taste in each period. By using the concepts of sociology of literary taste as an interdisciplinary branch between sociology and literature, it is possible to give an answer to why and how the audience's literary taste evolved, as the authors of anthologies were in fact serious readers of Persian poetry who have lived in the context of literary trends (Fotouhi, 2017, p. 27). The chosen anthologies of this research are Chahar Maghale by Nizami and Lababal-Bab by Aufi. In this research, we aimed to investigate the evolution of the criteria of aesthetic taste and the artistic taste of the time from the point of view of the serious audience of poetic literature, i.e. anthology writers, by reflecting on and examining the two anthologies, Chahar Maghale by Nizami and Lababal-Bab by Aufi. Materials and Methods The study used the sociological concepts of literary taste from Shocking's point of view and identified the metatextual and intratextual characteristics of literary taste and criteria and metatextual value-creating examples based on the two works (i.e. Chahar Maghale and Lababal-Bab). In this descriptive-analytical research, the bibliographic research method has been used to collect the data. At first, anthologies, books, and related articles were studied, and the desired data were collected in the field of taste. Then, the results were presented analytically. Research Findings The study of Chahar Maghale and Lababal-Bab was conducted from the point of view of the sociology of literary taste from two aspects of characteristics and criteria. In the metatextual features, the foundation and social context, the social class of the artist and its development, and the mutual benefit of the masters of power and art to immortalize and preserve each other's names are among the most important social metatextual features and criteria for selection. It was shown that the artist’s colleagues, personal acquaintance of young artists with writers and famous artists, and literary criticism are considered to be the most important literary metatextual features that shape artistic tastes from the point of view of the authors of these two anthologies. Also, balance and comparison of poets, observance of verbal and semantic proportions, and hyperbole are among the obvious intratextual features of the criticism of taste in the discussed anthologies. In the section on value-creating criteria, sociological value-creating criteria such as the social class of the poet, the glory of power, the scientific and artistic virtues of the introduced poet, reception and fame, the aesthetic criteria of Arabic eloquence, and skill in both prose and verse are among the most important metatextual criteria. Improvisation, conciseness, and literary devices are among the most important examples of intratextual beauty from the perspectives of these two anthology writers. Discussion of Results and Conclusions From the sociological point of view, the literary taste, the foundation, social context, and means of selection are important factors to determine the taste of the times in Chahar Maghale and Lababal-Bab. The mutual benefit of the masters of power and art for the immortality and preservation of each other's names, artist’s colleagues, personal acquaintance of young artists with writers and famous artists, and literary criticism are considered to be the most important aspects of the spirit of the time that determine the taste of the time. Observance of verbal and semantic proportions, hyperbole, and balance are considered to be among the main intratextual features of the criticism of taste in the discussed anthologies. The social class of the poet, the glory of power, the comprehensiveness of the poet, and finally, perfectionism and artistry, are metatextual value-creating criteria in both anthologies. Improvisation, conciseness, and the use of literary devices, whose reason is to arouse a sense of wonder in the audience, are all among the examples of intratextual beauty in the discussed anthologies. Improvisation and conciseness, results of the social function of poetry, which has treated beauty as usefulness, and the literary devices whose existential philosophy is to arouse a sense of wonder in the audience, have made beauty a source of wonder and pleasure in the eyes of these two anthology writers. The standards and the taste for art are being constantly changed and transformed. Anthologies, as a summary of the audience's views and taste, are a mirror and a reflection of the evolution of literary taste standards in any era. The process of formation and the direction and evolution of literary taste in each period can be well understood by analyzing works in different periods. In the present study, the literary taste was determined by examining Chahar Maghale and Lababal-Bab from a sociological point of view. The foundation, social context, and criteria for selection are important factors in directing the literary taste of the time from the perspective of the authors of these two anthologies. The mutual benefit of the masters of power and masters of art in immortalizing and preserving each other's names, the artist’s colleagues, personal acquaintance of young artists with famous writers and artists, and literary criticism are considered to be the most important literary metatextual features that shape artistic tastes from the point of view of the authors of these two anthologies. The balance and comparison of poets, observance of verbal and semantic proportions, and hyperbole are among the outstanding intratextual features of the criticism of taste in the discussed anthologies. The social class of the artist, the glory of power, perfectionism, and artifice, the metatextual value-creating criteria, improvisation and conciseness, and the use of literary devices are all among the examples of intratextual beauty in the studied anthologies. Introduction The philosophy of aesthetics, i.e., the concept of beauty and conversations about beauty, exists among the opinions of philosophers and ancient thinkers, but the limits of the definition of beauty are not clear. Some historians and philosophers believed that the concept of beauty, like other generic concepts (nature, truth), is a vague and absurd mental generalization (Winer, 2008, p. 1507). There is various evidence of the transformation of examples of beauty in all branches of art, especially literature, over time. One of the main reasons for the changes in examples of beauty is that the aesthetic taste and the taste of the times are subject to change both among speakers and creators of works and among their audience, and taste is often considered the criterion for measuring the beauty of literary works. The anthologies in the Persian language are among the manifestations of the criteria of artistic virtuosity and taste in each period. By using the concepts of sociology of literary taste as an interdisciplinary branch between sociology and literature, it is possible to give an answer to why and how the audience's literary taste evolved, as the authors of anthologies were in fact serious readers of Persian poetry who have lived in the context of literary trends (Fotouhi, 2017, p. 27). The chosen anthologies of this research are Chahar Maghale by Nizami and Lababal-Bab by Aufi. In this research, we aimed to investigate the evolution of the criteria of aesthetic taste and the artistic taste of the time from the point of view of the serious audience of poetic literature, i.e. anthology writers, by reflecting on and examining the two anthologies, Chahar Maghale by Nizami and Lababal-Bab by Aufi. Materials and Methods The study used the sociological concepts of literary taste from Shocking's point of view and identified the metatextual and intratextual characteristics of literary taste and criteria and metatextual value-creating examples based on the two works (i.e. Chahar Maghale and Lababal-Bab). In this descriptive-analytical research, the bibliographic research method has been used to collect the data. At first, anthologies, books, and related articles were studied, and the desired data were collected in the field of taste. Then, the results were presented analytically. Research Findings The study of Chahar Maghale and Lababal-Bab was conducted from the point of view of the sociology of literary taste from two aspects of characteristics and criteria. In the metatextual features, the foundation and social context, the social class of the artist and its development, and the mutual benefit of the masters of power and art to immortalize and preserve each other's names are among the most important social metatextual features and criteria for selection. It was shown that the artist’s colleagues, personal acquaintance of young artists with writers and famous artists, and literary criticism are considered to be the most important literary metatextual features that shape artistic tastes from the point of view of the authors of these two anthologies. Also, balance and comparison of poets, observance of verbal and semantic proportions, and hyperbole are among the obvious intratextual features of the criticism of taste in the discussed anthologies. In the section on value-creating criteria, sociological value-creating criteria such as the social class of the poet, the glory of power, the scientific and artistic virtues of the introduced poet, reception and fame, the aesthetic criteria of Arabic eloquence, and skill in both prose and verse are among the most important metatextual criteria. Improvisation, conciseness, and literary devices are among the most important examples of intratextual beauty from the perspectives of these two anthology writers. Discussion of Results and Conclusions From the sociological point of view, the literary taste, the foundation, social context, and means of selection are important factors to determine the taste of the times in Chahar Maghale and Lababal-Bab. The mutual benefit of the masters of power and art for the immortality and preservation of each other's names, artist’s colleagues, personal acquaintance of young artists with writers and famous artists, and literary criticism are considered to be the most important aspects of the spirit of the time that determine the taste of the time. Observance of verbal and semantic proportions, hyperbole, and balance are considered to be among the main intratextual features of the criticism of taste in the discussed anthologies. The social class of the poet, the glory of power, the comprehensiveness of the poet, and finally, perfectionism and artistry, are metatextual value-creating criteria in both anthologies. Improvisation, conciseness, and the use of literary devices, whose reason is to arouse a sense of wonder in the audience, are all among the examples of intratextual beauty in the discussed anthologies. Improvisation and conciseness, results of the social function of poetry, which has treated beauty as usefulness, and the literary devices whose existential philosophy is to arouse a sense of wonder in the audience, have made beauty a source of wonder and pleasure in the eyes of these two anthology writers.

https://liar.ui.ac.ir/article_27267_1c47a2db5d7425988656761c31322451.pdf

University of Isfahan Literary Arts 20088027 14 4 2022 12 22 The Influence of Isfahan-Hindi Style on the Contemporary Ghazal: A Critical Analysis The Influence of Isfahan-Hindi Style on the Contemporary Ghazal: A Critical Analysis 21 38 27276 10.22108/liar.2023.136471.2231 FA Ali Mohammad Mahmoudi Assistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Salman Farsi University, Kazerun, Iran. Mahdi Rostami Assistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Salman Farsi University, Kazerun, Iran. Journal Article 2023 01 18 The main purpose of the current study is to investigate novice poets’ Ghazal poetry who have adopted the Isfahani-Hindi style. In particular, this study seeks to identify the most prominent elements of the Hindi style in the contemporary youth Ghazal through a descriptive-analytical method based on library research. The research questions are: Why has Ghazal that should be in line with Nimayi or the taste of the contemporary audience adopted the Hindi style in some trends? In this way, what elements of the Hindi-style tradition have been innovative? And which pattern or approach has been imitative in Ghazals? The results of this study show that in some Ghazals, superficial and blind modeling of the equation and theme of neo-composition or applying new but hasty and superficial allegory and simile has weakened the content and structure of the couplet. Introduction Despite its inclination towards the basics of new and Nimayi poetry, the contemporary Ghazal has also revealed a great tendency towards the Hindi style. The purpose of this study is to examine the contemporary Ghazal in recent decades from the point of view of following the Isfahani-Hindi style. In particular, the study attempts to find which contemporary poets (mostly novice ones) have been able to reconnect the Ghazal with the Isfahani-Hindi style tradition. The other purpose is to investigate which styles of Isfahani-Hindi imaginary elements are more prevalent in new Ghazals, and whether every new and unprecedented theme is valuable in the body of verse and Ghazal. Some poets’ poetry, noting the Isfahan-Hindi style and following the theme creation confirms modelling. On the other hand, elements and foundations of the Safavid Ghazal are evident in the contemporary Ghazal too. As such, it is necessary to investigate imitation or innovation or both in this regard. Methodology The method of this paper is descriptive-analytical and with a limited statistical sample and a case study with library research. Research Findings Some poets, imitating the features of allegory, exhortation, and theme creation in the Hindi style did not become captives of imitation and tried to recreate a new language and meaning following the Hindi style and the new Ghazal. This style is also manifested in the Moteahed Ghazal, and clear language signs can be seen in the example of specific words of the Hindi style in the new Ghazal: They rejected our kindness curvy mirrors from now on (Lotfi, 2016, p. 10) In the verses below, there is a hint along with the change in the story base and its elements. One of the important characteristics of the Hindi-style poetry is the proud tone and expression of the poet's contentment and restraint. This is seen in Saeb Tabrizi's and Bidel Dehlavi's Ghazals, and this tone creates a kind of exaggeration in the description of the poet's moods or the things described in his poetry. As rock by is measured by the mountain Pain also is measured by us as we are the yardstick (Lotfi, 2016, p. 30) Despite creating beautiful themes, contemporary lyricists sometimes create themes that are unable to convince the audience artistically. For example, the poet considers the devastating Bam earthquake (occurred on December 5, 2003) to be caused by his lover's sneeze. An earthquake in which thousands of people lost their lives and many suffered physical and mental injuries (see Askari, 2018, p. 14). In general, the effects and the main foundations of the Hindi-style Ghazal in the form and meaning of the Ghazal of the 1380s and 1390s AH can be traced. In such poems, what is detrimental is imitation without innovation in the processing of similes. Discussion of Results and Conclusions Novice poets’ Ghazal, influenced by the Hindi style, is mostly associated with vision and innovation. As far as thematic creation and design of new and detailed themes is concerned, poets have tried to pay attention to the language and atmosphere. In the simile and allegory part, new but superficial and simple similes are noticeable. As for the "hint", which is the most prominent method of imitating the Hindi style, the work of young poets is based on looking at the story elements and the details of the subject from a different angle. This is associated with a kind of norm avoidance that is often transformative in the emotion and content of the hints. In the sonnets of some young poets, the tone mixed with pride and contempt and expression in the Hindi style is clearly visible. In the current study, the weakness of similes and superficial and unflattering similes of sonnet verses have been examined. It is concluded that structure-oriented imitation based on allegory and thematization and trying to express new themes become the weakness of language and theme to the degree that sometimes thematizations cause the weakness of authorship and the weakness of the linguistic and content elements of sonnets by such poets. The main purpose of the current study is to investigate novice poets’ Ghazal poetry who have adopted the Isfahani-Hindi style. In particular, this study seeks to identify the most prominent elements of the Hindi style in the contemporary youth Ghazal through a descriptive-analytical method based on library research. The research questions are: Why has Ghazal that should be in line with Nimayi or the taste of the contemporary audience adopted the Hindi style in some trends? In this way, what elements of the Hindi-style tradition have been innovative? And which pattern or approach has been imitative in Ghazals? The results of this study show that in some Ghazals, superficial and blind modeling of the equation and theme of neo-composition or applying new but hasty and superficial allegory and simile has weakened the content and structure of the couplet. Introduction Despite its inclination towards the basics of new and Nimayi poetry, the contemporary Ghazal has also revealed a great tendency towards the Hindi style. The purpose of this study is to examine the contemporary Ghazal in recent decades from the point of view of following the Isfahani-Hindi style. In particular, the study attempts to find which contemporary poets (mostly novice ones) have been able to reconnect the Ghazal with the Isfahani-Hindi style tradition. The other purpose is to investigate which styles of Isfahani-Hindi imaginary elements are more prevalent in new Ghazals, and whether every new and unprecedented theme is valuable in the body of verse and Ghazal. Some poets’ poetry, noting the Isfahan-Hindi style and following the theme creation confirms modelling. On the other hand, elements and foundations of the Safavid Ghazal are evident in the contemporary Ghazal too. As such, it is necessary to investigate imitation or innovation or both in this regard. Methodology The method of this paper is descriptive-analytical and with a limited statistical sample and a case study with library research. Research Findings Some poets, imitating the features of allegory, exhortation, and theme creation in the Hindi style did not become captives of imitation and tried to recreate a new language and meaning following the Hindi style and the new Ghazal. This style is also manifested in the Moteahed Ghazal, and clear language signs can be seen in the example of specific words of the Hindi style in the new Ghazal: They rejected our kindness curvy mirrors from now on (Lotfi, 2016, p. 10) In the verses below, there is a hint along with the change in the story base and its elements. One of the important characteristics of the Hindi-style poetry is the proud tone and expression of the poet's contentment and restraint. This is seen in Saeb Tabrizi's and Bidel Dehlavi's Ghazals, and this tone creates a kind of exaggeration in the description of the poet's moods or the things described in his poetry. As rock by is measured by the mountain Pain also is measured by us as we are the yardstick (Lotfi, 2016, p. 30) Despite creating beautiful themes, contemporary lyricists sometimes create themes that are unable to convince the audience artistically. For example, the poet considers the devastating Bam earthquake (occurred on December 5, 2003) to be caused by his lover's sneeze. An earthquake in which thousands of people lost their lives and many suffered physical and mental injuries (see Askari, 2018, p. 14). In general, the effects and the main foundations of the Hindi-style Ghazal in the form and meaning of the Ghazal of the 1380s and 1390s AH can be traced. In such poems, what is detrimental is imitation without innovation in the processing of similes. Discussion of Results and Conclusions Novice poets’ Ghazal, influenced by the Hindi style, is mostly associated with vision and innovation. As far as thematic creation and design of new and detailed themes is concerned, poets have tried to pay attention to the language and atmosphere. In the simile and allegory part, new but superficial and simple similes are noticeable. As for the "hint", which is the most prominent method of imitating the Hindi style, the work of young poets is based on looking at the story elements and the details of the subject from a different angle. This is associated with a kind of norm avoidance that is often transformative in the emotion and content of the hints. In the sonnets of some young poets, the tone mixed with pride and contempt and expression in the Hindi style is clearly visible. In the current study, the weakness of similes and superficial and unflattering similes of sonnet verses have been examined. It is concluded that structure-oriented imitation based on allegory and thematization and trying to express new themes become the weakness of language and theme to the degree that sometimes thematizations cause the weakness of authorship and the weakness of the linguistic and content elements of sonnets by such poets.

https://liar.ui.ac.ir/article_27276_ea5e119483f5455c8f22eefcc9f1f263.pdf

University of Isfahan Literary Arts 20088027 14 4 2022 12 22 The Mysteries of Meaning Production in the Story of Sindbad Bahri Based on Fairclough’s Critical Discourse Analysis The Mysteries of Meaning Production in the Story of Sindbad Bahri Based on Fairclough’s Critical Discourse Analysis 39 58 27268 10.22108/liar.2023.135409.2193 FA Zeinab Karami Poor Ph. D. Student of Persian Language and Literature, Faculty of Literature and Humanities, Razi University, Kermanshah, Iran Elyas Nooraei Associate Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Razi University, Kermanshah. Iran Khalil Beygzade Associate Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Razi University, Kermanshah, Iran Journal Article 2022 10 15 Based on Fairclough's approach, narrative texts can play an important role in recreating cultural, political, social, and meaning-producing structures. One Thousand and One Nights stories have a context based on the production of meaning in the structure of the text and hypertext. The story of the Sindbad Bahri is an example of what has hidden the changeable relation of the act of discourse. In this regard, this study examines the story of Sindbad Bahri based on Fairclough’s theory of critical discourse analysis in three levels of description, interpretation, and explanation using a descriptive-analytical method. It has explored the hidden and obvious layers of meaning of the text of the story. The results of this study show that most of the verbs have a predicative aspect and negative verbs are rarely seen because the existence of positive and predicative verbs shows the omniscience and the narrator's movement in the heart of the story. At the level of interpretation of this story, it expresses the spirit of economic individualism in authoritarian societies where the foundations of Ash'arism and tyranny prevent the government from feeling the duty to maintain a minimum of economic prosperity. The explanation also shows the ideological function of determinism in order to process and produce meaning in the story. The story uses the element of fear, which is a tool of power inequality in the society governing the story and also a sign of acquittal of the ruling class in traditional societies in establishing social justice. Introduction Fictional literature is one of the manifestations of the activity of language and ideology, which hides the changeable relations of discourse actions. Investigating the changeable relationships of discourse acts in fiction literature with the approach of critical discourse analysis shows how fiction texts can contribute to the production and reproduction of cultural, political, and social structures. The story of One Thousand and One Nights, as one of the most prominent fiction texts of folk literature, is a text that is the result of this connection and contains special discourse acts that, due to the conditions of the time of its authoring, is coordinated in the Abbasid period. Materials and Methods By choosing the text of One Thousand and One Nights and the story of Sindbad Bahri, we intend to analyze the obvious and hidden angles of the text. The foundation of this process is based on this question: What role does the ruling ideology play in the context of this story and how does it affect the discourse actions of this story? The purpose of this research is to show the ideological effect of determinism and fear in the story of Sindbad Bahri, which caused the disruption of justice occasions and power inequality in the society of that time, and provided the ground for acquitting the ruling class of traditional societies from failing to establish social justice. Research Findings The precision at beginning of the story of Sindbad Bahri shows that the entry of this story into the One Thousand and One Nights collection during the Abbasid period goes beyond the category of mere storytelling and entertaining the audience. Sindbad Bahri is a non-psychological and open story, the depth of which is impersonal. Therefore, although most of the verbs in the story are of action type, their in-depth structure is an event. It means that only the narration of events is important. These events strengthen the ideological foundations of the story, namely determinism and fear. The narrator in the story of Sindbad Bahri is an active narrator who, rather than trying to direct the attention of the audience to the action, tells a description of the events with long words and precise sentences. Another type of naming occurs in the form of "naming" which includes the hidden ideology of the narrator. The names given in this story all reveal the fear and show the extraordinary nature of the events. Most of the verbs have predicative aspects. Interrogative and imperative aspects are also of low frequency. The modal verb has also a low frequency. Fairclough considers the most important purpose of formality to be the exercise of implicit authority (Reck, Fairclough, 2000, p. 194). Sinbad Bahri also clearly shows the writer’s authority in facing events. The insignificant findings of these verbs indicate the relation of expressive aspects. Discussion of Results and Conclusion The story of Sinbad is a description of incredible journeys and adventures that can be considered one of the most perfect examples of the magical realism style of ancient literature. Sinbad's story is based on its ‘suddenness’. A story that expresses the spirit of economic individualism in an authoritarian society and the foundations of Ash'ariism and tyranny that prevent the government from feeling the duty to establish minimum economic welfare, and the only way to protest is to complain to God. In the story of Sinbad, despite the lack of familiarity of the participants with legal issues and rational aspects, the power of the ruling class in promoting the fear of political protest, its reproduction into the fear of natural and illusory phenomena, and the preference for confrontation with them, we witness to achieve a superior social position. The process of valuing all participants is material and the verbal process has no place in the pragmatic payments of the seven journeys. This shows the closure of the place of dialogue and its functions in the society at the time of the compilation and translation of One Thousand and One Nights. The grammar governing the text of these adventures is also clear grammar, far from unknown sentences and marked words, which greatly strengthens the persuasive tone and makes the companionship of the two Sinbad’s end without any conflict until the end of the story. Based on Fairclough's approach, narrative texts can play an important role in recreating cultural, political, social, and meaning-producing structures. One Thousand and One Nights stories have a context based on the production of meaning in the structure of the text and hypertext. The story of the Sindbad Bahri is an example of what has hidden the changeable relation of the act of discourse. In this regard, this study examines the story of Sindbad Bahri based on Fairclough’s theory of critical discourse analysis in three levels of description, interpretation, and explanation using a descriptive-analytical method. It has explored the hidden and obvious layers of meaning of the text of the story. The results of this study show that most of the verbs have a predicative aspect and negative verbs are rarely seen because the existence of positive and predicative verbs shows the omniscience and the narrator's movement in the heart of the story. At the level of interpretation of this story, it expresses the spirit of economic individualism in authoritarian societies where the foundations of Ash'arism and tyranny prevent the government from feeling the duty to maintain a minimum of economic prosperity. The explanation also shows the ideological function of determinism in order to process and produce meaning in the story. The story uses the element of fear, which is a tool of power inequality in the society governing the story and also a sign of acquittal of the ruling class in traditional societies in establishing social justice. Introduction Fictional literature is one of the manifestations of the activity of language and ideology, which hides the changeable relations of discourse actions. Investigating the changeable relationships of discourse acts in fiction literature with the approach of critical discourse analysis shows how fiction texts can contribute to the production and reproduction of cultural, political, and social structures. The story of One Thousand and One Nights, as one of the most prominent fiction texts of folk literature, is a text that is the result of this connection and contains special discourse acts that, due to the conditions of the time of its authoring, is coordinated in the Abbasid period. Materials and Methods By choosing the text of One Thousand and One Nights and the story of Sindbad Bahri, we intend to analyze the obvious and hidden angles of the text. The foundation of this process is based on this question: What role does the ruling ideology play in the context of this story and how does it affect the discourse actions of this story? The purpose of this research is to show the ideological effect of determinism and fear in the story of Sindbad Bahri, which caused the disruption of justice occasions and power inequality in the society of that time, and provided the ground for acquitting the ruling class of traditional societies from failing to establish social justice. Research Findings The precision at beginning of the story of Sindbad Bahri shows that the entry of this story into the One Thousand and One Nights collection during the Abbasid period goes beyond the category of mere storytelling and entertaining the audience. Sindbad Bahri is a non-psychological and open story, the depth of which is impersonal. Therefore, although most of the verbs in the story are of action type, their in-depth structure is an event. It means that only the narration of events is important. These events strengthen the ideological foundations of the story, namely determinism and fear. The narrator in the story of Sindbad Bahri is an active narrator who, rather than trying to direct the attention of the audience to the action, tells a description of the events with long words and precise sentences. Another type of naming occurs in the form of "naming" which includes the hidden ideology of the narrator. The names given in this story all reveal the fear and show the extraordinary nature of the events. Most of the verbs have predicative aspects. Interrogative and imperative aspects are also of low frequency. The modal verb has also a low frequency. Fairclough considers the most important purpose of formality to be the exercise of implicit authority (Reck, Fairclough, 2000, p. 194). Sinbad Bahri also clearly shows the writer’s authority in facing events. The insignificant findings of these verbs indicate the relation of expressive aspects. Discussion of Results and Conclusion The story of Sinbad is a description of incredible journeys and adventures that can be considered one of the most perfect examples of the magical realism style of ancient literature. Sinbad's story is based on its ‘suddenness’. A story that expresses the spirit of economic individualism in an authoritarian society and the foundations of Ash'ariism and tyranny that prevent the government from feeling the duty to establish minimum economic welfare, and the only way to protest is to complain to God. In the story of Sinbad, despite the lack of familiarity of the participants with legal issues and rational aspects, the power of the ruling class in promoting the fear of political protest, its reproduction into the fear of natural and illusory phenomena, and the preference for confrontation with them, we witness to achieve a superior social position. The process of valuing all participants is material and the verbal process has no place in the pragmatic payments of the seven journeys. This shows the closure of the place of dialogue and its functions in the society at the time of the compilation and translation of One Thousand and One Nights. The grammar governing the text of these adventures is also clear grammar, far from unknown sentences and marked words, which greatly strengthens the persuasive tone and makes the companionship of the two Sinbad’s end without any conflict until the end of the story.

https://liar.ui.ac.ir/article_27268_78d0e71b8b0f78594f519936f840fd4a.pdf

University of Isfahan Literary Arts 20088027 14 4 2022 12 22 A Critical Analysis of Persian Manuals of Writing and Editing (Case Study: Punctuation Marks) A Critical Analysis of Persian Manuals of Writing and Editing (Case Study: Punctuation Marks) 59 90 27287 10.22108/liar.2023.135551.2198 FA Ali Akbar Ahmadi Darani Associate Professor of Persian Language and Literature, Department of Persian Language and Literature, Faculty of Letters and Humanities, University of Isfahan, Isfahan, Iran Tannaz Karamatian Fard MA Graduate of Persian Language and Literature, Department of Persian Language and Literature, Faculty of Letters and Humanities, University of Isfahan, Isfahan, Iran Journal Article 2022 10 28 As the Iranian printing industry entered its modern era in the 1950s, manuals of style began to flourish with sets of writing and editing guidelines for correct punctuation and text formatting. Over time, the writing symbols have increased in number, and manual organizers have tried to make their guidelines inclusive by proposing new rules and usages for the symbols. Nowadays, a great number of such manuals are publicly accessible, but there is hardly any novelty or difference from the past in them. Besides, no attempts have been made to accurately evaluate or criticize the proposed orthographic signs and symbols and the tips on how to use them. To fill the gap, the present study examines eighteen commonly used writing style manuals through a descriptive-analytical method. The aim is to shed light on the contradictions within the individual manuals and among them, the differences in the authors’ views, and the excess and defect in their approaches. This is a just and fair task of evaluation done with a bulk of examples as proofs and evidence. Each section of the research ends up with some suggestions about how to revise the set-up of guides and manuals on writing so as to reduce the inconsistencies and eliminate the textual inexpressiveness that stems from the wrong use of punctuation marks. The number of such marks presented in this study is kept as low as possible because too many suggestions would make it hard for editors and users to discreetly select and apply the intended marks. Introduction Coinciding with the birth of the publication industry, more precisely in the wake of 1330 AH, manuscript editions using mechanics of writing, more particularly punctuation marks, increased significantly prior to publication at academic centers and publishing industries. The importance of this issue inspired many editors and authors to compile manuals and dedicate a section in books with the general title of mechanics of writing to explicate the use of punctuation marks. Considering existing multifarious and diverse manuals, and the paucity of studies on such writings (more significantly, the punctuation marks), the present study aims to analyze the aforementioned texts and uses of punctuation marks to highlight obscurities and provide a review and critical study of opposing views, in the hope of improving text consistency. Materials and Methods Taking an analytical and critical method, the present study reviews 18 conventional manuals which have examined punctuation marks. It also evaluates the internal contradictions, and variety of views, and then moderately touches on excessive adherence to rules, with all examples and evidence in their texts. The concluding section provides suggestions on differences that would likely foreground revision of given manuals and eliminate dispersed editing methods and the conceptual incompetency caused by inappropriate uses of punctuation marks. Research Findings There were varied opinions on using the question mark in several specific cases, and several punctuation marks for a particular purpose, such as 1) Interrogative sentences inferring a rhetorical question, 2) Interrogative sentences used for inquiries or polite requests, 3) Recurring use of question marks, and 4) Question marks inserted in brackets. The following presents the frequent uses of question marks: 1) closing direct question sentences, and 2) adding in parentheses to shed doubt on the author’s intention or ambiguity of the text and in hooks to highlight the author’s sense of doubt or cited texts. Exclamations were also treated differently; either following 1) an exclamatory sentence, 2) sounds, 3) within the parentheses, and 4) coupled with a question mark. There are different views, which are subject to criticism, on using periods that may appear either in imperative sentences or conventional abbreviations. In this sense, there are several possible uses to consider a period: 1) at the end of declarative and imperative sentences, 2) short answers, 3) abbreviations, 4) indirect questions, 5) at the end of citations within the text or at the end of the text, 6) separating parts of web addresses, 7) at the end of a direct quotation, and 8) following quotation marks. There are diverse views and ambiguities concerning the use of semicolons such as 1) followed by parallel pairs separated by ‘and’ (wa), 2) conjunctions such as because (zirā), or however (ammā), 3) separating options (when each of the options are separated by a semicolon and the final point takes a period). It can be thus regarded that semicolons are followed by linking words such as because (zirā), however (ammā), but (walī), therefore (banābarīn), while (dar ḥālī kih), hence (dar natījah), for instance (barāy-i mithāl), meaning (ya’nī), in this sense (az īn rūy), in a way that (bi ṭūrī kih), within the separate components of a general category (while each segment is separated by a semicolon and the final point ends with a period), in-text citations to two or more sources, within conditional sentences or sentences consisting multiple commas, within seemingly independent sentences that are semantically interrelated. Exploring how manuals refer to the uses of commons, the researchers noticed the specific differences 1) among parallel words, 2) following and followed by the post-positioned particle in Persian rā, 3) following the subject, 4) following short answers, and 5) following that (kih). The study shows that commas are prevalently used 1) following an exclamatory sentence, 2) between the dependent and independent sentences (when the dependent clause precedes the main clause, a comma is used and when the independent clause precedes the dependent clause, a semicolon is applied), 3) among parallels, 4) between the phrase and similar sentences, 5) in either part of an exclamatory sentence, non-restrictive clause, or appositions, 6) between two repeated words, 7) following adverbial clauses at the beginning of the sentence, 8) replaced for nouns and verbs, 9) for clarification, and 10) to separate addresses, sources, numbers, surnames and names, book titles, and author’s names. Discussion of Results and Conclusion The substantial issues observed in consulted manuals include the use of examples rather than evidence, the incongruity between uses and examples to support suggested punctuation marks and their uses, ambiguities or content incompetency in using mechanics and providing an amalgam of rhetorical and grammatical points. Writing mechanics eliminate mistakes ambiguities and improve proper understanding of the text; however, excessive use of punctuation marks which also consists of diverse instances or suggestions, and discourages users to adhere to conventions. It is noteworthy that punctuation marks ought to be applied on the account of textual and contextual perquisites, though there might be exceptions given the rules and conventions of every punctuation mark. To eliminate obfuscations, it is suggested to include an introductory section in glossaries and encyclopedias, indicating compilers’ preferences for applied punctuation marks. It is also recommended to consider the denotative aspect of punctuation marks in particular sciences, as some marks convey a significant meaning in specific areas of knowledge. As the Iranian printing industry entered its modern era in the 1950s, manuals of style began to flourish with sets of writing and editing guidelines for correct punctuation and text formatting. Over time, the writing symbols have increased in number, and manual organizers have tried to make their guidelines inclusive by proposing new rules and usages for the symbols. Nowadays, a great number of such manuals are publicly accessible, but there is hardly any novelty or difference from the past in them. Besides, no attempts have been made to accurately evaluate or criticize the proposed orthographic signs and symbols and the tips on how to use them. To fill the gap, the present study examines eighteen commonly used writing style manuals through a descriptive-analytical method. The aim is to shed light on the contradictions within the individual manuals and among them, the differences in the authors’ views, and the excess and defect in their approaches. This is a just and fair task of evaluation done with a bulk of examples as proofs and evidence. Each section of the research ends up with some suggestions about how to revise the set-up of guides and manuals on writing so as to reduce the inconsistencies and eliminate the textual inexpressiveness that stems from the wrong use of punctuation marks. The number of such marks presented in this study is kept as low as possible because too many suggestions would make it hard for editors and users to discreetly select and apply the intended marks. Introduction Coinciding with the birth of the publication industry, more precisely in the wake of 1330 AH, manuscript editions using mechanics of writing, more particularly punctuation marks, increased significantly prior to publication at academic centers and publishing industries. The importance of this issue inspired many editors and authors to compile manuals and dedicate a section in books with the general title of mechanics of writing to explicate the use of punctuation marks. Considering existing multifarious and diverse manuals, and the paucity of studies on such writings (more significantly, the punctuation marks), the present study aims to analyze the aforementioned texts and uses of punctuation marks to highlight obscurities and provide a review and critical study of opposing views, in the hope of improving text consistency. Materials and Methods Taking an analytical and critical method, the present study reviews 18 conventional manuals which have examined punctuation marks. It also evaluates the internal contradictions, and variety of views, and then moderately touches on excessive adherence to rules, with all examples and evidence in their texts. The concluding section provides suggestions on differences that would likely foreground revision of given manuals and eliminate dispersed editing methods and the conceptual incompetency caused by inappropriate uses of punctuation marks. Research Findings There were varied opinions on using the question mark in several specific cases, and several punctuation marks for a particular purpose, such as 1) Interrogative sentences inferring a rhetorical question, 2) Interrogative sentences used for inquiries or polite requests, 3) Recurring use of question marks, and 4) Question marks inserted in brackets. The following presents the frequent uses of question marks: 1) closing direct question sentences, and 2) adding in parentheses to shed doubt on the author’s intention or ambiguity of the text and in hooks to highlight the author’s sense of doubt or cited texts. Exclamations were also treated differently; either following 1) an exclamatory sentence, 2) sounds, 3) within the parentheses, and 4) coupled with a question mark. There are different views, which are subject to criticism, on using periods that may appear either in imperative sentences or conventional abbreviations. In this sense, there are several possible uses to consider a period: 1) at the end of declarative and imperative sentences, 2) short answers, 3) abbreviations, 4) indirect questions, 5) at the end of citations within the text or at the end of the text, 6) separating parts of web addresses, 7) at the end of a direct quotation, and 8) following quotation marks. There are diverse views and ambiguities concerning the use of semicolons such as 1) followed by parallel pairs separated by ‘and’ (wa), 2) conjunctions such as because (zirā), or however (ammā), 3) separating options (when each of the options are separated by a semicolon and the final point takes a period). It can be thus regarded that semicolons are followed by linking words such as because (zirā), however (ammā), but (walī), therefore (banābarīn), while (dar ḥālī kih), hence (dar natījah), for instance (barāy-i mithāl), meaning (ya’nī), in this sense (az īn rūy), in a way that (bi ṭūrī kih), within the separate components of a general category (while each segment is separated by a semicolon and the final point ends with a period), in-text citations to two or more sources, within conditional sentences or sentences consisting multiple commas, within seemingly independent sentences that are semantically interrelated. Exploring how manuals refer to the uses of commons, the researchers noticed the specific differences 1) among parallel words, 2) following and followed by the post-positioned particle in Persian rā, 3) following the subject, 4) following short answers, and 5) following that (kih). The study shows that commas are prevalently used 1) following an exclamatory sentence, 2) between the dependent and independent sentences (when the dependent clause precedes the main clause, a comma is used and when the independent clause precedes the dependent clause, a semicolon is applied), 3) among parallels, 4) between the phrase and similar sentences, 5) in either part of an exclamatory sentence, non-restrictive clause, or appositions, 6) between two repeated words, 7) following adverbial clauses at the beginning of the sentence, 8) replaced for nouns and verbs, 9) for clarification, and 10) to separate addresses, sources, numbers, surnames and names, book titles, and author’s names. Discussion of Results and Conclusion The substantial issues observed in consulted manuals include the use of examples rather than evidence, the incongruity between uses and examples to support suggested punctuation marks and their uses, ambiguities or content incompetency in using mechanics and providing an amalgam of rhetorical and grammatical points. Writing mechanics eliminate mistakes ambiguities and improve proper understanding of the text; however, excessive use of punctuation marks which also consists of diverse instances or suggestions, and discourages users to adhere to conventions. It is noteworthy that punctuation marks ought to be applied on the account of textual and contextual perquisites, though there might be exceptions given the rules and conventions of every punctuation mark. To eliminate obfuscations, it is suggested to include an introductory section in glossaries and encyclopedias, indicating compilers’ preferences for applied punctuation marks. It is also recommended to consider the denotative aspect of punctuation marks in particular sciences, as some marks convey a significant meaning in specific areas of knowledge.

https://liar.ui.ac.ir/article_27287_d1fd981c3fe62310f4c9f47532235dde.pdf

University of Isfahan Literary Arts 20088027 14 4 2022 12 22 Ritual Literature in the Poetic Verses of the Urdu Poet Iftikhar Arif Ritual Literature in the Poetic Verses of the Urdu Poet Iftikhar Arif 91 120 27329 10.22108/liar.2023.136040.2211 FA Ambreen Ashraf Ph. D. Student of Persian Language and Literature, Faculty of Literature and Humanity, Shahid Beheshti University, Tehran, Iran Kazem Dezfoulian Professor, Department of Persian Language and Literature, Faculty of Literature and Humanity, Shahid Beheshti University, Tehran, Iran 0000-0009-0009-0009 Sayyed Mahdi Tabatabaei Assistant Professor, Professor, Department of Persian Language and Literature, Faculty of Literature and Humanity, Shahid Beheshti University, Tehran, Iran Journal Article 2022 12 25 Denomination and ritual are subjects that have fascinated writers all around the world for many years. The denomination is a wide-ranging topic that cannot be included in concise books or writings. Poets, especially Urdu poets, express specific beliefs toward their denomination, ritual, and religious leaders. Denomination and ritual are involved effectively in human life and are evident in his speech and writing. The present study investigates the concerns and interests of the Urdu poet Iftikhar Arif. It studies his denomination and understanding and the influence of Islamic leaders. He has been able to take his name and his poems to the top of the literary sky in religious literature. His poems are full of a deep understanding of Islam, love for the Prophet (PBUH) of Islam, and his household. It can be said that he has a sufficient understanding of religion and has expressed the issues of the present age in the context of religion. Introduction Ritual literature is not apart from other common literature in the Persian language in terms of its verbal structure and appearance and the use of various styles, artistic techniques, and verbal and spiritual arrays. What distinguishes ritual literature is its spiritual form and content. Any prose text or verse that is influenced by the speech of the Holy Quran, the history of Islam and religious leaders, the speech of Imam Ali (AS) in Nahj al-Balagha, and prayers such as Sahifa Sajjadiyyah is placed in the realm of ritual literature. Ritual literature has been included in human institutions since the beginning of creation. It includes prayers to God, prayers and praises of religious and scholastic elders, the mourning of elders, local and religious rites, asking for rain, morals and education, waiting for relief and opening in religious and worldly matters, as well as verses that are full of Quranic teachings, school subjects, religious and divine teachings. Poets, by taking inspiration from the school of revelation and heavenly orders, have been able to create works in the field of Persian thought and literature and present them to the scientific and literary society (Ramadhan Khani, 2015). Materials and Methods The present descriptive-analytical research used printed books and online materials about poets’ life and works. Iftikhar Arif and his poems have always been the focus of discussions and critics, and many articles have been written about his theories and thoughts. Studying his works is the basis of this research, but so far, a review of ritual literature in the poems of Iftikhar Arif has not been written in the Persian language. In this study, an attempt has been made to examine the topics and content of religious literature, the influence of the poet on Islam, and the life of the pioneers of Islam. Since the poems by Iftikhar Arif have religious and ritual content and themes and have not yet been translated into Persian, in presenting examples of his works, translation and then collecting examples are used. Research Findings In the present study, we came to the conclusion that Islamic history, the forerunners of Islam, the Quran, and Hadith had a vast impact on the poet. The main topics we found in the verses are Prophet Mohammad (PBUH), the tragedy of Karbala, and the massage and the impact of Karbala. Further, we see that the poet used the sayings of Imam Ali (AS), especially from Nahj al-Balagha. Prophet Mohammad (PBUH) is an eternal character of the religion of Islam and humanity. The characters of Imam Ali and Imam Hussain (AS) are also the topics mentioned in Iftikhar’s poetry. Iftikhar Arif has beautiful poems praising the Prophet of Islam (PBUH), the Prophet's city, the importance of sending greetings and the desire to visit the Prophet's city and important events such as the ascension and migration of the Prophet. Moreover, the shining face of Imam Ali (AS) and his importance in Islam is the main part of the verses of the poet in the form of the one who gave life to the lifeless body of Islam. Discussion of Results and Conclusion Based on the results, we conclud that the poet has his own opinion in the field of religion and wrote poems in this regard, the language of which is simple and easy to understand for the general public. The poet has been able to attract the reader's attention with his new and fresh combinations and terms and the use of different topics in his poems. He has always been able to express long themes with the power of reciting poetry and his complete mastery of literary presentations using a minimum of words and without making his compositions long. In a verse or in short order, he has been able to express vast and extensive topics in one place with the simplicity of expression and fluency of words. Religious topics are mentioned in the poet's poems and the poet has been able to use religious topics not only to express religion but also to portray the situation of his society and the solution to the problems and oppression in religious messages, especially in the events of Karbala. The poet's imitation of the Karbala event and the bravery of the faithful companions of Ahl al-Bayt and the Prophet's family is very clear. Denomination and ritual are subjects that have fascinated writers all around the world for many years. The denomination is a wide-ranging topic that cannot be included in concise books or writings. Poets, especially Urdu poets, express specific beliefs toward their denomination, ritual, and religious leaders. Denomination and ritual are involved effectively in human life and are evident in his speech and writing. The present study investigates the concerns and interests of the Urdu poet Iftikhar Arif. It studies his denomination and understanding and the influence of Islamic leaders. He has been able to take his name and his poems to the top of the literary sky in religious literature. His poems are full of a deep understanding of Islam, love for the Prophet (PBUH) of Islam, and his household. It can be said that he has a sufficient understanding of religion and has expressed the issues of the present age in the context of religion. Introduction Ritual literature is not apart from other common literature in the Persian language in terms of its verbal structure and appearance and the use of various styles, artistic techniques, and verbal and spiritual arrays. What distinguishes ritual literature is its spiritual form and content. Any prose text or verse that is influenced by the speech of the Holy Quran, the history of Islam and religious leaders, the speech of Imam Ali (AS) in Nahj al-Balagha, and prayers such as Sahifa Sajjadiyyah is placed in the realm of ritual literature. Ritual literature has been included in human institutions since the beginning of creation. It includes prayers to God, prayers and praises of religious and scholastic elders, the mourning of elders, local and religious rites, asking for rain, morals and education, waiting for relief and opening in religious and worldly matters, as well as verses that are full of Quranic teachings, school subjects, religious and divine teachings. Poets, by taking inspiration from the school of revelation and heavenly orders, have been able to create works in the field of Persian thought and literature and present them to the scientific and literary society (Ramadhan Khani, 2015). Materials and Methods The present descriptive-analytical research used printed books and online materials about poets’ life and works. Iftikhar Arif and his poems have always been the focus of discussions and critics, and many articles have been written about his theories and thoughts. Studying his works is the basis of this research, but so far, a review of ritual literature in the poems of Iftikhar Arif has not been written in the Persian language. In this study, an attempt has been made to examine the topics and content of religious literature, the influence of the poet on Islam, and the life of the pioneers of Islam. Since the poems by Iftikhar Arif have religious and ritual content and themes and have not yet been translated into Persian, in presenting examples of his works, translation and then collecting examples are used. Research Findings In the present study, we came to the conclusion that Islamic history, the forerunners of Islam, the Quran, and Hadith had a vast impact on the poet. The main topics we found in the verses are Prophet Mohammad (PBUH), the tragedy of Karbala, and the massage and the impact of Karbala. Further, we see that the poet used the sayings of Imam Ali (AS), especially from Nahj al-Balagha. Prophet Mohammad (PBUH) is an eternal character of the religion of Islam and humanity. The characters of Imam Ali and Imam Hussain (AS) are also the topics mentioned in Iftikhar’s poetry. Iftikhar Arif has beautiful poems praising the Prophet of Islam (PBUH), the Prophet's city, the importance of sending greetings and the desire to visit the Prophet's city and important events such as the ascension and migration of the Prophet. Moreover, the shining face of Imam Ali (AS) and his importance in Islam is the main part of the verses of the poet in the form of the one who gave life to the lifeless body of Islam. Discussion of Results and Conclusion Based on the results, we conclud that the poet has his own opinion in the field of religion and wrote poems in this regard, the language of which is simple and easy to understand for the general public. The poet has been able to attract the reader's attention with his new and fresh combinations and terms and the use of different topics in his poems. He has always been able to express long themes with the power of reciting poetry and his complete mastery of literary presentations using a minimum of words and without making his compositions long. In a verse or in short order, he has been able to express vast and extensive topics in one place with the simplicity of expression and fluency of words. Religious topics are mentioned in the poet's poems and the poet has been able to use religious topics not only to express religion but also to portray the situation of his society and the solution to the problems and oppression in religious messages, especially in the events of Karbala. The poet's imitation of the Karbala event and the bravery of the faithful companions of Ahl al-Bayt and the Prophet's family is very clear.

https://liar.ui.ac.ir/article_27329_801683be45e8e537adb2ab7b5ecc1de4.pdf

University of Isfahan Literary Arts 20088027 14 4 2022 12 22 Investigating Linguistic Coordinates in the manuscript of Khavari Koze Kanani’s Divan Investigating Linguistic Coordinates in the manuscript of Khavari Koze Kanani’s Divan 121 148 27430 10.22108/liar.2022.133640.2170 FA Narjes Sepehr Nezhad Ph. D. of Persian Language and Literature, Payamr Noor, University, Tehran, Iran Journal Article 2022 07 13 Haj Mirza Masoum Khavari Koze Kanani was a poet and religious scholar of the 13th century Hijri and one of the speakers of the period of ‘Literary Return’. His works of exquisite calligraphy have about 25000 verses, which were written in the styles of the poets of the mentioned period. This shows that Khavari considered poets, such as Abul Ala Ganjavi, Falki Sharvani, Khaqani, Jami, Nezami, and Mohtsham Kashani, in writing his poems and somehow revived their ways. To explore linguistic coordinates in his poems and investigating them at the phonetic, lexical, and syntactical levels, it is first necessary to ask which period of Persian literature (Khorasani or Iraqi) Khavari's poetry has been related to in the era of ‘Literary Return’. In this article, we showed that the poet's place of residence in Azerbaijan and Kashan had a tremendous impact on his language and expression. In fact, his speech was affected by the environment and conditions of his place of residence. Our general inference was that Khavari had used poetry and literature as a means of conveying his favorite and emphasized concepts, while taking into account his religious personality. Introduction: ‘Literary Return’ is a period in the history of Iranian literature from the second half of the 12th century to the emergence of constitutional literature in the early 14th century. There is a strong possibility that the expression of ‘return’ was used for the first time by Ustad Malek al-Shoara-ye Bahar. The forms of poetry used in the period of ‘Literary Return’ lack any originality. Poems like Ghazal, Masnavi, Qet’e, and quatrain are among the most common forms that have attracted the attention of poets in this period. However, the rhythms (measures) of the poems do not indicate any particular transformation and freshness. There were two groups of poets in this period. Some people like Saba, Majmar, and Yaghma were only poets. Some others, such as Mirza Habib Esfahani, Qa’em Maqam Farahani, and Neshat Esfahani, wrote poetry besides being engaged in other professions. An increase in the volume of poems and number of poets compared to the previous periods strengthened most of the poems by returning to the basic principles of Khorasani style of poetry. It goes without saying that the poets of Khorasani, Iraqi, and Azerbaijani styles have had a significant impact on the poetry of later periods. Their poetic themes with poetic music and their subtle literary arts have always been the focus of poets, especially during the period of ‘Literary Return’. On the one hand, "Khaqan Association" was the inheritor of the experiences of the two Moshtagh and Neshat associations, while its members were experienced poets and writers, who were familiar with the details of ancient poetry. On the other hand, it was connected to the court of Fath Ali Shah, which was similar to those of Sultan Mahmud Ghaznavi and Sultan Sanjar. Saljuq had established a system for poets and gave them the title of ‘Salah’ (Goodness). He invited them in the hope of getting the mentioned title, while the center of all of the poets was Malik al-Shoara Sabai Kashani. Research innovation: In this article, while announcing the corrected work of Khavari Koze Kanani's Divan and introducing its existing version, we studied the linguistic coordinates of his works and measured the ratio of his poetry with those of the previous poets. We showed that changes in the poets’ places of residence had a significant impact on their poetic languages. Method: Library and field Research materials: descriptive Conclusion: Based on our study, the following results could be drawn: Khavari Koze Kanani was one of the judges and commentators of Saba and Khaqan literary associations. The poet’s thought and language was the result of the consensus of the prominent poets of that time for returning to the styles of the past. Literary associations in those days were as institutions. For the first time in the history of Persian poetry, Dari Persian and its path-breaking direction were approved. Like most of the poets of the ‘Return Period’, Khavari had a simple, mature, and fluent poetic language. Of course, it was influenced by the poetry of the 6th century and later. Some (phonetic, lexical, and syntactic) coordinates of Khorasani style could be seen in the oriental poetry. Linguistically, the style of the oriental poetry was an imitation of Khorasani and Iraqi styles and an inspiration from Azerbaijani style, which was unique in its kind. The main reason for the simple language of the poetry of the return period, which was not so prominent, could be the fact that all of them were in the valley of imitation. Thus, the poems of all the poets were almost the same. They were all written in the same way, except for their appearances, which were in different colors and compositions. The religious nature of Khavari's poetry placed his Divan in a unique and memorable way. Khavari's migration from Azerbaijan to Kashan at a young age indicated the existence of an independent literary school called Kashan Literary School, which was effective in forming his poetry. Khavari had in his mind the migration plans of people like Kalim, Bashi, Talib, and Yaghma from Hamedan, Yazd, Amol, and Jandaq, respectively. They settled in Kashan and put a significant effect on his personal poetic style in terms of linguistic, intellectual, and literary coordinates. 8. Although Khavari's poems were far from ambiguity and complexity compared to those of his contemporaries, they had some special features, as well as beautiful and rare combinations of words based on Khorasani, Iraqi, and Azerbaijani styles. Since he was a community poet in Kashan, his poetry was different. All these cases not only showed his language characteristics, but also had great effects on his personal style. Haj Mirza Masoum Khavari Koze Kanani was a poet and religious scholar of the 13th century Hijri and one of the speakers of the period of ‘Literary Return’. His works of exquisite calligraphy have about 25000 verses, which were written in the styles of the poets of the mentioned period. This shows that Khavari considered poets, such as Abul Ala Ganjavi, Falki Sharvani, Khaqani, Jami, Nezami, and Mohtsham Kashani, in writing his poems and somehow revived their ways. To explore linguistic coordinates in his poems and investigating them at the phonetic, lexical, and syntactical levels, it is first necessary to ask which period of Persian literature (Khorasani or Iraqi) Khavari's poetry has been related to in the era of ‘Literary Return’. In this article, we showed that the poet's place of residence in Azerbaijan and Kashan had a tremendous impact on his language and expression. In fact, his speech was affected by the environment and conditions of his place of residence. Our general inference was that Khavari had used poetry and literature as a means of conveying his favorite and emphasized concepts, while taking into account his religious personality. Introduction: ‘Literary Return’ is a period in the history of Iranian literature from the second half of the 12th century to the emergence of constitutional literature in the early 14th century. There is a strong possibility that the expression of ‘return’ was used for the first time by Ustad Malek al-Shoara-ye Bahar. The forms of poetry used in the period of ‘Literary Return’ lack any originality. Poems like Ghazal, Masnavi, Qet’e, and quatrain are among the most common forms that have attracted the attention of poets in this period. However, the rhythms (measures) of the poems do not indicate any particular transformation and freshness. There were two groups of poets in this period. Some people like Saba, Majmar, and Yaghma were only poets. Some others, such as Mirza Habib Esfahani, Qa’em Maqam Farahani, and Neshat Esfahani, wrote poetry besides being engaged in other professions. An increase in the volume of poems and number of poets compared to the previous periods strengthened most of the poems by returning to the basic principles of Khorasani style of poetry. It goes without saying that the poets of Khorasani, Iraqi, and Azerbaijani styles have had a significant impact on the poetry of later periods. Their poetic themes with poetic music and their subtle literary arts have always been the focus of poets, especially during the period of ‘Literary Return’. On the one hand, "Khaqan Association" was the inheritor of the experiences of the two Moshtagh and Neshat associations, while its members were experienced poets and writers, who were familiar with the details of ancient poetry. On the other hand, it was connected to the court of Fath Ali Shah, which was similar to those of Sultan Mahmud Ghaznavi and Sultan Sanjar. Saljuq had established a system for poets and gave them the title of ‘Salah’ (Goodness). He invited them in the hope of getting the mentioned title, while the center of all of the poets was Malik al-Shoara Sabai Kashani. Research innovation: In this article, while announcing the corrected work of Khavari Koze Kanani's Divan and introducing its existing version, we studied the linguistic coordinates of his works and measured the ratio of his poetry with those of the previous poets. We showed that changes in the poets’ places of residence had a significant impact on their poetic languages. Method: Library and field Research materials: descriptive Conclusion: Based on our study, the following results could be drawn: Khavari Koze Kanani was one of the judges and commentators of Saba and Khaqan literary associations. The poet’s thought and language was the result of the consensus of the prominent poets of that time for returning to the styles of the past. Literary associations in those days were as institutions. For the first time in the history of Persian poetry, Dari Persian and its path-breaking direction were approved. Like most of the poets of the ‘Return Period’, Khavari had a simple, mature, and fluent poetic language. Of course, it was influenced by the poetry of the 6th century and later. Some (phonetic, lexical, and syntactic) coordinates of Khorasani style could be seen in the oriental poetry. Linguistically, the style of the oriental poetry was an imitation of Khorasani and Iraqi styles and an inspiration from Azerbaijani style, which was unique in its kind. The main reason for the simple language of the poetry of the return period, which was not so prominent, could be the fact that all of them were in the valley of imitation. Thus, the poems of all the poets were almost the same. They were all written in the same way, except for their appearances, which were in different colors and compositions. The religious nature of Khavari's poetry placed his Divan in a unique and memorable way. Khavari's migration from Azerbaijan to Kashan at a young age indicated the existence of an independent literary school called Kashan Literary School, which was effective in forming his poetry. Khavari had in his mind the migration plans of people like Kalim, Bashi, Talib, and Yaghma from Hamedan, Yazd, Amol, and Jandaq, respectively. They settled in Kashan and put a significant effect on his personal poetic style in terms of linguistic, intellectual, and literary coordinates. 8. Although Khavari's poems were far from ambiguity and complexity compared to those of his contemporaries, they had some special features, as well as beautiful and rare combinations of words based on Khorasani, Iraqi, and Azerbaijani styles. Since he was a community poet in Kashan, his poetry was different. All these cases not only showed his language characteristics, but also had great effects on his personal style.

https://liar.ui.ac.ir/article_27430_6264d090b00be5f941a1a0aaeabc57b8.pdf

University of Isfahan Literary Arts 20088027 14 4 2022 12 22 A Comparison of the Styles of a Lyric by Haidari Wujodi and a Lyric by Mawlawi (A Micro-context Approach) A Comparison of the Styles of a Lyric by Haidari Wujodi and a Lyric by Mawlawi (A Micro-context Approach) 149 166 27277 10.22108/liar.2023.136227.2221 FA Fida Mohammad Radpoor Ph. D. Student of Persian Literature, Faculty of Literature and Foreign Languages, Allameh Tabataba'i University Tehran, Iran Mahmood Bashiri Associate Professor, Department of Persian Literature, Faculty of Literature and Foreign Languages, Allameh Tabataba'i University Tehran, Iran Mahdi Dashti Associate Professor, Department of Persian Literature, Faculty of Literature and Foreign Languages, Allameh Tabataba'i University Tehran, Iran Journal Article 2022 12 31 The most appropriate method for understanding a poet or writer's intellectual, linguistic, and literary aspects is through a style comparison. If this comparison is broad, it is necessary to compare the entire body of work produced by the two poets or writers; if it is concise, it is also possible to compare the stylistic components of the two lyrics. Using a micro-context approach and cognitive style, this article compares two lyrics (Ghazals)—one by Haydari Wujodi, a contemporary poet and mystic, and the other by Mawlawi, a classical poet and great mystic—that are identical in terms of the prosaic weight of both lyrics “Failatun Failatun Failatun Failun” and the word “narrator”. The comparison has been performed based on three stylistic levels: linguistic level, literary level, and intellectual level. The findings of this study show that both lyrics are comparable to one another and share similar language and intellectual characteristics. In addition, the intellectual similarities suggest that Haydari’s mysticism was influenced by Mawlawi’s mysticism. Introduction Since the start of the study of stylistics up until the present, researchers in this area have offered numerous definitions. Here, dealing with the definitions will be nothing more than repeating them; hence, two brief definitions seems to be sufficient: “Stylistics is a science or system that discusses style” (Shamisa, 2001, p. 13). This definition refers to two points: one is the nature of the style, and the second is the function of style. According to Charles Bally, “the task of stylistics is to see what the types of expression structures are in a certain period and how they express feelings and thoughts” (Ghiashi, 1989, p. 11). Therefore, style, in general, includes three important linguistic, literary, and intellectual elements, from which the style of language, literary, and intellectual type of each writer can be distinguished. These three elements depend on the environmental, cultural, political, and religious conditions that every writer or poet is affected by these conditions. This impressionability appears in their words; for example, Hafez's words seem more ambiguous from a literary point of view. Ferdowsi's language is full of original Persian words and epic and mythological themes, and the dominant element in Mawlawi's intellectual system is mysticism. In fact, Mawlawi's poetry cannot be compared with any other poet in terms of meaning and content. Because he was not only a mystic and a poet, but he was also the greatest scholar of religion. Over the years, dozens of researchers have described and developed his works, and hundreds of poets have been influenced by him, which is proof of the breadth of Mawlawi's knowledge. Ghulam Haider, the son of Maulana Shafiullah, nicknamed Haidari Wujoudi, a contemporary Afghanistan mystic and poet, is among those who are influenced by Mawlawi's thoughts. He was born in 1939 in Panjshir province and died in 2020 due to coronavirus. Although Haidari Wujoudi did not have more than elementary education, due to his study and talent and also his enthusiasm and interest in mysticism, he is the owner of a poetic divan consisting of several thousand verses. In this study, the stylistic analysis of both sonnets has been done with the approach of studying a small context. By examining this type of approach, two pieces of poetry or two stories can be compared. In this stylistic comparison, Ghazal No. 144 by Mawlawi and one Ghazal by Haidari Wujoudi (2019, p. 82) have been selected in a prosody weight and they have been stylistically compared from three linguistic, literary, and intellectual perspectives. Materials and Methods This study has been carried out by the analytical-descriptive method and is based on library research. In this research, a six-verse ghazal by Haidari Wujoudi and a seven-verse ghazal by Mawlawi (Kuleyaat Shams Tabrizi) have been selected, both of which are in the same weight (Ramel Mothman Mahzauf), and analyzed with a micro-context approach. In this regard, the stylistic and comparative results of both (differences and similarities) have been reported statistically. Research Findings The overall findings of this research show that Haidari Wujoudi's way of thinking is consistent with Mawlawi's. This harmony is due to mystical vision. Also, the use of mystical themes shows the common features between both lyrics. In terms of language, there are more similarities than differences between both lyrics. But in the literary segment, both in terms of innovative art and the science of expression (simile, metaphor, irony, and permission), the difference seems to be greater. In this sense, the literary level of Haidari's lyrics is higher than Mawlawi's. From this point of view, it can be said that Haidari's existential mysticism in this lyric is theoretical mysticism and Mawlawi's mysticism is of practical mysticism type. Discussion of Results and Conclusion The collection of Haidari Wujoudi’s work (Divan) is considered one of the most important literary-mystical works in Persian literature. In addition to his surviving printed works, there are about 500 audio tapes of Mawlawi Masnawi’s series, which have not been arranged or edited until now. As mentioned before, Mawlawi's lyrics (Ghazals), known as Shams's ghazals, are at a high level in terms of meaning and mystical content, and it is not easy to compare them with any ghazal or any poet. In this study, two lyrics by Mawlawi and Haidari Wujoudi were chosen not merely for the purpose of stylistic comparison but rather because of the similarities between the two, particularly Haidari Wujoudi's perception of Mawlawi. Mawlawi's lyrics are full of passion and love, and despair and hopelessness are not seen in them. Haidari Wujoudi's poems also have the same characteristics because his mysticism is of the type of romantic mysticism, and the essence of Haidari's lyrics is love, which is the common ground between both lyrics. The most appropriate method for understanding a poet or writer's intellectual, linguistic, and literary aspects is through a style comparison. If this comparison is broad, it is necessary to compare the entire body of work produced by the two poets or writers; if it is concise, it is also possible to compare the stylistic components of the two lyrics. Using a micro-context approach and cognitive style, this article compares two lyrics (Ghazals)—one by Haydari Wujodi, a contemporary poet and mystic, and the other by Mawlawi, a classical poet and great mystic—that are identical in terms of the prosaic weight of both lyrics “Failatun Failatun Failatun Failun” and the word “narrator”. The comparison has been performed based on three stylistic levels: linguistic level, literary level, and intellectual level. The findings of this study show that both lyrics are comparable to one another and share similar language and intellectual characteristics. In addition, the intellectual similarities suggest that Haydari’s mysticism was influenced by Mawlawi’s mysticism. Introduction Since the start of the study of stylistics up until the present, researchers in this area have offered numerous definitions. Here, dealing with the definitions will be nothing more than repeating them; hence, two brief definitions seems to be sufficient: “Stylistics is a science or system that discusses style” (Shamisa, 2001, p. 13). This definition refers to two points: one is the nature of the style, and the second is the function of style. According to Charles Bally, “the task of stylistics is to see what the types of expression structures are in a certain period and how they express feelings and thoughts” (Ghiashi, 1989, p. 11). Therefore, style, in general, includes three important linguistic, literary, and intellectual elements, from which the style of language, literary, and intellectual type of each writer can be distinguished. These three elements depend on the environmental, cultural, political, and religious conditions that every writer or poet is affected by these conditions. This impressionability appears in their words; for example, Hafez's words seem more ambiguous from a literary point of view. Ferdowsi's language is full of original Persian words and epic and mythological themes, and the dominant element in Mawlawi's intellectual system is mysticism. In fact, Mawlawi's poetry cannot be compared with any other poet in terms of meaning and content. Because he was not only a mystic and a poet, but he was also the greatest scholar of religion. Over the years, dozens of researchers have described and developed his works, and hundreds of poets have been influenced by him, which is proof of the breadth of Mawlawi's knowledge. Ghulam Haider, the son of Maulana Shafiullah, nicknamed Haidari Wujoudi, a contemporary Afghanistan mystic and poet, is among those who are influenced by Mawlawi's thoughts. He was born in 1939 in Panjshir province and died in 2020 due to coronavirus. Although Haidari Wujoudi did not have more than elementary education, due to his study and talent and also his enthusiasm and interest in mysticism, he is the owner of a poetic divan consisting of several thousand verses. In this study, the stylistic analysis of both sonnets has been done with the approach of studying a small context. By examining this type of approach, two pieces of poetry or two stories can be compared. In this stylistic comparison, Ghazal No. 144 by Mawlawi and one Ghazal by Haidari Wujoudi (2019, p. 82) have been selected in a prosody weight and they have been stylistically compared from three linguistic, literary, and intellectual perspectives. Materials and Methods This study has been carried out by the analytical-descriptive method and is based on library research. In this research, a six-verse ghazal by Haidari Wujoudi and a seven-verse ghazal by Mawlawi (Kuleyaat Shams Tabrizi) have been selected, both of which are in the same weight (Ramel Mothman Mahzauf), and analyzed with a micro-context approach. In this regard, the stylistic and comparative results of both (differences and similarities) have been reported statistically. Research Findings The overall findings of this research show that Haidari Wujoudi's way of thinking is consistent with Mawlawi's. This harmony is due to mystical vision. Also, the use of mystical themes shows the common features between both lyrics. In terms of language, there are more similarities than differences between both lyrics. But in the literary segment, both in terms of innovative art and the science of expression (simile, metaphor, irony, and permission), the difference seems to be greater. In this sense, the literary level of Haidari's lyrics is higher than Mawlawi's. From this point of view, it can be said that Haidari's existential mysticism in this lyric is theoretical mysticism and Mawlawi's mysticism is of practical mysticism type. Discussion of Results and Conclusion The collection of Haidari Wujoudi’s work (Divan) is considered one of the most important literary-mystical works in Persian literature. In addition to his surviving printed works, there are about 500 audio tapes of Mawlawi Masnawi’s series, which have not been arranged or edited until now. As mentioned before, Mawlawi's lyrics (Ghazals), known as Shams's ghazals, are at a high level in terms of meaning and mystical content, and it is not easy to compare them with any ghazal or any poet. In this study, two lyrics by Mawlawi and Haidari Wujoudi were chosen not merely for the purpose of stylistic comparison but rather because of the similarities between the two, particularly Haidari Wujoudi's perception of Mawlawi. Mawlawi's lyrics are full of passion and love, and despair and hopelessness are not seen in them. Haidari Wujoudi's poems also have the same characteristics because his mysticism is of the type of romantic mysticism, and the essence of Haidari's lyrics is love, which is the common ground between both lyrics.

https://liar.ui.ac.ir/article_27277_d618ca54f74d3c068409b815768131e9.pdf