Rhetoric
Faezeh Arab Yousefabadi; Noshin Hassani
Abstract
In Persian grammar, the “adjective” is a word that reveals the quality, state, or attribute of its noun, manifesting in two essential domains: grammar and rhetoric. At the grammatical level, the adjective serves as a descriptive device with a fixed syntactic role. In the rhetorical domain, ...
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In Persian grammar, the “adjective” is a word that reveals the quality, state, or attribute of its noun, manifesting in two essential domains: grammar and rhetoric. At the grammatical level, the adjective serves as a descriptive device with a fixed syntactic role. In the rhetorical domain, however, the adjective transcends this framework, becoming a key instrument of literary artistry by intertwining with rhetorical devices such as simile, metaphor, allusion, pun, and kenning. In the Hashtbehesht masnavi, Amir Khosrow Dehlavi employs adjectives extensively and skillfully, not only to produce vivid imagery and rhythmic language but also to imbue his verse with distinction and eloquence through rhetorical craftsmanship. This study, conducted using a library-based method and a descriptive–analytical approach, extracts all types of adjectives in the work, classifying and analyzing them across both domains. Statistical findings reveal that, in grammar, demonstrative adjectives occur most frequently, followed by active participial, simple, and relative adjectives. In rhetoric, simile-based adjectives have the highest frequency, with metaphor, kenning, and other rhetorical forms following. Overall, the research demonstrates that in Hashtbehesht, the adjective is not merely a grammatical unit but a central rhetorical element for generating imagery, evoking emotion, and enhancing the musicality of the poetic discourse.
javad ranjbar
Abstract
Conceptual metaphor theory is one of the most important theories in the field of cognitive linguistics. The basis of this theory is based on the conceptualization of intangible concepts through structured sensory experiences. The problem of this research is to examine poems by Badrshakar al-Siyab and ...
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Conceptual metaphor theory is one of the most important theories in the field of cognitive linguistics. The basis of this theory is based on the conceptualization of intangible concepts through structured sensory experiences. The problem of this research is to examine poems by Badrshakar al-Siyab and Houshang Ibtahaj, whose origin or destination is "love" and related words. The concept of love is one of the main poetic themes. These two poets have devoted their efforts to give a new dawn to the value and respect of love at a time when love and affection are on the decline by using a conceptual metaphor. In this way, the goal of cognitive characteristics, cultural, social constructions and worldviews of the minds of these two poets in relation to the element of love can be achieved. Based on the analytical descriptive method and the comparative approach of the American school, the present research examines the common and non-common conceptual domains of the conceptual metaphor of "love" in the poems of Badrshakar al-Siyab and Houshang Ebtahaj. The results indicate that the most important domains common to the conceptualization of "love" in the poetry of these two poets are the human domain, giving life to love, fire, house and flowers. As in Al-Siyab's poetry and Ibtahaj's poetry, "man" and "fire" have the highest frequency. Among the non-common subject domains in Badr Shaker al-Siyab's poetry, we can mention the domains of wine, desert, boat, water and goddess, and the domains of animals, music,
Rhetoric
shayeste sadat hoseini robat; enayatollah sharifpour; Gholam Abbas Zakari
Abstract
Formalists consider language to have two functions: automatic and highlighting. Highlighting is based on two types of rule addition and rule reduction. Rule reduction also has types, the most poetic of which is semantic rule reduction. Semantic rule reduction is consistent with the arts of simile and ...
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Formalists consider language to have two functions: automatic and highlighting. Highlighting is based on two types of rule addition and rule reduction. Rule reduction also has types, the most poetic of which is semantic rule reduction. Semantic rule reduction is consistent with the arts of simile and metaphor in terms of selection and with paradox and allusion in terms of combination. In this study, using a descriptive-analytical method, we have conducted a comparative study of semantic rule reduction from the perspective of formalism in the ghazals of Saadi and Hossein Monzavi. The importance of the study is that it examines for the first time the differences and similarities of semantic rule reduction from the perspective of formalism in the ghazals of Saadi and Monzavi. In this study, we found that among the types of simile. In Saadi's poetry, the simple simile ranks second and the detailed simile ranks third, while in the isolated ghazal, detailed simile is used more than the simple. Among the types of metaphor, anthropomorphism has the highest frequency in the ghazals of both poets, and this type of metaphor also plays a prominent role from a formalistic perspective. Regarding the types of paradox under study, in the ghazals of both poets, semantic paradox at the verse level has the highest frequency and formal impact. In the artistic models of allusions under study, lexical allusions in the ghazals of both poets have the highest frequency of impact on form and structure.
Rhetoric
fereshte shahsanam; ahmad khajehim; Abolqasem rahimi; Hassan Delbari
Abstract
The current analytical-descriptive research in the framework of conceptual metaphor theory (Lakoff & Johoson 1980) analyzes the up and down directional metaphors in one of the most important poetic collections of Mehrdad Avesta, namely Sharab-e Khanegi Tars-e Muhtasib Khordeh (In fear of the Muhtasib, ...
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The current analytical-descriptive research in the framework of conceptual metaphor theory (Lakoff & Johoson 1980) analyzes the up and down directional metaphors in one of the most important poetic collections of Mehrdad Avesta, namely Sharab-e Khanegi Tars-e Muhtasib Khordeh (In fear of the Muhtasib, the house (secret)-wine having drunk) .Mehrdad Avesta (1370-1308 AH) is one of the prominent poets of the revolution, who his fighting and idealistic spirit can be seen everywhere in his works. In addition his poetry is full of abstract concepts that he has made tangible and objective with opposing directions. The main aim of the authors in investigating the up and down direction metaphor in his poem was to pay a close attention to his point of view and then to discover the perception that which concepts, in his thought and attitude, have been placed with the up direction, and which concepts with the down direction. In this collection, 109 upward directions and 119 downward directions were found. The result of the directional metaphors analysis in the two mentioned directions shows that in the poet's thought system, in line with his revolutionary spirit, positive concepts, such as shouting, happiness, freedom, victory, courage, clarity, and youth, are associated with high direction and negative concepts, such as silence, sadness, bondage, failure, baseness, darkness, and old-age are mapped with the downward direction.
Rhetoric
ezzatollah sepahvand; Fatemeh Feali
Abstract
With the development of the media and its many applications, literature and figures of speech have also played an important role. Advertising has also been a constant part of all types of media. Many efforts have been made to increase the effectiveness of advertising using different sciences and techniques. ...
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With the development of the media and its many applications, literature and figures of speech have also played an important role. Advertising has also been a constant part of all types of media. Many efforts have been made to increase the effectiveness of advertising using different sciences and techniques. On television, as a part of the visual media with a great deal of audience and availability, advertising influence plays a more remarkable roles. In this study, it has been attempted by focusing on applied rhrtoric to show the efficiency of figures of speech in television advertising both in terms of word and image. In a word, the use of the literary industry is obvious, but what distinguishes this research from the rest is the study of literary traditions in the wordless picture for this purpose, we first describe the statistical community as a selection of television advertising. We selected some prominent advertisements in which the rhetorical elements were more visible, we survey their rhetoric in three areas of expression, exegesis, and meaning. Also, advertisements that apply explicit and direct expression that did not fit into any figures of speech and soon went public were also reviewed in conclusion; then, suggestions were made to increase this impact. We have advertisements. The findings showed that the use of literary devices - especially in wordless images - in commercial advertisements and commercials has a greater impact on the audience
Rhetoric
marzieh zare
Abstract
The poet's style in creating images and conquering new territories is related to his knowledge and understanding of the spirit of language; Because creating an image is considered the most beautiful use of imagination in the language of poetry, which is created in the form of a literary phenomenon in ...
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The poet's style in creating images and conquering new territories is related to his knowledge and understanding of the spirit of language; Because creating an image is considered the most beautiful use of imagination in the language of poetry, which is created in the form of a literary phenomenon in order to show sensory and mental experiences. Image creation in poetry provides an intellectual and emotional link in a moment of time and helps the poet in using "verbal, expressive, figurative" techniques in order to emphasize and identify the "poem structure" with aesthetic validity Give. Ahmed Azizi, one of the contemporary poets of the Islamic revolution, is one of the poets whose poetry in many cases, with the help of poetic language, has made several different systems entangled, and as a result, he has succeeded in discovering a language that is entirely based on metaphorical nature. This language has used four main image sources (surrealist, classic, romantic, symbolism). In this research, an attempt is made to investigate some of the characteristics of Azizi's poetic images in the book " kafsh-haye mokashefe " based on the principles of the rhetoric of the image of the poem.
Rhetoric
Ahmad Ghanipour Malekshah; Vahid Taghinezhad fashtakeh; morteza mohseni; Massoud Rouhani
Abstract
Historical texts before the constitutional revolution have a special political language due to their nature. This special political language, which originates from political power, may have a stronger or weaker presence in some books and periods, depending on the time and place. Tarikh Balami written ...
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Historical texts before the constitutional revolution have a special political language due to their nature. This special political language, which originates from political power, may have a stronger or weaker presence in some books and periods, depending on the time and place. Tarikh Balami written by Balami in the 4th century has this special language. In this research, the influence of power, both political and spiritual, has been investigated and analyzed in Balaami history. The text comes in various forms in the face of power and compliance with its requirements.On the one hand, the author of Tarikh Balami is the initiator of history writing in the Persian language, and on the other hand, he translated and composed a history related to past times. Therefore, it adheres less to the language rituals and customs - as it is later found in texts such as Tarikh Beyhaqi and Tarikh Jahangosha.The research method is descriptive and analytical. In the analysis of the language of power, the terms semantics and pragmatics were used. Balami has been able to achieve these requirements by using methods such as mentioning titles and adjectives, combining power words, choosing words, using literary techniques such as allegory, contrast, exaggeration, etc., praise tone, taking turns in speaking, etc. to reflect power in his language.,he does this with an artistic language and the use of some syntactic structures. Often, these cases have a general aspect in the language custom, and later historians also follow him in expressing the language of power,.
Rhetoric
Nafiseh Irani; Mehdi Ahmadikhah
Abstract
Adjectival adjuncts are one of the linguistic tools and markers in language that allow certain descriptors to be added as adjuncts to the head of a noun phrase . In rhetoric, the repetition and sequence of adjectives within a phrase create an artistic and literary industry known as "adjective sequences" ...
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Adjectival adjuncts are one of the linguistic tools and markers in language that allow certain descriptors to be added as adjuncts to the head of a noun phrase . In rhetoric, the repetition and sequence of adjectives within a phrase create an artistic and literary industry known as "adjective sequences" or sometimes "coordination of adjectives." Adjective sequences are considered an artificial construct in rhetoric, and there are two completely different and opposing perspectives among rhetoricians: some consider it a deviation from eloquence, while others see it as part of innovative rhetoric . Both groups have only regarded the status and function of this linguistic tool to the extent mentioned, without paying attention to its formal function in the structure and quality of the poetic imagery of poets, as well as its role in distinguishing the poetic style of different poets. Therefore, this research aims to investigate the impact of adjectival sequences on shaping the poetic imagery of three prominent contemporary Iranian poets (Akhavan Sales , Sepheri, and Shamloo) and whether the poetic imagery resulting from the repetition and sequence of this linguistic marker has led to the differentiation and identification of the poets' (style) voices. Based on this premise, this article extracts the generated poetic imagery based on the repetition from the poetry collections of the mentioned poets and examines the structural aspects (1. The role of adjective sequences in highlighting poetic imagery (both dynamic and static imagery);
Rhetoric
yasin mahmoodzadeh
Abstract
AbstractThe theory of polyphony is one of the important topics in contemporary literary theories that has attracted the attention of Iranian researchers. New literary theories confirm literary texts from a specific perspective and situation. Mikhail Bakhtin is one of the most influential literary theorists, ...
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AbstractThe theory of polyphony is one of the important topics in contemporary literary theories that has attracted the attention of Iranian researchers. New literary theories confirm literary texts from a specific perspective and situation. Mikhail Bakhtin is one of the most influential literary theorists, whose polyphony and dialogue logic are central to his views, and he considers the novel to have the features of dialogue logic and polyphony. The poetry of Akhwan has colloquial characteristics due to atmosphere creation, the presence of others, narrative expression, ancient and native language, therefore the poems of Mehdi Akhwan the Third can be analyzed based on Bakhtin's theory. The purpose of this research is to examine the selected poems of the Akhawan Sales based on Bakhtin's multifaceted theory. The results of the research method showed that the main tricks of the Brotherhood for the dialogue space are the use of pronouns (I-you-he), rhetorical propositions (question, command, call), myth, symbol and carnival. which has added to the conversation using these tricks. Key words: third brotherhood, dialogue, polyphony, monophony.
