Rhetoric
Mohammad Hossein Movahed; Amir Moqaddam Mottaqi; Safa Kazemian Moqaddam
Abstract
One of the factors that differentiate between literary writings and make a powerful comparison between them is the productivity of the text from the artistic styles within the text. Although Saadi owes most of his fame to his unique Persian poetry, his Arabic poems are not far from the range of literary ...
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One of the factors that differentiate between literary writings and make a powerful comparison between them is the productivity of the text from the artistic styles within the text. Although Saadi owes most of his fame to his unique Persian poetry, his Arabic poems are not far from the range of literary richness. However, contradictory statements have been made in this regard.. Some consider his Arabic poems as valuable as his Persian poems, while others consider Saadi to be weak in this field and consider his poems to be much weaker than the Arabic poems of others. It should be kept in mind that the Arabic language has many structural and semantic subtleties that can multiply the beauty of the speech, among which the rhetorical style of presentation and delay can be mentioned.Based on the descriptive-analytical research method, this research deals with the extent to which Saadi was successful in Arabic poetry focusing on the use of presentation and delay style and to what extent his poems have artistic and verbal values. The results indicate that Professor Sokhon used the method of offering and delaying profit 177 times, without considering the mandatory cases, he used permissible purposeful transfers 134 times.By using this style, he has been able to achieve goals such as allocation, regret, respect for intervals, surprise, complaint, poems about causation, pleasure, help, understatement, pity, reprimand, correctness of confrontation, bowing, bowing, complaint, etc. find and finally bring his Arabic poems to an admirable level.
Rhetoric
Ahmad Aryan; ahmad goli; Rahman Moshtaghmehr
Abstract
SummaryStrangeness in a word means that it is not clear and unfamiliar in use, which most rhetoric scholars have considered to be a defect in eloquence. The oldest book that had mentioned the oddity in Islamic rhetoric and proposed the non-use of it as a condition of eloquence is Khatib Qazvini's "Al ...
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SummaryStrangeness in a word means that it is not clear and unfamiliar in use, which most rhetoric scholars have considered to be a defect in eloquence. The oldest book that had mentioned the oddity in Islamic rhetoric and proposed the non-use of it as a condition of eloquence is Khatib Qazvini's "Al Izah" and since then, through the history of the teaching of rhetoric, the principle has been followed up to now. But contemporary rhetoricians consider this model of eloquence, and many other principles of traditional rhetoric, to be ineffective in the face of contemporary literary criticism and the analysis as well as aesthetics of literary texts. They have presented their theories in this regard in several articles and insisted to revise them. This article, considering the criticism of traditional rhetoric and the necessity of its revision, has studied one of the defects of eloquence in an analytical-critical way, With the presupposition that traditional eloquence with its negative patterns, willy-nilly neglected poetic language, it has shown its efficiency more in the field of grammar than rhetoric. Poetry or prose in its simultaneity axis, the nature of language and from the point of view of stylistics, it is a kind of defamiliarization and avoidance of norms that has caused the stylistic differentiation of the writer or poet, it can play an important role in shaping the literariness of speech.
Rhetoric
Akram naiemi; shahrokh hekmat; mohsen izadyar
Abstract
Various analyses conducted by linguists in the past decades to analyze metaphor have proposed a new concept of it called conceptual metaphor to show its clear distinction from traditional definitions. Traditional metaphors emphasize more on form and appearance, but conceptual metaphors are formed on ...
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Various analyses conducted by linguists in the past decades to analyze metaphor have proposed a new concept of it called conceptual metaphor to show its clear distinction from traditional definitions. Traditional metaphors emphasize more on form and appearance, but conceptual metaphors are formed on hidden concepts and imagery within the framework of cognitive semantics, based on which human emotions are depicted as various objective things. Among these emotions is the abstract concept of "sadness" which is manifested in various forms in the thought of poets. Sohrab Sepehri and Federico Garcia Lorca are among the poets who have depicted the abstract concept of "sadness" with different schemas. They have objectified the mental concept of grief mostly in the form of structural metaphors and with directional and agent schemas. Their least use is evident in the section of spatial metaphors. The application of the conceptual metaphor of "grief" in the poems of Sepehri and Lorca was more prominent in the section of ontological metaphors in the form of man and nature, which indicates the closeness of their views on the aforementioned mental concept. This research was conducted using the method of analyzing and describing evidence from the poetry of the studied poets, in which we first extracted the mental concept of "grief" based on cognitive linguistic theorists, then with the help of various theories proposed by cognitive linguists, especially Lakoff and Johnson, we explained and interpreted them in order to prove its mental images for the audience
