Semnan University PressJournal Of Linguistic and Rhetorical Studies2008-95704720130723Hafiz and difamiliarization in allusiomsHafiz and difamiliarization in allusioms726179010.22075/jlrs.2017.1790FAJournal Article20170128Allusion (Talmih) is a usual and ancient rhetorical âtechnique in literature of Iran and the world. In this article, âHafiz's approach to fictional allusions is studied. Hafiz âreconstructs celebrated allusions into different and essentric âstyles .Hafiz frequently considers stories in a different way, âor uses amphiboly and symmetry to do complex indicational âand accociational structure of allusion. He further mixes âdifferent traditions with reference to their allusions.âAllusion (Talmih) is a usual and ancient rhetorical âtechnique in literature of Iran and the world. In this article, âHafiz's approach to fictional allusions is studied. Hafiz âreconstructs celebrated allusions into different and essentric âstyles .Hafiz frequently considers stories in a different way, âor uses amphiboly and symmetry to do complex indicational âand accociational structure of allusion. He further mixes âdifferent traditions with reference to their allusions.âhttps://rhetorical.semnan.ac.ir/article_1790_d6b7b6c740a73d433ed2f14476f45ebb.pdfSemnan University PressJournal Of Linguistic and Rhetorical Studies2008-95704720130723Application of metaphor as a stylistic feature âof Naser Khosrowâs poetryâApplication of metaphor as a stylistic feature âof Naser Khosrowâs poetryâ2754179110.22075/jlrs.2017.1791FAJournal Article20170128The aim of this article is to review the material, âstructure, features of metaphor and tropology techniques as âthe most important element of imagination in Naser âKhowsroâs poems. Human organs, various classes of people, ânature, the world and sky are the most important elements âwhich Naser Khowsroâs uses as metaphors in his poems.â
Naser Khowsro resorts to imaginary elements including âmetaphor to describe and explain his various notions and for âthis purpose he has employed abstract stipulated metaphor âwhich is easier to comprehend, more than other types of âmetaphor.â
Naser Khowsro usually first employs an analogy for âtropology and in the following verses, by eliminating the âsimile or adding to it, changes analogy to metaphor another âtechnique is that he firstly expresses a subject in a verse about âa subject, person, thing or a group and in the following verse âexpresses the metaphor in relation to that subject among âmetaphors in Naser Khowsroâs poems, there are metaphors âwhich are used in conundrum, and by the descriptions âpresented by Naser Khowsro about that conundrum,ââ âfinding âthe simile is easy.âThe aim of this article is to review the material, âstructure, features of metaphor and tropology techniques as âthe most important element of imagination in Naser âKhowsroâs poems. Human organs, various classes of people, ânature, the world and sky are the most important elements âwhich Naser Khowsroâs uses as metaphors in his poems.â
Naser Khowsro resorts to imaginary elements including âmetaphor to describe and explain his various notions and for âthis purpose he has employed abstract stipulated metaphor âwhich is easier to comprehend, more than other types of âmetaphor.â
Naser Khowsro usually first employs an analogy for âtropology and in the following verses, by eliminating the âsimile or adding to it, changes analogy to metaphor another âtechnique is that he firstly expresses a subject in a verse about âa subject, person, thing or a group and in the following verse âexpresses the metaphor in relation to that subject among âmetaphors in Naser Khowsroâs poems, there are metaphors âwhich are used in conundrum, and by the descriptions âpresented by Naser Khowsro about that conundrum,ââ âfinding âthe simile is easy.âhttps://rhetorical.semnan.ac.ir/article_1791_72f18cd22bf689c1506a48f968948dfb.pdfSemnan University PressJournal Of Linguistic and Rhetorical Studies2008-95704720130723Rhetorical terms in Safavid biographiesRhetorical terms in Safavid biographies5574179210.22075/jlrs.2017.1792FAJournal Article20170128Rhetoric and eloquence are among literary sciences âwhich help the critics in reviewing texts. Rhetoricians have âspecial rules for words and speakers which may change âduring the period of literary history along with the changing âtaste of scholars and critics . A literary text as having the âcharacteristics of the rhetoric and eloquence may be reviewed âat any period of history in a different way. In the Safavid era âwith the fusion of Persian poetry and the taste of Hindi poets ââ,further developments of this sort happened. In that era the âbiographers by changing the standards of Rhetoric and âeloquence have used some terms. Studying these terms helps âto understand their perspectives towards rhetoric and eloquent âtexts.âRhetoric and eloquence are among literary sciences âwhich help the critics in reviewing texts. Rhetoricians have âspecial rules for words and speakers which may change âduring the period of literary history along with the changing âtaste of scholars and critics . A literary text as having the âcharacteristics of the rhetoric and eloquence may be reviewed âat any period of history in a different way. In the Safavid era âwith the fusion of Persian poetry and the taste of Hindi poets ââ,further developments of this sort happened. In that era the âbiographers by changing the standards of Rhetoric and âeloquence have used some terms. Studying these terms helps âto understand their perspectives towards rhetoric and eloquent âtexts.âhttps://rhetorical.semnan.ac.ir/article_1792_cf1b26d19f9ac82ac1691c45ba08dd49.pdfSemnan University PressJournal Of Linguistic and Rhetorical Studies2008-95704720130723An Inquiry in the Exploration of Persian and âArabic Literature Connection (The Case of âIrony in Masnavi Maânavi and Arabic âLiterature)âAn Inquiry in the Exploration of Persian and âArabic Literature Connection (The Case of âIrony in Masnavi Maânavi and Arabic âLiterature)â75106179310.22075/jlrs.2017.1793FAJournal Article20170128Molana has used expressive and rhetorical figures of âspeech in his artistic pictures of Masnavi Maânavi. Irony as a âvery useful means has attracted the attention of Molana as âsuch that he has declared most of his speech in the form of âthis method. In this research, irony and its pictorial function âhave been investigated with the analytic-descriptive method. âWe made an attempt to investigate the relationship between âMasnaviâs ironies and defined Arabic ironies as well as to âfind the similarities of this issue in mAsnavi and Arabic âLiterature. The result of the study shows that ironies in âMasnavi have similarities with Arabic irony and as each âculture has its own specific irony so this commonality shows âthe deep historical and cultural connection of these two âLiteratures: Arabic and Persian. Other evidences depict that at âleast eight of the ironies mentioned in this article are Iranian. âIn contrast to general insights, we canât claim that the rest of âironies are Arabic.âMolana has used expressive and rhetorical figures of âspeech in his artistic pictures of Masnavi Maânavi. Irony as a âvery useful means has attracted the attention of Molana as âsuch that he has declared most of his speech in the form of âthis method. In this research, irony and its pictorial function âhave been investigated with the analytic-descriptive method. âWe made an attempt to investigate the relationship between âMasnaviâs ironies and defined Arabic ironies as well as to âfind the similarities of this issue in mAsnavi and Arabic âLiterature. The result of the study shows that ironies in âMasnavi have similarities with Arabic irony and as each âculture has its own specific irony so this commonality shows âthe deep historical and cultural connection of these two âLiteratures: Arabic and Persian. Other evidences depict that at âleast eight of the ironies mentioned in this article are Iranian. âIn contrast to general insights, we canât claim that the rest of âironies are Arabic.âhttps://rhetorical.semnan.ac.ir/article_1793_7f437bda57feab534ea74706f538d1ea.pdfSemnan University PressJournal Of Linguistic and Rhetorical Studies2008-95704720130723The place of Balance in rhetorics and the âinvestigation of its status in Anvariâs divanThe place of Balance in rhetorics and the âinvestigation of its status in Anvariâs divan107126179410.22075/jlrs.2017.1794FAJournal Article20170128This article deals with balance and its variety in âAnvariâs divan. Balance is one of the verbal devices in ârhetorics that creates more music in a poem and results in its âcharm and charisma. Balance forms from the contrast âbetween the balanced and sometimes parallel rhymes. In this âstudy, we observe other kinds of balance in the Anvariâs âdivan, which have been dealt with in few rhetorical books âand by that we mean the balance in two consecutive distiches, âin the way that the first verse of the first distich is in balance âwith the first verse of the second distich , and the second âverse of the first distich is in balance with the second verse âof the second distich. The third type is also the case that only âthe first two verses or the second two verses in the two âconsecutive distiches are in balance with each other. In this âstudy, we tried to explain them by providing evidence for âeach of these types.The results suggest that this literary âdevice and its variants in Anvariâs divan are among the most âfrequent literary arrays which were used. And since Anvari is âa panegyrist poet, he took the advantage of using this literary âdevice to have more impact on his audience. âThis article deals with balance and its variety in âAnvariâs divan. Balance is one of the verbal devices in ârhetorics that creates more music in a poem and results in its âcharm and charisma. Balance forms from the contrast âbetween the balanced and sometimes parallel rhymes. In this âstudy, we observe other kinds of balance in the Anvariâs âdivan, which have been dealt with in few rhetorical books âand by that we mean the balance in two consecutive distiches, âin the way that the first verse of the first distich is in balance âwith the first verse of the second distich , and the second âverse of the first distich is in balance with the second verse âof the second distich. The third type is also the case that only âthe first two verses or the second two verses in the two âconsecutive distiches are in balance with each other. In this âstudy, we tried to explain them by providing evidence for âeach of these types.The results suggest that this literary âdevice and its variants in Anvariâs divan are among the most âfrequent literary arrays which were used. And since Anvari is âa panegyrist poet, he took the advantage of using this literary âdevice to have more impact on his audience. âhttps://rhetorical.semnan.ac.ir/article_1794_b547b9352a7cac23b9cdabb6f461d4a9.pdfSemnan University PressJournal Of Linguistic and Rhetorical Studies2008-95704720130723The Equivalences between Ideas of Abd al-âQahir al-Jurjani and Structural Linguistics âand the New CriticismThe Equivalences between Ideas of Abd al-âQahir al-Jurjani and Structural Linguistics âand the New Criticism127148179510.22075/jlrs.2017.1795FAJournal Article20170128Abd al-Qahir al-Jurjani (400 â 471 AH / 1078 AD), the âcelebrated Persian rhetorician and grammarian, inaugurated âthe Arab linguistic revolution through his seminal works, ânamely Asrar al-Balaghah (The Secrets of Elucidation) and âparticularly Dala'il al-I'jaz (Intimations of Inimitability). In âthe recent century, after efforts of Muhammad Abduh in âEgypt to revive the Islamic scientific thought, editing and âprinting of Jurjaniâs scripts was prospered. Immediately after, âthe novelty of his ideas drew the attention of many scholars, âand initiated a widespread quest to find the similarities of his âideas with modern linguistics, in theory and practice. This âendeavor which perhaps is in its midway, led to find many âequivalences and has produced remarkable results.â
It is the aim of this article to analyze some ideas of âJurjani from Dala'il al-I'jaz which collectively are known as âââThe Theory of Nazmâ, and deliberate those equivalences âwith structural linguistics and the new criticism. Word (lafáº) âand meaning (maÊ¿ÄnÄ«), the syntagmatic and paradigmatic âaxes, and differences of langue and parole are the most âimportant topics that inter-relate Jurjani with contemporary âlinguistics. The principal equality of Jurjani and structural âlinguistics is his perception of language as a system of âcommunication.âAbd al-Qahir al-Jurjani (400 â 471 AH / 1078 AD), the âcelebrated Persian rhetorician and grammarian, inaugurated âthe Arab linguistic revolution through his seminal works, ânamely Asrar al-Balaghah (The Secrets of Elucidation) and âparticularly Dala'il al-I'jaz (Intimations of Inimitability). In âthe recent century, after efforts of Muhammad Abduh in âEgypt to revive the Islamic scientific thought, editing and âprinting of Jurjaniâs scripts was prospered. Immediately after, âthe novelty of his ideas drew the attention of many scholars, âand initiated a widespread quest to find the similarities of his âideas with modern linguistics, in theory and practice. This âendeavor which perhaps is in its midway, led to find many âequivalences and has produced remarkable results.â
It is the aim of this article to analyze some ideas of âJurjani from Dala'il al-I'jaz which collectively are known as âââThe Theory of Nazmâ, and deliberate those equivalences âwith structural linguistics and the new criticism. Word (lafáº) âand meaning (maÊ¿ÄnÄ«), the syntagmatic and paradigmatic âaxes, and differences of langue and parole are the most âimportant topics that inter-relate Jurjani with contemporary âlinguistics. The principal equality of Jurjani and structural âlinguistics is his perception of language as a system of âcommunication.âhttps://rhetorical.semnan.ac.ir/article_1795_cb00dc7c7fb58949df050541a5822cb2.pdf