Literary Language Research Journal

Aesthetics is an ability to better understand perceptions as well as phenomena such as music that causes a change in a person's mood and attitude. In fact, the definition of beauty can be very broad or very narrow. Some have tried to define beauty in an objective matter especially to search: for example, in different types of art, objects, nature and other subjects. But the aesthetic value of a work becomes perceptible when it can present itself to the observer as an art independent of the mind and make her mind active. Because the areas of aesthetics are one of the prominent theories in aesthetics, which is considered a subset of linguistics. This research was conducted with the aim of investigating the content elements and functions of Qazdari's poetry and their effect on the prominence of the concept of her poetry and inducing its meanings to the audience has given a special meaning and its purpose is to explain what beauty is and how we understand it and also to analyze those beauties has been used. The data of this research has determined that: Qazdari has never sacrificed the content and theme, including the beautiful features that can be mentioned in Qazdari's poems in order to induce concepts and content. They talk about the science of her poetry.

Halliday's SFG is one of the theories that is effective in the analysis of literary texts. In this theory, the understanding of language and language uses is formed in context of situation and social context. From Halliday's point of view, context of situation is a sign that has three components, and each component corresponds to one of the triple metafunctions of language. In comparative study of literary texts, analysing of each of these metafunctions cause to understand the meaning of the text and the attitude of the speaker of the text about the subject. In this article, based on this theory, the elegies written by two contemporary poets, Sohrab Sepehri and Ahmed Shamloo, in the mourning for Forough Farrokhzad are studied. By studying transitional structure, logical – semantic structure, taxis structure, modal structure, theme – rheme structure, and information structure as well as non-structural relations cause to understad the linguistic and textual differences and similarities of these two texts. The research method is qualitative and quantitative. This study shows tht Shamloo tends to represent the outer world in his elegies and Sepehri tends to represent the inner world. Shamloo considers his audience, i.e. Forough Farrokhzad, present and therefore uses the present tense, while Sepehri only uses the past tense considering the audience absent.

Halliday's theory of functional linguistics explores language and its structure in terms of the meaning of the text and shows how context and meaning organize the particular language of a text. The theory reveals the relationship between language, meaning, society and culture in three domains, namely ideational metafunction, interpersonal metafunction, and textual metafunction. Examining and analyzing the literary text from the perspective of each of the domains of this functional theory—ideational, interpersonal, and textual metafunctions—leads to an objective and scientific interpretation of the text. In the present study, we have offered a reading of one of the stories from Aboutorab Khosravi's The Destroyed Book story collection, namely "The Picnic", focusing on the ideational metafunction in Halliday's systematic functional linguistics, and have shown how the author's narrative mindset and postmodernist discourse governing the story are represented through language and the transitive structure of clauses which are realized through verb processes, process participants, and circumstantial elements. The findings of the linguistic analysis of the text and the statistical data of the research were in line with the semantic system of the text and the ontological and postmodernist field of the narrative. We also analyzed the two circumstantial elements of time and place, due to their high frequency in the narrative, based on Bakhtin’s Chronotope Theory, and showed how these circumstantial elements that formed the temporal-spatial continuum of the narrative framed the conceptual and semantic system of the narrative and how the narrator's experience of reality and the world around him is represented through verb processes and transitive structures.

One of the goals of a literary text is to create literary pleasure, and the more the reader's mind tries to discover it, the more enjoyable and stable it becomes. The element of rhetoric is considered one of the main elements of the literary text that is effective in creating literary pleasure, and it is the opposite of literary arrays in the field of rhetoric, which is mostly used in poetry. The poet creates opposition by placing two things against each other. Sometimes the contrast is obvious in the words and its meaning is understood without the slightest thought, and sometimes it is so hidden in the context of the poem that it cannot be revealed except through interpretation. Since the reader's mind is involved in interpretation and discovery of contrast, he gets double literary pleasure from the text. In this article, which is written in analytical-rhetorical method, interpretive contrast is introduced and analyzed as one of the types of contrast in rhetoric. Although this rhetorical element can be found in most Persian poems, in this article Hafez and Saadi's poems in Iraqi style and Saeb and Hazin in Indian style have been discussed. The interpretative contrasts of this writing have been examined in four categories: vocabulary, irony, allusion and in general in the scope of Ghazal. The results of the research show that the poets have carefully thought out and calculated the choice of words, the use of literary arrays, especially allusion and irony, as well as creating themes in sonnets, carefully and carefully to engage the audience's mind. By interpreting the text, make his literary pleasure more and more stable.

Istikhdām is a rhetorical figure of speech based on double entendre or polysemy.  The ambiguity that exists in defining this figure of speech in Persian rhetorical books has led to inaccurate or wrong understanding of this figure and its examples. In this article, the author intends to offer a comprehensive definition of this figure of speech by investigating the existing definitions, and classifying and summarizing them in such a way as to prevent misunderstandings and inaccuracies. In this fundamental research using library research tools, the main elements in the use of istikhdām, such as the deep structure of the phrase, semantic relationships between the words and some related grammatical features were investigated in order to define an exact method for the identification and understanding of this figure .For a better understanding, several examples given in Persian rhetorical books were analyzed to determine their components. The types of istikhdām defined in rhetorical books were also reviewed and an attempt was made to provide a coherent classification. It was found that identifying “ellipsis” in the surface erstructure of the phrase is an exact way to identify and understand istikhdām. Moreover, the relationships between some rhetorical devices and istikhdām were investigated, and it was found that they either reinforce or overlap each other.

In Persian, compound words that are produced by the structural pattern of “word + and + word = word” are called vāzhahʿaṭf, and naming the word as such emphasizes the compound nature of this type of construction in contrast to combination and coordinate syntactic group. In view of the linguistic and grammatical studies that form the background of the present study, which have investigated the structural and semantic features of this compound structure and explained the relationships between its coordinate constituents from various aspects, vāzhahʿaṭf often has a compound meaning and creates a clear mental image, and it is used for the purposes of neologism and categorization in Persian. The present research, while paying attention to these features, describes and qualitatively analyzes the applications of this grammatical construction in a corpus consisting of several literary texts. Findings show that the constituents of this compound construction, due to its syntactic construction, have lexical collocation and performative independence. These features has led to the widespread practice of displacing, separating and changing such constituents and their order in the narrative literary texts. Nizami has frequently used the conjunction type in his Khamsah, Mowlana has distinctly made use of the itbāʿī compound and phonetic conjunctions in his poetry, and the phonetic conjunctions are frequently employed in Nīmā’ī and contemporary lyric poetry. In addition, the similarity of the structure of vāzhahʿaṭf and coordinate syntactic constructions in literary texts in such works as Saʿdi’s poetry and Hafez’s ghazals, and the syntactic arrangement and distribution of words in order to create proportion is such that the distinction between conjunctions and coordinate syntactic group is blurred

Linguistic research is more complex than research in other literary fields, and it will be much more complicated if the research is done on a great poet like Mīrzā Abd al-Qādir Bidel, who rewrote his earlier poems and made corrections to them during his poetic maturity. This study seeks to show his poetic trajectory through the investigation of lexical metamorphoses in his poetry by considering the Ganj Bakhsh's manuscript as a source in which Bidel's lyric poems have been included up to the time he was 53 years old. The text of the poems in this manuscript were compared with the readings of the same poems in later-dated manuscripts. Attempt has been made to use descriptive-analytical method to highlight various types of linguistic metamorphoses in Bidel's ghazals in four general categories: metamorphosis through elimination of words, metamorphosis through change of words, metamorphosis through addition of words, and metamorphosis through complete change in a hemistich (mesraʿ). The necessity of studying the linguistic issues in Persian literature and the prominent position of Mīrzā Abd al-Qādir Bidel in the Indian style of poetry point to the necessity and importance of this research. Findings show that most of the metamorphoses in Bidel's lyric poems has been through change of words, and the elimination or addition of words have not been very frequent. It was also found in this study that Bidel, by changing his attitude towards poetry, words and poetic images, was able to free himself from the shadow of the great poets of the Indian style poetry and secure a special place in Persian literature .

Persian texts of the earlier period, can be selected as a good case study in the field of linguistics. It is possible to look at the texts of this period through the window of functionalist frameworks and to describe its linguistic features in such a way as to become a stylistic research tool for further ado. Investigating the order of the elements in a sentence and information structure, and then communicating these two categories together allows the linguist to better understand the meaning (function) relationship with the linguistic form, and can also be a tool for identifying the stylistic features of each period. The present study attempts to consider information structure in the fifth century within the framework of Holliday's systematic functional grammar, and also to statistically describe the order of the elements in a sentence and the syntactic structure throughout this period. The body of work contains 1,200 sentences from works such as Kashf-ul-Mahjub, Bayhaqi's History, the Qeshiriiyya treatise, al-Tafhim, the Qâboosnameh and the Ala'i encyclopedia, and then after, the patterns of ordering the main structures were identified in these texts. It was also determined whether the following sentences matched each of the patterns of information structure. This research showed that in the fifth century, the basic or unmarked form of the main elements of action statements, regarding their order, obeys the SOV pattern, and in the whole body of sentences, it corresponds to the head-final structures. The number of marked sentences was only ten percent of the whole body, which can be inferred as the flexibility of the texts in this period, in terms of the word order of the sentence. Investigating the state of information structure in this period also demonstrated that only 5% of sentences were under the marked patterns of information structure .

Scholars of mystical poetry believe that a great number of Persian mystical Mathnavīs, especially the three wonderful works of Persian literature, namely Sanai's Ḥadīqah al-Ḥaqīqah, ʿAttar's Manṭiq al-Ṭayr and Mowlana's Mathnavī Maʿnavī, have a common narrative structure based on their main plot and design. However, the Ilāhī Nāmah, Manṭiq al-Ṭayr and Muṣībat Nāmah of ʿAttar, which are considered as spiritual travelogues, in addition to having a main plot, benefit from different micronarrative structures. In the present research, adopting a descriptiveanalytical method and narratological approach, the goal of which is to discover a comprehensive model of narration, attempt has been made to decipher the anecdotes-allegories and their main function by exploring the narrative structures of the three Mathnavīs mentioned above. We came to the conclusion that ʿAttar, in addition to the unity-plurality structure based on the main design of these Mathnavīs, has also deployed the narrative structure of travelogues, the Arabian Nights and the Holy Scriptures. The main secret of his anecdotes-allegories is that he measures the history of his time with the narrative pattern of the history of prophets and does not refer to the historical events of his time.