دانشگاه قم پژوهش های دستوری و بلاغی 2783-2619 15 28 2026 02 20 Allegory and Its Rhetorical Functions in Mowlana’s Maktubat تمثیل و کارکردهای آن در مکتوبات مولانا 1 20 4041 10.22091/jls.2025.12722.1687 FA طاهره ایشانی دانشیار زبان و ادبیات فارسی، پژوهشگاه علوم انسانی و مطالعات فرهنگی، تهران، ایران. 0000-0003-1323-5039 Journal Article 2025 04 12 Allegory constitutes one of the most significant rhetorical strategies in Mowlana’s literary corpus, serving as a means to express mystical, ethical, and didactic ideas. His Maktubat (Letters), addressed to audiences from diverse social backgrounds, abound with both brief and extended allegories written for a variety of communicative purposes. Despite the prominence of this device, a systematic study of the allegories found in Mowlana’s Maktubat has so far received limited scholarly attention. Adopting a descriptive–analytical methodology supported by statistical analysis, the present study examines the types of allegories employed in Mowlana’s letters and their corresponding rhetorical functions. It seeks to answer the following questions: What kinds of allegories does Mowlana use in the Maktubat? Which types appear most frequently? And what rhetorical or communicative purposes do they serve? The findings indicate that Mowlana predominantly employs descriptive allegories, whereas narrative allegories occur less frequently. Among the various forms, proverbial allegories (ersal al-mathal)—short, proverbial expressions encapsulating popular wisdom—show the highest frequency. This pattern reflects Mowlana’s intent to emphasize, persuade, and legitimize his discourse through the use of collective wisdom and traditional linguistic forms. Conversely, extended allegories, such as fables and parables, appear only occasionally. This scarcity may be attributed to the inherently practical and instructional nature of the Maktubat, which demands brevity and clarity rather than elaborate narrative form Furthermore, the functional analysis demonstrates that explanatory and motivational functions predominate in Mowlana’s letters, while argumentative and critical functions appear less frequently. This suggests that Mowlana’s primary purpose in his epistolary discourse was to offer moral guidance and inspire spiritual transformation, rather than to construct complex argumentative reasoning. By providing a detailed understanding of Mowlana’s use of allegory in his Maktubat, this study contributes to a deeper appreciation of his rhetorical artistry, communicative intent, and didactic method within the broader context of Persian mystical prose. Introduction Allegory is among the most effective rhetorical strategies in Persian literature, playing a pivotal role in conveying abstract concepts, intellectual persuasion, and emotional stimulation. Jalal al-Din Muhammad Balkhi Mowlana, one of the most distinguished poets and thinkers of Islamic mysticism, employed a wide range of allegorical devices throughout his works—including the Masnavi-ye Ma‘navi, Fihi ma Fih, and the Maktubat (Letters). Mowlana’s letters, addressed to audiences from diverse social strata, are replete with both brief and extended allegories crafted for different communicative purposes. Nevertheless, a systematic study of the allegories found in Mowlana’s Maktubat has not yet been undertaken with sufficient academic rigor. This study, employing a descriptive–analytical approach supported by statistical analysis, examines the types of allegories used in eighty-six of Mowlana’s letters with identifiable addressees and explores their rhetorical functions. It aims to address the following questions: What types of allegories did Mowlana employ in the Maktubat? Which ones occur most frequently? And what rhetorical or communicative roles do they play in his letters? Materials & Methods Structurally, allegory can be divided into two categories: short or descriptive allegory, and extended or narrative allegory. The short allegory—typically consisting of one or several sentences—includes simile allegory, metaphorical allegory, proverbial allegory (ersal al-mathal), and parallel structure (uslub al-mu‘adala). The extended allegory, on the other hand, encompasses animal and human fables, symbolic allegories, fables (fabel), parables (parabel), and exempla (misalak). Research findings Overall, the results reveal that Mowlana predominantly employed short descriptive allegories, while extended narrative forms were used only sparingly. Among these, proverbial allegory exhibits the highest frequency, underscoring Mowlana’s effort to emphasize, persuade, and legitimize his discourse through appeals to folk wisdom and linguistic tradition. The infrequent use of extended allegories such as fables and exempla reflects the concise and didactic nature of his letters, which prioritize clarity and practicality. The functional analysis further demonstrates that explanatory and motivational functions dominate Mowlana’s allegorical discourse, whereas argumentative and critical functions appear less frequently. This finding suggests that Mowlana’s primary objective in his letters was practical moral guidance and emotional encouragement, rather than complex intellectual argumentation. By offering a systematic and detailed account of Mowlana’s allegorical strategies in the Maktubat, this study contributes to a deeper understanding of his rhetorical style, didactic aims, and epistolary communication techniques within the broader framework of Persian mystical literature. Discussion of Results & Conclusion The findings of this study demonstrate that Mowlana’s allegorical repertoire in the Maktubat includes simile allegory, metaphorical allegory, proverbial allegory, symbolic allegory, exemplum (misalak), parable, and fable. Considering that simile allegory, metaphorical allegory, and proverbial allegory fall under short or descriptive allegories, while parable, fable, exemplum, and symbolic allegory belong to the extended or narrative type, the overall pattern of usage in Mowlana’s letters reveals the following tendencies: The Dominance of Short Allegories over Extended Ones The data show that short allegories, particularly proverbial allegories and simile allegories, appear most frequently in Mowlana’s letters, whereas extended (narrative) allegories such as parables, fables, and symbolic allegories occur less often. Several factors contribute to this pattern: The practical and functional nature of the letters, which requires brevity and clarity of expression. The didactic and persuasive purpose of Mowlana’s correspondence, which leads him to employ familiar allegorical forms such as proverbs to enhance rhetorical impact. The audience-oriented and situational nature of the letters: in formal letters addressed to rulers or statesmen, Mowlana preferred logical and persuasive allegories, whereas in personal or familial letters he used a more diverse and expressive allegorical style. Proverbial Allegory: The Dominant Allegorical Mode in Mowlana’s Letters Among the different allegorical forms, ersal al-mathal (proverbial allegory) stands out as one of Mowlana’s most fundamental rhetorical techniques for articulating his thoughts, emotions, and teachings. Its frequent use reflects Mowlana’s didactic and persuasive orientation, especially in formal letters to political figures, where he sought to legitimize his reasoning through folk wisdom and collective experience. Due to their cultural familiarity and universal acceptance, proverbs served as powerful tools for emotional resonance and persuasive communication. Simile Allegory: A Tool for Explanation and Instruction Following proverbial allegory, simile allegory represents the second most frequent device. Mowlana employed this form predominantly in letters addressed to rulers and officials, using it as a clarificatory and pedagogical method to illuminate abstract ideas and convey moral teachings. The Limited Use of Metaphorical and Symbolic Allegories Metaphorical allegory and symbolic allegory appear with the lowest frequency in the Maktubat. Their limited occurrence suggests that Mowlana generally favored clarity and directness over symbolic or figurative expression in his correspondence. When symbolic allegories do appear, they are mostly confined to personal or intimate letters, where Mowlana conveys deeper, private meanings that require interpretive understanding. Selective Use of Extended Allegories (Parables, Fables, Exempla) Extended or narrative allegories—such as parables, fables, and exempla (misalak)—are rarely found in Mowlana’s letters and occur mainly in correspondence with political figures. This selective use indicates several points: Mowlana considered narrative allegories less suitable for official or practical correspondence, reserving them instead for moral reflection or spiritual instruction. Parables and fables, with their story-like structures, were strategically used to convey complex moral or philosophical ideas in an indirect and thought-provoking manner. تمثیل یکی از مهم‌ترین ابزارهای بیانی در آثار مولاناست که او از آن برای تفهیم مفاهیم عرفانی، اخلاقی و تعلیمی بهره برده است. نامه‌های مولانا که مخاطبانی از طیف‌های مختلف اجتماعی دارد، سرشار از تمثیل‌های کوتاه و بلندی است که برای اهداف گوناگون نوشته شده‌اند. بررسی نظام‌مند تمثیل‌های موجود در نامه‌های مولانا (مکتوبات) تاکنون مورد توجّه جدّی قرار نگرفته است. این پژوهش با رویکردی توصیفی - تحلیلی و مبتنی بر تحلیل آماری، به بررسی انواع تمثیل‌های به‌ کار رفته در نامه‌های مولانا و کارکردهای بلاغی آنها می‌پردازد و در پی پاسخ به این پرسش‌هاست که مولانا در مکتوبات از چه تمثیل‌هایی بهره گرفته است، کدام تمثیل‌ها بیشترین کاربست را داشته و این تمثیل‌ها چه کارکردهایی در نامه‌های وی داشته‌اند؟ نتایج بدست ‌آمده گویای آن است که مولانا در نامه‌های خود بیشتر، از تمثیل‌های توصیفی استفاده کرده است و تمثیل‌های روایی کاربرد محدودتری داشته‌اند. ارسال‌المثل که از جمله تمثیل‌های کوتاه به شمار می‌رود، بیشترین بسامد را به خود اختصاص داده است که نشان از تلاش مولانا برای تأکید، اقناع و مشروعیت‌بخشی به سخنانش از طریق بهره‌گیری از خرد عامّه و سنّت‌های زبانی دارد. از سوی دیگر، کارکردهای تبیینی و انگیزشی بیشترین سهم را در مکتوبات مولانا داشته‌اند؛ درحالیکه کارکردهای استدلالی و انتقادی بسامد کمتری دارند. این مسئله گویای آن است که مولانا در نامه‌های خود بیشتر به هدایت عملی مخاطبان و ایجاد انگیزش در آنها توجّه داشته تا ارائۀ استدلال‌های پیچیده. بنابراین، این پژوهش با ارائۀ شناختی دقیق از شیوه‌های بهره‌گیری مولانا از تمثیل در مکتوبات، می‌تواند به درک بهتر سبک بلاغی و ارتباطی او در نامه‌هایش کمک کند.

https://jls.qom.ac.ir/article_4041_9e26b41e578e0a132229af5e0785df20.pdf

دانشگاه قم پژوهش های دستوری و بلاغی 2783-2619 15 28 2026 02 20 The Correlation Between Music and Rhetoric in the Vocal Performance of Three Ghazals by Hafiz of Shirazi تطبیق موسیقی و بلاغت در اجرای آوازی سه غزل از حافظ شیرازی 21 41 4042 10.22091/jls.2025.13497.1716 FA تیمور مالمیر استاد زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه کردستان، سنندج، ایران. 0000-0001-7417-2188 کسری جعفری جاوید دانشجوی کارشناسی ارشد زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه کردستان، سنندج، ایران. 0009-0003-9240-8344 Journal Article 2025 07 30 In order to elucidate the importance of observing rhetorical principles in the effective and expressive vocal performance of Persian poetry, this study adopts a descriptive–analytical approach to examine how meanings are conveyed in the vocal renditions of three ghazals by Hafiz. The first ghazal, beginning with the verse “The recluse cleric last night went to the tavern…”, is analyzed in the performances of Shajarian, Alishapour, and Seraj. The second ghazal, starting with “May the day of lovers’ union be remembered…”, is studied through the performances of Mohammad-Reza Shajarian, Mohammad Motamedi, and Salar Aghili. The third ghazal, opening with “My heart slips away, O enlightened souls, for God’s sake…”, is examined across two renditions by Mohammad-Reza Shajarian, two by Shahram Nazeri, and one by Mohsen Keramati. The main analytical criteria include: The manner of vocal expression by the singer; The degree of emphasis on specific words; The extent to which the rhetorical techniques of the poet are observed; The quality and appropriateness of melodic ornaments and vocal tone in conveying the meanings of verses and words. Most vocal embellishments correspond well with the poet’s intended meanings; however, Shajarian’s renditions are found to be more successful compared to those of other singers. Some vocal ornaments used by other singers are unnecessary, while in certain cases, despite the rhetorical necessity of ornamentation, performers have neglected it. Motamedi’s repetitions, due to his attention to rhetorical precision, are more accurate than those of other vocalists. Shajarian, through precise emphasis, effectively conveys exclusivity and restriction in speech (qasr o hasr) and, with timely stress, communicates the meanings of the ghazal with greater depth. Aghili, by using accurate melodic ornaments, successfully conveys the meanings of expressions and words, making abstract concepts more tangible for the listener; however, he does not fully observe rhetorical necessities in his repetitions. His pronunciation of words and expressions also lacks precision, and he sometimes alters Hafiz’s text without rhetorical or musical justification. The use of textual variants in Shajarian’s performances aligns more closely with the overall context of the ghazal and demonstrates a better observance of rhetorical principles in vocal music compared to other renditions. Introduction Poetry and music have long maintained an inseparable bond. Iranian vocal music (āvāz), as the central component of Persian traditional music, is deeply intertwined with Iran’s millennia-old literary and cultural heritage, playing a vital role in conveying meaning and evoking human emotions. Literature—and more specifically, the art of rhetoric—has been fundamental in the creation of original and enduring works within the framework of Persian music and vocal performance. Iranian poets and men of letters, through their mastery of linguistic techniques, have composed verses that today inspire leading singers and composers to create refined musical works, bringing these poems to life through vocal interpretation. Hafiz’s poetry is shaped by multiple stylistic frameworks, one of the most significant being the principles of classical rhetoric. However, the vocal performance of his poems is primarily governed by musical principles. Vocal renditions that disregard rhetorical rules fail to successfully convey the meanings, ideas, and emotions embedded in the poetry. Therefore, in this study, we evaluate the effectiveness, strengths, and potential weaknesses of vocal performances of Hafiz’s ghazals based on criteria that combine musical and rhetorical techniques. Materials & Methods Drawing on the theoretical foundations of Formalism, this research employs a descriptive-analytical approach to examine how meaning is conveyed through vocal performances of Hafiz’s poetry. The main analytical criteria include: the singer’s mode of expression, emphasis on specific words, observance of the poet’s rhetorical devices, the quality and appropriateness of vocal ornaments (tahrir) and tonal inflections in communicating the meanings of verses and words. The corpus of this study includes ghazals that have been performed vocally by at least three well-known artists. Accordingly, three ghazals from Hafiz’s Divan were selected: The first ghazal, beginning with the verse “The recluse cleric last night went to the tavern…”, is analyzed in the performances of Shajarian, Alishapour, and Seraj. The second ghazal, starting with “May the day of lovers’ union be remembered…”, is studied through the performances of Mohammad-Reza Shajarian, Mohammad Motamedi, and Salar Aghili. The third ghazal, opening with “My heart slips away, O enlightened souls, for God’s sake…”, is examined across two renditions by Mohammad-Reza Shajarian, two by Shahram Nazeri, and one by Mohsen Keramati. Research findings The ghazal “The recluse cleric last night went to the tavern...”—with its subtle humor—depicts the transformation of a pious ascetic into a mad lover, requiring a nuanced performance to convey its depth. Seraj, with a calm tone and repetition of the phrase “āshiq o dīvāneh shod,” attempts to express this emotional transformation. His rapid articulation of “peymaan” suggests the fleeting nature of the ascetic’s vows, while the extended pronunciation of “gozasht” in the fourth verse evokes the graceful motion of the young cupbearer. However, the absence of tahrir (ornamental vocal runs) on key words like “dīn” (faith) and “del” (heart), and insufficient passion in “āshiq o dīvāneh shod,” reduce the expressive depth. Unnecessary repetition of “bāz be yek jor‘e mey” weakens the effect, and substituting “majnūn” for “majles” disrupts the humorous tone of the second couplet. Shajarian, through purposeful tahrir and precise emphasis—especially in conveying the ambiguity of “‘ahd” and the imagery of “halqeh” (ring) and “kharman” (harvest)—most successfully conveys the inner and romantic significances of the poem. He captures the ascetic’s transformation into a mad lover with remarkable emotional depth. Alishapour effectively evokes the fleetingness of “khāb” (sleep) and the longing in “pey-māneh” (cup), though neglect of key words like “narges” lessens the impact. Seraj, despite his success in depicting the passing of the cupbearer, falls short due to lack of excitement and insufficient tahrir on pivotal words. The ghazal “May the day of lovers’ union be remembered...” carries a nostalgic and deeply wistful tone, lamenting lost joys and the disloyalty of friends—demanding an emotionally charged performance. Shajarian, with precise rhetorical emphasis—especially on “az man” and “band”—and repetition of “yād bād,” intensifies the nostalgic and sorrowful atmosphere, vividly conveying the poet’s longing and faithfulness. Aghili, with expressive tahrir on “vasl” and “gham,” succeeds emotionally but loses impact due to pronunciation errors and unnecessary repetitions. Motamedi effectively conveys longing through the repeated “yād bād,” but his lack of attention to key words such as “vasl” and “hezārān” weakens the rhetorical delivery. The ghazal “My heart slips away, O enlightened souls, for God’s sake...” embodies Hafiz’s signature blend of restlessness, hope, and subtle irony, demanding a performance that captures these multiple layers. Shajarian, through emphasis on “khodā-rā” in “sirr-e ‘eshq,” conveys the poet’s tone of oath and supplication; his articulation of “miravad” evokes movement and agitation. However, his tahrir on “penhān” (hidden) does not match its concealed meaning. In “karāmat,” his ornamentation underscores Hafiz’s satirical humor, while repetition of “khāhad shod” reinforces the poet’s sense of foresight. Nonetheless, mismatched tone in “do giti” and “do harf” diminishes the poet’s intended comparison. In “Dard-e ‘eshq,” Shajarian’s intentional tahrir and repetition effectively convey restlessness, irony, and moral counsel. Nazeri, in “Kish-e Mehr,” conveys doubt and yearning with tahrir on “tafaqqodi” and reinforces the rhetorical challenge of “taghyir kon qazā-rā,” yet weak emphasis on “yārā” lessens emotional power. His “sāz o āvāz-e now” emphasizes restlessness through repetition of “del miravad,” though a lowered tone on “khodā-rā” weakens the tone of supplication. Karamati, with tahrir on “do giti” and “morovat,” successfully evokes grandeur and virtue, yet his cheerful tone, misaligned with the poem’s melancholy, and lack of emphasis on “khodā-rā” weaken his rendition. Discussion of Results & Conclusion In the first ghazal, Seraj’s tone and repetition effectively convey emotional transformation, though occasional excessive repetition diverges from Hafiz’s intent. His articulation and tahrir generally align with meaning, yet the absence of ornamentation on certain words limits depth. Alishapour, through timely tahrir and modulation, communicates meaning effectively but sometimes employs unnecessary embellishments and lacks emphasis needed for vivid imagery. Shajarian, with precise tahrir and emphasis—especially in conveying ambiguity and imagery—communicates the poem’s meaning more successfully than the others, though some repetitions are less effective. In the second ghazal, Aghili’s careful tahrir expresses meaning and emotional nuance, making abstract concepts tangible, but his repetitions disregard rhetorical necessity and contain pronunciation flaws that alter Hafiz’s diction. Shajarian’s timely emphasis captures exclusivity and intensity of emotion, deeply communicating the poem’s nostalgic sorrow. His repetitions are meaningful, enhancing tone and meaning, while his tahrir vividly embodies the poetry. Motamedi’s repetitions highlight longing and melancholy, though limited use of tahrir reduces the emotional depth and sense of connection in certain moments. In the third ghazal, Shajarian’s “Sirr-e ‘eshq” effectively evokes meaning through emphasis and ornamentation, though some tahrir do not match semantic nuance. His “Dard-e ‘eshq” renditions succeed in conveying the poet’s thought and emotional layers—restlessness, irony, and counsel. Nazeri’s “Kish-e Mehr” skillfully conveys secondary meanings, but weak articulation of key words and mismatched tahrir reduce impact. His tahrir and repetitions in “tasnif” are expressive but lack of emphasis in key phrases undermines rhetorical strength. Karamati’s bright tone conflicts with the poem’s pain and longing, limiting rhetorical delivery, though his tahrir partially conveys meaning. در این پژوهش به منظور تبیین اهمیت رعایت نکات بلاغی در اجرای مناسب و تأثیرگذار آوازی، بر اساس مبانی نظری فرمالیست‌ها به ‌صورتِ توصیفی-تحلیلی، چگونگی انتقال معانی در اجراهای آوازی سه غزل از دیوان حافظ را بررسی و تحلیل می‌کنیم. غزل نخست با مطلعِ «زاهد خلوت‌نشین دوش به میخانه شد» با اجرای محمدرضا شجریان، حسین علیشاپور و حسام الدین سراج؛ غزل دوم با مطلعِ «روز وصلِ دوستداران یاد باد» با اجرای محمدرضا شجریان، محمد معتمدی و سالار عقیلی و غزل سوم با مطلعِ «دل می‌رود ز دستم صاحبدلان خدا را» با دو اجرا از محمدرضا شجریان، دو اجرا از شهرام ناظری و یک اجرا از محسن کرامتی است. مهم‌ترین شاخص‌های تحلیل آوازها عبارت است از: نحوۀ بیان خواننده، میزان تأکید بر واژگان خاص، میزان رعایت تکنیک‌های بلاغی شاعر، کیفیت و میزان تناسب تحریرها و لحن‌های آوازی جهت انتقال معانی ابیات و کلمات. غالب تحریرها با مقصود شاعر متناسب است اما تحریرهای شجریان نسبت ‌به سایر خوانندگان موفق‌تر است. برخی تحریرهای خوانندگان غیرِضروری است اما در برخی موارد نیز به‌ رغمِ ضرورت تحریر برخی واژه‌ها، آوازخوانان از تحریر این موارد غفلت کرده‌اند. تکرارهای معتمدی بر اثرِ رعایت ضرورت‌های بلاغی از سایر خوانندگان دقیق‌تر است. شجریان با تأکید دقیق، قصر و حصر سخن را لحاظ و همچنین با تأکیدِ به ‌موقع، معانی غزل را با عمق بیشتری منتقل می‌کند. عقیلی با تحریرهای دقیق مفاهیم، معانی، تعابیر و واژگان را منتقل و مفاهیم انتزاعی را برای مخاطب محسوس می‌سازد اما در تکرارها، ضرورت‌های بلاغی را رعایت نکرده است. همچنین در تلفظ واژگان و تعابیر نیز دقت ندارد؛ بدون ضرورت معنا یا آواز، کلام حافظ را تغییر می‌دهد. استفاده از نسخه‌بدل در اجرای شجریان و رعایت اصول بلاغی در آواز هماهنگ‌تر از سایر اجراها است.

https://jls.qom.ac.ir/article_4042_191a4f9336d087c7d635ca37c1d2b5e4.pdf

دانشگاه قم پژوهش های دستوری و بلاغی 2783-2619 15 28 2026 02 20 Rhetorical Analysis of Narrative in Akhavan's Poems (Based on the Story of Shahre Sangestan) تحلیل بلاغیِ روایتگری در سروده های اخوان (با تکیه بر قصۀ شهر سنگستان) 42 58 4043 10.22091/jls.2025.13556.1719 FA محمدرضا موحدی دانشیار زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه قم، قم، ایران. 0000-0001-6706-6950 ابن علی کریمی گنجه دانش آموختۀ دکتری زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه قم، قم، ایران. 0000-0002-3082-5615 Journal Article 2025 08 04 The article is a typical study of the narrative style of Akhavan Sales's poetry (1307-1369), which, according to his critics, is one of the outstanding features and rhetorical-literary methods of his poetic style. The analysis and interpretation of the narrative and its types in the Story of Shahre Sangestan can also represent other narrative poems of Akhavan. In this work of art, the poet artistically creates types of narrative such as folkloric, mythical, political and historical, and in parts of the story, he skillfully combines several different narratives with vernacular and literary language. These narratives, as an interwoven network, have a special effect and are similar to folk tales in various ways; Including: having common characters with the four folk tales selected in the article, linguistic and tonal similarities with those tales, and the use of terms such as: enchantment, destiny, talisman, devil, and turning to stone. This article shows that Akhavan, by using the rhetorical technique of narrative, has been able to place the folk language alongside the literary language and combine the two without harming the overall structure of the narrative; and has also been able to create a semantic transformation in the character of the pigeons in the folk tales so that, given the space in his poem, a symbolic meaning can be considered for them. Introduction Narrative as a rhetorical-artistic device occupies a central place in both classical and modern Persian poetry. Understanding the narrative structure of a poem illuminates its linguistic beauty, layered meanings, and symbolic depth. Among modern poets, Mehdi Akhavān Sāles made an exceptional and consistent use of narrative techniques throughout his works, with the exception of a few shorter poems. According to Akhavān himself and a number of prominent commentators—most notably Reżā Barāhenī—narrativity constitutes one of the defining stylistic pillars of his poetic identity. The most celebrated narrative poems of Akhavān belong to his mature period, especially between 1954 and 1964, following the political upheaval of the 1953 coup. During this time, he published his influential collections Zemestān (Winter), Ākhar-e Shāhnāmeh (The Last Shāhnāmeh), and Az In Owestā. Shafi‘i Kadkani describes Az In Owestā as the culmination of Akhavān’s narrative craft, representing the point where his earlier experiments matured into a fully developed narrative poetics. Materials & Methods This study follows an analytical-descriptive methodology based on close reading, rhetorical analysis, and comparative folkloristic study. The primary corpus consists of Akhavān’s narrative poems, with a special focus on The City of Stone. To contextualize the folkloric components, four representative Iranian folk narratives were selected for comparison. The research process involved: Identifying the narrative features distinctive to Akhavān’s poetry. Analyzing his integration of mythological, historical, political, and folkloric narrative modes. Comparing recurring motifs, characters, and linguistic patterns between The City of Stone and selected folk tales. Examining Akhavān’s transformation of traditional symbols—particularly the dove motif—into modern poetic and political symbolism. Primary and secondary sources included Akhavān’s poetic collections, commentaries such as those by Shafi‘i Kadkani, and scholarly discussions of narrative poetics in Persian literature. Research findings The analysis reveals several key findings: 1.Multiplicity of narrative modes: Akhavān blends diverse narrative styles—folkloric, mythic, historical, and political—into a cohesive structure. This multiplex narrative texture is especially evident in The City of Stone, where mythopoetic elements coexist with political allegory. Integration of colloquial and elevated language: Akhavān juxtaposes popular vernacular with classical diction, creating a hybrid linguistic field. This technique enhances accessibility while preserving rhetorical depth. Notably, colloquial idioms and folkloric expressions such as afsūn, tāqdir, telesm, shaytān, and the motif of turning to stone are strategically deployed. Narrative interweaving: Several narrative threads run simultaneously in the poem, forming a network of interconnected stories reminiscent of oral storytelling traditions. This interlacing structure mirrors the layered temporalities of myth and history. Symbolic reconfiguration of folkloric characters: Akhavān reinterprets folkloric characters—especially the doves—transforming them from passive figures in folk narratives into symbolic agents reflecting sociopolitical tensions, despair, and aspiration in post-coup Iran. Function of narrative as political and emotional expression: Storytelling becomes a medium for articulating collective grief, suppressed political aspirations, and existential disillusionment, particularly in the aftermath of the 1953 coup. Discussion of Results & Conclusion The study concludes that narrative technique is not merely one stylistic option in Akhavān’s poetry but rather a structural and ideological foundation of his poetic expression. Through narrative, Akhavān mediates between tradition and modernity, synthesizes folkloric memory with contemporary experience, and gives form to political trauma. The City of Stone, as a representative narrative poem, demonstrates his ability to merge colloquial and literary language, reshape folkloric motifs into modern allegories, and construct multilayered narrative networks. This poem provides a blueprint for understanding the narratological foundations of Akhavān’s other works. The findings underscore the significance of studying narrative poetics within modern Persian poetry and highlight Akhavān’s central role in transforming traditional storytelling into a modern, politically charged, and symbolically rich mode of poetic discourse. مقاله، پژوهشی است نمونه‌وار در شیوة روایتگریِ شعر اخوان ثالث (1307-1369ش) که به گفتة منتقدانش، ‌این شگرد از ویژگی‌های برجسته و از شیوه‌های بلاغی - ادبی سبکی شعر اوست. تحلیل و تفسیر روایت و انواع آن در قصة شهر سنگستان می‌تواند سایر شعرهای روایی اخوان را نیز نمایندگی کند. شاعر در‌ این اثر، انواع روایت از قبیل فولکلوریک، اسطوره‌ای، سیاسی و تاریخی را هنرمندانه خلق می‌کند و در بخش‌هایی از آن، چند روایت گوناگون را با زبان عامیانه و ادبی، ماهرانه در هم می‌آمیزد. ‌این روایات، به صورت شبکه‌ای در هم تنیده جلوه‌ای ویژه دارند و از جهات گوناگون همانند قصه‌های عامیانهاند؛ ازجمله داشتن شخصیت‌های مشترک با چهار قصه عامیانۀ منتخب در مقاله، مشابهت‌های زبانی و لحنی با آن قصه‌ها و نیز استفاده از اصطلاحاتی چون افسون، تقدیر، طلسم، شیطان و سنگ شدن.‌ این مقاله نشان می‌دهد که اخوان با استفاده از شگرد بلاغی روایتگری، هم توانسته زبان عامیانه را در کنار زبان ادیبانه قرار دهد و آن دو را با هم تلفیق نماید، بدون آنکه به ساختار کلی روایت آسیبی برساند و هم توانسته دگرگونی معنایی در شخصیت کبوتران قصه‌های عامیانه ‌ایجاد کند به طوریکه با توجه به فضای موجود در شعر او بتوان معنایی نمادین برای آنها در نظر گرفت.

https://jls.qom.ac.ir/article_4043_15a5c2f909a7ce827746a04fb105ee25.pdf

دانشگاه قم پژوهش های دستوری و بلاغی 2783-2619 15 28 2026 02 20 Analysis of the transformation of rhetorical signs from the story "Journey" to the film "It's Winter" تحلیل دگرگونی نشانه‌های بلاغی از داستان «سفر» به فیلم «زمستان است» 59 73 4103 10.22091/jls.2025.13780.1731 FA عاطفه صالح دانشجوی دکتری زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه قم، قم، ایران. 0009-0001-2483-2923 علیرضا نبی لو استاد زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه قم، قم، ایران. 0000-0002-1562-9747 احمد رضایی استاد زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه قم، قم، ایران. 0000-0002-8365-9630 Journal Article 2025 09 02 Rhetorical signs convey meaning differently in different works of art, and their appearance and presentation vary depending on the type of work. Especially in adapted cinematic works and in the process of converting text into film, where words are transformed into sound and image, rhetorical signs are among the most fundamental elements that play a role in this transformation. In the present study, in order to investigate the transformation of rhetorical signs from literary text to film, the story "Journey" and the film "It's Winter", which was adapted from this story, were studied and examined. This research was conducted in a descriptive-analytical manner using two types of written sources and a visual-auditory source (film). The findings of the research show that the film "It's Winter" has adapted eight rhetorical signs from the story "The Journey" and changed them from the textual aspect to the visual and auditory aspects. These rhetorical signs are: metaphor, simile, allusion, simile, symbol, paradox, elegant opening and good ending. The evolution and transformation of these eight rhetorical symbols, from the story "Journey" to the film "It's Winter," is shown with the help of cinematic techniques such as editing, set design, costume design, sound, lighting, as well as facial and body expressions, and sometimes even silence. Introduction The analysis of rhetorical signs is one of the methods for analyzing texts, focusing on the study and analysis of signs within the text. This type of semiotics examines the relationships between signs and their implicit meanings from a rhetorical perspective. Beyond linguistics, it is applicable in analyzing poetry, stories, and dramatic literature, as well as other artistic works such as cinema, painting, photography, music, and architecture. Rhetorical signs can be found not only in written literary works but also in other artistic creations; they can exist verbally or non-verbally and visually in various artworks. However, the manner of their presentation differs across various artistic media. For instance, in a medium like cinema, rhetorical signs are expressed through shots, set and costume design, editing, etc., whereas in literature, rhetorical signs are understood through words. In other words, the director conveys rhetorical signs in the film through the use of cinematic techniques, and this transformation and metamorphosis from text to image can be studied in adapted cinematic works. This research seeks to analyze the transformation and metamorphosis of rhetorical signs from the story “The Journey” to the film “It Is Winter” and to answer the question: What transformation and metamorphosis have the rhetorical signs undergone from the story “The Journey” to the film “It Is Winter,” that is, in their conversion from text to sound and image? Materials & Methods Rhetorical signs convey meaning differently in various artistic works, and their mode of manifestation and presentation varies depending on the type of work. Especially in adapted cinematic works and in the process of converting text into film, where words change into sound and image, rhetorical signs are among the most fundamental elements playing a role in this metamorphosis. In the present study, to examine how rhetorical signs transform from literary text to film, the story “The Journey” and the film “It Is Winter,” which was adapted from this story, were studied and investigated. This research was conducted using a descriptive-analytical method, employing two types of sources: written sources and audiovisual sources (the film). The process involved first studying the written sources along with the text of the story “The Journey,” then studying and examining the film “It Is Winter.” The rhetorical signs of the literary and cinematic works were then compared, and finally, the transformations of the rhetorical signs from the literary text to the film were analyzed and examined. Research findings The findings of this research indicate that among the various signs in the field of rhetoric, elements such as metaphor, simile, irony (kenaye), synecdoche/metonymy (majaz), symbol, paradox, bara’at al-istiḥlāl, and ḥusn al-khatām have undergone a significant transformation in the process of adaptation from the story “The Journey” to the film “It Is Winter.” The transformation of these rhetorical signs from the literary text to the film has occurred through cinematic techniques such as editing, set design, costume design, sound design, lighting, as well as facial and body expressions, and even sometimes silence. Discussion of Results & Conclusion Rhetorical devices received renewed attention from structuralists, post-structuralists, and cognitivists in the second half of the 20th century (Sajoudi, 2014: 52-53). They shared the belief that “rhetorical devices are not merely stylistic tropes; rather, they are mechanisms that shape discourse in the broadest sense of the term” (Ibid: 53). Semioticians also refer to metaphor and metonymy as rhetorical signs (Ahmadi, 1996: 62). According to Chandler, metaphors are not always verbal; they can sometimes be visual. For example, a comparative relationship between two successive shots in a film constitutes a metaphorical expression, and these images can convey things that words cannot (Chandler, 2008: 192-193). Metonymy, like metaphor, can also be visual, such as the display of an object in a film that signifies and is related to another object (Ibid: 198). However, it can be argued that not only metaphor and metonymy but also other rhetorical elements such as irony (kenaye), simile (tashbih), contrast, antithesis, allusion (talmih), proverb, paradox, etc., can be considered effective in semiotics. The evolution and transformation of rhetorical signs from literary text to film are made possible through cinematic possibilities and techniques. In the film “It Is Winter,” adapted from the story “The Journey,” dialogue rarely occurs among the characters, especially the main ones; the film narrates primarily based on visuals and sound design (crow sounds, train sounds, background music, etc.). Among the various types of rhetorical signs, the film “It Is Winter” has adapted eight rhetorical elements from the story “The Journey”: metaphor, simile, irony (kenaye), synecdoche/metonymy (majaz), symbol, paradox, bara’at al-istiḥlāl (brilliant opening), and ḥusn al-khatām (brilliant closing). نشانه‌های بلاغی، در آثار هنری مختلف به اشکال متفاوت معنارسانی می‌کنند و نحوة بروز و ارائة آنها با توجه به نوع اثر متفاوت است. در آثار سینمایی اقتباسی و در فرایند تبدیل متن به فیلم که واژه‌ها به صدا و تصویر تغییر می‌یابد، از جمله اساسی‌ترین مواردی که در این دگرگونی نقش دارد، نشانه‌های بلاغی است. در پژوهش حاضر، به منظور بررسی نحوة دگرگونی نشانه‌های بلاغی از متن ادبی به فیلم، داستان «سفر» و فیلم «زمستان است» که با اقتباس از این داستان ساخته شده، مطالعه و بررسی شده است. این مقاله به شیوة توصیفی - تحلیلی و با استفاده از دو نوع منبع، مکتوب و دیداری - شنیداری (فیلم) انجام شده است که ابتدا به مطالعة منابع مکتوب به همراه متن داستان «سفر» پرداخته شد، سپس فیلم «زمستان است» معاینه و بررسی گردید و نشانه‌های بلاغی دو اثر ادبی و سینمایی با یکدیگر تطبیق داده شد و در نهایت، دگرگونی‌های نشانه‌های بلاغی از متن ادبی به فیلم، تحلیل و بررسی شد. یافته‌های پژوهش نشان می‌دهد که در میان نشانه‌های گوناگون حوزة بلاغت، عناصری مانند استعاره، تشبیه، کنایه، مجاز، نماد، متناقض‌نما، براعت استهلال و حسن ختام، در فرایند اقتباس از داستان «سفر» به فیلم «زمستان است» دگرگونی چشم‌گیری داشته است. دگرگونی نشانه‌های بلاغی، از متن ادبی مورد نظر به این فیلم، به واسطة شگردهای سینمایی، همچون تدوین، طراحی صحنه، طراحی لباس، صداگذاری، نورپردازی و همچنین حالت‌های صورت و بدن و حتی گاهی سکوت بازیگران صورت گرفته است.

https://jls.qom.ac.ir/article_4103_d8c71a12a41320c176d19a9c60e57c82.pdf

دانشگاه قم پژوهش های دستوری و بلاغی 2783-2619 15 28 2025 12 22 Analysis and Evaluation of the Collection of Karikalamators " Qalbam rā bā Qalbat Mīzān mī-konam " by Parviz Shapour Based on the General Theory of Verbal Humor (GTVH) تحلیل‌ و ارزیابی مجموعه کاریکلماتورهای« قلبم را با قلبت میزان می‌کنم » پرویز شاپور براساس نظریۀ جامع طنز‌کلامی (GTVH) 74 94 4104 10.22091/jls.2026.14644.1757 FA محمد فولادی دانشیار زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه قم، قم، ایران. 0000-0003-3580-0975 یحیی کاردگر استاد زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه قم، قم، ایران. 0000-0001-8084-4059 علیرضا بیات دانشجوی دکتری زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه قم، قم، ایران. 0009-0002-9909-7051 Journal Article 2025 11 24 Humor is an important and influential topics in the literary works of various nations. In contemporary times, Persian writers have paid special attention to it with a linguistic, and by utilizing new theories in linguistics, they have raised its status. Among the famous contemporary Humors is Parviz Shapour, and this research seeks to analyze the humorous techniques in Parviz Shapour's Karikalamators in the collection "Qalbam rā bā Qalbat Mīzān mī-konam", based on the General Theory of Verbal Humor. The aim is to use this theory, which includes six variables: Script opposition, logical mechanism, situation. The aim is the narrative strategy, language, and the techniques used in Parviz Shapour's Karikalamators, to be examined in a descriptive-comparative and analytical manner. In this theory, from the most abstract angle, which is the component of the opposition of the "script opposition", to the most objective angle, which is the variable of "language", the works of humor are analyzed. The findings of the research show that although all six components play in the same direction in creating humor, the opposition of the "script opposition" and the "logical mechanism" are techniques that are more effective with a higher frequency in creating humor in Karikalamators and are considered to be the main elements of creating humor and sense of humor in Shapour's works. Also, Shapour paid considerable attention to the selection and arrangement of words in the Karikalamators, and this proximity of words in Satire (humor), depth, impact and coherence of speech have been very effective. Introduction Humor is inherent to Iranians, but scientific research in this field is very limited and only in recent years have some literary-academic fields addressed it; one of the literary formats of contemporary prose writing is karikalamator, and the satirical element is inseparable from its main elements. Therefore, it is necessary to examine the works of Parviz Shapour who is its creator. Materials & Methods In the present study, an attempt has been made to analyze the techniques used in Shapour's karikalamator in the collection "Qalbam rā bā Qalbat Mīzān mī-konam" in a descriptive-comparative and analytical manner with the help of six variables of the comprehensive theory of verbal humor (GTVH). Research findings The research findings show that although all six variables move in a parallel direction towards creating humor and are considered factors and methods of creating humor in Caricalamators, the contrast of ideas accompanied by a logical mechanism is considered one of the main elements of creating humor in Shapour's Karikalamators. Discussion of Results & Conclusion The contrast of ideas and logical mechanism with the highest frequency is most prominent methods in creating humor in Parviz Shapour's Karikalamators. The most prominent contrasts in Parviz Shapour's Karikalamators include: death / life, silence / scream, laughter / crying, youth / old age, darkness / light, sadness / happiness, sleep / wakefulness, water and drought. The logical mechanisms that, along with the contrast of ideas, make a major contribution to creating humor in Shapour's Caricalamators are: reversing and inverting the realities of the world, exaggeration, deviation from the norm, contradiction, embodiment and giving life to abstract beings and concepts, verbal surprise, comparison, false inference, irony, ambiguity, simile of two opposites, and metaphor. طنزپردازی از موضوعات مهم و تأثیرگذار در آثار ادبی ملل گوناگون و زبان فارسی است و از دیرهنگام بدان توجه شده است. در روزگار معاصر نیز بدان توجه ویژه شده است و با بهرهگیری از نظریههای نو در زبان شناسی، جایگاه آن را فراتر بردهاند. از جمله طنزپردازان نامی معاصر، پرویز شاپور است. این جُستار برآن است تا شگردهای طنزآفرین در کاریکلماتورهای شاپور را در مجموعة قلبم را با قلبت میزان می‌کنم، براساس نظریۀ جامع طنزکلامی (General Theory of Verbal Humor) تحلیل کند. هدف آن است تا با یاری این نظریه که شامل شش متغیر تقابل انگاره (Script opposition)، مکانیزم منطقی (Logical Mechanism)، موقعیت (Situation)، هدف (Target)، شیوۀ روایت (Strategy Narrative) و زبان (Language) است، شگردهای به کار رفته در کاریکلماتورهای پرویز شاپور، به شیوۀ توصیفی - تطبیقی و تحلیلی بررسیگردد. در ‌این نظریه از انتزاعی‌ترین زاویه که مؤلفة تقابل‌انگاره (Script opposition) است تا عینی‌ترین زاویه یعنی متغیر زبان (Language) به بررسی و واکاوی آثار طنز میپردازد. یافتههای پژوهش نشان میدهد با اینکه هر‌شش مؤلفه در یک راستا در ایجاد طنز نقش دارند، اما تقابل ‌انگاره (Script opposition) و مکانیزم منطقی (Logical Mechanis) از شگرد‌هایی هستند که تأثیرگذاری بیشتر با بسـامد بالاتر، در پدید آوردن طنز کاریکلماتورها برعهده دارند و از ارکـان اصلی ایجـاد طنز در آثـار شـاپور به شمـار میروند. همچنین شاپور در کاریکلماتورها، به گزینش و چینش واژگان در محور همنشینی توجه شایانی داشته و این همجواری واژهها در طنّازی، عمق بخشی، تأثیر‌گذاری و انسجام کلام بسیار مؤثر بوده است.

https://jls.qom.ac.ir/article_4104_f63d0899ec69441d77b576380898402c.pdf

دانشگاه قم پژوهش های دستوری و بلاغی 2783-2619 15 28 2025 12 22 Rule-Based Structure of the Repetition Poem قاعده‌مندی قصیدۀ تکریر 95 116 4106 10.22091/jls.2026.13577.1721 FA غلامرضا سالمیان استاد زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه، ایران. 0000-0002-1633-1192 Journal Article 2025 08 08 Some Persian poems classified as "repetition poems" in literary handbooks have a unique and structured form that distinguishes them from other poems. This study aims to elucidate the structure of this type of poem and identify examples within the works of Persian-speaking poets. The research reveals that a repetition poem is composed of several four-line stanzas, with each line in a stanza having a specific and unique repetition pattern. This pattern involves the repetition of two words without a space in the first line, followed by a threefold repetition of the same two words in the third line. This repetition pattern is then repeated in the second and fourth lines. Other stanzas in the poem follow the same structure. Introduction Before the advent of artificial poetry, a poet named Esjadi Marvazi composed a poem with a distinctive word arrangement that set it apart from other poems; its specific structure granted it a unique identity distinct from other poems and even other poetic forms. The repetition poem, illustrated by Esjadi's work, was typically analyzed within literary texts. In this study, we aim to analyze Esjadi's poem and other similar poems through an examination of their structural framework. Materials & Methods This study is based on a descriptive-analytical approach, utilizing a library-based method. Research findings The repetition poem is structured around several four-line stanzas. The oldest known example is Esjadi Marvazi's poem. A 36-line version of this poem is found in printed editions. It can be observed that stanzas 14 and 19 each have one less line. Amir Mazi has employed a two-line stanza with this structure in one of his poems. Rashid Vatouat also composed a poem following this structure. Falaki Sharani has two 12-line and one incomplete repetition poem in this style. A complete repetition poem in six stanzas, attributed to Falaki and Rashid Vatouat, is found in Adib Sabir's edition. Mohammad-Tali Bahari, considered the last Persian poet, also has a repetition poem. Discussion of Results & Conclusion The repetition poem is structured around several four-line stanzas. The first poet to compose a repetition poem in Persian was Esjadi Marvazi, and the last known poet was Bahari. The reasons behind the emergence and decline of this poem type are related to poets' motivations, either to adhere to or ignore this poetic figure. برخی از قصیده‌های فارسی که در کتاب‌های بلاغت آن را قصیدۀ تکریر نام نهاده‌اند، دارای ساختاری ویژهای هستند که آنها را از دیگر قصاید متمایز می‌کند. در پژوهش حاضر با هدف تبیین ساختمان این نوع قصیده و یافتن نمونه‌های آن در شعر شاعران فارسی‌گو، دیوان شاعران قصیده‌سرا بررسی شد و موارد یافته‌شده، استخراج گردید. یافته‌های پژوهش حاکی از آن است که قصیدۀ تکریر از چند بندِ چهارمصراعی تشکیل می‌شود و هر مصراع آن، دارای ساختمان و فرمول ویژۀ خود است. این قاعده بدین‌گونه است که در مصراع نخست دو واژۀ مکرّر، بدون فاصله می‌آیند؛ سپس در مصراع سوم، همان دو واژۀ مکرّر مصراع نخست، به صورت تکراری سه‌گانه به کار می‌روند. همین چینش در مصراع‌های دوم و چهارم با مکرّری دیگر رخ می‌دهد. بندهای دیگر قصیده نیز به همین‌صورت، این ویژگی را نمایش می‌دهند.

https://jls.qom.ac.ir/article_4106_1e992b4b0df8a20cf64a813a8e9d219e.pdf

دانشگاه قم پژوهش های دستوری و بلاغی 2783-2619 15 28 2025 12 22 The Evolution and Development of "Expression Style" in Moeini Kermanshahi's Songs تحول و تطور «شیوة بیان» در ترانه‌های معینی کرمانشاهی 117 139 4107 10.22091/jls.2026.13859.1736 FA مصطفی جوزی استادیار زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه پیام‌نور، تهران، ایران. 0000-0002-1536-8137 Journal Article 2025 09 12 The study of the history of songwriting in the second Pahlavi period, especially since the establishment of the radio in 1319 A..H, indicates the evolution and development of this literary genre in its various fields, especially in the field of "theme and style of expression". Undoubtedly, Rahim Moeini Kermanshahi has a great contribution to this evolution and development; in such a way that he is a pioneer and innovator in many innovations and creations in this field. In this research, we aim to examine and analyze certain geniuses and innovations in the field of songwriting, especially in the field of style of expression and evolution of the theme, on the one hand, and verbal and melodic proportions, on the other. The research results show that Moeini introduced "Tablow Soraee" as a new method and style in songwriting, bypassing traditional methods and utilizing literary and artistic techniques such as narration, story, symbol, and painting. With his intelligence in understanding the time and taste of the audience of the day, he introduced new themes that had never been seen in songs, such as philosophical, mystical, and moral themes, into songwriting using the language of narration and story. Along with this genius, he also made innovations in the field of verbal and melodic proportions. The correct combination of words with the spirit of melody, the harmony of the meter and rhythm of the song with the theme and content of the words, and its change according to the changing theme and characters of the story and narrative, are the results of these innovations and creations of Moeini. Introduction Tasnif writing in its modern sense is a product of the constitutional period and later, which begins with Mirza Ali Akbar Shida as the creator of modern Tasnif writing and reaches its prosperity and dynamism with other great men of this field, especially Arif Qazvini. Malek al-Shoara-i Bahar, Muhammad Ali Amir Jahid are among the other prominent poets of this period. The second period, or in other words, the second generation of this art, comes into existence from the second Pahlavi period and especially from 1319 AH (the year the radio was established). Although this period is not significantly different from the first period of the constitutional era in terms of structure, but in terms of "content" and especially "mode of expression", it has significant changes and developments compared to the first period. In this research, we intend to explain part of Moeini's creativity and genius in songwriting and especially his unique art in new methods and ways of expression, which is rare and unprecedented in its place, with a descriptive-analytical method. Passing through repetitive love stories and innovation in themes and topics of lesser history and especially, genius and creativity in expressive techniques such as "Tablow Soraee " and using literary tools and capacities such as allegory, narration, story and debate as new expressive techniques in the art of songwriting and taking advantage of the art of painting and creating pristine images in songs are among the innovations and certain unique features in this artistic field. Materials & Methods The current type of research is descriptive-analytical. The research method has been in such a way that first, by referring to databases and library resources, the proper data was collected about the subject. After that, by referring to Moeini's songs, the structural and content features of the songs and Moeini's innovations in this field were categorized and extracted. Research findings With a correct understanding of the nature and essence of the song, Moeini breathed a new spirit into the rotten veins of songwriting. Passing through repetitive love stories and innovation in themes and topics of lesser history and especially, genius and creativity in expressive techniques such as "Tablow Soraee" and using literary tools and capacities such as allegory, narration, story and debate as new expressive techniques in the art of songwriting and taking advantage of the art of painting and creating pristine images in songs are among the innovations and certain unique features in this artistic field. In the field of verbal and musical proportions and the synchronization of the song's rhythm and melody with the theme and content of the song, and the change and synchronization of the melody with the structure of the narration of the stories and the change of the characters of the story, there are highlights in Moeini's songs. Discussion of Results & Conclusion The most outstanding technique of Moieni in the art of songwriting is the transformation in the "way of expression", which has made new and lasting innovations in this field. "Tablow Soraee. In this context, he creates songs with poetic images using tools such as allegory, story and narrative, which results in the simultaneous creation of words, melody and painting. The use of the "debate" technique in the song, which was unprecedented before Moeini, the creation of new themes and its innovative application in the song, such as philosophical and mystical themes, the expression of a story in two songs, under the title of "supplementary songs", are among other innovations of Moeini in the art of songwriting. Moini has a unique style and method in the field of verbal and melodic proportions. He is one of the few songwriters who has carefully combined the words with the melody and created harmony between the spirit of the words and the spirit of the melody. The accompaniment and synchronization of words and melody and the correct combination of the theme and content of the poem with rhythm and melody are other characteristics of Moeini's songs. بررسی و مطالعة سیر ترانه‌سرایی در دورة پهلوی دوم، به ویژه از زمان تأسیس رادیو در سال ۱۳۱۹ ه. ش به بعد، حاکی از تحول و تطور این نوع ادبی در ساحتهای مختلف خود، به خصوص در حوزة شیوة بیان و مضمون است.‌ رحیم معینی کرمانشاهی سهم بزرگی در این تحول و تطور دارد، به گونهای که در بسیاری از نوآوریها در این عرصه پیشتاز و مبدع است. در این پژوهش برآنیم تا با روش توصیفی ـ تحلیلی نبوغ و نوآوریهای معینی را در عرصة ترانهسرایی، به ویژه در زمینة شیوة بیان و تحول مضمون، ازیک سو و تناسبات کلامی و ملودیکی، از سوی دیگر بررسی و تحلیل کنیم. برآیند پژوهش ‌نشان می‌دهد که معینی در شیوة بیان، با گذر از روشهای سنتی، با بهرهگیری از فنون ادبی نظیر روایت، قصه، نماد و همچنین هنر نقاشی، تابلوسرایی را به عنوان روش و سبک نوین در ترانه‌سرایی معرفی کرد و با درک زمان و ذائقة مخاطب روز، مضامین نو که در ترانه سابقه نداشت، نظیر مضامین فلسفی، عرفانی و اخلاقی را با زبان روایت و قصه وارد ترانه‌سرایی کرد. در کنار این نبوغ، در حوزة تناسبات کلامی و ملودیکی هم ابداعاتی انجام داد. تلفیق درست واژگان با روح ملودی، هماهنگی وزن و ریتم ترانه با مضمون و محتوای کلام و تغییر آن به مقتضای تغییر مضمون و همگامی و تغییر ملودی، همسو با تغییر شخصیت‌های داستان و روایت و تغییر و دگرگونی در ساختارکلیشه‌ای ترانه‌های گذشته، نظیر بیان یک سرگذشت در دو ترانة مجزا با عنوان ترانه‌های تکمیلی، حاصل ابداعات و نوآوری‌های معینی به شمار می‌آید.

https://jls.qom.ac.ir/article_4107_3bcf9e5fa8c90008a6ad81b0157c752e.pdf

دانشگاه قم پژوهش های دستوری و بلاغی 2783-2619 15 28 2025 12 22 Recognizing and Analyzing the Conceptual Metaphor of “Time” in the Masnavi Ma'navi بازخوانی و تحلیل استعارۀ مفهومی «زمان» در مثنوی معنوی 140 161 4108 10.22091/jls.2026.13939.1738 FA هومان شاکری استادیار زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه پیام‌نور، تهران، ایران. 0000-0003-1105-9940 علی محمد محمودی استادیار زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه سلمان فارسی، کازرون، ایران. 0000-0002-1198-9286 Journal Article 2025 09 21 The concept of time is one of the most fundamental concepts in the human mind, thought, and language, which has long been expressed metaphorically in speech and writing and conceptualized in the form of objects and places; a method that recent linguists have called "conceptual metaphor." In this study, the concept of "time" in the Masnavi Manavi has been examined based on the linguistic theory of conceptual metaphor by Lakoff and Johnson. The main goal of the study is to examine the process of conceptualizing the abstract discussion of time in the Masnavi. Ontological metaphors embody abstract concepts such as "time" as an entity or a tangible being, and humans discuss and argue about those concepts in this way. The results of the research show that the concept of time in the Masnavi is presented as a "conceptual scheme of "place", "object" and "person" with the structure and method that "time is place" and "time is object (fixed and moving)", and also the animism of time is one of the most frequent concepts of this type of conceptual metaphor. With the help of metaphors of this kind, Rumi has used the fundamental concept of time for mystical and intellectual allegories in order to better explain and understand important mystical and philosophical issues. Introduction The oldest reference to time can be found in mythology. “In Vedic mythology, Shiva is infinite time that has neither beginning nor end.” In ancient Greece, there was also a god who was called “time”; Kronos was the supreme ancestor of all gods, and since his name meant time, he was personified with a sickle and an hourglass. In addition to mythology, Greek philosophers also paid attention to time. Plato considered time to be one of the manifestations of order in the universe and a necessary condition for the action of the Creator (Yousef Rad, 2003: 22 and 24). In ancient Iran, traces of time can also be seen. “Zarvan is the name of one of the ancient gods who was the god of time in Pahlavi writings and appeared as the only god in the Middle Ages” (Kaviani & Pilevaran, 2016: 133). In contemporary times, the complex and abstract concept of time has been examined from another perspective, namely in the form of conceptual metaphor; since time is a subjective and abstract concept, it is depicted through metaphor with objective concepts such as place and object. This article seeks to examine how the abstract discussion of time is conceptualized in the spiritual Masnavi. Materials & Methods This research is theory-based and has been conducted in a descriptive-analytical manner using library tools and studies. Accordingly, time was studied and notes were taken in all six volumes of the Masnavi of Maulana Jalaluddin Mohammad Balkhi, then it was classified, discussed, and reviewed based on Lakoff and Johnson's conceptual metaphor theory. Research findings According to the theory of conceptual metaphor, the abstract concept of time in Rumi's poems in the Mathnawi is concrete and embodied in the following three concepts: 1 Time is an object: a moving object versus a fixed observer/a fixed object versus a moving observer; (objectification of time) 2 Time is a place: (containerization of time) 3 Time is an animate: (animization of time) Discussion of Results & Conclusion The objectification of time as a fixed or moving object in contrast to a fixed or moving observer is the most frequently used concept of time abstraction in the Masnavi. In the Masnavi, sometimes time comes from the future towards the observer as an object or a moving entity, and the fixed observer is its observer; sometimes time is assumed to be a fixed object or place that is the moving observer. In a few cases Rumi uses time and observer together as fixed or moving; sometimes time is an object and commodity that can be transported, moved, taken, and presented. The spatiality of time is sometimes depicted in a way that the observer travels or worships. Sometimes time is a fixed place or object in the future that is the observer in the direction of movement. The animism of abstract concepts is another type of ontological metaphor. Spring, as a unit of time, brings with it the sign of truth (God) with its arrival. Summer is assumed to be a human being who speaks to nature, greenery, etc. Rumi sometimes considers the night as a king whose arrival causes the stars to perform their duties as his agents; night is thought of as a thief who steals the spiritual capital of heedless humans. The time unit of the month (season) is assumed to be a human being, one of whom steps out of the world and another follows him and takes his place. Autumn is also assumed to be a gardener who destroys the barren garden. This research revealed that centuries ago in the spiritual Masnavi, the abstract concept of time was conceptualized in an objective and tangible way with phrases such as object, place, and animism. مفهومِ زمان از بنیادی‌ترین مفاهیم در ذهن، اندیشه و زبانِ انسان است که از دیرباز در گفتار و نوشتار معمولاً به‌صورت استعاری بیان و به صورتِ شیء و مکان، مفهوم‌سازی شده است. در این پژوهش، مفهومِ زمان در مثنوی معنوی براساس نظریۀ زبان‌شناختی استعارۀ مفهومی لیکاف و جانسون بررسی شده است. هدف اصلی پژوهش بررسی فرایند چگونگی مفهوم‌سازی بحث انتزاعی زمان در مثنوی است. استعاره‌های هستی‌شناختی، مفاهیم انتزاعی همچون زمان را به مثابۀ یک هستومند یا موجودی مجسم می‌سازند و انسان با این شیوه دربارۀ آن مفاهیم بحث و استدلال می‌کند. نتایج پژوهش نشان می‌دهد که مفهوم زمان در مثنوی به صورت طرح‌وارۀ تصوّریِ مکان، شیء و انسان با این ساخت و شیوه که زمان، مکان است و زمان، شیء (ثابت و متحرک) است، نشان داده شده است و همچنین جاندارانگاری زمان از مفاهیم پرتکرار این نوع استعارۀ مفهومی است. مولانا با کمک استعاراتی از این دست مفهوم بنیادین زمان را برای تمثیلات عرفانی و فکری به کار گرفته است تا مسائل مهم عرفانی و فلسفی بهتر تبیین و درک شود.

https://jls.qom.ac.ir/article_4108_d85990d6feb3852263dd8cb1eb3e3771.pdf

دانشگاه قم پژوهش های دستوری و بلاغی 2783-2619 15 28 2025 12 22 Political Rhetoric in Literary Texts: A Case Study of Akhavan-Sales's Poetry رتوریک سیاسی و مؤلفه‌های آن در متون ادبی با نگاهی به اشعار مهدی اخوان ثالث 162 181 4109 10.22091/jls.2026.14201.1744 FA یحیی طالبیان استاد زبان و ادبیات فارسی، دانشکده ادبیات و زبانهای خارجی، دانشگاه علامه طباطبائی، تهران، ایران. 0000-0002-7353-5618 فاطمه گل بابائی دانشجوی دکتری زبان و ادبیات فارسی، دانشکده ادبیات و زبانهای خارجی، دانشگاه علامه طباطبائی، تهران، ایران. 0000-0001-8937-8947 Journal Article 2025 10 13 A systematic study of political rhetoric in literary texts requires clear conceptualization and a coherent theoretical framework. Drawing on Kenneth Burke’s rhetorical theory, this study proposes a structured approach to analyzing political rhetoric in literary texts. Kenneth Burke, a key figure in rhetorical studies throughout the 20th century, introduced several fundamental concepts in his theory of rhetoric, notably the four essential elements of division, identification, hierarchy, and the dramatic form of the pentad. These concepts have proven especially useful in analyzing political rhetoric, where language plays a pivotal role in shaping ideologies and influencing public opinion .This study aims to examine selected poems by the Iranian poet Mehdi Akhavan-Sales, with the goal of exploring the manifestations of political rhetoric in literary works. The qualitative method of analysis employed in the research focuses on how Burke’s rhetorical elements function within Akhavan-Sales’ poetry. The findings demonstrate that the poet’s use of descriptive language enhances the potential for identification among readers, and underlying political messages present in the poems. Moreover, the dialogic structure of the poems provides a dynamic space for communicating key concepts such as division and hierarchy. Furthermore, the dramatic structure of the poems, which emphasizes Burke’s five components of the pentad -act, scene, agent, agency, purpose- plays a serious role in delivering a distinct political message. Each of these elements contributes uniquely to reinforcing the political discourse of the poem for the audience. Introduction Rhetoric, in its contemporary conception, can be defined as the strategic utilization of communication to elicit persuasion or achieve delineated objectives within a specific audience context. Kenneth Burke emphasizes that all human interaction unfolds within a network of symbols, terminology, classifications, and metaphors; consequently, language perpetually shapes perception, structures experience, and fosters either identification or deviance. Therefore, rhetorical analysis, framed within Burke’s symbolic perspective, involves examining the mechanisms through which language constructs and reproduces values, identities, and social relationships. Political rhetoric, a subfield of the discourse - semiotic approach to rhetoric and the application of symbols, possesses the capacity for study through Burke’s theoretical framework. This branch of rhetoric, particularly within literary analysis, necessitates an examination of its unique potential and components, as it significantly influences the transformation of literary texts into tools for social critique, the articulation of political viewpoints, and persuasion audiences to pursue particular goals. This research, employing Burke’s theoretical approach in rhetoric sought to address the lack of structural organization and theoretical frameworks within existing research on political rhetoric in literary texts. Materials & Methods Kenneth Burke’s theoretical framework in rhetoric are elaborated in his works Rhetoric of Motives and Grammar of Motives, in the last half of twentieth century, are applicable to the subfield of political rhetoric. This research, after outlining the principles of Burke’s approach and its application to political rhetoric, undertakes a qualitative analysis of selected poems by Mehdi Akhavan-Sales, a prominent figure in contemporary Persian literature, chosen for their political content and alignment with Burke’s theory, as a case study. Research findings The theories of scholars and researchers such as Kenneth Burke can provide frameworks for rhetorical analyzing of literary texts and serve as a valuable tool for researchers in this field. Burke defines the components and principles of influence on the audience within rhetoric through four categories: Division, Identification, Hierarchy, and the Dramatic form of Pentad. Division is achieved through the creation of binary oppositions, Identification through fostering a sense of solidarity and empathy, Hierarchy through the organization of power structures, and dramatic form through a dramatic structure. Each of these elements contributes to the text’s potential for influencing the audience. Applying these components to the realm of political rhetoric in literary texts allows for the development of a structured approach to analyzing literary texts from this perspective. Discussion of Results & Conclusion This analysis investigates the political rhetoric employed in a selection of poems by Akhavan-Sales, demonstrating how specific stylistic choices contribute to both reader identification and the conveyance of underlying political messages. The study posits that Akhavan-Sales strategically utilizes descriptive language to foster a sense of connection with the audience, thereby amplifying the impact of the poems' political content. Furthermore, the poems’ dialogic structure creates a dynamic platform for exploring complex concepts such as social division and hierarchical power structures. Drawing upon Burke’s Pentad model—consisting of act, scene, agent, agency, and purpose—this research highlights the significant role of dramatic structure in the articulation and delivery of distinct political narratives within the poems. Each of these elements—descriptive language, dialogic construction, and dramatic structure—functions synergistically to reinforce the overarching political discourse intended for the audience. Ultimately, this research confirms the application of Burke's rhetorical framework for the analysis of political rhetoric within literary texts. واکاوی نظام‌مند ظرفیت‌های رتوریک سیاسی در متون ادبی، مستلزم تعریف دقیق مفاهیم و بهره‌گیری از چارچوب نظری منسجم و کارآمد است. پژوهش حاضر کوشیده‌است با اتکا به مبانی نظری کِنِت بِرک در حوزة رتوریک که امروزه در معنای گسترده ارتباطات دریافت می‌گردد، الگویی برای مطالعة رتوریک سیاسی متون ادبی به‌‌صورت ساختارمند ارائه نماید. برک، یکی از نظریه‌پردازان برجستة رتوریک نو در قرن بیستم، مؤلفه‌های بنیادین این حوزه را در قالب مفاهیمی چون جداسازی، ایجاد هویت مشترک، سلسله‌مراتب و فرم دراماتیک پنجگانه (شامل کنش، صحنه، فاعل، واسطه و هدف) تبیین می‌کند. به‌کارگیری این مؤلفه‌ها در بررسی زیرشاخة سیاسی رتوریک، درواقع انطباق یک چارچوب نظری عام و کلی بر یکی از حوزه‌های فرعی و موضوع‌محور آن به‌شمار می‌رود. این پژوهش به‌روش تحلیل کیفی، پس از شرح مبانی نظری برک در حوزة رتوریک، منتخبی از اشعار مهدی اخوان ثالث را به‌عنوان نمونة عملی دارای ظرفیت بررسی با آن رویکرد در حوزة رتوریک سیاسی واکاوی نموده‌ است. نتایج تحلیل اشعار سترون، آنگاه پس از تندر، کتیبه و فریاد نشان‌ می‌دهد که عنصر ایجاد هویت مشترک غالباً از طریق شگرد ادبی توصیف بازنمایی شده و در بخش عمده‌ای از اشعار مورد بررسی، نقش محوری ایفا نمود‌ه ‌است. همچنین، برجسته‌سازی آگاهانه هر یک از عناصر پنجگانة فرم دراماتیک در نسبت با کنش اصلی شعر یا درام، بیانگر اتخاذ مبنای فلسفی و ایدئولوژیک خاصی است که با تحکیم و جهت‌دهی گفتمان‌های سیاسی مورد نظر شاعر در متن همسو است. در بستر دراماتیک این اشعار، شکل‌گیری منطق مکالمه‌ای میان شخصیت‌ها و به ‌گوش ‌رسیدن صدای طبقات مختلف، مفاهیم جداسازی و سلسله‌مراتب قدرت را در پیوندی معنادار با محتوای سیاسی اثر به مخاطب منتقل می‌سازد و کارآمدی رویکرد برک را در تحلیل رتوریک سیاسی متون ادبی تأیید می‌نماید.

https://jls.qom.ac.ir/article_4109_f9873a80012ec9ef68e30caba4de13c9.pdf

دانشگاه قم پژوهش های دستوری و بلاغی 2783-2619 15 28 2025 12 22 Analysis and Definition of Metonymy Based on its Origin تحلیل و تعریف کنایه بر حسب خاستگاه آن 182 201 4110 10.22091/jls.2026.14710.1763 FA علیرضا شعبانلو دانشیار زبان و ادبیات فارسی، پژوهشگاه علوم انسانی و مطالعات فرهنگی، تهران، ایران. Journal Article 2025 12 01 Metonymy has various definitions in Persian and Arabic rhetoric books, which leads to ambiguity in determining its instances and its precise boundary with metaphor and synecdoche. It seems that the main reason for this difference in definitions depends on the nature of metonymy because metonymy has various types that were not considered in the ancient classification. In this article, the author wants to find a way to more precisely classify metonymy, while examining the definitions of the ancients, which seems to be possible considering the origin of metonymy, the type of sign on which metonymy is based, and the relationship between the signifier and the signified. Therefore, metonymy can be divided into four types according to the type of meaning it has: 1. Figurative metonymy, in which the relationship between the signifier (literal meaning) and the signified (concept) is natural. 2. Descriptive metonymy, in which the relationship between the signifier and the signified is causal, and understanding the signified of these ironies is based on reasoning. 3. Symbolic metonymy, in which the relationship between the signifier and the signified is situational, and these ironies are often based on science, rituals and customs, laws, customs, and lifestyles of people. 4. Linguistic metonymy. These ironies are based on linguistic signs, but in terms of their meaning, this type can be categorized under symbolic metonymy (situational metonymy). Introduction Metonymy is one of the most important rhetorical devices in Persian and Arabic literature. Numerous and sometimes contradictory definitions of this figure have been proposed, yet the common element among them all is this part of al-Sakkākī’s definition: “Metonymy is the omission of explicitness from mentioning something.” The central feature of metonymy is indirect expression, while other characteristics attributed to it are disputed. Hence metonymy may encompass various modes of figurative language, including metaphor, ambiguity, and allusion Materials & Methods In this article, the author seeks to classify metonymies based on their origins, the kinds of signs on which they are founded, and the relationship between the signifier and the signified. According to Charles Sanders Peirce, signs are divided into three types: Icon, index, and symbol. In logic, an icon signifies by natural likeness, an index signifies through a causal or rational relation, and a symbol by conventional association. Since iconic signs are easier to understand—owing to the direct and concrete relation between signifier and signified—the study first considers iconic metonymy (based on natural or physical indication), then indexical metonymy (based on causal reasoning), followed by symbolic metonymy (based on convention and culture), and finally linguistic metonymy, which rely on verbal signs and constitute the weakest type in terms of denotative strength. Research findings Iconic Metonymy In these types, the relationship between the literal meaning (signifier) and the intended concept (signified) is concrete—indeed, the signifier itself embodies the signified. An iconic metonymy is essentially the reaction of human beings, animals, or nature to stimuli—it is their body language. From such observable reactions (the effect), we infer the hidden motive or cause. Examples include: To throw down one’s shield — a metonymy for accepting defeat. To stretch out one’s hand to someone — a metonymy for asking for help. Such metonymies, rooted in instinctive or natural behaviors, remain constant over time regardless of changing social conditions. Indexical Metonymy In these kinds of metonymy, the link between the signifier and signified is causal; comprehension of the meaning is based on reasoning. They resemble natural signs such as smoke, which indicates the presence of fire, or dark clouds, which foreshadow rain. Symbolic Metonymy Here, the relationship is conventional. These metonymies arise from cultural and intellectual contexts—linked to rituals, customs, laws, and social practices. Examples include: Saying four Takbīrs over someone, or reciting the Fātiḥa, both derived from Islamic funeral rites; The phrase a rational animal which is a metonymy for human being; Raising a white flag as a sign of surrender. Such metonymies are relatively recent in origin and are often limited to particular ethnic or subcultural frameworks. Linguistic Metonymy The previous three categories were based on non-linguistic signs, whereas this type is founded on linguistic signs. Nevertheless, from a semiotic standpoint, they can still be grouped under symbolic metonymy, as their signification depends on convention. Metonymy and implicational meanings of sentences: Beyond their explicit meaning, sentences may convey secondary or implicit meanings that logically follow from them, or that the listener can infer. These can be regarded as metonymy meanings—but only when the implied sense is mutually understood by both speaker and listener, i.e. when the listener grasps precisely the unspoken meaning intended by the speaker. Discussion of Results & Conclusion Metonymy can be classified into four categories: Iconic Metonymy: The relationship between literal and implied meaning is natural. Indexical Metonymy: The relationship between signifier and signified is causal; understanding depends on inference. Symbolic Metonymy: These are cultural or intellectual in nature, grounded in customs, traditions, laws, and social practices; their linkage is conventional. Linguistic Metonymy: Based on linguistic signs, yet semiotically subsumed under symbolic Metonymy. A linguistic Metonymy is a sentence whose implicit meaning is shared and agreed upon by both speaker and listener. The difference between a metonymy and a mere implicature lies in precision: an implicature is ambiguous and indeterminate, whereas metonymy meaning is definite, unique, and clear. کنایه در کتب بلاغی فارسی و عربی تعاریف مختلفی دارد که موجب ابهام در تعیین مصداق آن و تعیین دقیق مرز آن با مجاز و استعاره شده است. به نظر می‌رسد که دلیل عمدة این اختلاف تعاریف، به ماهیت کنایه بستگی دارد زیرا کنایات گونه‌های متنوعی دارند که در تقسیمبندی قدما بدان توجه نشده است و تقسیم کنایه به سه نوع مرسومِ کنایه از موصوف، کنایه از صفت و کنایه از نسبت، ناظر به تفاوتهای بنیادی کنایات نیست. نگارنده در این مقاله بر آن است تا ضمن بررسی تعاریف گذشتگان، راهی برای تقسیمبندی دقیقتر کنایه پیدا کند که به نظر می‌رسد این امر با توجه به خاستگاه کنایات، نوع نشانه‌ای که کنایه بر آن مبتنی است و رابطة میان دال و مدلول میسر شود. از این رو کنایه را بر حسب نوع دلالتی که دارد می‌توان چهار گونه دانست: 1. کنایات شمایلی که در این کنایات رابطة میان دال (معنای لفظی) و مدلول (مفهوم) طبعی است؛ 2. کنایات نمایه‌ای که در این کنایات رابطة میان دال و مدلول، رابطة علی است و درک مدلول این کنایات مبتنی بر استدلال است؛ 3. کنایات نمادین که در این کنایات، رابطة میان دال و مدلول، وضعی است و این کنایات اغلب مبتنی بر علوم، آیینها و رسوم، قوانین، عرف و سبک زندگی مردمان‌‌اند؛ 4. کنایات زبانی. این کنایات مبتنی بر نشانة زبانی است اما از لحاظ دلالت این نوع را می‌توان در ذیل کنایات نمادین (دلالت وضعی) گنجاند.

https://jls.qom.ac.ir/article_4110_89a761977c60051c7399124fe1d8d879.pdf

دانشگاه قم پژوهش های دستوری و بلاغی 2783-2619 15 28 2025 12 22 Rhetorical Criticism of the Luti Language in Ali Hatami’s Screenplays تحلیل بلاغی زبان لوطی‌ها در فیلم‌نامه‌های علی حاتمی 202 216 4111 10.22091/jls.2026.14622.1756 FA مجید هوشنگی استادیار زبان و ادبیات فارسی، دانشکده ادبیات، دانشگاه الزهرا، تهران، ایران. 0000-0002-9942-8685 رضوان مبینی دانشجوی کارشناسی ارشد رشته زبان و ادبیات فارسی، دانشکده ادبیات، دانشگاه الزهرا، تهران، ایران. 0000-0002-9942-8685 مرضیه حسنی دانشجوی کارشناسی ارشد رشته زبان و ادبیات فارسی، دانشکده ادبیات، دانشگاه الزهرا، تهران، ایران. 0000-0002-9942-8685 Journal Article 2025 11 22 In structural approaches to literary works, the principle of harmony between form and content, along with establishing connections among the work, its context, and the audience, is emphasized, and each rhetorical device is directly examined in relation to the text's position and the audience's context. This means that the foregrounding in an artistic work, if it exceeds or falls short of the context and situation, will be interpreted as non-structural or aesthetically deficient. On the other hand, Ali Hatami, as the author, has focused on the literariness of the text, striving to recreate the space and texture of literariness prevalent in Qajar-era texts, and seeks to imbue his work with an aspect beyond that of a mere film composed of visual units. However, the issue is that his excessive and unstructured use of rhetorical devices in character dialogues turns this potential into a negative aesthetic factor. Therefore, this study seeks to analyze the literariness embedded in the language of the luti characters in Ali Hatami’s screenplays, employing a descriptive-statistical method. The findings briefly reveal that, contrary to Hatami’s efforts to enhance the literary value of his texts through the use of elevated language for these character types, this approach has in fact become a counterproductive element. The ostentatious dialogues of his jāhel characters have resulted in distancing the work from its audience, historical context, and social reality. Introduction Ali Hatami's cinema stands apart from its historical precedents and contemporary counterparts, with a significant portion of this distinction rooted in his narrative approach, which diverges from the conventional cinematic traditions in Iran. His distinctive affinity for employing the expressive style of the Qajar era alongside the vernacular of the streets and bazaars from the early Pahlavi period, combined with his unique typification and character development, imbues his works with a particular poetic and nostalgic quality, ultimately forging a specialized linguistic idiom. The application of language in narrative works, particularly through dialogue, serves to reveal the author's mindset and intentions. Hatami's language in his screenplays is historical, evocative of the Qajar period. The Qajar era, marked by profound social, political, and cultural transformations, exhibits unique linguistic and literary characteristics that Hatami vividly captures. However, this emphasis on the ornate, literary language of the Qajar period has advanced to such an extent that the characters in his narratives speak in an unparalleled manner, creating a certain distance from the audience. Thus, this study aims to examine the relationship between the rhetorical elements employed in the luti (chivalrous) characters of Hatami's works and their audience. Materials & Methods Rhetorical criticism represents one of the longstanding movements in literary analysis, encompassing the examination of expressive and stylistic features in literary works, such as the study of classical texts and authors through traditional literary critical lenses. A key feature of literary criticism involves rhetorical analysis based on expressive and stylistic attributes, which evolved with the advent of modern applied rhetoric theories into what is termed rhetorical criticism. This approach entails referencing literary works to assess their capacities for foregrounding and norm-breaking at the linguistic level, tailored to each language's potentials. Dramatic texts, as primary targets, strive to transcend the familiar boundaries of language through literariness and linguistic prominence, where the application of literary devices emerges as one of the most effective methods. Consequently, rhetorical analysis constitutes a primary priority in dissecting dramatic texts or screenplays, illuminating how the author's perspective manifests post-performance in dialogues and monologues (the discursive dimension of the text) and signaling the nature of their central communicative act. Research findings In the film Madar (Mother), Ali Hatami embodies the archetype of luti chivalry and gallantry through the character of Mohammad Ebrahim, while in the series Hezar Dastan (Thousand Hands), he centers on Shaban Estekhoni, highlighting two facets of this persona. In both dimensions, linguistic play, hyperbole in simile accumulation, the creation and deployment of metaphors, allusions, and other literary devices overshadow the conveyance of meaning and message in dialogues, often to the point where general audiences struggle to comprehend certain lines. This privileging of rhetorical form over semantic content becomes so pronounced that even specialized viewers, particularly the educated elite, falter in grasping nuances, requiring research or deep investigation into sources for textual understanding. This phenomenon contravenes the principle of structural coherence and alignment between part and whole, thereby revealing a systemic inconsistency in Hatami's compositional framework. Following the identification of these elements in both works, their defamiliarization at linguistic levels is delineated, culminating in statistical validation of this hypothesis within the textual corpus. Hatami employs allusions in luti dialogues—exploiting polysemy and both semantic layers—predominantly of the implicative type, which are not overly obscure. In both directing and dialogue writing, he leverages simile so innovatively that precise statistical scrutiny reveals its dominance over visual imagery and dramatic action. The metaphors that emerge prominently gravitate toward honorific titles, invectives, and the like. Based on documented extractions from the two works, expressive devices in luti and jahel (underworld tough) speech prioritize stylistic flourishes over mere rhetoric, elevating the text from plain prose to technically ornate prose, akin to the writings of literati like Qa'em Maqam's Munsha'at. This shift undermines the overarching dialogic structure, as thinker Mikhail Bakhtin posits the word in dialogue as a bidirectional act interfacing simultaneously with the word itself and the listener, forging reciprocal dynamics where words orchestrate the exchange. In novels, conversational essence manifests as stylistic prose; poetic essence aligns with monologue, where the poet pursues totalizing monologism. Here, Hatami's poetic dimension concretely asserts itself, propelling his work from prose toward poetry. Thus, the monologic and univocal thrust of his writing intensifies, severing ties with audiences at the highest levels. Discussion of Results & Conclusion Analysis of Hatami's texts raises a critical question: the ratio of literary language and formal foregrounding to character typology, its requisites, audience positioning, and auditory encounter fails to demonstrate proper parallelism and adequacy, particularly in the recurrent luti and jahel vernacular. Audience expectations, textual context, historical fabric, and narrative realism in Hatami's oeuvre demand such alignment for luti characters and their speech. Data and derived statistics confirm that the jahel archetype across both works utilizes rhetorical devices at expressive and stylistic levels in 198 of 333 sentences. In essence, the language-character relationship in these seminal Hatami texts emerges as disproportionate and habit-driven. Through this imbalance, Hatami fails to technically differentiate the jahel from literati, artists, teachers, and others—a structural flaw in screenwriting and narration. Ultimately, Hatami's prioritization of "Saadi of Iranian cinema" status insulated him from direct realism, character exigencies, and broad audience engagement. در نگرشهای ساختاری به آثار ادبی، اصل تناسب فرم و محتوا و ایجاد ارتباط میان اثر، موقعیت و مخاطب مورد توجه قرار میگیـرد و هر کـاربست بلاغـی به صـورت مستقیم با جـایگاه و مــوقعیت متــن و مخـاطب مرتبط است. بـه عبـارتی برجستهسازیهای اثر هنری، اگر فراتر از بافت و موقعیت و یا فروتر از آن باشد، به امری غیر ساختاری و یا نازیبا تعبیر خواهد شد. علی حاتمی در آثار خود، سعی در بازآفرینی فضا و بافت زبان جاری در متون ادبی دورة قاجار را داشته است؛ اما روند افراطی و غیر ساختارمند او در کاربست صنایع بلاغی در دیالوگهای شخصیتها، این ظرفیت را به یک امر ضد ارزش در ساختار زیباییشناسانه بدل کرده است. لذا این پژوهش سعی دارد تا با استخراج و بررسی زبان لوطی‌های فیلمنامههای علی حاتمی، با روشی توصیفی - آماری به تحلیلی انتقادی این رویکرد بپردازد. نتایج پژوهش نشان میدهد که علیرغم تلاش حاتمی در کاربست زبان برجسته برای این تیپ شخصیتی جهت بالا بردن ارزش ادبی متن خود، عملاَ این فرایند به یک ضد ارزش در آثار او تبدیل شده و ادبیت جاری در دیالوگهای جاهلانة او، موجب فاصله گرفتن اثر از مخاطب و بافت تاریخی و واقعیت جامعه شده است.

https://jls.qom.ac.ir/article_4111_e86d134f4e84625baf5ca241d33273b8.pdf

دانشگاه قم پژوهش های دستوری و بلاغی 2783-2619 15 28 2025 12 22 The Syntactic and Rhetorical Analysis of “Khaneh-ye Rushanan” by Houshang Golshiri بررسی نحوی و بلاغی داستان «خانۀ روشنان» اثر هوشنگ گلشیری 217 234 4112 10.22091/jls.2026.14164.1745 FA لیلا ریوندی دانشجوی دکتری زبان و ادبیات فارسی، دانشکده ادبیات و زبانهای خارجی، دانشگاه علامه طباطبایی، تهران، ایران. 0009-0002-9592-3280 محمود بشیری دانشیار زبان و ادبیات فارسی، دانشکده ادبیات و زبانهای خارجی، دانشگاه علامه طباطبایی، تهران، ایران. 0000-0002-5076-6982 Journal Article 2025 10 18 The story “Khaneh-ye Rushanan” by Houshang Golshiri is one of the outstanding examples of modern Persian narrative, which offers a new experience in narrative with its complex syntactic structure and diverse rhetorical techniques. This research uses an integrated approach to analyze the syntactic and rhetorical aspects of this story and shows how long and nested sentences, stylistic omissions, verb tense atrophy, and syntactic repetitions, along with rhetorical elements such as metaphor, symbol, irony, and de-familiarity, play a role in the formation of Golshiri’s specific style. The findings indicate that Golshiri, by simultaneously utilizing the capacities of syntax and rhetoric, creates a text that both leads to the mental and psychological layers of the characters and forces the audience to read and interpret the text in a multi-layered manner. Thus, “Khaneh-ye Rushanan” is not just a narrative, but an exercise in language and perception that challenges the boundary between reality and fantasy. Introduction Modern Persian literature, particularly from the second half of the 14th century (20th century), has witnessed profound transformations in language, narrative techniques, and literary style. Houshang Golshiri stands as a prominent figure within this movement, recognized for his significant contribution to elevating Iranian short story writing to an international level. Golshiri’s work is characterized by a unique synthesis of traditional Persian rhetorical heritage and a deep understanding of Western modernist literary trends. He employed rhetorical devices not merely as embellishments but as integral components of his narrative structure, transforming language into a vehicle for profound reflection and literary experimentation. This research focuses on "Khaneh-ye Roshnan," widely considered a cornerstone of Golshiri’s experimental approach, to explore the specific mechanisms through which he achieves this linguistic innovation. Materials & Methods This research employs a qualitative analytical approach, focusing on a close reading of "Khaneh-ye Roshnan." The methodology is grounded in the principles of stylistic analysis, drawing upon both traditional Persian rhetorical theory and contemporary linguistic frameworks. The syntactic analysis examines the story's grammatical structures, including sentence complexity, ellipsis, verb tense manipulations, and deviations from standard Persian grammar, informed by the works of Anwari & Ahmadi Givi (1381) and Baatani (1374). The rhetorical analysis investigates the use of figurative language, such as metaphors, symbols, irony, alliteration, and defamiliarization (ostranenie), drawing on the insights of Shafiei Kadkani (1370, 1380) and Shamsi (1381, 1382, 1383). The theoretical framework combines insights from classical Persian grammatical scholarship (particularly the works of *ma'ani*, *bayan*, and *badi'e*) with modern linguistic theories, including structural linguistics and functional linguistics. The analysis will also consider the broader literary context of Golshiri’s work and its relationship to the development of modern Persian short story writing, referencing studies by Rezagar (1390) and Pahlavan (1396). **5. ahlavan (1396). Research findings The analysis reveals a deliberate and sophisticated manipulation of both syntax and rhetoric in "Khaneh-ye Roshnan." Syntactically, the story exhibits complex sentence structures, nested clauses, frequent ellipsis, and unconventional verb tense usage, creating a sense of disorientation and reflecting the fragmented psychological state of the characters. Rhetorically, the story is replete with figurative language, including evocative metaphors, symbolic imagery, subtle irony, and a pervasive sense of defamiliarization. The combination of these elements results in a highly stylized and self-aware language that challenges conventional notions of narrative realism. The use of alliteration and other phonetic devices further enhances the poetic quality of the prose. The findings suggest that Golshiri’s linguistic choices are not merely stylistic flourishes but are integral to the story’s thematic concerns, contributing to its exploration of memory, identity, and the subjective experience of reality. The analysis aligns with observations made by Naserimehrabood (1393) regarding the complexities of the narrator in "Khaneh-ye Roshnan" and the insights provided by Hoshyar Mahbub (1393) on Golshiri’s poetic sensibilities. Discussion of Results & Conclusion The findings of this research demonstrate that Golshiri’s stylistic innovation in "Khaneh-ye Roshnan" is rooted in a conscious and deliberate fusion of syntactic and rhetorical elements. The complex syntax creates a sense of psychological fragmentation, while the rich rhetorical devices imbue the narrative with a poetic and multi-layered quality. This interplay between form and content results in a language that transcends its purely representational function, becoming a medium for artistic creation and a vehicle for exploring complex philosophical themes. Golshiri’s work represents a significant departure from traditional Persian literary conventions, paving the way for new forms of experimental narrative and influencing subsequent generations of Persian writers. The study concludes that "Khaneh-ye Roshnan" serves as a compelling example of how language can be transformed into a powerful tool for artistic expression and a means of exploring the complexities of human experience. The broader theoretical framework is informed by the works of Farshidvard (1364, 1376) and Shamsi (1383) on rhetoric and stylistics. داستان خانۀ روشنان اثر هوشنگ گلشیری از نمونه‌های برجستۀ روایت مدرن فارسی است که با ساختار نحوی پیچیده و شگردهای بلاغی متنوع، تجربه‌ای نو در روایت‌پردازی ارائه می‌دهد. این پژوهش با رویکردی تلفیقی به تحلیل نحوی و بلاغی این داستان می‌پردازد و نشان می‌دهد که چگونه جملات بلند و تودرتو، حذف‌های سبکی، زمان‌پریشی افعال و تکرارهای نحوی در کنار عناصر بلاغی چون استعاره، نماد، آیرونی، و آشنایی‌زدایی در شکل‌گیری سبک خاص گلشیری نقش دارند. یافته‌ها بیانگر آن است که گلشیری با بهره‌گیری هم‌زمان از ظرفیت‌های نحو و بلاغت، متنی می‌آفریند که هم به لایه‌های ذهنی و روانی شخصیت‌ها راه می‌برد و هم مخاطب را به خوانشی چندلایه و تأویلی از متن وامی‌دارد. بدین‌سان، خانۀ روشنان نه ‌فقط یک روایت داستانی، بلکه تمرینی در زبان و ادراک است که مرز میان واقعیت و خیال را به چالش می‌کشد.

https://jls.qom.ac.ir/article_4112_c19a28bc18c9900b699876e31def1883.pdf