Semiotics
Golafrooz Mohebi; rouhollah saiiady; Amirhossein Rasoulnia; Abbas Eghbali
Abstract
Structural criticism is one of the analyses that flourished in the direction of meaning generation in the 20th century following Saussure's semiotics. "Roland Barthes" - a French semiotician and theorist - is among the critics of structuralism, the importance of his theories is in the pursuit of evolution ...
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Structural criticism is one of the analyses that flourished in the direction of meaning generation in the 20th century following Saussure's semiotics. "Roland Barthes" - a French semiotician and theorist - is among the critics of structuralism, the importance of his theories is in the pursuit of evolution and semiotic adventure and the creation of a kind of intellectual vitality in analysis, modern criticism and the flow of structuralism. He has presented a code-based model for text analysis, beyond which, with the help of the context of the text, it is possible to analyse the structure of different texts, without the need for the presence of the author, and only with the help of the expressive language of the text. This meaning-making model, which recognizes ciphers as the voice of the text, consists of; There are hermeneutic or enigmatic codes, proiretic or active codes, meaningful or implicit codes, symbolic or confrontational codes, and cultural or referential codes. The main goal of this article is the application of Barth's analysis approach to the meaning analysis and interpretation of the written text (Lekol'' Amree Min Dahreh Ma Ta'awda) by Motanbi, which is based on descriptive-analytical method. The result of the research shows that Barth's cryptography model shows the presence of ciphers in different parts of the body of the text, which shows a kind of semantic dispersion at the level of the text, and it can also be applied to classical poems. Revealing hermeneutic codes the poem is for the introduction of Saif al-Dawlah. Action codes it also narrates his fighting as the main actor. Semantic ciphers and symbolic in pursuit of creating meaning for the two main and active characters of the text, Saif al-Dawlah and Mantabi, they have put two groups of good and evil in front of each other.
BahrAli Rezaei; Abbas Eghbali; Rouhollah Saiiady
Abstract
In role-oriented linguistics, the textual meaning of the texts is the product of the connection between the text and the situation in which it is produced. The essential function of this type of view in the Holy Quran is to reveal the hidden angles of meaning in it. This type of view is necessary to ...
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In role-oriented linguistics, the textual meaning of the texts is the product of the connection between the text and the situation in which it is produced. The essential function of this type of view in the Holy Quran is to reveal the hidden angles of meaning in it. This type of view is necessary to prove the hypothesis that the context of the situation presented in the role-oriented system, through the precise determination of the meaning as a basic assumption in understanding, can directly affect the purpose of the verses of the Holy Quran. For example, the position of submission and hope in God in Surah Al-Kahf reveals the different aspects of recommendation from the individual, social and religious aspects. In this research, by taking the descriptive-analytical method by examining the verses of Surah Al-Kahf that mention request and hope in God, it has been tried to explain the relationship between the discourse, the position of these categories and the text, and the relationship between the three layers of the text. A situation (scope, nature, and style of speech) should be processed with the semantic layers of language (ideological, interpersonal, and textual). Among the obtained approaches is that. Compound starters (textual-structural) have the highest frequency in the subjunctive position, which shows the connection of conjunctions with the situation. Repetition in the situational context of submission and hope is manifested in several forms. Also, he observed the use of "rab" with the pronoun "na" and "y" in all three events, i.e. (the story of young men, the event of a challenge, and the story of the owners of the garden). The semantic element of this additional combination is the hope for God's mercy, in which the context of the situation plays an essential role in shaping.
Abbas Eghbali; Ali Najafi Ayouki; Razieh Nazari
Abstract
Extended Abstract
1. Introduction
Shiite literature is a combination of Islamic thought and ideology which involves a purposeful and coherent discourse. Shiite poetry moderately incorporates literary devices and elements of fantasy whilst adorned with poetic precepts, the most significant of which ...
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Extended Abstract
1. Introduction
Shiite literature is a combination of Islamic thought and ideology which involves a purposeful and coherent discourse. Shiite poetry moderately incorporates literary devices and elements of fantasy whilst adorned with poetic precepts, the most significant of which is considered the eulogies. Within the contents of such poetry, the foundation of Shiite eulogy discourse is formed by the subject of “guidance”; as a result, realism is known as one of the outstanding properties of Shiite eulogy.
In the present inquiry, the authors have attempted to lay out a discourse analysis of eulogies within two poems written by famous Shiite poets, “Musaab Abdi Koufi” and “Abu Firas al-Hamdani”. These poets lived in two different historical periods; Musaab at the late Umayyad Caliphate during which, Shias were subject to severe suppression. On the other hand, Abu-Firas lived in the 4th century, a period in which Shias enjoyed more freedom. Undoubtedly, such a difference have had significant effects on their points of view in eulogies regarding the main subject of Shiism, i.e. Imamah.
2. Theoretical Framework
The theoretical foundation of this study is based upon the theory of speech acts in discourse. “Discourse” is considered as a fairly new term in linguistics which incorporates a set of texts that are linked together. As any text entails the information put forth by humans, the world of discourse mainly involves the entire events that are linked together in a social or lingual group. Given the discussion of eulogies in the present study, it can be pointed out that the discourse of the study is literary, with a distinctive feature of creativity in imparting poetic messages.
Similar to any human action, the position of language in analyses based on the speech acts theory is examined through the types of human actions realized by words and sentences. This theory was put forth by the prominent figure of language philosophy, John Austin. In his view, verbs are divided into two categories of “propositional” and “performative”. Then, John Searle expanded the theory offering a more diverse categorization for utterances which included: declarative, persuasive, accrual, emotional and statement.
3. Methodology
In general, by using the descriptive-analytical method within the framework of speech acts theory, the present study seeks to answer the following questions: What concepts constitute the speech acts present in these poems? In which of these poets’ speech acts, details are of more importance? Which of these poets’ speech acts involve more distinguished frankness of expression?
4. Discussion and Findings
In the poems examined in this study, poets have employed four speech acts; first are the declarative speech acts which include the poets’ own beliefs regarding the accuracy of their propositions. Through persuasive speech acts, the poets have attempted to influence the audience, persuading them to do something or vice versa, using imperative verbs, commendations, or questions. Using accrual speech acts, they have tried to demonstrate and highlight the certain promises concerning the fate of the ones who do not believe in the legitimacy of Imamah. The emotional speech acts of the poets in these eulogies are full of their diverse affections toward Imams. Therefore in the poems of “Musaab Abdi” and “Abu Firas al-Hamdani”, there are a myriad of verbs based on attention and intercession.
5. Conclusion
• The Concepts of “waiting and confidence” constitute the main theme of the speech acts used in both poems.
• In his declarative speech act, “Musaab Abdi” have used a set of literary devices to illustrate concepts such as taking precautions, longing for union, and failure; while the environment of Abu Firas’s declarative speech acts were filled with comfort and confidence.
• In his persuasive speech acts, “Musaab” highlights the concept of waiting once more as well as reminding the legitimacy of Imamah using historical intertextuality. Abu Firas on the other hand, chose to have a direct dialogue with the obstinate and attempts to highlight the inaccuracy of their beliefs and persuade them to accept the truth using verbs which entail notions such as humiliation and reprimand.
• The accrual speech acts in both examined poems attempt to confirm and assure the certainty in the occurrence of the divine torment to the obstinate.
• The emotional speech acts of Musaab and Abu Firas are divided into two parts; the first is concerned with immortality which is shown as the symbol of quenching one’s thirst. In the second part, Musaab asserts the aspects of hope and submission to revenge, while Abu Firas have attempted to introduce himself as one of the guided.
• In comparing the speech acts in the examined poems, the privacy of expression in Musaab’s various speech acts demonstrate the stifle space of Umayyad Caliphate whereas the frankness of expression in Abu Firas’s work shows the free political environment of his period.
abbas eghbaly
Abstract
Image or artistic picture represents an imaginative process that give artistic meaning to speech. This is a process that uncovers hidden meaning and conveys the mental concepts of the writer to the audience and makes his intended meanings much deeper. The reflections of the use of this literary device ...
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Image or artistic picture represents an imaginative process that give artistic meaning to speech. This is a process that uncovers hidden meaning and conveys the mental concepts of the writer to the audience and makes his intended meanings much deeper. The reflections of the use of this literary device in classical Arabic works and the high frequency of their use in The Holy Quran and in Nahjul-Balaghah shows the status of this technique in the literature of the old times. This paper takes a quick glance at the use of the technique of imagery in Arabic and in the Holy Quran. Then it explores the eloquence of Imam Ali’s (p.b.u.h) speech in Nahjul-Balaghah in the light of the use of imagery. Example images used in this classical work for the description of religion, piety, and mistakes are used to explain how the behavior of people with favoritism during the reign of Othman is depicted. The study indicates that Imam Ali (p.b.u.h) uses images from the moving and the stagnant aspect of nature to make the intangible more tangible and to add to the eloquence of his speech.
Dr.Abbas Eghbali Abbas Eghbali
Abstract
The Poet is considered a sculptor, a painter and a musician who dramatizes his thoughts and visions through the technique of his poetry. Mu’allaghat Sab’ – as a part of classic Arabic literary masterpieces – display this aspect brightly. These works represent a wonderful variety of images among ...
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The Poet is considered a sculptor, a painter and a musician who dramatizes his thoughts and visions through the technique of his poetry. Mu’allaghat Sab’ – as a part of classic Arabic literary masterpieces – display this aspect brightly. These works represent a wonderful variety of images among which the sensory images – including visual, auditive and tactile images – are very common. This article explores the auditory images of pre – Islamic odes and attempts to show that – besides the use of onomatopoeia – the pre – Islamic poets used different phonological features and auditive images frequently and successfully.
Along with the visual images of various colors and smelling pictures of odors, they created dynamic auditory images of natural and not natural sounds in order to bridge the gap between the world of thoughts and visions and the real world.
Key words: auditory images, sensory images, Mu’allaghat sab, pre – Islamic poetry.
