Maryam Aliyari; Abolhasan Amin Moghadasi
Abstract
The image, which is one of the four pillars of poetry in literary criticism, is a linguistic structure that the poet uses it to visualize his abstract thoughts and complex modes.This concept plays a prominent role in the resurrection of the word, both in the old literary criticism, which considers imaginary ...
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The image, which is one of the four pillars of poetry in literary criticism, is a linguistic structure that the poet uses it to visualize his abstract thoughts and complex modes.This concept plays a prominent role in the resurrection of the word, both in the old literary criticism, which considers imaginary forms as an essential element in its formation, and in the new literary criticism, which includes all means of expression and breaking the linguistic norms. Mohmmad Al-Qaisi has spent his entire life in exile and he has always imaged the sorrow of Palestine through the suffering and exile and displacement.According to the investigation, the bitter experience of Qaisi’s life made sorrow as a steady and unseparable element in Qaisi’s poetry. As a result of enduring song of sorrow in his poems,he was named “sorrow full poet” Considering that the issue of Palestine is reflected as a central social issue in Arab literary works, image analysis plays an essential role in the representation of the issue of Palestine.On the other hand, sadness is one of the important trends in contemporary Arabic poetry so the representation of sorrow in the Qaisi’s poetry is an issue on which study by descriptive and analytical and Semiotics and statistical analysis approach in this research to discovering and decoding how represent the suffering and sorrow of Palestine as a part of the Islamic world,in Qaisi's poetry,the resistance poet of Palestine.The results suggest that Qaisi use the technique of metaphor and simile in visualizing his sad experience.he presents two different and contradictory images of sorrow that have a same origin. This conflict in the representation of sorrow indicates that the poet suffers from a kind of internal conflict In his poetic experience that arises from the conflict between the ideal and the reality of the poet.
Abolhassan Amin Moghaddasi; Mahdieh Gheysari
Abstract
Abstract Dialogical principle is a theory proposed by Mikhail Bakhtin in the twentieth century. He believed that language has a social feature, and dialogue is one of its prominent features; because the polyphonies in a text will only be achieved through dialogue. Although Bakhtin believed that ...
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Abstract Dialogical principle is a theory proposed by Mikhail Bakhtin in the twentieth century. He believed that language has a social feature, and dialogue is one of its prominent features; because the polyphonies in a text will only be achieved through dialogue. Although Bakhtin believed that poetry lacked the Dialogical principle, Abdul Wahab Bayati, from among modernist Arab poets, succeeded to make a Sufi character in his poems and revive dialogue and polyphony in his poems. The questions posed were how this polyphony is going to be shown in the poetry of Abdolvahab Bayati while the Bakhtin’s theory believes in a monologue in the poetry. Secondly, in using the Sufi character, what techniques does he use to bring his words closer to the logic of Sufi speech? The masking technique can turn the text into a conversational and polyphonic text and revive intertextuality. Therefore, it is necessary to examine the aspects of logic of speech from Bakhtin's theory of the dialogical principle. This article is based on Bakhtin's theory of Dialogical principle. It shows through a descriptive-analytical method that Bayati uses such techniques as persuasion, double-voiced and rhetorical propositions (questioning, commanding, and addressing) while reviving different voices and showing that the logic of speech in the technique of persuasion, where the shifting roles (between the speaker and the audience) takes place, or it becomes difficult to identify the instance, is very close to Sufi language and breaks like Sufi’s logic of speech. The dialogue logic is a theory proposed by Mikhail Bakhtin in the twentieth century. He believed that language has a social feature and dialogue is one of its prominent features; because the polyphonies in a text will only be achieved through dialogue. Although Bakhtin believed that poetry lacked the logic of dialogue, Abdul Wahab Bayati, from among modernist Arab poets, succeeded to invites a Sufi character in his poems and revives dialogue and polyphony in his poems. Now the research question is that how this polyphony is to be shown in the poetry of Abdolvahab Bayati while the Bakhtin theory believes in monologue in the poetry? Secondly, in using Sufi character, what techniques does he use to bring his words closer to the logic of Sufi speech? The mask technique has the capacity to turn the text into a conversational and polyphonic text and to revive intertextuality in text. Therefore, it is necessary to examine the aspects of speech logic from Bakhtin's theory of dialogue logic. This article is based on Bakhtin's theory of dialogue logic and shows it in a descriptive-analytical that Bayati uses the technique of persuasion and techniques such as double-voiced' rhetorical propositions (question, command and call), while reviving different voices and showing that the logic of speech in the technique of persuasion, where the shifting of the roles (between the speaker and the audience) takes place or it becomes difficult to identify the instance, is very close to Sufi language and breaks like Sufi speech logic
Mohammad Ali Azarshab; Abolhassan Amin Moghadasi; Shahriar Niazee
Abstract
Extended Abstract
1- Statement of the Problem
Contemporary critical studies are largely interested in the title as it is a prominent gateway to the original text the reader may pass through to enter the text. The title is the key to the text and the mechanism through which the reader reads the text, ...
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Extended Abstract
1- Statement of the Problem
Contemporary critical studies are largely interested in the title as it is a prominent gateway to the original text the reader may pass through to enter the text. The title is the key to the text and the mechanism through which the reader reads the text, uncovers hidden layers and unpacks it. Therefore, if the reader, in the contemporary text reading enters the original text ignoring the title, a great amount of text knowledge is lost. Since contemporary poetry is not readily available to the reader, it requires mechanisms that the title is the most important of which. Hence, the present research intended to analyze semiotics of the title of the ode “Hoffaron Alla Yaghut e al-Arsh” focusing on Quran intertextuality.
2- Theoretical Framework
Title semiotics in a poetic text consists of some concepts that theoretical literature makes this method. The concepts include:
a. Sign and Semiotics: Everything that implies and indicates something else is called a sign. Semiology deals with three concepts of signifier, signified (referent), and signification. The signifier is a sound representing a word; the signified is the meaning passed along by the signifier; and finally, the relationship between signifier and the signified is signification.
Ferdinand de Saussure asserts that there may be a knowledge pondering signs contribution in the life of the society; this knowledge is part of social psychology, and consequently, a part of general psychology. It is called semiotics.
Roland Barth, the structuralist and post-structuralist semiotician, claims that linguistics embraces semiotics; although, he has been largely touched by Saussure. He adds that the signs enjoy language and speech patterns even in a non-linguistic context.
b) Title: It is a linguistic sign placed the work by which the work is named. In other words, it specifies the work contextuality. The title is a fundamental means an analyst is equipped with to discover and paraphrase (interpret) the text for diving into the underlying layers. It may clarify text ambiguities through uncovering semantic and coded structures.
c) Intertextuality: Each text is an intertextual one as no text is created in vacuum. A reader interprets a text by the aid of intertextuality. Consider a text is generated in vacuum, if any possible, the reader is disconnected of the text such that it would have never found the opportunity of being read.
3- Research Methodology
This is a descriptive-analytical study focused on title semiotics. In semiology analysis of the intended ode title, some mechanisms including collocation and substitution, the relationship between signifier and signified, lexical (descriptive) systems, differential relationships, as well as functions like intertextuality, have been used in the ode as means of meaningfulness. In the ode title analysis, the title morphological, syntactic, and lexical implications were initially specified; next, the findings were essentially considered as the foundation for title analysis respecting text. In semiotics analysis of text and title, also concentrated on the prior findings, the implications, various functions, and poet meaningfulness tactics were determined.
4- Research Results
• The title (Hoffaron alla yaghut e al-arsh) is not only an independent text parallel to the original text, but also, original text reading is impossible without understanding the title and the implications.
• The Qur'anic intertextuality in the title has conveyed the poet dedication to his late friend to addressee from the onset. In addition, the Qur'anic semantic signification in the title as a set of "present" concepts calls for a set of "absent" concepts contrasting the title implications such that the text is basically founded on such contrast. Morphological, syntactical, descriptive, and motivational functions in addition to intertextuality are of the most important title functions in the ode studied here.
• The relationship between the title and the original text, lexical contrast between the great universe (as described in the title) and the earth, intertextuality, selecting signed words and putting them together based on collocation and substitution are the remarkable mechanisms of Shams al-Din in meaning production.
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Edris Amini; Abolhasan Amin Moghaddasi
Abstract
Persian and Arabic have had long-lasting religious and cultural symbiosis. Due to their speakers’ similar cultural conditions and geographical proximity, the two languages have lived a long time near each other, have grown together and enriched each other. The authors of this article studied the word ...
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Persian and Arabic have had long-lasting religious and cultural symbiosis. Due to their speakers’ similar cultural conditions and geographical proximity, the two languages have lived a long time near each other, have grown together and enriched each other. The authors of this article studied the word formation processes in the two languages and showed the capabilities and limitations of each of these two languages in dynamicity and productivity. The study has scrutinized derivation, compounding and semantic change in words as three main common mechanisms of word formation in the two languages. The results show that although compared to Arabic, fewer texts have been written in Persian and the language has had a passive stance to Arabic, the well-developed derivational and compound structure Persian has served the productivity of the language during the last century and a wide range of new words have found their way to the vocabulary of the mass reservoir of Persian vocabulary. In contrast, the templatic nature of derivation in Arabic, peculiar to the language, brings about certain constraints in the production of compound words that are part of the lexicon of every living language.
