Document Type : scientific-research
Author
Associate Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Imam Khomeini International University, Qazvin, Iran .
Abstract
In the realm of rhetorical sciences, some terms used to describe rhetorical techniques or imaginative imagery have proven inaccurate for various reasons. Presently, there exists an urgent necessity to reassess and redefine their meanings through further examination. Among these techniques lies the densely woven use of multiple images within the structure of a stanza or verse, referred to by rhetorical scholars as the "invention of multiple images," "double images," and "duplication of images." These definitions and terms warrant deeper contemplation, as revisiting them could potentially unveil new avenues into the realm of imagination and poetic imagery. A novel perspective may offer a more precise and lucid elucidation of the artist's intent within this craft.
This article aims to explore an artistic form and aesthetic creativity, a distinctive type of imagery. It endeavors to provide an extensive explanation, reinterpretation, and comprehensive terminology for this rhetorical art. Rather than mere amalgamation of imaginary images or innovative techniques, this artistry involves crafting various forms of imagination within the structure of a stanza or verse. These forms are intricately interconnected in terms of compositional elements, such that one imaginative form becomes an integral component of another, resulting in an intricately woven textual tapestry.
The research was conducted using descriptive and analytical methods, employing a library study approach. The focus of analysis was Hafez's ghazals. The author meticulously examined all of Hafez's ghazals, identifying and scrutinizing the underlying imagery.
This study introduced a concept termed "joint building," illuminating the collaborative construction of these imaginative forms. Additionally, the research traces the trajectory of this artistic form within rhetorical works, exploring its meanings, definitions, implications, and its association with established terms in later rhetorical literature. A novel perspective proposes an alternative definition and term, thereby enhancing the precision and clarity of the poet's intention.
The article's outcome underscores the necessity for revisiting and refining certain aspects of rhetorical sciences due to various inadequacies. The lack of precision in terminology and nomenclature for several rhetorical techniques impedes a comprehensive understanding of the nuances within aesthetics and rhetoric.
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