Journal of Literary Criticism and Rhetoric

Abstract This article discusses the definition of the school of symbolism, transcendental symbolism in which objective images are symbols of ideal and cosmological thoughts and feelings, and connect the material and immaterial worlds. Arabic is referred to as “allegory” and in English as “symbolism”. But it seems to be seen as a new language. Evidence of its newness, its revision - though not in the sense of its new use as a language - and the lack of a clear and concise definition - at least on the basis of a not-so-distant author's research - of this language suggests that religion is this style. Speech is a well-known hypothesis in the literature of various lands, including poetry and prose. Relying on a descriptive-analytical method, the author has tried to open new windows to the meanings of the stories of the Companions of the Cave, Younes, and Khedr and Moses, without intending to compare the word of God with the works of human theological art. The characteristics of text independence, attention to the audience, and self-reference are explained in the Qur'an and the school of symbolism, and by examining the symbols in these three stories, such as prayer, water, fish and whale, etc., and numbers such as three, four. , seven, and nine, and the use of these numbers in the story and theatrical construction of the three stories, addressing the concept of rebirth (rebirth is one of the basic human beliefs) and attention to the meaning of the symbol that Jung describes as something vague and unknown or secretly knows us. The symbol, in addition to its obvious and common meaning, also contains rays of other concepts. And it occurs when it is necessary to express a purpose that the thought can not bring to the realm of thought has been extracted and addressed.

Abstract bahar with a wide understandig and a thoughtful attitude, has watched the cultural and social events of his time and has carefully understood their possible harms. Accordingly, in his poems, the cultural and social situations of the people of the time are abundantly depicted with precise details and artistically depicted, and the poet is often appropriate to the story by taking advantage of rhetorical and literary arrays and crafts with bitten language. It has directed its expedient criticism at the perpetrators of cultural, social and political events in society. The deliberate descriptions and use of words in objectifying the stories are such that the audience is often accompanied by the poet's inner sense.In the present study, an attempt has been made; Critical views of the Bahar on social, cultural and political issues should be examined based on his rhetorical context.In this way, it became clear that Bahar has always used rhetoric as an effective tool to affect the audience emotionally and accompany them with their critical purposes, and the clever and artistic use of literary and rhetorical arrays on the good effect. The use of humor, exaggeration, paradox, contradiction, repetition, irony, metaphor, with the visualization of events in the mind of the audience are his most important methods  to influence the audience.The use of colloquial language and slang terms, especially when the language is drawn to humor to reveal problems, has played a major role in accompanying the audience in  bahar poetry.  

Abstract Parallel imagery is one of the lesser-known artistic tricks in the world of fiction, in which the author uses some of the important mental and intellectual concepts in the plot in the form of objective and tangible images without showing the direct relation between them once or more time. It directly embeds these concepts in the text of the story, and these objective images are, in a way, confirming and embodying those abstract concepts. This artistic trick is formed in such a way that usually one or more sub-stories run parallel to the main story, which are, in fact, another form of the main story; Or the main and sub-characters of the story are embodied and reproduced in the form of several other characters. The sum of these characters and parallel narrative actions, which are not very visible in the first reading, makes the plot more powerful and effective. Obviously, such sub-stories should not be confused with the ancient artistic technique of "story in story". It seems that the function of visual parallelism in fictional literature has many similarities with the function of equation style in Persian poetry tradition which is a kind of compound simile. In some contemporary Iranian short stories, this artistic trick has been used well. In the equation style, the poet, in one hemistich, presents a statement or a mental and rational proposition, and in another hemistich, to confirm it, he/ she presents an objective and tangible image of the world around him. This paper, while showing and analyzing examples of this artistic and literary technique in “The Old Man and The Sea” by Ernest Hemingway, and two Iranian stories “Owsane ye Baba Sobhan” by Mahmud Dowlat Abadi and “Jayi digar” by Goli Taraghi, considers the parallel imagery as an extended form of Persian poetry equation style in fiction and shows that parallel imagery has a wider and more obscure range of art than the equation style.

Abstract In describing and explaining the Aesthetics of children’s and young adult literature, due to the predominant discourse of aesthetics and rhetoric of adult’s literature in Persian literature, it is necessary to study their intertextual-comparative relations. according to the lack of analysis of aesthetic books of children’s and young adult literature in relation to each other and the rhetoric of adult’s literature, study in the direction purposes such as describing the history of aesthetic studies of children’s and young adult literature is essential. the mechanism of intertextual criticism with the basic principle of dialogue of texts can put into practice the comparative aesthetics of children’s and young adult literature; intertextuality on the transverse axis examines the intertextual relationship of the text with other texts and on the longitudinal axis examines the relationship between the text and the reader. studies in comparative aesthetics or comparative rhetoric with an intertextual approach open new horizons for comparative children’s and young adult literature. this study tries to answer the following questions by reading intertextual in the longitudinal and transverse axis: Which of sources are considered to be the intertext of the aesthetic history of children’s and young adult literature and its evolution and what are their comparative relations in the intertextual pattern with each other and which of intertextual components in these books are adaptable. by descriptive-analytical method of qualitative content analysis and theoretical of documentary type, the study of the underlying layers and dominant and prominent components of the studied books shows that intertextual-comparative components such as rhetorical sources of adult’s literature, the effect of book and comments of Kianoosh, audience, language, the music of words, form and meaning, and the description of beauty and aesthetics are often explicitly and implicitly presented, and the network of intertextual components indicates the independence of the aesthetics of children’s literature. criticizing the lack of attention to semantics, this study offers suggestions based on the intertextual view of the same books for the classification and division of aesthetic of children’s literature, which can be expanded in future research from the perspective of philosophical, theoretical and exemplary arguments.

Abstract In addition to forming the identity of individuals, the “border” phenomenon, in its both objective and subjective concepts, acts as the separator of the political, and geographical interests of the individuals or groups. Having a contractual nature, the objective and subjective borders take their root from the commonalities and differences among the persons and phenomena. Such borders and oppositions are so pervasive that they cover all the natural and man-made domains. The epics “Rostam and Sohrab” and “Rostam and Esfandiar” as the research area of this article, tend to narrate such demarcations in the objective and mental spheres in both surface and deep structures. They have formed fundamental nodes in the fields related to the causality of plot and the development of other events of the epics in the form of opposition of structures, personalities, and actions. Accordingly, in these epics, given the content and the climax, there are several infrastructure nodes represented by opposing structures, including the opposite between Zoroastrianism and Mithraism, warrior and ruler, father and son, wisdom and lust, matriarchy and patriarchy, Iran and Turan, self and other, and hidden and visible identity. These infrastructure nodes in fact account for some of the reasons for the formation and emergence of such epics in Shahnameh. In terms of content, such borders in two epics, from the point of view that this article addresses them as a limited and opposition-oriented reading, can reflect the process of replacing the matriarchal social system by the patriarchal social system and the bloody wars of the Iranian peoples in line with promoting and consolidating the Zoroastrian religion instead of old Iranian religions, including Mithraism.  

Abstract Faced with literary masterpieces, the increasing correlation of sciences based on the cognition of language, culture, and society with literature, as a practical platform for decryption of the prevalent thoughts in society, has highlighted the requisiteness to accompany artistic pleasure with an interdisciplinary approach in order to get acquainted with cultural background and try to strengthen the moral and cultural infrastructure of society.This is the common theme of Humanities and literature, which can be interpreted as Semioethics: The Life cycle care beyond borders. In the forthcoming research, "Gulistan" and selected "Javame'al-Hekayat", as two prominent books in the category of anecdote, have been analyzed, and with the method of quantitative and qualitative analysis of moral signs the following items have been concluded:1.By their styles (direct-descriptive or persuasive-warning) and less attention to the details of the narrative and 2.By assigning characteristics to the characters of the anecdotes, the authors have presented a social and governmental view of their times, and a display of the real moral characteristics or an idealistic view of morality. 3.The qualitative and quantitative level of attention to Ethics signs is such that the authors can be considered as activists with moral and social concerns and the works or at least parts of the works, represent the realities of the time. 4. Most individual moral signs belong to the range of rationality/ignorance, honesty/dishonesty, compassion/ violence. Also, most social moral signs are justice/oppression and goodness/ carelessness to people 5. From what is represented in the literary masterpieces, it can also be concluded that “people take refuge in many lies with different justifications and in different situations”. Although this claim does not in any way mean the inherent truth of human, it should make us think to restrain mentioned trait to have a more beautiful world or to alleviate human suffering.

Abstract One of the narrative elements that have influenced the identity of the spiritual Mathnawi more than other elements is the function of time in narrations. With a reflection on the most famous anecdotes of this literary masterpiece, one can clearly understand the precise capacities of narrative, the ability to be assayed by the new standards of fiction, and the knowledge of narratology. Therefore, this study is concerned with a new approach to the study of anecdotes by analyzing time function in the narratives of Mathnawi. For this purpose, the narrative model of Gerard Genette, which is one of the most widely used theories in narratology and analysis of story elements, was the basis of the work. To analyze the narratives, first, the narrative pattern of Gerard Genette was examined and explained. Next, all anecdotes divide into time units introduced in the narrative theory of Genette. Then, each narrative structure is analyzed based on time fragments, reciprocating scenes, narrative time durations, descriptive pauses, ellipsis, summaries, time irregularities, and continuity of narrative time in story scenes. Rumi employs the suspense methods in stories and capitalizes on his unique time functions and techniques during narrating to convey the intended mystical concepts and themes into narratives. These pauses, which are closely related to the chain of the free association of meanings in the storytelling process, create different semantic layers in the stories and multiply the narrative time. In this way, each layer of meaning flows in the second and third levels of time. As a result, the stories formed as nested circles with a central circle connected to all the layers. Finally, the structure of the narratives was derived from these analyzes and displayed in a diagram. And two patterns were identified: 1. Traditional narratives, and 2. Conversational narratives.

Abstract Periphrasis is one of the most important topics in semantics to the extent that some rhetoricians have considered the understanding of semantics to depend on its correct understanding. This importance requires that the books of meanings contain precise definitions and divisions of periphrasis in order to provide the reader with a clear theoretical framework for understanding the concept and its examples; But this is not the case in practice, and rhetoricians have not acted as expected in defining the boundaries and instances of periphrasis. Accordingly, it is necessary to re-read and analyze the definitions and divisions of periphrasis in old and new rhetorical books. In the present article, an attempt has been made to examine and show the strengths and weaknesses of these definitions and divisions by analytical-critical reading of old and new rhetorical texts. Analysis of the data of this study shows that old and new rhetoricians agree on the definition of periphrasis, which is to express a small meaning with many words; However, due to the relative nature of the concept of quantity in speech, some restrictions on "appropriateness to the conventional speech of the middle class" and "the necessity of position" have also been added to the definition of periphrasis;But with fruitless divisions and terminologies, they have not defined the instances of adjectives as clearly and precisely as they should; Some have encountered all kinds of overlapping definitions and commonalities in the sample, and as a result, judgments about their goodness and ugliness have led to conflict. It even seems that sometimes the author of rhetorical texts has been hesitant to know the meaning of a word.