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Defamiliarization is a term that, at first used in literary criticism by Shklovsky, the Russian formalism critic and then considered by formalist critics such as Jakobson, Tinyanov and the likes.
Jan Mukarovsky used the term “foregrounding” in this meaning. Defamiliarization includes any methods that author take advantage of them to make the world text known to the addressees and indicate the literature subject in such a way that as if it didn’t exist before. These methods will result in delay and expansion of the context meaning and so the readers will enjoy and take advantage more. Defamiliarization should be assessed by the standard language and the time of using the literary techniques by the author. In the contemporary history of Iran, a kind of style has been created by Yadoullah Royaee, the contemporary critic poet, whose prominent features includes Defamiliarization.
The verses of Yadoullah Royaee are studied based on the formalist theories as the as the method for this study in this article. 
 

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The present paper intends to apply the Tense theory of Harald Weinrich to the study of tense in two Persian novels, Boofe Koor and Soveshoon. The findings show that categorization of texts into discussion and narration by Weinrich, could be applied in Persian fiction. Ayande (Future), Haal (Present) and Naqli (Perfect) construct those parts of a text that more tend to have qualities of discussion and discourse. On the other hand, past tenses like Gozashte Sadde (Simple Past), Gozashte Estemrari (Past Progressive) and Gozashte Dour / Ba'eed (Past Perfect) more tend to construct narrative parts of the texts. In addition, each group has its own past, present and future. In discussion system, Naqli plays the role of stating past, Haal is the zero point and states the present and Ayande states the future. On the other hand, in narration system, Gozashte Dour stating past and both Gozashte Sadde and Gozashte Estemrari are zero points and state the present. Moreover, we can say there is not a specific tense in Persian to state the future in this system. Finally, two tenses of Gozshte Sadde and Gozshte Estemarai play a role of foregrounding in narration system. The parts stated by Gozashte Estemrari usually are located on the background of the scene, while the main points of the narration which is stated by Gozashte Sadde are located on the foreground of the scene.

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Sahba.F.,PH.D
Omranpour.M.R.,PH.D.
 
 Abstract:
 
In some contemporary poems, the poets break the lines of their poems into two parts or more and write them down vertically or like stairs after each other. This technique, called line breaking, was invented by Mayakovski, the Russian contemporary poet. Afterward, some Persian poets imitated him, though not seriously, in their poems but it was applied extensively by Shamloo, about 1950, as a suggestive device in Persian poetry. There is no plan for breaking the lines but, through searching in the poetry by poets who have applied it. This paper is going to examine and describe where the line breaks occur in the poetry.
The result of the study shows that there are three main types of line breaks: Some of the line breaks fall among the units of images to give poems a particular appearance and to create visual images. The second kind of them, occur prior to semantic or syntactic elements to create a series of emphases. The third group, are those which cause to foreground the musical aspects and to create rhyme and rhythmical innovations.
 
 

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Eshaq Toghyani, Ph.D.
Mas’oud Algoneh Jouneqani
 
Abstract
Undoubtedly, Khosrow & Shirin, composed by Nizami, is one of Iran’s, and actually, the world’s rich literary masterpieces. As a deep and rich literary work, which offers an artistic pleasure, it has the potential to be contemplated and pondered several times. Therefore through these devices and a close focus on its formal structure, intrinsic content, the rhetoric discourse in its texture, added to all the other concealed structural potentialities within it, the reader can discover valuable points in it. Since the form and structure of a poem develop simultaneously in a horizontal and vertical axis, in the survey of poetic perfectness a researcher should be able to study the form and structure of the created work independently and according to specific principles. For this reason, this article is devoted to surveying the concealed structural and formal potentialities within Khosrow & Shirin. The first part is an attempt for analyzing the structural potentialities which show themselves in the vertical axis of the poem. The second part surveys the formal potentialities in four separate axis. Understanding these two categories of potentialities implies the significance of this poetry; in addition to the significance of its new and even repeated studies.
 

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This study aims to investigate and analyze the realization of grounding in the form of foregrounding and back grounding in Persian-children’s narratives according to linguistic devices of aspect (perfective/imperfective) and voice of verb (active/passive) and also the effect of age on using these devices.
To investigate how foregrounding and back grounding are accomplished in Persian-speaking children’s narratives by linguistic devices of aspect (perfective/imperfective) and voice of verb (active/passive) two Hickmann’s (2004) pictorial stories were used. Three groups of school monolingual Persian-speaking children of age 7, 9, 11 and a control group of adults, at age 30 (each group consisting of 10 female subjects) took part in this study. The subjects were tested individually. They were asked to narrate two pictorial stories for one of the researchers. All the narratives (80 narratives, from two pictorial stories) were recorded by a voice recorder. Then, they were transcribed, described and analyzed by SPSS software.
Results showed that the use of perfective and imperfective aspects had a meaningful relationship in the three groups of children, that is, the use of perfect aspect in foreground decreased while that of imperfect aspect increased with an increase in the age. On the contrary, in adult group, the use of perfect aspect in foreground increased but that of imperfect aspect decreased. The same relationship was observed in background. Moreover, the use of active voice of verb was more dominant than that of passive voice of verb in the narratives. No meaningful relationship was observed between the use of passive voice of verb in foreground and background on one hand, and the participants’ age, on the other hand. Based on the results of Chi-square test, there was a significant relationship between perfective and imperfective aspects in foreground and also in background and the age of the narrators (p < 0.05). However, there was no significant relationship between the use of passive voice of verb in foreground and background and the age of the narrators (p < 0.05). Thus, the first two null hypotheses of the study were rejected, and the third one was accepted.

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One of the important aspects that can be investigated in Tarikh-i Bayhaqi is its linguistic delicacies and characteristics. As well as being of historical importance, the language of Tarikh-i Bayhaqi is also significant. Having a linguistic approach to Tarikh-i Bayhaqi, we observe highly frequent linguistic characteristics that have greatly contributed to the literariness of the book and created linguistic foregrounding. Foregrounding here refers to deviation from established linguistic conventions which leads to defamiliarization of language, an aspect of literariness of texts. Linguists consider deviation from norms (unexpected irregularity) as well as unexpected regularity to result in foregrounding. Drawing on Geoffrey Leech’s theory of stylistics, we investigated 7 types of foregrounding in Tarikh-I Bayhaqi, namely lexical, grammatical, stylistic, semantic, historical, phonological and dialectal. The findings show that using neologisms and novel collocations, using archaic words and structures, using imagery, using Quranic verses and Hadith, drawing on Persian and Arabic literature, and using different types of linguistic parallelism have resulted in foregrounding in Tarikh-i Bayhaqi and turned it into a literary text. In his book, Abu'l-Fadl Bayhaqi has significantly utilized potentials of Persian language which enabled him to create a literary text – a text with various characteristics of deviation from norms as well as foregrounding. Masterfully drawing on phonological, lexical and syntactic parallelism, Bayhaqi has increased the musicality of his language, which has in turn increased the literariness of his discourse. While, according to Leech, deviation from norms is the means for creation of poetry, and addition of regularity is the means for creation of prose, it must be noted that in Tarikh-i Bayhaqi we cannot draw a clear distinction between the two. For example, while deviation from syntactic norms through repositioning sentence elements can add secondary meaning to the sentence, it can also contribute to poetic features and creation of musicality, or, as another example, deviation from dialectal and phonological norms does not create poetry. Employing novel and beautiful words and combinations, using imagery, method of collocating words, using archaic words and syntactic structures, using Quranic verses and Hadith as well as Persian and Arabic poems together with various types of parallelism and repetition, including repetition of vowels, words and syntactic structures, are among the features that have resulted in linguistic foregrounding in Tarikh-i Bayhaqi, transforming it into a literary prose.  Tarikh-i Bayhaqi is among the few works in which the author has succeeded to significantly draw on the potentials of the Persian language and create a literary text.
 

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This essay aims to explore the drawbacks and fundamental deficiencies of studies that claim to apply or discuss the concept of defamiliarization in the realm of Persian language through a critical analysis of published academic research articles. A review of 30 articles published in prestigious Iranian journals during the period of 1996 to 2016 illustrates that many researchers in Iran have serious misperceptions regarding the concept of defamiliarization.
These common misconceptions in appreciation and application of the term defamiliarization can be categorized as follows: 1) disregard for the methodological principles of the Russians formalists; 2) presentation of concocted definitions of defamiliarization, and 3) confusion of the concept of defamiliarization with similar terms, in particular reducing it to the basic and traditional principles of rhetoric. On the one hand, these drawbacks have given rise to a plethora of studies that intend to examine truisms and on the other hand, it has reduced this concept to a mere embellishment in academic circles. As a consequence, a fertile ground has been prepared for researchers to churn out articles that disseminate analogous misconceptions in this area.