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Rhetorical questions are those that, according to time and local condition, have a function, beyond rhe gaining awareness and information. In addition to having an interrogative structure, these sentences imply another meaning as the secondary meaning. But in some cases, according to a special textual context, the existence of one or more weak implicit meaning or meanings between the semantic superstructure in rhetorical questions and main implicit meaning, can be proved and caught. These weak implicit meanings can neither be ignored nor be considered as the main secondary meaning. Based upon that, the problem which is stated in this research is that, with regarding to the possibility of catching such implicit meaning(s) from rhetorical questions , what is the nature and statuse of these additional implicit questions? And assuming acceptance of their existence, whether the production of meaning in rhetorical questions is still instantly? or according to the proposed theory in this research, the production meaning approach in rhetorical questions includes some processes and levels?
The approach of this research is analytic-applied approach and case study in some poems of prominant persian poets that there is a positinal stop in the structure of these poems. The results of this research reveals that , based on the author's prediction, the production of meaning in rhetorical questions has a process approach with three levels, in which, a second meaning layer is produced between superstructure and main implicit meaning (third semantic layer), that can be named as mediator semantic layer.

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The Nahj al-Balagha (Arabic: نهج البلاغة‎ Nahj ul-Balāghah) (“Way of Eloquence") is the most famous collection of sermons, letters and narrations of Imam Ali. This book is Known for its eloquent content and considered a masterpiece of literature in Arabic language and literature. This valuable book many times has been translated into Persian by capable translators and scholars. One of the most famous Persian translations of Nahj al-Balagha was done by Sayyed Jafar Shahidi, distinguished scholar of the Persian language and literature and a renowned historian of Islam. Nahj al-Balagha employs many stylistic, linguistic and rhetorical features, and this use of linguistic and rhetorical features such as simile, metaphor, irony, challenges the translators of Nahj al-Balagha. Meanwhile Shahidi’s translation of Nahj al-Balagha has been a faithful translation in a way that he has tried to convey it faithfully on the one hand, and to find the exact Persian equivalents on the other hand. Using the descriptive and attributive method, this article analyzes the diction, figures of speech, and literary graces of the 114 elementary sermon of Shahidi’s translation. Shahidi has carefully translated figures of speech of Nahj al-Balagha into Persian, to some extent that, the eloquence of this translation draws everybody’s attention.  Shahidi has benefited from the Baligh simile and Makniyah Metaphor frequently. He has also used different types of figures of speech and rhetorical features such as rhyme, symmetry, contrast… which makes this translation more valuable and precious. And finally the authors have come to this conclusion that the rhyme is the most striking feature in this translation.  

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This article attempts to show the similarities and differences between epideictic genre in ancient western rhetoric, and the principles of praising and blaming in Islamic rhetorical textbooks. Epideictic genre is one of the three main rhetorical genres – along with deliberative and forensic genres- and its basic features may be traced in two kinds of textbooks: 1- Official rhetorical textbooks such as Aristotle’s, Cicero’s, Quintilian’s and others; 2- Sophistical textbooks such as Progymnsmata and Menander’s “Division of Epideictic Speeches”, and the treatise falsely attributed to Dionysius of Halicarnassus, namely “On Epideictic Speeches”. The aim of this article is to show that both of these approaches have some counterparts in the Muslim world. The rhetorical Islamic textbooks are somehow the counterpart of official approach, and anthologies such as “Al-yavighit fi ba’z al-mavaghit”, “Tahsin al-ghabih va taghbih- al hasan” and many others reflect the sophistical approach to praising and blaming. Finally, the article concludes that although western and Islamic cultures differ fundamentally from each other, however, when it comes to praising/blaming, they are mostly on the same track.    

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Translationof Quranandtransmissionandclarification of itsgreat meaningsforPersian audiencehas alwaysbeenthe position of theefforts ofresearchersandscholarsofthisdivinebook. One of theinterpreterswhom many scholarsconsiderhimthe bestcontemporary translator of the Quranis Mr. Fooladvand. Experts regard histranslation reliable in course of matching texts,usingfamiliarwordsof Persian language, linguisticcompliance, and a newapproachtotranslationandupdating ofthe Holy Qur'anchallengingconcepts, applyingrigorouscitations. But despiteall theseadvantages, by paying aclose attention to histranslation, we cometothewrong points which representhis less attentionto some grammatical, vocabulary andliterary details of the translation of holly Quran. Negligence in someinstances lead to lossofmanymiraculous points ofverses, in addition to troubling the readerin understanding thetruemessageof the verses. The purpose of thisresearchis reviewing the translation of some verses based on scientific principles in morphological, syntactic, rhetorical and lexical fields,as well as proposing alternatives for translation of some verses.

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Allegory, is one of terms that despite extensive use and antiquity in the west rhetoric because of had some commonalities and differences whit other rhetorical ornaments, such as metaphor, symbol, emblem, irony and etc. literary critics and rhetorician in providing precise definition and determination of functions of allegory encountered to confusion hence credibility and significance of it in the difference periods according to the intellectual currents to become whit many ups and downs. The Romantic school was one of the processes that first time rhetoricians have tried to study features and functions of allegory compared whit symbol for distinct of borders these two terms and provide precise definitions and specific characteristics of each terms. In fact we owe modern mean of allegory those comments of some ones such as, Goethe, Schelling, August Wilhelm Schlegel and Coleridge. These rhetoricians did the first systematic efforts in clarifying and defining the meaning of the term allegory. On this basis, the essays aim of the writer has been presented a report of functions and features of allegory in the Romanticism school passer authority over critical comments in this regard, such as ; Goethe, Schelling, A. W. Schlegel and Coleridge.

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In historical studies, period is a regulative concept. It helps historians of arts and sciences classify historical information. In most literary histories, periodization is the most essential basis of division. Periodization also was applied in literary studies like rhetorics. For example, Shawqi Zaif has divided the history of Islamic-Arabic rhetorics into periods. In this article, we are to propose a schema for periodization of history of Persian rhetorics. System of Persian rhetorics was originally derived from Arabic rhetorics but the quality and quantity of adaptation in different periods wasn’t the same. In some cases, Persian rhetoricians came up with important innovations in periodization and sometimes they made use of rhetorics of the other civilizations for instance Indian rhetorics in order to study aesthetical aspects of Persian literature. Base on the historical era they were living in and the similarities of their approaches, we can distinguish four different periods: 1. Localization Period: This period, as the first period of Persian rhetorics, includes the most important books of Persian rhetorics: Tarjoman al-balaqa, Hadaeq al-sehr, and Al-mo’jam fi ma’air ash’ar al-ajam; 2. Interpretation and Imitation Period: Most of rhetoric books in this period are interpretations of previous period; 3. Pseudo- Indian Period: In this period, a few rhetoricians try to apply Indian rhetorics to Persian literature; 4. Scholastic Period: The last period is a contemporary one and includes new rhetorical textbooks.

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Questioning is one of the hallmarks of the New Poem (Contemporary Poetry). The element of the question is common in more themes of the Contemporary Poetry, and in order to understand the thoughts and objectives of the poets, their various questions must be analyzed. In this research, the element of the question in the poems of Iran (Nima) and Iraq (Nazak Al-Malaek) as two representatives of the leading poets of contemporary poetry has been compared. The question in poetry of both poets comes out of its original use and provides an opportunity to express the feelings and views of poets in various social and philosophical themes. The main question of the paper is: how have been different aspects of the thinking and emotions of these poets reflected, using the element of question in poetry? To answer this question, the poetry of these two poets has been studied and analyzed in a descriptive-analytical way with a comparative approach. The poetry of the selected poets is surprisingly similar, especially in choosing a question as a template, to express their thoughts and feelings, such as (death, love, political affiliation, expression of protest and discontent, etc.). The question in Nima and Nazak poetry is a tool for making poetry story, as well as an emphasis on their thoughts and feelings. This emphasis can be seen through the repetition of the question words or the question of allegory, or with two question words in the sentence (only in Nima poetry). The results of this research can be used to improve the techniques of translating and studying these texts in terms of semantics.

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In the Persian translations of the Holy Quran, numerous equivalents have been used for the verb “kaada” and its different forms which is a controversial issue in syntactic, interpretive and investigative works. One of these equivalents is verbal structures of the infinitive “want” that has been chosen in some of the ancient and contemporaneous translations. The present research studies the mentioned translations with a limited scope of 60 prose translations and considers whether the verb “want” is able to transmit the exact definition of “kaada” in the Holy Quran`s translations or not? Therefore, after explaining kaada`s rhetorical and syntactic features in Arabic language, it assesses the verb want features in Persian grammar and researches its rhetorical functions. Afterwards it recognizes the verses where “kaada” has been translated to want and with presenting syntactic and rhetorical reasons it explains the verb want as one of the most rational equivalents for “kaada” in Holy Quran`s translations. This research’s findings indicate that besides the main meaning of kaada it can have the meaning of willing and desiring in some verses, and the meaning of predicting, expecting and possibility in some other verses which in both cases, want in Persian language can present the same definitions and do the same functions with absolute conformation with Persian language structures.

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 Sarli.N.,PH.D
Abstract:
 
This article deals with nature and aesthetical functions of Reverse Simile. First, three different types of Reverse Simile are distinguished and then studied in detail. The central issue of this research is the study of third type of Reverse Simile (Arabic Reverse Simile). If the relation between tenor and vehicle is well-known, the similarity of them is clear, the difference between them in characterization of the similarity is little and attribution of similarity to tenor and vehicle has previously numerous uses, then the Reverse Simile would be acceptable and beautiful.
Reverse Simile may have functions such as poetic exaggeration, to avoid poetic banality and to make the vehicle subject of assertion.
 
 

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This article studies the role of “Rhetorical Situation” in the formation of genres. Accordingly, the article discusses the concept of genre in rhetoric which includes a variety of fields ranging from the ancient oratory to the communication studies in 20th century. Unlike literary approaches which define genre mostly on the basis of textual features (form and content), rhetorical approach defines genre according to the extra-textual features such as situation and audience. Before 20th century, the concept of “situation” was very much static and limited to some specific and clear-cut situations and the speaker and audience only had to passively respond to these situations. In 20th century, the theories of Bakhtin and Carolin Miller turned this concept into a dynamic one. According to these theorists, a genre comes to existence in a communicative process and with the participation of speaker and audience. This article first addresses the theories of genre in ancient rhetoric, and then goes on to show that the definition of genre as social action makes genre a tool for production and reproduction of social values and ideological assumptions in different cultures. Finally, the article mentions some of the consequences of rhetorical approach for literary studies.

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 Naser-Qoli Sarli.PH.D
 
Abstract   
In the Islamic rhetorical discourse, metaphor counts as a significant literary figure of speech, which is also quite controversial. Today, we need to re-read the Islamic rhetoric due to some reasons and especially study the process of the theory discussing the completion of metaphor. However we face some problems in this path such as; the synthetic and combinative nature of the concept of metaphor, the diversity of definitions given on metaphor in the history of rhetoric, lack of a clear border in the definition of metaphor on one hand and its relation with some other figures of speech within the theory of ‘completion of metaphor’ in history, on the other hand. This essay intends to offer a new scheme for the theory of completion of metaphor with having all the mentioned obstacles in mind, finding theoretical principles for writing about the history of metaphor. In the suggested scheme, the combined concept of metaphor is separated into three ‘Arabic’, ‘Greek’ and Al-Jurjani’ perceptions and each of them is surveyed within an independent narration from a historical perspective. In the final report, the completion of the ‘Islamic Metaphor’ which results from the synthesis and interaction of the three mentioned perceptions is conveyed. This paper hopes to be a theoretical plot for writing the history of metaphor in Islamic rhetoric.
 
 

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 Naser-Qoli Sarli.PH.D
 
Abstract   
In the Islamic rhetorical discourse, metaphor counts as a significant literary figure of speech, which is also quite controversial. Today, we need to re-read the Islamic rhetoric due to some reasons and especially study the process of the theory discussing the completion of metaphor. However we face some problems in this path such as; the synthetic and combinative nature of the concept of metaphor, the diversity of definitions given on metaphor in the history of rhetoric, lack of a clear border in the definition of metaphor on one hand and its relation with some other figures of speech within the theory of ‘completion of metaphor’ in history, on the other hand. This essay intends to offer a new scheme for the theory of completion of metaphor with having all the mentioned obstacles in mind, finding theoretical principles for writing about the history of metaphor. In the suggested scheme, the combined concept of metaphor is separated into three ‘Arabic’, ‘Greek’ and Al-Jurjani’ perceptions and each of them is surveyed within an independent narration from a historical perspective. In the final report, the completion of the ‘Islamic Metaphor’ which results from the synthesis and interaction of the three mentioned perceptions is conveyed. This paper hopes to be a theoretical plot for writing the history of metaphor in Islamic rhetoric.
 
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Theatrical songs are a part folkloric literature and are usually accompanied by traditional music in comic performances. They reproduce cultural and social identity of Iranian people and, with a linguistic simplicity, reflect the lower class life. The present study is a descriptive-analytic reading of theatrical songs in terms of phonological, lexical, lexical, syntactic, and rhetoric layers. It aims at revealing originality, simplicity and commonplaceness of these songs which are overshadowed by new literary trends. Results indicated that theatrical songs predominantly stimulate emotions and were essentially lyric and sentimental in nature and seek to please. Use of emotional, commonplace and even rude words with linguistic trans normativity is typical of theatrical songs which are initially to delight the audience and ease the process of communication. These songs make use of rhetorical components with social origins that are natural and lucid as they are associated with external layers of language.

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Abstract New linguistic theories, considering language as virtual and its rhetorical features as intrinsic, and denying the belonging of these matters to literary language opened up a new chapter in rhetorical research. This research attempts to study a kind of simile in Persian language which has never been examined before. The research method is descriptive-analytic. The data is selected from Proverbs and Wisdoms by Dehkhoda based on desk study using perfect induction and is analyzed on the basis of common rhetorical methods. The reason for choosing this source is the frequency of similes in the work compared with similar works in this field. The results demonstrate that the rhetorical indications in this simile, suspending the min meaning, induce another meaning, because this kind of profound metaphorical superstructural simile has an ironic structure; in other words, unlike all known similes, in this simile, the similarity is a necessary in the service of necessity and expression of its ironic meaning.

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Mohammad Barzegar Khaleqi, PH.D.
Kolssom Qorbani Jooybari
 
Abstract:
This research analyzes the term “soul”, one of the magnificent secret codes in Shams’ sonnets; the eternal masterpiece created by Jalal-Eddin Mohammad Balkhi. Through using the diverse functions of ‘soul’ in this analysis, the variety of its meanings are perceived and the transcendental path of this concept is known. The perception of the different concepts of ‘soul’ takes place in three steps; in the first stage the lexical concept of soul is perceived through the relation existing among synonyms, antonyms and symmetry. In the second stage, the perception of the concept of ‘soul’ happens through its attributes and adjectives. And finally in the third stage the concept of ‘soul’ is perceived by figures of speech; simile, metaphor and symbol. The authors then have studied the concept of ‘soul’ throughout the great poetry book; making an attempt to elaborate and express the concealed concepts underlying it; trying to show how ‘soul’ goes beyond a mere lexical function and finally reaches a symbolic stage; while this study shows the concepts and traits of meanings it bears within each stage.
 
 

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به زودی فرستاده خواهد شد. مطالعه آرایش واژگانی چه در دانش سنتی «معانی النحو» و چه در زبان شناسی معاصر اهمیت اساسی دارد؛ اما در زبان فارسی تاکنون تحقیق مستقلی بر آرایش واژگانی متون ادبی و تاثیر بلاغی آن انجام نشده است. این مقاله ابتدا جایگاه آرایش واژگانی در دستور و بلاغت را بررسی می کند و به نقد پیشینه تحقیقات معطوف به آن می پردازد. سپس کارکرد بلاغی آرایش واژگانی در تاریخ بیهقی را ذیل دو سرفصل پیش آیی و پس آیی عناصر اصلی و فرعی جمله بازمی نماید و با استناد به نمونه های آرایش واژگانی و رجوعِ همزمان به بافت موقعیتی و اقتضای حال، هنر بیهقی را در استفاده بلاغی از این هنرسازه نشان می دهد. برای تبیینی روشن تر از تاثیر این هنرسازه در تاریخ بیهقی، از متن سلجوقنامه ظهیری نیشابوری برای مقایسه استفاده می شود. بیهقی را می توان نقطه عطف بلاغت آرایش واژگانی به شمار آورد. او از آرایش واژگانی آزاد حداکثر بهره را برده است. انواع آرایش های نشان دار را می توان از تاریخ بیهقی استخراج کرد که غالباً کارکرد بلاغی دارند. برای مثال بیهقی همه عناصر جمله را بنا بر دلایلی که تنها با رجوع به بافت بیرونی متن آشکار می شود برای برجسته سازی در آغاز جمله قرار می دهد. برخلاف پیش آیی که بیشتر بر بافت موقعیتی اثر متکی است، پس آیی، غالبا با هدف تسهیل در پردازش جمله، تنظیم هارمونی خبری و نیز خلق ریتم رخ می دهد.

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Taxis, or mora’atal-nazir, did not occupy a considerable position in rhetorical books until the fifth century after hijra. Radouyani introduced it for the first time, and then, another rhetorician elaborated on this figure and, gradually, the termbecame established in rhetoric. There are traces of this term in earlier descriptions of other tropes such as i’etelaf, taqsim, and moghabeleh. This article, drawing on Islamic rhetoric, gives a more nuanced definition of this term. Reviewing the history of mora’atal-nazirshows that this trope shapes a chain of semantic relation between different parts of speech. A similar relation, under the category of ‘alagheh,can be found in different forms of figurative language. I have also studied different functions of this trope and how we can evaluate it.

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Due to their deviation from the principles and rules of formal written literature, nonsense are the poems driving from oral and popular literature, and are a mixture of verbal and musical games that seem to have no message. Although seemingly meaningless, nonsense are full of movement and events. The interconnected notions of nonsense and their imaginative images portray a world full of enthusiasm for children, a world without rules, like the imagination that makes up for everything it wants. In order to analyze nonsense, this study uses data collection by the library method and is based on data analysis, primarily qualitative and inductive reasoning, by examining "aesthetic rhetoric," including linguistic and syntactic deviation, synesthesia, rhythmic pattern, unusual imagination, image inversion, surreal imagery, personification, animation without any temporality and spatiality, the aesthetics of deviation even with the conflict of meaning and repetition of content. The results show that nonsense are dynamic and living poems in the field of folk literature that change and adapt to temporal and spatial conditions and that their aesthetic and semantic rhetorical traits are more expressed in linguistic structures and forms. It should be noted that the semantic deviation is their proper and inseparable character at syntagmatic and paradigmatic levels.
 

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Miracle of the Prophet of Islam, unlike the miracles of other Prophets was the book. This book was sent among people that were known for rhetoric. Rhetorical miracle is one of the miracles of this holy book. This immortals book with particular eloquence tries to explain the facts. Facts that are adorned in the beautiful forms that affects the spirit of the listeners. In this study among the variety of linguistic tropes and structures that should be considered in translation process, we have tried to analyze some aspects of the rhetorical structures. In this regard, some examples from the Quran are provided and with a contrastive linguistic approach in a comparing discussion, we survey translation problems.