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The simile formation process is based on the combined function of the two paradigms of selection and combination; Selection of phenomena and their combination, which is done with the purpose of conceptualization and Meaning production. Each of the simile components in both axes of selection and combination act as a network in the meaningful communication; Therefore, the communication of the simile components creates a special semantic system. In this system, each of the components is considered as a sign and plays a certain semantic role. The issue of this research is to investigate the symbolic system of simile and explain the process of signification of its components. The aim is to determine how a discourse system emerges in the form of analogy and the process of producing meaning in it. For this purpose, it is shown in the analytical-explanatory method how the poet, in the role of the subject, interacts with the “simulated” as an object in a special situation, and the result of this interaction is the mental perception that is determined by the “simulated to”. The result of the research shows that simile has a symbolic system and this system is associated with discursive, phenomenological-perceptual aspects and dynamic flow of meaning.
 

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Proverb is one of the most known feature to investigate of eco-culture for every native. Kurdish people one of the most vast of iranian people which it's culture so enrich to cultural studies. Ilam one of the kurdish city which has very important features to studing in this field. Kurdish language is of different dialects, however it is of some commonalities from the view point of proverbs. This study wants to investigate Kurdish proverbs rhetorically via a descriptive study to find that these proverbs are of imaginative power or not and which one of literary devices are of more frequency. By investigating ilami-kurdi proverbs the study found that proverbs are of high rhetoric power and this is because of imaginative power of speakers. The deep structure of most of proverbs are based on simile. The study also found that the prerequisite to the understanding of some literary devices like symbol is familiarity with cultural norms.

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ultra Rational, logical and mystical nature of gnostic facts and meanings from one side and limitation of language function area from other side, caused poets and mystics to use deviated language and expression. Simile which is one of the most important and  frequent  of semantic deviation in mystical poems, has been used  by  mystics  for  creating  poetic images and  expressing their own  thoughts. In this study authors criticized and discussed the deviated similes   in Ibn Alfarez and molavi’s   complete works with analytical method. This study shows that frequent use of compact similes is more than spread similes in their poems (both poets), because this method results in length in mental challenge and hesitation.  Sometime the relation between the simile parties in their poems is so far that   deviation observed more. They caused   meaning to be understood later by using so many similes. Through this, they make   their   words prominent   and leads to more literary pleasure of readers. although Ibn Alfarez purpose was to explain exalted concepts and holy command for reader’s mind, and was interested in application of perceptible simile to rational simile, but Molavi uses rational simile more than Ibn Alfarez. Perceptible to perceptible simile are very frequent In Molavi’s poems because of his mystical   and spiritual taste. Also frequency of spread similes in his poems is more than Ibn Alfarez.  

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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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Simile and metaphor are two stylistic devices whose translations are always difficult, for their relationship basis is like the relationship between two entities.

Since the cultural themes in simile and metaphor and the relationship between them in the target language are not necessarily the same as in the source language, somehow, this relationship needs to be reflected in the translation. In this study, first, the translations of simile and metaphor were studied, then, by looking at the two French translations of the Quran from Muhammad Hamidullah and Albert Kasimirski, the manner of translatability of the "similes" and "metaphors" existent in the selected verses was studied in a comparative way. The purpose of this research is to study different ways of these arrays translations in the Holy Qur'an. In the context of this article, from among the verses, 10 verses were given as examples and the results of the research outcome showed that two translators, from among different translation methods, to maintain the great meaning of the Qur'an, made more use of literal translation in transferring the two arrays to maintain the form in addition to the meaning, but in the face of the verses having elements with a cultural burden, also made use of explanations.

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In animal metaphors, different characteristics of human beings are described either abusively or affectionately in different morho- syntactic structures. This article aims to investigate the use of animal names in Gilaki (Eshkevarat variety) in addressing people both abusively and affectionately within the framework of cognitive approach. A researcher- made questionnaire was used to collect the data. One hundred native speakers were selected as the sample based on cluster random sampling regardless of age and gender. Structured interview was employed since the sample was not educated enough to fill out the questionnaire. In this structured interview, questions such as the use or the lack of the use of the animal name in addressing people (males or females), abusive or affectionate use, and describing the situation by providing an example were raised about 58 animal names. Comparing the results of this study with the results of those carried out on animal metaphors in other languages indicate some similarities and differences. The similarities are the result of a universal motivation which can be explained within the framework of Embodiment theory. Also, context awareness, physical environment, and cultural context can be regarded as the main the reasons for the special use of animal metaphors in Gilaki.Human addressing and animal metaphors in Gilaki.

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Q. Qolam Hosseinzadeh.PH.D.
Hamed Norouzi
 
Abstract
The relation existing among the sentences of any text has a vital role in its final perception. Due to this reason a number of linguistics have devoted a large share of their theoretical discussion to the analysis of this relation. One of these theories is Holiday’s ‘Role Tendency’, in which he has made cohesion among the conceptual, verbal, syntactic and the rational sentences of any individual text. Through this attitude, coherence has factors such as; 1. reference. 2. subordination and omission. 3. vocabulary cohesion. and 4. Connection.
Since this discussion covers a wide domain, the writers of this essay chose to survey one of these factors; which is reference. By reference, as a relation, the interpretation of one of the partners of reference, in other words the presupposing element, does not actually take place based on its conceptual characteristics. Instead, for doing this process, it is referred to the other party of this relation; in other words the referent. Reference has three kinds; personal, allusive, and comparative. This research only discusses the personal and allusive ones. The personal reference is concerned about the person, while the allusive one points to the place and the extent of its distance; whether far or close. In the Persian language personal reference is comprised of personal pronouns and reflexive pronouns, while the allusive reference includes demonstrative pronoun and demonstrative adverbs.
 
 

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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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Gholam-Hossein Gholamhosseinzadeh, Ph.D.
Hamed Norouzi
 
Abstract
In Holiday’s linguistic theory, one of the factors which lead to the conjunction of a text’s sentences is comparison. This factor, in addition to personal and allusive reference, forms three types of references in this theory; since according to Holiday when two things are compared with each other, they are actually referred to each other. Comparative reference is an indirect reference to alikeness, difference or the similarity of the referential factors. This type of reference is divided into two parts; common and particular. The common comparative reference is divided into three parts; alikeness, similarity and difference. Due to the high significance and precise survey of simile in the Persian language, an attempt has been made to mention the common points of this issue in the Persian literature and the Holiday theory. Holiday has also divided particular comparative reference into two parts; counting ones and descriptive ones. But in here the authors have added the comparative one to it too as a result of common comparison and the potential and possibility of comparison through simile in the Persian language. Based on Holiday’s theory, cohesion has other factors besides reference; 1) substitution and omission, 2) vocabulary coherence 3) relevance.
Since the author is studying the Persian language, he has added other factors which have a role in equilibrium of syntactical cohesion. As this discussion has a high scope, only one of the factors is discussed in here; comparative reference.
 
            

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Abstract Adaptive literature is one of the areas of study that has recently attracted the attention of researchers. By comparative study of works, one can reach the emotions, emotions, thoughts, and common concerns among poets and writers all over the world. With the prevalence of translation and travel to Europe, the poetry of European poets has had a great impact on our contemporary poetry. Among these European poets are T. Salliot, Paul E. Lumber, Andrea Burton, Louis Aragon and others. Ahmad Shamloo has written Aida's poetry in his own time under the influence of Eliza's poetry in the Aragón Ayman. Therefore, this essay is based on the analytical-descriptive library resources to the influence of Shamloo of Aragon and the study of virtual images in describing the beloved in the poetry of both poets. The result is that Shamloo, in the composition of Aida in the mirror, considers the poetry of Elza in the mirror of Aragon and other French poets and uses his images and words and his thoughts, but his poetry from the boundaries of the house and the village to the alley , The city expands and more socially than Aragon.

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Influenced by the avant-gardism of his time, especially Expressionism and Surrealism, Hedayat in the Blind Owl chooses the horror genre, internal monologue, and a poetic structure to represent the psychology of the narrator. In this genre, the sense of fear and impending violence is often conveyed through the atmosphere of the story. The dominant ambience of the story is enhanced through not only direct description but also, and especially, the rhetorical figures such as simile and metaphor. In this article, I discuss what role these rhetorical techniques play in creating a suspenseful atmosphere of terror and emptiness the Blind Owl. This paper employs a formalist approach.

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The stylistics deals with studying repetitions, and so employing the statistical analyses in stylistic evaluations proved to be useful in studying the frequencies. Whereas the descriptive statistics cannot always explain the stylistic fluctuations, using inferential statistics theories in evaluating stylistic phenomena will bear a scientific accuracy. “Stylometry” is the term that has been coined for studying stylistics with the use of computer.  In the present article, the author tried to evaluate imagination in the construction of simile in Khorasani style. In doing so, the books of twelve eminent poets of Khorasani style were studied diachronically and the relation of literal similes and imagination was examined. To analyze the data, the author adapted an inferential approach and calculated the Pearson Correlation Coefficient. The results showed that the correlation coefficient was 0 /374 and the significance level was 0/626 and therefore it could be said that there is a positive and direct relationship between variables. In stylistics terms, it means that the more compressed the angle of simile in Khorasani style, the more frequent literal similes would be, which is in line with the dominant norms of Khorasani Style.

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 In this study, the formalism of the ecological orientation of the novel Sayeh Malakh is based on the element of simile and using the technique of content analysis. Sayeh Malakh is one of the realist novels in the field of sacred defense literature, the realism of which is depicted in a comparative and tangible linguistic expression. The results of this study show that the simile in this novel is a key element in realizing the events of the story and since the events of the novel have taken place in a rural setting, most of the comparisons are about nature and the environment around which the main narrator lives and his epistemological world is quite familiar with. The environmental comparisons in this novel have played a major role in creating spaces, characterizations, and creating an environmental discourse and calling the environment to the center of attention and preventing it from fading. Most importantly, the analysis of the environmental discourse in this novel is based on three types of fear (fear of starvation, hunting, and darkness) that form the basis of human interaction with the environment.

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the ways to discover their beauty. In this study, the association of an image with another array is assumed to be one of the reasons for the dynamics of Shahnameh literary images. The simile is the most frequent image of the Shahnameh due to the requirements of the epic text. After extracting  the similes of the first volume of Shahnameh, the most widely used literary industries in verses containing similes were examined. eighty percent of the similes were associated with symmetry. Due to their significant frequency and the answer to which requirements of their epic species depend on their simultaneous use, both of them were assumed to be a stylistic component. Therefore, the reason for combination of these two and their effect on association, creation or strengthening of context, preventing the complexity of images and creating a narrative space, novelty of images and characterization in Shahnameh were studied and explained in three areas of language, narrative and rhetoric. The result is that the combination of semmetry and simile with a stylistic usage is used to continue the concept in the horizontal and vertical axis of the text, to avoid the vulgarity of simple and sometimes repetitive similes, to compensate for the shortcomings of characterization in the epic text and to maintain the story continuity used in the long text of Shahnameh.
 

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Este’areh is one of the most important poetic devices and of portraiture elements in carrying imagination in poetry to an extreme. History of this rhetorical topic dates back to Aristotle's Poetics and the topic of Este'areh in Arabic and Persian literature emanates from the same source. English equivalent of Este'areh is Metaphor. But, are these two exactly the same or they differ from each other? Here, pointing out the opinions of Sakkaki and Jorjani, the definition of Este'areh and its various types are given briefly first; then its difference from Metaphor is investigated. The result of the investigation is that although Metaphor, too, is a variation of metaphoric expression, its aim is not expression of beauty of simile, but transfer of meaning. Este'areh and Metaphor differ from each other because the former is based on simile and similarity, but the latter is based on "free association."