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Abdul Qadir Jurjânî, with his two famous books, is the most important scholar of Islamic rhetoric. He is the founder of rhetoric in the Muslim world. One of Jurjânî’s most prominent accomplishments is his comprehensive classification of metaphors. First of all, Jurjânî distinguishes between non-expressive and expressive metaphors, and then presents subclasses for expressive, or “useful”, metaphor. Most writers before Jurjânî used a particular kind of metaphor to present examples for clarifications in their discussions, but Jurjânî distinguishes different kinds of metaphors whose mechanism he does not reduce into a single one. In his classification, Jurjânî approaches metaphors innovatively. This article aims to study this classification from a fresh perspective.

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One of the Prose styles of the contemporary world is focused on the reflection of the outer world on the world of the story. This is widely used in the works of realist and naturalist Iranian writers. Sadegh Chubak, one of the prominent contemporary writers, has achieved a unique language by presenting the reality in his artistic prose. The aim of this research is to analyze the process of creating the meaning of reality in paradigmatic and syntagmatic axes. By an analytical-critical method and with the help of relevant theoreticians in this field, the author has analyzed Chubak’s realist-naturalist prose to highlight the features of naturalism in his prose as an artistic style of writing. It is concluded that Chubak’s writing is artistic and is far and beyond the hackneyed referential prose styles usually associated with naturalism.
 

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Heroism is one of the main themes in popular Persian prose stories. The hero in these stories has characteristics that generally belong to the mythical beliefs and traditions of pre-Islamic and post-Islamic Iran. Many historical and social factors are important in the transmission of these traditions and beliefs but one of the most important ones is Ferdowsi’s Shahnameh. In many cases, the actions and characteristics of the hero in the Shahnameh can be considered to be the prototype of the hero in popular Persian prose stories.
In this study, by examining four heroic prose works of Persian folklore, each belonging to a specific era, we identify and compare the heroic, political, and social characteristics of the hero-pahlavan and his comparison with the Shahnameh. The results of this research are as follows: Despite the formation of these works in the historical centuries, the hero has retained many of the mythical and epic features of the Shahnameh. Some of these actions and features are perfectly in line with the mythical and epic examples of the Shahnameh, and the narrators and writers have attempted to match the Pahlavans of popular literature with the Shahnameh. In some cases, despite similarities, there are differences between these actions and characteristics. The differences have often been due to the heroic ethics and some of the heroic and social political and social practices that result from the intellectual and cultural situation of the era of popular literature and the changes and transformations of the Ayyari system. Most of similarities can be seen in terms of appearance, combat power, type of birth, upbringing, growth stages, and the ideal years of the heroic.
 

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The narrative of The Blind Owl (Buf-e Kur) goes through scattered “writings” in which the “painter” narrator, in captivity from the burden of his “wall of the house” shoulders through the entire story and tells the “swallowing shadow” of himself. It is only in the first part of The Blind Owl that the “ethereal girl” “manifests” through the “ventilation hole” of the closet of the same “house” which is located “on the other side of the ditch”. In the present study, the psychoanalytic theories of the French Jacques Lacan, of which language-centeredness is also one of the basic premises, are effective tools that pave the way for reflection on the linguistic aspects and related symbols in The Blind Owl. What explanation Lacan’s “The Real” provides for the progress of the plot of this modern story as well as how the result of such a view sheds light on the interpretive nature of The Blind Owl and its prosaic aspects constitute the author’s concerns.


 

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