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Showing 3 results for hojjati
Razieh Hojjatizadeh,
year 23, Issue 79 (1-2016)
Abstract
In addition to possessing some rhetorical and linguistic characteristics, question is one of the elements in generating creative thinking. More notable objectives of asking questions in creative thinking are as follows: indirect control of audience, obtaining information from him, evaluating and testing him, provocation of the thought in audience, guiding the thoughts in a specific direction and understanding the idea of audience. The question is less likely to be asked in a non-dialogue context, but asking question is the most significant element in moving the conversation forward in a dialogue context. The aim of the present study is to investigate the methods of guiding thought through asking question in Nasir Khosrow’s poetry. By applying educational and linguistic pragmatics and considering a semantic approach, questions are divided into rhetorical and philosophical categories, consisting of analogy, induction, and deduction. Finally, by referring to rhetorical questions as close-ended or convergent and considering philosophical questions as open-ended or divergent ones, it was concluded that Nasir-Khosrow used questions to create “positive self-consciousness" in his audience. It means that by considering individual differences in his readers, he does not disvalue and nullifies their previous beliefs, but by highlighting the significance of dialogue, he makes the audience reconsider it or think about other aspects of it.
Razieh Hojjatizadeh,
year 25, Issue 83 (3-2018)
Abstract
Bloomfield claimed the first connotation is an independent notion in linguistics. By this term, linguists invite us to have an innovative approach to meaning. According to this approach, words as utterances could be nourished by several levels of secondary signification. How lexis of a text could be interpreted has been studied through the lens of several theories,most notably: semiotics, poetics, semantics and discourse analysis. This article approached this issue from a rhetoric-semantic perspective.Methodology in this article is primarily hermeneutics and is concerned with an analysis of connotations in the field of semantics, and exploration of the meanings of interrogative statements. Through these two approaches, the author projects an analytical model to actualize a deeper study of the latent aspect of meaning or associations of utterances in the context of literature. This model includes four features which consist of semantic, lexical, phonetic and syntactic elements. First, this article concludes that connotative significance must be considered the same as the imageries of a text; Second, it shows how to analyze the significations of the text for the purpose of distinguishing the stylistic and semantic differences of two texts or authors.
Majid Houshangi, Arefeh Hojjati,
year 31, Issue 94 (6-2023)
Abstract
In the period of new criticism and with the formation of new methods of narratology, several patterns emerged in the field of narrative recognition and criticism. In the meantime, Greimas’s model, inspired by Propp’s narratology, and relying on the philosophical principle of contrast, tried to analyze narratives based on the six actants of subject/object (goal), helper/opponent, sender/receiver in a new text analysis system. On the other hand, Suhrawardi, in a pre-textual style, and relying on his philosophical data, used the language of narration and allegory to explain his thoughts in such a way that some of his narrations can be analyzed from the perspective of Greimas. Based on a descriptive-analytical method, this research has analyzed the structure of contrasts in Fi Halat al-Tufulliyah treatise. The results indicated that the structure of this narrative is in a layered and nested form, arisen from the thought characteristic and dominant patterns in Suhrawardi’s mind and the presence of actants in this narrative can perfectly be seen and in some micro-narratives it is in the fluidity of roles. On the other hand, despite the presence of all three action elements in the macro-narrative and micro-narratives, the dominant action element can be considered as a covenant that plays a role in the attractiveness of the narrative compared to that of other Suhrawardi’s treatises. Finally, the object/goal alignment in the macro-narrative and the other four micro-narratives would lead to the prominence of this goal i.e., “reaching peace” in his thought system.
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