Critical Discourse Analysis
Zohreh Niksiyar; Maryam Dorpar
Abstract
In various texts, lexical and rhetorical variables play a prominent role in directing the content, and conveying ideology explicitly or implicitly. In the present research, in order to evaluate the level of frankness or concealment of the authors, the function of four stylistic and discourse-orientated ...
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In various texts, lexical and rhetorical variables play a prominent role in directing the content, and conveying ideology explicitly or implicitly. In the present research, in order to evaluate the level of frankness or concealment of the authors, the function of four stylistic and discourse-orientated variables, "idioms", "vocabularies belonging to specific discourses", "symbolization" and association of meanings" and "narrative allegory" in a number of narratives of Persian socialist realism, written between 1320-1332, have been examined in the framework of critical stylistics. The results show that although all the authors of the works in the question sought to reflect the ruling spirit of the time and legitimize the struggle against domination, but in transferring this ideology to the audience, they have acted in two different ways. Party writers who have been in direct contact with the Tudeh party and have produced their narrative works on the order of this party, Do not have much desire to use the methods of concealing ideology, such as symbolizing and associating meanings, as well as allegory. They mostly use the stylistic alternative of using words belonging to specific discourses to convey the desired ideology naked. This is while critical and independent writers from the Tudeh party, using rhetorical techniques of symbolization and association of meanings as well as allegory, have tried to deepen the text, hide the ideology and implicitly induce it to the audience and the audience is placed not only in contrast to the structural and repressive power ruling the society, but in contrast to the ruling values and their hegemonic domination.
Maryam Dorpar
Abstract
The present study examines and studies the poetry of the second millennium of the mountain deer (Shafiee Kadkani, 2016) in order to examine the centers of meaning as a researchable problem that can lead to a more accurate typology of modern Persian poetry; By asking these questions, what are the centers ...
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The present study examines and studies the poetry of the second millennium of the mountain deer (Shafiee Kadkani, 2016) in order to examine the centers of meaning as a researchable problem that can lead to a more accurate typology of modern Persian poetry; By asking these questions, what are the centers of meaning reproduction in the second millennium of mountain deer, what kind of relationship are they with each other, as a result of the interaction of these centers, how the process of infinite symbolism proceeds and finally what effect the multiplicity of centers of meaning production has on the sensory-aesthetic flow of poetry? The results show that in the second millennium, the relationship between poetry and painting is intercultural and interdisciplinary. The openness of the visual discourse of the "Mosque / Old Mosque" tile allows the poet to escape from the sphere of the closed sign and the monophony of today / now to the sphere of the open sign and the polyphony of yesterday / of the past. By transforming the iconic function of tile symbols into a symbolic function in poetry, the physical space or sub-space of the tile becomes a macro-space or virtual space and promotes the birth of meaning in a mixed, multidimensional, hierarchical flow in the deep space of ancient Iranian history. In this process, a discourse space is created in which the contradictions achieve coexistence and interaction instead of denying each other, and the "tile of the old mosque" hosts all the discourses. In the process of other signs, tile icons become indexes and, through combined metaphors, create a deep and subtle dimension of meaning that refers to "self." In this poem, the inner sense is the strongest sensory-perceptual dimension that disables the external senses and in the form of pure experiences, shows the way to the unconscious in the form of beautiful and unique images. Due to the fact that in this poem, the dominant center of production of meaning is the history and culture of Iran, it is classified as a cultural boast. The research has been done with a poststructuralist semiotic approach and descriptive-analytical method.
