https://www.languageart.ir/index.php/LA/issue/feed LANGUAGE ART 2021-06-02T08:44:05+00:00 Mohammad Beygi mahdimb@languageart.ir Open Journal Systems <p>&nbsp;</p> <p>&nbsp;<img src="/public/site/images/admin95/ejeld1005.jpg" width="621" height="452"></p> <p>Welcome to the&nbsp;site of&nbsp;International Multilingual Journal of <strong>Language Art</strong>. This journal is a peer reviewed publication that&nbsp;studies about&nbsp;linguistic and languages, which is the only scientific journal in Islamic Republic of Iran that is published in various languages as per the choice of the author (Persian, English, Arabic, Tajik and Russian) and soon we will add some experts of French language to our Editorial Team. The journal follows double-blind peer review process. The journal seeks original manuscripts that provide theoretically informed empirical analyses of worldwide contemporary issues, as well as original theoretical or conceptual analyses.</p> <p>Print ISSN:&nbsp;2476-6526 &nbsp;&amp; Online ISSN: 2538-2713</p> <p><span style="color: black; font-size: 14pt;"><span style="font-family: Times New Roman;">&nbsp;</span></span></p> https://www.languageart.ir/index.php/LA/article/view/190 خرابات در ادب فارسی و زبان شعری عراقی 2021-06-02T08:41:59+00:00 سکینه طالب زاده Talebzade_s@yahoo.com علی صابری ali.saberi1396@gmail.com دکتر شاهرخ محمدبیگی shbeygi@rose.shirazu.ac.ir واژه ی خرابات در ادبیّات فارسی و به طور اخصّ در ادبیّات عرفانی،از واژه های پر بسامد و انگشت نماست.به علّت معانی گوناگون و گاه متضادّی که این واژه ی هزار رنگ در ادب عرفانی پذیرا گردیده،در متون نظم و نثر فارسی به کرّات از خرابات و خراباتی،سخن به میان آمده،و به خصوص،متون نظم و نثر عرفانی،سرشار از این واژه ی متناقض نماست؛چرا که هر شاعر و نویسنده ی پارسی زبان،از ظنّ خود یار خرابات شده است.در این مقال،معانی مختلف این واژه در ادب پارسی کاویده شده،و نظر تعدادی از نویسندگان و شاعران پارسی زبان،و به صورت خاصّ،دیدگاه عارف سوخته جان،فخر الدّین عراقی در این زمینه به تفصیل بیان گردیده است. 2021-06-02T08:41:59+00:00 ##submission.copyrightStatement## https://www.languageart.ir/index.php/LA/article/view/204 شگردهای زبانی و معنایی حافظ با اسامی غلامان و کنیزان در ساخت ایهام تناسب 2021-06-02T08:43:04+00:00 حسین سلیمی radvin_13914@yahoo.com Hafez's poem can be considered as the most complex and mysterious poem in Persian in terms of using the artistic, rhetorical and semantic capacities and functions of language. In this regard, he goes so far that in order to receive and understand the intellectual world of his speech, no part of his speech can be ignored and delayed. What; Cleverly, cleverly and consciously, he has used all the subtleties and capacities of language to express his ideas and draw his worldview, and he has used them with all skill. Among these linguistic possibilities are the names of a type of slaves and maids in different historical periods of Iran, which were given to them for different reasons. It is due to the use of these linguistic techniques that Hafez's poetry has always been studied and studied by literary scholars from various angles. On the other hand, since the most important feature of Hafez's stylistics and art is his wonderful use of ambiguity and its types, especially proportional ambiguity, many scholars and poets have tried to extract evidence of ambiguity and its types in his poetry, different layers of meaning and linguistic cryptography. Show his art and reveal the wonders of the prismatic relationship of words in his poetry. In this research, an attempt has been made to show the artistic applications of the names of a kind of slaves and maids in the construction of the confusion of appropriateness and the confusion of desperation in Hafez's poetry by documentary and analytical methods. The results of the research show that Hafez, consciously and reluctantly, uses the names of a kind of slaves and maids in a context of confusion of proportionality and descent, so that both the prismatic and engineered relations of the words of the poem 2021-06-02T08:43:04+00:00 ##submission.copyrightStatement## https://www.languageart.ir/index.php/LA/article/view/166 “The Intentional Fallacy”, itself a Fallacy: a Critique of Wimsatt and Beardsley’s “The Intentional Fallacy” 2021-06-02T08:44:05+00:00 Sareh Khosravi sareh.khosravi@yahoo.com Behzad Barekat sareh.khosravi@yahoo.com Abstract This research aims to highlight the falsities of William K. Wimsatt and Monroe C. Beardsley’s article “The Intentional Fallacy” (1946). These two New Critics believe that the intention of the author should not be considered when judging the text because the intention of the author is neither available nor desirable. The present research questions two of their claims: that the intention is something separate from the textual meaning and that the authorial intention is private and biographical while the poem is public. To refute their claims, the research employs E.D. Hirsch’s concept of verbal meaning. Verbal meaning is simply a special kind of intentional object which he considers to be synonymous with textual meaning. The study goes beyond Hirsch’s ideas and claims that from the moment the author transfers his intention, through language, to the text, it is no longer an intention but the object. Language, according to the New Critics is a proper and reliable medium, so when Wimsatt and Beardsley question the authorial intention, they are actually questioning the very notion of language. Their second claim, that is the private nature of the author’s intention, will be rejected by borrowing T.S. Eliot’s analogy of the poet to a catalyst. Eliot shows that the poet does not include his/her personality traits in the poem. The achievement of this study is a new view toward the authorial intention, a view which is not based on personal and biographical factors but on verbal factors. 2021-06-02T08:44:05+00:00 ##submission.copyrightStatement##