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Showing 1 results for Linguistic Deviation
Amirmahdi Safaeidaryakenari, Somaye Aghababaei, Batool Vaez,
Volume 33, Issue 99 (10-2025)
Abstract
Defining typological boundaries within the prose-to-poetry continuum remains a fundamental challenge in literary linguistics. This study aims to redefine the typology of hybrid texts through a comparative analysis of foregrounding elements in Ahmad Shamlou’s Ibrahim dar Atash (as a model of blank verse) and Forough Farrokhzad’s Tavalodi digar and Iman Biavarim be Aghaz-e Fasl-e Sard (as models of Nimaic poetry). The research methodology is descriptive-analytical, employing a quantitative-qualitative approach based on Geoffrey Leech’s theory of deviation and the theoretical frameworks of Safavi and Haghshenas. The findings indicate that, contrary to previous theoretical assumptions, the frequency and quality of parallelisms serve as the primary determinant of a text’s position toward the poetry prototype, while linguistic deviation merely acts as an entry point into literary language. Data mining reveals that Shamlou utilizes "compensatory parallelisms" (such as rhyme with an average frequency of 4.86 and dense phonological patterns) to offset the absence of prosodic meter. In contrast, Farrokhzad, by relying on "conversational prosody," demonstrates a lesser need for positional parallelisms and diverse deviations. Ultimately, this study proposes that the poetic caliber and the distinction between hybrid genres are governed by a musical hierarchy derived from parallelism, through which the precise position of any text within the aforementioned continuum can be identified.
Defining typological boundaries within the prose-to-poetry continuum remains a fundamental challenge in literary linguistics. This study aims to redefine the typology of hybrid texts through a comparative analysis of foregrounding elements in Ahmad Shamlou’s Ibrahim dar Atash (as a model of blank verse) and Forough Farrokhzad’s Tavalodi digar and Iman Biavarim be Aghaz-e Fasl-e Sard (as models of Nimaic poetry). The research methodology is descriptive-analytical, employing a quantitative-qualitative approach based on Geoffrey Leech’s theory of deviation and the theoretical frameworks of Safavi and Haghshenas. The findings indicate that, contrary to previous theoretical assumptions, the frequency and quality of parallelisms serve as the primary determinant of a text’s position toward the poetry prototype, while linguistic deviation merely acts as an entry point into literary language. Data mining reveals that Shamlou utilizes "compensatory parallelisms" (such as rhyme with an average frequency of 4.86 and dense phonological patterns) to offset the absence of prosodic meter. In contrast, Farrokhzad, by relying on "conversational prosody," demonstrates a lesser need for positional parallelisms and diverse deviations. Ultimately, this study proposes that the poetic caliber and the distinction between hybrid genres are governed by a musical hierarchy derived from parallelism, through which the precise position of any text within the aforementioned continuum can be identified.
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