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Roman Jacobson’s verbal communication theory, in which the main functions and roles (sender, message, and receiver) and secondary roles (topic, symbols, and communication channel) of language are considered, is one of the most consistent theories in the field of linguistics and literary criticism. Based on this theory, directing the message towards each of these roles causes the emergence of special functions such as emotional, persuasive, literary, referential, meta-linguistic, and empathy. In the study of Sana'i Ghaznavi’s quatrains, according to the six functions of language, it was found that in addition to the literary role, which all quatrains have due to the use of poetic elements, the emotional role also has the greatest function. In the emotional role in which the direction of the message is towards the speaker, the poet has expressed his emotions and feelings in a simple and intimate language regarding issues such as beloved, admired, or his opponents. Therefore, the purpose and centrality of the speech in these quatrains are with the sender (the poet) and the literary type of these quatrains is the type of lyric literature in which the structure of description is considered the most important structure and the poet has described categories such as love, lover, praise, man, world, and God. Keywords: Sanai Ghaznavi, Quatrain, Theory of Verbal Communication, Roman Jacobson. IntroductionSana'i Ghaznavi (d. 529 A.H.), is a famous poet of the 6th century. In addition to being considered a flow-making poet in Masnavi, odes, and ghazals, he is also a poet in the quatrains and opening new semantic horizons. He brought mysticism into the realm of quatrains and in this sense created a new movement in quatrains that were more romantic before him. For this reason, his works are among the texts that have been referred to as \"the text of the moment of change\" (Fottouhi, 2012, p. 230). In these quatrains, various themes can be seen such as romantic, mystical, philosophical, and moral, as well as praise, satire, witnessing, and chaos, which are usually divided into ‘light’ and ‘gray’ categories (Shafiei Kadkani, 2010, p. 25-34).In addition to mystical themes, his Khayamiyat is also worthy of reflection in this poetic form. The themes of Khayami, before Sana'i, are seen in other poetic forms (Islami Nadoushan, 1995, p. 122). Introducing these themes into the form of quatrains is very likely done for the first time by Sana'i. Sanai is also a pioneer in composing the quatrains of Shahreshob (Shamisa, 1984, p. 55). In this research, while examining the Sana'i quatrains based on Roman Jacobson's communication model, these questions have been posed:Which role is more important in these quatrains?What is the function of other roles in these poems?How does a dominant construction influence other constructions? Materials and MethodsThe method of conducting this research is the descriptive-analytical method, in which all Sana'i Ghaznavi’s quatrains have been examined and studied based on Roman Jacobson's model of verbal communication, and the six functions of language in these quatrains have been categorized and analyzed by mentioning the frequency. Research FindingsIt is rare to find a poem in which only one of the language roles is used, but in most instances, two or more language roles are present at the same time, and even in some cases, the language roles are separated from each other. According to Jacobson, what makes different messages different from each other is \"the predominance of one of the functions of language over other roles\" (Meghdadi, 1999, p. 623). In the analysis of Sana'i quatrains based on Roman Jacobson's communication model, it was found that in addition to the literary role that all quatrains have due to the poet's use of the quatrain format and the use of literary devices, the emotional role has the most function, which has influenced other roles of language. The most obvious structure in the emotional role is the structure of description, in which the poet has described his situation, his lover, his admirers, and sometimes his opponents. In addition to these two main roles, Sanai has also used other roles of language, i.e. persuasive, referential, meta-linguistic, and empathic roles. The most important structure in the role of persuasion is the structure of advice, which includes moral, religious, and romantic advice. In the referential role, the poet's point of view can be seen towards categories such as love, lover, human, world, and God. Considering these points, it can be said that Jacobson's theory of linguistic communication is an efficient and coherent theory in the analysis of literary works, which pays attention to both the structure and the content of the literary work. Discussion of Results and ConclusionsAccording to Jacobson's model of verbal communication, Sana'i has used all the six roles of language in his quatrains. In the emotional role, Sana'i talks about his feelings in relation to his lover, praised, or his opponents. Therefore, his quatrains can be considered a type of lyrical literature, in which the most important element is description, and the most important structure in description is the herding structure, in which Sana'i complains to the herd and about his lover's cruelty. He pays attention to his lover's bad temper, bad language, cunning, trickery, reproach, and cuteness. The tone of lamentation and glory from the lover is sometimes to such an extent that it finds the side of burning and symptoms of the lover, and in some cases, it even comes close to satire. In addition to being proud of his lover, Sanai complains about destiny, luck, and sometimes from some of his friends and relatives. The predominance of the emotional tone in Sena'i quatrains is such that it has overshadowed other roles and functions of language.In the role of persuasion, in which the direction of the message is towards the audience and the structure of advice is considered the most important structure, in cases where the audience is a lover, the tone of the poet is not commanding, but is accompanied with a kind of desire and expression of romantic need. Of course, in cases where the audience is general, the poet's tone becomes commanding. In these cases, the most important recommendations are moral recommendations. In addition to the structure of advice, the structure of wish, which comes with a prayer verb, has a significant function in which the poet has a wish in the form of a prayer or a curse for his beloved, praised, or opponents. In addition to these roles, the poet has also used other roles of language, i.e. the role of meta-linguistics and empathy.

Jafar Ramzi Ismailzadeh’s lyrical poems have been involved in research in the article. The poems were analyzed in general, and examples from the different poems were given. The creation of literary critic, scientist, translator, poet Jafar Ismailzade Balaamin, has a special place in Azerbaijani literature. Although literary critic, scientist Jafar Ramzi Ismailzadeh began his career at a young age, since 1935 (in hıs 30 years) as he has spent more than 22 years in prison and exile, until the 1960s it is difficult to learn more about his creativity. As the life, the creativity of Jafar Ramzi is rich and varied. Jafar Ramzi is the author of 12 books. One of these books is a monograph, two of them are tazkira, four poetry books («Poems», 1974; «I count days», 1982; “Sounds from the Heart”, 1986; «Delad Wishes», 1990); two dictionaries («Dictionary of Arabic and Persian words used in Azerbaijani classical literature», 1966; «Dictionary of Arabic and Persian words used in Azerbaijani classical literature», 1981); and four of them are books collected with humor and anecdotes from various peoples («Foreign humor», 1964; «The pomegranates of heaven», 1966; «Let’s laugh together», 1970; “The world peoples’s humorous”, 1976). Scientific innovation: the life, activity and creation of poet, translator Jafar Ramiz is researched for the fist time by researcher. Article is based on unike materials which attracted by the author. Importance of application: this research can be used in lectures, seminars at high education institutions and secondary schools.

[...]in the education of the poet S. Sayyid, as a result of artistic research, a number of forms appeared. [...]the above-mentioned literary influences can be seen in the lyrical additions that are common in the upbringing of modern Uzbek poets. In other words, in the classical verses of Sufism, the supplication to God is more reflected, and in the quartet of the poem, the ideas of gratitude to God are more widely reflected in the language of modern heroes. [...]in the finale of the poem, the gratitude and honesty of a patient person from this world is told in the language of a modern hero. [...]the novelty of the poetic style is striking.

In recent years, there has been an enormous increase in the volume of malware generation and the classification of malware samples plays a crucial role in building and maintaining security. Hence, there is a need to explore new approaches to overcome the limitations of malware classification such as pre-combustion, peculiarity eradication, and categorization. To overcome these issues, this paper proposes a novel Conglomerate Stratum Model (CSM), which categorizes them into groups and identifies their respective families based on their behavior. Initially, the precombustion process used Triad Seeped Technique (TST) in which the image is first regularized by applying ripples. Secondly, we introduced a Quatrain Layer Method (QLM) to upgrade the robustness of malware image features in peculiarity eradication. Then the specific output of the quatrain layer is given to Acclimatized Patronage Scheme (APS) for categorization, and this process effectively classifies the malware types with greater accuracy. The results demonstrate that our model can achieve 99.41% accuracy in classifying malware samples. Also, the values of sensitivity, precision, negative predictive, and recall are higher than 0.9 with the false-negative rate of 0.04, and the false-positive rate 0.003 proving the model to be optimistic. The experimental comparison demonstrates its superior performance concerning state-of-the-art techniques.

This study is the first of its kind in applying the emerging field of cultural linguistics to research on poetry. It does so by exploring conceptualizations that underline a number of quatrains from Khayyām’s Rubā’iyyāt.1 In particular, it focuses on quatrains that reflect themes regarding the brevity of life, living for the moment, predestination, and mysteries of existence. The analyses presented in this article reveal that conceptualizations that underlie these quatrains reflect both idiosyncratic (individual-specific) and cultural conceptualizations as well as conceptualizations reflecting Khayyām’s milieu. The identified conceptualizations foreground some influences from a number of religious/cultural traditions.

This study is the first of its kind in applying the emerging field of cultural linguistics to research on poetry. It does so by exploring conceptualizations that underline a number of quatrains from Khayyām’s Rubā’iyyāt.1 In particular, it focuses on quatrains that reflect themes regarding the brevity of life, living for the moment, predestination, and mysteries of existence. The analyses presented in this article reveal that conceptualizations that underlie these quatrains reflect both idiosyncratic (individual-specific) and cultural conceptualizations as well as conceptualizations reflecting Khayyām’s milieu. The identified conceptualizations foreground some influences from a number of religious/cultural traditions.

Edebiyat eleştirmeni, bilim adamı, çevirmen, şair Cafer Balamin'in oğlu İsmailzade'nin yaratıcılığının Azerbaycan edebiyatında özel bir yeri vardır. Doksan yıldan fazla bir sürede kaotik bir yaşam biçiminden geçen Cafer İsmailzade'nin yaşam tarzını ve yaratıcılığını keşfetmek, aslında 1920-1990'larda Azerbaycan'ın sosyo-politik ve edebi ortamının birçok yönünü aydınlatmak anlamına geliyor. Cafer Ramzi İsmailzade, kariyerine genç yaşta başlasa da, 1935'ten beri (30 yaşından itibaren) 22 yıldan fazla hapis ve sürgünde geçirdiği için 1960'lara kadar onun yaratıcılığı hakkında daha fazla şey öğrenmek zordur. O, gençliğinde “Sufi” takma isim ile şiirler yazdı. Ama onları yayımlamamışdır. Onun ilk şiiri 1954 yılında \"Jafar Ramzi\" imzasıyla yayınlandı. Cafer Ramzi'nin hayatı gibi yaratıcılığı da zengin ve çeşitlidir. Jafar Ramzi 12 kitabın yazarıdır. Bu kitapların biri monografi (\"Yeğma Cendeği`nin şiiri\". Bakü: \"Bilim\" yayıncılık, 1976), ikisi tezkire (\"Söylenen söz yadigardır\". Bakü: \"Yazar\", 1981; \"Söylenen söz yadigardır\". Bakü: \"Yazar\", 1987); dördü şiir kitabı (\"Şiirler\". Bakü: Azerneşr, 1974; \"Günleri sayıyorum\". Bakü: \"Yazar\", 1982; \"Yürekten sesler\". Bakü: \"Yazar\", 1986; \"Geciken arzular\". Bakü: \"Yazar\", 1990); ikisi sözlük (\"Azerbaycan klasik edebiyatında kullanılan arap ve fars sözleri sözlüğü\" (A.M.Babayev ile ortak). Bakü: \"Maarif\", 1966; \"Azerbaycan klasik edebiyatında kullanılan arap ve fars sözleri sözlüğü\" (A.M.babayevl? ortak). Bakü: \"Maarif\", 1981); dördü ise çeşitli halkların mizah ve fıkraları toplanmış kitaplardır (\"Yabancı mizah\". Bakü: Azerneşr, 1964; \"Cennetin narları\". Bakü: Azerneşr, 1966; \"Gelin birlikte gülelim\". Bakü: Azerneşr, 1970; \"Dünya halklarının mizahi\" (A.C?f?rova ile ortak). Bakü: Azerneşr, 1976). Araştırmada Jafar Ramzi İsmayilzadeh'in lirik şiirleri yer aldı. Şiirler genel olarak incelendi ve çeşitli şiirlerden örnekler verildi. J. Ramzi'nin şiirine baktığımızda lirik bir şair olarak şiirleriyle zamanın nabzını tutabildiği ve zamanla yankılanan eserler yazdığı sonucuna vardık. Şair, şiirlerini hem halk şiiri üslubunda hem de klasik üslupta yazarak, bir şair olarak entelektüel-medeni konumunu ortaya koymuş ve ilahi kelime aracılığıyla hayatın birçok gerçekliğini ortaya çıkarmayı başarmıştır. The creativity of literary critic, scientist, translator, poet Jafar Ismailzade the son of Balaamin, has a special place in Azerbaijani literature. Exploring the lifestyle and creativity of Jafar Ismailzadeh, who has lived for more than ninety years crossing an intimate way of life , actually means illuminating many aspects of Azerbaijan's socio-political and literary environment in the 1920-1990s. Although literary critic, scientist Jafar Ramzi Ismailzadeh began his career at a young age, since 1935 (from the age of 30) as he has spent more than 22 years in prison and exile, until the 1960s it is difficult to learn more about his creativity. He wrote poems under the pseudonym of “Sufi” in his youth. But he didn’t publish them. His first poem was published in 1954 by the sign “Jafar Ramzi”. As the life, the creativity of Jafar Ramzi is rich and varied. Jafar Ramzi is the author of 12 books. One of these books is monograph (\"Yağma Candagi`s poem\". Baku: \"Science\" publishing, 1976), two of them are tazkira (\"Spoken word is the memory\".. Baku: \"Author\", 1981; \"Spoken word is the memory\". Baku: \"Author \", 1987); four poetry books (\"Poems\". Baku: Azernesr, 1974; \"I count days\". Baku: \"Author\", 1982; “Sounds from the Heart”. Baku: \"Author\", 1986; \"Lated Wishes\". Baku: \"Writer\" , 1990); two dictionaries (\"Dictionary of Arabic and Persian words used in Azerbaijani classical literature\" (with A.M.Babayev). Baku: \"Maarif\", 1966; \"Dictionary of Arabic and Persian words used in Azerbaijani classical literature\" (with A.M.Babayev). Baku: \"Maarif \", 1981); and four of them are books collected with humor and anecdotes from various peoples (\"Foreign humor\". Baku: Azerneshr, 1964; \"The pomegranates of heaven\". Baku: Azerneshr, 1966; \"Let's laugh together\". Baku: Azernesr, 1970; “The world peoples’s humorous” ( A. Cafarova) Baku: Azerneshr, 1976). Jafar Ramzi Ismailzadeh’s lyrical poems have been involved in research in the article. The poems were analyzed in general, and examples from the different poems were given. Looking at J. Ramzi's poetry, we come to the conclusion that, as a lyric poet he was able to catch the pulse of time with his poems, wrote works that sounded over time. Writing poems in both the style of folk poetry and in the classical style, the poet demonstrated intellectual - civil position, he has been able to uncover many realities of life through the divine word.

Buku ini ialah sebuah koleksi pantun yang \"berwarna-warni': Ia memperlihatkan usaha-usaha pelestarian alam dan kehidupan dalam bidang-bidang ilmiah dan dalam pelaksanaan fungsi pusat-pusat pengajian atau jabatan yang berbeza-beza di Universiti Sains Malaysia sebagai sebuah Universiti Penyelidikan dan Universiti APEX. Ia selaras dengan tagline universiti itu kini, iaitu \"Memastikan Kelestarian Hari Esok': lmej-imej alam yang digunakan dalam koleksi ini banyak yang diangkat daripada flora, fauna dan landskap dalam kampus-kampus universiti sendiri. Begitu juga ilustrasi yang mengiringi teks. Kuntum-kuntum pantun ini dihasilkan oleh barisan pimpinan tertinggi universiti bersama ketua-ketua jabatan, termasuk dekan, pengarah dan penggawa desasiswa, yang umumnya terdidik dalam bidang sains. Koleksi ini diusahakan sempena ulang tahun yang ke-40 Universiti Sains Malaysia.

Aesthetics of Rafsanjan poets’ poems after the Islamic Revolution The study, deploying the descriptive-analytic approach, examines the aesthetics of the Rafsanjan poets’ poems after the Islamic Revolution. The results of the study show that the aesthetics of Rafsanjan poets’ poems has been based on innovation in music and alliteration, vagueness, metaphor, symbolism, and defamiliarization. 1. Statement of the problem In this paper, the viewpoint of Rafsanjan poets on poetry music, forms and figures is examined, the poets’ interest in poetry aesthetics is indicated, and the poets’ innovations and attempts are assessed along the way. 2. Forms The works of Rafsanjan are more in forms of sonnet, masnavi, quatrain, couplet, four-piece, Nimayi, Sepid, short poem, triad in quatrain (trio, two-rhyme quatrain, Nimayi short poem in quatrain form), Nimayi single-verse, Nimayi semi-verse, and rhyme-less sonnet. 3. Music of the poem 3.1. Alliteration Double alliteration, continuous alliteration, and discrete alliteration, are different types of alliteration in Rafsanjan poets’ poems from an external viewpoint, and from a practical and purpose-based view, one can mention the pleasing but meaningless poem. In the pleasing but meaningless poem, the music resulting from sound repetition is not related to the meaning at all. 3.2. Inversion Is a figure of speech which is made by inverting the word order of a compound or a sentence and creates a new meaning. 3.3. Vagueness Here, only the vaguenesses are mentioned which are not cited obviously in classical new books: 3.3.1. Linked verbal vagueness with the same letters It is a type of vagueness in which when the reader reads two (or more) words, they notice the presence of another word. 3.3.2. Linked verbal vagueness with different letters It is a type of vagueness in which the reader, when reading it, feels that from the link of the sounds of some words, they hear the sounds of another word or compound. 3.3.3. Verbal verbal vagueness In this kind of vagueness, a word, when read, evokes another word with a colloquial pronunciation, which has a separate meaning; however, in relation to the word having the vagueness with, is pleasant. 3.3.4. Allusion vagueness Allusion vagueness occurs when a word refers to two events at the same time, so that its semantic load, at the beginning, would refers to an accident and its implicit semantic load which comes to mind refers to another event. 3.3.5. Practical vagueness Sometimes the reader reads a poem and pronounces a word in such a way that the hearer thinks that they are the audience, however, as they continue reading, they find out that they were wrong and laughs for their mistake: Be Quiet!, a sound is coming from the sky The sound comes from God’s feast (Heydarizade, A2012: 77) 4. Defamiliarization in allusion for creating humor Likening today's lovers and beloveds to Leyli and Majnoun and making them get together contrary to the original story, is a kind of defamiliarization in allusion for creating humor: There is a reason Majnoun would go on strike In the first night of his marriage (Jahanbakhsh, 2013: 16) 5. Expressive figures of speech In Rafsanjan poets’ poems, most similarities are in association with the cultural and economic characteristics of the region and it seems that the poets of Rafsanjan have expanded a little the “Maknie” metaphor; the features of the metaphor in their poems are: personification, animal likening and plant likening. Regarding the use of symbol one can state: In the poems of the region, most symbols are from natural phenomena and are more intended to induce ethical messages. Generally, using animal symbols is the best way to create humor in their poems. Conclusions General assessment of the poems from Rafsanjan poets indicate that poems in different lyric, religious, humorous, and social types in classical, Nimayi, and short poem types have developed seriously and each have been developed in works of one of the poets and has been decorated with figures of speech. Innovation of Rafsanjan poets in quatrain and Sepid short poems and also attending to some of verbal games and figures of speech, in a way that they have had an undeniable role in creating meaning, has made the field dynamic.