خلاصة:
شهرآشوب یکی از گونه‌های ادب غنایی است که در فرهنگ و ادب ایرانی، ماهیتی مردانه دارد؛ زیرا نیازمند مراودات انسانی-اجتماعی آزادانه‌ای است که عرف اجتماعی آن را برای زنان نمی‌پسندیده است. ورود مهستی‌گنجوی در این عرصه و ابداع شهرآشوبهای صنفی در قالب رباعی، واکنش‌های انتقادی متفاوتی با خود به همراه داشت که در یک مورد یعنی مردانه بودن زبان شهرآشوبهای مهستی به اشتراک می‌رسند. مسالۀ اصلی تحقیق حاضر، ثبوت وجود زبان جنسیتی زنانه در شهرآشوبهای مهستی گنجوی بوده است. برای اثبات این مسأله، از نظریۀ القاگری واکه‌های موریس گرامون در مقایسۀ انواع واکه‌های تکرارشونده و نوع القاگری آن در شهرآشوبهای امیرخسرو دهلوی و مهستی گنجوی استفاده شد. در این پژوهش که به روش تحقیق ترکیبی (توصیفی-تحلیلی-آماری و قیاسی) انجام یافت، متغیّر جنسیت، مبتنی بر دیدگاه عرفی و کلیشه‌های فرهنگی در موضوعیت نقش‌های مردانه و زنانه سنجیده شد و این نتایج به دست آمد: نوع القاگری واکه‌ها در همۀ گروه‌های واکه‌ای (تیره، روشن، درخشان)، در شهرآشوبهای مهستی و امیرخسرو دهلوی، به‌گونه‌ای معنادار از هم تمایز داشته و بعضا در جهت مخالف یکدیگر قرار دارد. بنابراین می‌توان ادعا نمود که زبان شعری شهرآشوبهای مهستی، برخلاف تصور عمومی، درصد بالایی از زنانگی را داراست.
Shahrashoob(City rioter)is one of the types of lyrical literature that has a masculine nature in Iranian culture and literature. Because it requires free human-social interactions that the social customs do not like for women. Mahsati-Ganjavi's entry into this arena and the invention of trade union riots in the form of a quartet brought with it different critical reactions, which are shared in one case, namely, the masculinity of the language of Mahsati's riots. The main issue of the present research was the proof of the existence of female gender language in the city of Mahsati Ganjavi riots. To prove this issue, Morris Grammon's theory of vowel induction was used in comparing the types of repeated vowels and their induction type in the cities of Amir Khosrow Dehlavi and Mehsti Ganjavi. In this research, which was conducted using a combined research method (descriptive-analytical-statistical and comparative), the gender variable, based on the traditional view and cultural stereotypes in the subjectivity of male and female roles, was measured and these results were obtained: the type of vowel induction in all Vowel groups (dark, bright, bright) in Mahsati's and Amir Khosrow Dehlavi's Shahrashoobs are significantly different and sometimes they are in opposite directions. Therefore, it can be claimed that the poetic language of Mahsati riots, contrary to popular opinion, has a high percentage of femininity. Extended Abstract 1.Introduction Many researchers have considered the language of Mahsati Ganjavi's riots to be male and have ignored the female independence of these poems; These researchers believe that Mehsti's poetry has undergone metamorphosis in the male literary and discursive atmosphere of his era and has accepted the characteristics and discourse of men. This is while today, relying on linguistic and interdisciplinary research in the field of poetry, cultural and social concepts, including gender, are introduced with very complex and broad dimensions and a one-dimensional view of these concepts is considered a deviation and deficiency in scientific perceptions. The main issue of the present research is to analyze the gender of the language of Mehsti's trade union riots by relying on the linguistic theories of Maurice Grammon and in comparison with the language of Amir Khosrow Dehlavi's riots, and by measuring the manner and extent of the difference in the function of vowels in the two poets' poetry, to more scientific perceptions about language. The gender of the poem should be achieved. It should be noted that in this research, the gender variable is considered based on the traditional definitions of male and female roles. In this research, these questions will be answered: - What are the types of repeated phonemes in the riots of Mehsti and Amir Khosro? - What concepts, emotions or values do these phonemes evoke in the poems of both poets? - Is there a significant difference between the repeated phonemes in the cities of two poets? - Are the possible differences in the repeated phonemes of alghagar in the cities of chaos of two poets related to the concept of gender? 2-Research methodology To carry out this research, first, through the methods of statistical studies, the number of different vowels was counted, separately, in the cities of Mehsti and Dehlavi; Then, using the descriptive-analytical research method, the statistical information was obtained - which is presented in graphical tables - according to the theoretical basis of the research - Maurice Grammon's theory regarding the induction of vowels -, the characteristics of vowels in connection with speech, codes and signs. Meaningful, emotional and musical in the poems of two poets were analyzed. In the next step, the results of these analyzes were explored in connection with the concept of gender and its socio-cultural and psychological signs. 3-Discussion The comparison of Roshan vowels in Mehsti and Dehlavi riots shows the increase in the frequency of this type of inductive vowels in Dehlavi poetry compared to Mehsti riots. Happiness, extroversion and superficial and transitory feelings towards external phenomena are among the reasons for this significant difference, which is directly related to the poet's gender and the cultural-identity background of the two poets. Unlike Dehlavi, the bright vowels in the city of Mahsti's riots, not in direct contact with the beloved - which is often accompanied by contempt and patriarchal violence - but rather with quiet and charming whispers, serve soft and caressing descriptions with a high emotional load, which are among the aspects Lyrical is considered important in the language of poetry. The frequency of bright vowels is higher in the cities of Mehsti than in the cities of Dehlavi; With bright vowels, sharper emotions, sometimes angry and sometimes desperate, Dehlavi has offered his audience/lover of the city of chaos, which can be seen in reproachful addresses such as "bad-khoo bandit". In the repetition of bright vowels in Dehlavi's poetic language, it is clear that the poet/narrator's over-hand and manly success in facing the addressed lover. Unlike the cities of Dehlavi, the introduction of bright vowels in Mehsti's poetry has a significant tendency towards femininity and tenderness. Repetition and induction of bright vowels in the chaos of Mehsti has kept his language away from violence and dryness. With a calm and pleasant look and full of affection, he speaks about his beloved and his beauty and perfections. The percentage of dark vowels in the Dehlavi quatrains is less than the percentage of dark vowels in the Shahrashobs of Mehsti Ganjavi. Repetition and induction of dark vowels in Dehlavi's quatrains express difficulty, difficulty, sharpness, anger and sometimes hatred; Another expressive and masculine tone that can be heard from the poem is the overbearing voice of a man who gives the right to himself completely and puts the lover/addressee in a subordinate position of being accused and judged and demands an answer from him. The repetition of dark vowels (o and o) in Mehsti quatrains, in words such as: zulf, pod, denbeh, nekost, kodek, khosh khosh, has occurred; The combination of these words with various dark vowels has created an exciting atmosphere and gentle humor, the result of her feminine and conservative spirit; A space that suits the traditional cultural background of the Mahsti era. 4-Conclusion - The frequency of bright vowels in Mehsti-Ganjovi riots is 34.21%, less than 36.88% of the frequency of bright vowels in Dehlavi riots. In addition to that, both poets benefit from the introduction of bright vowels in their cities of chaos. So that Mehsti has used more of the characteristic of elegance and softness of inducing bright vowels; While the introduction of bright vowels in Dehlavi's quatrains has brought more of the violent and despotic male atmosphere into the poetic language of his cities of chaos. - The bright vowels in Shahreashob of Mehsti with a frequency of 51.21% are more than the frequency of bright vowels in Dehlavi quatrains with a frequency of 48.64%. Also, each of the poets has used brilliant vowels with different inspirations; The appearance of bright vowels in Mehsti's quatrains is more in the direction of surprise in the description of the beloved, but in Dehlavi's poem, the direction of bright vowels is towards the cry and anger of the lover/poet against the beloved/addressee of the poem. - The frequency of dark vowels in Mehsti's quatrains with 14.56% is more than dark vowels in Dehlavi poetry with 14.47%. In addition to that, the expression of dark vowels is also different in Mehsti and Amir Khosro's Chaos Cities; In the same way that dark vowels in Mehsti's quatrains evoke admiration, excitement and mild humor, while these vowels in Dehlavi's quatrains evoke dark and vague, ugly and sullen thoughts towards the beloved. According to the statistical and descriptive results as well as the comparative analysis based on the types of vowels and their different inflections in the cities of Mehsti and Dehlavi, the difference in emotions and moods in the poetic language of the two poets is clearly prominent. The introduction of various vowels in Dehlavi's poetry expresses male dominance, extroversion and tyranny, which is in full harmony with cultural concepts, including the gender of the poet. Contrary to the concepts that are inferred from the introduction of various vowels in the language of Mehsti's poetry, it represents an introverted, restrained, conservative, gentle, appreciative and gentle spirit, which has an all-round continuity with the social and cultural concepts of gender and femininity. 5.References Ahmadi, Sh. parsa, S. A. (2016), "Investigation of the inductive effect of phonology in Al-Masdur breath, based on Maurice Grammon's theory". specialized scientific journal of Islamic humanities, Q1, No. 14. 71-85.(In Persian). Asadi Farsani, E. (2016),"Phonological stylistics of Forough Farrokhzad's poems based on Gramon's point of view". Contemporary Persian Literature Conference. Iranshahr. (In Persian).) Asadi Farsani, E.(2017), "Phonological stylistics of Jaleh Qaim-maqami's poems based on Gramon's point of view". National Conference of Contemporary Persian Poetry Research. Yasuj pp. 25-34 .(In Persian).) Behfar, M. 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