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Showing 47 results for Poetry
Batul Vaez, Mohammad Reza Haji Aqa Babaie,
year 30, Issue 92 (5-2022)
Abstract
One of the areas in literary studies whose definition and principles have been subject of considerable disagreements among philosophers, writers, and linguists is poetry and its nature. Differences of perspectives in defining poetry are a result of differences in methodologies, intellectual fields, and elaboration of poetry function. The present research takes a descriptive–analytic approach to reviewing the existing definitions of poetry, and through studying different types of poetry in Persian literature and, by basing the discussion on indicators such as the speaker’s mentality, listener’s mentality, language, genre studies, various discourses of each era, the prominent literary element, and critiquing the masterpiece-oriented perspective, attempts to question the perspective which considers poetics to be a definite and non-historical phenomenon, and introduces poetics as a fluid, relative, and history-dependent phenomenon which requires a different definition in various eras based on the abovementioned indicators. Through such an approach to poetics, demarcating verse and poetry based on similar indicators and in all eras will not enjoy scientific rigor and credit. Based on the perspectives elaborated in the present research, a new poetics must be proposed in each era to be able to provide a definition of poetry in that era.
Ph.d Badrieh Ghavami, Ph.d Lida Azarnava,
year 30, Issue 93 (1-2023)
Abstract
Semiotics is an interdisciplinary approach that examines sign systems in a literary work; Among the approaches to semiotics is the theory of Michael Riffaterre, a French-American theorist on the semiotics of poetry. According to this approach, the reader is a very important factor in the process of reading the text; Riffaterre believes that meaning is always present in the text of a poem and only the reader should extract it. In his view, the meanings of poetry should be understood on its own, not by referring its signs to external realizations, and understanding poetry requires the reader to try to find an intertwined network of signs, and in this regard, her approach can also be considered as a reader-cantered critique. In this research, Ebtehaj's poem " Arghavan" [English Equivalent: purple] has been analysed using Riffaterre approach. The central idea of the poem is "the isolation of the poet in an inappropriate social space", which is expressed in different ways in the text of the poem. Although this idea is not mentioned directly in the poem, the widely used propositions and clichés of the language that the poet uses by repeating them in the process of "over determination" or through the "conversion" process, by modifying those propositions, or using the "expansion" process, by extending the general idea to more detailed ideas. In addition, by discovering two semantic processes of "accumulation" as well as "descriptive anthologies", which all come from the same source and guide the poem to induce a single theme, the descriptive anthology of " Azadi" (freedom) that evokes words such as "morning", "spring", "candle", "lamp", "sun", "dawn" and "sun"; In contrast to "Sharayet-e Namonaseb-e Ejtemaei" (unfavourable social conditions) that the "forgotten silent corner", "crypt" and "night of darkness" evoke the same concept.
Amir Afshin Farhadian, Dr Mohamad Taheri,
year 31, Issue 95 (11-2023)
Abstract
Music, with a history of thousands of years among Iranians, both as one of the fine arts and as a practical art, has been present in various aspects of individual and social life. In addition to reflecting this presence, the long and close relationship between music and poetry has filled the collections of Persian poetry with musical terms, names of melodies, tunes, instruments, and composers. It is clear that over time, some new words and terms have become popular in this field, while some have remained obscure and eventually forgotten, and some others have undergone verbal or semantic transformation or fluctuation in their scope. On the other hand, a true understanding of the meanings and even receiving many artistic aspects of texts depends on mastering the different semantic features of words and the implications of terms. Undoubtedly, one of the important functions of writing commentaries on the works of the past is to explain the meaning of obscure words or the transformed meaning of a still-common word, and also to inform the audience of the idiomatic meaning of words and combinations that without mastery of them, the reader's understanding of the text is not possible or at least incomplete. Researchers have identified and introduced a large number of forgotten musical terms in the texts, but it seems that some of these terms are still overlooked. "Afsane" is one of these terms. In this study, using content analysis and descriptive-analytical method, the musical aspect of this term has been investigated and the artistic subtleties of a number of verses, which were hidden in the shadow of the forgotten idiomatic meaning of the word, have been revealed.
Hamid Rezā Ghorbāni, Mohammad Khodādādi,
year 32, Issue 96 (4-2024)
Abstract
Trees have special importance in Persian poems. Cultural, religious, mythical, ethical, mystical, and political elements have propositions influenced by trees. Following water and the sun, the tree is an important phenomenon from which special literary elements and situations are created. The creative ways of connecting natural phenomena with human elements have been highlighted by the emergence of various political events in the last century on the one hand, and the creation of many artistic ideas and styles on the other hand. The tree image has found a new and multifaceted effect in modern poetry. Modernist poets give special roles to non-human elements and among these, the tree is a human-like mirror image that shows the evolution of human society in its stature. Using the library method and based on an analysis and explanation of poetic evidence in the thoughts of selected poets the current research revealed that the tree could be an image of personal failures, love, a medium of perception, an indicator of freedom, a representative of an ecosystem, a symbol, a sign of death and nonexistence, and a reflection of tyranny and a denial of human existence under the rule of tyranny.
Ghodsieh Rezvāniān, Souren Sattārzādeh,
year 32, Issue 96 (4-2024)
Abstract
The issue of the “subject” is the most important factor in the distinction between classical and modern literature. The word “I” is often general and abstract in classical literature, while in contemporary literature, following modern philosophy, it is an individualized and concrete “I” or, in other words, an active subject. Perhaps the most obvious manifestation of this paradigm shift - especially in poetry - can be seen in the type of encounter with the “subject”. Contemporary poetry, from its most superficial romantic facet to its most complex philosophical aspect, expresses a self-sufficient subject whose origin is human centrality. Ahmad Shamlou is one of the poets whose poetry subject is “I”. This research deals with the hermeneutics of “self/subject” in his poetry using qualitative content analysis and critical reading of the collection of Shamlou's poems along with selecting indicative examples. Since this “I/self/subject” has been subjected to turmoil and transformations during his six decades of writing poetry, the theoretical framework of the discussion is also based on these developments and deals with both the philosophical subject which emphasizes individual thought and consciousness and to a subject that is a social construct. Hence, the theoretical framework of the study is based on a triangulation of Michel Foucault’s discussions about the hermeneutics of the self and governing oneself and others; the theory of symbolic interactionism, which deals with the individual and social “self”; existentialism that focuses on freedom, choice, and responsibility; and ultimately Althusser’s perspective on the subject i.e., subject with s (small letter) and subject with S (capital letter). "I" in Shamlou's political poetry is an ideological pseudo-subject (subject) due to his attachment to the Toudeh party, whereas in his philosophical poetry, it is the result of knowledge and awareness based on his own lived experience, and reflection on existence, human, life, and death, as the supreme subject (Subject).
No Ebrāhim Hasanaklou, No Rezā Cherāghi,
year 32, Issue 96 (4-2024)
Abstract
The debate over literary theory and Nima’s poetry has a long history. Literary critics have interpreted Nima from their own perspectives, offering various interpretations. The issue of this research is a critical re-reading of the views of Pournamdarian and Barahani in the 1990s as representatives of academic and non-academic criticism. This research showed that Pournamdarian and Barahani have occasionally been excessive in their understanding of Nima. As a result, despite Pournamdarian’s efforts to understand Nima’s poetry anew, he remains trapped in the stereotypical traditions of literary criticism, which leads him to define modern poetry under traditional poetry. On the other hand, Barahani has neglected the historical process of theorizing and Nima’s poetry, by going to extremes in some of his views and speaking of a crisis that we witness in the poetry from the 1990s onward. In other words, tradition and modernity are clearly at odds in the views of these two critics. Pournamdarian wants to blend modern poetry with traditional criticism, while Barahani becomes dogmatic in his criticism.
Yahya Kardgar,
year 32, Issue 97 (1-2025)
Abstract
The culture and literature of Iran, has paid special attention to the religion of Christianity. This feature has become more prominent in the Safavid era for political, social, cultural and ideological reasons. Saib, the greatest poet of this era, had further contribution in reflecting this feature in his poems. This paper examines the events of the life of Christ in his Divan of six books by his descriptive-analytical method and concluded that the religious features his era, his theosophical and ethical perspective, the attachment of the audience of Saib poetry to Christ and the religion of Christianity and, finally, his tendency to theme-creating and subtlety and his dominance in the life of heavenly prophets has played a key role in presenting a full image of Christ. Referring to the life of Christ and other divine messengers, he seeks to bring religions closer to one another.
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