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Showing 2 results for Ahmad Shamlou
Sayyed Ahmad Parsa, Mansour Rahimi,
Volume 29, Issue 91 (12-2021)
Abstract
The prison poems of Ahmad Shamlou are significantly different from the classical form of prison literature in terms of structure, function, content, and discourse. In the present research, we have tried to study Ahmad Shamlou’s prison poems with an integrated approach using discoursal and semiotic tools. In order to interpret the function of prison as a punitive tool, we have taken Foucault’s views and to explain the relationship between power and disciplinary space and prison punishment, the issue of authority and domination has been briefly discussed based on the ideas of some sociologists and philosophers such as Max Weber and Thomas Hobbes. Lefebvre’s views on space have been used in the interpretation of prison environment. The results indicate that unlike the classical prison poets, Shamlou first discredits the punitive and disciplinary function of the prison by not admitting the charge and considering the punishment illegitimate. Second, the prison environment in Shamlou’s prison poems is a discoursal space in which the poet has tried to use the dialectical capacity of the space by successively escaping to the outside world, emptying the prison of its physical and defined identity as an enclosed space, and portraying it as a required developmental experience in the path to achieve the goal.
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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