Contemporary Poetry of Iran
Abbas Baghinejad
Abstract
Postmodernism after the appearenc and transformation of Western literature has attracted the attention of some contemporary Persian writers and poets. Shams Langroudi is one of these poets. After various linguistic experiences before and after the revolution, Langroudi embarked on a constructivist and ...
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Postmodernism after the appearenc and transformation of Western literature has attracted the attention of some contemporary Persian writers and poets. Shams Langroudi is one of these poets. After various linguistic experiences before and after the revolution, Langroudi embarked on a constructivist and normative language.Influenced by this approach, some co-ordinates appeared in Langroudi's poetry, which resembled the co-ordinates and components of postmodernism. In this essay, features of Langroudi's poetry, which relate to the components of postmodernism and somehow reflect this poet's tendency to postmodernism, have been analyzed and analyzed. One of these components is the "uncertainty" and emphasis on the relative components of the theological elements that Langroudi has used to deconstruct, heterogeneous, and semantic rupture; the other is the "paradox". It has been used as a metaphor for doubt and multiplicity of meaning in Langroodi's poetry; "inconsistency" is another component of postmodernism used in Langroudi's word to create wonder and wonder in the reader and to make him a subjective exploration and challenge. It is taken from other components of postmodernism that appeared in Langroudi's poetry, "suspension."Suspension has been used as a trick to create ambiguity by delaying the transmission of the message and discovering the definitive meaning of the word.
Fiction Literature
fariba rahimi; Naser Alizadeh khayyat; arash moshfegi
Abstract
Abstract Dual oppositions are one of the most important functions of human collective mind. For the first time, Nikolai Trojistov, a phonologist (1890-1938), referred to the term "double contrasts." This issue has been particularly respected by constructivist theorists, and novelists have either asked ...
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Abstract Dual oppositions are one of the most important functions of human collective mind. For the first time, Nikolai Trojistov, a phonologist (1890-1938), referred to the term "double contrasts." This issue has been particularly respected by constructivist theorists, and novelists have either asked for it or used it unwittingly in the narrative structure of their stories. Given the importance of the novel "This street is not accelerating", in the post-revolution literature, this essay attempts, in a descriptive-analytical way based on deconstruction elements, to examine the elements of women in the writings of contemporary literature in this novel. And has come to the conclusion that this modernist novel, in a deconstructive way, seeks to create doubts about the duality of man and woman. The apparent dual opposite of this novel is patriarchal / feminist thinking. For this reason, female characters find that their status and identity are the product of patriarchal imposed social relationships that created men and authority for the male language. The written language of the text is due to the reflection of beliefs, worldviews and emotional affairs, highlighting women's oppression in confrontation with the man, paying attention to the sense of hatred and fear in women, the sense of women's independence in the main character of the novel, protesting the male repressive and responding to With feminist criticism, deconstruction etc., it is an attempt to express contradictions in a patriarchal society .Keywords: women, writing, deconstruction, gender, world Mary
Volume 71, Issue 237 , September 2018, , Pages 21-35
Abstract
MaftoonAmini is an experimentalist poet.Theelementsof his poetryrevealhis desire to make a change andattain new experiences. This tendency has led to some intermittent changes in the structure and language of his poetry and provided the ground for the emergence of exclusive features in his works. In ...
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MaftoonAmini is an experimentalist poet.Theelementsof his poetryrevealhis desire to make a change andattain new experiences. This tendency has led to some intermittent changes in the structure and language of his poetry and provided the ground for the emergence of exclusive features in his works. In this paper, some of the main components of Amini’s poetry, which are mainly based on a diverse linguistic approach and structural changes, have been examined and analyzed in terms of motion, meaning, ambiguity, observation, and narration. The quality of change and its chronological developments have been elaborated on respectively throughout theanalysis. The quality of elaboration, the kinds of emphasis and the establishment of the meaning along with the devices for creating ambiguity and the methods of concealment of meaning have also been analyzed. Furthermore, detailed and tangible descriptions of observable objects as one of the aesthetic elements of Maftoon’s poetry and the possibility of using objects and words in the poetry have been examined. Ultimately, Maftoon’s use of narrative techniquessuch as scene, play, movement, characterization, dialogue, and ... has been analyzed and explained.
Mohammad Mahdipour; Mohammad Khakpour; Khadijeh Pourzeyni
Volume 68, Issue 231 , January 0, , Pages 109-136
Abstract
Qasida as a genre of Persian poetry flourished up to the late 6th century AH, and the 7th century AH marked the beginning of a period of its temporal decline. Inspired by certain social developments, however, this poetic form revived in the Constitutional Period with its authentic, traditional norms. ...
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Qasida as a genre of Persian poetry flourished up to the late 6th century AH, and the 7th century AH marked the beginning of a period of its temporal decline. Inspired by certain social developments, however, this poetic form revived in the Constitutional Period with its authentic, traditional norms. The present work is a structural and thematic analysis of the qasidas by Shahriar. Though Shahriar echoes many of the traditions of the classic Persian poetry, he does not arguably seek to follow the earlier norms and conventions as far as qasida is concerned. Due to his peculiar character, his qasidas employ a soft, lyric language. Though some of his qasidas do hold a candle to the relevant classic works, one should note however that qasida is not the major concern for him as he deems it as a rough poetic form. As with his other poems, the most important feature characterizing Shahriar’s qasidas is factography and expression of true, personal emotional experience. In qasidas with lyrical and emotional themes, this very feature has coupled with innovative fantasy and romantic descriptions to give birth to a new class of qasida unprecedented in the history of Persian literature. Shahriar’s qasidas fall in a wide array of thematic groups, but they can be split into the following categories in terms of the most prevailing purports: 1) panegyric, including Ikhwäniyät (brotherly poems), elegies, and social; 2) religious and monistic; 3) lyric; and 4) those dealing with the Iranian Islamic Revolutio
