Document Type : علمی- پژوهشی
Authors
1 Department of Persian Language and Literature, Faculty of Literature and Humanities, Shahid Madani University, Tabriz, Iran
2 Shahid Madani University. Tabriz. Iran
3 Shahid Madani University, Tabriz, Iran
Abstract
After the literary revolution of Nima, numerous currents were born from Nimai's poetry and it merged with the currents and literary schools of the West and became popular. Following this, many studies and critiques were made about these poetic currents Due to the large number of available resources in the currentology of contemporary poetry Reviewing and comparing them will help us figure out which one is better In this article, we tried to critique these currentologys, and compare each of these books in comparison with each other and in the analytical review of each stream. The results show that the attempts to explain the evolution of contemporary poetry, although very useful, but in some of them there are fundamental drawbacks. Many of the critiques have been mere descriptions of a poetic current and At best, some critics have criticized poetry and interpreted poetic currents. The lack of a clear criterion in the classification of poets in the currents and even the naming of the currents and the lack of a clear time category for the contemporary poetic style, has caused confusion in some divisions.
Highlights
Critical report on the currentologys of contemporary Persian poetry
After the literary revolution of Nima, numerous currents were born from Nimai's poetry and it merged with the currents and literary schools of the West and became popular. Following this, many studies and critiques were made about these poetic currents Due to the large number of available resources in the currentology of contemporary poetry Reviewing and comparing them will help us figure out which one is better In this article, we tried to critique these currentologys, and compare each of these books in comparison with each other and in the analytical review of each stream. The results show that the attempts to explain the evolution of contemporary poetry, although very useful, but in some of them there are fundamental drawbacks. Many of the critiques have been mere descriptions of a poetic current and At best, some critics have criticized poetry and interpreted poetic currents. The lack of a clear criterion in the classification of poets in the currents and even the naming of the currents and the lack of a clear time category for the contemporary poetic style, has caused confusion in some divisions.
Currentology is a specialized writing and someone who criticizes the Currentology of poetry, He is writing for the members of a literary society who have read that work, not for ordinary and non-specialist audiences. Therefore, the literary critic must adhere to the standards of the scientific and research community and also must be aware with critical analysis in a research and specialized field. This is one of the most important challenges in the field of literary research.
The main purpose of this research is to examine the strengths and weaknesses of research books that deal with the topic of currentologys of contemporary Persian poetry. The critics in some books on flow studies have been inclined towards a poetic flow in their criticism in order to belong to a specific Poetic streams, differences in contemporary poetry criticism usually originate from two areas: 1- A poetic stream from the fans who blame critics in the section of principles in the book or work in discussion subjet and they invite him to reread and be more careful in the principles and use them correctly. 2- From the opponents of a school who are fans of another school. The difference of this group is about the correctness and incorrectness of the principles of the opposite group not on the correctness or incorrectness of using the principles and explaining them. When there are different schools, criticism becomes idealistic. Because every critique is basically a search for perfection, accuracy, scholarly evaluation and supply of eternal models, but in this search, he has to challenge many competitors.
By studying the currentologys of contemporary Persian poetry, it is understood that useful efforts have been made in explaining contemporary poetic developments but Most of them have fundamental problems. The first problem that can be seen is the lack of specific standards and criteria in the categorization of poets in currents and their naming, So that there is obvious confusion in some divisions. In addition, most of the currentologys have not had a scientific and academic approach to poetic currents, the title of the book that refers to contemporary but the critic has focused more on the criticism of poetry and the criticism of poets attributed to a certain trend and he has rarely criticized the features of the introduced currents. Many studies in thecurrentology of poetry have been reduced to the extent of a propositional explanation of a flow and in the best case, some critics have commented on poetry and poetic trends that we can refer to critics such as Nouri Alaa, Zarren Koob, Taslimi, hoghoghi, Barahani, Shams Langroudi, Babachahi, Pournamdarian, Yahaghi, Azadbakht, Aminpour, Hasan Lee, Zohre Vand and Shafii Kodkani who have looked at literary works and poetic trends with an interpretive approach of course, most of the interpretations are limited to the interpretation of the poetry of the leading contemporary poets, not the interpretation of poetic currents. But works such as "currents of contemporary Persian poetry" by Hosseinpour Chafi and "BA CHERAGHO AYENE" by Shafii Kodkani, the book "contemporary Iranian literature (poetry)" by Mohammad Reza Rouzbeh and "BANG DAR BANG" by Taheri Chahar It is a work written in the field of contemporary poetry, close to academic critical researches, there are four works written in the currentologyof contemporary poetry, close to academic critical research.
In addition, the main problem of all currentology is the lack of clear time classification for contemporary poetic style and it is not known how long the title "contemporary poetry" will be applied to the poetry of the previous decades and the following centuries therefore, it is necessary to revise this title because the word "contemporary" is a dynamic word that is changing and moving and this word should not be applied to any current.
Some of the currentologys are not comprehensive and some active currents are not mentioned in them. Relying on personal taste as well as partiality and one-sided judgments are other shortcomings of these currentologys. Due to the dynamism and speed of changes in the heart of each of the poetic currents, it is difficult to make a coherent, precise and objective analysis and it is possible analyzes are mostly based on people's taste, personal taste and liking. But it seems that specifying classification criteria and adhering to those criteria in conducting research will help the coherence and uniformity of research on contemporary poetic trends. It seems that if the two criteria of "poetic mentality" and "aesthetic patterns" are taken into consideration at the same time, a more beneficial result will follow.
Sources:
- Akbari manouchehr and Salari Mahtab (2019). Examining language and linguistic techniques in Iran's postmodern GHAZAL. Journal of Literary Criticism and Rhetoric. 8 (1). P.11-39
- Ali abbas abad Yousef (2011). Flowology of contemporary poetry. Tehran: Sokhan press.
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- Bressler, charles E. (2003). Literary criticism: an - introduction to theory and practice. Translated by Hosein Payandeh. Tehran: Niloofar press.
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