Journal of Poetry Studies (boostan Adab)

Leyli's Face in Contemporary Persian Poetry According to the Approach of Myth Analysis

leyla maasoumi naeni; Morteza Hashemi; Mohammadreza Nasr esfahani

Volume 15, Issue 2 , September 2023, , Pages 81-106

https://doi.org/10.22099/jba.2023.46649.4355

Abstract

Knowing mythological characters in general and mythological women in particular in contemporary Persian poetry is a way to know women in contemporary times as well as knowing poetry, ... Read More

Recreating Hafez's poetry in contemporary poetry through defamiliarization

Armineh Kazemi Sangdehi; ahmad goli; naser Alizadeh khayyat,

Volume 14, Issue 3 , November 2022, , Pages 231-266

https://doi.org/10.22099/jba.2022.41610.4115

Abstract

1.Armineh kazemi sangdehi , PhD student of Shahid Madani University of Azerbaijan.2.Ahmad Goli, Professor of Shahid Madani University of Azerbaijan.3.Naser Alizadeh Khayyat, Professor ... Read More 1.Armineh kazemi sangdehi , PhD student of Shahid Madani University of Azerbaijan.2.Ahmad Goli, Professor of Shahid Madani University of Azerbaijan.3.Naser Alizadeh Khayyat, Professor of Shahid Madani University of Azerbaijan. IntroductionDefamiliarization is a literary term of the Russian school of formalism. It was first proposed in 1919 by Viktor Shkolovsky. Formalists believe that de-familiarization is the essence of being literary. This is one of the most important differences between automatic language and poetic language. The artist and the poet have a duty to make comprehension more difficult by de-familiarizing and renewing the meanings of words, thus adding to the audient’s pleasure, literary taste, and surprise. It can be argued that all the strategies that are involved in highlighting a literary text, such as expressive, rhetorical, linguistic features, etc., contribute to artistic de-normalization and de-familiarization. Contemporary poetry, both modern and traditional, has been influenced by Hafez’s thoughts and language. In many cases, the contemporary poet engaged in de-familiarization by highlighting the specific words of Hafez's sonnets. In other ways, the poet uses Hafez’s vocabulary and literary strategies to provide the audience with strange and new poetic arrangements. If we consider the language of Hafez's poetry as a literary language that existed in the mind of the audience familiar with his lyric poems, the changes that have taken place in poetic norm-braking practices of contemporary poetry under the influence of Hafez’s poems can be considered as defamiliarization factors. To this end, the present study focuses on the recreation of Hafez's poetry in contemporary poetry through different types of defamiliarization (lexical, semantic, syntactic, and temporal). Goals, research method, and background This study aimed to investigate the different types of highlighting and defamiliarization of Hafez's lyric poems in contemporary poetry. With a closer look at the Divan of contemporary poets, different manifestations of highlighting in Hafez’s lyric poems can be identified. The application of these norm-braking practices varies in the traditional and modernist currents of contemporary poetry. For example, the traditional poet endorses and comments on Hafez’s lyric poems, while the modern poet highlights the specific peptic style of Hafez for critical purposes and sometimes to express ideas that are contrary to those expressed by Hafez.This study follows a historical and analytical documentary method and adopts an approach to exploring the de-familiarization of Hafez's lyric poems in contemporary poetry. A study of every contemporary poet reveals all kinds of highlights and defamiliarization of Hafez's lyric poems in their poems. Some studies have addressed de-familiarization and norm-breaking practices in contemporary poetry based on Hafez's lyric poems. For instance, Ishani (2019) conducted a study entitled “Norm-braking, a distinct aspect of Hafez's lyric from Emad Faqih's lyric poetry” and compared the norm-breaking practices used in Hafez and Emad Faqih's poetry. Firoozi (2019) examined types of de-familiarization in the poetic work of Mehdi Akhavan Sales. A review of the literature shows that there is no comprehensive study on instances of de-familiarization in contemporary poetry. DiscussionLexical de-familiarization is one of the ways of highlighting linguistic terms whereby the poet uses norm-breaking practices to coin new words. De-familiarization involves the creation of a new word and enriches poetic words. In lexical defamiliarization, the contemporary traditional poet skillfully borrows special words from Hafez verses and creates new compound words and derivations using collocations and affixation, promoting the linguistic emphasis of their poetic expressions. Besides, lexical differences in modernist movements have helped poets to separate semantic and practical aspects of Hafez’s poetic words and create novel words and expressions through de-familiarization. The poet separates the words of Khajeh's divan from its semantic burden and everyday use and transforms them into a novel and new combination by making them strange. Norm-breaking practices in the imaginary forms of poetry de-familiarize the meaning of poetic words. The modern poet looks at Hafez's lyric poems from an unconventional point of view to come up with an unfamiliar meaning. The poet also breaks conventional concepts of imaginary forms, judges them from a different perspective, and creates poetic prominence by creating new meanings in poetry. The contemporary traditional poet uses poetic techniques such as metaphor and irony as the predominant aspects of Hafez's sonnets to highlight and de-familiarize instances of Hafez's lyric poems.In the poet's syntactic de-familiarization, the poet uses poetic elements and dismisses syntactic rules of normative language. As a result, poetry transcends the syntactic rules of normative language by shifting the constituent elements of the sentence, thus leading to de-familiarization.One of the poetic strategies used by the contemporary poet for de-familiarizing Hafez's sonnets is the employment of syntactic changes and the use of ancient words (lexical and syntactic archeology). Temporal deviation (archaism) is the use of words that were common in the past but are not common in the modern language. The use of old and archaic words in modern poetry gives prominence to the poetic language and, if used correctly, can lead to de-familiarization. Contemporary traditional poets have used mythical words, words related to the history and culture of the past, verbs or derivatives of verbs with ancient prefixes, etc. from Hafez's lyric poems to highlight and de-familiarize poetic norms. Syntactic archeology uses the syntactic structure of the past in sentence components or prepositions, and this promotes the archaic atmosphere of the poetry. Contemporary poets have used syntactic archeology, trying to deviate from the norm of Hafez's lyric poems and promoting the linguistic prominence of the poems.ConclusionA review of the literature shows that all kinds of de-familiarization of Hafez's lyric poems have been used in contemporary poetry. But these highlighting practices vary in traditional and modern poetry. For example, the traditional poet endorses and comments on Hafez’s lyric poems, while the modern poet highlights the specific peptic style of Hafez for critical purposes and sometimes to express ideas that are contrary to those expressed by Hafez. However, by borrowing from Hafez's poems and de-familiarization, the contemporary poet has not only enriched his poetry aesthetically, but by creating special poetic arrangements, he has added many lexical items to the contemporary poetry. In general, norm-breaking practices are widely used in contemporary poetry. All these emphases and de-familiarization have been used in the service of poetry and for expressive purposes. In this article, it was not possible to describe and address all of them. However, it should be noted that semantic de-normalization has the highest frequency in contemporary poetry and its norm-breaking practices can be significantly found in simile, metaphor, irony, and illustration. Keywords: Contemporary Poetry; Defamiliarization; Hafiz; Russian formalism. ReferencesAhmadi, Babak (2014). Text structure and interpretation, Tehran: Markaz.Akhavan-Sales, Mehdi (2018). Arganon, poetry collection, Tehran: Morvarid.---------------- (2018). I love you, ancient Boom, Tehran: Pearl.---------------- (2011). Three books: In the small yard of autumn in prison ..., Tehran: Winter.Alavi Moghadam, Mahyar (2002). Theories of Contemporary Literary Criticism, First Edition, Tehran: Samat.Alipour, Mostafa (2008) The Structure of Today's Poetry Language, Tehran: Ferdows.Aminpour, Qaisar (2009). Complete collection of poems, Tehran: Morvarid.Bahmani, Mohammad Ali (2010). Collection of poems, Tehran: Negah.Behbahani, Simin (2009). Collection of poems, Tehran: Negah.Etesami, Parvin (1998). Poetry Divan, by Hassan Ahmadi Givi, Tehran: Qatreh.Firoozi, Hossein, Hassanzadeh, Shahriaro ... (2019) "Study of various types of de-familiarization in the works of Mehdi Akhavan Sales" Journal of Literary Research, Volume 23, Number 79, pp. 159-189.Fomani, Shivan (1994). A flying sky, Rasht: Author.Hafiz, Shamsuddin (2011). Divan of Khajeh Shamsuddin Mohammad Hafez Shirazi by Mohammad Qazvini and Dr. Qasem Ghani, Tehran: Zavar.Isfahani, Jaleh (2005). Collected Poems. Tehran: Negah.Kazazi, Mir Jalaluddin (1989) Aesthetics of Persian speech (expression), Tehran: Markaz.Makarik, Irnarima (2004). Encyclopedia of Contemporary Literary Theories, translated by Mehran Mohajer and Mohammad Nabavi, Tehran: Ad.Moayeri, Rahi (2011). Collection of poems, Tehran: Negah.Moshiri, Fereydoun (2001). Reflection of Sobhidman Nafs: General Poems of Fereydoon Moshiri, Tehran: Cheshmeh.Monzavi, Hussein (2009). A collection of poems by Hossein Fathi, Tehran: Negah.Mossadegh, Hamid (2010). Collection of poems, Tehran: Negah.Naderpour, Nader (2020). Collection of poems, Tehran: Negah.Rahmani, Nusrat (2020). Collection of poems, Tehran: Negah.Royaee, Yadollah (2008). Collection of poems, Tehran: Negah.Shafiee Kadkani, Mohammad Reza (1997a). A Mirror for Sounds: Seven Poetry Books, Tehran: Sokhan.---------------- (1997 b). The second millennium of mountain deer: five poetry books, Tehran: Sokhan.---------------- (2012). The Resurrection of Words: Discourses on the Literary Theory of Russian Formalists, Tehran: Sokhan.---------------- (1989). Poetry Music, Tehran: Agah.Safavid, Cyrus (2004). From Linguistics to Literature, Tehran: Surah Mehr.Salehi, Seyed Ali (2006). Collection of poems (Book 1), Tehran: Negah.Shamisa, Sirus (2006). Literary Criticism, Tehran: Mitra.---------------- (2008). Eloquence, Tehran: Mitra.Shamloo, Ahmad (2010). Collection of poems, Tehran: Negah.Soheili, Mehdi (1993). The first sorrow and the last look: poetry collection, Tehran: Sanaei.---------------- (1989). What can I do, my heart is not made of stone: a collection of poems. Tehran: Poopak.---------------- (1992). A Thousand Clusters of Agate: A Collection of Poems. Tehran: Poopak.Sujudi, Farzan (1999). "An Introduction to Semiotics in Persian Poetry", Farhang Tose'e, No. 39-40-41, pp. 135-140.Vahidian Kamkar, Taghi (2004). Innovative from an aesthetic point of view, Tehran: Samt.

Sentimentalism and Persian Modern Poetry(Objective Study; Sohrab Sepehri and Fakhreddin Mazarei)

Azade Fadakar; mohammad hakimazar; Asghar Dadbeh

Volume 14, Issue 1 , May 2022, , Pages 285-312

https://doi.org/10.22099/jba.2021.14151.4036

Abstract

Sentimentalism and Persian Modern Poetry(Objective Study; Sohrab Sepehri and Fakhreddin Mazarei)Azadeh FadakarPhD Student, Department of Persian Language and Literature, Kashan Branch, ... Read More Sentimentalism and Persian Modern Poetry(Objective Study; Sohrab Sepehri and Fakhreddin Mazarei)Azadeh FadakarPhD Student, Department of Persian Language and Literature, Kashan Branch, Islamic Azad University, Kashan, IranMohammad HakimAzarAssociate Professor, Department of Persian Language and Literature, Shahrekord Branch, Islamic Azad University, Shahrekord, IranAsghar DadbehProfessor, Department of Persian Language and Literature, Kashan Branch, Islamic Azad University, Kashan, Iran; Retired professor of Allameh Tabatabai University of Tehran IntroductionSentimentalism is an intellectual-philosophical school that emerged in the first half of the eighteenth century. The ineffective reliance of rationalist philosophers on the originality of reason and deliberate disobedience led to the emotional movement of the human soul, so that a literature emerged at the time that used the reader for sensitivity, compassion, and empathy on a large scale and abandoned the rule of reason. The purpose of it in literary texts, plays and other types of art has been to revive the natural sense of man, his moral development and to achieve sublime art. The great product of this kind of philosophical view of the world has been the sentimental novel and the sentimental comedy. In sentimental comedy, the emphasis was on the misery of the middle class, thus increasing the audience's sympathy. The writers of this type of comedy brought tears to the eyes of the spectators by showing the suffering of the good people, but in the end, they confirmed everything with the victory of good over evil. The sentimental literature, often based on the teachings of Jean-Jacques Rousseau, was designed to influence the school of European Romanticism and to bring a sense of empathy.MethodsThe approach of this article is descriptive-analytical; by examining two collections of poems by Sohrab Sepehri and Fakhreddin Mazarei, prominent examples and prominent pieces of poetry that have dealt with emotions and the expression of emotions will be extracted and analyzed and analyzed by adapting them to the theoretical framework of the research. Obviously, the brief scope of the article does not allow all the sentimentalist contexts of Sepehri and Mazarei poetry to be compared, but this comparison is made by selecting the famous poems of two poets so that both rulings can be issued as correctly as possible about both rulings. The contemporaneity of these two poets, their almost equal lifespan, the coincidence of their artistic activity with the most important events in contemporary Iranian history, the adoption of a particular language, the secularism of both poets, and the emotional concentration of their poetry led us to compare them. Sentimentalism has not been studied in Persian literature so far. Scattered articles in the field of other arts such as cinema have been written with a half-hearted approach and a very brief look at the principles of sentimentalism, almost none of which is relevant to this field of study.DiscussionSohrab Sepehri and Fakhreddin Mazarei are both poets who historically belong to the same period. One chose free poetry and went to Nima, and the other remained faithful to the old styles and formats, but chose a relatively new language to compose. One was a painter and in his conduct he chose the experience of Buddhist mysticism and Indian mysticism and the teachings of Zen, the other was a university professor and gained experience and expertise in English literature. Sepehri and Mazarei lived equally; One lived for 52 years, the other for 50 years. Both lived single. Both died of disease and, in a sense, had a "sensitive state." Both were young at the time of the socio-political events in Iran, and both were experts in their field. Both have different languages and both can be considered masters of style. The Iranian literary community is less familiar with Fakhreddin Mazarei. With the help of an introduction written by Asghar Dadbeh, the compiler of a collection of farm poems, on the book of Arezoo anthem, this unfamiliar poet was introduced. Mazarei was born in 1315 in a literary and scholarly family in Shiraz, and finally died in 1986 due to a heart attack in the United States. Sohrab Sepehri was born in 1307 in Kashan and died of cancer in 1980. The overlap of the lives of these two poets and their placement in the most inflamed period of contemporary Iranian history (from 1320 to the Islamic Revolution) and the acquisition of both in a specific language led to a comparative study of poetic sentimentality of both and a report on the literary situation of both Be lost.Conclusion After comparing these two poets, the following results were obtained;Sepehri's poetry, in terms of superficial emotions, focuses on the emotion of happiness and positivity.Mazarei's poem depicts a dark world and it has a lot of emotion and anger.Mazarei's poem should be considered as black sentimental.In Sepehri's poetry, the poet's language is very close to the language of the people, and this has caused the intimacy of his poetry.In Mazarei's poetry, the insistence on new and epic compositions has caused the poet's language to be far from the language of ordinary people.Sepehri's poem is a delicate poem and there is a lot of dealing with nature, so his poem sometimes approaches prayers. Sepehri is a poet who praises life, but at the same time he seeks another world beyond this world.Mazarei's poem is a sign of the poet's loneliness and isolation. His most delicate poem is mother's poem.The poetry of Sepehri and Mazarei are both full of emotion, but one side is happy and the other is sad. Therefore, the reason why Mazarei remains unfamiliar to the Persian-speaking audience can be sadness of the poet. Keywords: Sohrab Sepehri, Fakhreddin Mazarei, sentimentalism, poetic emotion, contemporary poetry References AHMADI, BABAK (2001). TEXT STRUCTURE AND INTERPRETATION. Markaz. Tehran.ANOUSHEH, HASSAN (1997). PERSIAN LITERARY DICTIONARY, ENCYCLOPEDIA OF PERSIAN LITERATURE 2. Tehran: Printing and Publishing Organization of the Ministry of Culture and Islamic Guidance.Braheni, Reza (1999). Gold in copper. Tehran: Zaryab.POURNAMDARIAN, TAQI. 1995. TRAVEL IN FOG. Tehran: Winter.TASLIMI, ALI (2017). APPLIED CRITICAL RESEARCH IN LITERARY SCHOOLS. Tehran: Ameh Book.HOGOOGHI, MUHAMMAD (1989). POETRY AND POETS, Tehran: Negah.KHAZAIL, HASSAN (2005). WORLD LITERATURE CULTURE. Tehran: Cottage.DAD, SIMA (2004). DICTIONARY OF LITERARY TERMS. Tehran: Morvarid.REZANEJAD, GHOLAM HOSSEIN (1988). PRINCIPLES OF RHETORIC. Tehran, Al-Zahra. RICHARDS, IA. (1996). PRINCIPLES OF LITERARY CRITICISM. Translated by Saeed Hamidian. Tehran: Scientific and cultural.REED, HERBERT (1975). THE MEANING OF ART. Translated by Najaf Daryabandari. Tehran: Pocket Books Company.SEPEHRI, SOHRAB (2010). HASHT KETAB. Tehran: Tahoori.SEYED HOSSEINI, REZA (1992). LITERARY SCHOOLS. Tehran: Negah.SHABAHANG, BITA (2006). SENTIMENTALISM, RHETORIC AND LEARNING. In Haft Magazine. No. 35. pp. 71-70SHAFIEE KADKANI, MOHAMMAD REZA (2011). WITH LIGHTS AND MIRRORS, IN SEARCH OF THE ROOTS OF THE EVOLUTION OF CONTEMPORARY IRANIAN POETRY. Tehran: Sokhan.SHAMS QAIS RAZI (1959). ALMU’JAM FI MA’AIRE ASH’AREL AJAM. Edited by Mohammad Qazvini. Tehran: University of Tehran Press.FRYE, NORTHROP (1998). CRITICAL ANALYSIS. Translated by Saleh Hosseini. Tehran: Niloufar.QASEMNEJAD, ALI (1997) THE ENTRY OF "POPULAR LITERATURE" in the Persian literary dictionary, under the supervision of Hassan Anousheh. Tehran:: Printing and Publishing Organization of the Ministry of Culture and Islamic Guidance.COLOR, JONATHAN (2006). LITERARY THEORY. Translated by Farzaneh Taheri. Centeral Tehran.KUSH, SELENA (2017). PRINCIPLES AND FOUNDATIONS OF LITERARY TEXTS ANALYSIS, translated by Hossein Payendeh, Tehran: Morvarid.MAZAREI, FAKHREDDIN (1989). WISH ANTHEM. By the effort of Asghar Dadbeh. Tehran: Pajeng.MORAN, BORNA (2010). THEORIES OF LITERATURE AND CRITICISM. Translated by Nasser Davaran. Tehran: Negah.NEZAMI AROOZI, AHMAD IBN OMAR (2002). CHAHAR MAGHALEH. Corrected by Mohammad Moin, Tehran: Zawar.NIMA YOSHIJ (1989). THE VALUE OF EMOTIONS AND FIVE ARTICLES IN POETRY AND DRAMA. West Germany: Navid.WELK, RENÉ (1998). NEW REVIEW DATE. Translated by Saeed Arbab Shirani. Tehran: NiloufarHALGIN, RICHARD P. (2019). PSYCHOPATHOLOGY; CLINICAL PERSPECTIVES ON MENTAL DISORDERS. Translated by Yahya Seyed Mohammadi. Seventh edition. Tehran: Ravan Publishing.YOUSEFI, GHOLAM HOSSEIN (1990). BRIGHT SPRING. Tehran: Scientific.BEDELL, R. (2011). WHAT IS SENTIMENTAL ART? American Art, 25(3), 9-12. Doi:10.1086/663949DOBSON, JOANNE. "RECLAIMING SENTIMENTAL LITERATURE", American Literature, Vol 69. No.2 (June, 1997). Pp 263-288EPSTEIN-CORBIN, S. (2017). "THE SENTIMENT OF RATIONALITY": WILLIAM JAMES AND THE SENTIMENTAL TRADITION. William James Studies, 13(1), 27-48. Retrieved April 26, 2021, from https://www.jstor.org/stable/26203814HOWARD, JUNE. "WHAT IS SENTIMENTALITY" American History Literary. Vol. 11, No. 1, (Spring 1999), pp. 63-81 (19 pages), published By: Oxford University Press.KAUPPINEN, ANTTI. "MORAL SENTIMENTALISM", The Stanford Encyclopedia of Philosophy (winter 2018 Edition), Edward N. Zalta (ed.), URL = .

The Analysis of tension square in sign- semantics approach of satire in a poem by Abolqasem Halat

Mohammadamin Ehsani Estahbanati; enayatollah sharifpour; mohammad reza sarfi

Volume 13, Issue 1 , June 2021, , Pages 29-46

https://doi.org/10.22099/jba.2020.35082.3552

Abstract

IntroductionAbolqasem Halat (1919 – 1992) was one of the most hardworking and well known political satirist in contemporary era. He was at the top of his field considering diversity ... Read More IntroductionAbolqasem Halat (1919 – 1992) was one of the most hardworking and well known political satirist in contemporary era. He was at the top of his field considering diversity and multiplicity of his poems. Between his poetic works three exclusively satiric books named "Abol-eynak", "Shookh" and "bantam" were published in the time of Pahlavi dynasty. In these books, Halat portrayed the political and social corruption of his own era with a critical view and in a plain and sarcastic tone.In semantic square, discursive linguists use the term "state" which describes a situation that an agent is in, or the link between an agent and an object or emotional form. For example, if we say "Ali is sad", here "Ali" is the state agent, because we are telling about a state which he is in.Because of the wide array of satire and comedy in Persian language, we have to limit our observation to one poem from the book "bantam" by Abolqasem Halat. Research method, review and goalThe present study was written in descriptive-analytic form using data analysis as a tool for library research based on semio-semantics. In discursive analysis of satire in Abolqasem Halat's works, we tried to avoid individual signifiers, macro-signifiers and micro-signifiers or a set of signifiers in order to reach behind signs where a relation between them and a discursive reading of them can be found. Results show that the poet changes terms of discourse and produces a stream of meanings by transitioning from semantic square to tension square.Discursive semio-semantic approach is a new development in the field of semio-semantics, highlighted in the recent years by linguists such as Greimas, Fantoni, Courtes and others. In Iran, Hamidreza Shaeiri have been pioneering this area and have published two books and a number of research papers in introduction of the theory of discursive semantics and its various aspects including "discursive semo-semantic analysis" (2002) and "an approach to semio-semantics" (2009). DiscussionSemio-semantics is based on emotional cognition. Greimas defines emotional cognition in his book "the imperfection" (1987) as the result of an escape from reality. Meaning that confrontation with one thing causes the reality of that thing to hide behind a curtain and this creates a diverted –not real- meaning.Semio-semantics insists that discourse is a process that causes diversion of meaning and defines a new application for narrative. When we use the term "Semiotics" or "Semiology" without any prefixes or suffixes, we refer to the science of studying, identifying and classifying signifiers and finally placing the signified next to them. Also, "Semantics" alone means finding small and big units of meaning and examining its implications. But "Semio-Semantics" or "Semantics" refers to the process in which both signifiers and their implicated meanings are examined. In this approach, by placing the signifier in a system of processes (or discourse), meaning is acquired. A meaning that is not fixed and static. Greimas invented the concept of semiotic square (Shaeiri and vafaei 2009: 127). According to Joseph Courtes, semantic square is a visual and clear representation of a semantic element (ibid: 126). What makes this representation possible is an extensive study of processes of linguistic dynamics. Semantic square is based on "conceptual" connection and in semantics, concepts are two words in a contradictory relation. According to Greimas, if two words are in a contradictory relation, then presence of one is followed by the presence of other and also, absence of one is followed by the absence of other.In the structure of satire, subject is not initially moving on its predetermined path but is facing a chaotic world in which meanings are attributed to it and in this path towards object, abnormalities of social, political and cultural life in its surroundings create dynamic and ever-changing meanings in the narrative. In the satiric narrative, a predetermined element (like a change in economic or cultural situation) is introduced to the routine everyday life of the subject's action and creates the semantic signifier of "laughter" in the narrative structure. ConclusionSatiric discourse in Halat's poems creates an "open semantic system". Occurrence of meaning which is criticism of modern human is not stopped and finished but is dynamic and changing and causes the poem not to be merely a place of semantic analysis but be the subject of another analysis which is "repulsion of human abnormalities". In this poem, cognitive aspect of satire is one of "state": a cognition that determines the conditions of reader's appearance in front of the subject and portrays reader's relationship with modern world in a critical and satiric way.Halat, as a wordsmith, sensitizes the reader through discourse to his own values so that he could pave the way for the reader's persuasion. Applying the theory of semantic square to the poem, earth as a signifier of destruction with full glory and influence is placed in contradiction to moon in all the discursive units and elements. In another word, in a single semantic whole, we have units which are in front of each other in a binary way and create meaning in the semantic process of tension square (not semantic square). The contradictory relation between the general and the particular consists of: Agent (modern human) and poet as the social reformer, earth and moon, peace and destruction.Keywords: Semantic square, satire, Abolqasem Halat, Sign-semantics, contemporary poetry. References:A. books:1. Abrams, Meyer Howard (1957), A glossary of literary terms2. Pollard, Arthur (1970), Satire3. Chandler, Daniel (2001) Semiotics, The basics4. Halat, Abolqasem (1983), bantam5. Shaeiri, Hamidreza (2002), basics of modern semantics6. Shaeiri, Hamidreza & Vafaei, Tarane (2009), an approach to semio-semantics7. Fatoohiroodmajani, Mahmood (2011), Stylistics of theories, approaches and methods8. Greimas, A.g (1987), The imperfectionGreimas, A.g and courtes (1993), semiotique. Dictiomnaire raisonne de latheorie du lanyage paris: Hachette9. Lunacharsky, Anatoly (1965), On literature and art B. Articles:1. Abbasi, Ali & Yavarmand, Haniye (2011) Transition from the Semantic Square to Tension Square in the Case Study of "Mahi Siahe Kocholo"

The fusion of metaphor with paradox in contemporary poetry

Abdul Hamid Sadeghpour; jalil nazari; Mohammad Reza Masoumi

Volume 13, Issue 1 , June 2021, , Pages 205-224

https://doi.org/10.22099/jba.2019.34768.3515

Abstract

2.IntroductionImages of poetry that can be considered wider than fantasy; It is always one of the most fundamental elements of poetry. An artist is someone who thinks about a picture, ... Read More 2.IntroductionImages of poetry that can be considered wider than fantasy; It is always one of the most fundamental elements of poetry. An artist is someone who thinks about a picture, Sees a picture and expresses a picture. He with pictures that from the world around yourself in poetry Offers, To poetry novelty and gives strangeness and do a lot of mental things to wathc lays. One of these images that poets use a lot, metaphorical images that the contemporary poets try up to it with other mental images seasoning to capture and charm find more. Contemporary poets in some of their metaphorical images, It is the most efficient and artistic tool with imagination The images are paradoxical. This playfulness and fusion of metaphor with paradox In addition to adding complexity, ambiguity and secrecy to the word, It also shows the poet's high knowledge of poetic images and the maturity of her imagination. Just as the attractiveness of a painting depends not only on the painting techniques but also on the artistic application and proper combination of colors; The greater attractiveness of poetic images also depends on the combination of images with each other.3. Research method, background and purposeThe authors try to use descriptive-analytical methods to make the reader more familiar with the aesthetics of metaphorical images and the combination of these images with the literary and artistic trick of paradox help. Just as understanding metaphor is inferring and experiencing something based on something else It is a matter of concept and thought that relates to the mind and Understanding and receiving it is complex and ambiguous. There are ambiguities in every paradox that can be done with Further curiosity and mental effort received the truth beyond the appearance of contradictory speech. By presenting evidence and examples from contemporary poets, the author tries to acquaint the reader with these metaphorical contradictions or paradoxical metaphors and help him face unexpected metaphorical challenges and complex anomalies that are contrary to custom and rule in this way, to draw the audience's literary and artistic attention and pleasure to complex metaphorical images.Much research has been done in the field of poetic imagery, both in general and in particular. In general, Mohammad Reza Shafiei Kadkani (1987) in the book Images of Imagination in Persian Poetry, Reza Braheni (1992) in the book Gold in Copper, Kavous Hassanli (2012) in the book Types of Innovation in Contemporary Iranian Poetry, Mohammad Fotouhi Rudmajani (2007) In the book of picture rhetoric.4. DiscussionPoetry is due to new combinations of innovative ideas and metaphorical processes that can both nurture the imagination and make the word stand out. Contemporary poets in the field of using metaphorical language have each resorted to various tricks to confront the reader's mind with unexpected challenges; One of the challenging images that has complicated the visual network of words in contemporary poetry is the fusion of metaphorical images with paradox. The findings of this study show what role these metaphorical contradictions play in stimulating the reader's mind to think and question. By descriptive-analytical method, the author has reached the conclusion by mentioning examples of contemporary poets that first, by what tricks have contemporary poets mixed metaphorical images with paradox? Second, what was their motivation and purpose in bringing these two images together? The author also tries to make the reader more aware of this literary technique in modern metaphorical illustrations of contemporary poetry and to fill his mind with the most technical artistic highlighting, which is to combine the most artistic tool of imagination (metaphor) with the most ambiguous poetic image (paradox).In this article, the authors try to answer the questions of why contemporary poets try to mix metaphorical images with paradox by providing evidence from some contemporary poets, and what is their purpose by bringing this complex anomaly? The authors also answer the question of how and in what ways they combine the most efficient tool of imagination (metaphor) with the most complex poetic image (paradox)? For example, one group mixed paradox with Meccan metaphors and another group with explicit metaphors, another group was interested in combining these two images in descriptive combinations, and other poets were interested in this mixture in additional combinations. ...Contemporary poets have exhibited innovative and modern art in order to complicate poetic images as well as verbal concealments due to political and social aversions in creating metaphorical images. Knowing these aesthetic tricks and tricks will help us to understand more precisely the beauties hidden in metaphorical images.The fusion of metaphor with paradox, in addition to making the audience more curious to receive the truth that is beyond the appearance of the word; It also leads to more contemplation, thoughtfulness and a sense of pleasure for the reader, and makes the story more lasting in his mind.5. ConclusionIn a comprehensive look at the collection of poems of contemporary poets, it can be concluded that contemporary poets, for their literary movements and art to convey different concepts and themes in the field of using metaphorical language, have each resorted to various techniques to understand Postpone the poem for a moment and confront the audience with unexpected challenges in the face of metaphorical images. Contemporary poets have resorted to the fusion of metaphor with paradox, both in order to promote the literary, artistic, and spiritual aspects of poetry, and for the purpose of political and social considerations and inevitability, concealment, and avoidance of direct and simple expression. These modern metaphorical images, mixed with paradox, show the contemporary poets' high knowledge of poetic images and the maturity of their imagination. In this article, the authors have tried to introduce their audience by combining the most efficient and artistic tools of imagination (metaphor) with the most ambiguous and complex poetic image (Pardacus) by mentioning various evidences and familiarizing their minds with various artistic highlighting techniques and tricks. In modern metaphorical illustrations, make it more productive to provide suitable grounds for further discussions in the field of imagination.6.KeywordsFusion, Metaphor, Paradox, Imagination, Contemporary poetry7.ResourcesAhmadi, Ahmad Reza, (2008), All My Poems, Volume 1, Tehran: Cheshmeh.___________________,(2018), Summer and Sorrow, Tehran: Cheshmeh.Akhavan Saless, Mehdi, (1991), the end of Shahnameh, Tehran: Morvarid.____________________, (1991), from this Avesta, Tehran: Morvarid.____________________, (1991), I love you, ancient canvas, Tehran: Morvarid.Aminpour, Qaisar, (2017), complete collection of poems, Tehran: Morvarid.Braheni, Reza, (1992), Gold in Copper, Tehran: Book of Time.Behbahani, Simin, (2016), Simin Behbahani Poetry Collection, Tehran: Negah.Biddle, Abdolqader, (2010), Divan, by Akbar Behdarvand, Tehran: Negah.Tehrani, Shapoor, (2003), Divan, edited and researched by Yahya Kardgar, Tehran: Islamic Consultative Assembly.Hasanli, Kavous, (2012), Types of Innovation in Contemporary Iranian Poetry, Tehran: Saless.Hoghoghi, Mohammad, (2017), Poetry of Time (2), Mehdi Akhavan Sales, Tehran: Negah.Dad, Sima, (2008), Dictionary of Literary Terms, Tehran: Morvarid.Ditches, David, (1991), Literary Criticism Methods, translated by Mohammad Taghi Sadeghiani et al., Tehran, Elmi.Rastgoo, Seyed Mohammad, (1989), Khalaf Amad, Kayhan Farhangi, Volume 6, Number 9, Pages 29-31.Rahmani, Nosrat, (2017), a collection of poems by Nosrat Rahmani, Tehran: Negah.Royaei, Yadollah, (2011), Yadollah Royaei Poetry Collection, Tehran: Negah.Zarrinkoob, Hamid, (1988), collection of articles, Tehran: Elmi and Moeen.Zarrinkoob, Abdolhossein, (1985), Poetry without a mask, Poetry without a lie, Tehran: Mohammad Ali Elmi.Sepehri, Sohrab, (2016), eight books, Divan Kamel, Qom: Qom WritersSelajgeh, Parvin, (2016), Critique of Contemporary Poetry by Amirzadeh Kashiha, Ahmad Shamloo, Tehran: Morvarid.Shamloo, Ahmad, (2013), Shamloo Poetry Collection, First Office, Tehran: Negah.Shafiee Kadkani, Mohammad Reza, (1987), Images of Imagination in Persian Poetry, Tehran: Agah.Shamisa, Sirus, (2013), Bayan, Tehran: MitraFotoohi Rudmajani, Mahmoud, (2007), Picture Rhetoric, Tehran: Sokhan.Farrokhzad, Forough, (2004), Divan, by Bahman Khalifa Banarvani, Tehran: Talaieh.Motaghedi, Mahmoud, (2016), The Spread of Poetry Today, Tehran: Sales.Naderpour, Nader, (2003), Naderpro collection of poems, Tehran: Negah.Hawks, Trance, (2016), Metaphor, translated by Taheri, Tehran: Markaz.Herati, Soleiman, (1988), Door to the House of the Sun (Salman Herati Poetry Collection), Tehran: Islamic Republic of Iran Radio and Television.Herati, Soleiman, (1989), From the Green Sky (Salman Herati), Tehran: Islamic Propaganda Organization Art Center.

Archetype of Martyred God: The Mythical Image of Mirza-ye Jangali’s Revolt in the Poetry of Guilani Poets

negin Binazir

Volume 10, Issue 4 , February 2019, , Pages 23-42

https://doi.org/10.22099/jba.2018.26967.2811

Abstract

Abstract The present study analyzes the image of Mirza’s revolt and his character in the poetry of Guilani poets focusing on fertility myth and the ... Read More

An ideational metafunction processes analysis of the poem "the one who is not like anyone" by Forough Farokhzad based on Halliday's systemic functional theory

Volume 9, Issue 2 , September 2017, , Pages 97-120

https://doi.org/10.22099/jba.2017.3953

Abstract

Hallliday's systemic functional theory is a social look at language which is interwoven with three metafunctional processes. The present paper is an analysis of the role of different ... Read More

Investigating Color Style Prospects in Hosein Monzavi Poems and Comparing Them with Persian Literature Tradition

mohamad moradi

Volume 8, Issue 3 , July 2016, , Pages 139-166

https://doi.org/10.22099/jba.2016.3567

Abstract

Color is one of the main elements of image construction and an important one in poetry. Successful poets have used color to achieve a personal style in image-construction and to suggest ... Read More

study of title of poetry in traditional and contemporary poetry

mahdi dehrami

Volume 7, Issue 3 , December 2015, , Pages 19-37

https://doi.org/10.22099/jba.2015.3055

Abstract

The title of a poem is its ID and plays a significant role in its interpretation, and is thus considered to be of primary importance by critics and other commentators alike. The objective ... Read More

Prophets' anecdotes in Old Testament and it's reflection in Monzavi's poems

maryam haghi

Volume 7, Issue 2 , August 2015, , Pages 157-180

https://doi.org/10.22099/jba.2015.2579

Abstract

Hossein Monzavi (1325-1383) is one of the greatest contemporary lyricists who pay many attentions to different kind of allusion and allusion is one of the most important characteristics ... Read More

Study of social symbolism of the Poetry Mehdi Akhavan Sales based on 28 Mordar 1332

Farshad Moradi

Volume 6, Issue 1 , June 2014, , Pages 55-70

https://doi.org/10.22099/jba.2014.1838

Abstract

The coup d'état of the 28th of Mordad 1332 is the most influential contemporary historical event which has had a great influence on language and minds of the poets. The contemporary ... Read More

Dialectics of Form and Content in Akhavan Sales’ “Zemestan”

Volume 4, Issue 2 , January 0, , Pages 77-98

https://doi.org/10.22099/jba.2012.459

Abstract

Khosravi Shakib* Javadinia** Lorestan Univeristy Abstract Nima’s literary theory as an independent style attracted many followers. Akhavan Sales is one ... Read More

Volume 16 (2024)

Volume 15 (2023)

Volume 14 (2022)

Volume 13 (2021)

Volume 12 (2020)

Volume 11 (2019)

Volume 10 (2018)

Volume 9 (2017)

Volume 8 (2016)

Volume 7 (2015)

Volume 6 (2014)

Volume 5 (2013)

Volume 4 (2012)

Volume 3 (2011)

Volume 2 (2010)

Volume 1 (2009)

Keywords = contemporary poetry

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract