جستجوی مقالات مرتبط با کلیدواژه « شعر مدرن » در نشریات گروه « ادبیات و زبان ها »

William Carlos Williams’s poetry is known for the vividness of its imagery and the minimalism of its form. But what Williams achieves within just a few lines is nothing short of magic. The intimate bond he makes with his seemingly insignificant surrounding world gives an air of sublimity to his poems. The sense of indefinable awe that pervades Williams’s poetry, however, does not stem from a grand and boundless source. Williams finds an almost transcendent aura in the most familiar, mundane, and homely moments of everyday life. This quality of finding the extraordinary in the ordinary has been called the ‘trivial sublime.’ Drawing on theories of the sublime, as well as those of romantic transcendentalism and the genre of haiku, this paper attempts to examine the modality of such sublimity in the poetry of Williams. Such theories will include Edmund Burke's and Immanuel Kant's notions of sublime as well as the theoretical issues proposed by Williams himself.

Criticisms written over the last fifty years on Sohrab Sepehri’s (1928-1980) poetry, are either criticisms that basically intended to disparage modern poetry, or criticisms that intended to examine and evaluate his poetry. The critiques of the first group ended where modern poetry in Iran was prevalent enough and got acceptability. The second type of critiques is divided into two categories: 1) Theory-based critiques, 2) Non-theory-based critiques. Non-theory-based critiques often discuss lack of commitment in Sepehri’s poetry, poetry of sepehri as crossword puzzle, and lack of coherence in his poetry. On other hand, theory-based critiques are methodological attempts to express the implicit meanings of Sepehri’s poems. The disadvantage of this type of critique is related to the principles and assumptions of the theory on which these critiques are based. As Spehri is one of the leading contemporary poets and various and sometimes contradictory evaluations have been made about his poetry, this study was conducted analytically-descriptively in order to examine these criticisms of Sepehri’s poetry.

One of the key elements of Persian poetry, from the beginning to the blank verse period, has been the 'meaning' element. Persian poets, over hundreds of centuries, from Dary Persian language in the reign of Taherians to the modern Persian era, beside the construction of poems, have always considered the content of their poems in a way that a change in meaning would only be limited to the enunciation and the expressing language.
With modern poetry in Persian prose in the thirties ‘meaning’ perception becomes vague, and takes the poetry to the point of meaninglessness. This new version of 'meaning' of postmodern poetry composition requires a new interpretation, and with the outstanding of this prose form, a new theory as "lack of self –referent" poetry appears to exist as the external elements in which, instead of paying attention to the meaning of prose to convey the message, the implementation of poem becomes important and preferable.
This theory attempts just extras in the poetry performance and leads single meaning to the multiplicity of meaning, which is only perceived and received by the reader , and the poet has the lowest share in that.Therefore, each time, the reader, by reading the poem, can achieve to and get a new and a different understanding –a feature which is known as "the death of the author/ poet " and which is ofcourse borrowed from the European postmodern poetry.

This study is critically engaged to compare and contrast T. S. Eliot’s poem، “The Waste Land”، with its corresponding Persian translations in order to analyze strategies adopted by Iranian translators to deal with the metaphorical nature of his poetry in terms of Peter Newmark’s theory of translation in English and SirusShamisa’s approaches to classifying metaphors in Persian. Moreover، it argues whether the frameworks presented by Newmark and Shamisa for metaphor are applicable to poetry translation and literary metaphors or they need some additions or deletions. To this end، Eliot''s heavily metaphorical and allusive “The Waste Land” was studied along with its seven Persian translations. In spite of the fact that translators made much endeavor trying to keep SL’s metaphors، it should be mentioned that the two categories of metaphors in two languages، according to Newmark and Shamisa، are rather distinct. Unfortunately، in Persian، there is no framework or foundation for translation. This condition can lead to failure while translating from non-identical languages or cultures. In addition، convincing evidence exists that there is a link between imitation and the dominant strategy.

This article explores different modernist aspects of Nima’s The Phoenix by examining its content and form. Since The Phoenix is considered as the «beginning of the modernist Persian poetry” by some literary critics، the main goal of this paper is to show the modernist aspects of The Phoenix. In order to achieve this goal، first، some of the characteristics of pre-modernism and modernism are studied from the relevant sources. Then، the points of view of various literary critics on this work، The Phoenix، are compared with the aforementioned modernist characteristics. If we find any similarities between them (the main and the minimum required characteristics making a piece of poetry or a literary text a modernist work and the most crucial aspects of The Phoenix)، we try to reinvestigate the modernist aspects of The Phoenix. The results of our study indicate that the form of The Phoenix shows a movement towards modernism and the changes of the poetic forms and the polysemy of the lines play an important role in this movement. In addition، the very same characteristic is seen in the content of the poem. Expressing various instances of solitude is one of the main characteristics of modernism which is seen in this poem. The typology of solitude in The Phoenix shows that the main type of solitude mentioned in the poem is a non-understandable، existential and spiritual solitude، which is perfectly in harmony with the modernist poet، Nima، and his prophetic views، and is completely different from the kind of solitude described in Nima’s previous works، specifically Afsanah، which is much more similar to isolation or alienation.

Modernism is a term applied in various fields including Philosophy, sociology, art …. After World War I, however, Modernism refers to an aesthetic discourse which points to a radical break from cultural and artistic traditions. Although Modern poetry commences with Nima Yushij in Iran, Modernism reveals its influences in literature with the beginning of social changes and modernity from the 1340s. Consequently, Modern poetry emerges with the following characteristics: relativity, individualism, imagism, and an inclination towards prose. In spite of being a follower of Nima, Manuchehr Atashi comes to be known a Modern poet from the beginning of his career. Even though one cannot claim that Atashi has all the features of a Modern poet, one can still observe a majority of these features in his poetry.