جستجوی مقالات مرتبط با کلیدواژه « classic poetry » در نشریات گروه « ادبیات و زبان ها »

The critical review of the poetic works of classical Kurdish poets, particularly those known for their distinctive style, plays a crucial role in reviving these literary works. Among the pioneers of the Central Kurdish poetic style, Nali holds a significant place in the history of Kurdish literature, influencing numerous poets who followed him. Despite multiple publications of Nali's poetic works, linguistic, lexical, and interpretive errors persist in some of his poems, often stemming from misunderstandings of the original manuscripts. This study seeks to rectify linguistic and interpretive errors in Nali's poetry, shedding light on two quatrains in the Persian section of Nali's Divan that have been erroneously attributed to him. Misinterpretations and misreadings by writers and editors have led to corrupted poems and incomplete analyses in many instances. Applying rhetorical and linguistic criteria to the identified lines in Nali's Divan, this research elucidates the rationale behind correcting specific words. Employing a descriptive-analytical approach, this study not only clarifies the corrected words and meanings in Nali's poetry but also highlights the discrepancies between the poet's intended words and the interpretations of editors. The findings underscore the necessity of revising and correcting Nali's poetry in accordance with the original manuscripts, both in terms of interpretation and linguistic accuracy.

Addressing the impact of political events on changes in metrical feet is a new approach applied in this paper. Hasanpour and Vali’s viewpoints on the history of Kurdish nationalism, the relationship between literary texts and political events, and different types of meter in different languages in the world are used in this research. Prosody in Kurdish poetry includes two types of prosodic and syllabic changing from the former to the latter. This study deals with the Middle Kurmanji dialect in the Iranian and Iraqi Kurdistan from Nali’s period to the late 1980s. The change of poetic meter from the dominance of prosodic meter to the dominance of syllabic meter in Middle Kurmanji has been regarded as a symptom of changes in Kurdish identity and nationalism. In the author's view, one of the reasons for the changes in meter in Kurdish poetry is the nationalist movement. Therefore, the works of some famous Kurdish poets in the Iranian and Iraqi Kurdistan are analyzed based on a historical-documentary method and three stages are identified: prosodic, prosodic-syllabic, and syllabic. Changes in the meter in Middle Kurmanji poetry from prosodic to syllabic are simultaneous with the emergence and development of nationalist movements in the Iranian and Iraqi Kurdistan in World War II.

Yaghma, The literary magazine in the field of poetry, started its activity with the aim of preserving ancient achievements and countering every kind of unapproved innovations and novelty. This was in spite of the fact that many years had passed since the beginning of modern poetry and there have emerged famous figures in Nimaei poetry. The present article intends to see how much Yaghma was successful in following its initial policy in the field of poetry delineated in its very first number. This will be done through a review of the theories of poetry published in this magazine and also content-statistical analysis of forms and contents of the poems and identifying the poets who were considered and heeded more than others in Yaghma. Had Yaghma been successful in following classicism regardless of modernism, or had it been affected by modern trends in poetry? Results of the current study, which was done by content analysis and descriptive-analytic method, show that although Yaghma had serious attempts to print and publish classic poems and had great cooperation with dogmatic poets, and much of it comprised of Ghazal (33 percent), Ghasideh (25 percent), classical contents and Akhavaniat, yet it could not ignore public demands for modern trends in poetry and sometimes made cautious innovations to satisfy contemporary needs and occasionally eulogized and praised innovative (or modern) poets due to expediencies of the age, and even published some of their poems. However, to defend and respect its classic followers who form the main body of its audience, Yaghma prevented this from becoming a regular approach in the magazine.

Application of statistical methodologies in the analysis of literary texts,is an important step in understainding of literary texts, and avoiding interpretation of them based on personal taste. One of the methods of statistical methodologies is Buzyman‘s hypothesis that was proposed by a German Scientist of the same name, and was named after him. The hyothesiss offets a methodology which contributes to the better understanding of the hidden aspects of the text by the reader. Using this hypothesis, one can estimate the amount of excitement and emotional stimulation in the works of a writer, and also differentiate between the language of prose and poetry, or literary style and scientific style. The base of this hypothesis lies in the analysis of the words tht are used by the writer and the count of verbs and adjectives in his works. The reader can realize the tendency of the text toward different styles by couting the words and the ration of verbs to the adjectives. The extend of a writer’s emotional excitement in his works can be evaluated based on the lowness or highness of this ration. In the present study, it was found that free verse is more literary than the two other styles because it grants freedom to the poet and does not limit him to rhyme and meter, while classic poetry stands in the middle, and based on the aforementioned ration, prose poetry stands last in comparison with the other two styles.

Yusef aziziyan Taghi pournamdariyan Abstract Mohammad reza Shafi''i kadkani (M. Sereshk) in the field of contemporary poets of our literature review and correct the texts of poetry and literary research is mighty handy. Hestudiedpoetryand culturalheritageanddiversityMeditationhehas ledinthelastwe seeofher poetry. Thiscollectionofheritagestudies-thathave shapedhismental structureandmentalreservesprolifichas givenhim-consciousandunconscious، is reflectedinhis poetry. This written is only responsible for part of the domain Image in scope and antonomasia andphrases، themes in the inheritance of the ancients and some modern poetry has been used occasionally.

Persian poetry has been routinely divided into classic and modern. Such opposition that through emphasizing the existence of a historical discontinuity in Iran، puts aside many capabilities of Persian classic poetry and even rejects its prolific dimensions، can be studied as a discourse. The epistemological and socio-political backgrounds of this discourse، although observable in the ideas of many Iranian intellectuals، should best be traced out on the major theoretical writings of modernist poets. This article studies the discursive approaches of modernist poets، especially those of Nimā، Shāmloo، and Akhavān، to classic poetry and shows that these poets، in order to make firm their understandings of the nature and function of poetry، introduced a great number of strict ideas for devaluing the versatile aspects of classic poetry، negating its historical relevance، pretending it as being “some other” poetry، making multiple misconceptions، etc. Meanwhile، modernist poets، by making use of certain language strategies and aggravating the opposition between modern and classic poems، normalized the idea of the static nature of the classical poetry in a way that their presuppositions became dominant in the areas of Persian literary criticism and Iranian academic research.

Joy and happiness are part of the Iranian’s identity features. This
feature enjoys its most appearance after the emergence of Islam and up to Hafiz’s time in the poetry of poets such as; Ferdowsi,
Manoochehri, Khayam, Molana (Rumi) and Hafiz. In Hafiz’s sonnets, delight and gaiety is divided into two kinds; objective or external orextrovertive and subjective, or internal or introvertive. Extrinsichappiness relies upon factors like orchard and spring, streamside and an adorable drink. It actually relies on three particular features; drink musician, and earthly beloved and results in a temporary inner senseof tranquility and peace. Inner delight and joy is the outcome offactors such as union with heavenly issues, as joy turns into a high status; which actually relies on feeling the presence of real beloved in the heart, added to revelation and clarity of mind; leading to permanent inner tranquility and peace. The origins of Hafiz’s delightand gaiety can be divided into five categories: 1. Psychological. 2.Philosophical. 3. Religious. 4. Socio-political. 5. Mystical. The present article surveys and analyzes each of the mentioned origins.

Contemporary literature has been created in Syria and Lebanon because of the suitable backdrop which was provided by previous poets. So they could create schools in their countries by using Western classic methods. For instance, in classic poet which was based on "wisdom" philosophy, emotion has given up against wisdom; this school followed the Arithmetic school. On the other hand, by composing rhythmic poets in Persian, the close relation is clearly observable; such as Nima and shamloos. Contemporary poets such "Nazek al-Malaek" and "Nezar Ghovani" could use these in their songs and emotions which have the most important effect on Arab, Syrian and Lebanese poetry.