جستجوی مقالات مرتبط با کلیدواژه "آرش آذرپیک" در نشریات گروه "ادبیات و زبان ها"

»Speech Poem« in contemporary lyric poetry is one of those successful post-Simini poets. Poem lyric has been innovative in terms of content and form in contemporary literature and has gained its special place. With the of the form of sonnet and natural declamation, ie the language of speech, poem lyric has had great success in bringing the language of sonnet closer to the natural declemsion of language without slipping into the abyss of slang and colloquial writing.
This type of sonnet has been created under the influence of Simin Behbahani’s narrative sonnet, by giving originality to dialogue and dialogue-oriented poetry both in terms of language and in terms of content instead of using repetitive and burning themes and romantic-mystical melodies, has made pure images of his thought and human-social self the main theme of his sonnet And through this, she has reached synergy, poetry (lyric form) and story
. Considering that Azarpik’s knows the essential elements of the word, by directly communicating with them, And to try to show new methods in lyric poetry, he tries to present eloquent innovations and original images in his poems. In this article, by reviewing the two collections »Miss Returns to Love« and »Leila Zana« the characteristics of speech poetry will be examined. And it will be compared with speech poetry. The result of the investigation show that dialougs in the poems has shaoed the natural delamation of the language without breaking words, Abbreviation, complex composition, the absence of literary industries.

Many critics, including the Paris school, have studied the structures and narrative forms and examined the elements and rules of their composition. Among others, we can mention the model of Grimas, who, by inventing a system based on the representation of shapes for narration, proposes a plan based on how the relationships between units are. Semantics of the school of Paris and Grimas
believe that reality is always elusive and the external factors involved in the emergence of the narrative and its real roots are always ambiguous. Therefore, narration is a kind of simulation of reality. In this article, which was done in a descriptive and analytical way and using library sources; By comparing Ibn Yamin's pieces and Arash Azarpik's works based on the action model of Grimas, he tries to answer the question of what kind of relationship (imitationist, revivalist, innovative, heretical, transcendentalist) exists between the works of these two. In fact, the purpose of this research is to investigate the degree of adaptation and understanding as much as possible to the pieces of Ibn Yamin and Arash Azarpik and to recognize the pattern of grimace, and it concludes that the narrative structure of Arash Azarpik's pieces is innovative compared to Ibn Yamin.

Arash Azarpeik, in introducing the literary school of deep-oriented phenomenology, presents three systems of farapoetic writing, These three farapoetry systems are:1. Synergistic polyphonic
2. Multiphonic
3. Central synergy

Based on the opinions and works of Arash Azarpeik, in addition to the analysis of the literary genre of metapoetry and its systems, this article deals with a special analysis of its third system, the Central synergy, which organizes the structures of the literary school of deep-oriented phenomenology.
Azarpeik by presenting the following two characteristics
1. Another subject oriented
2. Analytical character
He underlines the keyword "about" from the dictionary of mind and expression and the language of literature,Because in the metapoetic world, these are the characters that reveal themselves in the text, Therefore, as an attitudinal and writing genre outside of all theological and ideological systems, the genre of Merzanafaza presents bio-transcendental methods.
This article, organized in a library, basic, descriptive and analytical form, examines the ideas and lectures of Arash Azarpik.

Music and weight is one of the areas of the word that has been expressed and developed by emphasizing the essence of speech, writing and meaning, although the main emphasis is on the essence of phonetic-speech. Weight and music were written according to classical ghazal until Nima revolution. But with Nima's revolution and Simin Behbahani's movement in contemporary ghazal, the prosaic weight and music of ghazal also underwent changes. The current article has been compiled and edited with the general aim of investigating the level of innovation, appropriation and combination of prosody in contemporary ghazal based on the music of Arash Azarpik's poetry. Considering that none of the post-Siminian poets have innovated in the weight of prosody and music; and have often benefited from brook weights, Arash Azarpik is one of the successors of Simin's path. He has often composed ghazals in his innovative weights and has also started to innovate.In this article, the widely used, innovative and classic weights that will be identified and mentioned; has been analyzed. In the end, according to the evidence, we come to the conclusion that Azarpik is one of the few post-Seminian ghazal poets who is creative and innovative in the field of ghazal weight and music.

Classification and analysis of why types and genres of Persian poetry is one of the important literary debates. Unfortunately, the field of poetry of the seventies, which had the most influential contemporary poetic currents; It has been abandoned in this regard. In the seventies of Iran, we see the simultaneous presence of three independent branches of Americanists, Europeanists and return avant-garde with different origins, each of which has played an important role in guiding the intellectuals and poets of the seventies and later periods.The Americans announced their presence in Iran with Reza Braheni and the postmodern movement. Braheni's "Poetry of Language", Ali Babachahi's "Pasanimai" and the students of Brahen's workshop, as well as Mohammad Azram's "Different" poetry in the eighties are in this group. Europeanists were active in this period with two branches of lyricism and free poetry. In the lyric branch with Simin Behbahani, the founder of "New Ghazal", "Ghazal Dastan" and "Ghazal Narrative" and also the flow of Simin Behbahani's students in "Ghazal Form" with Mohammad Saeed Mirzaei, Arash Azarpik, Hooman Azizi, Amir Marzban and ..., In free poetry, the flow of "movement poetry" of Abolfazl Pasha is a follower of the Baroque school in this group. Returning avant-gardeists came to the fore with its founder, Arash Azarpik, with the beginning of the era of nudism and the proclamation of the millennium of nudism in the history of thought. The result of Arash Azarpik's attitude is a variety of genres, including "Vajaneh",