جستجوی مقالات مرتبط با کلیدواژه « شعر معاصر عربی و فارسی » در نشریات گروه « ادبیات و زبان ها »

Al-Sayyab and Shamlou are two of the most prominent contemporary poets who, in spite of their love poems, tried to address the revolutionary function of women in their literary work. By promoting the woman's personality in this respect, they have detached her lover stereotypical face and have highlighted their revolutionary share and their ability to fight for liberation alongside men. Therefore, this research attempts to study the position of women in poetry of the two poets, and depicts their presence along with the changes that have been made in their personality. This is why categories such as struggle for liberation, accompaniment of solving human problems, and the escape of traditions are referred to as the most important constituents of women presence in the literary work provided by these poems. In Badr Shakir Al-ssayab’s poem, except for their traditional role, women are the symbol of the vanished homeland and sometimes represent the symbol of return to oneself. However, this linear trend in presenting women reflects well in the personality of those such as “Hafsa al-omari” and “Jamilah Bouhired” and reaches perfection. Al-Sayyab seeks to depict his revolutionary function in defending human freedom by matching women's personality with “Ishtar” and giving them Christ’s personality. On the other hand, in Shamlou's poems, women play an independent role in the social struggle. “Roxana” and “Aida” are models of revolutionary women in such poems. It seems as if the poet is looking for his soul-mate so as to enter the battle with her. The results show that the occurred metamorphosis, expect for the two poet's intellectual maturity, is influenced by the evolutionary process of Arab and Persian societies, modernization process, and initiation of humanity in contemporary thought and poem.

As one of the relatively new branches of human knowledge, semiotics seeks to open new horizons of the text to the audience by relying on the text and deciphering the signs and how they work. The narrative poems of Wadī‛ Sa‛ādah, a contemporary Lebanese poet, and Hafez Mousavi, a contemporary Iranian poet, have intricate inner layers and meanings that describe events in visual language. Considering the diversity of cryptographic levels in the narrative poems of these two poets, this research employed a descriptive-analytical method and the American comparative School to investigate the cryptographic semiotics in the poem "Dead Moments" by Wadī‛ Sa‛ādah, and "Say something, from love ..." by Hafez Mousavi via the French semiotics based on "Five Codes" of Roland Barthes (1915-1980), and acquire dimensions of the interpretive capacities of these two poems. The results obtained from this research are such that the cryptocurrencies used in these two poems, apart from the formal use, are considered one of the successful tricks of the two poets in creating open text. This issue is more evident in the titles of both poems, which are interpretable and can be studied in the context of enigmatic codes. The semantic codes of these two poems with implicit meanings and its symbolic codes with obvious and understandable contrasts, proairetic codes, as the most frequent codes of these two poems with related developments and cultural codes with an ideological dimension and intertextual explanation are successful in representing the events of the war and the ultimate goal of Sa‛ādah and Mousavi and are considered as a factor in advancing the narrative movement of the text

Paradox is a proposition that logically seems incompatible and absurd, but can be meaningful by interpreting. Almost all poets have occasionally used it (see Abrams, 2005:244), as Shafiei Kadkani states "paradox is an image the two sides of its combination contradict each other conceptually like monarchy of the poverty" (Shafiei Kadkani, 1992:54). He believes that paradoxical images can be found in all periods of Persian poetry (Ibid: 57). Undoubtedly, in different periods of Arabic poetry, examples can also be stated: او ابعد بعدنا بعد التدانی / وقرب قربنا قرب البعد (Al-Mutanabbi, 1988, 2: 78) (does it close our distance like keeping out our nearness and being far and nearness like closeness of separation?).
Among the poets who had a high frequency of this literary method in their poems are Abd al-Wahhab al-Bayati (1926-1999) and Mohammad-Reza Shafiei Kadkani (1939), who are considered as powerful poets in the field of modern poetry. These two poets began their poetry with a romantic approach and then after moving from social realism, reached the symbolization phase. Social - political concerns with words that express sadness, a reason for common thoughts the two poets.  Their acquaintance with each other is undeniable; contemporaneity and attendance at one of the international congresses of poetry provided the opportunity to know each other. On the other hand, Al-Bayati really interested in  Persian poetry and Shafiei Kadkani  is completely familiar with  classic and contemporary Arabic literature; attention to Khayyam, Attar, Sohrawardi, and Hafiz are manifestations of Al-Bayaty's attempt to Iranian culture and about Shafiei Kadkani relation to the Arabic literature there is abundant evidence that does not need to be cited; since by a brief looking at his research works, translations and poems, his mastery can be found, and here it is not possible to deal with it. However, this does not mean that these two poets were influenced by the method and stylistic characteristics of each other, so it is possible to examine their stylistic properties within the framework of American School of Comparative Literature. In this paper, using descriptive-analytic method, only those poetry evidence will be examined that is in common between two poets in terms of style or implication.

In this study, by criticizing and analyzing similar and contradictory prominent examples in the poetry of two poets, we can examine the implications or constructs based on the American School of Comparative Literature and descriptive analytical method of applying paradox in their poetry.

Since paradoxes lead to a new recognition of the artwork, so Al-Bayati and Shafiei Kadkani, by leaving familiar meanings and creation of concepts seemingly the opposite of the fact, tangible to us a  world of realities. Paradoxical expressions and compositions in their poems can be divided into two types: linguistic and literary, and analyzed their similarities and differences as the paradoxical limitations of language is the most difficult of the paradoxes in terms of arrangement and construction of words, but many paradoxes in the grammar part of these two poets can be found. The paradox in the poetry of these two poets is found in the composition and document.
Paradoxical compounds are purposely used to influence rhetoric, by combining contradictory words and creating exquisite images (Fotouhi, 2015: 328). These compounds are sometimes concise of one or more sentences with a contradictory meaning that are expressed in the form of adjectives (adjective and noun) and (Annexation and Annexed) in the poetry of two poets. Using the elements of nature in these contradictory combinations is a striking resemblance to the poetry of these two poet and Annexed) in the poetry of two poets. Using the elements of nature in these contradictory combinations is a striking resemblance to the poetry of these two poets.                                                      Predicative paradox (predicative paradox (documentary   paradox)) is another type of linguistic paradox that arises in the proposition of predicate and subject and can be examined in the poetry of these two poets at the level of two sentences or in the same constructions. These two poets sometimes use paradox at the level of two sentences using coordination of "and" or "no". The coordination letter of "and" is the most commonly used subordinated conjunctions. When several structures are linked together with "and" and construct a new structure, its artistic device find an alignment grammatical value. For this reason, two poets connect the contradictory words with "and", and affect the semantic and interpretive structures of the poem, as the reader suspects that he is confronted with a subject that is inaccurate because he is received the feeling of parallelism from the subordinating conjunction of "and". These two poets express their meaning and intention of paradox in a coordinated structure with the help of adverb of manner that shows different states or through a proposition.                                                                                 
Another way to construct a paradox in the poetry of these poets is using figures of speech such as simile, metaphor, allusion, and tard va axe, which is referred to as literary paradox. The purpose of simile is to prove a trait (an adjective) from vehicle to tenor. So the tenor is the purpose of the word and vehicle is an instrument to help the desired purpose. Whenever, in a paradoxical image, the expressive purpose of the metaphor is considered, the vehicle should be conceived in such a way as to be incompatible with a word in the poem, then by eliminating the vehicle, the paradox will be remov. (Vahidian Kamyar, 1997:  284).
 In the metaphorical paradox, the vehicle must be such that it makes a paradox with the word in the poem and by removing the vehicle, the paradox will be disappeared. One of the most important elements of imagery techniques in the poetry of these two poets is recognition. By using the recognition, they strive to give life to all phenomena and objects. Therefore, to translate their feelings, they use implicit metaphor. In addition to applying the implicit metaphor, explicit metaphors are also found in the poems of two poets. Another paradoxical style in the poetry of these two poets is using irony. In this figure of speech, the vehicle (superficial words) is such that make contradictions with the words of the language, and then this contradiction is removed by eliminating the vehicle.
Another literary style in applied paradoxes of the poets is using chiasmus and shatah, that is, the poet uses the combination of opposing words and then by subordinating conjunction of "and" and moving the arrangement of words, make a monotonic relation with the elementary composition. This artistic device in an impossible setting, and then movement of the words, and finally the coherence between them, first arouses an ambiguity that will be feasible by contemplation and discovering the main idea of the poet.

A Part of Al-Bayati and Shafiei Kadkanie's insight is related to paradoxical images that in its structure, has poetic anxiety. Choosing vocabulary, deviation of norms, and paying attention to aesthetic aspects of the word are important features in the poetic contradictions of these two poets. The paradoxical application of their pomes can be analyzed on the basis linguistic and literary construction. Paradoxical expressions are observed both in the form of predicate and combination in their poems, with a higher frequency of predicate. In many of the paradoxical images of these two poets, it can be possible to observe clear imagery which shows a similarly emotional space, which is what led us to perform this literary study . One of these images is lightness-darkness and the other is the image of death and life in which they reflect hope. Two poets use the elements of nature in paradoxical terms for symbolic expression of concepts whose frequency is higher in Shafiei Kadkani's poetry due to his ruralistic spirit. If al-Bayati expresses his paradoxical poems in the form of death, homeland, prison and fire, Shafiei Kadkani reflects those ideas by the nature and subtle words. In some Shafiei Kadkani paradoxes, in particular, "the black light of devil", a kind of shatah can be seen that cannot be considered a place for this perspective in Al-Bayati's paradoxes. In the paradoxes of Al-Bayati due to socialist beliefs, sorrow and sadness can be felt more than Shafiei Kadkani, although the veins of hope are often obvious in the poetry of the two poets. These two poets do not try to hide the content for the reader, but it can be understood with a little contemplation and searching meaning in the ambiguity and layers of the word. Therefore, paradoxical images can be one of the reasons of acceptance of their poems.

Statistical stylistics is one of the most important branches of statistical stylistics which has been recently taken seriously. The statistical stylistics determines literacy of given piece of work, in terms of mathematics and statistics. Busemann equation is one of the researches which has been considered in statistical stylistics. Busemann equation is an emotion measure which determines literacies of given piece of work. In current paper, Simin Behbahani and Nizar Qabbani are respectively Iranian and Syrian poets who are being studied with analytical- statistical methods and stylistics approaches. The main point of the paper is studying their literacy of their styles. Results showed that Simimin Behbahani’s style enjoys more literacy than Qabbani. This is mainly because of feminine emotions of Behbahani which leads to more literacy. Furthermore, the internal and environmental factors were influential.

In the religious context, the Devil’s rebellion in the creation myth represents sin, evil, and eternal damnation. But sometimes writers, by disturbing familiar signs and defamiliarization of names such as the Devil, recreate religious myths which are of a new form and which, regarding their content, oppose the original ones and, thus, are not very consistent with public opinion. The present research, focusing on the practice of defamiliarization of familiar concepts, examines the symbolic representation of the Devil in the poems of Khalil Hawi and Forough Farrokhzad who, with a different conception of this symbol, have transcended the borders of religious concepts. As deconstruction of literary works into their sources and influences destroys their entirety, the article employs a methodology which does not consider the way the text has influenced other texts and has been influenced by them. Thus, we study the poems of two poets who have no relation to each other and are not influenced by each other. In fact, what makes the article to focus on the foregoing poems of Farrokhzad and Hawi is that they enable us to find new meanings in relation to the Devil, meanings which are a form of deviation and a new expression of the concept of the Devil. These points provide a context in which we can study the content of the poems of the two poets in a comparative manner. So, the article tries to reexamine the poems of Farrokhzad and Hawi to demonstrate that they have used Koranic images and stories to recreate the Devil and that how their shared resources such as existential thoughts and familiarity with the works of Western romantics along with their successive failures in life have affected their poems in this regard so that Farrokhzad’s poetry is the cry of the captive humanity and Hawi’s is the scream of a patriot who has reached deadlock.

Romanticism is one of the contemporary literary schools in the world that basis of this literary movement was on the individual imagination and creativity based on imagination and reaction against the classicism school. In addition to the West, this school has had a great impact on contemporary Arabic and Persian literature and also has attracted a lot of poets and writers. It can be also seen many similarities among the followers of this school in Persian and Arabic literature. This study tries to investigate the aspects of Romanticism in poetry of Ali Mahmod Taha and Mr Mohammad-Hossein Shahriar in Persian and Arabic literature by using intellectually content descriptive and analytical method and base on the framework of the American school of "comparative literature". Findings indicate that these two poets in expression of their romantic regret and sorrow arising from inappropriate environmental conditions and troubled circumstances of their homeland and expressing pains and their inside tragic moods and the society, have expressed the romantic sights such as patriotism, a sense of sadness and loneliness, naturalism, reflecting the frustration, complaints of time, love and remembrance of the beloved, and so on, and in this case they have relatively common aspects with each other. Love and beloved remembrance are significant themes in the poems of the two poets that have been mixed with passion and enthusiasm, and initially it was a virtual love then reaching to true love. The nature is the place of refreshment of the two poets and their escape from the unpleasant conditions of environment, and both poets have gave refuge to it from loneliness and solitude and escape from the chaotic conditions of environment and the mental incompatibilities.

Since, according to some people, humor is the most artistic method of criticism, in the society and in a space where the social and political inerrancy, repression, trickery and lies dominate the mind and the language of society, the poet's language speaks of humor as the most artistic weapon to combat these corruptions. The present paper is a study in which the writers, after a brief introduction of satire and its variants, have tried to examine the various techniques and the methods of satire in the poems of contemporary Iranian and Iraqi poets. Since in the humorous statement, the purpose of the article is sometimes wrapped up and the audience find it complex, such studies can semantically identify the inner layers of poems, the cognitive and even aesthetic language, as well as helping to the audience to understand the dimensions of satire in the context of contemporary poems, so after describing and analyzing examples of the works of both poets, it is concluded that these two poets, use the certain techniques such as : The use of simulation and imaging, the use of inhuman personification, etc., the humor between the subjects of the text and the message and its meaning have been used in their latent criticism.

"Nostalgia" is known as one of the alive subjects in psychology as well as in the field of literature and as Arabic and Persian contemporary poets' topics. Sigh, yearning and thinking about old good days could be seen frequently in Nazik al-Malaika and Mehdi Akhavan Saless's poetries. Positions, life and society situations, thoughts and emotions and being familiar with many other poets caused strong nostalgia sense excitation. This article intends to study nostalgia manifestation in abovementioned poets' works in analytical – descriptive method. The results show that yearning on childhood, historical and mythical past, homesickness, death and being far away from utopia are of the most frequency in their poetries.

«Arman Shahr» in the thought of poets and litarymans is a city of pleasure and unknown place with in which all hunan bings live in freedom and happiness، and there is no cruelty and injustice. This thought has been mentioned in contemporary Arabic and Persian poetry with different symbols، and is often the result of a kind of exile sorrow inside the poet that guides him to an ideal society dream. City of «Eram Zat Al Emad» is proposed as a more clear symbol for desire in contemporary Arab poetry. Similarly، ancient Iran period makes a pleasure place (Madina Fazeleh) for many of the contemporary persian poets. Also the date of appearance of Mahdi promised (pbuh)، place of born and main home are common symbols of two langunges'' poets، in drawing their city of pleasure. On the other hand، many of dramatical symbols، wich are the result of romantic thought of contemporary poets، are used in the design of this unknown city. In this article، we will answer the following questions by analysis of the pleasure symbols in Persian and Arabic contemporary Poetry: • In which kind of symbols are represented the different symbols of Arman-shahr (pleasure city) in contemporary Persian and Arabic poetry? • Which kind of common symbols and dramatical symbols used by contemporary poets of two languages in drawing of Madina Fazeleh?

Concept of Nostalgia, in Persian known as homesickness, conveys feelings of sadness and a longing for the memories of the past. Many factors including the pleasant days of childhood, exile, emigration, the social and political conflicts, and problems of life produce nostalgia. Badr Shaker and Manochehr Atashi, from the south regions, one of them is from South of Iraq (Basra) and the other one from South of Iran (Bushehr). This study analyzes the most prominent factors of nostalgia in the works of the two innovative poets. The comparative results show that there many factors such as social and environmental issues and hardships of life has caused numerous signs of nostalgia in the poetry of the two poets. Recalling childhood, the desire to return to the village, taking refuge in Utopia, personal and family problems, are instances of nostalgia in the poetry of the two composers. In addition, the paper aims to discuss the two different kinds of nostalgia used by Shaker Seib and Manochehr Atashi.

Contemporary Arabic and Persian poetry is a process seeking to reflect all human concerns. Feelings, aims, accomplishments, failures and all human-related issues have a significant place in contemporary poetry. One of the humanistic issues in the modern age refers to the limitations preventing human beings from reaching the intended aim. These limitations, sometimes, emerge in the form of elements remarkably imposing themselves on human life. But what is more surprising is the way human beings get accustomed to these limitations. However, with all these limitations, the passionate souls and enthusiastic minds of some people who welcome such great obstacles and who fight against them emerge; the people such as: the Egyptian poet, Amal Donghol, and the Persian poet, Nosrat Rahmani. This paper presents a general overview of the revolt phenomenon in the poems of these poets and also wants to offer the noteworthy samples of these limitations such as self, society, and new age to portray the similarity of these poets in confrontation with such limitations. This study reveals that the common motives in these two languages lead to the formation of similar confrontation of Donghol and Rahmani with the limitations.

Romanticism school is one of the main literary approaches in the contemporary world which has attracted poets and authors. The contemporary Persian and Arabic literature have also been influenced by romanticism. Sayed Qutb, the contemporary Egyption poet and Naderpoor, the contemporary Iranian poet are among the ones whose poems have the finest themes and the most romantic concepts. The main common issues of sayed Qutb and Naderpoor were the return to the nature, Praise the village, return to childhood, the deep emotions towards the beloved, love of hometown, and nostalgia. Although Sayed Qutb approaches the mystical romanticism in his poems, their approaches to deep emotions along with a kind of romantic pain and gloom are apparent in their poems. In this article, the most prominent components of romanticism in the poetry of Sayed Qutb and Naderpoor were analyzed.

Nostalgia or submit for the past is a mental state that appears in a person unconsciously and then becomes a thought. In the literature, this state occurs for a poet or writer, which, because of individual motivation or surrounding social, political situation, feels cut from the present and raises the idea of returning to the past and its sweet memories and then mixes his (her) writing with a tragic. Ahmad Abd-Almo’tiHejaziand Nader Naderpour, as two famous contemporary Arabic and Persian literature poets and gonfaloniers of the school of literary romanticism, according to their personal and social conditions, by escaping from their time,the main part of their poem takes the color of pain, sorrow and yearning for the past. In this research, by the descriptive and analytical study of these two poets collection of poetries and with reference to the American comparative literature doctrine, the authors investigate and compare the appearance manner of this poetical thought in these two poetics. Some of the results showed that these two poets have subscription in nostalgic themes, staying away from land, childhood, lover, family, acquaintances and ideal future. Also, it has been proved that nostalgia has affected the poetic style of the two poets in repetition elements, music and question fashion.