جستجوی مقالات مرتبط با کلیدواژه « شمس لنگرودی » در نشریات گروه « ادبیات و زبان ها »

Although humanism is one of the main approaches of existentialism, and human has the meaningful place in this philosophical tendency, one of the main concepts of existentialism is the other; This concept, as a being who is aware of his existence too, has been enormously reflected in literature. The results of this study showed that the concept of the other is significantly reflected through tow main approaches in the poetry of Shams Langroodi, one of Iran's most important contemporary poets. The poet in his negative look toward the other, with topics such as threatening and limiting the freedom and possibilities of the other, domination, turning in to mass or perceive the other as a mass, and falling off from the authentic I-you relationship to I-it, reflects a set of concepts which can be found in the opinions of some existentialist thinkers, and in general, is a pessimistic look, and in the other hand, in his humanistic and optimistic approach deals with the central and meaningful presence of human, which leads to and authentic I-You relationship, and even has a profound effect on the way the phenomena unfold. From the numerous examples it can be argued that both concepts can be regarded as the main existentialist concepts of Shams Langrood's poetry.

Existentialism is one of the most important contemporary philosophical currents, widely reflected in literature; situation, Boundary Situations and death are major existential concepts. In this paper, the reflection of the above concepts in the poems of Shams Langeroodi was surveyed. The results and numerous examples show that firstly, these concepts were reflected to a great extent in the studied poems; secondly, these concepts were reflected through artistic logic and poetic arrangements; and thirdly, some approaches and subdivisions can be seen among the results. Four existentialist approaches to death can be seen among the poems, which are, in order of frequency, as follows: 1. Death as a phenomenon that causes decay, ending, and termination 2. Death as a fact and as a boundary situation. 3. Death and anxiety 4. Death and absurdity and futility. Among Boundary situations, suffering is the most significant. The poet has reflected on the concepts from a variety of perspectives, and therefore the existentialist approach of the poems cannot be fully traced back to a particular thinker.

Although simple writing is more or less seen in most periods of Persian poetry, it is a dominant trend in the contemporary period. A flow that is more prominent in the formal dimension of language and this simply leads to the transfer of the content of the poem. The purpose of this research is to investigate the stylistics of simple writing in the poems of Bijan Jalali, Omran Salahi and Shams Langroudi.

The method of this research is analytical and descriptive based on library study, and the statistical population is the poets" poems.

Simplification of features such as simplicity in language, attention to both language and content, short sentences, realism, everyday images, avoiding symbolic themes, paying attention to life and its authenticity, using seemingly insignificant subjects, avoiding fancy literary language and allowing entry All the words have poetry.

Jalali pays more attention to the content than the language, and the course of his poetry has rarely undergone linguistic and intellectual evolution in half a century. Even though Salahi is a content-oriented poet, he has a clean language that has kept the practice of simple writing from the beginning to the end of his poetry. Although at the beginning Shams wrote poetry under the influence of Shamloui language, he gradually turned to a kind of simplicity in his poetry and continues to move in this direction and create new poetic experiences.

Grotesque images in Shams Langroudi's poems can be considered according to the social and personal developments of his life. He has always been very influenced by the events around him. Shams Langroudi depicts adversity and bitterness in the form of his poems and using the tools and aspects of grotesque for the audience of his works.    Until the publication of "Grotesque in Literature" in 1957 by Wolfgang Kaiser, grotesque was only a violent comedy. But Kaiser and Mikhail Bakhtin introduced other dimensions and aspects of grotesque, such as comedy and horror, disharmony, incoherence, and grotesque exaggeration to literature. In this research, using analytical-descriptive method and using library sources, while examining the grotesque poems of Shams Langroudi, we try to find out which aspect of the grotesque aspects is used in his poems and has more expression? Given our knowledge of his character, it is expected that the comedic aspect of horror will be more prevalent in his poems. The result of the research, however, indicates a higher frequency of inconsistency than other grotesque aspects in Shams Langroudi's poems.

Being, time, and existential phenomenology are concepts which can indicate the existentialist reflections of literary works. In this paper, the reflection of these concepts in Shamse Langroodi's poetry is examined. The results show that these three major existential concepts are strongly reflected in his poems. He, along with observing artistic logic, also reflected his existentialist concerns. Other related concepts which can be found beside these central concepts in the poems include: the primacy of being over nature, world, being-in-the-world, temporality, historicity, intentionality, and hermeneutics. Given the fundamental concepts of existentialism in Shamse Langrood's poetry, one can claim that there are some existentialist approaches in his poetry and expect other major existential concepts to be reflected.

Gilles Deleuse is a contemporary thinker whose rhizomatological theory (which is opposed to tree theory) has always been considered by thinkers. Deleuse and Flex Guattari, as two post-structuralist philosophers, collaborated with each other for many years and developed this theory in different ways. However, Deleuse's range of opinions is broad and related to various topics. According to this theory (which is based on epistemic and different artisticsystems can be generalized) the notions focused on the integrated, single-root, and center-oriented integrity are reviewed and replaced by a nonlinear, experiential, fluid, and multiplicative context. On the other hand, in the postmodernist poetry of Iran from the early Seventies Solar year has been existed; these approaches and challenges from both the poets' experiences and the theoretical debates and the poetry of the poetry of the era are tangible and expansive, and thus can be used to better understand the postmodernist poetry's identity against traditional and even modern poetry. In this paper, while describing Deleuse's ideas about the rhizomatic approach versus the tree, two poems of these two forms of thought and literature in today's poetry have been adapted and the most important differences between the two methods are classified according to the ten categories to be explained. Ali Babachahi, a representative of the postmodern poetry, and Shams Langroudi, a representative of the so-called "simplification" approach, have been chosen by the author to explain this situation because of their reputation, glory, numerous works, and literary rhyme and meter.

A Comparative Study of the Variety of Paradox Functions in Shams Langroudi's Poems with Belgram's TheoryTeymour karami 1Mah nazri 2AbstractParadox is one of the most technical literary industries that arises from the combination of two opposing elements in a subject and leads to the creation of a new meaning. Paradoxical view is divided into three categories: verbal (synthetic), grammatical and content (analytical). What has been overlooked is the examination of the relationship between the two sides of the paradox. Paradoxical expressions in Shams Langroudi's poems have been expressed in various ways with the help of his creative power of imagination. His metalanguage expression allows the impossible to be present in order to convey concepts and express socio-cultural issues.This research has been done by descriptive-analytical method using library sources, by applying the theory of Gholam Ali Azad Belgrami (Indian poet and researcher of the eleventh century AH) in categorizing the cause-and-effect relations between the two sides of the paradox.This is the fundamental question. 1- Do the two sides of the paradoxes used in Shams Langroudi's poems have eleven kinds of relations considered by Belgrami? 2- What kind of paradoxes are most used in Shams Langroudi's poems?

Attention to climatic characteristics in contemporary poetry began with Nima's theories. After him, many poets used the indigenous elements of their climate in their poetic illustrations. Shams Langroudi is a Gilani poet whose indigenous elements in northern Iran have played a significant role in creating his poetic images.In this research, using a library method with a descriptive-analytical approach, we aimed to investigate the effect of climatic features of the northern region on the poetic images of Shams Langroudi.Indigenous elements were divided into three levels of geographical, cultural and economic indicators. In the geographical features of nature, local animals and the names of specific places, in the cultural indicators the use of local words, the use of local proverbs and beliefs, and in the economic indicators the occupations and livelihoods of the people. Shams Langroudi was studied in his poetic imagesThe results show that in Shams Langroudi's poetic images, geographical indicators with 82.8% have the highest and economic indicators with 6.3% have the lowest reflection. In the geographical index, nature plays the most important role in creating the poet's images with 70.2%.

Semiotics is knowledge of understanding and analysis of linguistic and non-linguistic signs and semiotic criticism is the study of structure and signs of a text in two vertical and horizontal axes. Poetry is an open discourse with proper setting for interplay of signs; “signs that as a text are related with multilateral interaction” (Sojoodi and Kake Khani; 2008, 294). In a poem, signs find meaning in relation with each other and the context in which they are put. The interplay of signs leads to movement of poetry and extension of meaning which provides the ground for a new reading.
One of the human emotions, that has been central to the literature of nations since the old times, is love. Using special tools and signs, this emotion creates noteworthy and decisive manifestations in literary works. Rhetorical symbols are among important tools used to express poets’ thoughts and feelings. Shams Langroudi is a prominent contemporary poet who uses rhetorical signs to give artistic form to his poetry and reflects life in his through language, image, and imagination. Romances of Shams have simple and folksy language tailored to the taste and interests of man of his day. Given what was said above, in order to achieve the role and function of rhetorical symbols as well as rhetorical codes in Shams' romance, this research addresses his romantic poetry and answers the following questions:1- Do rhetorical signs contribute to the formation of Shams Langroodi's romantic poetry?
2- What are different types of rhetorical signs in prominent spheres of romance and what are their functions?
3- Given the prominent aspects of romantic discourse of Shams, what are the most frequent rhetorical signs and stylistic rhetorical signs?

2- Reserch The research method is descriptive-analytical and analyses are based on content and statistics derived from rhetorical signs. In this research, theoretical basics are explained first. Then, types of romantic signs grounded on three aspects of beloved, love, and poetry are studied, some examples that are identified with figurative clusters are analyzed, and the function of signs is explained by evidence.

Romantic poetry is product of romantic discourse and its dominant system, i.e. emotional system. Shams Langroodi's romantic poems are artistic romance in which love is highlighted with his special codes, by relying on signifiers and signifieds and the relationship between them, so as to influence the readers and arouse their feelings. In these romances, the poet gives a warm look to the world to link his experiences together. He bridges the lover, love and beloved, and creates an unbreakable bond among them.
Total number of romantic poems of Shams Langroudi is 262 composed based on three aspects of love, beloved, and lover and born from love and beloved. Considering the three aspects and their rhetorical signs, discussion is processed as follows: because of the vast scope of the subject, evidence and avoidance of iteration, charts are set in each section which indicates the prevalence of rhetorical signs in the process of romance formation. Also, given the frequency, content diversity, and possibility of classifying beloved-based poetry, compared to the other two aspects, as well as better connection of readers with romantic poems of Sham, sub-sections are considered for this aspect of romance. So, tables are arranged in two high and low frequency modes. The criteria for this process is to compare frequency rate of rhetorical signs with each other. Since figurative clusters have played a significant role in the formation of romance, they are studied in a separate section and their chart is drawn according to the frequency of clusters. Rhetorical signs are key determinants of discourses of Shams Langroudi. Through hidden power of these signs, Shams presents the formation process of his romantic poetry. Shams' romantic poetry is formed within the three areas of beloved, love and poem, for processing of which Shams uses rhetorical signs in two ways. He uses these signs in some of his romances, but in most poems, he composed his romances using rhetorical signs. In these poems, density and intensity of signs in figurative clusters create romantic discourse where differentiation of signs breaks up the text and leaves its meaning unfinished. Beloved is the most prominent aspect of Shams' romantic poetry. In these poems, he describes the organs and their existential dependents, distance and homesickness, desires and wishes, addresses and conversations, expression of love, and comparison of lover and beloved. In each of these subsets, rhetorical signs have a definite role. In all subsets of beloved, signs of appropriateness, alliteration, and simile are at the top. But in the subset of desires and wishes, metaphorical signs are used more than simile since they are relevant to the subject. The use of iconic sign in metaphor to describe the beloved, desires and wishes, and addresses and conversations indicates the connection between Shams and tangible and inhuman phenomena in replacement tailored to the issue. Contradiction used in the subsets of describing the beloved, desires and wishes, and addresses and conversations are most common in comparison of lover and beloved and expresses mutual mentality of the poet's descriptions of lover and beloved, that are manifested in poems by this sign. Also, repetition of signifier letters (Sh, S, B, D, T, and G) in each subsection represents the dominant content. The other aspect of Shams’ romantic poetry is love. Langroudi look at love with simple, objective, live, and rational eyes full of affection which link individual and society and the poet uses rhetorical signs in defining and mentioning the characteristics of love. For vivid and tangible representation of love, Shams uses iconic sign in metaphor. Where logic is set a basis of definition, he puts indexical signs of appropriateness and contradiction beside iconic signs and when he wants to link love to community, he uses a multi-layer figurative symbols. Here, Repetition of signifiers letter (SH, S, R) reveals Shams's mental codes in his definition of love. In these romances, Shams believes poetry gives birth to love and beloved so he wants his poems understand the language of love. In description of poem and love, Langroudi uses the rhetorical signs of appropriateness, simile, alliteration, and metaphor. To describe the aspects of poem and beloved, added to above symbols, he also uses two other rhetorical signs of chiasmus and allusion. Repetition of signifiers letter (SH, S, T) reveals poems link with these two aspects. In general, according to the frequency of rhetorical signs in Shams' romantic poetry, the most frequent iconic and indexical signs in these poems appropriateness, alliteration (colliteration of T, S, D, R, and SH shows strength, softness and flow), simile, explicit metaphor, implicit metaphors (Mosarahe), and iteration – at sentence level. Also, in these romantic poems, indexical signs of appropriateness and alliteration as well as iconic signs of simile, whose second signifier is explanatory, are stylistic and arousing signs that that engage the reader's mind and make him a productive reader. Based on evidences of the three aspects, the functions of rhetorical signs in romances of Shams - tied to different signs of nature, phenomena, object, time and place – are: A) involving the reader by influencing him/her but not making the reader bored; B) shifting and arousing emotions; C) creating relationship between the poet and the reader; D) associating; E) explaining the meanings intended by the poet and helping to understand the meaning and fix it in the reader's mind; F) objectifying; G) creating dynamics, cohesion and highlighting themes; H) expressing experiences of life (public and personal); I) locality; and J) coherence, beauty and musicality of poem.

Ahmadi, Babak. Sakhtar va Ta’vil-e Matn. 4th Ed, Tehran: Markaz, 1999.
Bajan, Keivan. Tarikh-e Shafahi-e Adabiat-e Moaser (Shams Langroudi), 2nd Ed, Tehran: Sales, 2011.
Chandler, Daniel. Mabani-e Neshane Shanasi, Translated by Mahdi Parsa. 4th Ed, Tehran: Soore, 2008.
Delbari, Hassan Va Fariba Mehri. Rhetorical Levels of Imagination in Contemporary Images of Poetry. Fonoon-e Adabi, No.12. Esfehan, pp73-86, 2015.
Dinesen, Anne Marie. Daramadi Bar Neshane Shenasi, Translated by Mozafar Qahreman. 4th Ed, Abadan: Porsesh, 2001.
Esmaeili, Esmat Va Ebrahim Kana’ni. An Investigation of Emotional System of Discourse in Sonnet – A case study of Sunflowers by Shafie Kadkani. Pejoohesh ha-ye Adabi, No. 36 and 37. Tehran, pp 9-34, 2012.
Fotoohi Rood Mo’ajani, Mahmood. Balaqat-e Tasvir. 1st Ed. Tehran: Sokhan, 2007.
Fotoohi Rood Mo’ajani, Mahmood. Rhetorical Deconstruction: The Role of Rhetorical art in Failure and Deconstruction of Text. Naqd-e Adabi, 1st year, No.3. Tehran, pp109-135, 2008.
Hal, stuart. Farhang va zendegi-ye Ejtemaei. Translated by Ahmad Gol-Mohammadi. 2st Ed. Tehran: Varjavend, 2009.
Johnasen, Jorgen dines Va Svend Erik Lorsen. Neshane Shenasi Chist?. Translated by seyyed Ali Miremadi, 2st Ed. Tehran: Farda, 2013.
Mehrgan, Arvin. Falsafe-ye Neshane Shenasi. 1st Ed. Tehran: Farda, 2013.
Mokhtari, Mohammad. Haftad Sal Asheqane (1300-1370). 1st Ed. Tehran:Tiraje, 1999.
Moosavi, Hafez. In Defense of Imagination and Lyric Poetry with a view to two recent collections of Shams Langroodi. Goharan, No.19 and 20. Tehran, pp 64-71, 2008.
Qaemi Nia, Alireza. Semiology and Language Philosophy. Zehn, No.27. Tehran, pp 3-24, 2006.
Rakhsha, Rasoul. In the Poetry of Shams Langroudi in the presence of romance. Goharan, No.19 and 20. Tehran, pp 131-134, 2008.
Sasani, Farhad. Ma’na Kavi: Be Sooye Neshane Shenasi Ejtemaei. 1st Ed, Tehran: Elm, 2010.
Sebeok, Thomas Albert. Neshaneha: Daramadi Bar Neshane Shenasi, Translated by Mohsen Nobakht, 1st Ed. Tehran: Elmi, 2012.
Shams Langroudi, Mohammad. Avazha-ye Fereshte-ye Bi Bal. 1st Ed. Tehran: Negah, 2013a.
Shams Langroudi, Mohammad. Lab Kani Qezelala-ye Man. 2nd Ed. Tehran: Ahang-e Digar, 2011c.
Shams Langroudi, Mohammad. Majmoo-e Ash’ar. 1st Ed. Tehran: Negah, 2008.
Shams Langroudi, Mohammad. Manzoome Bazgasht Va Asha’re Digar. 1st Ed. Tehran: Cheshme, 2014.
Shams Langroudi, Mohammad. Mimiram Be Jorm-e Anke Hanooz Zende Boodam. 4th Ed. Tehran: Cheshme, 2011d.
Shams Langroudi, Mohammad. Rasm Kardan-e Dastha-ye To. 2nd Ed. Tehran: Ahang-e Digar, 2011a.
Shams Langroudi, Mohammad. Shab Neqab-e Omoomi Ast. 2nd Ed. Tehran: Negah, 2011b.
Shams Langroudi, Mohammad. Ta’adol-e Rooz Bar Angoshtam. 1st Ed. Tehran: Negah, 2013b.
Shams Langroudi, Mohammad. Va Ajib Ke Shamam Mikhanand (63Tarane_ye Asheqane). 1st Ed. Tehran: Negah, 2013c.
Shams Langroudi, Mohammad. Vajeha Be Didan-e Man Amadand. 1st Ed. Tehran: Negah, 2016.
Sharifi, Feiz. Qariqi Khamoosh Dar Koolak-e Zemestan. 1st Ed. Tehran: Ebtekar-e No, 2012.
Sojoodi, Farzan. Neshane Shenasi Karbordi. 2nd Ed. Tehran: Qesse, 2004.
Sojoodi, Farzan. Neshane Shenasi: Nazarie va Amal (Majmoo-e Maqalat). 2nd Ed. Tehran: Elm, 2011.
Sojoodi, Farzan Va Farnaz Kake Khani. The Interaction of Sign Flow and Semantic Normality in Poetic Discourse. Honar Va Memari: Ziba Shenakht, No.19. Tehran, pp289-314, 2008.
Strinati, Dominic. Moghadameii bar Nazarieha-ye Farhang-e Ame, Translated by Soraya Pak Nazar. 4th Ed, Tehran: Gam-e No, 2009.
Taheri, Qudratullah, Va Taqi PourNamdarian. A Critical Review of Contemporary Iranian Poetry. Faslname Oloom-e Ensani Daneshgah-e Alzahra, No.56 and 57. Tehran, pp 1-18, 2005.

One of the basic characteristics of satire is its humour. When dealing with supreme subjects like death, Satire sometimes movesaway from its basic characteristics such as comicality, candor and accessibility and becomes less relieving and more bitter and sad. When satire deals with death, which is always mysterious and tragic for humans, it fails to provide any absolute relief;instead it brings about short term forgetfulness in the audience through diverting their attention, and givesthem a temporary sense ofbliss. This article identifies satire of death as a complex genre and analyzes its different aspects in samplepoems by Shams Langaroudi. We will see that Shams uses different methods of satire of death to deal with this phenomenon and its related concepts such as thanatophobia. The article reveals that satire of death in poems of Shams reflects human's fear and apprehension about certainty of death and emphasizes the physical and bodily dimension of human being in the natural world.