جستجوی مقالات مرتبط با کلیدواژه « فروغ فرخزاد » در نشریات گروه « ادبیات و زبان ها »

Forūgh Farrokhzād is one of the few controversial poets in Persian literature whose depth of thought has not been thoroughly explored because of being a woman and presenting a critical and rebellious new face of a woman with "inky fingers". However, though the nature of this protest is social, it comes from a deeper origin, which is a philosophical one. Anxiety is the main treasure of her poetry, a component that none of Forūgh Farrokhzād's poems; whether the rebellious-emotional poems of the first phase or the critical-philosophical poems of the second phase are not devoid of. To use Kierkegaard’s idea, this feature is inherent in her poetry. Therefore, imagery and melodramatic narrative are reflected with a special aesthetic suitable for this motif, i.e. gothic aesthetics. This article, using an analytical descriptive method, examines how gothic aesthetics converges with existential anxiety and its manifestations, loneliness, doubt and suspense in the two metaphors of wind and night in her poetry and concludes that Farrokhzād lived the philosophy of existentialism in her poetry.

In this essay, in an analytical-descriptive form, the quality of content and language influence of three well-known contemporary Persian poets, from the materialistic worldview of the West, is examined based on three theories, when Marxist thought spread among a number of intellectuals, as a result of closer contact with the West, modernist poets such as Shamlu, Akhwan Tahir and Forough Farrokhzad also interacted with the modern literature of the Western world.Influenced by the thought of philosophers such as: Nietzsche, Sartre and Marx about God, man and religion, they spread a hostile conventional attitude in the content and themes of their poetry. Although this flow does not have a deep philosophical and theological basis and its nature is based on an imitative, poetic and superficial attitude towards these categories, but in these forms, there are also signs of negative and materialistic thoughts towards religion. . . . . . . .

sociological analysis and evaluation of literary works, especially contemporary poetry, through obtaining the intellectual background and possible awareness and worldview of the poet, reveals the various intellectual structures of the society of which the artist is considered a member. Natural symbols, which are taken from the world around the poet, can reflect the worldview of the poet in a sociological reading. This research aims to achieve the dominant intellectual system in the thought of these poets by analyzing contemporary poetry and natural symbols in the poetry of Mahdi Akhwan Al-Talihi, Ahmad Shamlou and Forough Farrokhzad based on Lewis Goldman's sociological theory.

In its sociological perspective, the forward-looking essay has used the descriptive-analytical library method and has reread the text of the selected poems in the framework of the theory of sociological criticism with a focus on the works and writings of Lucien Goldman.

Lucien Goldman, a famous sociologist, relies on his theory of developmental structuralism to decode and analyze the society reflected in literary works and emphasizes that literary works create the society within itself with all its hidden and visible angles and dimensions. he does. The third brotherhood, Shamlou and Farrokhzad are all three poets whose sociological attention to various aspects and angles of life, problems, political and cultural atmosphere of the society can be followed in their poems.

The results of this research show that all three poets, especially in the second period of their poetry and from a year after the coup d'etat of August 28, 1332, reacted against the social categories of the era and as an activist, political activist and social critic, they were able to deal with contradictions, ruins, poverty. , express injustice, tyranny, etc. with symbolism with the help of natural elements in an effective way and present a clear picture of the second Pahlavi society.

Sociological analysis and evaluation of literary works, especially contemporary poetry, through obtaining the intellectual background and possible awareness and worldview of the poet, reveals the various intellectual structures of the society of which the artist is considered a member. Natural symbols, which are taken from the world around the poet, can reflect the worldview of the poet in a sociological reading. This research aims to achieve the dominant intellectual system in the thought of these poets by analyzing contemporary poetry and natural symbols in the poetry of Mahdi Akhwan Al-Talihi, Ahmad Shamlou and Forough Farrokhzad based on Lewis Goldman"s sociological theory.

In its sociological perspective, the forward-looking essay has used the descriptive-analytical library method and has reread the text of the selected poems in the framework of the theory of sociological criticism with a focus on the works and writings of Lucien Goldman.

Lucien Goldman, a famous sociologist, relies on his theory of developmental structuralism to decode and analyze the society reflected in literary works and emphasizes that literary works create the society within itself with all its hidden and visible angles and dimensions. he does. The third brotherhood, Shamlou and Farrokhzad are all three poets whose sociological attention to various aspects and angles of life, problems, political and cultural atmosphere of the society can be followed in their poems.

The results of this research show that all three poets, especially in the second period of their poetry and from a year after the coup d"etat of August 28, 1332, reacted against the social categories of the era and as an activist, political activist and social critic, they were able to deal with contradictions, ruins, poverty. , express injustice, tyranny, etc. with symbolism with the help of natural elements in an effective way and present a clear picture of the second Pahlavi society.

A person has the potential to convey a message in different and appropriate ways and can use symbols to intelligently interact with any type of audience. When the poet is not able to speak clearly for any reason, in an upward channel, his thoughts fly from description to simile, then to various metaphors, and finally to symbolization in order to build a way to communicate with the audience and convey his message. The current research aims to study the poetic style and themes of Forough Farrokhzad; to achieve the evolutionary process of his poetry and the degree of use of all kinds of similes, metaphors and symbols in different periods of his life and using the theory of symbolic interaction to show that contemporary and external changes in the poet"s desire for What has been the effect of using the capacity of symbols.

This research has investigated the evolution of Forough"s poetic style by descriptive-analytical method and based on documents and library sources.

Based on the findings of this research, it can be said that in his first three poetry collections, Forough was unaware of the function of symbols and had no desire to create symbols. But in his last two books, he used symbols in an amazing way and started inventing new symbols. In the first three books, Forough has used more simple similes and descriptions than in the last two books. Also, his first three books have limited use of metaphor, and over time in the last two collections, this industry has been used abundantly. Forough"s language becomes symbolic in the last two books. In general, his poems in the last two collections have progressed towards evolution and he has used more and more complex literary tools than the first books. The comparison of Forough"s symbols with Bloomer"s three principles shows that in acting based on nobles, he used more natural nobles and less abstract nobles in his poems. In his social actions, the poet wanted to move towards freedom and liberation as well as suing for the oppressed. He has interpreted the situation of the society with symbols, that is, with the symbolic language of his poetry, he has tried to react against the inactive society, and the language of his poetry has depicted the worthlessness of life in the eyes of the poet and the problems of modern society.

By analyzing the collection of Forough"s works, it became clear that he has consciously expanded the process of using symbols in his works to the point where he himself has become a special symbol. With his fearless behavior in the period when modernity and majesty have been in conflict; Through symbolism, he tries to push the field of direct speech to impossible limits. I am grateful for the guidance of my respected teacher, Dr. Mohammad Qadri Moghadam.

The issue of women"s language, which was raised in the last few decades and with the efforts of many linguistic theorists and based on the issue of gender, is based on the fact that the basis of women"s writing is fundamentally different from men"s language, for this reason, a style called women"s style It was especially noticed with the feminist approach. The purpose of this research is to investigate and analyze the stylistics of feminine language in the poems of Jale Qaim Maggi and Forough Farrokhzad.

The study method in this research is descriptive-analytical, based on library studies and document analysis and reference to reliable scientific databases.

The research findings indicate that according to the theory of linguists such as Likoff and Mills, gender affects women"s language. This effect can be seen in lexical levels, color of words, detailing, simplicity, use of rhetorical arrays such as irony, repetition, etc.

The results of the research show that both Jale Qaim Maggi and Forough Farrokhzad are among the poets who, especially the feminist ideology and their support for women"s rights and the fight against patriarchy and oppression against women in their words by using feminine words, syntax Simplicity, questioning, attention to doubt and repetition, cover-up and detailing have been shown. The use of feminine language in Jaleh and Forough"s poetry is more in line with strengthening the feminist ideas of both poets.

Human life is entwined with metaphors, and language reflects how we understand the world through metaphors. One of the most important and recent theories in the field of metaphor constructing is the theory of conceptual blending, presented by Fauconnier and Turner (1998, 2002) based on which the role of language in the creative construction of meaning, especially new metaphors, received special attention. In this theory, the conceptual domains of source and target of metaphor are presented in the form of mental spaces that are considered as input spaces and, in turn, are created from separate cognitive domains. Nevertheless, these spaces are interconnected through a relative agreement or mapping of similarities in the generic space, and the “blended space” results from the creative combination of the common constructions between the inputs. The aim of the present study is to analyze the metaphors of the poetry collection "Let's believe in the beginning of the cold season" by Forough Farrokhzad based on the conceptual blending theory. In fact, in this research, the authors seek to find the frequently repeated metaphors of this collection and find the semantic connection between them. In this regard, the types of metaphors in this collection have been identified, described and analyzed from this perspective based on the content analysis method. The investigation and analysis of the poems show that all the metaphors of this collection have emerged around the four conceptual domains of object, human, living things and place, and the domains of source and goal are divided into two categories: "abstract-objective" and "objective-objective" in terms of abstractness or objectivity. In fact, in this collection, Forough, with her mature language and the use of metaphors, most of which belong to the "metaphor of time", implicitly emphasizes on the confusion and destruction of contemporary man in the course of time.

Death and life have always been two prominent and significant concepts in the view of thinkers, and many contemporary poets of Persian language and literature have looked at the issue of life and death from different perspectives. Among these, the point of view of three prominent female poets after Nima (Simin Behbahani, Forough Farrokhzad and Tahereh Safarzadeh) is of special importance. The main goal of the upcoming research is to explain the views of these poets on the concept of life and death and the impact and evaluation of the qualitative content of their thoughts and feelings in evaluating this issue.

The research method in this article is descriptive-analytical, based on library studies and document analysis. The statistical community of the research includes a selection of the poems of all three poets, in which the categories of life and death are considered.

The research findings indicate that the individual, social, belief and ontological components and propositions are in complete relation with the viewpoint of each of the poets regarding the issue of life and death.

The research results indicate that the concept of life for Forough Farrokhzad with all its charms and beauties is sometimes absurd and meaningless. After being disappointed in love, being away from his child, being dissatisfied with the patriarchal and discriminatory society, Forough must somehow suffer from life and review its boring images every day. Simin is also pessimistic about life and this pessimism is the destruction of individual and social hopes and ideals in the poet"s mind. Safarzadeh is opposed to life and its sufferings, but he considers life and death with religious viewpoints, and this is the reason why he considers death as a kind of holy transcendence and life as a source of happiness.

In his Anatomy of Criticism, Northrop Frye argues that the mythical mode is the most abstract and stylized of all literary modes. Frye uses the seasons in his archetypal schema, aligning each season with a literary genre. He argues that a hero's life mimics the cycle of the yearly seasons, with comedy aligning with spring, romance with summer, tragedy with autumn, and satire with winter. Critics consider Forough Farrokhzad's "Another Birth" collection to be the manifestation of her intellectual and poetic evolution cycle, endowed with a profound look and thought about the myth of creation. One of the notable poems in this collection is "The Wind Will Take Us Away". Using Northrop Frye's Archetypal criticism, this study aims to investigate the transformation in the vision and thought that the poem presents in the archetypes expressed with the concepts of the seasons. The findings show that the subject of the poem, passing through the love myth and romance of her life and entering the field of the winter myth, achieves understanding, awareness, and new experiences, making a thoughtful expression of the concept of love. This transformation can be found in the transformation of the concept of love, which passes from a physical, transitory concept associated with destruction and coldness, to a heavenly and eternal sphere that is comforting, warm, and life-giving.

The social approach of Eric Landowski's about interactive sign-semantic, which is presented in continuation of Greimas' aesthetic beliefs of guizzo , is a productive approach in literary criticism. The researchers of this study have used this approach in analyzing adaptation of the corporality sign meanings of romantic in Forough Farrokhzad’s poems which are transcendental.The interaction of the discourse partners in the process of the poet's romantic discourse creates infinite meanings by metamorphosis of the corporality signs. the source of meaning creation occurre with union of me and other.Corporeal subject and corporeal object create a dynamic and generative texture in a life experience with eachother and the surrounding world in phenomenological understanding. this is in a collection of dynamic physical signs that create a generative texture in an ecstatic text . the movement of chain of ambiguous combinations leads to a pleasant ecstasy in the union of discourse partners.the authors have investigated three poems named "Vasl". "Fathe bagh" and "Bad ma ra ba khod khahad bord" with a holistic criticism. The result of investigation was that the romantic interaction of discourse partners with physical sign-meanings has been continuous in order to achieve unity and creation of new meanings.

This study is on of Examining the verb modal in Forough Farrokhzad's poetry by considering the verb modal. Based on different theories and from fundamental positions, the verb modal reflects the writer's point of view. So, this tool can be used to examine the inner thoughts and thoughts of the author. This study aims to examine the the verb modalto explain Forough’s attitude and point of view and study his mind and soul deeply, to answer this fundamental question, how dose Forough Farrokhzad's thoughts and ideas reflect in the syntax of words and can Forough's thought be received among the the modal of his poetic actions? The importance of this research is in examining and analyzing the the verb modal, it is possible to achieve the style, knowledge and sense of forough.In this article, we study the the verb modalin Forough Farrokhzad's poems collection, called "Another Birth", while analyzing various theories about the the verb modal. By providing samples, we concluded that in most cases, Forough used obligation aspect to express thoughts, nostalgic feelings, escape to childhood , to express regrets, wishes and failures. The research method is descriptive-analytical, and after collecting poetic evidence it has been studied and analyzed.

Applying scientific-literary theories in criticizing literary texts and reading them is a method that is very popular and used in research recently due to its solid and analyzable method and style. Psychological theories have a special and valuable place among different fields that can be discussed around literary texts.Individualistic psychology was founded by Alfred Adler and one of the theories in this individualistic psychology is the theory of social interest. In this article, which is done in a descriptive-analytical way based on document analysis and the method of library studies, the poemsof Forough Farrokhzad are analyzed and investigated based on the theory of social interest based on Adler's individualistic psychology. The results of the research show that the social interest in Forough Farrokhzad's poems is very strong in paying attention to his fellow men, especially women. The component of despair and loneliness in his poems makes it possible to consider him as an isolated personality type. Forough is a poet whose desired perfection is to reach a world where his fellows, especially the women of the society, are in safety and peace. In general, it can be said that the social interest in the existence of Forough is summarized in the effort to create better conditions for their fellows, especially women.

Environmental crises and their consequences, among which are the growing environmental concerns, have given rise to new theories in environmental ethics, which aims to explore certain rights in ethical considerations, such as Ecofeminism. Ecofeminism investigates gender and environmental concerns to make a meaningful connection between women, environment, and their emancipation from dominance. In all three conceptual, experimental, and epistemological aspects of this theory, women are relatively closer to nature than men; this in turn renders them more sentimental and vulnerable toward the destruction of nature. In her “I Pity the Garden,” Forugh Farraokhzad narrates the sympathetic feelings of women regarding the death of the garden. This analytic-descriptive study is an ecofeminist reading of the poem which investigates the relations between the characters’ indifference toward the death of the garden and the indifference toward the environmental crises on a global scale. This article claims that the masculine discourse of negligence is rooted in anthropocentrism, generation gap, economic interests, arms race, and philosophical despair. Likewise, feminine discourse might suffer from similar apathy due to over-sensitivity toward the destruction of nature, superstitious beliefs, reliance on synthetic life, and distancing from nature. At the same time, the inclusion of feminine ethics of care in relation to nature can be influential in preventing environmental destruction.

Women and nature are among the most recurrent concepts in Forugh’s poetry, even though her conception of nature and women differs from her conception reality. She speaks of a woman who lives and endures her life with all its hardships, desires, and dreams. On the other hand, her descriptions of nature represent her present language; in other words, they reflect her true self. For Forugh, nature is mostly an object, which through her creative mind, signifies its meanings. These meanings are affected by point of view, emotions, excitatement, and cultural and social elements that surround the subject. As a result, Forugh’s nature is not like the kind of nature we understand in ecology or ecosystem. Her “I Pity the Garden,” has the potential to represent her femininity and the way she poetically describes nature; it also functions as an ecofeminist tool, which exposes her father’s and her brother’s different sensitivity toward the garden. 

Ecofeminism is a movement which investigates the complex relations between nature’s dominance and women’s exploitation. The ecofeminists regard most of the Western thought as influenced by the “oppression mentality” which is the dualistic mentality that prefers and values one side of the duality over the other. Ecofeminism categorises the interaction between women and nature as experimental interaction, conceptual interaction, cultural/symbolic interaction, and epistemological interaction. This study is concerned with the second categorisation, according to which, women are closer to nature and more sensitive to ecological changes.

The present analytical-descriptive study aims to investigate Forugh Farrokhzad’s “I Pity the Garden” in light of ecofeminism. Also, the article studies the function of gender in environmental sensitivity represented in reactions shown to the death of the garden.

The central incident in Forugh’s narrative is the death of her father’s garden. The poem probes into the characters’ reactions to this incident. The characters of the poem include Forugh, her father, her mother, her brother, and her sister. The analysis of their reaction shows that women are more sympathetic to the incident. On the other hand, men are indifferent toward the death of the garden due to economic difficulties, personal problems, philosophical despair, and short-sightedness. Although the three women in the narrative are more sensitive than men, they also have different reactions to the incident. Forugh’s reaction is intertwined with maternal emotions, knowledge, awareness, and responsibility. As a result of her insensitivity, inaction, and alienation, she feels vulnerable and lonely.

An ecofeminist reading of Forugh Farrokhzad’s “I Pity the Garden” shows that the poem symbolically portrays the garden as a representation of ecological destruction which endangers the present world and the future of the earth. At the same time, the reaction of the family and their reasoning symbolises - in a broader sense - the passivity and indifference of nations toward the environmental crises. The findings of the research reveal that the main reasons behind these indifferences are generation gap, anthropocentrism, unbridled urbanity, economic interests, superstitious beliefs, introversion, consumerism, and negligence. This study investigates the aforementioned reasons in light of environmental ethics. At the same time, Forugh’s women are more concerned with nature which - according to feminism - is due to their maternal ethics of care in protecting the environment. On the other hand, men’s materialistic, abstract, and philosophical approaches combined with their arms race and belligerence prevent them from understanding the ongoing reality. It should be noted that Forugh regards wise and calculated actions, alongside maternal emotions, as influential factors which can promote the sense of responsibility towards the environment.

Knowing mythological characters in general and mythological women in particular in contemporary Persian poetry is a way to know women in contemporary times as well as knowing poetry, its semantic layers and analysis. Among women, Leyli's face is an important figure in Persian poetry, both classical and contemporary. One of the most prominent and important symbols of the lover in Persian poetry, Leyli, the reflection of her face in contemporary poetry is examined in this research by focusing on the poems of Hossein Manzavi, Nusrat Rahmani and Forough Farrokhzad. The main question of the research is how Leyli, as the most important mythical female character in Persian literature, is reflected in contemporary poetry and what her relationship with the real face of women is in our times.In so doing, after reading the most important poems in which the character of Leyli is present, the poems will be analyzed from the point of view of myth analysis. Myth analysis is an approach in which the influence of the author's personal life is examined along with contextual-textual research in the sense of historical and social influences in the creation of the work. The findings of the research show that all three poets selected in this research have had a different look at the myth of Leyli and the function of myths in contemporary poetry is different from the function of myth in traditional poetry.