جستجوی مقالات مرتبط با کلیدواژه « محمد عفیفی مطر » در نشریات گروه « ادبیات و زبان ها »

The term analytical psychology, which is one of the new terms in psychology, was first used by the famous European psychiatrist, Carl Jung. As a prominent psychologist, he looked deeply into the layers of the psyche and used this term to distinguish his theories and treatment method from the psychoanalytic theory of Sigmund Freud. With the passage of time, analytical psychology went beyond the field of psychology due to its efficiency and entered the field of literature, and the works of many poets and writers were criticized in order to know their views and thoughts, and a solid bridge of communication between literature and psychology was formed. As a result of the relationship between them, a new critique was created, the basis of which is the psychological critique of Jung's archetypes, and its origin is the collective unconscious learning of mankind, which has been stored in the unconscious mind of man for many years; Therefore, it is called archetypal criticism or mythic criticism, which is regarded as one of the new fields of literary criticism, and for the first time it was formed in Western literature, and with the passage of time, it was also noticed in the Middle East. The criticism of the archetype, which was first raised in 1934 based on Carl Jung theory of the unconsciousness self with the publication of archetype designs in poetry, by Maud Bodkin; It is one of the literary criticisms that, by using the theory of Carl Jung, criticized and psychologically analyzed the collective unconscious mind of mankind, and thus, new horizons in the way of criticizing literary works were presented to the researchers, and many patterns for the psyche of every human being, such as: Mask, shadow, anima, animus and self were defined. The mask is one of his important archetypes, which is very important for self-realization and personality development, and it actually refers to the external aspect of a person's personality, which is shown to the society, and is indicative of a kind of psychological desire; That is, the person wants to hide his individual nature from others, which is actually the person's external false personality, not his true personality; because the society and the difficult conditions governing it impose such a defense mechanism on the individual, which makes them feel safe and comfortable. Muhammad Afifi Matar, a contemporary Egyptian poet, is one of those poets who, considering the severe political and social suppression prevailing in the Arab society, inevitably took refuge in his collective unconscious and turned to this psychological technique to express his critical opinions. His critical poems arise from his concern about the deplorable state of society and opposition to the wrong policies of the rulers, and by exploring and studying his poems, one can understand its hidden aspects; because, on the one hand, his poems have a direct connection with the collective unconscious, and on the other hand, they have a significant effect on the awakening of the Arab society against the dictators and colonialists. Afifi Matar is one of the most diligent Arab poets, who has never backed down from advancing and realizing his goals, even during his exile, and considering that his poems have political content, he tried to put masks on his own face, and the face of the rulers, his country, and the free men. to show them as they are not, or introduce them as less or more than what they are, and deepen everyone's perspective towards them.

Due to the fact that this archetype originates from human nature and is one of the common features of many people, especially poets, it usually manifests itself in literary creations and finds a more objective expression in poetry.

Therefore, the present essay investigates the archetype of the mask and its manifestation in different forms and how its positive and negative consequences are manifested in the poems of the poet mentioned in his Divan Malameh Men al- Wajhe al-Ambizu –Ghelisi, so that in addition to discovering the beauty of this valuable work, it can reveal how adaptable this archetype is according to Carl Jung's opinions, and find out how this psychological technique has manifested itself in the poet's collective unconscious, according to Jung's opinions.

The result of the research shows that on the one hand, considering the political and social suppression conditions prevailing in the Arab society and the poet's effort to enlighten and raise awareness among the people, this psychological technique can be used extensively in a beautiful way in the form of negative masks to reveal the acts of oppressors and also in positive and negative ways, for other purposes, including the homeland, they have an outstanding crystallization, and it shows the adherence and commitment of the poet who, by using these masks, draws his responsibility and conscientiousness, and uses their mental strength to fulfill his social roles and responsibilities, and on the other hand, generally there is no practical solution to overcome the negative consequences of such masks; Rather, it is suficed to expressing the subject; But it is clear that the poet has fulfilled his responsibility to a certain extent in order to make the society understand and the youth aware of the oppression and suppression in the society and to awaken them to struggle with oppression and achieve freedom.

Society and literature have a reciprocal and two-way relationship, and literary works are the product of life and the social environment. Realism is in fact the representation of the real life of human society and addressing the realities and issues in society and expresses the sense of responsibility and attention of poets and writers to the tangible realities of society, which after the Second World War with the Zionist efforts became more prominent. This sense of commitment of writers to the realities of the Islamic world became more apparent. "Mohammad Afifi Matar" and "Mehdi Akhavan Sales" live in two societies with similar social conditions and have common views in dealing with existing social issues due to common intellectual and ideological backgrounds. This article, while defining the school of realism and introducing these two prominent poets of Egypt and Iran, and examining their revolutionary poems, tries to express the most important components of realism in their poems. These include: patriotism, continuing to protest against tyrants, waiting for freedom and the elimination of oppression, poverty and hunger, and loving the mother.

The main purpose of this study is to introduce Mohammad Afifi Matar as a poet and an author of several books who has a certain individual way of thinking and inciting poems which are all about using symbols and various rhetoric materials. He is one the poets who no longer use symbols in a literary matter but not only does he appear as a behaviorist but he also tends to introduce himself as a political critic that can find and reveal deep concerning issues and offer proper solutions to solve them. Based on his poems, it seems that Afifi Matar is always trying to purposefully create different layers of meanings by presenting philosophical thoughts with words that are capable of having different meanings. Daniel Chandler, a contemporary literary theorist, is among the many who have set their minds on finding new aspects and reaching fresh understandings based on existing words and sentences or verses a poem in which you can eventually have knowledge that cannot be achieved through the first look. Chandler believes that any symbol can be either a used one in a new form that has no refreshing meaning to offer or it’s a fresh meaning hidden inside an old symbol waiting to be found. As an example, when Afifi Matar uses the symbol of “blood” in his poems, he tries to represent that not as a simple key to sacrifice but as a worthy price that only a few can and want to pay to gain access to freedom or retrieve what once was theirs.

The combination of words in Arabic and Persian can be considered to be largely due to the semantic fit between them. But in The present age, with the spread of Deviations of norms, was formed a new type of it, which manifestations a semantic mismatch in the composition of words. This kind of deviation of norms or "hybridization" was first proposed by "Mikhail Bakhtin". This research tries to search for the effects of "hybridization" and its meanings in the poems of Muhammad Afifi Matar (1935-2010) and Ahmad Azizi (2016-1958) comparatively and using descriptive-analytical method.The use of unusual combinations in the principles of the semantic structure of words has caused the poems of these two poets to be full of original literary creations. This makes it difficult for the reader to understand the meaning. Based on the classification of different semantic Scopes of words in the works of these two poets, we found that the combination of natural phenomena and human coordinates has the highest frequency compared to other combinations. This has a great impact on recognizing the attitude of the authors and enriching the aesthetic manifestations of their poems.

The Polarity of place in contemporary Arabic poetry recognized through the frequency of acceptance of semantic contradictions and dualism in place. Meanwhile, in the understanding of the many concepts in the text, the Polarity of the city has a prominent function and it is a great help to the reader in accepting the depth of the poet's thoughts, images, and individual and social moods. The city in the poetry of Mohammad Afifi Matar, citing the depth of overall image that can be obtained from his poetic examples, has a lot of dual semantic structure. Because the poet on the one hand paints a complex and profound picture of city and on the other hand it is trying to expand its elements and belongings to create a different perception of its concepts in the mind of the reader. This research, using a descriptive-analytical approach, seeks to examine the Polarity of city functions in Mohammad Afifi Matar's poetry. Briefly, the result is telling that the poet to have a defamiliarization look with the city, goes beyond the standard language, insists on repeating it, and characterized by the interaction between different semantic contrasts that have spatial paradoxical aesthetic effects. On the one hand, he uses the inherent Polarity and objective reality, stability and weakness, hunger and well-being, and also time and place to define the narrative characteristic of what happened in the city; he extends the scope of its semantic functions on the other hand.

Arabic neo-poetry is known for breaking down the traditional structure of poetry and extending its semantic boundaries by equipping the literary discourses with narrative structures which enable the poet to show their creative imagination and aesthetic views towards objects. “Time” is one of the prominent elements of narration. Formerly, it manifested itself through the logical sequence of events, whereas nowadays narration time does not depend on this sequence and the narrator can change its structure through the interaction between different levels of time to avoid monotonousness. Muhammad Afifi Matar has paid special attention this in his poem “Uprooted Steps” in which, through forming a semantic bridge between present, past, and future events, we see a temporal overlap. This article seeks to analyze the element of time in this poem. It suggests that the poem has a fluid temporal structure so that inside time present, the past and the future are contained. In many cases, the poet does not narrate the events according to the order of their happening, but rather delays or even stops them. The functions of time in this poem are different, changeable, and intertwined depending on the context of the events. These events sometimes take a long time and sometimes happen in the blink of an eye to create a temporal overlap between the past, the future, and the present. Returning to the past in the context of the present sometimes depicts the unpleasant experiences of the past, and sometimes has epic and hopeful effects through the historical calling of non-narrative characters. The poem uses flashforwards from the beginning to highlight future events and to respond as early as possible to the reader’s curiosity about the future. The poet continously plays with the time of narration; to avoid monotonousness, he, with the aid of temporal paradoxes, fills the gaps in time past, informs the reader of future events before their happening, and sometimes interferes with the the passage of time.

The semiotic science was given great care of the title as an open threshold that determined the identity of the text, its production method, and its intuitive and intriguing content that could be derived from its superficial and profound implications. This title, for its important functions and levels of poetic poetry, transcends and oversees the poetic text in a single form, composition or phrases with coherent parts to preserve its unity, contribute to the appearance of its theme, define its vision and symbolize its significance. The functions and thresholds of the title threshold are activated in the poetry of Mohammed Afifi Matar. This study attempts to follow the most important functions of the title and its common toxicity levels in his poetry. The overall result of which is that the poet makes most of his concentration in the assignment of the main and sub-sections on a unit and a series alternately in form, and seeks to take into account this proportionality in many aspects with its texts, both verbally and verbally, but what is important in achieving the object is the way it reaches the content More than the content; the poet wants the method of Ennizha Beni Annawin and refused the hierarchy in order to achieve the function of the Greek.

Contemporary Arabic poetry by the method of narrative texture has been turn as a spectacular method or evolved technique and by ignoring clauses and barriers to old expression was able to provide a new type named texture for arrangement of vocabularies and combinations in a specific frameworks and to achieve a clear structure about the look stylization and poetry's poetic experiences, of course, this texture is created in a narrative structure and it is along with other elements of narrative such as occurrence, personality, time, place, challenge, and language that play a role. But in connection with the poem by Mohammad Afifi Matar, it should be noted that most of his Qasidas have the ability to incorporate various forms of narrative and drama, especially when the poet speaks of current human problems and contemporary challenges, the signs of modernism, such as the attention to the technique of texture in his poem, are further revealed and takes wide mediator dimension to itself. Among his beautiful qasidas is “Separated Steps” which not only in the function of narrative symbols reaches the level of other poems but it can also surpass from the same qasidas for the shine of the texture technique. This essay aims to reveal the effects of this technique, its motives and the beauties in the desired qasida by relying on a descriptive-analytical method in the analysis and evaluation of literary texts.

Semiotic proceeds to investigate the hidden points of poetic texts and follows a network of textual relations using beneficial methodology in contemporary periodical criticism, and causes the dynamics of texts in critical reviews and identifies existing codes in linguistic structures and measures their flexibility with innovative concepts. Muhammad Afifi Matar is a great Egyptian poet, whose expression possesses a set of codes and ambiguous concepts that are often related to effective cognitive marks, which provides an excellent opportunity to review his poetry in various aspects, such as semiotics. Therefore, in the ode of ‘Don Quixote’s sufferings’, we chose the methodology of semiotics, till we step forwards with the help of it, within the boundaries of this circumstances and linguistic or non-linguistic effective cognitive diagnostics. The result of this research reveals that, the poet borrows most of his vocabulary from everyday life in order to achieve the expressive capabilities of the present ode, in order to reduce the pressure of his complex visual language and, on the other hand, to avoid direct statement, but still it plummets in a chain of paradoxes that create a huge gap between the tangible reality and his mental imaginations. The images used in this ode are summarized in terms of nature and terms which are related to it, although these images of the same language system are disarranged in the application of vocabulary and the way that we look at them. The poet’s thresholds play a major role in representing the manner in which the poet enters the text and brings him to the right end, and the aesthetic space of the text presents its own unique character through a variety of phrases and contrasts in the ode, so that it helps the overall coherence of the text by choosing the far and nearer vocabulary.

The spatial polarity or dichotomy is a new critical approach in recognizing the contradictions and differences of related place words, which play aesthetic functions in the text either obviously or in hidden manner. Closed spaces, due to the significant role that they play in Arab contemporary poetry, have various functions, such as cognitive-dramatic functions, and can familiarize the readers with the differential effects of the open and close places, spaciousness and confinement, introversion and extraversion, and other contradictions which result from internally and externally induced challenges and influence the quality of the poetic invention, and in turn result in a strong opposition of spatial terms. Mohammad Afifi Matar is a great poet of Egypt, whose poetry revolves around a set of contrasting elements with variable meanings, which by accommodating and capitalizing on place polar terms, incorporates different intrinsic and social issues. This research uses descriptive-analytic method and focuses on the polarity between house and prison in the poetry of Mohammad Afifi Matar. The results of this study show that the poet refers to the function of the house in contrasting ways, such as the confrontation between dream and tragedy, the opposition of its openness and its closed space. On the one hand he wants to digress from the external realities and its frustrating concerns towards the world of good memories, and on the other hand, he arouses the negative feelings of sadness and anxiety associated with house by using its position to the concept of land and defense of the homeland. The poet extends the concept of prison through the polarity of self and community; in the former he emphasizes the intensity of his suffering and psychological pressures, and in the latter on important social issues while he was in prison and before it.

We consider the narrative structure in the contemporary poetic text to be an integral unit that carries many elements and techniques for its artistic image. The place element has a significant importance in the creation of the narratives and the creation of bonds that combine the narratives with a specific atmosphere in which to express the views of the narrator, The presence of the prominent closed spaces in the poetry of Mohammed Afifi Matar comes in a special verbal nature confined in closed spaces to the organization of the dramatic events and deepen the internal life of the person concerned, but this may result in the merger at the opposite result and lead to adventure in the experience of the outside and then get out of the opposite interviews. This study attempts to use the descriptive-analytical approach to address the narratives of the closed spaces in the poetry of Muhammad Afifi Matar, and in particular focus on the location of the cemetery and the makhee. The cemetery is unique in the dimensions and sizes of the excellence of the closure and limited as a narrative meaning that may be the twin death and resurrection in a position and then suggest offset hostility and familiarity in other positions and that the cafe in his poetry can be a haven to escape the personal safety and stability of the events of reality Occasional, bipolarism occurs, or becomes a conflict between self-sufficiency and globalization.

The transformation of standards and patterns in reading modern literary texts has led to a change in the outlook and analysis of the book's codification and systematic criticism, and has paved the way for tracking signs and signals that illuminate the reader's path and guide him to multiple readings and limits of interpretation. Semiotics has been shown as a reading activity worthy of interpretation and the production of a textual abstraction, or what is left out of it from a different perspective, but has important, the textual thresholds and visual methods for their primary signs or textual relations in the poetic text of the poem by Mohamed Afifi Matar. In this comprehensive study, we examine the quality of the poet's input in the text and its conclusion to the correct conclusion, such as the dramatic dreamy acts initiated by the poet since the beginning of the poem. He then closes it and goes forward without warning and warning against the confrontation for a great emotional performance that took place in addition to the visual methods Emotions, gaps, or situations that require suspension, surprise, or disclosure of psychosocial conditions that lead to an influx in the employment of words and structures.