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

The concept of love with all its semantic realm and all its capacity to create and evoke emotions has always been present in the poetry and literature of various nations and cultures, especially in Persian literature. Love has permeated our literature in an aura from myths and legends to mystical secrets and everyday affections. This study focused on finding out whether there is a relationship between the concept of love and its multiple functions, in the poems of the contemporary Persian language poet Hossein Monzavi and Nâzım Hikmet, the great Turkish poet. If we find such an affinity, then we can contrast, assess and classify the prominent functions and elements of the concept of love in the works of the two poets. Following the American school of comparative literature, this contrastive study sought to find similar experiences and commonalities of the two poets in facing the reality and concept of love, and then its linguistic, emotional, social, aesthetic, etc. functions in the language and world of their poetry.

First, an overview of the concept of love and its reflection in the poetry of two poets (Hossein Monzavi and Nâzım Hikmet) was presented, and then the elements and functions of the concept of love in their works were compared, analyzed and classified.

A contrastive analysis of different functions of the concept of love in the poetry of Monzavi and Nâzım Hikmet does not seek to prove the historical connection and directive interactions between the two poets’ works but aims to specify the similarities and differences of these functions in the poetry of the two poets. Although chronologically, Monzavi could have been influenced by Nâzım Hikmet, whose works have been translated into Persian and known in Iran for years, upon further contemplation we find the poetic style, genre, world and language of Monzavi have no direct relationship with Nâzım Hikmet’s poetry. Among the contemporary poets of Iran, Ahmad Shamlou, who developed modernism after Nima, by presenting prose poetry and creating important and successful works in this field, was influenced by the language, form and even the content of Nâzım’s poetry. In an interview, Shamlou confirmed this influence: “One of those who strongly influenced my poetry, that is, instantly revolutionized my poetic style, is Nâzım Hikmet (Mojabi, 2009: 751).
The emotional and lyrical function in the poetry of the two poets is one of the most powerful and prominent elements of their poetry, which has been analyzed by referring to examples of their poetic expressions and their roots.
Emotions in Hossein Monzavi’s poetry represent one of the important elements of the artistic geometry of his poetry. Emotional expressions never subside in different stages of his life and the course of his poetry. His poetry is replete with representations of emotions such as joy, sadness, longing, fear, hope, expectations, the pain of separation, and lover’s suffering: “The most important thing that has added to the prominence and impact of Monzavi’s sonnets is the spirit of pure lyricism and the central role of love in his sonnets” (Hosseinkhani, 2005: 106). An analysis of the lived experiences of Monzavi and Nâzım Hikmet about love and being loved reflects a type of love in their works, which is the outcome of a kind of emotional behavior of the poets themselves and their romantic lives. In the book Philosophy of Love, the author refers to two important barriers to love in the contemporary world; One is the promotion of safe love in the sense that in the modern capital-oriented world, the riskiness of love, which is the natural recompense of love, is negated and safe love is promoted and thus love is diminished to the level of a safe relationship, and the other flaw in our time is its denial and suppression.
Highlighting the dangerous nature of love is one of the bold functions of the concept of love in the poetry of Hossein Monzavi and Nâzım Hikmet. This common and continuous function is predicted in the poetry of these poets; Because, in addition to a kind of cultural and collective belief in the reciprocity of suffering and love, Monzavi and Hikmet were victims of partings and heartbreaks, and part of their lived experiences has been formed in pain and suffering caused by love. Thus, they have numerous poems that have focused on this theme. In some of his poems, sometimes directly and sometimes with a symbolic expression, Nâzım Hikmet considers the suffering lover to be the victim of the beloved. In the following poem, he points to the male bee as a symbol of love: “The male bees are trying to reach her. Finally, the strongest of them embraces her. Their connection did not last a second. He shook himself and the female bee separated from him. The male bee fell to the ground with his body torn to pieces”.
The important point is that Hossein Monzavi and Nâzım Hikmet are both the most capable poets of their era in creating the aesthetic functions of poetry. The aesthetics of the poetry of the two poets has a lot of power and attraction, and for this reason, each of them is considered an important and influential poet in their own culture and language. All the themes, concepts and contents of the poetry of the two poets are expressed with aesthetic function and artistic methods focusing on social and protest themes to the deepest human emotions and universal concepts. The concept of love in their poetry is based on their belief in love and their deep personal experiences of love and its representation in various linguistic and formal beauties.  Using harmonized rhetorical techniques and effective image creation including similes and metaphors, Monzavi’s poetry contains new compositions and optimally uses linguistic and musical capacities to turn romantic themes into powerful aesthetic elements of his poetry. That is, the most artistic language behaviors have appeared in his lyrical poems. His dynamic and creative images representing the beauty and heart-wining effects of the beloved are some of his most successful poetic techniques.

The present study showed that the concept of love is one of the main and most comprehensive thematic aspects and layers of meaning in the poetry of Hossein Monzavi and Nâzım Hikmet, with the difference that the world of Monzavi’s poetry is based on the concept of love. However, due to metatextual issues, his lyric poems have also other functions. In contrast, the essence of Nâzım’s poetry is the wisdom of struggle and protest. Moreover, due to his belief in the concept of love and his deep emotional experiences, the concept of love has found a special place in his poetry. Besides, the two poets’ focus on love in their poetry based on their intellectual backgrounds and personal experiences has caused similar and close perceptions of the concept of love and has had similar manifestations in the layers and elements of their poetry.
Furthermore, the expressions of the concept of love in the poetry of these poets have led to multiple elements and functions, including the emotional and lyrical function, the social and protest function, the earthly and individual function, the aesthetic and lyrical function as reflected in the poetry of both poets. However, there are differences in linguistic representation of these themes in their poetry. Overall, the findings from this study indicated that the common functions of the concept of love in the poetry of two poets in two different countries, two languages and two different cultures confirm that a great and comprehensive human concept, such as love, can overcome many linguistic, social, climatic and artistic differences, become a common ground for literary and artistic works, and bring them closer together from different aspects. Thus, with comparative research, we can discover and reveal these common grounds and expand the cultural interactions between different nations through literature.

Following a logical course in form and meaning causes harmony and connection between different components of poetry, which can be extracted by identifying and analyzing the factors used in the text. This study, while raising the issue of the issue of semantic coherence in Persian poetry from what period and for what reason, seeks to answer these questions: What factors owe the semantic coherence of Monzavi" lyric poems? How did these factors form the semantic structure of the Monzavi" sonnet?

The present study, using a descriptive-analytical method, examined the factors that create semantic coherence in seven sets of Monzavi" poems, which include four hundred and sixty sonnets, which and enumerated some approaches.

A careful and meticulous study of the component of semantic coherence in Monzavi" poems revealed that 55% of Monzavi" sonnets have a coherent semantic structure.

The principles governing the relationships between images or illustrative elements of Monzavi poems are examined and classified into five axes: word fit, pattern repetition, meaning association in terms of similarity, narrative element, and extension of a theme or image.

In his lyricism and eloquence, Hussein Monzavi benefited from the great heritage of lyrical and epic literature, poetic images, fictions, and religious allusions in order to create imagery and expand the meaning and themes of his poems. The Divan of Hafiz is one of the main sources of influence on Monzavi’s poems in terms of form, meaning, and musical coherence. He also benefited from borrowing Hafiz’s clauses, rhythm, allusions, verses, and sonnets. Love and the hardship in its path, pledge of trust, drinking merrily, and social issues are the themes in Monzavi’s poems which were under direct influence of Hafiz. Monzavi’s imagery of love and its manifestations has similarities with Hafez’s poetry. The present paper is an endeavor to investigate the influence of Hafiz on Monzavi in terms of form, rhythm, meaning, love, the image of the beloved, and imagery. The findings indicate that Monzavi benefited from Hafiz’s single elements, rhythms, and themes in about two hundred instances.

A Myth is the narrator of the saint history and the story which states the saint destiny of primates. Myths, are the crystallization of collective reason, the reflection of the human unconsciousness and the symbolic manifestations of ethnic and collective fears and hopes and aspirations. In the old texts of criticism and rhetoric, there is no mentioning of the place of myth in poetry; the only topic that can be incorporated into the subject of myth is the allusion. In this research, two basic questions are considered. First, what are the attitudes and approaches of Behbahani, Neyestani, Bahmani, and Monzavi especially in the allusions contained in their new-sonnets to the myths? And what are the most important types and styles of Modification of Myth in their new-sonnets?

The use of linguistic approaches and theories in reading texts has been one of the most important forms of literary criticism in recent decades. One of the results of using linguistic findings in literary criticism is relying on the text itself and identifying the constituents and units of narration for form recognition. Myth and mythical allusions, as well as any art work and any narration, have elements and components. In every allusion, there are components or bricks that coalesce to create allusions.Today, the theory of "intertextuality" is one of the major structuralistic and narratological approaches to texts, especially literary texts, and their critique. According to the theory of intertextuality, no text is self-sufficient; it relates to earlier texts. Genette (1980) divides intertextuality into two categories of explicit intertextuality such as citations, speech (quotation) and adaptations, and hidden (implicit) intertextuality. Based on Genette’s belief, allusion is a kind of intertextuality which has the least explicitness.In the early twentieth century, French linguists introduced the "general theory of stereotypes" in the sense of ready-made linguistic structures. Permyakof, the Russian linguist and author, called proverb, tale, pejorative, aphorisms, anecdotes, ironies, stories, myths, jokes, and generally the molded and prefabricated phrases of language as the reproductive elements of the language (or stereotypes), and using or transmitting them to subsequent generations maybe possible only in their reproduction or to remember and express them. Productive and creative texts, are against the reproductive elements of language.

In this paper, the modification of myths used in new-sonnets of Behbahani, Neyestani, Bahmani, and Monzavi is investigated in a descriptive-analytic manner. On this basis, using the foundations of formalist literary criticism, structuralism, post-structuralism, and looking at the intertextuality theory and the general theory of stereotypes, while expressing the approaches of the aforementioned poets to the myth, the types of modification of myths in the works of this new-sonnet composers are explored, classified and investigated

The frequencies indicate that the highest percentage of the use of mythical allusions are in Hussein Monzavi's new-sonnets. After Monzavi, Manouchehr Neyestani, Mohammad Ali Bahmani, and Simin Behbahani, respectively, accounted for the highest percentage of mythical allusions.Since narratives are not merely happening, but are told by a person and narrated from a particular point of view, the pre-textual elements may be changed willingly or unintentionally. So are the myths. In the process of biological and intellectual development and evolution of civilization and culture, one often proceeds from passive myth to philosophical and intellectual reflection on myths and then on the denial of mythical and mystical aspects (modification of myths) or their criticism, analysis, and re-reading (mythology).The new-sonnet composers, in general, and mentioned poets, in particular, use mythical allusions in the same way as the traditional view and style of poetry, in proportion to the content, theme, and atmosphere of the poem as well as the type of myth. In this approach, the poet is a so-called faithful narrator who does not make a significant change in the implications, and uses these allusions merely as a context for imagination:The two Zahaki snakes were, two veins flowing up to his headWhich opened two bloodthirsty mouths for my aware brain  (Behbahani, 2003, p. 951)In such cases, the new-sonnet composers sometimes are limited to comparison and simile.In an active and innovative approach, the poet turns away from the depositary narrating of mythical allusions and inserts the mythical allusion in his speech with a range of variations, from mixing the myths to knowing them, historical and realistic myths (elimination of myths), changes in characters and events and other mythological elements, and rereading and recounts the mythical elements (modification of myths) and even deconstruction of mythical implications; therefore, the modification of myths is from the members of the active and initiative approach.New-sonnet composers through their different approach to myths and mythical allusions and manipulation on tem seek to innovate in the construction and organization of myths, in other words, in the pursuit of "modification of myths". In this approach, by adopting and manipulating myths and changing their designs and styles, they create a novel and inhabitual narrative.

By studying the new-sonnets of Behbahani, Neyestani, Bahmani, and Monzavi based on the principles of intertextuality theory and the general theory of stereotypes, it can be concluded that neo-sonnet composers often have a dualistic approach to myths and mythical allusions. Sometimes the same passive and cliché view and style deal with the mythical allusions. In this approach, they do not make much difference to the structure and content of the narrative. And sometimes, they take an active approach, meaning they innovate with elimination of myths or modification of myths. Modification of myths in allusions used in new-sonnets of Behbahani, Neyestani, Bahmani, and Monzavi in ways such as inverting the main mythical elements, shifting the priority of the dual opposites in them, enhancing the myths and less important elements, changing the mythical design, eliminating the mythical elements from its nature and knowing ineffectiveness of some of the myths in modern situations has taken place.

Hosein monzavi is one of the famous persian sonneteers in contemporary era. Love is the dominant theme of his ghazals. Tradition aspects and innovation in his poems become together. One of the surface structure elements of poem that seen Obviously mixture of tradition and innovation in it, is imagery. Between various poetry images, symbole for monzavi attractive than other images. Each one of tradition and innovation involve in the root of symboles in monzavi ghazals. In this article we debate and discuss about the innovation and tradition in monzavi poetic symboles. Symboles in his peoms have a close connetion with the poet world veiw. The effect of literary traditions in his symboles abvouisly seen and beside this attributes, innovation in imagery that is result of his modern veiw to the contemporary phenomenones seen in his poems. Some symboles of monzavi ghazals have a individual emotion and otheres have a social emotion.

Sometimes authors and poets share common points in their way of thinking and acting due to the linguistic, religious, geographical and other similarities, and sometimes only their works reveals these common points. Hossein Monzavi and Badr Shaker al-Sayyab might be considered in the second group. Although these two poets cannot be generally regarded as followers of Romanticism, many of the poetic images in their works have been created in the romantic atmosphere. Images which, on the one hand, restrain the poet’s internal emotions and mental states, and on the other hand, play a significant role in conveying the poet’s emotions. Al-Syyab, due to his stay in Iran, has become familiar with Nima and Nima's poetry and Monzavi, that is, undoubtedly had been partially influenced by Nima. In this paper, after a brief reference to the poets’ life and discussion about the concept of image and the characteristics of romantic image, some of the poetic images in their poetry has been investigated in the three categories of transformation in nature and objects, shadow likeness, and the impact of individuality on fighting.

Death as an absolute necessity, bound to happen, is unique and belongs to human beings. Whatever we know of death is assured, or at least seems to be the most absolute knowledge of us as human beings. It is an inescapable reality that all creatures will experience it later or sooner. The humankind worldview of death is based on his attitudes towards life. Some people believe that it is attractive and fascinating, while others find it horrible and disgusting. It is clear that the way people try to believe in death has roots in their lifestyles and attitudes towards life. Hossein Monzavi, aka “The King of Ghazal”, the famous poet of 1960s and 1970s, could revive ghazal and made it enthralling and romantic. Some of Monzavi’s ghazals are about death, and he attempts to reveal his attitudes towards the concept of death as a bound to happen. He sometimes believes in death doubtlessly, and sometimes fights it. Despite some contradictions in some of his ghazals about death, he doesn’t believe in death as something absurd and conjectural. This paper aims, through an analytical- descriptive method and by investigating Monzavi’s ghazals, to study his worldview and understanding of death.

Irony is among the significant and effective elements in aesthetic evaluation of speech and most poets have applied it deliberately in their versification. Hossein Monzavi, well aware of this potentiality of language, applies ironies skillfully in his poems in order to effectively communicate with his addressees. While studying Monzavi’s ghazals one can realize that he has a great appreciation of his native venerable customs and rituals as well as common people folklore. He inter-mingles the old beliefs and modern language in order to create such ironies that far from being complicated have made his poems more palatable and involving to be received warmly by people. The motifs of his ironies are mostly political, social, emotional, and sometimes akin to routine life, which are rooted in both ancient and modern cultures. This research deals with those ironies that are mainly related to the organs of human beings.

Hossein Monzavi, is one of the outstanding, contemporary sonneteers and of basic innovators of today’s sonnet. Regarding his dominance over ancient Persian literature and knowledge of different Iranian and non-Iranian myths, Monzavi’s poetry is the exhibition of epic, spiritual and religiousallusions. He, by using of differentallusions, has made his own words deep, effective, multi-meaningful and deployed. The main aim of this research, by considering to necessity of analysis of methods and devices of making the word Deep and effective; and enlarging thought, meaning and culture, to more and better understanding of his Poems and role of this factors to Literary pleasure of his poems, is studying and analysis of Monzavi’s Poetic Deconstructions and interpretations of allusions based of principals of Deconstruction school, in a Text analysis and description method. Monzavi, deconstructs the allusions in numerous and sometimes repeated cases and presents artistic images using some devices such as subtracting meaning and adding meaning, changing the plot, reversing the binary oppositions, combining the myths, etc.

New Ghazal with its special features (superficiality and meaning) was begun at the forty decade. Hussein Monzavi and Simin Behbahani were important first beginners. Nowadays in various and new branches for poet’s are welcoming. New Ghazal get out from the traditional Persian poetry and Nimayy poems. This article is an attempt to become familiar whit background of the new Ghazal. In this article expressed the outline of the New Ghazal and then examine the background and context has been effect on New Ghazal.

This study examines the distinguishing factors of the language of poetry from the standard language in the poetry of Hossein Monzavi, one of the founders of today's sonnets.Linguistically, the devices which play a role in creating poetry fall into two groups, auditioning rule and decreasing rule, under the heading "foregrounding language".In this research, various types of deviation, such as phonetic, dialectal, temporal, stylistic, writing and lexical, have been investigated and analyzed.

Word repetition and substitution in the body of the text, are among the factors that cause alienation ion of the poets language. One of the distinguishing features of Monzavi`s poetic language is this “Word repetition”. Not only does this prevailing “word repetition” feature as the prominent characteristic of Monzavi`s poetry, and direct the reader’s attention away from the content of utterance toward its underlying message, but it also affects the semantic structure of his lyrics. It`s also note worthy that Monzavi has employed other literary and artistic elements, such as “contract”, Multiple meaning”,”taxis” and …, in addition to word repetition. The current study is after probing word repetition as of Monzavi`s resources in developing his poetic language.

The traces of resistance literature are prevalent in every nation’s culture. Instances of this branch of literature were observable in Pahlavi dynasty. Some of the poets of this era have made an attempt to portray the political circumstances of society in the oppressive and non_egalitarian atmosphere, being aware of the outstanding impact of symbolic language on addressees. In effect, these poets were determined to raise the public consciousness toward the improper social conditions. Hossein Monzavi is among the dedicated poets of this period, whose pre– revolution lyrics take heed of resistance poetry, focusing mainly on the fighting for liberty. The use of symbol in Pahlavi’s dynasty has utterly transformed the nature of Monzavi’s lyrics and given them the unique feature of “creating liberalistic atmosphere”.

The pertinence of a poet’s imagination in ordinary concepts of life and their relationship with nature is due to his or her insights and knowledge of natural phenomena as well as the outside world. In the collection of works of every poet, all various types of imagery being attributable to figures of speech (i.e., metaphor, simile, synecdoche, and irony) represent moments that deal with the poet’s inner world; in fact, they are the reflections of the poet’s soul, personality, and inner characteristics. The current study was an attempt to scrutinize figures of speech and their frequency of use in Aminpour’s and Monzavi’s poems to find out the poets’ thoughts, emotions, and ideology towards the world and life. The common shared imageries or the central poetical imageries of these two poets were around love and the issues surrounding it. Although, more or less, a reflection of the society and the social issues could be seen in their writings, their subject was mostly about love. Their poetical imageries were vivid, dynamic, and visual. Although even little imitations could be discernible in their poems, their imageries and figures of speech domains were not just limited to the imageries of traditional poetry, but innovations could be observed in their poems. Similes were mostly intense and intuitive-intangible, and metaphor and simile were used more frequently than the other figures of speech.

The impact of a poem relies, to a great extent, on the music of the terminology used.In effect, repetition is what engenders music in poetic language. Musical group incorporates factors such as, measure,rhyme and rank which differentiate literary language from normal language through  the  use  of  musicality  and  Assonance.  Simin  Behbahani, Hossein Monzavi and Mohammad Ali Bahmani among the Renowned Contemporary lyricists who have brought about fundamental changes in the Measure of modern lyric. In the Present Study, the Researcher is After Investigating not only the musical group in modern lyric but also the Aforesaid Transformations by Focusing on the works of these three lyricists.