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

The contemporary period in Iran's history can be seen in all aspects as a battleground between tradition and modernity. This conflict is also clearly seen in the field of literature. Some have considered tradition as a cause of deterioration and have risen against it, and some have completely adhered to tradition and have not embraced innovation. In the meantime, there have been those who, while adhering to some components of tradition, also considered modernity and novelty as a necessity and have taken steps in this direction. Hossein Manzavi, one of the neoclassical lyricists, has such a view; He has adapted Ghazal to Nima's theories and considers himself one of Nima's "phoenix in bloom". At the same time, he calls his ghazal Hafezvar (like Hafez' poetry) and acknowledges the influence of tradition in his ghazal. This duality can be seen especially in the field of theme and content, which is the subject of the present research. This approach has caused traditional topics and themes to be seen in his poetry alongside contemporary and new topics and individual experiences; Physical love and eroticism, aesthetics different from the beloved, and realism and relying on individual experiences can be considered as aspects of his modernization in the field of theme. In the current research, the dimensions of isolated traditionalism and modernism have been investigated in the subject and theme. The result of the present research shows the integration of modernism and traditionalism in different dimensions of theme, language, and poetic images in isolated poetry.

Simin Behbahani is one of her contemporary modern lyricists. Simin has been considered Nimas of ghazal (Nimaye Ghazal) due to his innovations in the metre of Ghazal. The most important aspect of Simin's innovation is the metre of the sonnet(ghazal). However, Simin is a innovator poet in other aspects of the art of poetry. You can see especially her innovation and her effort to the innovation of poetic imagery. she has tried to use images in his poetry that are the result of individual vision, personal experiences, relying on objectivity and individualism, in accordance with the approach of imagery innovation in poetry. Based on this, he depicted as he saw and avoided clichés and repetitions as much as possible. Modern elements and contemporary phenomena in accordance with this individual vision and empiricism have a prominent place in his imagery and are considered one of the main origins of the poet's imagery innovation. The current research has tried to examine and analyze the dimensions of this imagery innovation and reveal the results of this new look and attitude in imagegry. The research findings prove the emphasis on innovation in imagery in Simin's poetry.

Beloved and her aesthetically image and description have a predominant presence in the Persian love sonnet (Ghazal); Poets have always talked about the beloved's lips, eyes, moles and Stature, and have depicted the aspects of the beloved's beauty. The aesthetics of the lover in persian classic Ghazal is a stereotyped aesthetic, and poets have often depicted the same aspects of beauty in the beloved; It's like everyone had the same lover and this was caused by not relying on individual experiences and reality and caused by generalization and subjectivism. This approach to the aesthetics of the lover changes in Iranian modern Ghazal; in these sonnets, the poets depict the lover with a emphasis on individual experiences, realism and personal vision. in this way, they create images different from the classic Ghazal in the beauty of the beloved and avoid repetitive images.These new images regared to the lover aeshtetic aspects show the Iranian modern  poet's have a new and different view of the lover and his beauty aspects and show predominant changes in the depiction of the lover's aesthetics. Unlike the classic persian ghazal, in the new ghazal of individual experience, objectivity and empiricism are replaced by generalism, subjectivism and repeating the experiences of the predecessors. This feature causes us to encounter different aesthetic images of the beloved in the modern Persian ghazal, and the beloved is described and depicted in a new way.

The research method in this article is descriptive-analytical. By examining the Ghazals of Iranian modern poets, the differences and distinctions in the aesthetic aspects of classic and modern Ghazals have been analyzed.

Beloved, as a Qiblah of lovers, has a significant presence in classic and modern Iranian Ghazal and the Iranian love Ghazal is formed and expanded on the axis of the beloved. In the classic Iranian Ghazal, the lover's cuteness, infidelity, cruelty, charm, etc are all her attributes that are repeated and Regardless of some breaking of tradition, for example, in the Ghazals of the School of Occurrence (Voghoo’) and Vasookht, a stereotyped view dominates the aesthetic aspectes of the beloved and most of the poets have not avoided repeated descriptions and stereotyped descriptions  and they have depicted their lover in a mold. Nima's opinion, who said that our poetry is subjective: " I told you that our classic poetry is subjective. That is, it deals with conscience and inner conscience mood. In it, the external scenery is an example of the interaction that took place in the interior of the narrator. He doesn't want to pay much attention to the things that exist outside" (Nimayoshij, 1985: 80). It also applies to the aesthetics of the beloved. Because the descriptions of the beloved and the aspectes and moods are subjective, not objective, and the classic poets The traditional poets do not express their individual experiences and present the subject from a repetitive and stereotyped point of view. As if all classic Iranian poets had a single lover and depicted a single lover.In the aesthetics of the beloved, dishonesty, unrealismn and subjectivism in the description can also be seen in the aspects of the beloved's aesthetics. A single beloved with repetitive aesthetic aspects is present in classic Iranian Ghazals. Although in few cases a poet has show a tendency against this general trend, but it is insignificant and is not considered a dominant characteristic of style and because in style: "the presence or absence of an element or several elements is not so important as the "frequency" of that elements... Therefore, the study of the appearance of a specific element in stylistics is not as important as the study of its high and impressive frequency statistics" (Shafi'i Kadkani, 2008: 39).Therefore, the prevailing aesthetics in traditional Ghazal and the high frequency of repeated images cannot destroy the stylistic feature of the design of the repeated lover in traditional ghazal.But this approach in the aesthetics of the beloved in modern ghazal is completely changed with a emphasiz to the theory of Nima who said: "Try to write as you see" (Nimayoshij, 2015: 35), the modern Iranian poet has also tried to depict the beloved as heor she has seen her. It is not without grace to mention that modern Iranian Ghazal was also heavily influenced by Nima's leading theories in all elements of poetry.Inspired by Nima, modern ghazal poets innovated in all aspects of Ghazal, and one of the innovations was in the aesthetic aspects of beloved.Therefore, in modern Iranian Ghazal, we witness the presence of different aesthetic aspects of the beloved, which is unprecedented in classic Ghazal. Modern iranian Ghazal has tried to be experimentalist, realistic and objective and to depict and describe the beloved as she is, not as seen by the past. Relying on a personal view and individual experiences has brought this innovation in the aesthetics of the beloved.Beloved in moedern Persian Ghazal, unlike classic Ghazal, has light, honey-colored eyes, straight and golden hair, and looks like a waterfall, rainstorm, wheat field, etc., short, medium height, and sometimes tall, lips like raspberry, cherry, pomegranate, etc. These images show the realism of modern Iranian Ghazal in this matter. All of these show imagery innovation in modern Persian ghazal compared to classic ghazal.

The result of a research on the aesthetic aspects of the beloved in the modern persian Ghazal is that the modern Ghazal ,unlike the classic Ghazal has discovered new aspects of beauty in the beloved and has described and illustrated them. The clichéd and repeated images of classic Ghazal, which represent the repeated vision of the classic poet, have given way to the creation of an image in aeshtetic aspects based on empiricism, realism, objectivity, and a personal view and the poets describe the lover as she is, not in a general form.It is for this reason that in the modern ghazal, the beloved does not only have black eyes, but is described in bright colors such as blue, green, honey color and etc., and the color of the beloved's eyes is included in the ghazal as it is.In addition to this, the beloved hair is not only black, and relying on the personal experiences of the poets, described blonde, red color and etc. Other aspects of the lover's aesthetics are also different.The Present research, finally, proves that the aesthetic aspects and description of the beloved in the modern Iranian ghazal is different from the classic poem and based on individual experiences, realism, objectivity is different from that. It can be said that the modern persian ghazal in the field of imagery of the aesthetics of beloved has been innovative like other images, and innovation in the image is one of the most important characteristics of the modern persian ghazal.

Today's poetry has undergone extensive changes due to the huge transformations of the last three decades. Even though the sonnet has found its own way through changing its nature and has, hence, been able to experience new worlds to the extent that the contemporary sonnet shines brilliantly as the most prominent form of poetry, Nima's goal was to break away from the prosody systems and change the linguistic and contextual identity of the poem. Indeed, the contemporary ghazal has only been successful in applying some of Nima's desired changes, such as breaking the narrative (lack of linear and narrative structure of the ghazal). Using a descriptive-analytical method based on interdisciplinary library studies of literature and philosophy, authors of this article have reached the conclusion that attributes like having contemporary poetic concerns, using a simple and intimate language, benefitting from vast vocabulary and introducing familiar elements are not enough to call ghazal “modern”. In other words, traditional poetry forms are not suitable for modern poetry because they are limited, predictable and universal. On the contrary, modern poetry is unlimited, unpredictable and subjective. So, a ghazal can be said to be modern (modern) if it completely loses interest in the past. A sonnet which is even remotely connected to the past and simultaneously introduces modernistic concerns, should not be considered as a modern sonnet; it should, rather, be discussed as innovative.

Fazel Nazari is one of the contemporary modernist poets in sonnets. A significant part of this poet's modernity is in poetic images, and that he relies on his personal vision and emphasizes empiricism and objectivism in the image. He is inspired by personal attitude and takes advantage of contemporary phenomena in illustration and in precision resembles to the meticulous Indian poets. These images are the cause of his eloquence and has an aesthetic character. They play an important role in influencing and captivating his poetry. This study explores the modernity sources of Fazel in illustration, and based on this, nature and modernity phenomena are examined as two important sources in his visual modernity in a descriptive-analytical manner. The emergence of elements of nature and contemporary phenomena in his poetry are analyzed. The present study clarifies that image is one of the important dimensions of the influence of Fazel's poetry and the above-mentioned elements have a flawless presence in his visual modernism.The emergence of elements of nature and contemporary phenomena in his poetry are analyzed. The present study clarifies that image is one of the important dimensions of the influence of Fazel's poetry and the above-mentioned elements have a flawless presence in his visual modernism

The ‘literary revolution’ planned by the Iranian constitutional intelligentsia and carried out by figures such as Ali Asghar Taleghani and Taghi Raf’at, rather than making new forms of poetry embracing the revolutionary content, proved itself to be an opposition to the classical tradition. The socio-political revolution had also influenced the Iranian literary field but did not lead to genuine literary theorization. The present article is based on Foucault’s archeology, but to expand the notion of the subject in his theory of discourse, the role of the subject will be further discussed through concepts such as the “logic of equivalence,” “discursive otherness,” the “subject position,” and  the “pre-given subject,” as proposed by Laclau and Mouffe. The supporters of the traditional trend in poetry, like the poet-laureate Bahar and the poet-critic, Vahid Dastgerdi, attempting to canonize a neoclassical perspective, interpreted the literary revolution as an evolution or opposition against literary conventions. Employing Foucauldian archeology, the present paper tries to show that the notion of literary revolution goes back to the French Revolution and the later Ottoman and Russian practices, rooted in the zero degree of the emergence of literary revolution in Victor Hugo’s discourse which formed a romantic opposition to the classics. The genealogy of the concept shows how the literary traditionalists and conservatives used discursive strategies such as “destroying the meanings proposed by literary revolutionaries,” “focusing on literary figures from the past,” and “separating the political domain from the literary domain” to develop peripheral meanings and marginalize the definition of literary revolution proposed by the modernists. Extended Abstract1.IntroductionThinkers such as Fathali Akhoundzadeh and Aghakhan Kermani deemed fundamental changes in Iranian literature essential due to the absence of critical expression in classical Persian literature. Later, Aliasghar Taleghani and Taghi Raf’at, influenced by French literature, especially Victor Hugo, and the Russian Revolution, articulated the literary revolution discourse in Iran. Taleghani sought to bring about a literary revolution in Persian literature and criticized classical literature represented by poets such as Hafiz, Rumi, Sa’di, a movement that was resisted by more conservative literary figures such as Rashid Yasami, Abbas Eqbal Ashtiani, Saeed Nafisi, Taghizadeh and Malek-o-Shoa’ra Bahar. 2.Theoretical FrameworkThe present article draws on Foucault’s theory of discourse analysis, particularly his idea of genealogy. To further explain the status of the subject of Foucault’s theory, we have employed the concepts and strategies developed in Laclau and Mouffe’s discourse theory. 3.Methodology The present article employs the qualitative content analysis methodology. Foucault’s theory of discourse analysis has been used to study the ‘literary revolution’ supported by some important literary figures in Iran. 4.Discussion and AnalysisA careful study of reports by literary journals and associations in the final decades of the Qajar era can clarify some ambiguities in the literary revolution in Iran. The present study examines French, Ottoman and Russian influences on the ‘literary revolution’ in Iran and describes both revolutionary and conservative attitudes toward the literary revolution discourse. Our semiotic and genealogical study of the concept of literary revolution identified hegemonic signification employed by subjects in the articulation of discourses. 5.Conclusion Literary figures in Iran reacted differently to the ‘literary revolution’ in Iran. Rather than develop new forms of poetry that embraced the revolutionary content, the revolution was an opposition to Iranian classical poetry because it did not result in genuine literary theorization. The idea of a literary revolution draws heavily on French, Ottoman and Russian literary movements. The genealogy of this idea reveals that literary traditionalists and conservatives employed discursive strategies such as “destroying the meanings proposed by literary revolutionaries,” “focusing on literary figures from the past,” and “separating the political domain from the literary domain.” Advocates of the literary revolution, on the other hand, tried to focus on their central signifier, i.e., “revolutionary dissent.” Select BibliographyAdamiyat, F. 1349 [1970]. Andisheh-ha-ye Mirza Fathali Akhoundzadeh. Tehran: KharazamiAryanpour, Y. 1346 [1967]. “Tajadod-e Adabi.” Jahan-e Noe 4-5: 108-126.Bahar, M. T. 1393 [2014]. Bahar va Adab-e Farsi. M. Golbon (ed.). Tehran: Elmi va Farhangi.Foucault, M. 1387 [2008]. Dirinehshenasi-e Danesh. N. Sarkhosh and A. Jahandideh (trans.). Tehran: Nay.Foucault, M. 1977. “What is an Author?” In: Bouchard, D. F. (ed.). Language, Counter-memory, Practice. D. F. Bouchard and S. Simon (trans.). Ithaca: Cornell University Press. pp. 113-38. Hugo. V. 1834. Littérature et philosophie mêlées. Bruxelles: L. Hauman.Jørgensen, M. and Philips. L. 1389 [2010]. Nazaryeh va Ravesh dar Tahlil-e Gofteman. H. Jalili (trans.). Tehran: Nay.Rafa’at, T. 1297 [1918]. “Yek Osyan-e Adabi.” Tajadod 70: 25-34.Taleghani, A. A. 1296a [1917a]. “Maktab-e Sa’di.” Zaban-e Azad 6: 1-2.Taleghani, A. A. 1296b [1917b]. “Shagerd-e Maktab-e Sa’adi.” Zaban-e Azad 7: 1.Vahid Dastgerdi, H. 1299 [1920]. “Enqelab-e Adabi, Adib-e Enqelabi.” Armaghan 4: 109-113.

The story of Sodom appeared in religious heritage to explain the destination of pagans and the perverted people. Arab poet Khalil Hawi has utilized this topic in three odes. Using the descriptive-analytic method we tried to explain the hereditary and religious roots of these odes, furthermore we explained how Hawi modernized the story by applying it in a social and political situation in Arab countries and how he made use of pessimistic expressions in his views. The poet's viewpoint is vividly pessimistic in these odes and he relied on symbolic expression of the topic of Arab sovereignty in Arab homelands and of old dogmas and reactionary thoughts with a grotesque diction; so, he shows his anger and wrathful attitude toward tyrant and absolute Arab sovereigns and toward Arab nations for their passivity, silence and obedience against them. The results show that our poet has had three phases toward this problem: firstly, he looks pessimistic to existence in the first ode "Sodom", so confusion, stress, and death are apparent as main themes in it. In the second ode "Return to Sodom" we confront a radical change in his attitude, because there are some hints of optimism and hope for Arab revolution; But at the third ode "Sodom for the Third Time" this hope will wither soon and a newborn pessimism will takes its place and our poet looks gloomy and sad.

Manuchehr Neyestani can be considered as the one of the pioneers of persian modern sonnet(Ghazal). Hussein Monzavi considered him one of the pioneers of persian modern ghazal and believed that his place in the changes and developments of contemporary Ghazal , It remains unknown. Neyestani's all-encompassing endeavor to achieve a new form in Ghazal has made him one of the first Ghazal poets that has taken a step in this direction. His efforts to expand the content and capacities of the Ghazal are also remarkable, and he has not paid much attention to the thematic clichés of traditional Ghazal and their repeated aesthetic criteria, and has replaced individualism, realism, and subjectivism.he has also created new and innovative images based on individual and personal perspectives and inspired by the elements and characteristics of its time and Environment. In the poetic language, he has broken the hegemony of literary language and He has introduced colloquial and spoken words and expressions in ghazal. The present study tries to examine and study the neyestani's modernities in the mentioned fields and to reveal the position of this poet in the dimensions of modernity in Ghazal.

Contemporary nouveau riche poets have been aware that art with initiative and innovation has a double emotional impact and imitation and repetition is the death of art. One of the components of poetry that is an arena for displaying innovation and provides an opportunity for the emergence of individual poetry of each poet the images are poetic and nature and natural elements are resources which has always been considered in poetic illustration. Fazel Nazari is one of the contemporary modernist poets which explores the natural elements to create new images by punctuation and narrow-mindedness and with an emphasis on personal perspective and climatic elements, creates amazing and unique images.
    In the present study, after studying the published works this poet it was found that Fazel is an illustrator poet. He with depth and accuracy discovers different features of a natural phenomenon, then he remembers and finds a connection between itself and those natural phenomena and with his artistic creativity, he creates a new image. Moon and Pond and Swamp, Waves, Rocks and Rivers, Pomegranate and Desert which is one of the climatic elements around it and … they are repetitive images which has been considered by this poet from various angles and are formed to express the poet's personal moods and emotions. Most of these images are in the form of similes and is of the sensible analogy to the sensible which is the most artistic type of simile. Along with many similes, simple metaphors and allusions and common Persian proverbs also have been employed.

Shafii Kadkani is one of the contemporary iranian poets. Shafii in same time inspire from the traditions and innovations in his poetry. The persian poetry traditions and innovations and modern poetic currents, reflected in his poems. His approach in poetic criticism oriented to the meaning and he is a idological poet in some time. as well as the meanigfully, clarity is othere principl in his literary approach and does not like the meaning Ambiguity. also he not like the language-centrism and emphasis the lingustic and word game. Imagism and conceret poem are the two modern poetical current that intrested for Shafii Kadakani and he compose the poems with coincidence from principles of this poetic currents.till now,not done a research around the Shafiies conceret poems and imagism, while this section of Shafiies poem have a high emotional and artistic richness. In this poems, Shafii portray a Fleeting moment with concrete and tangible images and with a artificial imagery immortalized it. this imagistic poems that Usually Non-ideological and are Purely beautiful, worthy to the attention of Audience for Artistic acceptance. beside of this, Shafii has created a harmony between theme and writing form of poets and compose a conceret poems. Because of a this,he created Aesthetic trait for this poems. In this article, imagistic and conceret poems of shafii kadkani were investiaged and efforted the principles and criteria of currents be clear in some poems of Shaffii kadkani

Yaghma, The literary magazine in the field of poetry, started its activity with the aim of preserving ancient achievements and countering every kind of unapproved innovations and novelty. This was in spite of the fact that many years had passed since the beginning of modern poetry and there have emerged famous figures in Nimaei poetry. The present article intends to see how much Yaghma was successful in following its initial policy in the field of poetry delineated in its very first number. This will be done through a review of the theories of poetry published in this magazine and also content-statistical analysis of forms and contents of the poems and identifying the poets who were considered and heeded more than others in Yaghma. Had Yaghma been successful in following classicism regardless of modernism, or had it been affected by modern trends in poetry? Results of the current study, which was done by content analysis and descriptive-analytic method, show that although Yaghma had serious attempts to print and publish classic poems and had great cooperation with dogmatic poets, and much of it comprised of Ghazal (33 percent), Ghasideh (25 percent), classical contents and Akhavaniat, yet it could not ignore public demands for modern trends in poetry and sometimes made cautious innovations to satisfy contemporary needs and occasionally eulogized and praised innovative (or modern) poets due to expediencies of the age, and even published some of their poems. However, to defend and respect its classic followers who form the main body of its audience, Yaghma prevented this from becoming a regular approach in the magazine.

A general belief about the modern story in Persian fiction is that this genre, unlike modern poetry, has never been subjected to the critique of traditionalists in its evolutionary process. The present article claims that the story has gone through similar difficulties as modern poetry. To determine the classical approach to fiction, this research has chosen Yaghma Magazine which has indisputable classical approach. Categories such as old and new genres fiction, the commentaries on storytelling and authors published in Yaghma Magazine are analyzed. The results of this research show that Yaghma considers the contemporary fiction as the sequence of its classic forms of storytelling in Persian literature. Therefore, the observance of the rules and principles of modern narrative is not required and furthermore, following the classical rhetorics is counted as an advantage. Since the mission of the story is education and entertainment, in many cases in this magazine, pseudo stories take the place of the fiction and even an ancient genre, such as the fable, occupies much of the fictional literature of this magazine. Yaghma’s stories, apart from the works of translation, is divided into two categories: Historical stories based on classical works, whose structure is inspired by classical literature and stories that have been formed by the influence of Western literature, still trying to draw closer to their Iranian identity. Another point is that Yaghma has not published a story from any of the famous and well-known persian writers other than Jamalzadeh.

The cultural ties between Iran and modern Turkey have long lasting historical roots, apart from the ancient relations associated with the old history, from the Seljuks onward, the ties between this strong culture have become so intense that in some historical time period we can hardly draw a sharp line between the cultural borders of the two countries. One of the most outstanding ties is manifested in literary relationships between Iran and Turkey. Through examining the literary ties and relationships between the two nations we can divide it into two time periods: premodern (the Seljuks and the Ottoman empire periods) and post-modern (the periods of Tanzimat/Transition, the Constitutionalism and the Turkish Republic).
The present paper, in addition to pointing out the history of the cultural and literary relationships between Iran and Turkey and the prevalent of Persian language and literature during pre-modern era and its impact on the Turkish court literature of this time period, known as Divan poetry, attempts to study the literary relation of the two countries during the Tanzimat period, especially during both the Ottoman and Iran Constitutionalism, The presupposition of the present paper is that since the Ottoman Constitutionalism the influential process has been reversed, as a result Persian literature, especially Persian poetry has been affected by the Turkish modern literature.
The author, by citing some evidences, has tried to explain the process of this impact.

Khuzestan Arabic poetry in contemporary age has continued its progress and dehiscence. In spite of following old poetry, it shows the changes and renewal in the form and poetical objects and style. This poetry has been influenced by contemporary Arabic poetry and its poets followed great Arabic poets such as Mahmood Sami al-Barodi and Ahmad Shoqi. They have composed the poems while frequently comparing them with particulars of literary schools like classicism, romanticism, symbolism and realism and realism. We can see manifestations of this change and renewal by young poets as Abd al-aziz Hemadi, Foad Ashore, Hosin Torfi, etc. They could enrich their poetry by two old and new cultural heritages.

The purpose of this paper is to reveal the point of connection between the story of “Mondo and other stories”, by Le Clézio, the contemporary French novelist and the poem of “Phoenix and Morghe Amen”, by Nima Yushij. Mondo’s collections of stories are a combination of myth and reality which, in the dream entertainment of the author, points to the reality and philosophy of human life. However, Nima, political and revolutionary, interprets life with the language of symbols in the course of the new poem and iconoclastically creates symbolic and free prose. Nima’s familiarity with contemporary philosophy and literature of west, on the other hand, and their naturalism and historicity, on the other hand, direct them (the two authors) to the identification and study of human history and its consequences. As a result, the death and birth of phoenix has changed to mental and genuine tool in the discovery of thought of historical human and description of social transformations and reveals the reality of mythical human in the course of verse and prose. This does not come to a conclusion unless the soul and body of human is smoothed in the course of literary masterpieces.

Abstract Both Walt Whitman and Ahmad Shamloo are modernist poets who have commonalities in form and content in their poems. Common poetic contents such as being naturalism, humanism, paying attention to social and political issues and human body along with the soul and spirit are seen in their works. Regarding poetic styles, both of them believe in freedom from the rhyme restriction and they use rhythmic speech and make a new way in poetry. Like Whitman Shamloo brought in colloquial and conversational language to the poetry. But Shamloo paid special attention to the rich, poetical and epic language and his epic and mythical tone is affected by the texts of holy book. There are also some confrontations in their works. Most of the time Shamloo praises the heroes.This hero is sometimes a warrior and sometimes his beloved. But Walt Whitman praises not only human but also plants, animals and inanimate. Sufism in Whitman's poems is seen more than Shamloo's

Social, political and cultural developments of Iran in Qajar period exposed the strictly traditional society of Iran to the waves of western culture and in general caused an unprecedented situation. In this article, an attempt is made to study the possible impacts of social developments on the poetry and painting in the Qajar period. To do so, first the social and cultural situation of the period is briefly considered. Then, by investigating the poetry and painting of that period, the paper considers four approaches, two of which are quite new. The use of different styles in expressing artistic expressions by poets and painters seems to be nothing but testing the ways to escape from such social-cultural crisis. Finally, it is concluded that common social situations have had a similar effect on these two kinds of art; an effect which has caused a remarkable similarity between the two.

Russian Formalists considered literature as a special use of language which occurs through deviating from defamiliarizing the practical language. Thus, due to the special function of language in literary criticism new debates were initiated which inspired the modern critics in their analysis of literature. "Defamiliariztion" is the key concept in formalism and deviation is the key term defamiliarization. In this essay the formalistic approach is used to analyze the lexical archaism in Nima Yushij's free verses and his modern views on poetry in this regard. The poet's use of this archaic language and his commitment to tradition in some cases and non-commitment in some other cases is studied.