جستجوی مقالات مرتبط با کلیدواژه "bijan elahi" در نشریات گروه "ادبیات و زبان ها"

Bijan Elahi is one of the "other poetry" poets who in the 40's turned to a type of white poetry in which mystical concepts and influence from the verses of the Qur'an are abundantly seen. If mystical symbols, metaphors and images in general are not interpreted in his poems, a huge and important part of the content in divine poems will be neglected. Of course, sometimes the Divine Vision refers to the verses of the Qur'an directly and only through the lexical level of words, and sometimes the divine references to the verses of the Qur'an depend on the interpretation of the images and the relationship between the components in the axis of coexistence and succession. In this book, the authors intend to analyze all the influences and also the divine attitude towards the verses of the Qur'an in the order of his poems in the two collections of poems "Youths" and "Seeing" in a descriptive-analytical way, as well as the process of the formation of meaning to The means of using Quran by Bijan Elahi is also of interest to the authors in this research. From the results of this research, it can be pointed out that in the poetry collection "Seeing" the lover is often real, and in the poetry collection "Youths" the lover is virtual and the type of love is often carnal.

In the 1940s, after the Movje nov of Ahmadreza Ahmadi, a poetic movement called "other poetry" was formed, whose poets had a great desire for modernism, mysticism, norm avoidance, commitment avoidance, avoidance of literary traditions, naturalism, symbolism, and a kind of self-view. which grouped them in a common intellectual and rhetorical basis. Bijan Elahi, Bahram Ardabili, Hoshang Chalangi, Hamid Irfan and Hoshang Badiehneshin were among the most important poets of this group. In this research, the authors intend to analyze the components of other poems with a descriptive-analytical method and show each of these components in the poems of Bijan Elahi, Bahram Ardabili and Houshang Chalangi. According to the fact that each of the other poets have used different methods and methods, the writers have analyzed the components of other poems in the poem of the three poets have found it necessary and necessary to be able to analyze and analyze what is present in the works of poets of this group based on frequency. From the results of this research, it can be pointed out that the first group that gives white Persian poetry a mystical side is other poetry. has it. The desire for social symbolism and mixing it with mysticism is one of the other poetic techniques of this group of poets.

The formation of the idea of a school called Imagism in the early 20th century in Hulme, after studying Bergson, and Pound, after getting to know Fenollosa and studying Japanese poetry, created a leap in European poetry and paved the way for a new kind of poetry that after Arthur Rimbaud and Charles Baudelaire drew careful attention to the specifity of images and language. Imagism focuses on a specific object or image as the main subject of the poem with clear and concise language. This school is a subset of modernism that focuses on the skillful presentation of objective images, does not waste time talking about the subjects behind the images, and lets the image speak for itself. Examining the imagistic solutions of Hulme, as the father of Imagism provides a suitable opportunity for researchers of modern poetry. Bijan Elahi, a contemporary Iranian poet, due to his translations of modern European and American poems, was able to reflect the features of this school in his poems. The simultaneous analysis of the artistry of these two poets in their poetic style leads to the clarification of their intellectual, philosophical, and cultural backgrounds. Elahi and Hulme were successful poets in Imagism, and the difference between these two poets, in addition to their cultural context and mental background, was that Hulme, as the pioneer of this school, adhered more to the framework of its ideas, but Elahi, having passed through She’r-e-no and Moj-e-no, was faithful to the tenets of the school only partially and in certain periods of his development. Hulme’s mental background was philosophy, old laws, and a new point of view towards the world, whereas Elahi was more influenced by eastern mysticism.

T.S.Elliott, a British-American poet and critic, is considered one of the pioneers of literary modernism due to his formal, expressive, and thematic techniques. The book "Wasted Land" and "Four Quartets" show a new style and period of individuality and self-awareness in poetry, in which the subject / narrator of the poem achieves a deeper experience and understanding of life. Eliot's modern subject not only influences European poetry but also becomes the model and source of inspiration for modern Persian poetry. Bijan Elahi, the poet of the New Wave, in the books of "Youths" and " Seeing " is close to the characteristics of modern.This study has examined the poetry of these two poets based on modernist writing style. The aim of the study is to show Elahi influence of the components of modern poetry, especially Eliot.The results of the research indicate thatEliot and Elahi portray the situation of a human / subject who faces the tensions and crises of the modern world at the frontiers of self-awareness and individuality. This subject manifests his grief and despair of world in ways of personalization and depersonalization. World that is marked with destruction. Although the image of destruction and death in the Eliot is more frequent than the Elahi. Poetry of Elahi oriented to light and hope more than Eliot, but in general, light and hope in the elahi has a marginal function.