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

The present research, using the opinions of Mikhail Bakhtin and especially the theory of polyphony, tries to comparatively analyze the discourses in the novels "Sushon" by Simin Daneshvar and "Miramar" by Najib Mahfouz and by using the descriptive-analytical method to reflect the polyphony in Pay these novels. The author evaluates these novels based on Bakhtin's conversational logic and the components in it, and in the meantime, the research has answered the question of how polyphony is represented in the selected novels. The results of the research show that in the above stories we witness polyphony, but the form and manner of expression of this polyphony are different and in each story factors such as: gender, social and economic structure, intellectual currents in the form of two poles of self-awareness and cultural alienation are involved. The results of polyphony are represented in the form of components more than other factors. Women often have the role of following the thought that is issued from the moral reference of the story, and they generally strengthen the polyphony in the story with a partial style. The social and economic structure, class conflict, and intellectual currents in the stories, each of them create the field of discourse diversity by creating two opposite poles as the other.

As one of the relatively new branches of human knowledge, semiotics seeks to open new horizons of the text to the audience by relying on the text and deciphering the signs and how they work. The narrative poems of Wadī‛ Sa‛ādah, a contemporary Lebanese poet, and Hafez Mousavi, a contemporary Iranian poet, have intricate inner layers and meanings that describe events in visual language. Considering the diversity of cryptographic levels in the narrative poems of these two poets, this research employed a descriptive-analytical method and the American comparative School to investigate the cryptographic semiotics in the poem "Dead Moments" by Wadī‛ Sa‛ādah, and "Say something, from love ..." by Hafez Mousavi via the French semiotics based on "Five Codes" of Roland Barthes (1915-1980), and acquire dimensions of the interpretive capacities of these two poems. The results obtained from this research are such that the cryptocurrencies used in these two poems, apart from the formal use, are considered one of the successful tricks of the two poets in creating open text. This issue is more evident in the titles of both poems, which are interpretable and can be studied in the context of enigmatic codes. The semantic codes of these two poems with implicit meanings and its symbolic codes with obvious and understandable contrasts, proairetic codes, as the most frequent codes of these two poems with related developments and cultural codes with an ideological dimension and intertextual explanation are successful in representing the events of the war and the ultimate goal of Sa‛ādah and Mousavi and are considered as a factor in advancing the narrative movement of the text

Paradox is a proposition that logically seems incompatible and absurd, but can be meaningful by interpreting. Almost all poets have occasionally used it (see Abrams, 2005:244), as Shafiei Kadkani states "paradox is an image the two sides of its combination contradict each other conceptually like monarchy of the poverty" (Shafiei Kadkani, 1992:54). He believes that paradoxical images can be found in all periods of Persian poetry (Ibid: 57). Undoubtedly, in different periods of Arabic poetry, examples can also be stated: او ابعد بعدنا بعد التدانی / وقرب قربنا قرب البعد (Al-Mutanabbi, 1988, 2: 78) (does it close our distance like keeping out our nearness and being far and nearness like closeness of separation?).
Among the poets who had a high frequency of this literary method in their poems are Abd al-Wahhab al-Bayati (1926-1999) and Mohammad-Reza Shafiei Kadkani (1939), who are considered as powerful poets in the field of modern poetry. These two poets began their poetry with a romantic approach and then after moving from social realism, reached the symbolization phase. Social - political concerns with words that express sadness, a reason for common thoughts the two poets.  Their acquaintance with each other is undeniable; contemporaneity and attendance at one of the international congresses of poetry provided the opportunity to know each other. On the other hand, Al-Bayati really interested in  Persian poetry and Shafiei Kadkani  is completely familiar with  classic and contemporary Arabic literature; attention to Khayyam, Attar, Sohrawardi, and Hafiz are manifestations of Al-Bayaty's attempt to Iranian culture and about Shafiei Kadkani relation to the Arabic literature there is abundant evidence that does not need to be cited; since by a brief looking at his research works, translations and poems, his mastery can be found, and here it is not possible to deal with it. However, this does not mean that these two poets were influenced by the method and stylistic characteristics of each other, so it is possible to examine their stylistic properties within the framework of American School of Comparative Literature. In this paper, using descriptive-analytic method, only those poetry evidence will be examined that is in common between two poets in terms of style or implication.

In this study, by criticizing and analyzing similar and contradictory prominent examples in the poetry of two poets, we can examine the implications or constructs based on the American School of Comparative Literature and descriptive analytical method of applying paradox in their poetry.

Since paradoxes lead to a new recognition of the artwork, so Al-Bayati and Shafiei Kadkani, by leaving familiar meanings and creation of concepts seemingly the opposite of the fact, tangible to us a  world of realities. Paradoxical expressions and compositions in their poems can be divided into two types: linguistic and literary, and analyzed their similarities and differences as the paradoxical limitations of language is the most difficult of the paradoxes in terms of arrangement and construction of words, but many paradoxes in the grammar part of these two poets can be found. The paradox in the poetry of these two poets is found in the composition and document.
Paradoxical compounds are purposely used to influence rhetoric, by combining contradictory words and creating exquisite images (Fotouhi, 2015: 328). These compounds are sometimes concise of one or more sentences with a contradictory meaning that are expressed in the form of adjectives (adjective and noun) and (Annexation and Annexed) in the poetry of two poets. Using the elements of nature in these contradictory combinations is a striking resemblance to the poetry of these two poet and Annexed) in the poetry of two poets. Using the elements of nature in these contradictory combinations is a striking resemblance to the poetry of these two poets.                                                      Predicative paradox (predicative paradox (documentary   paradox)) is another type of linguistic paradox that arises in the proposition of predicate and subject and can be examined in the poetry of these two poets at the level of two sentences or in the same constructions. These two poets sometimes use paradox at the level of two sentences using coordination of "and" or "no". The coordination letter of "and" is the most commonly used subordinated conjunctions. When several structures are linked together with "and" and construct a new structure, its artistic device find an alignment grammatical value. For this reason, two poets connect the contradictory words with "and", and affect the semantic and interpretive structures of the poem, as the reader suspects that he is confronted with a subject that is inaccurate because he is received the feeling of parallelism from the subordinating conjunction of "and". These two poets express their meaning and intention of paradox in a coordinated structure with the help of adverb of manner that shows different states or through a proposition.                                                                                 
Another way to construct a paradox in the poetry of these poets is using figures of speech such as simile, metaphor, allusion, and tard va axe, which is referred to as literary paradox. The purpose of simile is to prove a trait (an adjective) from vehicle to tenor. So the tenor is the purpose of the word and vehicle is an instrument to help the desired purpose. Whenever, in a paradoxical image, the expressive purpose of the metaphor is considered, the vehicle should be conceived in such a way as to be incompatible with a word in the poem, then by eliminating the vehicle, the paradox will be remov. (Vahidian Kamyar, 1997:  284).
 In the metaphorical paradox, the vehicle must be such that it makes a paradox with the word in the poem and by removing the vehicle, the paradox will be disappeared. One of the most important elements of imagery techniques in the poetry of these two poets is recognition. By using the recognition, they strive to give life to all phenomena and objects. Therefore, to translate their feelings, they use implicit metaphor. In addition to applying the implicit metaphor, explicit metaphors are also found in the poems of two poets. Another paradoxical style in the poetry of these two poets is using irony. In this figure of speech, the vehicle (superficial words) is such that make contradictions with the words of the language, and then this contradiction is removed by eliminating the vehicle.
Another literary style in applied paradoxes of the poets is using chiasmus and shatah, that is, the poet uses the combination of opposing words and then by subordinating conjunction of "and" and moving the arrangement of words, make a monotonic relation with the elementary composition. This artistic device in an impossible setting, and then movement of the words, and finally the coherence between them, first arouses an ambiguity that will be feasible by contemplation and discovering the main idea of the poet.

A Part of Al-Bayati and Shafiei Kadkanie's insight is related to paradoxical images that in its structure, has poetic anxiety. Choosing vocabulary, deviation of norms, and paying attention to aesthetic aspects of the word are important features in the poetic contradictions of these two poets. The paradoxical application of their pomes can be analyzed on the basis linguistic and literary construction. Paradoxical expressions are observed both in the form of predicate and combination in their poems, with a higher frequency of predicate. In many of the paradoxical images of these two poets, it can be possible to observe clear imagery which shows a similarly emotional space, which is what led us to perform this literary study . One of these images is lightness-darkness and the other is the image of death and life in which they reflect hope. Two poets use the elements of nature in paradoxical terms for symbolic expression of concepts whose frequency is higher in Shafiei Kadkani's poetry due to his ruralistic spirit. If al-Bayati expresses his paradoxical poems in the form of death, homeland, prison and fire, Shafiei Kadkani reflects those ideas by the nature and subtle words. In some Shafiei Kadkani paradoxes, in particular, "the black light of devil", a kind of shatah can be seen that cannot be considered a place for this perspective in Al-Bayati's paradoxes. In the paradoxes of Al-Bayati due to socialist beliefs, sorrow and sadness can be felt more than Shafiei Kadkani, although the veins of hope are often obvious in the poetry of the two poets. These two poets do not try to hide the content for the reader, but it can be understood with a little contemplation and searching meaning in the ambiguity and layers of the word. Therefore, paradoxical images can be one of the reasons of acceptance of their poems.

Since, according to some people, humor is the most artistic method of criticism, in the society and in a space where the social and political inerrancy, repression, trickery and lies dominate the mind and the language of society, the poet's language speaks of humor as the most artistic weapon to combat these corruptions. The present paper is a study in which the writers, after a brief introduction of satire and its variants, have tried to examine the various techniques and the methods of satire in the poems of contemporary Iranian and Iraqi poets. Since in the humorous statement, the purpose of the article is sometimes wrapped up and the audience find it complex, such studies can semantically identify the inner layers of poems, the cognitive and even aesthetic language, as well as helping to the audience to understand the dimensions of satire in the context of contemporary poems, so after describing and analyzing examples of the works of both poets, it is concluded that these two poets, use the certain techniques such as : The use of simulation and imaging, the use of inhuman personification, etc., the humor between the subjects of the text and the message and its meaning have been used in their latent criticism.

Concept of Nostalgia, in Persian known as homesickness, conveys feelings of sadness and a longing for the memories of the past. Many factors including the pleasant days of childhood, exile, emigration, the social and political conflicts, and problems of life produce nostalgia. Badr Shaker and Manochehr Atashi, from the south regions, one of them is from South of Iraq (Basra) and the other one from South of Iran (Bushehr). This study analyzes the most prominent factors of nostalgia in the works of the two innovative poets. The comparative results show that there many factors such as social and environmental issues and hardships of life has caused numerous signs of nostalgia in the poetry of the two poets. Recalling childhood, the desire to return to the village, taking refuge in Utopia, personal and family problems, are instances of nostalgia in the poetry of the two composers. In addition, the paper aims to discuss the two different kinds of nostalgia used by Shaker Seib and Manochehr Atashi.

Contemporary Arabic and Persian poetry is a process seeking to reflect all human concerns. Feelings, aims, accomplishments, failures and all human-related issues have a significant place in contemporary poetry. One of the humanistic issues in the modern age refers to the limitations preventing human beings from reaching the intended aim. These limitations, sometimes, emerge in the form of elements remarkably imposing themselves on human life. But what is more surprising is the way human beings get accustomed to these limitations. However, with all these limitations, the passionate souls and enthusiastic minds of some people who welcome such great obstacles and who fight against them emerge; the people such as: the Egyptian poet, Amal Donghol, and the Persian poet, Nosrat Rahmani. This paper presents a general overview of the revolt phenomenon in the poems of these poets and also wants to offer the noteworthy samples of these limitations such as self, society, and new age to portray the similarity of these poets in confrontation with such limitations. This study reveals that the common motives in these two languages lead to the formation of similar confrontation of Donghol and Rahmani with the limitations.