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

Through its methodology, based on bringing together literary texts, comparative literature realizes the interaction between the literatures of different nations. Thus, sometimes during the study of literary works belonging to different cultures, the thoughts of certain writers intersect and weld together, to give an identical vision of the world. Among them, we can cite Charles Baudelaire, French poet of the 19th century, and Nader Naderpour, Iranian poet of the 20th century. The reading of his poems evokes the verses of certain French poets, which proves the impact of French poetry on his work. However, it seems that Naderpour granted a special place to Charles Baudelaire in his mind and thoughts. The way in which he treats certain recurring themes of romanticism in his work by pursuing this poet is the proof of this point. In this article, our objective consists of studying, by using a comparative approach, some romantic themes that are common between both poets in order to verify how much Naderpour was inspired by Baudelaire in the treatment of these themes. By utilizing the theory of the influence, according to the ideas of Pierre Brunel, we will be allowed to evaluate the originality of the Iranian poet. In fact, while using these themes, Baudelaire adopted a contradictory attitude of refusal and attraction by pursuing or opposing the romantic poets. It seems that Naderpour borrows from Baudelaire this technical process to reflect his inner universe as well as play his role in the renewal of Persian poetry.

In the literary institution of contemporary poetry, with the break from classical literature and socio-cultural changes after the constitution, the themes of materialism, secularism, and Dahrimaneshi grew up as poets. In this article, with the aim of analyzing DahriManeshi in contemporary poetry, its most prominent components in the poetry of three poets have been studied.

The method of studying and reviewing resources is library. The writing of the article is descriptive-analytical with a selection of poetic examples of poets. The statistical population of the study is the poems of Nader Naderpour, Fereydoon Moshiri and Nosrat Rahmani.

The themes of DahriManeshi in the poems of all three poets, especially in the first period of poetry in the thirties, have a light frequency. Pleasure with carnal and erotic loves, pub and opium, emptiness of life and ending with death, disbelief in the other world, atheism, complaining about the times and death thinking are the most prominent components of DahriManeshi in poetry. They are. In comparison with poets, the components of DahriManeshi in Nosrat Rahmani"s poetry are more than Naderpour and Moshiri.

The thought of DahriManeshi in contemporary Iranian literature, especially in the thirties after the coup d’état of August 28, 1943, is seen in the intellectual style of poets. Poets look at man, God and the world with a materialistic tendency and see the cause of everything from time immemorial.

In the literary institution of contemporary poetry, with the break from classical literature and socio-cultural changes in intellectual style, the themes of nothingness grew, this issue expanded with the social and political developments of the society, and especially in the 1930s after the coup, it became one of the main motifs of poetry. Some poets only cared about worldly life and turned to nihilism in the dead ends of personal and social life and wrote poetry in opposition to morality. In this article, the contrast that can be seen in the poetry of poets on this subject has been examined. The method of studying and reviewing sources is library. Samples of poetry from three contemporary poets: Freydoon Moshiri, Nosrat Rahmani and Nader Naderpour have been selected. The results of the survey show that poets at a period of their life history, especially in the 1930s, when the society is involved in the tensions resulting from the August 28 coup, turned to the ideas of nothingness and rejected the morals of the society. Atheism, tendency to despair and death thoughts in life, hedonism and eroticism, going to pubs and getting drunk, love for opium, are the most important components of nihilism in opposition to the moral teaching poetry that can be seen in their poems. In comparison, Nosrat Rahmani's poem is excellent in this motif.

Romanticism is one of the most complicated and at the same time the most attractive literary schools in the world. Its emergence in France in the eighteenth century was against the tradition of neoclassicalism. Nader Naderpour, as one of Nima Youshij's disciples who is the source of romanticism in contemporary Persian poetry, has used many of his features in the Romantic school of poetry, and their comparison with surreal poetry such as Paul Eluard is attractive, Because romanticism itself later opened the way to surrealism, and the poetry of the surreal school effectively utilizes romanticism in their poetry. Especially Paul Eluard, who sometimes romances so much in his poems that the poet's audience is skeptical about his surreal thoughts. In this essay, we try to discuss the elements of romanticism in his poetry with the poet Paul Eluard, a French poet who later became the founder of the school of surrealism, which aims to find common doctrines between two poets from two lands and two cultures from the school's point of view of Romanticism is that the literature is universal and epidemic by  this common vision of poet and writer. This speech was conducted in a descriptive analytical manner (library research).

Relatively good research on conceptual metaphor has been done so far in political, media and literary texts. In the present study, a conceptual metaphor has been studied in poetic texts. The main questions of the research are: What is the role of conceptual metaphor in constructing and selecting metaphors in Shamloo and Naderpour poems? Can it be accepted that metaphor is a tool to represent certain concepts such as gender in these poems? In this study, data are extracted from the poems of Ahmad Shamloo and Naderpour and analyzed based on the conceptual metaphor theory of Likaf and Johnson. The results show that there are different concepts including gender concepts in Shamloo and Naderpour poems, but the degree of sexuality in Shamloo poems is much more than Naderpour poems because the semantic context of war in the conceptual metaphors of Shamloo poems is more than Naderpour's poems. Therefore, the results indicate that the effective factors in constructing and selecting metaphors in gender poems are the poet's attitude and thought, his feelings and the social atmosphere of the poets' time, and of course the gender factor plays an important role in constructing and selecting metaphors.

The present article has investigated political and social content in contemporary poet, Nader Naderpour’s poems. Nevertheless, his political and social views in terms of contemporary research have been neglected. We will not exaggerate if we consider Naderpour as the poet of images. The main essence of his poems are individual or human-philosophical and it is not much related to political and social perspectives. However, in Sormeh-ye Khorsheed and the other poems, his symbolic affiliations are at times towards political and social concepts. Romantic instances of his poems start from blue romance through to social examples and end in sad romance which is due to homesickness and they resemble Khayyam’s poems. Naderpour’s individualistic romanticism shifts to social revolutionary romanticism in the 30s and 50s. He combines romantic poems with political ones in this era. There are frequent fear, arrogance, revenge as well as  neural, social and political breakdowns in the background of his poems. In some of his poems, we detect a new perspective towards human and society and also love, freedom, justice as well as political, social and cultural issues in the contemporary world.

After Nimaic verse revealed indistinct in applying metric feet, a number of modernist poets tried their hands in devising and correcting the ambiguities in their own poems. Contrary to other types of new poetry, their new romantic poems, practiced in different frames and forms, were not void of metric feet. It is admitted, however, that the metric feet applied in Nimaic versification were of typical and regular types. The present research investigates the prosodic metrics in the romantic poems of four Nimaic-style practitioners (Nader Naderpour, Ahmad Shamlou, Forough Farrokhzad, Fereydoun Moshiri) as well as the impact of using those metrics in deciding their preference of certain frames and forms.

Abstract:The main purpose of the devices conform poetry and poetic elements This homogeneity is one way to create music lyrics. Music lyrics in principle factors that poetic language from everyday language, the credit rating makes up songs and balances The most important factor, creating music, outer music and study "Comparative Analysis of external music in lyrics Kaiser Aminpoor with external music lyrics Nader Naderpour" is discussed In comparison external music on poems do not. So the author of all the lyrics Kaiser Amin-Pour and fractionated to have Nader Naderpour, Meters and rhythms lyrics to specify and determine their most frequent and most frequent low has been made in this regard, note taking and In accordance with jacks, statistics outer element in the poems to music entrepreneur, has been carried out and with the table.

From the formalists' point of view the purpose of poetry is to reduce or vanish the signs of being routine, when conveying content.Defamilirization creates foregrounding in a text using deviation and extra regularity. Geoffrey Leech thinks of deviation as a poetry making tool and extra regularity as a verse making one. He made a systematic summary of deviation. In his book, A Linguistic Guide to English Poetry (1969), he categorized deviation into eight types, i.e. lexical deviation, grammatical deviation, phonological deviation, graphological deviation, semantic deviation, dialectal deviation, deviation of register and deviation of historical period. Safavi in his " from linguistics to literature: volume II" believes that the dialectal deviation grammatical deviation and phonological deviation are not poetry making tools since they don’t change the content.Here using an analytical posteriori way different deviations have been analyzed in Naderpour poems. We concluded that he has used many deviations among which the period, semantic and grammatical ones have been used more.

Nostalgia or "exile Sorrow" is a of psychological team for, yearning for the past. It feels as an expression of the human subconscious behavior emerges. Poverty, migration, exile, etc, This feeling is effective In creating this feeling. Many poets and writers, has exhibited these feelings, including the poet Gibran Khalil Gibran Naderpour. Gibran Khalil Gibran (1883- 1931 AD) was born in Lebanon. He's gifted and talented Romantic poet of the are principles such as freedom, naturalism historic journey and ... well reflected in his poems, Naderpour (1308-1379H. P) was born in Tehran,considering this fact that these Two poets are not under each others effect, the study is based on several assumptions: 1. Feeling nostalgic which is a romantic component is evident in the works of both poets 2. Both of them are romantic.