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

The present article, with regard to the fact that Hindi style created a new move in poetry and Persian language after almost one century of recess in the poetry of 9th century, investigates the causes of such regeneration in the poems of Naziri as one of the eminent representatives of that style. By exploring 200 sonnets by the poet, collecting various cases of such linguistic reformation and their structural analysis the author shows how the poet attempts to harmonize the language of his poems with the renewed concepts. In another words, since the poet requires a new language in order to express new concepts he examines various methods such as word formation, modification in the use of common words, making synonyms, borrowing from spoken language, making enriched compounds and avoiding grammatical rules. Some of those methods like word formation and modification in the use of common words have made the language of his poetry rich, while some others like avoiding morphological and syntactic rules havent shown successful results and have led to ambiguity and weakness of his poetic language.

One of the elements of fantasy poses and meaning construction in the poetry of the new style poets or Indian style, are the Motives. The key words of meaning construction, which get situated in the centre of language and communication network, and associated with the concept of language and vocabulary, while using parallelism and the narrow sense of the poet, lead to a very effective lyric discussion with the audience, especially in the lyric type of poems. In the poetical works of Naziri Neyshaburi, some descriptive combinations and words get out of the circle of their ordinary dictionary meanings and being placed in the centre of the language networks, help the poet, in order to creation of innovative concepts, they also transfer their cognitive concepts to the reader's mind. For instance, words like: sepehr with 51 or khat with 74, khak with 166 or ka’be with 125 different usages in his poems- have helped the poet in constructing differentiated meanings. In this article, I try to compare the motives of khat in the poetical works of Naziri and Sa’eb, while referring to some motives used in the poetical works of Naziri.

Naziri Neishaboori is one of Indian style (sabke Hendi) avant-gard poets. Naziri’s poetry, has some signs of the previous styles especially Araghi. Sa’di and Hafes have had the most influence on Naziri Neishaboori’s poetry, from among the Araghi style poets. Ofcourse Hafez’o influence on Naziri is incomparable to other poets’ influence on him, because Naziri intended to make his poetry all-sidedly similar to Hafez poetry, these include his diction, rhythem and meter, images, and literary beauties, immitation, concepts, ideas and poetic feelings. This essay is about to closely study the stylistic influences of Hafez on Naziri Neishaboori’s sonnets, then it proves that imitation of Hafez’ sonnetering, ofter his life has never stopped and has reached its climax in the period called Bazgasht Adabi.

Naziri Neishaboori is one of Indian style (sabke Hendi) avant-gard poets. Naziri’s poetry, has some signs of the previous styles especially Araghi. Sa’di and Hafes have had the most influence on Naziri Neishaboori’s poetry, from among the Araghi style poets.Ofcourse Hafez’o influence on Naziri is incomparable to other poets’ influence on him, because Naziri intended to make his poetry all-sidedly similar to Hafez poetry, these include his diction, rhythem and meter, images, and literary beauties, immitation, concepts, ideas and poetic feelings. This essay is about to closely study the stylistic influences of Hafez on Naziri Neishaboori’s sonnets, then it proves that imitation of Hafez’ sonnetering, ofter his life has never stopped and has reached its climax in the period called Bazgasht Adabi.