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

Persian and Arabic poetry have been telling emotions, events and developments over the centuries. In addition to the content and themes of the poems, which are telling these points, the title of the poems, especially in the contemporary era, plays such a role; Because the title is the opening for the audience to the world of the text.
The ambiguous choice of the title causes the meaning of the text to be hidden; This is because the literary and artistic works are usually a collection of references to other texts, currents, literary schools and numerous cultural, political and social issues and the signs that are in the title of the work can come to the mind of the audience. It helps to understand the set of references - which are sometimes in-text and sometimes extra-text.
In general, the title of the poem is the identity of the poem. Every poet, during the writing of his poem, needs to separate the title and the text of the poem from each other so that the reader can remember and examine it when he sees the title of the work For this reason, it is necessary to choose the title for the poem and it makes it easy to study, memorize and recognize the poems.. In this research, the title of the poems of two poets has been examined from different linguistic and literary perspectives, the relationship between the title and the content of the poems, as well as the frequency of sensory-abstract concepts. 

In this research, which has been carried out by means of analytical-descriptive, comparative and statistical analysis, it has been tried to investigate the various linguistic and semantic angles of poetic titles with the structure and content of Ahmed Matar and Seyyed Hasan Hosseini's poems.

 The title in the term "is an appearance that indicates the inner or absent, and they say about it: an appearance, a sign or a sign for the inner; The title is a set of words that is the starting point of a research or a story or a key for a branch of science or an entry for a subject.
According to the mentioned definitions of the title, the title can be considered as a complete message and parallel to the text, which by choosing the title for a book is actually a kind of sign selection for the book because "the one who puts a title for something, in In fact, he chooses that title based on a certain sign; So the title is a sign and a name that indicates something.
The criteria for naming traditional poems are different from contemporary poems. These criteria can be achieved by referring to rhetoric books and tazkerehs. Naming based on the line of the poem, naming based on one of the focal words of the poem (such as the poem of Tarsaiyeh Khaghani or the poem of Hurayya Abu Saeed Abul Khair) or naming based on the rhyme have been among the ways of naming in traditional poetry
Considering the importance and role of the title in poetry, contemporary poets are constantly trying to choose different and varied titles. With the beginning of new poetry in Persian literature, many naming principles of poems were changed. Of course, the emphasis on the naming of poems had started before Nima and during the constitutional period. Printing and publishing newspapers and magazines and translating poetry played an effective role in this matter.
Sometimes, the spatialization of the poem is done by means of semantics. Vocabulary is one of the factors that help to expand the semantic implications and cause the expansion of the semantic domain of the poem. In literary texts, each word can take on new meanings apart from literal meanings. For example, the word winter means "the fourth season of the year"; But it has many implicit and symbolic meanings such as "coldness", "suffering", "prison", "tyranny" and... This is the reason why the mind familiar with symbolic poems, for example, upon hearing the name of the poem "Zimestan" by the Akhavan –e- Sales, finds itself in the space of poetry from the very beginning.
Ambiguity is one of the prominent features of contemporary poetry, and in literary criticism, it is considered one of the essence and basis of poetry. In some contemporary poems, the title of the poem can help to understand the topic and content of the poem and resolve this ambiguity. Many factors can play a role in the author's choice of title; In-text elements and extra-text elements.
The main tool that the author has for naming his work is the theme. The relationship between the title and the content can have two completely different sides. Sometimes the poet chooses a title for his poem that is in line with the text, and sometimes he may choose a title that is opposite and opposite to the theme. If the title is in line with the theme, it provides the reader with an image of what will come in the poem and what will happen.
Intra-textual or intra-thematic elements are said to be the elements that arose directly from within the text and establish a kind of dialectical relationship with the main text. Selecting the title based on the in-text elements with direct implication and relying on the text somehow creates a conversation between the title and the text. Usually, such titles play a prominent role in forming the horizon of the reader's expectations and provide the audience with more detailed information about the atmosphere that governs the poem.
Any factor outside the text that affects the atmosphere of the literary work is called extratextual elements. These external elements may be a cultural, socio-political event, a historical phenomenon, etc.
From studying the poetry titles in Matar and Hosseini's poems, we come to a number of social-political concepts, which include themes such as mocking ignorance and superstition, openly naming enemies, the spread of corruption and class differences, and the spread of poverty. These poets of sustainable literature have depicted their common spirit in their poems in similar conditions and with a close point of view in relation to the issues that have arisen at the level of the country, region and the world.
From the linguistic point of view, the poetic titles of both poets have a high frequency in word formation, two-part construction, and then three-part construction and more. This issue shows the relationship of both poets to word-making and presentation of concepts through words.
From a literary point of view, although Hosseini and Matar have used literary arrays in the titles of their compositions, and this indicates the use of lexical capacity to expand images, but they use a lot of euphemism and less use of metaphors, similes, etc. In the critical titles of Matar, it is due to the choice of exile and sojourn and being away from the impeachment and accountability of the government.
In terms of the relationship between the titles and the text of the poem, the research shows that these two poets pay attention to both the lexical connection (choosing the title from within the text) and the semantic connection (choosing the title from outside the text) in choosing the titles. have had However, by choosing simple titles from outside the text, Hosseini tried to express the meaning and purpose of his poems more eloquently and expressively.

From the results of the comparative analysis of the poetry titles of Ahmad Matar and Seyyed Hassan Hosseini, it can be concluded that choosing the appropriate title for the poems was one of the main concerns of both poets. They express the poetic titles with rhetorical techniques such as eloquence, metaphor, and allusion. Unlike Ahmad Matar, who mainly paid more attention to the lexical connection (choosing the title from within the text) in choosing poetic titles, Hosseini paid attention to the semantic connection (choosing the title from outside the text) by choosing simple titles to make the meaning and purpose eloquent. Express more and more clearly.

After the constitutional revolution, with the acquaintance of Iranian poets with European poems, the titles and names of literary works drew more attention than before, so that the poetic titles in the overall structure of the contemporary poems took a special position and the poetic title was regarded as the abstract of the text. Surveying the poetic titles as a way through the text can reveal the type of the attitude, ideology, and  aesthetical tendencies of the poets. In this research, the poetic titles of one of the third movements of the contemporary poems (from the coup to the revolution), which is the era of a variety of voices and stabilizing of contemporary poems (i.e. religious resistance poetic movement) have been investigated. To do so, the titles of all the poem collections of pre-revolution by Shafi Kadkani, Mousavi Garmaroodi and Tahereh Safarzadeh (the most famous poets in this movement) have been studied in three approaches (linguistic, literary and thought) from a stylistic point of view.  In linguistic evaluation and analysis, the poetic titles of these poets were classified into four major groups; word formation, compound formation, phrase formation and sentence formation. Then statistical and comparative analysis were done. In literary level, figures of speech used in poetic titles were specified and then studied and analyzed statistically. In the level of thought, classifying the five speculative concepts of  poetic titles of these poets was done as individual and romantic, myth and epic, nature elements, political and social and religious beliefs. After that, the statistical tables of these poetic titles for every one of these poets in the above mentioned areas were presented and then the evaluation and analysis of the poetic titles of these poets were dealt with from this point of view and finally we came to this conclusion that the poetic titles of each one of these poets' works have a vertical relationship with the used concepts but there is a difference  in the method and the way of selecting the poetic titles in this literary movement from linguistic, literary and thought points of view. These differences finally led to the creation of stylistic features for each one of the poets in this literary movement.

Ways of ending is very important in all arts and poetry is not an exception. One of the elements in the structure of the poem, is ways of ending that in addition to musical features which is also important in the cohesion of the text. For this reason, this part of the poem has gained much attention by the poets in different periods and poets have tried to decorate it to get to more lasting effect of poetry in thought of the reader. In classical poetry ending has appeared like purple patch, sharite, signature, etc. In contemporary poetry, the ending was paid special attention to as well. Of course Nima and his followers presented innovations in this area. One of the poets whose poem endings have innovations is Mim. Sereshk. He presented various ways trying to create new forms in his poem. Methods that this poet used are: refraining, selection of title based on the poem’s ending, suspension, the unexpected and the underdevelopment, etc. Despite this very in novations that are seen as ways of ending in Shafiee’s poem, he has used traditional methods such as Sharite and purple patch in a few poems. That Is related to complete recognition of poetry in the classical Persian literature and as a result of being familiar with it.