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

 Art and innovation have unbreakable linkage, and the driving engine of art is innovation, and desire for innovation keeps art alive. Meanwhile, the art of poetry is not an exception to this rule, and poets have always tried to bring new texts; Because the new and sweet it has more effect . One of the dimensions in innovation is in poetic imagery. Repetitive and stereotyped images that do not represent a new look have less emotional impact and affect , and when the image is linked with the characteristic of being new, it is effective. New sonnet(Ghazal) and contemporary Ghazal poets have put innovation in the image as the face of their efforts and have joined efforts in this context. Zahmatkesh is one of the contemporary innovative poets; One of the most important aspects of his innovation is innovation in poetic imagery. His poetic images is innovative and are the result of his individual and personal view and because they are effective in the audience"s feelings and emotions.

 In this research with the analytical-descriptive method to his innovation in poetic images related to the aesthetics of the beloved, the historical knowledge of the poet and using it in creating new images, emerging and modern urban phenomena and innovation in the image based on it, Imaginary thinness and narrow-mindness are discussed in the method of Indian style poets and innovation in poetic images, religious beliefs and ideas and the creation of new images related to it have been discussed.

 The present study shows the innovation in the poetic imagery of Zahmatkesh. Using different origins such as historical knowledge, elements of contemporary times and modern urban phenomena, religious and ritual elements, as well as relying on personal vision and empiricism and thin imagination and narrow thinking like Indian style is the dominant factors in imagery innovation of Zahmatkesh.

 The results of the present research prove the use of various origins in imagery innovation.

Imagination is a special use of language that the geographical environment, political, social, religious, historical, individual spirit, and the like are influential factors in the use of all kinds of imagery in poetry. One of the most obvious elements used by the poets of Persian literature in expressing themes and imagery is religious elements. The present article analyzes and compares the function of religious elements in the poetic images of Nasser Khosrow's, Sanai's and Khaghani's poems.

This article was done by descriptive-analytical method and the method of collecting information was library.

Quranic and religious themes and moral and religious teachings have been used many times to create rhetorical images in poets' poems. Apparently, Khaqani has more initiative and innovation in creating images based on Quranic concepts and in the form of innovative simile, metaphor and irony combinations. Naser Khosrow's poetic images also have a very deep connection with the principles of Ismailia religion and this religion has had a great impact on the type and genre of images. Sana'i, however, has brought the use of religious elements in the creation of poetic images closer to the atmosphere of mysticism and Sufism and has a mystical understanding of religion.

Religious elements in the minds of these three poets have been manifested in three specific aspects: in Nasser Khosrow, religious concepts have two prominent aspects; One philosophical and rational aspect and the other legislative and religious aspect. But the religious concepts in Sana'i's mind are the result of the entanglement of several dimensions, on the one hand, a philosophical view of its Islamic type, on the other hand, the religious dimension of Sana'i, which does not give much importance to interpretation, and the third dimension is the emotional dimension, which reaches its peak with making love to God. . In Khaqani's depictions based on religious elements, the proper place of Sharia thoughts is observed in the images, and the value and sanctity of Sharia foundations are preserved in the pictorial connections. However, sometimes a kind of contradiction and inconsistency can be seen between some images.

The Islamic Revolution had a profound impact on all aspects of Iranian society, including political, social, economic, religious, and more. It transformed and revolutionized them. Persian literature, especially poetry, was also subjected to the influence of the revolution in a way that led to the emergence of a new literary genre called 'Islamic Revolutionary Literature. One of the notable transformations in the literature of the revolution, compared to the literature before it, is the growth and dynamic expansion of revolutionary poetry, which is subject to examination in terms of both structure (form) and the content of the poetry.Given that revolutionary poetry is purposeful and oriented towards transcendence, it inherently possesses a progressive, dynamic, and active form and structure. This article aims to categorize and analyze the various aspects of semantic and structural dynamism in the poetry of the revolution (21 works by 17 poets). The authors of this research intend to investigate the impact of the Islamic Revolution on the dynamism of meaning and form (structure) in the poetry of this era. They seek to determine whether the Islamic Revolution, similar to other socio-political transformations, has fundamentally influenced Persian literature (especially poetry). Has the Islamic Revolution had a significant and fundamental impact on the dynamism of meaning and form in poetry and literature? On which strategies is the dynamism of poetry more prominently based before and after the revolution?

Poetic imagery always discovers unknown realms and draws them into the realm of words; The vaste of poetic imagery is wide in poems . The imagery of poets according to their poetic experiences have a various origins. Some people use the city and urban life and modern phenomena as their source of inspiration in imagery, while others are more emphasis to nature and elements of nature, and some poets use religion as a source of inspiration in imagery. However, in the poetry of most poets, diversity is seen in the origin of imagery and the scope of imagery. But in this regard the images is a new have a effectiva than and interest than others. the variety of imaginary origins can be seen In Mohammad Reza Torki's poems. Because of this,effefort to be appear the roots of imagery in Torkis poem. The result of the research indicates that the inspiration of nature in the creation of the images, religious and religious elements and elements related to contemporary life are colorful in his poetic imagery and the origin of the symbol in his poetry is myth, history and religion.

The interest in flowers and plants and the use of natural elements in poetry do not belong to a particular period. Most poets have tried to use natural phenomena and new combinations to address their favorite concepts and ideas. However, the tendency in classical poetry to nature, flowers and plants is somewhat different from that of contemporary poetry. In contemporary poetry, nature, flowers, and plants are represented through several characteristics such as breaking tradition, new language, and special worldview. Hossein Manzavi (1325-1383 AH) is one of the romantic and influential poets of the contemporary period who has an objective and clever approach to man, society and nature around him. And as we move away from the early period of his poetry, his pleasure from nature and natural elements becomes deeper and more structured. Furthermore, the poet's early emotional and romantic poetry rises to social and political one leading to invention of new words, images, and combinations. The purpose of this descriptive-analytical study is to investigate the functions of flowers and plants in Hossein Manzavi’s poetry. The result of the research suggests that the poet, with creative attitude and expression, has used significant frequency of flowers and plants to express poetic ideas, poetic beauty, harmony, and to create balance among the components of speech use. This has enhanced his poetry thematically and linguistically.

"Description" is one of the prominent poetic techniques, which many poets have employed in their poetry. Characterozed by personality traits such as having a keen power of imagination, deep sentiments, rich emotions and a gentle spirit, Ibn Khafajah was attracted to nature, and as a result, description of nature is a much frequent theme in his poetry. This paper relies on the descriptive-anayltical methodology in an attempt to examine ‘description of nature’ not only as a traditional theme, but also as a motif for other traditional themes in the poetry of Ibn Khafaja. The results of this study show that description of nature is a literary technique that has helped the poet to convey thoughts, feelings and emotions. He has used the literary device of personification as the basis of his poetry and, in this way, has created vibrant and dynamic descriptions. Attention to details, the harmony between the poem, images and their intrinsic cohesion, writing engaging opening lines to arrest the attention of the reader, and attenton to colors are the prominent features that characterize Ibn Khafaja's poetic imagery, all of which add to the richness and beauty of his descriptions. His poetry is a valuable work that boasts of vocabulary on nature and this can been clearly seen in his poems, words, and descriptions of nature.

Shafies profound knowledge about iranian classic literature and his continuous investigation on this literature cause a vast influnce from convention.this influnce is abvious in two dimention:deep structure and surface stracture.we can see influnce in poetic languge : idioms ,words and terms and in poetic imagery.as well as in themes,content and poetic motifs clear influnce of conventions.shafiei in a more instancs bring a distich and semistich from classic iranian poets.in some case loan a words,phrases and terms from themes and sometimes bring a them af classic poets in his poems.imagery is one of the other aspect that poet influnced by classic iranian poets.our purpose in this article debating about whole of this influnces imagery is one of the other aspect that poet influnced by classic iranian poets.shafii influnced by great iranina poets as khayyam,saadi,hafiz and molavi and in the contamprory ages affected by shamlu an akhavan in imagery and poetic language.

Synaesthesia is one of the semiotic categories on which the construction of metaphors is based in the modern poetic imagery. The poet, Souad al-Sabah, could create delightful and influential intonation and significations for her poems in this way since synaesthesia paves the way to express the deep secrets of the poet and it is just the way. An effective poet illustrates such creative and fascinating pictures therewith and invites the audience to think and contemplate beyond the seeming form and to discover the depth of these artistic pictures through it. This study is based on a descriptive-analytic approach which examines the accurate inference of synaesthesia in a poetic imagery through semiotics. The result demonstrates that the poet in her book “Umniah” has used the abstract-sensuous synaesthesia more than the sensuous-sensuous synaesthesia, and the influence of significations of visual synaesthesia, through which the poet makes imagination, is greater than the other types of senses.

The beloved parting’simageryis one of the most important themes in the history of ZuzaniMu’allaqat, and the ignorant(Jaheliyan) style of poetic imagery, implying an honest portrayal of the emotions of the ignorant specially the singers, and their inclusion of ethics, characters, places and stories refers to the pre-Islamic period. These descriptions are generally visual and portraysthe lovers and the beloved, the beloved tribe, horses etc., and also their feelings and emotions.
This study using description and analysis illustrates visual images from the moment of parting and explain its real implications.It also indicates mental and emotional statesof the choirs and the implications of its images on social issues of the ignorant era.
Muallaqat poets, with a slight difference, all about parting the beloved have similar artistic images, such as the farewelltime, the beloved portrayal, its tribe and caravan, the reunion time, psychological state of parting lovers, poets wandering in the desert after separation and desperate of meeting again.Poets, have illustrated parting with negative and pessimistic outlook and a clear indication of remorse, regret and concerns, and with the materialistic analogies, tangible image that fits the life of the Bedouins.

Imagery is one the fundamental elements in poetry. Innovation in imagery and emphasis on the individual points of view have an important effect on the rhetorical attribute of poem. Because of this we debate about this traits of shamlu’s poem. Individualism, objectivity and innovation are three traits of shamlu’s imagery which we discuss about it in this article. Then we mention examples of shamlu’s poems about roots of imagery. One of the important roots of shamlu poetic imagery is the modern life. In shamlu’s poem, life of a modern cities artistically is reflected and a also poet with a perfect masterpiece invents contemporary images from this type of life can be seen. Beside this, shamlu attains in his poetic imagery to the myths. Mythology of shamlu contains more elements of Greek mythology. shamlu with assistance of myth, affair as well as transition of his idea and point of view. Iranian myth is the other mythological root of shamlu’s imagery.in this section Ferdowses Shahname has an effect and shamlu with a usage of Iranian ancient heroes efforts influnce the addressees.

Lending and borrowing are commonly used in both Persian and Arabic literature. This technique was of utmost use in Samani period in Arabic literature and in Ghaznavid and Abbasi Periods in Persian literature. Al-Mutanabbi, among the Arabic poets, is the one whose poems can be compared with those of Persian poets, in general, and Manoochehri in particular. Since their most beautiful imageries are mirrored in their panegyrics, the study of their panegyric verses sets a good ground for the analysis of their images. Al-Mutanabbi uses rational images and expresses his internal feelings through images to reach lofty and glorious meanings and in this way inspires feeling to meanings. On the contrary, Manoochehri does not involve himself in reasoning and what really matters to him is nothing but feeling and sense. Hence, unlike al-Mutanabbi -who takes his images from metaphor- Manoochehri sticks to simile. The two poets create their images out of their experiences. Unlike al-Mutanabbi who is always ambitious and through struggling seeking domination and superiority, Manoochehri prefers a comfortable peaceful life away from any tension and stress.

Imagery has been an important subject among the men of literature and dealing with this issue is not considered an extraordinary matter. This literary device plays a prominent role in transmitting the poet''s feelings and experiences to its addressees. Employing various styles of imagery by the poet provides the reader with rather a detailed and clearer literary work. This phenomenon is highlighted in the works of a great poet، Sharif Razi، of the Abbasid dynasty. With the help of imagery in drawing a canvas of concepts and themes، Razi aimed to emphasize his literary style on the reader. In relation to different poetic imageries، the present paper endeavors to investigate the metaphorical imagery in the elegies of this poet. In this regard، before analyzing the poems، a brief introduction on the practical aspects of this kind of imagery is provided. More than eighty odes and elegies of the aforementioned poet has been studied، its metaphorical imageries have been extracted، and thematically categorized. These themes mostly deal with the condition of the diseased person، the mourners، the mental state of the poet، death، time and tragedy. Moreover، the proportion of the images in relation to the represented themes is also taken into account. Onomotopia، colors along with their inspirational concepts are the result of this study. Furthermore، materialistic and concrete elements are the predominant features of the used imageries in which the poet has been inspired by nature and reality.

Poetic imagery is an inseparable art of poetry; the poet uses poetic imagery to transfer his themes in an expressible and tangible form to its readers. This way, he clarifies his feelings and emotions to the readers. The study of poetic imagery indicates the ability of the poet in creating new concepts, producing spiritual and abstract themes in new forms, and giving life to inanimate objects. The more harmonious, stronger, and expressive the poetic imageries are the more coherent are the poems. More than any other literary schools, the Romantic poets employ poetic imagery. This can be traced in Shabi's works, who represents the Arabic Romantic School. Critics study the poetic imageries from the perspectives of structure and theme. However, the present article starts by providing an introductory discussion of the concept of imagery along with its features in contemporary Arabic poetry. This is followed by a thematic study of poetic imageries in Shabi's poems. This way, the poet's perspective in representing his themes becomes comprehensible and would show how the poet has succeeded in expressing concepts and feelings to the addressee. Shabi's poems refer to themes of death, love, sorrow, people, society and so forth. This could be seen clearly in the themes employed in poetic imageries which is in accord with the School he represents. On the other hand, a point to consider in relation to the poetic imageries used in Shabi's poems signify that nature and its adapted elements play an important part in expressing most of the imageries.

This article explores the relationship between poetic imagery, attitude, and affection, and presents three types of relationship between poet's mind and the object: Identity, equality penetration. In the identity state', I the post' associates and sympathizes with the object (I.e., subject) and turns around it. In the equality state, 'I' synthesizes his feelings with the object, offering life, sense, and character to it. Finally, in the penetration, 'I' and the object melt into each other. These three states reveal the relative degrees of the relationship between the poet's essence and objects. Having done the abore, the author proceeds to attitude and considers it us man's hidden structure of the mind and character. The great artists' works are affected by a dominant plot which creeps into the images, forms, content, and concepts of his works. This overriding idea is called attitude. The poet enjoying a creative personal attitude is marked as the one whose dominant plot over shadows his images and language. We may consider all those elements as clusters of the same macro metaphor, around which all structures and peripheral images turn. The discovery of this metaphor is regarded as the key to the artist's mind as well as his character.