جستجوی مقالات مرتبط با کلیدواژه « school of romanticism » در نشریات گروه « ادبیات و زبان ها »

The school of Romanticism is a European literary school which was born as a result of turning away from the logic and wisdom of the school of Classicism and was inspired by passion and excitement. This school has also had considerable influence on the development of various nations, including Iran. One of the important effects of the school of Romanticism on Iranian poets has been the development of their worldview, which has, in turn, broadened the scope of their protests and complaints regarding various social issues. This issue shows its effects in a more tangible way, especially when injustices, challenges, and social and individual disorders in a society are intensified. Simin Behbahani is one of the contemporary poets who has complained in her poems about injustices, deaths, and abandonment, and has protested against the existing situation of the society and her fellow human beings. In this article, authors have tried to use the descriptive-analytical research method to analyze the Romantic discourse of complaints in the works of Simin Behbahani. Findings of the research indicate that personal complaints are more prominent in the above-mentioned poetry collection, the reason for which should be found in her sensitive spirit and femininity; since she has experienced bitter and unfortunate events at some point in her life, her frank talk about pains and failures in her poetry attracts the sympathy of her audience.

One of the most important aspects connecting poetry and myth is the poetic nature of myths. The creation of both poetry and myth owes much to the power of the artistic imagination of their creators. However, one of the most beautiful and artistic uses of myth in poetry is the "re-creation of myths", the purpose of which is to connect the past to the present and to provide grounds for mythological insight. In the contemporary period, even the most traditional poets have tried to bring these elements closer to their time by recreating the elements of myth. In other words, mythical adaptations are used to reflect their time. Nima Yooshij was one of the first poets to recreate a myth in the poems "Amen Chicken" and "Phoenix". Likewise, Sohrab Sepehri has linked contemporary poetry to traditional and classical Persian poetry by using elements of myth-making, especially mystical-religious elements. Due to various political and cultural currents and the tendency of poets to stick to the tenets of literary and artistic schools, Contemporary Persian poetry is full of mythological signs of contemporary poets. The purpose of this research is to explain how mystical-religious mythology is used based on romantic principles in Sohrab Sepehri's poetry in a descriptive-analytical way. Findings suggest that Sepehri has used many types of mystical-religious myths in his poems. His emphasis has been more on mythologizing the creation of the forbidden man and fruit, the creation of water, Buddhism, the prophets, and the Bible.

Romanticism, which is a school based on the belief in the value of individual experiences, fantasies, creativity and imagination, sometimes manifests itself in such areas as resistance. In this regard, it has found special position in literary contexts where the ideal are more important than the real. The mind that contains idealistic tendencies offers a kind of action based on conflict with the rational. This school is a Western literary approach that emerged in England and Germany in the late eighteenth century, then in France, Italy, Russia and other European countries in the nineteenth century, and finally dominated the European literature. It is very complex and chaotic and sometimes has contradictory principles. The romantic approach combines nature and art, poetry and prose, memory and prophecy, vague beliefs and vivid emotions, what is heavenly and what is earthly and, finally, life and death. Zarrinkoub says that this school, unlike classicism, which depends on reason, is based on passion, taste, feeling and imagination. The basis of insight and perception of romantics is a personal and individual element, and their ideas are mostly relative. Beauty and art is the superiority of feeling and emotion over other mental powers, emphasizing the unity and harmony of poetry and music, freeing oneself from the shackles and dealing with individual emotions. In the Arabic literature, romantic poets and writers reduced the rule of reason by making their inner feelings dominant through their work. They did it by taking refuge in the skirts of nature, joining the human conscience, and expressing romantic regret and pain within themselves.Romanticism in the Arabic literature was somewhat different from the European romanticism in terms of themes and concepts. Among the expressive features of Arab romantics, one can refer to the avoidance of task and art, trying to use fluent words, relying on music and harmony of words and phrases, and using illustrations based on imagination and emotions. Conceptually. when emotion and imagination dominate, a single spiritual atmosphere overshadows the whole poem, so that the poet, with the dominence of emotions and feelings enriches the pains, suffering. He depicts deprivations and aspirations. Then, by taking refuge in nature, he reduces some of his inner pain and achieves the desired peace. Of course, Mohammad Mandour considers this school to have extreme practices in the mere use of emotional emotions and painful emotional cries. Regarding the romantic view of the Arabic poetry, it should be added that this school sometimes gives a negative and sad spirit and sometimes a positive and thoughtful spirit to the poem, which is a lively and active look at the concepts of freedom and struggle. He has a constant desire for revolution. In the contemporary Arabic literature, as in Palestine, many writers have turned to this style due to environmental disorders and unsuitable socio-political conditions. One of the poets in this field in Palestine is Masad Mohammad Ziad. Like other contemporary poets, he turned to this school of romantic grief and sorrow due to the unhealthy conditions of their environment as well as the Zionist aggression and murders. They turned to this school and expressed their pain and sorrow in this form of poetry. Massad's set of sorrowful poems in Palestine express romantic longing for his pain and suffering and his homeland caused by the turbulent situation in the political, social and economic arenas as well as his constant sense of pain, which he has expressed to his compatriots. The social romanticism in his poetry is more tangible than his individual image.

This research has been done by descriptive-analytical method with reference to library and electronic library resources and thematic-content retrieval, and based on objective observations of the poems in question, and its adaptations to the theoretical foundations of the discussion to examine the effects of this school in Poems about the stability of this poet.

The findings of the study indicate that components such as regret about disorders and pains and inappropriate environmental conditions, reminder of the beloved and childhood, reflection of grief and loneliness, regret of the crimes in the occupying regime, idealism, and freedom from restraints in Mas'ad Ziad's poetic speech are prominent, and thus the poet has been able to convey his grief to the audience in a desirable romantic processing of resistance-oriented themes.

The poet has used linguistic and phonetic tools in some contexts to process his concepts concretely. It also seems that, due to the completely different nature of romantic feelings from revolutionary and resistance-oriented beliefs and spirits, the poet has been able to provide a suitable combination of these two relatively heterogeneous spaces to express his poetic intentions. The prominent aspect of romanticism in his poems is more than social romanticism. In some places, the poet's reliance on society and the entanglement of poetry and his personality with individuals in society and their pains are evident. He is an intellectual cautious with attacks on the Zionist regime and the Jews who have usurped the land of Palestine, and this credible attack, along with categories such as idealism and the reflection of grief and loneliness, is imperceptibly effective. In addition, with his own romantic style, he expresses his inner pain about his homeland, his martyred fellows, missing of his beloved (which is his homeland), his childhood and the happiness and sufferings of the society in the form of poems. He falls and, because of the aggression and disorder of the environment, he looks at an idealistic and imaginary world that is only visible in his mind. He seems to be waiting for the promised savior to bring humanity out from under the boots of oppression and tyranny.

Literary schools influenced European literature in parallel with political and social developments and gradually spread to other parts of the world with the growth of new sciences and technologies. Meanwhile, Romanticism was considered as a rebellion against the idealism of classicism and described the untouched nature relying on components such as freedom, individuality, escape or travel, discovery and intuition, the magic of speech, and the influence of deep human feelings and emotions. This school was seriously introduced in contemporary Persian literature with the return of expatriate students, the prosperity of the translation movement, etc., and was used by modern poets such as Mehdi Akhavan Sales. The author of this research intends to consider the main features of the Akhavan poetry with using a descriptive-analytical method to examine the place of the school of Romanticism in the works of this prominent contemporary poet, to discover how much he is affected by it and to examine the method of narrative expression while emphasizing on archaic and theological literature; use of the Khorasani style elements connecting to the vernacular; composition and creation of new images along with adhering to the characteristics of Nimai poetry in form and music; overcoming of the spirit of despair and hopelessness in the atmosphere of poetry; praising of the manifestations and glories of ancient Iran, naturalism, expressing emotions and feelings and finally expression of extreme hatred and despair of the existing conditions.

literary orientation and approach, and in fact these are cultural, social, political, and even intellectual and emotional conditions and factors It makes society susceptible to change. The purpose of this research is to study and compare the components of Romantic school in the works of Seyed Hosseini and Jibran Khalil Jibran. Its main purpose is to study the fields and factors affecting the formation and expansion of Romanticism in the fields of contemporary Persian and Arabic poetry and prose in the works of Seyed Hassan Hosseini and Jibran Khalil Jibran. The present study is a qualitative analysis using documentary and content analysis.The results show that the factors that influence the formation and spread of romanticism in contemporary Persian and Arabic poetry have similarities and commonalities. However, there are also differences in this area due to the relative cultural and social differences. These differences also appear in the face of Romanticism and how it is reflected in their contemporary poetry. Romanticism, for example, has a relative joy and freshness in the works of compensation. In the case of Hussein's poetry, however, it is rather sad.

The school of romanticism emerged as a dialectical reaction to classicism and neoclassicism in the eighteenth century and it was influenced by philosophical, political and social factors of its age. Romanticism was characterized by its emphasis on individualism, the freedom of imagination, the sincerity of emotions and also the attempts to reach the transcendent truth, discernible beyond the scientific reality. Along with the formation of literary renaissance in Iran, many academians and literary traditionalists introduced modern literature as an imitation of the west in form of translations of western schools, including romanticism. Such an idea has been consolidated by the lack of valid and reliable literary research in the following decades. The current study has indicated that the interpretation of romanticism in Iran has been influenced by neglecting some of its essential characteristics, debasing its components from its philosophical and epistemological context and by inaccurate renditions of some of its core concepts. As literary schools contain conceptualized and structured components, literary research in Iran has seemingly employed this accessible structure in studying literary trends. Consequently, this has led to incomplete and even erroneous understanding of the trends of contemporary literature, due to focusing on sole descriptions of such elements as love and nature, without considering Persian literary traditions.