جستجوی مقالات مرتبط با کلیدواژه « shafiei kadkani » در نشریات گروه « ادبیات و زبان ها »

Engaging with "tradition" entails paying attention to the historical-cultural legacy and reflecting upon its significance, which contemporary poets and critics have approached from various perspectives. This dominant aspect of Shafiei Kadkani's poetry is shaped by his strong and decisive engagement with traditions, as well as his attachment to the cultural heritage and rituals of Iranian and Islamic civilizations and the exploration of their diverse dimensions. His poetry can be considered an example of ritualistic literature due to his vivid and resolute incorporation of traditions and his encompassing of their multifaceted aspects. This present study, employing a descriptive-analytical method, aims to elucidate the position of religious rituals in Shafiei Kadkani's poetic works. The main focus of the research is to examine the intricacies of utilizing the ritualistic heritage from the perspectives of mask, mythology, local identity, and textual heritage, and to explain the functions of these traditions at linguistic, intellectual, and literary levels in Shafiei Kadkani's poetry. In his poetry, the literary and rhetorical function of the mask is evident and serves the poet's political and social ideas. Mythology, with changes in meaning and function, is primarily employed as a symbol, adapted to the poet's contemporary concerns, contributing to the richness of his thoughts and literary expression. The reflection of local identity and the profound and extensive attention to customs, traditions, and textual heritage are also factors that strengthen the language of his poetry and contribute to the creation of artistic spaces in his discourse.

Myths are regenerated in a new way in response to the conditions of time and place. Because a myth has special forms and functions at different times, in the course of time, across geographical borders, and among different peoples, it may undergo transformation and take on new roles. Use of myth by contemporary poets and writers – like their romantic predecessors – has been mostly through mythmaking and creation of modern myths, sometimes accompanied by destruction or demythologizing. Mohammad Reza Shafiei Kadkani is one of the contemporary poets known for his use of mythology. His poetry is the poetry of myths, beliefs and collective dreams of Iranian people. The existence of romantic attitude in his poetry and the dominance of romantic components in his compositions have completely changed his view of myths as a part of human culture and tradition. The purpose of this research is to analyze and explain the function of myth-making and demythologizing in Shafiei Kadkani's poetry by using a descriptive-analytical method. Findings suggest that demythologizing (destroying and changing the meaning of myths, de-sanctifying myths, humorous aspect of myths) and mythmaking (creating historical and mystical figures, national figures, mixing mythical narratives, nature, birds, and animals) are the main types of the romantic reflection of myths in Shafiei Kadkani's poetry.

Calling and re-creating the characters of the past is one of the important issues that has attracted the attention of contemporary writers and has had a wide reflection in their works. Contemporary Persian literature has entered into a serious conversation with classical Iranian literature and has taken full advantage of its advantages such as dynamism and liveliness, emotional richness, depth of meaning, and linguistic harmony and proportion, and some of its attributes - especially poetry after the 8th century. In this article, an attempt is made to analyze and investigate the role and position of historical figures and the quality and method of re-creation by mentioning the examples of character appeal among the poems of Ahmad Shamlou, Mehdi Akhavan Sales and Mohammad Reza Shafiei Kadkani.

According to the subject, the research method is descriptive-analytical and it was done in the way of data collection in library form and using note-taking, and it is considered as a theoretical research.

According to the findings of this research, some historical figures in the poetry of Ahmed Shamlou, Akhavan Sales, and Shafiei Kadkani are of special importance, such as: Masih, Khezr, Ayoub, Nooh, Soleiman, Jamshid, Rostam, Kay Kavos, Ibrahim, Zardosht, Arash Kamangir, Siavash, Mansour Hallaj, Mazdak, and Esfandiar. As can be seen, these characters can be divided into four religious groups (prophets), mythological (kings and heroes), historical (kings and leaders), and mystical (saints).

Meanwhile, Ahmad Shamlou has done the most calling and re-creation of religious figures (prophets). Shamlu has a special interest in the personality of Christ (PBUH) and uses him as a symbol of immortality and fertility. Akhavan, however, has focused most of its attention and interest on the personalities of ancient Iran. The first mythological hero of Akhavan poetry is the Iranian prophet Zoroaster. Shafiei Kadkani also called or recreated mystical, epic and religious characters together. Many times in his poems, he is looking for Mansour Hallaj to once again give meaning to the concepts of bravery and martyrdom. Also, his new look at prophets like Noah is remarkable.

Water and fire are two categories that have long been used as symbols among different nations and cultures and have been respected by nations as two important elements of nature. These elements are considered holy, purified and pure symbols in many places. Therefore, for a better understanding and correct recognition of these signs and symbols, there must be a specific framework and method; One of these methods is the use of semiotic knowledge. Charles Sanders Peirce is one of the famous semioticians who presented a new way to understand signs. His semiotic system, unlike Saussure's, which is based on a binary model of the signifier and the signified, is a three-dimensional model consisting of representation, subject, and interpretation. In fact, it is with the connection of these three aspects that the main meaning of signs is obtained and the meaning hidden in the lower layers of the text is determined. On the other hand, after the Second World War, due to the inappropriate social and political atmosphere prevailing in Iran and the Arab countries, as well as the stagnation and decay in the society, many poets of the Persian language and the Arab world, in their poetry, turned to the use of symbols and the myths were inclined. In the meantime, Shafi'i Kodkeni and Adonis also used a lot of symbols in their poetry due to their full knowledge of literature and national and world heritage. In fact, Shafii Kodkani can be considered one of the most knowledgeable poets of Persian literature, who is fully aware of the situation of his time, and the use of symbols and myths in his poetry is considered one of his ways to express the disordered state of society. Adonis is also one of the most prominent contemporary Arab poets who has always tried to convey a new attitude to the audience in his poetry. He is a modern poet whose all efforts are aimed at getting rid of the past and looking to the future. For this reason, he turns to the world of symbols because he cannot clearly express his mentality in the petrified Arab society. On the other hand, the symbols of water and fire are considered to be one of the most frequent symbols in the poetry of these two poets due to their value and meaning in human life and their alignment with the fundamental thoughts and views of Shafii Kodkani and Adonis, and the reason for choosing these two symbols is also for analysis in this article, the special importance of these two symbols compared to other symbols in the poems of these two poets and also due to the closeness of the concepts of these two symbols and their great use in their poems.The present study tries to explore the layers of meaning and the function of the symbols of water and fire in the poems of Shafii Kodkani and Adonis in a descriptive-analytical and comparative manner and using the semiotic model of Pierce.  In this article, the researchers have tried to refer to different sources and use the library method to randomly select poems from the whole divan and tell the audience the invisible world of meanings hidden in the layers of the words water and fire. In order to get the implied meanings of these words, they have first considered the general atmosphere of the society mentioned by the two poets and then by examining the coexistence of other words and using the two sides mentioned in Peirce's theory, i.e. representation and subject, they have reached the third side and the final goal, which is the interpretation of the word.Shafii Kodkani and Adonis are among the great and contemporary poets of Persian and Arabic literature, whose poems have attracted the attention of many researchers and many researches have been done on their poems. But with the investigations that were done in reliable scientific databases, it seems that none of these researches were based on semiotic theories and this issue demanded that a semiotic-centered research be done on the poems of these two poets. Therefore, it can be said that no independent research based on semiotics has been done on the poems of these poets and only in some researches, some topics of semiotics have been briefly mentioned. Therefore, the difference between this research and the previous researches is that, firstly, only two symbols have been specially selected from among the symbols in the poems of these two poets to make the discussion more specific; The second difference is that this research analyzes the symbols in a comparative way in order to determine the commonalities and differences in meaning between the two poets. Another difference that can be pointed out is that in the present article, the symbols are examined based on Peirce's theory of semiotics in order to achieve the underlying layers of meaning in the mentioned symbols in a systematic way and in a specific framework. From the results of this research and the meanings that are obtained from the words water and fire in the poems of these two poets, we can refer to flow, cultivation and purification, metamorphosis, annihilation, life, renewal, greatness and glory of the past, war, new birth and love and feelings mentioned.By examining the political, social and cultural conditions governing the society of two modernist poets, namely Shafii Kodkani and Adonis, it can be seen that in some moments of their poetic lives, due to the chaotic social and political atmosphere and the stagnation in the society, they symbols are used to express their thoughts in order to convey their constructive views to the audience and free people and society from ignorance and corruption and guide them towards modernization and progress. Among the signs, they use more natural symbols, and among natural symbols, they use more symbols that are in line with their thoughts and ideas. Therefore, they pay more attention to the symbols of water and fire, and these two words are among the most frequent words and signs in the poems of these two poets. In the current study, considering the semiotic model of Peirce in the function of water and fire symbols in the poems of the mentioned poets, it is concluded that the representation of water and fire, which is actually the signifier, is the phonetic image of the words and the meaning of the first signs. In fact, Shafi'i Kodkani and Adonis use these mental and vocal forms and abstract concepts such as flow, cultivation and purification, metamorphosis, annihilation, life, renewal, greatness and glory of the past, war, new birth, love and feelings are expressed for the audience in a concrete and sensual way. Therefore, it can be said that these abstract concepts are the subject of Peirce's semiotics model, which is considered as the secondary meaning or the signifiers and semantic elements of words. In order to guide the audience from the primary meaning or the representation to the secondary meaning which is the subject and object, the poet draws the space of the poem in such a way that the reader can easily understand the function of these signs and to achieve the third side of Peirce's theory, which is the interpretation.

Mohammad-Reza Shafiei Kadkani is one of the Iranian contemporary poets have a vaste intertextuality relation with the Iranian classic poets and some time with Iranian modern and contemprary poets. His itertexuality with classic poet has been studied by some researcher but Synchronic intertexuality has not been investigated and because of this, in this article we tried that survey the dimentions of Shafiei kadkanies intertexuality relation with contemporary poem. In this regard, we survey the interteexualty relation of shafiei kadkani with two famous contemporary poets Mehdi Akhavan-Sales and Ahmad Shamlou in context of words, Vocabulary and compounds and poetic images. the result of this research makes it clear that the intertextuality relations with contemporary poetry also forms a significant part of the Shafies intertextual relationship and can be seen , more words and compounds and images that shafiei loan from These poet.

Halliday's systemic functional theory is a social look at a language which is interwoven with three metafunctional processes. Studying literary texts from linguistic aspects, such as ideational function is one of the new research approaches which improve a better and deeper understanding of hidden layers of texts. One of the modern Arabic and Persian literary discussions is the use of myths in modern poetry. Contemporary Arabic and Persian poets have described Hallaj's story in the form of myth. Abd al-Wahhab al-Bayati, a contemporary Arabic poet, and Shafiei Kadkani, a contemporary Persian poet, are among the poets who deal with the story of Hallaj in some of their poems. The method is correlative-analytical and this study tries to analyze the variety of different ideational metafunction processes of Hallaj's story in the poetry of these two poets. The results show that each of these two poets used various material processes to express their opinions. Peripheral elements such as time and space exist in the poems of both poets.

Pierre Macherey(born in 1938) is a French Marxist philosopher and literary critic. He is known as an influential figure in the formation and development of post-structuralism and Marxist literary criticism. The Marxist criticism analyses literature based on the historical (economic and social0) context. His main contribution in the area of criticism is the book entitled “A Theory of Literary Production” released in 1966. This book includes the main topics in Marxist criticism and as its title suggests, through a material viewpoint, it examines literature not as a subjective creation of the author’s mind but as a product like other manufactured products, with the difference that here the raw material is ideology. One of his best theories in this book is the silence zone. The most important parts of the theory in elaborated in two chapters of the book: “Implicit and explicit” and “The spoken and the unspoken”. Any literary work has silences and pauses without which the work could not exist. Understanding a work depends on the exploration of this zone as well as its interpretation. Macherey believes that silence is life-giving. The ideas of any literary work originates from a given silence and this silence forms the work. Thus, a work is not self-sufficient, but inevitably is accompanied with the silence, a silence without which the work could not exist. Understanding a work should acknowledges such presence. Therefore, it would be reasonable if we ask that a work implies which untold statements. Around any explicit utterance is an implicit utterance. To state something, some other things should be ignored. In this study, we attempt to explain a very important silence zone in Mohammad Reza Shafiei Kadkani’s poems, i.e. his attention to women. Shafiei is a well-known poet in contemporary Iranian literature. His language and style has made him a well-established poet among Iranian readers. As such, describing his works is a must in contemporary literary criticism. The research on various aspects of his poems is abundant, but the ideas represented in his works have not been analyzed yet. His viewpoint on the women has not been elaborated. Women are not represented in his poems explicitly. Most critics claim that women are not mentioned as earthly, achievable individuals. His women are mostly typical historical women. He mostly has dialog with a prototypical, subjective woman, not a contemporary, living one. Our major question here is that why Shafiei encounters the feminine characters with maximum care? Why he ignores earthly love? The absence of woman and woman-hood is obvious in his poems and we cannot take it as something accidental. In Shafiei’s poems, women are almost absent and the absence cannot be casual. Here, we shed light on the intratextual and intertextual reasons behind this absence and silence. An intratextual reason could be ignoring the personal “I”, poetics of committed poetry, and an affection with the traditional poetry. The poet’s ideology (Iranian, religious and leftist) and his professorship are introduced as some intratexutal motives. Likewise, a psychological explanation is outlined that says Shafiei has made an exchange in his mind. According this assumption, the poet has filled the empty position of women with other elements and concepts. In psychology, substitution is a defense mechanism in which the person cannot express his or her excitements due to shame, and therefore he or she transfers the experienced feelings to other objects. This transfer reminds the concept of metaphor. Such substitution does not take place just in the level of word, but sometimes the transferred object happens to be visual. In Kafka’s Metamoorphesis, for example, the hero is embodied as a cockroach. These changes are related to the unconsciousness or the suppressed side of the self. Shafiei has substituted the love for earthly woman with the love to mother, homeland, Persian language and literature, Iranian culture, nature and pigeons. It should be mentioned that before the Islamic revolution, Shafiei had a sympathy with active militia. In those groups, love affair was taboo. In effect, the intellectual, revolutionary culture of that period welcomed such taboo. The militants put their life on their struggle and had no time for love. Due to his military nature, Shafiei was overwhelmed with such feelings too. Once he passes the early years of his life and steps into middle-aged period, Shafiei puts more attention on philosophical ideas. He fills the empty place of women with counterpart subjects. To extend, we can present other reasons too and we also interpret them, but this important empty place cannot be ignored.

Sohrab Sepehri's poetry as one of the prominent poets of contemporary Iran, has not been neglected on Shafiei Kadkani behalf and in most of his writings that are Basically about Iran’s contemporary poetry (With lights and mirrors; Persian poetry periods) or have scattered material about Iran’s contemporary poetry and prominent contemporary poets (The poet of mirrors; Contemporary Arabic poetry), We can take his ideas and thoughts about Sohrab Sepehri and VP's poetic art. Sohrab Sepehri is a praiseworthy poet for Shafiei Kadkani; these appreciations can be seen in four areas: Along with praising contemporary Iranian poetry, along with praising modern Iranian poetry, along with praising the influence of modern Iranian poetry on European literary developments and Sepehri's praise in connection with himself. Also based on Shafiee Kadkani's Theory of Following Contemporary Poetry from the Literary Developments of Europe in Recent Centuries, Sepehri's influence on European literature can be seen in several areas, like Influenced by S. J. Pers, J. A. Prévert and Eliot Especially in Hybridization and His penchant for Buddhism and Far Eastern mysticism. Although in Shafiei’s opinion Hybridization, has been damaged To Sepehri's poem in his last poetry book, especially regarding to having meaning and Aesthetic facts.

Paradox is a proposition that logically seems incompatible and absurd, but can be meaningful by interpreting. Almost all poets have occasionally used it (see Abrams, 2005:244), as Shafiei Kadkani states "paradox is an image the two sides of its combination contradict each other conceptually like monarchy of the poverty" (Shafiei Kadkani, 1992:54). He believes that paradoxical images can be found in all periods of Persian poetry (Ibid: 57). Undoubtedly, in different periods of Arabic poetry, examples can also be stated: او ابعد بعدنا بعد التدانی / وقرب قربنا قرب البعد (Al-Mutanabbi, 1988, 2: 78) (does it close our distance like keeping out our nearness and being far and nearness like closeness of separation?).
Among the poets who had a high frequency of this literary method in their poems are Abd al-Wahhab al-Bayati (1926-1999) and Mohammad-Reza Shafiei Kadkani (1939), who are considered as powerful poets in the field of modern poetry. These two poets began their poetry with a romantic approach and then after moving from social realism, reached the symbolization phase. Social - political concerns with words that express sadness, a reason for common thoughts the two poets.  Their acquaintance with each other is undeniable; contemporaneity and attendance at one of the international congresses of poetry provided the opportunity to know each other. On the other hand, Al-Bayati really interested in  Persian poetry and Shafiei Kadkani  is completely familiar with  classic and contemporary Arabic literature; attention to Khayyam, Attar, Sohrawardi, and Hafiz are manifestations of Al-Bayaty's attempt to Iranian culture and about Shafiei Kadkani relation to the Arabic literature there is abundant evidence that does not need to be cited; since by a brief looking at his research works, translations and poems, his mastery can be found, and here it is not possible to deal with it. However, this does not mean that these two poets were influenced by the method and stylistic characteristics of each other, so it is possible to examine their stylistic properties within the framework of American School of Comparative Literature. In this paper, using descriptive-analytic method, only those poetry evidence will be examined that is in common between two poets in terms of style or implication.

In this study, by criticizing and analyzing similar and contradictory prominent examples in the poetry of two poets, we can examine the implications or constructs based on the American School of Comparative Literature and descriptive analytical method of applying paradox in their poetry.

Since paradoxes lead to a new recognition of the artwork, so Al-Bayati and Shafiei Kadkani, by leaving familiar meanings and creation of concepts seemingly the opposite of the fact, tangible to us a  world of realities. Paradoxical expressions and compositions in their poems can be divided into two types: linguistic and literary, and analyzed their similarities and differences as the paradoxical limitations of language is the most difficult of the paradoxes in terms of arrangement and construction of words, but many paradoxes in the grammar part of these two poets can be found. The paradox in the poetry of these two poets is found in the composition and document.
Paradoxical compounds are purposely used to influence rhetoric, by combining contradictory words and creating exquisite images (Fotouhi, 2015: 328). These compounds are sometimes concise of one or more sentences with a contradictory meaning that are expressed in the form of adjectives (adjective and noun) and (Annexation and Annexed) in the poetry of two poets. Using the elements of nature in these contradictory combinations is a striking resemblance to the poetry of these two poet and Annexed) in the poetry of two poets. Using the elements of nature in these contradictory combinations is a striking resemblance to the poetry of these two poets.                                                      Predicative paradox (predicative paradox (documentary   paradox)) is another type of linguistic paradox that arises in the proposition of predicate and subject and can be examined in the poetry of these two poets at the level of two sentences or in the same constructions. These two poets sometimes use paradox at the level of two sentences using coordination of "and" or "no". The coordination letter of "and" is the most commonly used subordinated conjunctions. When several structures are linked together with "and" and construct a new structure, its artistic device find an alignment grammatical value. For this reason, two poets connect the contradictory words with "and", and affect the semantic and interpretive structures of the poem, as the reader suspects that he is confronted with a subject that is inaccurate because he is received the feeling of parallelism from the subordinating conjunction of "and". These two poets express their meaning and intention of paradox in a coordinated structure with the help of adverb of manner that shows different states or through a proposition.                                                                                 
Another way to construct a paradox in the poetry of these poets is using figures of speech such as simile, metaphor, allusion, and tard va axe, which is referred to as literary paradox. The purpose of simile is to prove a trait (an adjective) from vehicle to tenor. So the tenor is the purpose of the word and vehicle is an instrument to help the desired purpose. Whenever, in a paradoxical image, the expressive purpose of the metaphor is considered, the vehicle should be conceived in such a way as to be incompatible with a word in the poem, then by eliminating the vehicle, the paradox will be remov. (Vahidian Kamyar, 1997:  284).
 In the metaphorical paradox, the vehicle must be such that it makes a paradox with the word in the poem and by removing the vehicle, the paradox will be disappeared. One of the most important elements of imagery techniques in the poetry of these two poets is recognition. By using the recognition, they strive to give life to all phenomena and objects. Therefore, to translate their feelings, they use implicit metaphor. In addition to applying the implicit metaphor, explicit metaphors are also found in the poems of two poets. Another paradoxical style in the poetry of these two poets is using irony. In this figure of speech, the vehicle (superficial words) is such that make contradictions with the words of the language, and then this contradiction is removed by eliminating the vehicle.
Another literary style in applied paradoxes of the poets is using chiasmus and shatah, that is, the poet uses the combination of opposing words and then by subordinating conjunction of "and" and moving the arrangement of words, make a monotonic relation with the elementary composition. This artistic device in an impossible setting, and then movement of the words, and finally the coherence between them, first arouses an ambiguity that will be feasible by contemplation and discovering the main idea of the poet.

A Part of Al-Bayati and Shafiei Kadkanie's insight is related to paradoxical images that in its structure, has poetic anxiety. Choosing vocabulary, deviation of norms, and paying attention to aesthetic aspects of the word are important features in the poetic contradictions of these two poets. The paradoxical application of their pomes can be analyzed on the basis linguistic and literary construction. Paradoxical expressions are observed both in the form of predicate and combination in their poems, with a higher frequency of predicate. In many of the paradoxical images of these two poets, it can be possible to observe clear imagery which shows a similarly emotional space, which is what led us to perform this literary study . One of these images is lightness-darkness and the other is the image of death and life in which they reflect hope. Two poets use the elements of nature in paradoxical terms for symbolic expression of concepts whose frequency is higher in Shafiei Kadkani's poetry due to his ruralistic spirit. If al-Bayati expresses his paradoxical poems in the form of death, homeland, prison and fire, Shafiei Kadkani reflects those ideas by the nature and subtle words. In some Shafiei Kadkani paradoxes, in particular, "the black light of devil", a kind of shatah can be seen that cannot be considered a place for this perspective in Al-Bayati's paradoxes. In the paradoxes of Al-Bayati due to socialist beliefs, sorrow and sadness can be felt more than Shafiei Kadkani, although the veins of hope are often obvious in the poetry of the two poets. These two poets do not try to hide the content for the reader, but it can be understood with a little contemplation and searching meaning in the ambiguity and layers of the word. Therefore, paradoxical images can be one of the reasons of acceptance of their poems.

Shafiei Kadkani is famous for employing images that make his poetry more coherent. These images are called chained images in the present study. In this type of imagery, the final part of each stanza is repeated in the initial part of the following stanza and the repetition is conducted repeatedly. The scholars of rhetoric refer to this type of figure of speech as a verbal stylistic device and name it as “motetabe,” “tashaboh al-atraf,” and “zubatnein.” These terms have some drawbacks, as they do not represent the characteristics we intend to assign to Shafiei Kadkani’s imagery. The examples appearing in traditional books on rhetoric tend to be naïve and artificial while Shafiei Kadkani merges images with a novel perspective and deep philosophical world-view. These chained images have links with the poet’s characteristics such as his cultural awareness and social and naturalistic ideas. This type of imagery dates back to classical Persian poetry and prose and folk literature, but is employed even in modern Persian poetry and world literature. In chained imagery the higher the number of loops used, the higher the poem’s musical value would be. However, the number of loops should not be more than four or five, as the reader would be confused otherwise. The present study attempts to investigate the chained images in Shafiei’s poetry in detail.

Comparative study of critical theories of contemporary Arab and Iranian poets can have a unique part in literary analysis. In general, new poetic critical theories are under the influence of the intellectual origins of contemporary German and French philosophies. Adonis and Shafiei Kadkani are two influential critic poets who have discussed poetic concepts and components in their critical articles and books with specific tact. The present study was a descriptive-analytical investigation into analyzing critical views of these two poets based on American school of comparative approach in the fields of definition of poetry, and language and music of poetry. The results of the study showed that the two critics have common intellectual foundations; therefore, they have some similar critical viewpoints. However, their critical approaches are different in terms of both methodology and intellectual depth. Compared to Shafiei Kadkani, Adonis has a deeper, more organized, and more daring view toward poetic categories and poetic language.

Archetypes are rooted in the depths of collective unconsciousness; some of them, beyond the geographical boundaries, are present in the minds of all men. The present article, by using analytical-comparative method, attempts to exmine "the archetype of death and rebirth" in the poems let the Pigeon sleep by Syrian poet, Badi Saqour and in the Praise of Pigeons by M.R. Shafiei Kadkani. The issue of death and rebirth in these poems can be studied in three ways: a: The poet's focus is more on the subject of death. b: Death and rebirth occur in a balanced manner. c: More attention is paid to the subject of rebirth. The most important findings of this study are as follows: Many of the poems in these two collections are based on the balance between death and rebirth. In other his poems, Badi Saqour focuses more on death; but, Shafiei Kadkani emphasizes more on the issue of rebirth.

Language and expression are part of the miracle of creation and one of the precious skills that emerges from the complex and mysterious world of man. Whatever the communicative function of language, other functions such as emotional, referential, intellectual and artistic functions explain the need to produce different ways of using language to achieve different objectives. The question also leads to the creation of secondary meanings, which has long been one of the themes of the science of meaning in the field of rhetoric. In the new vision of meaning, in other words - semiotics, cognition becomes more active by giving importance to other functions of language. In addition to persuading the public to search for hidden semantic layers of text, the questioning schema allows the production of different meanings in different contexts. As an apparent sign, the question mark "?" plays an important role in producing different meanings. The main purpose of this study is to analyze the semantics of these indices in the poetic universe of shafi'ei Kadkani that contain questions, including the results that the poems provide a more contextual and audiovisual connection with the audience and provide a context for the speech with the audience. The presentification of absence and the absentification of presence enables discursive interaction and the realization of the "transcendental I". By selecting poems containing "questions" this article did a qualitative analysis of the content.

Tradition and modernism are among the most important components of contemporary literature. The tradition in literature is the set of literary practices that have emerged and accumulated over the course of literary development of every ethnic group. Modernism, or literary modernism, is also a term sometimes used against literary tradition, denoting a break with existing traditions, rules and conventions, and new ways of looking at various literary issues, and sometimes means renewing tradition. Accordingly, the great tension between the adherents of literary tradition and modernism in the twentieth century has led to the emergence of the discourse of "tradition and modernism" in contemporary literary criticism. Contemporary Arabic and Persian literary criticism also welcomed this issue. Critics emphasize the contradiction and, in general, the connection between the legacy of the past and modern and modern works, as they see many benefits in this connection, and the result of these conflicts is nothing but the dynamics of literature and literary criticism. Many contemporary Arabic and Persian literary critics, including Ezeddin Ismael and Mohammad Reza Shafiei Kadkani, have addressed it. The two literary figures emphasize the positive influence of interaction between tradition and modernism and the necessity of the function of tradition in contemporary Arabic and Persian poetry, based on literature and ancient literary critique of Arabic and Persian. Similarities and differences in the views of these two critics are also due to tendencies, attitudes, environment, field of growth, and the dominant atmosphere of the thoughts of the two writers. On the other hand, the common cultural roots of them, especially in the field of literary criticism, have brought them, at least in the attitude towards the subject of interaction between tradition and modernism. This has necessitated a review and comparison of their criticisms. Here, by relying on descriptive-analytical method, tried to review the criticisms of these figures regarding the necessity of continuing the literary tradition in contemporary Arabic and Persian poetry. The question here is that the how these people view presence of literary tradition in contemporary Arabic and Persian poetry? Also, if they found the interaction among these schools as interactive or opposite? The result of this study showed they experienced both the tradition and the modernism. In most of their researches, by respect to the principles of tradition they found modernism in interaction with tradition. They always believe that tradition and innovation are two aspects of the continuity of a nation's culture or a nation, for tradition to continue, it must evolve with the help of innovation, and innovation can only be understood by turning to one tradition. Innovation without tradition and tradition is lacking in historical and social objectivity. They believe that in literature, tradition and innovation are two vital and indispensable factors. It can be argued that almost all the attention to tradition and its importance is clearly seen in all works of these two critics. In the face of modernism, both critics have an almost unified experience. Both believe that the process of modernizing poetry must be broken, but not in the sense of abandoning tradition, but of modernity. The two critics argue that the contemporary poet's relationship to tradition is a pervasive one and a conscious acquisition of the human-historical meaning of tradition, not merely the influence of tradition. Thus, the contemporary poet's attitude to tradition chooses positions that are permanent and enduring, whether that is a requirement of the classical approach or whether it is augmented by the poet himself. They want a renewal that is in line with the literature of the past and disconnecting from the past is not a good thing. They also see bigotry as a dangerous thing, because the past and the present must follow and recognize each other's boundaries.

Tradition is the basis of firm structure of poetry and every poet is influenced by literary tradition and poems of his predecessors. This impact is low in the poetry of some poets and in the poem of others is high. Shafiei is a poet who tradition and ancestors poems and their manifestation in his poetry are stronger than most of contemporary poets. Because of his attachment to Old Persian literature heritage he was influenced by former poets. Meanwhile Hafiz plays prominent role in Shafiei's mind and language. Shafiei is infatuated of Hafiz and his interest in Hafiz has had a profound impact on his poem. This effect is sometimes shown in inserting other's verses in own poem, hemistich, semi-hemistich and sometimes repeating poetic vocabulary. Alongside this, the major Hafiz's thought which is anti-hypocrisy and critique of hypocritical religious, Shafiei uses some of the words related to Hafiz's thoughts including: Rend, Mohtaseb, Shehneh, Asas and so on utilized it with adapting with his social-political thinking as Hafiz in form of positive and negative personalities. Some of Hafiz's verses also serve as an inspiration for composing poems and making themes in Shafiei's poem. In addition, we can see the influence of Hafiz, in the dimension of image making. Studying and adapting the poetic language, themes and poetic images of two poets reveals this influence and present study examines this effect by mentioning eamples and using a descriptive-analytic method. Studying Shafiei's poem in this regard leads us to conclude that Hafiz is one of the most influential traditional poets Shafiei kadkani's thought and language.

This essay has compared Sadi's Shirazi 50 Ghazal with Shafiei Kadkani's work "Ghazal Baray Gol Aftabgardan" (ode for sun-shade flower) which is circulated in line of love .It, also,has analyzed in the case of likened ,vehicle, repetition in similes and ways of renewing similes too. The comparative analysis of this two represented of yester and today is revealing collision of two vision and two experience in the field of similes. Thus, the essay clears extent of initiative and imitation of poets by classifying elements, adjusting , analyzing similes and giving graphs . By this comparing and studying ,we found out that likened in Shafiei Kadkani's book and vehicle in the selected Ghazal's of Sadi possessed more variety and multiplicity. Numerous likened means more thoughts and ideas which causes extensiveness of subject,While the numerous vehicle means more contents, exaggeration as well as hyperbole. Additionally in this essay we found that Sadi has used comparative simile ,implicit simile, tying up and synonyms in order to remove his repetition of likeneds. On the contrary, Shafiei Kadkani has chosen tying up likened and the accompanying with other beauty products to get rid of repetition for his imagination made up new similes.He benefited of less the ancient techniques such as antithetical and comparatve similes and etc. To remove repetition of vehicle,Shafiei Kadkani used making fine the simile that is an innovative work , while Sadi did not pay attention to it.

Death is unknown phenomenon that is always occupied human mind and thought. Poets and thinkers of every nation are also different views on death and existence that they explain them in forms of art and literature. Mohammad Reza Shafiei Kadkani, born in 1939, is contemporary prominent the poet and researcher who have special attention to items of life and death. The authors of this paper have tried to investigate the analysis method of the poet's thoughts and feelings about the death and topics such as, pondering over death, fear of death (necro-phobia), life image and testimony in his poems is checked. The results show that Shafiei Kadkani poems there are four approaches to death: First; Escaping death and Death-conquering that is more related to his poetry beginning. Second; death in form of testimony and protecting the ideals, third; Mystical and Sufism death-praying that is showed in Molavi and Islamic mystics and forth; the Death affected on poet's philosophical concerns and have many image in office “Hezare Dovome Ahooye Koohi”. Among the species pondering over death also the mystical death-praying have the most frequency and testimony have the least frequency.

Nature, symbols, and natural symbols have prevailed amongst the early poets’ works and more or less constitute an important poetic figure of speech in the works of the contemporary poets. Shafiei too is one of the symbolist and nature-symbolist poets. In his poems, symbols serve words, content, meaning, and the society. Symbols used by Shafiei have national, domestic, religious, and natural origins, with the ones about Nature being the most prominent. Allegorical symbolism is one of the symbolic features of his poetry. He does not just describe nature but blends the description of nature with man’s feelings and thoughts and reveals them in symbolic expressions. Hence, in this study, two of his poetry collections -- A Mirror for the Voices and The Mountain Gazelle’s Second Millennium -- are scrutinized and criticized.

Existentialism is one of the philosophical schools that have played a significant role in today's world of art and literature. Although some part of it can be seen as «Existence Philosophy» in the Islamic culture. Since contemporary poets and authors should be familiar with literature, artistic and intellectual, so it cannot be ignored the contribution of Existential Thought and the most important components in the Contemporary World Literature. SHafiei kadkani and Adonis have tried to mix the philosophical thoughts with poem, while they had noticed to the west literature and the translation movement. Thus, the authors strive to clarify the components of existentialism (Existentialism, Humanism / the dead God, freedom and responsibility, Existential Time) in their poems and their content analysis; both show the effects of philosophy on the today's poems and emphasis that understanding of the contemporary poem without enticement to philosophical thoughts it’s not possible. In the Shafiei and Adonis poetries although there are fundamental differences in the Existential Thought that it relates to the different trends (God and atheism) in this school.

Interest in nature and using natural elements in poems do not limit to special periods of life and humans in (modern and classical) areas of poetry. Using imagination and rhetorical and literary devices, poets attempt to address their desired concepts through nature, The naturalism of poets is divides into three categories: imitative, descriptive, and interpretative and synthetic. The naturalism approach is in classical poetry significantly different modern from poetry. In Nima Yooshij’s poems, the manifestation of nature was accompanied with different characteristics, including breaking with tradition, new language, special worldview, staying away from the unified order of poets, and presence of native and local elements. One of the poets who addressed the nature and natural elements through symbolism using Nima Yooshij’s view and modern language in the contemporary area is Shafiei Kadkani (M. Sereshk). In analyzing poems, as we move from early books of the poet toward his newer ones, we face more enriched language and conceptual developments. Studies showed that the poet used 18 natural elements more than others. He used terms and compounds, including rain, flower, spring, garden, cloud and wind with the highest frequency for expressing his individual, social, political, cultural and human thoughts relating to his environment and period.