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

sociological analysis and evaluation of literary works, especially contemporary poetry, through obtaining the intellectual background and possible awareness and worldview of the poet, reveals the various intellectual structures of the society of which the artist is considered a member. Natural symbols, which are taken from the world around the poet, can reflect the worldview of the poet in a sociological reading. This research aims to achieve the dominant intellectual system in the thought of these poets by analyzing contemporary poetry and natural symbols in the poetry of Mahdi Akhwan Al-Talihi, Ahmad Shamlou and Forough Farrokhzad based on Lewis Goldman's sociological theory.

In its sociological perspective, the forward-looking essay has used the descriptive-analytical library method and has reread the text of the selected poems in the framework of the theory of sociological criticism with a focus on the works and writings of Lucien Goldman.

Lucien Goldman, a famous sociologist, relies on his theory of developmental structuralism to decode and analyze the society reflected in literary works and emphasizes that literary works create the society within itself with all its hidden and visible angles and dimensions. he does. The third brotherhood, Shamlou and Farrokhzad are all three poets whose sociological attention to various aspects and angles of life, problems, political and cultural atmosphere of the society can be followed in their poems.

The results of this research show that all three poets, especially in the second period of their poetry and from a year after the coup d'etat of August 28, 1332, reacted against the social categories of the era and as an activist, political activist and social critic, they were able to deal with contradictions, ruins, poverty. , express injustice, tyranny, etc. with symbolism with the help of natural elements in an effective way and present a clear picture of the second Pahlavi society.

Sociological analysis and evaluation of literary works, especially contemporary poetry, through obtaining the intellectual background and possible awareness and worldview of the poet, reveals the various intellectual structures of the society of which the artist is considered a member. Natural symbols, which are taken from the world around the poet, can reflect the worldview of the poet in a sociological reading. This research aims to achieve the dominant intellectual system in the thought of these poets by analyzing contemporary poetry and natural symbols in the poetry of Mahdi Akhwan Al-Talihi, Ahmad Shamlou and Forough Farrokhzad based on Lewis Goldman"s sociological theory.

In its sociological perspective, the forward-looking essay has used the descriptive-analytical library method and has reread the text of the selected poems in the framework of the theory of sociological criticism with a focus on the works and writings of Lucien Goldman.

Lucien Goldman, a famous sociologist, relies on his theory of developmental structuralism to decode and analyze the society reflected in literary works and emphasizes that literary works create the society within itself with all its hidden and visible angles and dimensions. he does. The third brotherhood, Shamlou and Farrokhzad are all three poets whose sociological attention to various aspects and angles of life, problems, political and cultural atmosphere of the society can be followed in their poems.

The results of this research show that all three poets, especially in the second period of their poetry and from a year after the coup d"etat of August 28, 1332, reacted against the social categories of the era and as an activist, political activist and social critic, they were able to deal with contradictions, ruins, poverty. , express injustice, tyranny, etc. with symbolism with the help of natural elements in an effective way and present a clear picture of the second Pahlavi society.

Due to the different nature of poetry and poetry of the contemporary century and the knowledge and ability of the people of the time, words are of the nature of passing time, etc., especially for poets, considering the fear and despair that cast a shadow on the society due to suffocation, etc. It was difficult, but how to say is far from indifference and not saying. With the scholarly or biased criticisms that have been made about Sohrab Sepehari and Shamlou, and assuming that one has a fiery mouth and the other fades in the greenness and freshness of nature, in this research, we will argue that the problem Let's examine humanism and being a child of our time according to the sub-components of the poet of the time, and since the two sides of this research were extremes and the other extremes, I was looking for an intermediate bridge to make this heterogeneity a little more homogeneous, and I preferred the third side of this research. Akhwan's research is the third.

For many years, philosophers have studied methods of epistemology through different approaches. The challenges in this area mainly focus on the question of the nature of the subject and object as well as their relation. These issues have led to two general but diverse movements: Idealism and Realism. Deconstruction, like its predecessor, Structuralism, is essentially epistemological. Structuralists conceptualised ‘structure’ in such a ways as to go beyond the subject and object duality. Deconstruction, positively and negatively, established deep bonds with structuralism. This study interprets this relation and argues that structure in structuralism is transformed into textuality in deconstruction. The difference is that the text is not as rigid as a "structure" and continues to exist as a flux. The constant evolution of the text as a whole eliminates the subject and object duality.  In this way, the concept of text acts as a bridge between linguistics and ontology. When Derrida discusses the text, he means any kind of being. This kind of being includes both concepts and objects. Derrida’s interpretation of language can be linked to the epistemological and ontological functions of language.

For many years, philosophers have studied methods of epistemology through different approaches. The challenges in this area mainly focus on the question of the nature of the subject and object as well as their relation. These issues have led to two general but diverse movements: Idealism and Realism. Deconstruction, like its predecessor, Structuralism, is essentially epistemological. Structuralists conceptualised ‘structure’ in such a ways as to go beyond the subject and object duality. Deconstruction, positively and negatively, established deep bonds with structuralism. This study interprets this relation and argues that structure in structuralism is transformed into textuality in deconstruction. The difference is that the text is not as rigid as a "structure" and continues to exist as a flux. The constant evolution of the text as a whole eliminates the subject and object duality. 

Derrida is a key figure in Poststructuralism – a movement proposed by philosophers such as Foucault, Lacan, Deleuze, Derrida, and others in the second half of the twentieth century. An essential component of poststructuralism is its critical approach to diverse fields and concepts such as ontology, aesthetics, linguistics, ethics, politics, and especially epistemology. Philosophers’ epistemology views fall within an expansive spectrum of divergent and convergent ideas. The question here is what is the role of poststructuralism, in general, and Derrida, in particular, in epistemology? Some poststructuralists regard Derrida as anti-epistemological; this seems to be a hastily conclusion in describing the relation between poststructuralism and epistemology. Poststructuralism studies epistemology at a deeper level and poses a number of fundamental questions.

The present article is a phenomenological-deconstructive study. It is phenomenological because of its debates on the essence of the phenomena. It refers to the origins of concepts and describes natural phenomena. This is a retrospective process which describes the formation of the phenomena rather than discussing their nature. On the other hand, deconstruction does not follow a predetermined structure. It expands itself and the text in accordance with the host text. It moves beyond Husserlian phenomenology to restate the untold narratives of the text.

Poststructuralism, before anything else, is an answer to its preceding epistemological approaches. Through a complicated dialogical relation, it borrows from its preceding approaches and simultaneously negates them. We can categorise all of the epistemological approaches before Derrida into two general categories of idealism and realism. Not only did idealist and realist approaches fail to solve the problems in epistemology, but they also added new ones, among which is their inability to explain the relation as well as the differences between the subject and object. This article claims that Derrida’s concept of the text and his notion of deconstruction answer to a number of complicated epistemological questions. The present research argues that the origin of the text is epistemological in essence. Deconstruction drives the text into a flexible context and undermines structures. The text is an all-encompassing integrated identity. Of note here is the fact that even this totality has its own limitations. Towering on the binaries, the text questions the structuralist signification and interpretation of language. It reveals itself as a being at lingo-cognitive horizons. The deconstructive approach to the text shakes the foundations of structuralist linguistics, ontologies, and epistemologies as it tries to interpret texts in endless processes. The text, therefore, is a context which perpetually deconstructs and constructs itself. Deconstruction challenges the fundamental premises of epistemology while acknowledging the complexity of the process of interpretation. It seeks to modify the traditional epistemological relations among the subject, object, and language and de-centralise texts in an attempt to make way for new and infinite semantic possibilities.

The present research has tried to interpret deconstruction as a means through which epistemology can redefine itself and look at the subject and the object in new ways. The primary aim of this article is to give an inclusive re-reading of the concept of the text and explore notions that are not explicitly treated in Derrida’s works. This can lead to a new understanding of epistemology in linguistics and semiotics. Also, this article discussed the issue of an epistemological reading of structuralism and the philosophical reasons behind its emergence. Generally, structuralism is a familiar term in epistemology and linguistic theories. Discussing the development of structuralism to deconstruction and poststructuralism and an epistemological reading of the development of structure to text have been among the main objectives of this article. These subtle but significant discussions can pave the way for a deeper understanding of literature and philosophy. Literature, in general, and literary theory, in particular, must always re-interpret themselves in fresh philosophical and epistemological paradigms to avoid reduction to simply verbal and rhetorical issues.

Formalism is one of the influential literary schools that rose to prominence in the beginning of the 20th century with Shklovsky's writings. It emphasized the necessity of scientific analysis of artistic and literary works through highlighting the disadvantages of traditional and symbolic criticisms that were prevalent. In this article, authors intend to examine the formalistic manifestations of Ahmad Shamlou's and Yadollah Royaee's poems and provide examples of symbols and signs of the poets' counter-readings in the poem. The findings of this descriptive-analytical research reveal that the artistic beauty of Ahmad Shamlou's and Yadollah Royaee's poetry owes a lot to deviations in their poems. By looking carefully at the poems of these two poets, we can conclude that he strongly believes in the element of beauty and uses all his artistic efforts to draw attention to the concept and meaning and deliver the message to his audience without ignoring the realm of aesthetics.

Among philosophical schools of thought, the philosophy of existentialism is undoubtedly one of the most influential schools that left a deep impact on the opinions of people such as Hedayat, Al-Ahmed, Freud, etc. Ahmad Shamlou and Sohrab Sepehri were among those who were influenced by this thought in part of their literary creation. Shalom's influence on the philosophy of existentialism can be seen in the following ways: In the philosophical field - the content that includes more of Sartre's thoughts, in the political field, Camus's thoughts are the focus of his attention. And in the literary field, due to the closeness of Sartre and Camus' opinions to each other, it includes, if not influences, but agrees with their opinions.Sohrab Sepehari was not a poet with existentialist thoughts in today's real sense, but the ontological system can be found in his works, especially throughout the "Sound of Footsteps" poem. And his thinking in this system has an ontological aspect, Sohrab's revelatory beliefs have made the foundation of his system in two capabilities, that is, the external level, which is the description of nature and its elements and the inner and latent level which is the expression of the philosophical and epistemological concepts of the elements will appear.In this research, the author by comparing philosophical poems by Shamlou and Sohrab, he came to the conclusion that the contents of existentialist philosophy are strongly and weakly The poetry of these two poets can be seen.

Encountering a literary work requires multiple acts of awareness. Literary works, especially poetry, usually have a complex and multi-layered structure, and this causes different levels of perception to interact with each other to understand a literary text. One of these aspects is the examination of prominent concepts in literary works. In this study, the concepts of "man", "life" and "death" in Shamlou's poetry have been investigated from the perspective of "ontology". Based on the findings of the present study, it can be claimed that "man" is the foundation of Shamlu's poetry and other poetic concepts in his poems revolve around the concept of "man". Shamlou considers himself responsible to "man" and cannot ignore his suffering.Also, based on the present findings, "life" in Shamlu's poem is full of hope. He believes that "life" flows everywhere and in all circumstances, the hope and happiness of "man" should be preserved. In this research, "death" has been examined as the last concept. According to the findings of the research, "death" in Shamlu's poem does not only mean the end of material life, but also despair and succumbing to oppression and many other cases can be examples of death. Finally, it is concluded that "man" in Shamlou's poetry plays a central role and since "life" is much more important and enjoyable than "death" in his eyes, he believes that one should strive to achieve an honorable and ideal "life".

Semiotics is a current approach to study the mechanism of meaning formation and production.The nature of the tensive process that exists at the heart of any discourse is that it transforms meaning into an indefinite and complete entity, Since the discourse governing the two poems "The Lament of Hallaj" by Adunis and "The Death of Nasiri" by Ahmad Shamloo is based on extent and pressure relationship,and these two poems have various becomings and actions and are value-oriented, this article tries to use analytical-descriptive method to study the tensive-emotional system in these two poems through a comparative method. It makes the mechanisms of formation, production, continuity of emotional meaning and its interaction with other meanings clear and tries to explain the partnership of signs-meanings in the production of meaning. Findings of the study indicate that the elements involved in the mechanisms of production of emotional discourse, finally act to establish the desired meaning of the two debators, and debators use tools such as "discourse position", "conjunction and disconnection of discourse", "effect of verbs", "far-sightedness" and "rhythm and melody" in this direction. And also among tensional schema forms, the forms of emotional pressure peak and decrease of cognitive rang is applicable to the first section of Adunis's poetry, and the simultaneous decrease of pressures and extensions is applicable to the second section. As throughout Shamloo's poem, the tensional schema of simultaneous drop in pressures and expanses can be shown.

Controversy between modern poets and fans of traditional poetry is an issue that has always been of interest to scholars in the historical and cultural study of the formation of modern poetry. The debates that each of these two factions raised about poetry and its implications were based on a critique of the other side's discourses and views; therefore, by analyzing the content of each of these two groups, the concepts and opinions of the other group can be understood. The issue of the controversy between modernists and traditionalists over poetry was not only raised in literary circles, but also the poetry of modern poets. The poet's mental design in such poems is based on the contrast between the nature of modern poetry and classical poetry, which can be analyzed to understand both the poetic discourse of modernists and the implicit views of traditionalists. The subject of "Poetry that is life" by Shamloo and the poem "Honrawakanm" by Sherko Bekas, a Kurdish modernist poet, are taken from the same discussions about the nature of modern poetry and its difference from classical poetry. In this essay, they are analyzed analytically, based on literary discourse, to show the common concepts and foundations of new poetry discourse in both Persian and Kurdish literature. The result of the research shows that the literary discourse in these two poems is subject-oriented and function-oriented, and both poets have explained the nature of new poetry and criticism of classical poetry from the aspect of motivating and informing.

Knowing the genres and sub-genres of Persian poetry is a fundamental issue; The present study, with the aim of helping the typology of contemporary Persian poetry, introduces the "nestless subject" as a stylistic feature of a part of new and white poetry called political-critical poetry. The study and typology of political-critical poetry of four prominent contemporary poets - Nima Yoshij, Akhavan Sales, Shamloo and Shafiee Kadkani.By asking the questions of what frightening objects the rejection has become in reality in the poem and through what discourses the rejected subject has rejected and rejected power as a contaminated thing, and finally how within the network. The power complex has taken hold and created points of resistance. By studying contemporary poetry based on the above theory, the results of the research show four types of poetry:Nima Yoshij's political-critical poetry genre is hopeful, compromising, and compromising. The poem of Mehdi Akhavan Sales shows a necessary, lonely and irreconcilable resistance, the rejection of identity of which is evident in its political discourse; Hence, we classify the Brotherhood's poetry as fighting and anger. In Shamloo's poetry, the subject is in a constant struggle between life and death, and death is the predominant aspect of his political-critical poetry. Mixed; Hence, we consider the title of critical-lyrical poem suitable for it, and finally, in Shafi'i critical poetry, the coding of hair and the pain of losing its glory and long-standing glory are prominent, so we call his critical poetry painful glories.

One of the methods of text analysis is layered stylistics. By examining the layered stylistics of the text, researchers divide the text into smaller and separate layers and study the style based on the most frequent features. In the present research, the researchers studying the lexical layer of the text and especially the adjectives in the "havaye tazeh" by Ahmad Shamlou and the comparative analysis of the mentioned layer in the collection of poems (Les Yeux d'Elsa) by Louis Aragon and (De La Force de l'Amour) by Paul Elard, try to examine the affectability of Shamlou in this layer of stylistics. In the following, they look at the way of influence, adaptation, and generalization of adjectives and consequently mark the poetic words of the poet. According to the findings of the research, the repeated use and similar method of Shamlu in the use of these adjectives, which is the same as the adjectives in the poems of French poets, shows the immense influence of Shamlu on the two mentioned French poets and especially Paul Elurad in this part of the vocabulary layer. Some adjectives are bright, dark, earthy, dumb, distant, etc. The adaptation in this part of the Lexical layer has drawn Shamlou's poetic style towards sensuality and abstraction and made the audience more concrete in understanding. Shamlou's adoptation and the generalization of adjectives in different images have advanced Shamlou's poetic ideology and worldview in parallel and sometimes with the ideas of these two French poets.

The effect of extra-text on the images of the poem "ghaside barae ensan e mahe bahman" by Ahmad Shamloo based on Norman Fairclough's theory of critical discourse analysisNorman Fairclough studies the discourse in 3 levels "description, interpretation and explanation". In this article, the effect of extra-text on the images of the poem "ghaside barae ensan e mahe bahman" by Ahmad Shamlou is investigated based on Farklough's theory.The formation of images is based on the centrality of simile and then paradox, metaphor, exaggeration, hint and irony.The images of the poem fit with the experimental context and strengthen the central image of the poem, that is, the fighting man. The situational context of the images includes some social-political events close to or at the same time as the poetry. Hints have an intertextual function and prove and strengthen the poet's attitude. In the process of ideological displacement, Shamlou delegitimizes the official and dominant discourse. And as an intellectual, who has discursive agency, he presents his alternative ideology in the form of socialism and in opposition to the government. In this poem, discourse practice is obtained from the coexistence and coordination of individual images (discourse event) with each other and with the situational context of the poem and is related to the social practice of poetry (social-political situations).

In this research, the articles that have been published in the last two decades on the subject of criticism and analysis of Shamlu's poetry and thought, which have been published in scientific-research magazines, have been examined and classified. and secondly, from what dimensions it has remained unknown and neglected. In this research, an attempt has been made to answer the question that the most critical approach of critics in the last two decades has been to which type of criticism has been applied to the criticism of Shamlu's poetry and what is the reason for the abundance or few types of criticism made on Shamlu's poetry and thought? For this purpose, a descriptive-analytical method has been used. The results of the research show that the number of criticisms in the 90s is twice as much as the criticisms made on Shamlu's poetry in the 80s. Out of the twenty-one articles in the eighties, eight were rhetorical criticism, four were constructive criticism, and the rest were mythological, psychoanalytical, and feminist criticism. In the nineties, forty-three scientific research articles criticized Shamlu's poetry and thought, which was the most Comparative, rhetorical, constructivist, and reader-oriented criticism respectively. The results of the research indicate that the frequency of comparative, rhetorical, structuralist, and constructive criticism in the criticisms of the last two decades shows that the critics, according to the latest approaches of criticism in the world and based on the view They are moving forward in the world of criticism. On the other hand, there are a lot of modern aspects in Shamlu's poetry, and the rhetoric of her poetry is western and new, and it is more compatible with modern literary theories, which has caused critics to have an exponential tendency towards her poetry.

 Shamloo"s works and ideas, as a new poet and master of style and format in contemporary Persian literature, have a relatively wide range and familiarity with the critiques of his poetry and thought, interest Critics and critics help people with a broader vision and a more principled approach to criticism. In this article, the articles of the last two decades on the subject of criticism and analysis of poetry and thought, which have been published in scientific-research journals, as well as the index books that have criticized and analysis of poetry and thought, have been reviewed and classified. This classification determines from which perspectives Shamloo poetry can be researched and from which perspectives it has remained unknown and neglected. The present article has tried to answer the question, which type of critique has been the most approached by critics in the last two decades, and what is the reason for the abundance or quantity of types of critique of Shamloo"s poetry and thought?

 For this purpose, sixty-four scientific and research articles published in prestigious journals in the eighties and nineties and thirty-seven index books in the field of poetry including poetry using descriptive-analytical method and data collection as The library has been reviewed.

 In the field of articles, the amount of criticism in the nineties is twice as much as the criticism in the eighties. Of the twenty-eight articles in the eighties, eight were rhetorical critiques, four were deconstructive critiques, and the rest were mythological, psychoanalytic, and feminist critiques. In the nineties, forty-three scholarly essays have critiqued poetry and inclusive thought, with the highest proportions being comparative, rhetorical, constructivist, and reader-centered, respectively. In the field of critical books, the most critical approaches that have been welcomed by experts and researchers in this field are: integrated criticism (frequency 27%), sociological criticism (frequency 24.32%), constructivist criticism (frequency 18.92%), Aesthetic Criticism (frequency 16.22%).

 The frequency of comparative, rhetorical, structuralist and structural criticism in the critiques of the last two decades shows that critics follow the latest approaches to criticism in the world and based on the new view of the world of criticism. On the other hand, there are many modern aspects in Shamloo"s poetry and the rhetoric of his poetry is western and new and is more in line with modern literary theories and has caused the exponential tendency of critics to his poetry.

Mikhail Bakhtin (1895-1975), one of the philosophers and theorists of Russian literature of the 20th century, proposed his theory of carnivalism, inspired by carnival celebrations. In these celebrations, people break the chains of fear, away from the domineering space of dos and don'ts, and behind a critical laugh, they show the issues that have been silenced by the dominating voice of the society. In his theory of Carnivalism, Bakhtin examines the actions of the carnival by using the principles of satire, which is based on dialogue genres and is one of the most important tools for understanding the world of the carnival, in order to examine the works of humor and presents elements such as conversationalism in the space of chronotope (time-space), architectonics (organization of relations between subjects) and heteroglassia (meaning in the situation) to criticize satirical works. In this article, by examining two hypothetical kings, namely Demoghorazeh from the book of Democracy or Demoghorazeh by Seyyed Mehdi Shojaei and the Qajar King by Ahmed Shamloo in the book of “the travel diary” of Meymant, the series of carnivals and actions such as coronation and de-coronation. Laughter and the logic of conversationalism of carnival have been investigated to show the intermingling of contradictions of human life in the grotesque of power and in the political-social atmosphere in these two works. Carnival standards are expressed in this work inductively and with a critical approach.

Reading the written poems of Shamlou and Jacque Prévert, referring to the published press and the period of creation of these poets' works before the Islamic Revolution of Iran and after the Second World War, shows the importance of some recurring concepts often used beyond their beliefs and emotions. In other words, in each era, there is a dominant discourse that all the written texts are under its influence; In fact, hegemony or superiority in each society decides and defines, what can be written or said. By relying on this fact, a work could be accepted or ignored. Moreover, according to Aristotle’s logic in hegemony concentrating on the sentiments, the majority of the society show sentimental reactions, called pathos. Both of these concepts are not only seen in conversations but also in the published books. So one work will be understandable if it is compared with the other published works, in this research, we are only dedicated to study newspapers and published advertisements reflecting anxieties, concerns, social and political thoughts of the society, which can give us considerable information about hegemony in the society of each era. Knowing this fact Marc Angenot has worked on social discourses and comparative study his works, revels the basic, common and dominant concepts of war, progress and freedom.

The study of the commonalities of human thought in works of different societies with the help of comparative literature is known as one of the most significant types of literary criticism today. In the present study, we will comparatively examine the romantic perspective of the two works "Aida in the Mirror" by Ahmad Shamloo and "Elsa Eyes" a collection of love poems by Louis Aragon from his various works, along with poetic evidence.The similarity between some romantic themes reflects the concerns, emotions, and feelings similar to the poets; Shamloo's familiarity with the works of Aragon has caused a similar language observed in expressing the poets' feelings towards the beloved, which leads to the manifestation of similar themes such as: the lover's hope, the lover's long-standing expectation, the lover because of the poet's poetry, etc.The similarities indicate the unity among human thoughts and express the influence of poets of different nations on each other's thought, which is sometimes due to adaptation in its correct meaning "imitation" and sometimes inflection.

Shamloo, the head of the white poetry, is an Iranian writer and translator. Shamloo’s poetry can be analyzed based on various aspects, especially literary schools. Although there have been so many inspections in Shamloo’s poetry on the matter of romantic elements; there has not been any analysis or deliberation in Shamloo’s poetry based on social romanticism. This query quests the most important characteristics of social romanticism; like: humanism, lyricist mentality; also addresses the social theorems, together with the nationalism and symbolist nature in social and political concepts with a descriptive, analytical and quantitative evaluation. The frequency of lyricist mentality, dealing with the social theorems and symbolist nature is continuously reflected in Shamloo’s poetry. Humanism also grabs the attentions in Shamloo’s viewpoints. Shamloo was dedicated to the whole world, so nationalism has no serious place in his poems; because Shamloo never had limited himself to his motherland. All in all, through Shamloo’s romantic poems, 174 poems (about 40/86 percent) can be found in social romantic concept and among these poems, 59 ones (about 33/90 percent) have humanist viewpoints; besides the other 11 ones (6/32 percent) that have nationalist perceptions.

There is a two-way relationship between society and literature so that each one affects the other. In his theory of practice, Bourdieu deals with the interaction between literature and society and their mutual impact on each other. In the present article using Pierre Bourdieu’s theory of “practice”, three concepts of habitus, field, and action have been considered as the basis of analysis to provide a sociological investigation of Ahmad Shamlou’s poems and to clarify the way of thinking and type of action of this contemporary innovative poet. The research method in this study is descriptive-analytical in nature and fundamental-theoretical based on the purpose. The findings indicated that the poet’s habitus, which was based on the type of personal and social education in the family and society, was a fixed and stable habitus and with a special taste (habitus) in the face of the ruling power (field), to the extent that he had the available capital, he chose his lifestyle according to the position (pole of independence) in which he was located, due to the dialectical contradiction (between habitus and field), he chose a difficult and highly negative position. The poet performed different actions, the result of which was composing socio-political poems and, above all, innovating the sub-field of Persian poetry production.

The purpose is comparative pondering of André Chénier and Ahmad Shamlou’s socio-revolutionary romantic poems.These poets share the same tendencies and the social content of their poems is tended to romanticism. In addition,«consciousness»and«revolt»are two basic issues in understanding the concept of being a revolutionist.Both poets use the same critical language in relation to the rough problems of their societies and in the most of their poems poverty, injustice and oppression are the contents which reveal the influence of romanticism in political-social relations between the West and the East.The comparative study of Chénier and Shamloo's poems reflects the impact of poetry on the fate of the social man;combination of feeling and commitment is one of manifestations of dynamic poetry of both poets. That is why we have compared the themes presented in their poems.In this paper, by examining Chénier and Shamloo's poetry, from the perspective of the American doctrine (affinities and similarities), we show that two poets with co-oriented attitudes are struggling to build a new world in the depths of society.