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

The 19th century was characterized by great socio-political ups and downs both in Iran and France. In the meantime, literature could not be indifferent to such developments. In France, Arthur Rimbaud managed, despite his startlingly short and turbulent life and the unorganized works he authored, to attract a lot of attention. Today he is recognized as one of the influential figures of modern poetry in France. On the other hand, the contribution of Nima Yoshij to contemporary Persian poetry is undeniable. However, these two prominent figures have rarely appeared in a comparative study. Focusing on the socio-political context and framework of the two poets and their well-known artworks (The Myth by Nima and The Drunken Boat by Arthur Rimbaud) the researcher seeks to draw a comprehensive pictorial, rather than a mechanical, comparison between the nature and different aspects of the attitudes of these two poets towards the aesthetic literary tradition of their time as well as the requirements and developments of the turbulent era of their life. In the first section, we study the material-historical framework involved in Nima Yoshij and Arthur Rimbaud’s artistic creativity. In the second section, textual review instruments such as the linguistic instruments used to address literary works, will be used to conduct a more concrete study. In the end, it can be seen that both poets, are almost equally sensitive about the issues of their time.

A literary work is a piece of writing in which the conventional language is decomposed through the methods applied by the poet so that a defamiliarized language with a new system is created. The process is often called foregrounding. Structuralists consider deviation as one of the most efficient ways to create foregrounding in poetic language. This poetic device is especially observed in the works of modern Persian poets though it can also be traced in classical literature as well. In modern French poetry, on the other hand, after the romanticism and symbolism, many poets got inclined to use deviationa as a means for creating a new and different poetic language. A comparison of these works in Persian and French can show similarities in orthographic, semantic, and stylistic deviation between the two. The present paper compares Persian and French poetry focusing on such kinds of deviation.

In 1301/1922, the first section of NimāYushij’sAfsāneh appeared in MirzādehʿEshqi’s weekly journal Qarn-e bistom. It came with a preface that showcased Nimā’s elaborate reflection on the modernization of Persian poetry. In his preamble, Nimā referred to the form of Afsāneh as a “drama” (namāyesh), a term foreign to the Persian poetic lexicon of the time. Where he dissented from theclassical rules of poetic composition, the author explained, it was to bring poetry closer to the pace of “natural” language. In his preface, Nimā vows to bring Afsāneh to the stage and to further engage in “drama” composition in the future. In practice, however, Afsāneh never made it to the stage, and was never considered theatre by the public. In his later work, Nimā himself only refers to Afsāneh as a “poem” (sheʿr or manzumeh) and drops the term “drama” altogether, in spite of his pledge. The present article aims to explore the composition of Afsāneh, Nimā’s initial reference to “drama” and the theory he advocates for this “new” form. On this issue, I establish the influence of the French romantic poet Victor Hugo on Nimā’s “modern” theory of “broken verse.” As I argue, the notion of “drama” mainly served the poet of Afsāneh as a medium to introduce the technique of “broken verse” into Persian.

The review of the literature reveals that there have been studies on Chahar Payeh (Couplets) in Iran. However, the evolution and the influence of Othman poetry on Iranian poets have not gained enough attention. The researcher, along with the analysis of the origin of this style, and its wide spread use in French tries to answer the following questions: 1. Did Iranian poets start composing couplets based on the Europeans especially French influence? 2. To what extent had the Othman poetry influenced Iranian poetry? 3. When did the poets start reciting couplets in Iran? 4. Who were the first Iranian poets that started reciting poems within this framework? The paper examines the hypothesis that during the Tanzimat, and Othman Mashrothe period, Turkish poets started reciting poems after getting acquainted with this style. This has continued until Mashrothe in Iran when the Iranian poets also started composing poems after their Turkish compatriots. Through examining the initial couplets this paper tries to shed lights on the evolution of composition of couplets in Iran.

André Chénier (1762-1794) is the greatest and the best known French poet of the 18th century. He is famous especially for his courageous opposition to the power of the Terror in the early years of the French Revolution which caused finally his death by guillotine. The study of his poetical works can clarify the literary transition between neoclassicism and romanticism. This paper, by describing the poetry, the ideas and the time of Chénier, tries to demonstrate why it is impossible to limit his works merely to classicism. In fact he goes beyond the limits of classicism and toward romanticism, the literary school whose great followers call him their own precursor.