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

Because of its linguistic and literary precision, the translation of poem has atracted human's sensibility. Among them, in temporary poem, the translation of modern poem was experienced differently, since its form, stile and purporst are different from classic poem Mahtab Nima Yoshij's poetry, like many of her free and complete verses, is devoid of similes and poetic images in the ancient style and is formed in the form of codes and metaphors without parallels. In terms of content, the poem is very delicate and beautiful. It shows the poet's doubt, anxiety, worry, longing and sorrow at the threshold of the path he is hesitant to take or not, and in front of a collapsed palace and a sleepy and sad people give Undoubtedly, the translation of such poems will be successful if it is examined according to the context and intellectual atmosphere of the poet. beside of arab translators who tried to render persian poems into Arabic since recent decades, Persian translators have worked on this survey as well. The purpose of this research is to measure the performance of Arab and Iranian translators in the face of new poetry and its translation through the direct and indirect translation strategy of Vinny and Darbelneh. These strategies have seven procedures, the procedures of borrowing, extracting, and literal translation are related to direct translation, and the strategy of indirect translation covers the four procedures of displacement, balance, and modification. Following each of these procedures in the mentioned translations will determine the performance of the translators in providing an audience-oriented or text-oriented translation. The resultant of these endeavours is almost similar to prosaic texts, without paying attention to the poet's stylistics and his/her poems features. In this research, Mahtab poem of Nima Yooshij in Moosa Bidaj's translation Dr. Aref Alzoghlool and Hyyan Muhammad Alhasan have been investigated based on the theory of Viney & Darbelent. Results indicate that both arab translators tried to recreate poetic pictures of Nima for arab audience, by using substitution, regulation and balance processes in indirect translation. in contorary, the iranian translator presented a literal translation of Mahtab, tried to remain in Nima's style of using words and etc. By using the technique of lexical translation and, as a result, source-oriented translation, she tried to stick to Nima's style as much as possible in repeating certain words and inventing new ironies, and she turned to conceptual translation only when necessary. It seems that the translation of Nima's poems requires the use of both direct and indirect strategies in order to preserve his poetic style and to witness a translation that is suitable for the audience and worthy of the name with appropriate equivalence and not just expressing the meaning

The poem Bot-Tarash (Idol Maker) by Naderpour has an important place in Iranian romanticism and needs to be studied from a discursive analysis point of view. The main question is what sensory-perceptual components articulate the discursive aspects of the romanticist approach in the text. The hypothesis is that this discursive articulation is in relationship with pre-discursive orientation of the enunciator and the tensive inter-subjective conditions. The results showed that the changes in the subjective relationships, comes from the semiotic orientation of the enunciator and his previous idea regarding the opposition between the ideal and the real beauty. The enunciator in the text has a theoretical plan for the insufficiency of ideal beauty in the real world. The inability of reality to actualize his imaginative and proverbial dreams causes the formation of despair, pain and anger. Enunciator wants to say that because it is not possible to fulfill his request digitally and through the magical mediation of a myth in the real world, he destroys his beautiful idealistic creature (idol). This is so because the mythical euphoria is forever out of reach and the gap between the ideal and the real will never be removed.

The present research can investigate that part of songwriters and poet"s imagination which figure out stylistic features (Ebtehaj, Safa, Taraghi). They are also seystematic and have same order.These songs which are the best artistic and literary masterpieces of these mentioned poets, because of their artistic and literary creation and genius of poets gain stylistic personalization and have became basis of the special method,individual special style and periodical style of songwriting.In this research,we adopted the most famous songs of in 1960s and1950s which were the most popular collections of art works.This paper aimed to introduce the effect of kinds of images on making the famous orchestrates and new art style.

This research used analysis-descriptive method.The materials included taking notes from references while researching and the sample was just famous songs in1950s and 1960s which registered in the mentioned poets"s works.

The present paper lead to the conclusion that the famous lyrists who have literary and artistic genius are successful in methodic and systematic image processing and they can gain literary personalization.

The image, imagination, and conceptual power are first of all Targhee; Then Ibtahaj and finally Ismail Navab Safa have a commendable art and creative pen in their artistic creation.

How to read a poem affects its grammatical, rhetorical and semantic structure; This reading casts a shadow on all parts of the poem whether it is under the influence of ambiguity and confusion or under the influence of changing the tone of the words. Some poems have two types of readings and two types of interpretation for different reasons, and this leads to different perceptions of that poem. The purpose of the present research is to investigate this important matter. Another goal of this research is to show the necessity of paying attention to the difference in the reading of poems, that is, we should not read all the texts of Persian verse and poetry in the same way. Especially in poetry, more attention should be paid to grammatical, rhetorical and semantic structure.The present research is descriptive and analytical, based on library sources, after studying the divan of poems of several Persian poets, verses that have double readings were extracted and analyzed in three grammatical, rhetorical and semantic levels. It has been classified and analyzed.According to the topics proposed in this research, the role and effect of double reading in creating different grammatical, rhetorical and semantic structures in poems was discussed and it was determined that the verses that have two types of reading at the lexical and syntactic-sentential level are under the influence of each of readings, they can induce double impressions to the reader. This causes changes in three grammatical, rhetorical and semantic levels and gives at least dual analyses. At the grammatical level, each of the readings may change the grammatical role and type; At the rhetorical level, it causes double rhetorical interpretations, and at the semantic level, it causes two relatively different meanings from verses. Therefore, paying attention to the correct form of reading leads to a more correct understanding of grammar, rhetoric and meaning, and neglecting this can cause wrong and incorrect perceptions.

Undoubtedly the love of the homeland of the most important affairs tenderness the poets home to it has dealt stray missile hit his house. A tattered French uniform to dusand home one of the important extension of poetry poets of the. mor depths of the people. Feel, friendship in history humanity among all peoples huma are responsible to different problem. Mohamad maghote of poets and writers and literaturemoasear arabeaceandandconsidered. Of Syria is but a part of his life. in Lebanon run. Like two too homeland Adouneasand emaciated gobani years Far from home life. But Malik bahare of laureate the most outstanding poets and writers, the representative of active and militant several of the National Council and the most famous journalists and dignitaries and political intellectuals period of constitutional monarchy and semi-the First Pahlavi monarchy is the political life of him from the beginning of the national movement mashroutehpolitical life of spring like other aspects of his life and complex, and the other with performing the scientific and literary him close poet affect bad conditions of society political poems From Islamic Shariats point composed by writing poems color, sense of friendship and become a shoe and stimulate and seed hatred of enemies in their hearts within both the poet In the period of colonial hard, poverty, UAE corruption, tyranny From Islamic Shariats point of life the ruling political time terms were similar.

Amir Pazvari is the most famous native poet of Mazandarani dialect, whose poems have been the subject of research by popular literature enthusiasts and researchers. A poem called "Amir and Gohar" has attracted attention among the romantic poems of native Mazandaran literature with the publication of Amirs and poems attributed to him under the name "Divan Amir Pazvari" in the last decade. Therefore, this essay aims to discuss Amir and Gohar according to the characteristics of romantic poems. Criticism and analysis of research shows that the legend of Amir's meeting with Imam Ali (A.S.) is the foundation of the poem named Amir and Gohar. Amir and Gohar are among the legendary characters; But the events revolve around the meeting with Imam Ali (A.S.) and do not indicate the course of the story and romantic events.In fact, there is only one legend about Amir and Gohar, and contrary to the expectations of researchers and lovers of popular literature, there is no poem with this name in Mazandaran. From the verses and couplets attributed to Amir Pazvari by describing feelings to "Gohar", only non-narrative poems can be imagined; Because, only a short section of Amir and Gohar's life is represented in the poems, and since there is no story and romantic history of Amir and Gohar, the story cannot be placed in the framework of romantic narratives.

Drama is one of the most important expressive strategies and has the highest level of technical meaning which is very obvious in poets of Abbasid period. It should be mentioned that the basic reason of using this way of expression is the influence of Greece philosophy and literature, also translating poems of important people like Jawlines and Socrates by Arab poets which is more adapted to sophists' method of the third century AD. From another aspect religious, political party and politic struggles lead to using Drama technique by these poets and building poems structure based on using opposite words and making oppositeness in its meaning.Abu Tayyeb Motenabbi is one of those poets who were following the events of Abbasid period like using Drama struggle and tension in his poems. He didn't ignore the key role of words and poetic meaning in making tension Drama quarrelsome poems and tendency to quarrel. To tell the truth he is one of the pioneers. This study wants to investigate and critic some of his Drama poems by using analysis-description method. The result of this study shows that three kind of Drama vertically dynamic and horizontal are existing in Motenabbi poems. Horizontal Drama has more opportunity to show itself because of similarity of its meaning with morality and Motenabbi manner. But become floating in political matters in Abbasid period has less important than two other kind of Drama.

Drama is one of the most important expressive strategies and has the highest level of technical meaning which is very obvious in poets of Abbasid period. It should be mentioned that the basic reason of using this way of expression is the influence of Greece philosophy and literature, also translating poems of important people like Jawlines and Socrates by Arab poets which is more adapted to sophists' method of the third century AD. From another aspect religious, political party and politic struggles lead to using Drama technique by these poets and building poems structure based on using opposite words and making oppositeness in its meaning.Abu Tayyeb Motenabbi is one of those poets who were following the events of Abbasid period like using Drama struggle and tension in his poems. He didn't ignore the key role of words and poetic meaning in making tension Drama quarrelsome poems and tendency to quarrel. To tell the truth he is one of the pioneers. This study wants to investigate and critic some of his Drama poems by using analysis-description method. The result of this study shows that three kind of Drama vertically dynamic and horizontal are existing in Motenabbi poems. Horizontal Drama has more opportunity to show itself because of similarity of its meaning with morality and Motenabbi manner. But become floating in political matters in Abbasid period has less important than two other kind of Drama

although the philosophy and literature each other belong to the other branches of scince and art and this two branchs have a different purpose when literature have a aesthetic fiction and philoshophy fallow the discovery of knowledge but have a some relation between these two. Literature some time be Reflection of philosophical concepts and poets for a thematic richness of his arts embellish poems with a philosophical ideas.in the other hand poets as a Thoughtful people, bring his philosophic point views in his poems. In this article in addition to above topics, will discuss about shafii kadkanis philosophic point views. And will try bring his view of points about man, existence, meaning of life, determinism and authority, philosophical release and some other related topic. In the end we came to the conclusion that this point views result to the richness of his poem.This thoughts widespread in Shafii kadkani poems and who bring thoughts about humanism, existance, freedom and etc in his poems that shows his existentialist Thoughts.

Translatology is an emerging discipline which has studied the theoretical and practical aspects of translation throughout its lifetime. Many translators and theoreticians believe that translation itself is an independent action which transmits a message from one language to the other, and Others believe that the science of translation studies is constantly interacting between different disciplines and has borrowed many of its concepts from other disciplines. In this paper, we aim to study interdisciplinary nature of translation studies by Descriptive-Analytical approach. The concept of interdisciplinary has recently been introduced in various fields. In fact, in this era, in which we face complicated and multidimensional problems, multidisciplinary approaches and interdisciplinary studies have come to be used to solve them, it is rare to find disciplines that are independent and unrelated to other disciplines. It can be clearly stated that it’s difficult or even impossible to consider different disciplines without correlation to other fields. In the present study, we first tried to examine the mutual relationship between them and the field of translatology by examining various sciences, and the results of the research indicate that translatology, like many other fields, is closely related to other sciences. And he has borrowed many of his concepts from them.

For the analysis of a literary text, there are several critical approaches, each of which approaches the text from a particular angle, and it is the text that invites the critic to choose the method of critique; Because each text, although it can be examined in different ways, but it is more consistent with the method than the others. Stylistics is an intra-textual method that focuses on the structure of the text, the text being both a tool and a goal. Numerous perspectives on stylistics eventually lead to the text, which consists of levels. The three levels of phonetics, composition and semantics are the most important, although other categories can be encountered. Stylistics as a branch of linguistics that considers language as a systematic set of signs and relations, defines the text as a systematic structure consisting of related components. The results of the stylistic study of Nizar's poetry indicate that the poet's choices are implied in three levels of the text and have an aesthetic burden. The stylistic features of the poem as well as the type of the poet's attitude can be seen in the choice of letters and the rhythm of the poem, the types of sentences and semantic domains, as well as in the use of the mythical symbol.

Shah shoja’ (733-786 AH) is the most prominent king of the Muzaffar dynasty and one of the greatest kings of the eighth century in Iran. He was interested in poetry, literature, and the training of scholars and poets, and had gathered many of them at his court. He is the main audience of Hafez"s poems. In this article, we intend to discuss the role and influence of Shah shoja’ on Hafez"s poems. For this purpose, while introducing Shah shoja’ and expressing his role in the scientific and literary process of the eighth century, we presented two newly found sonnets from him and these two sonnets in terms of style with two sonnets from Hafez who welcomed these two sonnets of the Shah Brave is composed, we compared.

The present study is a theoretical study in the form of library research. The area and community studied are books on eighth-century history, literature, and poetry, as well as manuscripts that include poems by Shah shoja’.

Remained Arabic and Persian poems and also letters from Shah shoja’ demonstrate his cognition of eminent poets such as Sa’adi and Ferdowsi. He also annexed some poems from these poets. Furthermore, Shah shoja’ was proficient in poet criticism.

Shah Shoja "as a cultured audience and people of taste and literature, in addition to understanding the poems of Hafez and other poets, has not been ineffective in their formation and type of poetry; In such a way that Hafiz has composed two lyric poems in response to his lyric poems, Informed Salman Savoji has changed his ode due to criticism of Shah Shoja’ and Ezz al-Din Motahar has guaranteed five verses of the verses of the brave king in his ode.

layered stylistics is a sub-branch of stylistics. In layered stylistics, considering the situational context as a macro-layer, researchers break down the text into strata and study the style by examining the text strata and identifying prominent or frequent features. This type of stylistics can be considered as the most complete and accurate methods in stylisitcs. Due to the large number of manuscripts obtained from Hossein Kharazmi’s Divan, the authors use layered stylistic to prove the accuracy of their attribution to this poet. In this research, in an analytical-descriptive approach developed by Mahmoud Fotouhi in his book, the lexical and ideological layers of Kharazmi’s Divan are analyzed. The words and combinations of verses as a unit of style analysis are also examined. It is suggested that the lexical layer is effective in discovering the ideology of the text and explaining the hidden power relations.

In the lexical layer, regarding the semiology of words, vocabularies are divided into structural and process codes, and indicators, vocabulary marking, and repetitive words are introduced as stylistic components. From a stylistic point of view (lexical and ideological), all the copies obtained from the court are consistent and prove their attribution to Hossein Kharazmi. Also, the table of indicators including announcements, titles, histories, material, dates, places, etc., further reinforce this argument. Other elements such as typography, personal stylistics, and period and external music, confirm this issue. The research finds that that among codes, religion has a high frequency. The codes of a process originate from the harmonious connection and function of religion and government on the one hand, and on the other hand, the domination and influence of religion and culture over government and documenting power over religion. These codes are very much in line with Kharazmi's thought. Also, the words related to the institution of love and mysticism have the highest frequency and repetition.

The manifestations of informed innovation in Abonovas songsAbonovas is one of the most famous modern poets in Abbasi era that he lined up and positioning toward ignorant poetry tradition and saw poetry as style and manner of predecessors useless and ineffective. Abonovas difference from his peers in this field not only poem attention was to new themes and throwing a new design in a static building and body of Arabic poetry, but also Abonovas declared disgust and struggle with all of ignorance heritage loudly and clearly. This paper studies explanation of call dimensions of this poetic coup of Abonovas and also analyzes and checks the manifestations of poet innovation in Arabic poetry informed as descriptive-analytic method. The research findings show that Abonovas in tallali (lover house ruins) introductions sometimes invited in leaving the beginning of the poetry in this style of ignorant and called his followers to describe wine gatherings. He occasionally mentioned ironically the name of places that used more in ignorant poetry. And of other poets set aside this ancient style of poetry and sometimes deals with comparison and balance of ignorance life and luxury life in Abbasi era and counts well-being and comfort in this life. The poet in Qazal introductions included more literacy arrays in his poetic images that convey the meanings deeper to the audience. It's also checking the description of lover position. The poet obeyed his specific style and described his trip and private events.

One of the subjects to be considered in the structure of poem is literary devices of simile, metaphor, imagery and irony all of which have a special position in creating poems. The poet makes similar connections amongst various images based on his own mental attempts and experiences in order to create innovative similes and metaphors; or he benefits from imagery and irony and word capacities to create figurative meanings. Literary devices are in fact, essential elements in poem recognition of which through studying, one can realize the poet’s style. Akbar Eksir is a noticeable contemporary poet who introduced himself as an innovative poet through his work ‘F’arano’ in the 2000s. His poems are presented through a different structure of F’arano and Eksir has a different perspective regarding literary devices based on speech conditions. He has benefitted from literary devices in its classical meaning and in some others, through a different approach; in some instances literary devices are the basis of the poems and in some others, the poet’s final stroke. In this study, we intend to investigate Eksir’s literary devices and his perspectives. We have studied them since these devices have changed structure and form of Eksir’s poem and have updated it. It can be concluded that the message of F’arano poem is a kind of critical satire and possesses social meaning and its literary devices are modern and derived from the poet’s era and his people’s daily life issues. The statistical population is Eksir’s poems and the research method is library research and direct studying.

Irony is one of the explicit means of expression as well as one of the four elements of rhetoric. Tangible bodily irony is considered as an artistic and literary imagination through which the poet is able to convey and regulate difficult concepts in the audiences’ mind with a familiar and artistic statement. Mohammad Zohari, as one of the most significant contemporary poets in Persian literature, has benefited from tangible bodily ironies in order to convey his intellectual concepts; to the extent that using literary irony is the most noticeable aesthetic element in his poems. He has expressed various meanings through irony with an effective and eloquent style. This study intends to identify, derive and classify characteristics of bodily ironies in Mohammad Zohari’s poems with a descriptive-analytical approach. To begin with, the writer tends to define irony and its artistic value as well as its literary functions in poems. Afterwards, he has analyzed and assessed characteristics of bodily ironies in Zohari’s poems through examples. The findings show that Zohari has benefitted from practical ironies and his usage of tangible bodily ironies originates from his affinity with the general public and a need to use colloquial language.

Fire is one of the four elements the discovery of which transformed the life style in humans.   This element has always been revered by all nations.  Some worshipped it while others used it in their rituals.  From the distant past till present whether in mourning ceremonies or in festivities fire with its symbolic dual meaning has been present in human’s life and played an indispensable role in man’s life in various ways.  Nowadays candle serves the same illuminating purpose in all occasions, be it in feasts or in mourning despite the conflict it might offer it conveys a kind of peace which explains its common use in the world.  All renowned civilizations worldwide have different stories for the advent of fire and the common point in all mythologies throughout the world is that its discovery has been recognized as a turning point in man’s life and been revered by all.  Using descriptive analytic method as well as library sources this research is an attempt to study the standpoint of fire in Avesta and Bondahesh and further analyze the conflict embedded in this symbolic element. Fire had been an inspiration for poets to compose enchanting poetry by creating a multifaceted feelings to prepare the grounds for composition.  This is in accordance with the history of variety of forms fire displays in Avesta and Bondahesh where the root of this element lies.