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Showing 24 results for Subject:
Dr Mustafa Mirdar Rezaei, Dr Farzad Baloo,
Volume 31, Issue 95 (11-2023)
Abstract
Mirza Mohammad Ali Isfahani, mostly known as "Sorush" and "Shams-al-Shoara" was one of the greatest poets of the literary return movement and the Naseri era. One of the factors of the fame and excellence of this poet's position among the literati was his ability to skillfully imitate former poets. Previous research indicates that Sorush was most inclined towards the poetry of Farrokhi Sistani. Based on a quantitative-statistical method and a stylistic approach, the current study tries to present reliable statistics on the amount of the poet's use of art and rhetorical techniques by examining the structure of the poetic images of the Divan of Sorush Isfahani. In addition to determining the level and quality of the structure of Sorush's images in terms of their simplicity or complexity, an attempt was made to compare the structure of his poetic images with that of the images of poets of preceding styles, especially by investigating the claim of the similarity of his poetry to that of Farrokhi. Based on our data, the images of Sorush's ghazals have the most complex structure, and the images of his masnavis have the simplest structure. The structure of images in Sorush's odes is surprisingly similar to the image structure of Farrokhi's, as if despite the historical distance, both structures belonged to the same poet, and this means an exact repetition of a historical experience in the creation of poetic images. The same thing happened in another aspect: The structure of images in Sorush's ghazals is exactly on a par with the structure of images in Saadi's ghazals.
Rashin Mobasheri, Hossein Hasanpour Alashti, Fatemeh Jamali,
Volume 31, Issue 95 (11-2023)
Abstract
Each branch of hermeneutics is like a slice of reality. Integral hermeneutics confronts us with a larger part of reality. Since the image contains more information than the text, in integral hermeneutics, using the capabilities of the image, the elements related to the analysis of the author, the text, and the audience can be integrated together in an interactive space and displayed as an image. In this article, the poem Heartless (Biedel in Persian) by Mehdi Akhavan Sales was analyzed based on the integral hermeneutic approach, which first examines the elements of the text and the author's situation and then using psychological analysis, looks for external examples of text elements in the life and circumstances of the author. The results of this study showed that the depth images were used based on the proof images through the possibility of visualization (visualization of freedom in the pigeon). The depth image means the use of secondary aspects of words and the proof image means the author's attempt to express one’s opinion and to attract the audience. According to imagery structure, the ‘dove’, ‘blood’, ‘tower’, and ‘lost’ are in the focus as the central images and the poetic images are created by employing the secondary meaning of words using description and symbolization. These images have a lyrical tone due to the ‘akhrab makfouf’ present hexameter. Moreover, this poem has a socio-political function and like a critical statement, it portrays a regressing society as a result of the coup. The poem uses cinematic imagery because it has a narrative and rich imagery to take advantage of the secondary meaning of words. In fact, using symbolism and the secondary meaning of words, the poet tries to win the support of the audience regarding his intention, which is taking a stance on a historical, political, and social event.
Ghodsieh Rezvāniān, Souren Sattārzādeh,
Volume 32, Issue 96 (4-2024)
Abstract
The issue of the “subject” is the most important factor in the distinction between classical and modern literature. The word “I” is often general and abstract in classical literature, while in contemporary literature, following modern philosophy, it is an individualized and concrete “I” or, in other words, an active subject. Perhaps the most obvious manifestation of this paradigm shift - especially in poetry - can be seen in the type of encounter with the “subject”. Contemporary poetry, from its most superficial romantic facet to its most complex philosophical aspect, expresses a self-sufficient subject whose origin is human centrality. Ahmad Shamlou is one of the poets whose poetry subject is “I”. This research deals with the hermeneutics of “self/subject” in his poetry using qualitative content analysis and critical reading of the collection of Shamlou's poems along with selecting indicative examples. Since this “I/self/subject” has been subjected to turmoil and transformations during his six decades of writing poetry, the theoretical framework of the discussion is also based on these developments and deals with both the philosophical subject which emphasizes individual thought and consciousness and to a subject that is a social construct. Hence, the theoretical framework of the study is based on a triangulation of Michel Foucault’s discussions about the hermeneutics of the self and governing oneself and others; the theory of symbolic interactionism, which deals with the individual and social “self”; existentialism that focuses on freedom, choice, and responsibility; and ultimately Althusser’s perspective on the subject i.e., subject with s (small letter) and subject with S (capital letter). "I" in Shamlou's political poetry is an ideological pseudo-subject (subject) due to his attachment to the Toudeh party, whereas in his philosophical poetry, it is the result of knowledge and awareness based on his own lived experience, and reflection on existence, human, life, and death, as the supreme subject (Subject).
Gholâm Rezâ Pirouz, Hourâ Âdel, Msr Gharib Rezâ Gholâmhosseinzâdeh, Fattâneh Mahmoudi,
Volume 32, Issue 97 (1-2025)
Abstract
Poetry and painting are two different paths for creating works of art, and their close relationship has always been of interest to art history researchers and literary critics. Sohrab Sepehri is an artist who tested his taste in both poetry and painting. Therefore, using purposive sampling of Sepehri’s paintings of trees and his Hasht Ketab (Eight Books) poems, and based on Panofsky’s theory of iconology, the present research is a comparative study of these works. It focuses on the images of trees in his poetry and painting to analyze and explain various structural and semantic aspects of common icons to discover the characteristics and connections between his poetic world and his art of painting. The current research tries to answer the questions of why and how the tree image acts differently in the two linguistic and visual systems. Sepehri’s approach to the ‘tree image’ in both poetry and painting is contrasting in such concepts as dynamism and staticity, life and death, rootedness and rootlessness, fertility and infertility, openness and closure, and disconnection and connection, while it is sometimes approaching in themes such as strangeness and the sense of suspense. The results showed that Sepehri is under the influence of the paradigm of modern Iranian painting in drawing the image of the tree and its space, in which the space is mainly contracted, dark, and desperate. Hence, the trees in his works move in the direction of disconnection from the world and the essence of existence which can be an allegory of Sepehri’s objective world. However, the image of the tree in his poems is in line with the dominant common concepts - a symbol of growth, freshness, and vitality - which is far from the rhetorical signs and the uncommon domain of connotation in Persian literature. It is, in a way, an explanation of the ideal world of the poet.
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