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Showing 8 results for Nima
Taghi Pournamdarian,
Volume 14, Issue 55 (3-2007)
Abstract
Often readers and even critics believe that the ideology and message of poems are more important than their structures. However, it's impossible to draw a distinction between ideology and structure as the structure of a poem is the primary element that influences the readership. Nima ,as the architect of the contemporary poetry relying on his own sharp and independent insights, revived the significance of the structure in Persian literature. Many enthusiastic readers and even critics of the field of cotemporary poetry have considered Nima as the poet of 'Ai Adamha'. This paper attempts to explore why Nima has been called Ai Adfamha poet. Obviously, the significance of the poem 'Ai Adamha' and similar poetic structures lies in their literary figures and expectations embedded in their novel forms than their frequent content and message. The repetition of the dominant element of Ai Adamha in the structure of the poem has, in addition to strengthening the skeleton of the poem, enhanced the syntactic integrity, musical system, coherence, and creative opening and ending of the poem. This article attempts to analyze 'Ai Adamha' from a formalistic perspective and in doing so it paves the way for the readership to delve into the less frequently uncovered senses of the contemporary poetry.
Eshagh Toghyani, Zeinab Choghadi, Tayebeh Jafari,
Volume 19, Issue 71 (12-2011)
Abstract
Ferdowsi's Shahname, our national and ethnic narration, is a valuable mélange of myth, epic and history. Some critics have tried to divide Shahname into three distinct mythical, epical and historical parts but these three parts are so integrated that it has been impossible to distinguish them or to draw a borderline between them. For example, those stories which have been considered as historical part of Shahname by some of the critics are mixed with the stories which have roots in mythical thinking, symbolic concepts and national archetypes, yet having a tinge of myth. One of these stories is the story of Karam Haftvad. This mere mythical story is one of the most complex stories of Shahname which can be analyzed from different points of view. So many of the critics have tried to consider this story parallel to the historical realities and to find time, place and justification for it but they have hardly been successful simply because although the mythical plot of the story has been inspired by a reality, it needs mythological analysis to find this implicit reality. "What is Karam Haftvad's myth saying?" and "where has it been inspired by?" are the questions which this article tries to analyze relying on Carl Gustavo Jung's theory.
Kamran Ahmadgoli, Edris Ranji,
Volume 23, Issue 79 (1-2016)
Abstract
The time, life, poetry, literary and critical theories of William Wordsworth, the pioneer of Romanticism in English literature, and Nima Youshij, who is often regarded as a Romantic in some part of his literary career, share many similarities. Both poets lived at a time of revolution and turmoil and both revolted against the dominant literary conventions of their time with their efforts accordingly leading to revolutions in the poetry and literary theory of their land. After delineating the accepted tenets of the Romantic Movement, this article highlights the analogous biographical, socio-economical and philosophical contexts of the two poets’ career and studies the affinities of their attempts at modernizing the poetic theory and practice of their countries. To this aim, the two poets’ attitude towards concepts such as poetry and the poet, content, language, feelings and emotions, and society are examined in detail. It is explained that by being influenced by their time and the historical evolutions in the age of social, cultural and economic revolutions, the two poets were able to bring the revolution into the poetry and critical theory and practice of their time. This revolution consists of realizing the novel concepts of the age and expressing them in a new form, which is considered as the commencement of “Modern” English poetry in England and “New” Persian poetry in Iran.
Roya Rezayi, Mohammad Amir Mashhadi, Hamid Reza Shayiri, Abbas Nikbakht,
Volume 25, Issue 82 (9-2017)
Abstract
Discourse is the domain of producing meaning and metadiscourse is the use of ploys and techniques by the speaker to protect, repair, modify, approve, justify and guarantee his own speech.Nima byemploying metadiscourse, which appearson various levels such as emotional, religious, historical, cultural, and scientific, seeks to highlight his own language and to add consolidation and continuity to the meaning of his words.The main objective of this study is to categorize and analyze the types Nima used in the discourse of his letters with a review of some of those letter, in the process of production and continuity of meaning.
Hamed Noruzi, Setareh Abghari, Seyed Mohammad Hessein Ghoreishi,
Volume 31, Issue 94 (6-2023)
Abstract
“Dirin Dirin” animation series is one of the most successful adult comic animation series, which has a critical view on various social issues and has attracted many audiences. In this article, the authors have sought to analyze the humor-creating factors in this animation. The present analysis was conducted using the general theory of verbal humor. This theory investigates humor using six sources: the knowledge of script opposition, logical mechanism, target, situation, narrative strategy, and language. For this purpose, 65 episodes of this series were randomly selected and analyzed based on the general theory of verbal humor. The obtained results indicated that the sources of script opposition (average 2.27%), logical mechanism (average 2.61%), narrative strategy, and language were found in all the episodes, and for situation source, 75% of the analyzed episodes had a situation which itself created humor. In the source of knowledge, 23 episodes had a critical purpose, and 43 episodes had an educational purpose. Based on the findings of this research, the sources of the knowledge of script opposition, logical mechanism, and language are the most important factors in creating humor in this animation series.
Dr Ahmad Sancholi,
Volume 31, Issue 94 (6-2023)
Abstract
Macro-construction refers to the basic structure that explains and interprets the system and organization of a text or discourse. In the study of the macro-construction of Nima’s quatrains, which is based on the discourse and text construction plan of Lotfollah Yarmohammadi about Khayyam’s quatrains and is grounded on three constructs of “description”, “recommendation” and “explanation”; three more constructs of “wish”, “regret” and “surprise” are also recognizable. According to this plan, Nima’s quatrains can be divided into three groups of one-construct, two-construct, and three-construct quatrains. The one-construct quatrains account for more than half of all Nima’s quatrains. The main and pivotal construct in Nima’s quatrains is the description construct, which has the highest frequency, in which Nima describes his condition, especially his emotional condition through romantic conversations with his beloved one. Moreover, the descriptions of nature, man, the world, and other general categories are other aspects of the description construct in Nima’s quatrains. Since in the communication system of Nima’s quatrains, the sender is in the center and focus, the discourse of his quatrains is descriptive. In these poems, Nima’s perspective on categories such as love, man, and the world is often a view based on traditional attitude and just in the quatrains in which he describes nature, the signs of his novel insight are visible.
Zohreh Fallahi, Ahmad Khiyali Khatibi, Mohammad Sadegh Farbod,
Volume 31, Issue 95 (11-2023)
Abstract
In Bourdieu's theory of action, the literary work is the reproduction of cultural capital and the result of a combination of economic capital and the habitus. Additionally, it is a social action that a person shows in the literary field. Poetry, as a literary work, is a product of the mental dimension of cultural capital, which appears as a material success and objectified by the poet. This research compares the poetic actions of Nima and Akhavan with an approach to the capital and field based on Pierre Bourdieu's sociological theory in order to answer the questions of how the actions of these two poets are expressed with their decisions and how they react to the actions of others and the socio-political conditions of the society. The background of the research shows that many researchers paid little attention to this matter. The methodology of this study, in terms of nature and method, is descriptive-analytical and regarding its purpose, is fundamental-theoretical. The results indicated that both poets have similarities in some poetic actions but have different reactions in some others, the process of which is writing social-political poems in the field of Persian poetry production.
No Ebrāhim Hasanaklou, No Rezā Cherāghi,
Volume 32, Issue 96 (4-2024)
Abstract
The debate over literary theory and Nima’s poetry has a long history. Literary critics have interpreted Nima from their own perspectives, offering various interpretations. The issue of this research is a critical re-reading of the views of Pournamdarian and Barahani in the 1990s as representatives of academic and non-academic criticism. This research showed that Pournamdarian and Barahani have occasionally been excessive in their understanding of Nima. As a result, despite Pournamdarian’s efforts to understand Nima’s poetry anew, he remains trapped in the stereotypical traditions of literary criticism, which leads him to define modern poetry under traditional poetry. On the other hand, Barahani has neglected the historical process of theorizing and Nima’s poetry, by going to extremes in some of his views and speaking of a crisis that we witness in the poetry from the 1990s onward. In other words, tradition and modernity are clearly at odds in the views of these two critics. Pournamdarian wants to blend modern poetry with traditional criticism, while Barahani becomes dogmatic in his criticism.
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