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Showing 4 results for Shamlou
Ali Safayi, Ali Alizadeh Jouboni,
year 22, Issue 77 (12-2014)
Abstract
In this article Shamlou’s poem “The Last Word” and its literary factors, which advance the discursive objectives of the poem are discussed. For this purpose, first, in microstructure all the sentences are studied, listed and categorized in ten groups according to Farshidvard’s model for mode of sentences. Then in macrostructure the discursive factors of the poem are studied according to Haliday and Hassan’s sample to provide us with an exact cohesive structure of the text to fulfill the discursive objectives. The results of the micro as well as macrostructure analysis of the poem are reflected in statistical tables, an abstract of which is included in this article. Moreover, the literary factors used to produce satire are also analyzed as discursive factors. The article shows that the poem has been designed on the basis of discursive opposition. Using discursive and literary factors, especially factors of satire, the poem supports the position of the poetics of the modernists and rejects that of the traditionalists, without observing the principals and logic of discourse.
Mrs Zohreh Fallahi, Dr Ahmad Khiyali Khatibi, Dr Mohammad Sadegh Farbod,
year 29, Issue 91 (12-2021)
Abstract
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.
Sayyed Ahmad Parsa, Mansour Rahimi,
year 29, Issue 91 (12-2021)
Abstract
The prison poems of Ahmad Shamlou are significantly different from the classical form of prison literature in terms of structure, function, content, and discourse. In the present research, we have tried to study Ahmad Shamlou’s prison poems with an integrated approach using discoursal and semiotic tools. In order to interpret the function of prison as a punitive tool, we have taken Foucault’s views and to explain the relationship between power and disciplinary space and prison punishment, the issue of authority and domination has been briefly discussed based on the ideas of some sociologists and philosophers such as Max Weber and Thomas Hobbes. Lefebvre’s views on space have been used in the interpretation of prison environment. The results indicate that unlike the classical prison poets, Shamlou first discredits the punitive and disciplinary function of the prison by not admitting the charge and considering the punishment illegitimate. Second, the prison environment in Shamlou’s prison poems is a discoursal space in which the poet has tried to use the dialectical capacity of the space by successively escaping to the outside world, emptying the prison of its physical and defined identity as an enclosed space, and portraying it as a required developmental experience in the path to achieve the goal.
Ghodsieh Rezvāniān, Souren Sattārzādeh,
year 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).
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