Maryam Aliyari; Abolhasan Amin Moghadasi
Abstract
The image, which is one of the four pillars of poetry in literary criticism, is a linguistic structure that the poet uses it to visualize his abstract thoughts and complex modes.This concept plays a prominent role in the resurrection of the word, both in the old literary criticism, which considers imaginary ...
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The image, which is one of the four pillars of poetry in literary criticism, is a linguistic structure that the poet uses it to visualize his abstract thoughts and complex modes.This concept plays a prominent role in the resurrection of the word, both in the old literary criticism, which considers imaginary forms as an essential element in its formation, and in the new literary criticism, which includes all means of expression and breaking the linguistic norms. Mohmmad Al-Qaisi has spent his entire life in exile and he has always imaged the sorrow of Palestine through the suffering and exile and displacement.According to the investigation, the bitter experience of Qaisi’s life made sorrow as a steady and unseparable element in Qaisi’s poetry. As a result of enduring song of sorrow in his poems,he was named “sorrow full poet” Considering that the issue of Palestine is reflected as a central social issue in Arab literary works, image analysis plays an essential role in the representation of the issue of Palestine.On the other hand, sadness is one of the important trends in contemporary Arabic poetry so the representation of sorrow in the Qaisi’s poetry is an issue on which study by descriptive and analytical and Semiotics and statistical analysis approach in this research to discovering and decoding how represent the suffering and sorrow of Palestine as a part of the Islamic world,in Qaisi's poetry,the resistance poet of Palestine.The results suggest that Qaisi use the technique of metaphor and simile in visualizing his sad experience.he presents two different and contradictory images of sorrow that have a same origin. This conflict in the representation of sorrow indicates that the poet suffers from a kind of internal conflict In his poetic experience that arises from the conflict between the ideal and the reality of the poet.
Seyyed Ali Mirhosseini; Seyyed Adnan Eshkavari; ali Aswadi; Houman Nazemian; Abdollah Hoseini
Abstract
The main purpose of this study is to introduce Mohammad Afifi Matar as a poet and an author of several books who has a certain individual way of thinking and inciting poems which are all about using symbols and various rhetoric materials. He is one the poets who no longer use symbols in a literary matter ...
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The main purpose of this study is to introduce Mohammad Afifi Matar as a poet and an author of several books who has a certain individual way of thinking and inciting poems which are all about using symbols and various rhetoric materials. He is one the poets who no longer use symbols in a literary matter but not only does he appear as a behaviorist but he also tends to introduce himself as a political critic that can find and reveal deep concerning issues and offer proper solutions to solve them. Based on his poems, it seems that Afifi Matar is always trying to purposefully create different layers of meanings by presenting philosophical thoughts with words that are capable of having different meanings. Daniel Chandler, a contemporary literary theorist, is among the many who have set their minds on finding new aspects and reaching fresh understandings based on existing words and sentences or verses a poem in which you can eventually have knowledge that cannot be achieved through the first look. Chandler believes that any symbol can be either a used one in a new form that has no refreshing meaning to offer or it’s a fresh meaning hidden inside an old symbol waiting to be found. As an example, when Afifi Matar uses the symbol of “blood” in his poems, he tries to represent that not as a simple key to sacrifice but as a worthy price that only a few can and want to pay to gain access to freedom or retrieve what once was theirs.
Naser Zare
Abstract
Extended Abstract
Introduction
Synesthesia, which literally means the combination of senses, is originally a psychological term. This term is used to describe a neurological condition in which two senses or more are fused and perception related to one sense is stimulated by another, i.e. the synesthetic ...
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Extended Abstract
Introduction
Synesthesia, which literally means the combination of senses, is originally a psychological term. This term is used to describe a neurological condition in which two senses or more are fused and perception related to one sense is stimulated by another, i.e. the synesthetic for example, perceives sounds as inherently colored or tactile. Later, this term referred to as “fusion of the senses” came up. Synesthesia as a kind of metaphor has existed in all eras and languages. Of this artistic device, some examples have survived in early texts and have remained after generations. Examples of it are mentioned in the Iliad and the Odyssey that are among the oldest extant works of Western literature. One can find many uses of the device in classical Arabic and Persian poetry, especially in mystical poetry. For example, notable examples can be found in the poems of Mowlavi and Ibn al-Fariḍ. These old examples lead us to conclusion that synesthesia, as a literary device, is rooted in the far past. In addition, there are a few stereotypical examples of synesthesia used by people in everyday speech. However, for over a century, this term has been used as an artistic device in modern rhetoric. It is in the new era that the conscious and intentional use of it as an artistic device to express emotions and convey poetic message, has spread. Abd al-W ahhāb al-Bayātī (1926-1965), contemporary Iraqi poet, is one of those who used this artistic device in his poems.
Theoretical Framework
Synesthesia means the combination of senses. Many examples of the device can be found all the available literature. This artistic device is a specific kind of metaphor and is also called the metaphor of senses. This is because a sense in synesthesia figuratively substitutes another sense. When synesthesia is expressed in words, it makes language be extended, i.e. when two senses of the five ones enter into combination with each other, ten realms can be theoretically imagined: 1.Vision in combination with hearing and vice versa; 2. Sight in combination with touch and vice versa; 3.Sight in combination with smell and vice versa; 4. Sight in combination with taste and vice versa; 5. Hearing in combination with touch and vice versa; 6. Hearing in combination with smell and vice versa; 7. Hearing in combination with taste and vice versa; 8. Smell in combination with touch and vice versa; 9. Smell in combination with taste and vice versa; 10. Touch in combination with taste and vice versa. Obviously, when the reverse of these ten types is considered, twenty different potentialities of synesthesia can be imagined in total.
3 .Method
In order to examine synesthesia and how it was used in al-Bayātī’s poems, the present study uses the descriptive-analytic method. First, the related examples are extracted from his poems and then, that extracted cases is described. Finally, the interrelationships of those examples with syntagmatic elements and theirs emotional and significant functions in both horizontal and vertical axes are analyzed.
4. Results and Discussion
Of the various potentialities of synesthesia, al-Bayātī used more or less seven options. Frequency of using it varies from one type to another. The vision-hearing type was used most frequently and the smell-taste type was used least frequently. The significance and function of each element of this artistic device is in harmony with the vertical axis of each poem, i.e. in harmony with its atmosphere, emotional and significant context. To convey his own experiences and thoughts and to make the structure of each poem more coherence, al-Bayātī by means of his creative imagination brought together two different senses and created synesthetic images. Interestingly, this device often has a social aspect in al- Bayātī's poetry. It should also be mentioned that he genuinely and moderately used synesthesia. The use of it caused de-familiarization, which in turn serves as a means to attract the attention of the audience, along with the aforementioned.
5. Conclusion
In contemporary literary criticism, synesthesia is one of the features of modern literature, especially modern poetry. It is due to the influence of western literature that the modern Arab poets use this artistic technique. Modern poets have used this technique to enrich contemporary poetry. When we study the poems of modern poets, we find that many modernist poets have more or less used this artistic device in their poetry; however, it can be said that al-Bayātī is one of the poets who used noticeably this device in his poetry. Examples of this artistic device in his poetry are to such an extent that it must be considered one of the dominant aspects of his poetic style. Without noticing this artistic device, it must be said that a comprehensive study of his poetic style would be incomplete. Al-Bayātī used this artistic device to depict his emotions and experiences in a concrete way and then conveyed them to the audience. This is because emotions and emotional experiences are abstract and naturally difficult to be conveyed to the audience by means of ordinary speech.
Mohammad Ali Azarshab; Abolhassan Amin Moghadasi; Shahriar Niazee
Abstract
Extended Abstract
1- Statement of the Problem
Contemporary critical studies are largely interested in the title as it is a prominent gateway to the original text the reader may pass through to enter the text. The title is the key to the text and the mechanism through which the reader reads the text, ...
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Extended Abstract
1- Statement of the Problem
Contemporary critical studies are largely interested in the title as it is a prominent gateway to the original text the reader may pass through to enter the text. The title is the key to the text and the mechanism through which the reader reads the text, uncovers hidden layers and unpacks it. Therefore, if the reader, in the contemporary text reading enters the original text ignoring the title, a great amount of text knowledge is lost. Since contemporary poetry is not readily available to the reader, it requires mechanisms that the title is the most important of which. Hence, the present research intended to analyze semiotics of the title of the ode “Hoffaron Alla Yaghut e al-Arsh” focusing on Quran intertextuality.
2- Theoretical Framework
Title semiotics in a poetic text consists of some concepts that theoretical literature makes this method. The concepts include:
a. Sign and Semiotics: Everything that implies and indicates something else is called a sign. Semiology deals with three concepts of signifier, signified (referent), and signification. The signifier is a sound representing a word; the signified is the meaning passed along by the signifier; and finally, the relationship between signifier and the signified is signification.
Ferdinand de Saussure asserts that there may be a knowledge pondering signs contribution in the life of the society; this knowledge is part of social psychology, and consequently, a part of general psychology. It is called semiotics.
Roland Barth, the structuralist and post-structuralist semiotician, claims that linguistics embraces semiotics; although, he has been largely touched by Saussure. He adds that the signs enjoy language and speech patterns even in a non-linguistic context.
b) Title: It is a linguistic sign placed the work by which the work is named. In other words, it specifies the work contextuality. The title is a fundamental means an analyst is equipped with to discover and paraphrase (interpret) the text for diving into the underlying layers. It may clarify text ambiguities through uncovering semantic and coded structures.
c) Intertextuality: Each text is an intertextual one as no text is created in vacuum. A reader interprets a text by the aid of intertextuality. Consider a text is generated in vacuum, if any possible, the reader is disconnected of the text such that it would have never found the opportunity of being read.
3- Research Methodology
This is a descriptive-analytical study focused on title semiotics. In semiology analysis of the intended ode title, some mechanisms including collocation and substitution, the relationship between signifier and signified, lexical (descriptive) systems, differential relationships, as well as functions like intertextuality, have been used in the ode as means of meaningfulness. In the ode title analysis, the title morphological, syntactic, and lexical implications were initially specified; next, the findings were essentially considered as the foundation for title analysis respecting text. In semiotics analysis of text and title, also concentrated on the prior findings, the implications, various functions, and poet meaningfulness tactics were determined.
4- Research Results
• The title (Hoffaron alla yaghut e al-arsh) is not only an independent text parallel to the original text, but also, original text reading is impossible without understanding the title and the implications.
• The Qur'anic intertextuality in the title has conveyed the poet dedication to his late friend to addressee from the onset. In addition, the Qur'anic semantic signification in the title as a set of "present" concepts calls for a set of "absent" concepts contrasting the title implications such that the text is basically founded on such contrast. Morphological, syntactical, descriptive, and motivational functions in addition to intertextuality are of the most important title functions in the ode studied here.
• The relationship between the title and the original text, lexical contrast between the great universe (as described in the title) and the earth, intertextuality, selecting signed words and putting them together based on collocation and substitution are the remarkable mechanisms of Shams al-Din in meaning production.
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