تحلیل محتوایی جریان شعری نمادگرای نسل سوم شعر بعد از نیما (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نمادگرایی، هنر بیان افکار و عواطف شاعرانه، نه از راه بیان بی پرده و نه به وسیله تشبیه آشکار آن افکار و عواطف به تصویرهای ملموس و عینی، بلکه از طریق اشاره نامحسوس واژگانِ خاص برای ایجاد آن عواطف و افکار در ذهن خواننده است. در این پژوهش، جریان شعری نمادگرایی نسل سوم شعر بعد از نیما از قبیل محمدعلی سپانلو، منصور اوجی، علی باباچاهی و سید علی صالحی بررسی و تحلیل محتوایی شده است. سؤال اصلی در این پژوهش، بررسی چگونگی جریان شعری نمادگرای نسل سوم بعد از نیما در دهه های 80-60 از نظر ساختار و محتواست. روش انجام تحقیق، تحلیلی- توصیفی و با استناد به منابع کتابخانه ای و آثار شعری شاعران مورد بحث بوده و نتایج بیانگر آن است که نمادگرایی شاعران نسل سوم پس از نیما آگاهانه بوده و به منظور تقویت محتوایی شعر صورت پذیرفته و از نظر ساختار محتوایی دارای مفهوم محدودتری نسبت به دوره های قبل بوده است. همچنین تنوع نمادهای تاریخی و اسطوره ای، نمادهای اجتماعی، طبیعی، حیوانی و انسانی بیانگر تسلط شاعران مورد نظر در این زمینه است.Analysis of the Symbolism of Poetry of the Third Generation after Nima
Symbolism is the art of expressing poetic thoughts and emotions not through open expression, nor through the obvious comparison of those thoughts and emotions to concrete and objective images, but through the subtle hint of special words to create those emotions and thoughts in the reader's mind. In this research, the review and content analysis of the poetic flow of the symbolism of the third generation of poetry after Nima, such as Mohammad Ali Sepanlou, Mansour Ouji, Ali Babachahi and Seyed Ali Salehi, has been investigated and analyzed. The method of discussion and analysis in this research is based and emphasized on the main characteristics of poetry and the attitude of poets, and the quality of symbolization and the formation of symbolic expression of each poet has been analyzed and investigated in accordance with his mental characteristics and special worldview. The research method is analytical-descriptive and based on library sources and poetic works of the discussed poets, and the results show that the symbolism of the third-generation poets after Nima is conscious and is done in order to strengthen the content of the poem and has meaning in terms of structure. The generation has been more limited to the previous periods. Also, the variety of historical and mythological symbols, social, natural, animal symbols and religious and religious symbols show the mastery of the poets in this field. Extended abstract 1 . Introduction Symbolism is a reaction against social art that emerged in the second half of the 19th century. European symbolists hated all the political, social, intellectual and artistic methods that were the heritage of the past. Military force, moral order, etc., were all invalid in their opinion. But the Iranian symbolists followed this trend in several ways; Using symbols, welcoming free poetry, concrete and drawing gloomy spaces. Manouchehr Atashi is one of Nimai's second generation poets. The increasing growth of the translation of European literary works in the 20s and 30s, along with his mastery of the English language and the social changes after the 1932 coup, made him, like many poets of his time, a member of the Chinese cluster of Western literary schools (Zireksaz et al., 2017: 33). ). From the late 1960s, especially after the end of the war, it was seriously resumed by poets who had begun their poetic experience in the late 1940s and early 1950s. Mohammad Al-Gadi and Mansour Oji, who were inclined to new wave poetry before the revolution, joined the ranks of these poets, and Shams Langroudi, Mohammad Ali Sepanlou, Maftun Amini, Bijan Najdi, Zia Mohd, Masoud Ahmadi, Mahmoud Mishtiadi, Kazem Sadat Ashkuri, Imran Salahi and Mohammad Mokhtari continued it until now (Tahiri, 2017: 12). Now we consider the main criteria governing the poems of the symbolist poetic flow of the third generation after Nima through the lens of structure and content; Based on the works of prominent personalities who have influenced the literary and artistic process of this period, let's examine and analyze. Murad is one of the third generation poets after Nima, who started their poetic experience in the late 40s and early 50s, and the peak of their poetic art appeared in the 60s-80s. In this research, the structural and content analysis of the poetic flow of symbolism of the third generation of poetry after Nima such as Mohammad Ali Sepanlu, Mansour Oji, Ali Babachahi and Seyed Ali Salehi is on the agenda. The method of discussion and analysis in this research is based on the main features and characteristics of poetry and the attitude of poets, and the quality of symbolization and the formation of symbolic expression of each poet will be analyzed and investigated in accordance with his mental characteristics and special worldview. . The main question in the upcoming research is as follows: What is the symbolist poetic flow of the third generation after Nima in the 60-80s in terms of structure and content? In this research, all the poems of the mentioned four poets have been studied and analyzed in the period of 1960s to 1980s, and the purpose of the study is to investigate the symbolism in the poems of the poets after the revolution, which is still a field of study and research in this field. The reason for choosing Sepanlo, Oji, Babachahi and Salehi among the poets of the period under review was the novelty of the research on symbolism in their poetry, the abundance of poetry and their style in the new wave poetry styles, spoken poetry, and familiarity with European poetry trends and periods.. Research Methodology The current research is analytical-descriptive and with the principles of library study (referring to books, articles and databases) and the means of gathering information is to take and use the slips in different parts of the research. With the explanation that first the necessary materials were collected through taking the plug, then they were used in different sections according to their content. The tools of data collection in the aforementioned research were in the poetry collections of the studied poets, books and scientific articles, magazines, scientific databases and the Internet, as well as consultation with professors. Discusstion In the dictionary of literary terms, the symbol is equivalent to the recorded symbol (Hosseini, 1369: 139) and in the Persian language, especially in the earlier texts, the code is used instead of the symbol, and its lexical meaning is "hint, secret, head, ima, minute, point, riddle, sign, mark, hidden hint, a special sign from which something can be understood" (Poornamdarian, 2006: 1). Pournamdarian writes in the definition of a symbol: "A symbol is something from the world that is known and can be received and experienced through the senses that points to something from the unknown and imperceptible world, or to a concept other than its direct and conventional concept; On the condition that this reference is not based on a contract and that concept is not considered the only definite concept" (ibid., 23). The truth of symbolism is the indirect expression of the subject, that is, the author or poet expresses the subject he has in mind indirectly instead of directly expressing the concept using a symbol. "Symbolism is a tool of knowledge and the oldest and most fundamental method of expression, a method that reveals aspects of reality that are far from other methods of expression." (Cooper, 1392: 11). In general, social symbolism, human, animal, natural symbols and mythological and historical symbols can be seen in the poetry of Mohammad Ali Sepanlu, Mansour Oji, Ali Babachahi and Seyed Ali Salehi. Conclusion Since the expression of mystical thoughts and the indirect reflection of political and social thoughts are mostly symbolic, symbols and symbolizations have been in Persian literature for a long time. Especially in the field of Persian poetry, it has gained a special effect. In contemporary literature, in addition to the mentioned factors, attention to defamiliarization in literary texts and the emergence of schools that have a special tendency towards ambiguity has increased the frequency of symbolization. In general, symbolic poetry is one of the important currents of contemporary poetry. 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