کارکردهای انسجامی حروف ربط در اشعار قیصر امین پور (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
مایکل هلیدی در نظریه انسجام قائل به دو عامل انسجام واژگانی و دستوری است. عامل انسجامِ دستوری خود به زیرمجموعه هایی تقسیم می شود. در میان عوامل انسجام دستوری، بررسی حروفِ ربط ازآنجاکه مفصل و پیوند دهنده جملات است، انسجام را به طور ویژه نشان می دهد. از منظر هلیدی این حروف به چهاردسته: افزایشی، تقابلی، علّی و زمانی تقسیم می شوند. در اشعار معاصر که صورت نوشتن به روش پلکانی است، گاه حروف ربط به تنهایی در یک پله قرار می گیرد و شکل برجسته ای در میان بندها می یابد؛ گاه یک آغاز ناگهانی را در شعر رقم می زند؛ و گاه چنان در گستره شعر تکرار می شود که سبب برجستگی معنا و مفهومِ مدنظر می گردد. در این پژوهش حروف ربط در اشعار قیصر امین پور به جهت کاربرد گسترده در بین پاره جمله ها و بندها بررسی شده است. نتایج این پژوهش حاکی از آن است که قیصر امین پور با آگاهی از دستورزبان و به کارگیریِ عالمانه و متبحرانه حروف ربط توانسته است منظور خود را برجسته و نشان دار کند. این امر هم در مبحث دستوری-معنایی و هم در مبحث بلاغی مصداق دارد. همچنین بسامد انواع حروف ربط در هر یک از دفترهای شعر او نشان دهنده شمای تعریف شده ای از گفتمان شاعر در دوره های مختلف است. این نوع توجه در خصوص به کارگیری حروف ربط، به کلام و گفتمان شاعر شکلی تازه بخشیده است.Cohesive Functions of Conjunctions in Qaisar Aminpour's Poeme
Michael Halliday's theory of cohesion identifies two primary types: lexical and grammatical. Among grammatical cohesive devices, conjunctions merit particular examination due to their pivotal role in connecting clauses and explicitly manifesting textual cohesion. Halliday categorizes conjunctions into four distinct types: additive, adversative, causal, and temporal. In contemporary Persian poetry—especially that composed in a stepped-line format—conjunctions occasionally occupy an entire line independently, thereby gaining significant prominence between stanzas. They can either generate an abrupt opening at a poem's commencement or be proliferated throughout the verse to defamiliarize and emphasize intended meanings. This study focuses on the role of conjunctions in Qiysar Aminpour’s poetry, specifically examining their pervasive use across clauses and stanzas. The findings indicate that Aminpour, by skillfully employing his grammatical expertise, strategically deployed conjunctions to mark and accentuate his intended messages, thus achieving both grammatical-semantic and rhetorical significance. Furthermore, an analysis of the frequency distribution of conjunction types across his poetry collections reveals a discernible schematic pattern, reflecting the evolution of the poet’s discourse over different periods. This strategic deployment of conjunctions contributes significantly to the innovative structure evident in Aminpour's poetic language and discourse.
Introduction
The inherent complexity of social, political, and cultural phenomena often results in hidden and latent meanings, which are invariably reflected in language, particularly within discourse. Consequently, the study and analysis of discourse are considered highly significant within linguistics. One dimension of discourse analysis involves examining text formation and the interconnections between its components, which functional linguists refer to as “cohesion factors”. This term was initially introduced by Michael Halliday, a prominent functionalist theorist, who posited its operation at both grammatical and lexical levels. Literary works, as complex linguistic constructs, integrate the poet's individual ideologies and their engagement with societal contexts; thus, language serves as a window into the poet's intellectual landscape. Research into cohesion factors, especially conjunctions, is therefore crucial for understanding the links between sentences and clauses and for accurately grasping intended meaning. Qiysar Aminpour’s poetry stands as a notable body of work where conjunctions are extensively and purposefully employed.
Background of the Research
Numerous studies have explored the poetry of Qiysar Aminpour. For instance, Sattari and Haghighi (2016), in their article “Evaluation techniques of creating coherence in poems of Kaiser Aminpour relying on the theory of Halliday’s linguistics”, primarily provided poetic examples and evidence for each type of grammatical and lexical cohesion without offering substantial analysis. Specifically, the examples of conjunctions were merely cited as instances, lacking any detailed examination. Similarly, Salehi (1390/2011), in her book Tahlil-i Guftmani-i Asar-i Qiysar Aminpour [ Discourse Analysis of Qiysar Aminpour’s Works] , analyzed Aminpour’s poems without specifically addressing the factors of cohesion. Abolghasemi and Aliehpour (1389/2010), in their article “Investigating the manifestations of thought in Qeysar Aminpour’s poetry”, focused on analyzing and exploring the manifestations of thought and contemplation in Aminpour’s poems. Despite existing scholarship, a dedicated investigation into conjunctions as a cohesive factor and their influence on Aminpour’s poetic discourse remains a lacuna in the current research landscape.
Methodology
This research employs a descriptive-analytical approach, drawing upon Michael Halliday’s theory of textual cohesion. Data for this study were systematically gathered from four of Aminpour’s poetry collections: Tanaffus-i Ṣubh [The Breath of Dawn], Āyīnaha-yi Nāgahān [Ayinehā-ye Nāgahān], Gulhā hami Āftābgardānand [All the Flowers Are Sunflowers], Dastūr-i Zabān-i ‘ishq [The Grammar of Love]. Upon completion of the study, the frequency of conjunctions—categorized into the four Hallidayan groups (additive, adversative, causal, and temporal)—has been analyzed within each poetry collection and subsequently depicted in pie charts for clear visualization.
Discussion
The research findings demonstrate that Qiysar Aminpour meticulously employed conjunctions, leveraging his grammatical expertise and scholarly acumen to underscore and amplify his intended messages, a phenomenon observable at both grammatical-semantic and rhetorical levels. Furthermore, the frequency of different conjunction types across his poetry collections demonstrates a defined pattern in the poet’s discourse over various periods. This deliberate attention to the usage of conjunctions has consequently imparted a novel character to the poet’s language and discourse. Beyond their cohesive functions in the grammatical domain, the rhetorical functions of conjunctions and their impact on tone are also noteworthy. The strategic rhetorical repetition of conjunctions within his verse generates a range of effects, including sequential progression, striking contrasts, inherent paradoxes, heightened emphasis, or sudden inaugurations, which collectively contribute to establishing diverse tonal registers such as protest, admiration, surprise, or assertive declaration. These sudden beginnings, facilitated by conjunctions, serve to accentuate the meanings and concepts the poet intends. Such openings can be considered a distinctive stylistic device in Qiysar Aminpour’s discourse. Moreover, the frequency of various conjunction types differs across Aminpour’s poetry collections, corresponding to distinct social periods. This observation suggests that conjunctions are a determinant component of discourse, effectively highlighting intended concepts.
Conclusion
This study has demonstrated that Qiysar Aminpour’s poetry represents a compelling case for the deliberate and masterful application of conjunctions, transcending their basic grammatical function. Our analysis reveals that Aminpour, leveraging his profound grammatical understanding, strategically employed conjunctions to accentuate his intended meanings, thereby achieving significant grammatical-semantic and rhetorical effects. The investigation into the frequency distribution of various conjunction types further illuminated a discernible schematic pattern within his poetic discourse, evolving consistently across different periods and poetry collections.
Beyond their established role in textual cohesion, this research highlights the potent rhetorical functions of conjunctions in Aminpour’s work. Their repetitive deployment creates diverse textual effects, including sequences, contrasts, paradoxes, and moments of abrupt inception, which collectively establish nuanced tones such as protest, admiration, and assertion. These abrupt openings orchestrated by conjunctions emerge as a distinctive stylistic hallmark of Aminpour’s poetic discourse, effectively amplifying his conceptual messages. The observed variation in conjunction usage across different social periods also underscores their determinative role in shaping his discourse.
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