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Showing 3 results for Joukar
Volume 7, Issue 30 (12-2019)
Abstract
A significant part of Persian poetry is epic, and its domain has extended to the realm of folkloric literature. Local Jangname are poems with epical features that have been specifically written to imitate Shahnameh. These poems are in the form of masnavi, motaghareb and sometimes hazaj, describing exaggerated narratives, tales and heroic stories of persons or historical individuals from a geographical area. They are preserved for a long time in the area and could be used to resolve local and tribal conflicts. Depending on their subject matter, Jangname sometimes narrates the war between tribal leaders and the feudalists (khavanin) of the region, and at times narrates the war of a group with the central government, or the battle of a group of regional people with foreign forces. The element of war and the celebration or degradation of the local and regional characters and events are the basics of these poems. The works focused in this study are Jangname of Raeesi Delavari, Jangname of Hayat Daboud and Nightshift, and Jangname of on the light of Liravi which are studied stylistically and typologically. These poems influenced by the linguistic and literary style of the Shahnameh and other epic texts, as well as their tone and dialogue, have substantial differences with the epic genre; there is no indication of aspects such as myth, fiction, heroism, national spirit, and defamiliarization in these poems. They suggest no national spirit, because their heroes often seek to achieve their personal goals and objectives. It is concluded that these poems should be called ‘quasi-epic’.
Volume 15, Issue 6 (January & February 2024)
Abstract
In this study, the aesthetic system of discourse in Nima Yoshij's poem "Naquos" has been studied. According to the semiotics view, the aesthetic system of discourse is a subordinated intuitive-perceptual and occurring process that is formed due to the presence of the enunciator state in the discourse. The poem "Naquos" is one of the symbolic poems of Nima that the two central signs of "Naquos resonance" and "daybreak and light" in interaction with each other and also in opposition to the symbol of "night" have influenced the semantic action and have led to the formation of an aesthetic order in it. The question here is how is this discourse system formed in the structure of this poem and what are its mechanisms. In this study, first, the discourse action and the categorization in the discourse of this poem have been specified. Then, the main constituents of the formation of the aesthetic process, including semiotics-semantics conditions and state, linguistic indexes, discontinuity and time are studied. The results show that the discourse of this poem has state and occurring features and the narrator has been able to create a discourse with aesthetic features with symbolic methods by selective (Naquos) and serial (light and daybreak) categorizations and by breaking the continuum of language through rhetorical devices and effective verbs, and the use of narrative time in a massive and ultimate form, and passing through solid and fixed signs to flowing signs.
1. Introduction
From the semiotics point of view, discourse systems are divided into three general categories: program-oriented, emotional, and event-oriented. Among the different discourse systems, the aesthetic system is a system based on emotional-perceptual, event, spiritual, and tense characteristics. This aspect of literary discourse is formed as a result of the presence and interaction of sensory-perceptual, phenomenal and intuitive aesthetic curiosity with the world. The poem "Naquos" by Nima Yoshij is one of the poems whose theme is full of hope for change and improvement of the situation. Three prominent and influential factors, namely "Naquos ringing", "morning and light", and "night" play a role in the discourse of this poem in its meaning making process. These three also have symbolic aspects. In symbolism, the fields of meaning are very wide, and this causes the text to accept multiple and fluid meanings. Examining these factors shows that the production of meaning in this poem follows an eventful process and the sensory-perceptual factor is effective in it. Based on this, the aim of the present research is to investigate and analyze the formation process of the aesthetic discourse system of Nima Yoshij's "Naquos" poem by descriptive and analytical method and relying on the semiotics theory of literary discourse. In this research, in order to obtain a more accurate analysis, first the discourse action in this poem was examined and its most important categorizations were identified. Then, the main elements and components that are effective in the production and formation of the aesthetic process, including the sensory-perceptual and emotional conditions, linguistic profiles, discursive discontinuity and aesthetic time in the discourse of poetry, have been investigated. The issue that is raised is what factors and with what semiotics characteristics and functions are involved in the production of the aesthetic system of Nima's "Naquos" poem.
Research Question(s)
1) How does the discourse action of this poem determine the grounds for the formation of the aesthetic flow?
2) What elements and based on what mechanisms create the aesthetic process and how can they be explained?
2. Literature Review
2. 1. Researches related to the aesthetic dimension of discourse
Books and articles have been written in the field of the aesthetic dimension of discourse. Investigating the aesthetic dimension of the discourse is related to the post-constructionist studies of semiotics. Grams (1987) in the book "De l’imperfection, c" passes classical and action-oriented semiotics and turns to aesthetic or sensory-perceptual semiotics. Shairi (2015) in his book on the semantics analysis of discourse, has extensively studied and analyzed various dimensions of discourse, including the aesthetic dimension. Shairi (2009) in his article "Study of the aesthetic process from the point of view of the semiotics of the discourse", has studied and analyzed this aspect of the discourse.
In addition to theoretical studies, articles have also investigated this aspect of discourse in different literary texts in a practical way, including: Ayati (2012) in the article "Examining the Semantics of Discourse in Nima Yoshij's Poem "Pay Daro Choopan", sensory dimensions- perceptual, emotional and aesthetic as well as how to produce the fluid flow of meaning and the main elements involved in it. Rajabi et al. (2019) in the article "The Applied Rhetoric of Signs in the Aesthetic Process of the novel Kowli kenare atash with the Semantics Approach of Discourse", the semantic systems of discourse, aesthetic and effective elements in the relationship between the symbolic system and the semantic system that is influenced by the rhetoric of signs have checked. Kanani (2016) in the article "The aesthetic system of discourse in the interaction of sound and light based on the story of Halimah asking for help from Bothan", has analyzed the aesthetic dimension of discourse in this story from Masnavi and has shown that the interaction of two The perceptual-sensory factor of "sound" and "light" plays a role in the background of this story and is the basis for the formation of meaning in it.
2. 2. Researches related to Nima's " Naquos" poem
No separate article has been written about the poem "Naqous" by Nima Yoshij; But Hamidian (1381) in the book The story of metamorphosis: the process of transformations in Nima Yoshj's poetry has analyzed and examined this poem under the title "The scope of the message" and explained the various aspects of symbolism, rhetorical features, themes and images used in it. Also, Pournamdarian (1377) in his book Khanam Abri: Nima's poem from tradition to modernity, under the topic of hope and optimism, briefly explained the twelve stanzas of the poem "Naqous", and he has highlighted the issue of hope and improving the political and social situation in this poem by referring to common symbols in Nima's social poems. The present research examines and analyzes the effective factors in the production of the aesthetic flow of discourse in this poem with the semantics approach of literary discourse.
3. Methodology
The method of this research is descriptive-analytical and based on the semiotics study method. The semiotics point of view is a discourse and process point of view, and it examines the types of discourse systems, the presence of discourse factors, and the process of meaning generation.
4. Results
In this article, the aesthetic process of the discourse in Nima Yoshij's poem "Naqous" was investigated and analyzed based on the semantics approach. First, as a prelude to the discussion of discourse aesthetics, the discussion of discourse action was briefly examined with an emphasis on categorization in language in the context of poetry discourse. Therefore, the narrator calls three important signs of the poem, which play an effective role in the meaning-making process, from the pre-discourse world, and creates different and original meanings in the discourse in a sensory-perceptual relationship and in a semantic system. Categorization of Naqous ringing is of selective type and categorization of morning and light is of serial type. In this discourse, in addition to the sensory-perceptual presence of the speaker and his encounter with the world, the ringing of the Naqous in the role of an actor and agitator places the discourse in an eventful process. Because the ringing of the Naqous walks in every ups and downs and between the sleeping and the dead and affects them and brings the tired hearts together and breathes life into the people's organization with the strength of its sound.
Examining the sensory-perceptual and emotional process of poetry discourse showed that this discourse does not follow a logical, program-oriented, and action-oriented system, but has an emotional-oriented system, in which semantic sensitivity and the type of presence of Naqous ringing and the aesthetics of absence are effective in the poetry discourse. As a result of the discursive act of becoming the axis, the material, objective, and realistic aspects of linguistic categories are negated, which causes the emergence of differences and the production of new meanings in the discourse of the "Naqous" poem. In this sensory-perceptual process, the three factors of linguistic profiles, discursive interruption and time are effective in creating the aesthetic process of poetry. Linguistic profiles or manifestations of meaning in the poem "Naqous" are formed as a result of fragility and doubt in belief and creation of new values in discourse. The ongoing and waiting presence of the narrator gradually turns into an actual and comprehensive presence with the certainty of the news of the smiling morning Naqous. Also, discursive interruption due to factors such as rhetorical devices (simile, contrast, etc.) and effective verbs are involved in the production of the aesthetic system of discourse. Another factor of discursive discontinuity is time, whose two macro and final aspects with the ability to be transferred in the poem "Naqous" with the compression and enveloping characteristic of the reverberation of the Naqous and its interaction and connection with morning and light cause the formation of an aesthetic process in the discourse of this poem.
Volume 15, Issue 60 (Winter 2022)
Abstract
Lived experience is a broad, controversial, and sometimes ambiguous term that has been used by researchers in various fields of study. While there are occasional references to this concept in literary studies, it has not yet been seriously considered by researchers. The study of lived experience and its role in the process of literary creativity is very important in explaining poetic concepts; for it is a way to better understand poetry and, moreover, can provide a criterion for examining the success or failure of a poem or literary period; moreover, the shared experience of the reader and the poet can help to better understand poetry, paving the way for reader-centered criticism from the perspective of lived experience. In this study, an attempt was made to explain the concept of experience through the Lived analytical-critical method and its modes. Then, to better understand the role of lived experience in the process of literary creativity, a systematic model for it should be defined and drawn. In this context, lived experience is divided into types such as personal lived experience, specific lived experience, and general lived experience, each of which has subcategories. The findings of this study not only explain the concept of lived experience and its role in the process of literary creativity, but also show that lived experience is one of the basic elements of literary works, especially poetry, which can contribute to the understanding of the existence of poetry, its formation, the sources of inspiration of poets, etc.
Extended Abstract
Introduction
Lived experience is one of the important and fundamental concepts used in most fields of human sciences. However, in the researches related to literature, this topic has not been treated as expected. Consideration of literary works reveals that we enjoy works of art in part because of shared life experiences. This is because poets and artists portray experiences that audiences can easily identify with when reading. People share many common experiences because of the similarities they have with each other in lifestyles, social, historical, and cultural situations. But sometimes these experiences are so interwoven with life that we can recognize them but they do not catch our attention. Now, when a poet or writer uses the same common lived experience in his poem or writing, he not only draws our attention to that aspect of life and the experiences we have had, but he approaches us intelligently like a psychologist, and that makes the poet and his poetry successful; because when we read that poem, we feel that the poet has penetrated deep into our soul and is speaking from our heart and language; that is why we identify with him. Thus, since, in Hillman's words, "there are correlations between the life and poetry of any poet" (Hillman, 2016: 2), this article attempts to lay out a plan and model for the study of poetry by examining the theoretical underpinnings of the concept of lived experience.
Research background
Lived experience is a broad concept that can be applied in most areas of the humanities. For this reason, this concept is widely used in the fields of psychology, sociology, and philosophy, and researchers in these fields have written many articles with this title. In literary studies, however, the discussion of lived experience has not been explored as it should be. A search of various reference databases reveals that there are very few sources on lived experience in literary works. One of the most important books dealing with lived experience is Wilhelm Dilthey's Poetry and Experience. Among the books of Iranian researchers as far as the authors have researched, there were sometimes references to the role of experience in the creation of literary works, but only Ghodrat Allah Taheri has attempted to study the experiences in the life of Maulavi and their reflection in Masnavi in the book revayat-e ser-e delbaran [in Persian] (Study of the Life of Maulavi and Historical Experiences in Masnavi). In general, no serious work has been written to explain the theoretical basis of lived experience. Considering the importance of this concept in the process of literary creation and the achievements it can bring to the practical criticism of literary works, a comprehensive research in this field seems necessary.
3. Discussion
In order to understand the role of lived experience in the process of literary creativity in more detail, it is necessary to examine it in a systematic pattern. In this context, we have divided lived experience into types such as personal lived experience, specific lived experience, and general lived experience, each of which has subcategories, and we will examine these types further.
3.1 Personal lived experience
These experiences refer to poets who have experienced a certain problem in their lives, which is reflected in their poetry; such as the experience of divorce in the poetry of Forough Farrokhzad or the experience of prison in the poetry of Shamlou, Mahdi Akhwan sales, Hoshang Ebtahaj, etc. Generally, this kind of lived experience is autobiographical. Although this experience can also be part of special experiences; but for better delineation of the subject and because the poet or writer experienced it personally (according to the available documents), we have placed it in the category of personal experiences.
3.2 Special lived experience
This type of experience refers to the life of a specific type that may be experienced in a geographical, cultural, or circumstantial setting. In general, specific life experiences can also be divided into different categories, such as climatic lived experience, gender lived experience, physical lived experience (physical limitations), lived experiences related to social problems, cultural lived experience and so on.
3.3 General lived experience
This type of experience is not tied to any particular person or group. Everyone experiences it, regardless of gender, social, political, climatic conditions, etc. This type of experience, which can also be called lived human experience, applies beyond geographical boundaries and limitations, and it can be said that it is common to all people on earth and understandable to each of them; because he deals with them in the course of the evolution of his soul and body, and of course they are part of his experiences. physical experiences such as birth, childhood, youth, old age, death, etc., and spiritual experiences such as the human emotions; sadness, happiness, love, anxiety, etc., are such experiences. When a poet or writer (and an artist in general) speaks about such issues that are common to almost all people, in an artistic way, he touches the souls of different people and creates a work regardless of color, race, language and nationality.
4. Result
Although the concept of "lived experience" is of great interest in philosophy, psychology, and other areas of the human sciences, it has not been studied in depth in literary studies. In this study, an attempt has been made, based on the opinions of philosophers, psychologists, and literary critics, to compile and design a plan and model for examining the basics of lived experience and studying it in poetry, so that the poetry of different literary periods can be analyzed and studied on this basis. Based on this plan, lived experiences can be divided into three general categories: 1. Personal lived experiences with subgroups such as divorce experiences, prison experiences, love experiences, etc. (which the poet personally experienced according to the available documents and which are analyzed in biographical form) 2. Specific lived experiences with subgroups such as climatic lived experiences, gender lived experiences, physical lived experiences, lived experiences related to social problems, and so on. 3. General lived experiences with subcategories such as love, grief, death, birth, and so on. Of course, other types can be added to these subcategories. But what has been discussed in the context of this article can give a perspective of the situation and the study of lived experience and be very helpful for a better understanding of the poem and its analysis. This is because, apart from the fact that the lived experience plays a very important role in the realization of the poet's artistic creativity, in the understanding, reception and interpretation of the text, it also causes the audience to accompany and identify with the literary work. The lived experience, in fact, has a double function: it helps the author to create a literary work and the audience to understand the interpretation and explanation of the literary text. Reading together and sharing experiences is what brings the poet/author and the audience closer together and determines the success of a poem.
Extended Abstract
Introduction
Lived experience is one of the important and fundamental concepts used in most fields of human sciences. However, in the researches related to literature, this topic has not been treated as expected. Consideration of literary works reveals that we enjoy works of art in part because of shared life experiences. This is because poets and artists portray experiences that audiences can easily identify with when reading. People share many common experiences because of the similarities they have with each other in lifestyles, social, historical, and cultural situations. But sometimes these experiences are so interwoven with life that we can recognize them but they do not catch our attention. Now, when a poet or writer uses the same common lived experience in his poem or writing, he not only draws our attention to that aspect of life and the experiences we have had, but he approaches us intelligently like a psychologist, and that makes the poet and his poetry successful; because when we read that poem, we feel that the poet has penetrated deep into our soul and is speaking from our heart and language; that is why we identify with him. Thus, since, in Hillman's words, "there are correlations between the life and poetry of any poet" (Hillman, 2016: 2), this article attempts to lay out a plan and model for the study of poetry by examining the theoretical underpinnings of the concept of lived experience.
Research background
Lived experience is a broad concept that can be applied in most areas of the humanities. For this reason, this concept is widely used in the fields of psychology, sociology, and philosophy, and researchers in these fields have written many articles with this title. In literary studies, however, the discussion of lived experience has not been explored as it should be. A search of various reference databases reveals that there are very few sources on lived experience in literary works. One of the most important books dealing with lived experience is Wilhelm Dilthey's Poetry and Experience. Among the books of Iranian researchers as far as the authors have researched, there were sometimes references to the role of experience in the creation of literary works, but only Ghodrat Allah Taheri has attempted to study the experiences in the life of Maulavi and their reflection in Masnavi in the book revayat-e ser-e delbaran [in Persian] (Study of the Life of Maulavi and Historical Experiences in Masnavi). In general, no serious work has been written to explain the theoretical basis of lived experience. Considering the importance of this concept in the process of literary creation and the achievements it can bring to the practical criticism of literary works, a comprehensive research in this field seems necessary.
3. Discussion
In order to understand the role of lived experience in the process of literary creativity in more detail, it is necessary to examine it in a systematic pattern. In this context, we have divided lived experience into types such as personal lived experience, specific lived experience, and general lived experience, each of which has subcategories, and we will examine these types further.
3.1 Personal lived experience
These experiences refer to poets who have experienced a certain problem in their lives, which is reflected in their poetry; such as the experience of divorce in the poetry of Forough Farrokhzad or the experience of prison in the poetry of Shamlou, Mahdi Akhwan sales, Hoshang Ebtahaj, etc. Generally, this kind of lived experience is autobiographical. Although this experience can also be part of special experiences; but for better delineation of the subject and because the poet or writer experienced it personally (according to the available documents), we have placed it in the category of personal experiences.
3.2 Special lived experience
This type of experience refers to the life of a specific type that may be experienced in a geographical, cultural, or circumstantial setting. In general, specific life experiences can also be divided into different categories, such as climatic lived experience, gender lived experience, physical lived experience (physical limitations), lived experiences related to social problems, cultural lived experience and so on.
3.3 General lived experience
This type of experience is not tied to any particular person or group. Everyone experiences it, regardless of gender, social, political, climatic conditions, etc. This type of experience, which can also be called lived human experience, applies beyond geographical boundaries and limitations, and it can be said that it is common to all people on earth and understandable to each of them; because he deals with them in the course of the evolution of his soul and body, and of course they are part of his experiences. physical experiences such as birth, childhood, youth, old age, death, etc., and spiritual experiences such as the human emotions; sadness, happiness, love, anxiety, etc., are such experiences. When a poet or writer (and an artist in general) speaks about such issues that are common to almost all people, in an artistic way, he touches the souls of different people and creates a work regardless of color, race, language and nationality.
4. Result
Although the concept of "lived experience" is of great interest in philosophy, psychology, and other areas of the human sciences, it has not been studied in depth in literary studies. In this study, an attempt has been made, based on the opinions of philosophers, psychologists, and literary critics, to compile and design a plan and model for examining the basics of lived experience and studying it in poetry, so that the poetry of different literary periods can be analyzed and studied on this basis. Based on this plan, lived experiences can be divided into three general categories: 1. Personal lived experiences with subgroups such as divorce experiences, prison experiences, love experiences, etc. (which the poet personally experienced according to the available documents and which are analyzed in biographical form) 2. Specific lived experiences with subgroups such as climatic lived experiences, gender lived experiences, physical lived experiences, lived experiences related to social problems, and so on. 3. General lived experiences with subcategories such as love, grief, death, birth, and so on. Of course, other types can be added to these subcategories. But what has been discussed in the context of this article can give a perspective of the situation and the study of lived experience and be very helpful for a better understanding of the poem and its analysis. This is because, apart from the fact that the lived experience plays a very important role in the realization of the poet's artistic creativity, in the understanding, reception and interpretation of the text, it also causes the audience to accompany and identify with the literary work. The lived experience, in fact, has a double function: it helps the author to create a literary work and the audience to understand the interpretation and explanation of the literary text. Reading together and sharing experiences is what brings the poet/author and the audience closer together and determines the success of a poem.
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