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Razieh Hojjatizadeh,
Volume 25, Issue 83 (3-2018)
Abstract
Bloomfield claimed the first connotation is an independent notion in linguistics. By this term, linguists invite us to have an innovative approach to meaning. According to this approach, words as utterances could be nourished by several levels of secondary signification. How lexis of a text could be interpreted has been studied through the lens of several theories,most notably: semiotics, poetics, semantics and discourse analysis. This article approached this issue from a rhetoric-semantic perspective.Methodology in this article is primarily hermeneutics and is concerned with an analysis of connotations in the field of semantics, and exploration of the meanings of interrogative statements. Through these two approaches, the author projects an analytical model to actualize a deeper study of the latent aspect of meaning or associations of utterances in the context of literature. This model includes four features which consist of semantic, lexical, phonetic and syntactic elements. First, this article concludes that connotative significance must be considered the same as the imageries of a text; Second, it shows how to analyze the significations of the text for the purpose of distinguishing the stylistic and semantic differences of two texts or authors.
Zulfaghar Allami, Maedeh Asadullahi,
Volume 25, Issue 83 (3-2018)
Abstract
The Tragic story of Siavash is one the significant and remarkable stories in Firdausi’s Shahnameh. In this article, the authors will study this story through the lens of Critical Discourse Analysis and based on Van Leeuwen’s network of Social Actors. This is to show how social interactors have been portrayed and see how the poem has reproduced and represented the discourses by linguistic parameters. To this end, dialogic couplets have been singled out, categorized and analyzed. The findings show that Firdausi has equally used latent and manifest parameters. Therefore, concealment of the narrators is as important :as char:acterization and the development of the setting. Moreover, although the story of Siavash is an ancient narrative, it carries with itself Firdausi’s worldview and his emotional, ideological overtone and thus represents Iranian’s idealism, their zeal for identity and conflict between Good and Evil and the final triumph of the Good. The death of Siavash entails the vengeance of the Iranians, and the birth of his son, Keykhosrow, brings about the victory over Afrasiab.
Reza Ghafouri,
Volume 25, Issue 83 (3-2018)
Abstract
One of the popular stories in Shahnamehis Rustam’squestto Mazandaran in order to rescue Kavoos and his soldiers, which led him into killingDivSepid (the white demon), rescuingKavoos from captivity, and also entrusting Mazandaran to his children. This story, which is known as Haft-khan Rustam, has influenced a number of heroic poems, manuscripts of rhapsodies and oral/public narrativesof Shahnameh. The influence that these works have from the narratives of Rustam’s battle with the demons of Mazandaran can be classified into two categories: first, in many of these texts, are various narratives about or references to Rustam’sjourney to Mazandaran and his battle with DivSepid. Second, in some Iranian epic texts, be it poetry or prose, a number of demons or descendants ofDivSepid are present that each try to take revenge on Rustam or one of the members of his family. But, in all of these stories, they either have failed or were killed by the hero. Although these types of narratives have briefly been expressed in most of Iranian public prose literature, they have been expressed in more details in a number of texts including ShabrangNameh, ShahriyarNameh, and TheNew BorzoNameh. In this paper, first, these types of narratives in some heroic pieces of poetry are addressed. Then, common grounds or differences of these stories with the narrative of Shahnameh are analyzed.
Asad Abshirini, Qodratullah Zarouni, Reza Barati,
Volume 31, Issue 95 (11-2023)
Abstract
Akhar-e Shahnameh (The Ending of Shahnameh) is one of the brilliant poems of Mehdi Akhavan Sales, which took on a form of despair and anxiety under the influence of the coup on 19 August 1953. Many personal and social conditions and factors influenced the formation of these two emotional categories, but in Akhavan’s poem, perhaps more influential than the death of relatives was the failure of the national movement due to the events related to oil, which revealed feelings of despair and anxiety in the mind and soul of the failed contemporary poet. Akhar-e Shahnameh has the potential to be studied with new literary approaches and especially with structuralist criticism due to its narrative aspect, old Khorasani dialect, syntactic anomaly, and coherent structure. The purpose of this research is to investigate the relationship between and the structure of despairing and anxiety-provoking images and their contrast with happy and hopeful images in Akhar-e Shahnameh; because examining the image structure in this poem helps us understand the difficulties of Akhavan's poetry. This research uses an analytical-critical method. Adopting the approach of structuralist criticism, an attempt has been made to examine the anxiety-provoking and despairing images of this poem in two horizontal and vertical axes so as to explore the grounds for its glory and coherence by means of literary criticism. The findings of this research show that in this poem, Akhavan employs more than sixty-five despairing and anxiety-provoking images using imagery tools such as irony, metaphor, simile, symbol, paradox, etc., in the two axes of coexistence and substitution to draw the atmosphere of the 1950s, which was full of despair and anxiety.
Mr Mansour Rahimi, Professor Sayyed Ahmad Parsa,
Volume 31, Issue 95 (11-2023)
Abstract
The interaction and correspondence of a set of linguistic, literary, narrative, and discourse elements form a network of relationships with varying degrees of influence in connection with the text. The combination and integration of the views of theorists in linguistic, discourse, and narrative fields prevent the researcher from giving a one-sided account and pave the way for achieving more desirable results. In this study, using an integrative approach, we have attempted to present some of the most important linguistic, discourse, and narrative elements as effective factors in meaning formation, and to describe the position and the role of each of these elements in the text to understand the intra- and extra-textual aspects. To this end, the present research based its analysis on Halliday and Hasan's three-tiered theory of linguistics (context, agents, and mode of discourse). It also referred to Riffaterre's views for the description of the discourse context in poetics. Regarding the narratology, reference has been made to some statements of structuralist narratologists, and finally, for the description of discourse agents, Van Leeuwen's (2008) views on discourse and actors have been utilized. The results of the research show that firstly, the foundational theme and discourse context in Arash the Archer's poetry is the reproduction of the anticipation and hope for liberation through the emergence of a hero and savior. Secondly, the agents (actors) of discourse are divided into two main categories: the agent of action and the recipient of action. Arash, in the role of the sacrificed hero, is the agent of action in the narrative, and the people of the city, who are passive and waiting, are represented as the recipients of action. Thirdly, due to the specific discursive and ideological field to which Kasrai belonged, he omitted the ‘king’ character in the narrative.
Hamid Rezā Ghorbāni, Mohammad Khodādādi,
Volume 32, Issue 96 (4-2024)
Abstract
Trees have special importance in Persian poems. Cultural, religious, mythical, ethical, mystical, and political elements have propositions influenced by trees. Following water and the sun, the tree is an important phenomenon from which special literary elements and situations are created. The creative ways of connecting natural phenomena with human elements have been highlighted by the emergence of various political events in the last century on the one hand, and the creation of many artistic ideas and styles on the other hand. The tree image has found a new and multifaceted effect in modern poetry. Modernist poets give special roles to non-human elements and among these, the tree is a human-like mirror image that shows the evolution of human society in its stature. Using the library method and based on an analysis and explanation of poetic evidence in the thoughts of selected poets the current research revealed that the tree could be an image of personal failures, love, a medium of perception, an indicator of freedom, a representative of an ecosystem, a symbol, a sign of death and nonexistence, and a reflection of tyranny and a denial of human existence under the rule of tyranny.
Ghodsieh Rezvāniān, Souren Sattārzādeh,
Volume 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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