Download citation:
BibTeX | RIS | EndNote | Medlars | ProCite | Reference Manager | RefWorks
Send citation to:

---

Reading the critical views of poets with the aim of classifying and analyzing their approaches to literary criticism, while identifying their evaluation criteria in literary criticism, can be used as a criterion for evaluating their works. In addition to being a poet, Akhavān-Sāles had critical views in the field of literary criticism. The authors of this article, due to the special position of Akhavān-Sāles as a poet-critic, have classified and analyzed his theories based on Jacobson 's theory. Then the approaches and characteristics of criticism were discussed, regarding in his views. In expressing his critical views, Akhavān-Sāles emphasized the four elements of sender, receiver, context, and message. He considered successful poetry to be a poem arising from the poet's feeling (emotive function), of social and human subject (referential function), with literary language (poetic function) and the power to influence a wide range of receivers (conative function). In his critical views, Akhavān-Sāles has not fallen into the trap of pure formalism, nor has accepted non-literary poetry. As a result, it can be said that his thorough knowledge of the subject is positive and his subjectivity in criticism could be considered as a negative aspect of approach
 Keywords: Akhavān-Sāles, critical opinions, communication theory, critical characteristics, critical approaches

1. Introduction

Akhavān-Sāles is one of the most prominent contemporary poets who wrote numerous articles in defense of Nimā and poetry critique of different periods. The study is an attempt to answer the following questions: Which elements of verbal communication have been emphasized in Akhavan’s critical views and opinions?  What approaches did he use to critique literary works? What are the reasons for his inclination to such approaches and what are the characteristics of his critique and critical method?
In the research conducted by critics such as Barāheni, Zarrin-koub, Hoghoghi, Movahed, Shivā, Jabbāri-Moghaddam and others, some critical views of Akhavān-Sāles were examined and analyzed. However, the vacancy of an independent study that examines and analyzes the critical views of Akhavān-Sāles And to address its strengths and weaknesses encouraged the authors in this study to conduct the research.
2- Classification of the views of Akhavān-Sāles
Akhavān-Sāles did not have clear methods and principles in expressing his views and expressed his views in a scattered manner. Gathering his views, we found that his critical views revolved around the four axes of sender, receiver, message, and context. Therefore, in order to have a more coherent structure and classification, we classified his views based on Roman Jacobsen's theory of "communication".
  Sender
 Akhavān-Sāles considers the artist and the poet to be the most sensitive branch of the tree of humanity, whose poetry and art should express the pains and sufferings of the people and society. From Akhavān-Sāles point of view, the poet's feelings and perceptions must be born of this time, and this emphasis on the speaker's perceptions and feelings and the honesty in expressing feelings and emotions stem from the importance of the poem's emotional function.
Receiver
Akhavān-Sāles states that the criterion of good and bad poetry is the acceptance of the audience and its breadth, and considers the poet's success in communicating with the audience. Akhavān has considered the role of the audience as a determining factor in the poetic language and one of the reasons for the emergence of poetic currents (Akhavān-Sāle, 1348: 31-32) when he called poetry "grabbing and conquering the heart of the audience" (Akhavān-Sāle , 1382:56) he emphasizes on the emotive function of poetry.
Context
Akhavān considers one of the most important evaluation criteria for any literary work to be its social and moral content. Akhavān does not accept beautiful poetry devoid of meaning and considers a work valuable that "has social and human effects" (Akhavān, 1372: 355 and 252). Regarding the influence of the context of the text on the message, he believes in the dialectical relationship between literature and society, which is due to the importance of the referential function of the literary work in his opinion.
Message
Akhavān has a special emphasis on the literary aspect (poetic function) of the message and the literary work:
 A:  Music and rhyme
Akhavān believes that it gives rhythm to poetry and music and causes more impact, rhetoric and beauty.
B: Objectivity and subjectivity
Another feature of a valuable work of art from Akhavān's point of view is the aspect of objectivism and representation of things in poetry.
C: The language of poetry
Akhavān finds it difficult to find moderation in the use of new combinations, similes, new proportions and observations that lead to the richness of language and the value of speech, and moderation must be observed in this regard. He believes in the appropriateness of the language of poetry to its content and does not ignore the structure.
D: Imagination and ambiguity
 Akhavān considers the element of imagination as the special meaning of poetry, but does not consider any kind of ambiguity as a factor in creating the beauty of poetry. He considers the ambiguity caused by beliefs in classical poetry as its defect and considers the ambiguity resulting from literature and poetic forms of imagination as beautiful.
E: Innovative techniques
Akhavān divides innovative techniques into two types: universal and artistic poetry (similes, metaphors, ambiguities and repetitions in place) and other imitations and useless arrangements.
In general, Akhavān in his views pays attention to two aspects of the form and content of the literary work, which is influenced by two currents in his artistic life: familiarity and influence of Nimā poetry with political and social activities and the influence of ideologies of literary discourse and his interest in poetry and rhetoric of classical poetry.
3- Characteristics of Akhavān criticism
- The language of humor
 –The use of rhetorical science in criticism
- Mastery of the topic under discussion
 - Criticism of other critics
- Paying attention to the context and using a comparative approach
 - The use of myths and folklore literature
 – A combination of unscientific, scientific and constructive criticism
 - Scattering and eloquence
 - Contradiction in views
References
Akhavān-Sāle, Mehdi. (1348). The best hope (Behtarain Omid). Tehran: Mihan.
  ........................ (1372). The Privacy of Green Shadows (Harym-e Sayehāy-e Sabz) (Collection of Articles 1). Under the supervision of Mortezā Kākhi. Tehran: Zemestan.
.................... (1382). The voice of astonished astonishment  (Sedāy-e Hirat-e Bidār) (conversations of Mehdi Akhavān-Sāle). Under the supervision of Mortezā Kākhi. Tehran: Zemestan.

Keywords: Akhavān-Sāles, critical opinions, communication theory, critical characteristics, critical approaches

Full-Text [PDF 1076 kb]   (1404 Downloads)    

Add your comments about this article : Your username or Email:

---

---