Search published articles
Showing 3 results for Akbari gandomani
Volume 6, Issue 21 (9-2018)
Abstract
This article seeks to answer two questions: first, what effects has the experience of migration had on Bakhtiari poetry as a unique experience? And second, how do these poems represent and interpret the outer and inner worlds of these migrating nomads? In this paper an attempt has been made to analyze some aspects of the form and content of the Bakhtiari poetry which has been formed through the great experience of migration and to illustrate the philosophical and aesthetic aspects of this experience through folk songs and poems. The research methodology and theoretical foundation of the current research are based on the notions of “ Sporadic “ and “ Completed” experience outlined in John Dewey’s book entitled “ Art as Experience”. The results of the present study showed that the experience of migration as a great central experience has strongly influenced the mind and the worldview of these migratory humans in such a way that both the form and content of Bakhtiari folk poetry have been influenced by it and, on a more general basis, this experience has tied the mentality, aesthetics and ontological system of these people to their lifestyles.
Javad Sattari, Hassan Heidari, Mohsen Zolfghary, Mehrdad Akbari gandomani,
Volume 15, Issue 57 (Spring 2022)
Volume 15, Issue 57 (Spring 2022)
Abstract
Ugliness, a philosophical concept, has been scrutinized throughout history from different vantage points. Some consider ugliness merely the lack of aesthetic, rejection of aesthetic, fundamental evil, valueless, and formless. At the same time, some believe that ugliness is the other side of the aesthetic coin, part of our existence that explicates new facets of our being. This study investigated the essential role of ugliness theory in literary studies within a systematic paradigm. The rhetorical and philosophical concept of beauty has been studied, and the reasons for the lack of ugliness studies in the literature have been investigated. Furthermore, the benefits and applications of studying ugliness theory have been delineated, and it has been applied to one poem of Hafez. Applying ugliness theory to one poem revealed that ghazals (short lyric poem) of Hafez are not inconsistent and incoherent, as has been claimed by some literary critics. The study has demonstrated consistency and coherence in ghazals of Hafez which necessitates using ugliness theory in the revision studies of literary works such as Hafez’s.
Extended Abstract
This study aims to provide a helpful solution to the aesthetic criticism of the text with a fresh approach. Despite the increasing interest in Hafez studies and the efforts of Hafez scholars, an array of approaches to interpreting Hafez lyric poetry remains understudied. Even though Hafez poetry and other Persian literary texts have been extensively studied, no analysis has been made of the philosophical concept of ugliness and its sub-branches. This study examines how Hafez uses literary tricks to highlight ugliness through the use of Karl Rosenkrantz's aesthetic theory of ugliness in a lyric.
The aesthetics of ugliness argues that ugly is defined by negating beauty, rather than by connecting it to any conventional concept associated with condemnation, such as evil or materialism. Rosankranz, like Walter Benjamin, emphasized the ugly nature of aesthetic canons and their active role in the metropolis. His collection of caricatures and popular prints is extensive. Living and teaching in Koenigsberg, Rosenkranz simultaneously reacted to and illuminated urban phenomena from afar. "Aesthetics of Ugliness", published four years before Baudelaire's Fleurs du Mal makes a significant contribution to both modernist experiments and the theory of beauty in the twenty-first century. First published in English, “Aesthetics of Ugliness” analyzes the concept of ugliness through modernist aesthetics and literature studies.
Rosencrantz's ugliness aesthetics theory was used to further explore the aesthetic aspects of Hafez poetry, and after applying and reviewing a lyric by Hafez, it was concluded that theory fits perfectly to analyze Hafez work. One of the most effective ways to express oneself is through literature. A ghazal, for example, was found to have a form and structure that are harmonious, despite its apparent incoherence, and the poet applies seemingly distant artistic structures to convey a single and coherent subject, as well as its beauty and ugliness. If the reader applies the cited theory and takes into consideration the identification of the single form present in each text, she or he will be unable to advocate personal opinions, but can instead present a theory based solely on the structure and texture of the text. Each text is analyzed according to this theory on four levels (form, style, inferiority, and ugliness). To achieve an objective examination of each text, the theory can be used as an efficient and appropriate tool to find its essence outside of the highlights and contradictory views of its artistic appearance. As a result, the reader is liberated from confusion.
This theory helps readers comprehend literary texts through the use of the form of each text and the explanation of the highlights. As a result, it provides theoretical and practical tools for the criticism of any text as well as qualitative criteria for measuring the quality of literary works.
It was found that by identifying precise relationships between contradictory and reciprocal artistic structures, one can gain a deeper understanding of the text's internal components and dark areas, which are demonstrated by the correlation of these contradictions and contrasts within the text's overall harmony and coherence. Because Hafez methods of using symmetry, contrast, contradiction, proportion, balance, humor, and ugliness create harmony and unity in the text, which finally reveals another aspect of Hafez artistic creations to the reader, the use of contradictions in the text paves the way for the emergence of a special artistic order that can in no way be regarded as incoherent or disturbing.
A theoretical analysis is provided in this article utilizing the library technique. In this examination, Hafez words and thoughts are examined from the standpoint of ugly aesthetic theory, which leads to a system of techniques and solutions for better understanding of literary texts. Among other artistic devices, the authors illustrate how the poet used comedy, absurdity, confrontation, and ambiguity to represent some of society's most unappealing aspects during this period.
Extended Abstract
This study aims to provide a helpful solution to the aesthetic criticism of the text with a fresh approach. Despite the increasing interest in Hafez studies and the efforts of Hafez scholars, an array of approaches to interpreting Hafez lyric poetry remains understudied. Even though Hafez poetry and other Persian literary texts have been extensively studied, no analysis has been made of the philosophical concept of ugliness and its sub-branches. This study examines how Hafez uses literary tricks to highlight ugliness through the use of Karl Rosenkrantz's aesthetic theory of ugliness in a lyric.
The aesthetics of ugliness argues that ugly is defined by negating beauty, rather than by connecting it to any conventional concept associated with condemnation, such as evil or materialism. Rosankranz, like Walter Benjamin, emphasized the ugly nature of aesthetic canons and their active role in the metropolis. His collection of caricatures and popular prints is extensive. Living and teaching in Koenigsberg, Rosenkranz simultaneously reacted to and illuminated urban phenomena from afar. "Aesthetics of Ugliness", published four years before Baudelaire's Fleurs du Mal makes a significant contribution to both modernist experiments and the theory of beauty in the twenty-first century. First published in English, “Aesthetics of Ugliness” analyzes the concept of ugliness through modernist aesthetics and literature studies.
Rosencrantz's ugliness aesthetics theory was used to further explore the aesthetic aspects of Hafez poetry, and after applying and reviewing a lyric by Hafez, it was concluded that theory fits perfectly to analyze Hafez work. One of the most effective ways to express oneself is through literature. A ghazal, for example, was found to have a form and structure that are harmonious, despite its apparent incoherence, and the poet applies seemingly distant artistic structures to convey a single and coherent subject, as well as its beauty and ugliness. If the reader applies the cited theory and takes into consideration the identification of the single form present in each text, she or he will be unable to advocate personal opinions, but can instead present a theory based solely on the structure and texture of the text. Each text is analyzed according to this theory on four levels (form, style, inferiority, and ugliness). To achieve an objective examination of each text, the theory can be used as an efficient and appropriate tool to find its essence outside of the highlights and contradictory views of its artistic appearance. As a result, the reader is liberated from confusion.
This theory helps readers comprehend literary texts through the use of the form of each text and the explanation of the highlights. As a result, it provides theoretical and practical tools for the criticism of any text as well as qualitative criteria for measuring the quality of literary works.
It was found that by identifying precise relationships between contradictory and reciprocal artistic structures, one can gain a deeper understanding of the text's internal components and dark areas, which are demonstrated by the correlation of these contradictions and contrasts within the text's overall harmony and coherence. Because Hafez methods of using symmetry, contrast, contradiction, proportion, balance, humor, and ugliness create harmony and unity in the text, which finally reveals another aspect of Hafez artistic creations to the reader, the use of contradictions in the text paves the way for the emergence of a special artistic order that can in no way be regarded as incoherent or disturbing.
A theoretical analysis is provided in this article utilizing the library technique. In this examination, Hafez words and thoughts are examined from the standpoint of ugly aesthetic theory, which leads to a system of techniques and solutions for better understanding of literary texts. Among other artistic devices, the authors illustrate how the poet used comedy, absurdity, confrontation, and ambiguity to represent some of society's most unappealing aspects during this period.
Sepide Aghababaei Roodbari, Jalil Moshayedi, Hassan Haidary, Mehrdad Akbari gandomani,
Volume 15, Issue 57 (Spring 2022)
Volume 15, Issue 57 (Spring 2022)
Abstract
Simin Behbahani, Hossein Manzavi, and Mohammad Ali Bahmani, together forming the new Persian Ghazal (short lyric poem) triangle, made significant changes in contemporary Persian Ghazal. Iranian poetry and prose quickly incorporated symbolism into their poetry and prose as one of the essential schools of modern literature. In this study, the researchers have analyzed about 400 symbols in the new Ghazal of the mentioned poets, according to Mahmoud Fotouhi's division of symbols into three categories: micro-, macro-, and structural symbols. They include the analysis of statistics and frequency of symbols, the origins, the concepts, the factors of creation, and the analysis of samples. Among the 326 micro-symbols studied, nature with 73% is the most important source, with a frequency of 326 applications. There are about 14% human symbols and about 11% human-made structures. The Ghazals of the period make little use of macrosymbols. Nevertheless, the organic symbols that have developed into a new art form in contemporary literature appear frequently in Ghazals of Simin, appearing 69 times, making her work distinguishably different from others.
Extended Abstract
Introduction
Symbolism is based on axes such as ambiguity and polysemy, and symbols are signifiers that, in addition to explicit concepts, also refer to implicit concepts. The French philosopher and writer Paul Ricoeur, in defining the symbol, says that every signifying structure, has not only the specific and direct primary and literal meaning, but also another meaning which is indirect, secondary and virtual, and this other meaning is obtained only through the primary meaning (Ricoeur, 1974/a, p. 12).
In contemporary literature, symbolism is one of the important schools that has quickly opened its place in Persian poetry and prose. New poetry has been a pioneer in this field with the initiation of Nima Yooshij, and as a result, classical poetry, including the form of ghazal and then the new ghazal, has seen such developments.
Simin Behbahani, Hossein Monzavi and Mohammad Ali Bahmani, as the three sides of the new ghazal’s triangle, made fundamental changes in contemporary ghazal. Among these changes, these poets approached symbolism by implicit expression of political and social issues in order to avoid the consequences of frankness and clarity of speech.
Symbols are generally divided into artistic and non-artistic ones according to the nature of their function. Rhetoricians divide symbols into different categories in terms of their innovation or circulation, the most important of which are conventional or public symbols and individual, personal or innovative symbols. Mahmoud Fotouhi considers the relation of symbol with the texture of poetry to be studied in three parts with a structural and conceptual view. In this article, the authors have analyzed the symbols in the new ghazal, according to its three categories in the book of “rhetoric of image” with the titles of micro-symbols, macro-symbols and organic symbols.
Methodology
The methodology of the current study is based on the nature of data in accordance with the descriptive and analytical model and the purpose of selecting this model was to identify the symbols and then to analyze the content from statistical, stylistic, structural, aesthetic and categorical perspective.
Results
By studying the collection of ghazals of the pioneers of new ghazal, Simin Behbahani, Hossein Manzavi and Mohammad Ali Bahmani, the authors have extracted about 400 symbols and analyzed them in three sections of micro-symbols, macro-symbols and organic symbols based on Mahmoud Fotouhi's categorization. And in fact, this article looks at categories that include: statistical and frequency analysis of symbols, their origins, their concepts, innovations, factors of creation, comparison and analysis of samples and data. In the study of micro-symbols, with a frequency of 326 applications, the element of nature with about 73%, has the most important origin. Human symbols with about 14% and human handicrafts with about 11% are in the next stages. Macro-symbols have been used sparingly in the ghazals of this period, but the organic symbols that have formed a new artistic form in contemporary literature, have a significant frequency in the ghazal of Simin Behbahani with a frequency of 69 items. It can be considered as one of the special features and distinct characteristics of her ghazals.
Conclusion
The result of this article can be divided into four categories:
1. Origin: Organic symbols have more than two origins, human and nature, but micro-symbols of this period are notable in terms of their high frequency.
a) Nature: In the study of the micro-symbols of the new ghazal, the element of nature has a more significant frequency, which has appeared respectively in Behbahani, Monzavi and Bahmani’s ghazals. Among the various elements of nature, the element of color and nature in its general meaning, and in the next stage, the element of time, are the most frequent.
b) Human: Micro-symbols with human origin of ghazals of this period are not very frequent. In this section, dominator is symbols with mythological origins and the most important reason for its emergence is the political and social content of the ghazal of this period and its goal is motivating the audience.
c) Human handicrafts: Micro-symbols of this period with the origin of human handicrafts have been found to be less frequent than other patterns. What seems remarkable in this area is the fifty percent use in Bahmani's ghazals.
2. Innovation: The micro-symbols of this period, although considered new in contemporary literature, are not personal; and symbols that are more personal, sometimes had occasional uses in the poems of others. However, in this section, the organic symbols of Simin, such as Koli, Sara, Ilkhan va Zohre, Khar haye zesht, Neyzar, etc. can be considered as personal and private symbols of the poet.
3. Concept: Symbolism in Persian poetry and literature is fundamentally different from its western version, which is based only on artistic arrangements, emphasizing on the doctrine of "art for art's sake”. In the ghazals of this period, the symbol is considered as one of the dominant artistic functions among the various forms of imagination. But of all these rhetorical techniques, none has found more anti-oppressive function.
4. Factors of creation: The factors of creating the micro-symbols of this period are mostly socio-political issues of the poet's time and artistic requirements, then intellectual, philosophical, spiritual and psychological factors. In organic symbols, domination is with socio-political factors that we sometimes see the combination of various factors in Simin's personal symbols in which both political and social issues, intellectual and philosophical ideas, even issues and psychological sufferings of this group are discussed.
Extended Abstract
Introduction
Symbolism is based on axes such as ambiguity and polysemy, and symbols are signifiers that, in addition to explicit concepts, also refer to implicit concepts. The French philosopher and writer Paul Ricoeur, in defining the symbol, says that every signifying structure, has not only the specific and direct primary and literal meaning, but also another meaning which is indirect, secondary and virtual, and this other meaning is obtained only through the primary meaning (Ricoeur, 1974/a, p. 12).
In contemporary literature, symbolism is one of the important schools that has quickly opened its place in Persian poetry and prose. New poetry has been a pioneer in this field with the initiation of Nima Yooshij, and as a result, classical poetry, including the form of ghazal and then the new ghazal, has seen such developments.
Simin Behbahani, Hossein Monzavi and Mohammad Ali Bahmani, as the three sides of the new ghazal’s triangle, made fundamental changes in contemporary ghazal. Among these changes, these poets approached symbolism by implicit expression of political and social issues in order to avoid the consequences of frankness and clarity of speech.
Symbols are generally divided into artistic and non-artistic ones according to the nature of their function. Rhetoricians divide symbols into different categories in terms of their innovation or circulation, the most important of which are conventional or public symbols and individual, personal or innovative symbols. Mahmoud Fotouhi considers the relation of symbol with the texture of poetry to be studied in three parts with a structural and conceptual view. In this article, the authors have analyzed the symbols in the new ghazal, according to its three categories in the book of “rhetoric of image” with the titles of micro-symbols, macro-symbols and organic symbols.
Methodology
The methodology of the current study is based on the nature of data in accordance with the descriptive and analytical model and the purpose of selecting this model was to identify the symbols and then to analyze the content from statistical, stylistic, structural, aesthetic and categorical perspective.
Results
By studying the collection of ghazals of the pioneers of new ghazal, Simin Behbahani, Hossein Manzavi and Mohammad Ali Bahmani, the authors have extracted about 400 symbols and analyzed them in three sections of micro-symbols, macro-symbols and organic symbols based on Mahmoud Fotouhi's categorization. And in fact, this article looks at categories that include: statistical and frequency analysis of symbols, their origins, their concepts, innovations, factors of creation, comparison and analysis of samples and data. In the study of micro-symbols, with a frequency of 326 applications, the element of nature with about 73%, has the most important origin. Human symbols with about 14% and human handicrafts with about 11% are in the next stages. Macro-symbols have been used sparingly in the ghazals of this period, but the organic symbols that have formed a new artistic form in contemporary literature, have a significant frequency in the ghazal of Simin Behbahani with a frequency of 69 items. It can be considered as one of the special features and distinct characteristics of her ghazals.
Conclusion
The result of this article can be divided into four categories:
1. Origin: Organic symbols have more than two origins, human and nature, but micro-symbols of this period are notable in terms of their high frequency.
a) Nature: In the study of the micro-symbols of the new ghazal, the element of nature has a more significant frequency, which has appeared respectively in Behbahani, Monzavi and Bahmani’s ghazals. Among the various elements of nature, the element of color and nature in its general meaning, and in the next stage, the element of time, are the most frequent.
b) Human: Micro-symbols with human origin of ghazals of this period are not very frequent. In this section, dominator is symbols with mythological origins and the most important reason for its emergence is the political and social content of the ghazal of this period and its goal is motivating the audience.
c) Human handicrafts: Micro-symbols of this period with the origin of human handicrafts have been found to be less frequent than other patterns. What seems remarkable in this area is the fifty percent use in Bahmani's ghazals.
2. Innovation: The micro-symbols of this period, although considered new in contemporary literature, are not personal; and symbols that are more personal, sometimes had occasional uses in the poems of others. However, in this section, the organic symbols of Simin, such as Koli, Sara, Ilkhan va Zohre, Khar haye zesht, Neyzar, etc. can be considered as personal and private symbols of the poet.
3. Concept: Symbolism in Persian poetry and literature is fundamentally different from its western version, which is based only on artistic arrangements, emphasizing on the doctrine of "art for art's sake”. In the ghazals of this period, the symbol is considered as one of the dominant artistic functions among the various forms of imagination. But of all these rhetorical techniques, none has found more anti-oppressive function.
4. Factors of creation: The factors of creating the micro-symbols of this period are mostly socio-political issues of the poet's time and artistic requirements, then intellectual, philosophical, spiritual and psychological factors. In organic symbols, domination is with socio-political factors that we sometimes see the combination of various factors in Simin's personal symbols in which both political and social issues, intellectual and philosophical ideas, even issues and psychological sufferings of this group are discussed.
| Page 1 from 1 |