ADABIYAT-E PARSI-YE MOASER (CONTEMPORARY PERSIAN LITERATURE)
Year:2012 | Volume:2 | Issue:1 (3)|Papers Count:7

Although Akhavan Sales, one of the great contemporary poets, is known as a modernist poet; many parts of his Divan contain different forms of traditional poems. In this paper the language style of Akhavan’s 32 odes are considered to show that how much he is loyal to the rules of ancient language in this traditional form, how much he has used his own competence and what is his reason for using a special language.For this purpose the language of Akhavan’s odes are considered from both vocabulary and syntax aspects; and their ancient elements are extracted by comparing them with the poems of the past poets specially the poets of Khorasan.Findings show that although Akhavan is emotionally attached to ancient Persian language specially the language of Khorasan poets and uses many of this language features particularly those pertaining to syntax, but from the aspect of vocabulary his language doesn’t only remain in the zone of ancient language. He uses many words of that ancient one and he also uses innovative words and increases the wealth of the language.

One of the important movements in contemporary poetry is the symbolic poetry. Most of critics and theoreticians believe that an element in the tendency of the contemporary symbolic poetry is the change in political and social atmosphere of the society and the intense dictatorship and political suffocation. According to this idea, beside the element of familiarity of the poets with the school of symbolism, the change in their view to the world of being, society and the world around and also, the element of artistic ambiguity and the depth of the poetry can be added. In fact, one of the aims of symbol in poems of poets such as Nima, Akhavan, Shamlou is the creation of an ambiguous context, a deep poem, inspiring the reader and his participation in the process of meaning making, movement of poetry from single-meaning to poly meaningfulness and making the reader to read the poem and think about its meaning.Thus, some common symbols such as birds, forest, poplar trees, lamps, window, etc. which are the important elements in symbolic poetry of above mentioned poets are studied and interpreted.

Considering the ancient culture and history of this land, the existence of myth in Iranian poetry is not new. The use of symbols and myths to enrich language, political and social efficiency of poem, acquaintance with poems and myths of other nations and the use of myths is frequently seen in the poems of contemporary poets. Considering today’s social situation and the symbolic language of his poem, Hamid Mosadegh have an extensive approach toward myth, this attitude is not deep in all instances, sometimes names and symbols of myths are just in the level of verbal language. Epic, love and different nations’ myths, have found a symbolic nature in his poem and mystical myths have been applied to the surface structure. In each of the discussed myths, through examples it is shown which symbol or symbols are used and how far are consistent with their primary symbols. It’s also figured out that the use of love and epic myths is more in his poems, because his poems are mostly patriotic and romantic.

Color has a close relation with art, painting and literature. Colors reveal so much about the secrets, as well as the social conditions, of author’s era. Colors play an important role in our attitude to existence, way of life and our psychical- spiritual moods. Then through the time they have gotten symbolic roles. They suggest a variety of emotions. Suvashunhas an especial place in Persian literature. This novel explains the morality and socio- political conditions of Iranians, especially of the people of Shiraz through World War II. On this account it is a valuable post colonist novel which is the real sequence of Constitutionalism. The Persian literature of the period of Constitutionality in first step conflicted with internal despotism and secondly struggled with colonialism. Colors are present in all layers of Suvashun, explicitly or figuratively. Contemplation to how and in which situation the author uses different colors can be very useful for readers to understand the ideas dominated the author’s thoughts as well as her society. In spite that Daneshvar (the author of this novel) has tried to show her optimistic view to social evolution, the extensive use of the color Black which mostly suggests death and mourning, makes it clear that in contrast with her imagination, there is no optimism to social evolution. On the other hand it means that the author’s mind has been occupied unconsciously by some unrecognized forces. In this essay we try to prove this hypothesis. According to the results colors are (connotation and denotation) repeated about 2679 times, 14% of which belongs to black. So the color black was repeated more than other colors (452 times).

Despite its heroic and tragic theme, Kalidar describes the love, life, difficulties and misfortunes associated with tribal and rural life. One of the distinctive features of the novel which has made it unique among other novels is its unique and innovative description. The scope of this description is much extended and covers a different climate that causes us to ask ourselves “has the writer only aimed on arrangement of a literal and attractive text or has had other aims? “The use of description in the novel is so extensive that has been the cause of some criticism. Since no qualitative study has been conducted in connection with such descriptions and the advantages and disadvantages thereof, in this study we tried to investigate both qualitative and quantitative aspects of the novel, analyze and criticize the selections and verify their necessity in the novel to find a response to some criticisms.

According to Jung’s analytical psychology, human psycho is built on a psycho system that is named Archetype. This study investigates Archetype of shadow that is the most important Archetype in Akhavan Sales’ poems. Since shadow Archetype has negative function in human personality, this study investigates the positive function of shadow Archetype and its reflection in poems and life of the poet, in addition to its negative function. Since Jung posited that symbols are apparent forms of latent Archetype and deep dreams, and considers artistic and literary creation the contexts for their recovery and expression, the Shadow Archetype emerges from the negative symbolic personalities. Shaghad Daghiyanos, Alexander, zane joghd, and talisman are examples of these negative symbolic characters.

In this study while presenting the creating factors of style, we analyze the artistic technique and style, structure and linguistic features of the works of the contemporary author, Bijan Najdi (1320-1376). Based on the valuable form and content of his works, he has created a new style through synthesizing poetry and story by a certain delicacy and skill. He had a unique talent in fiction. Beside the research and studies about his works, studying the linguistic, rhetorical and poetical features that has given a notable style to his works, could perhaps show a way to better and more accurate readings of other contemporary Iranian writers. The study includes three of Najdi’s fictional works “The Panthers that have ran with me’, “From the street again” and “Unfinished stories”. He has approached the language of poetry by the use of a precise and extensive poetic language and has maintained the balance of story elements, so his stories can be called poetic. Although other writers before him tried to synthesize poetry and story but none could achieve his success. First by looking at the causes of literary styles and manner of narration, the defamiliarization and poetical factors will be discussed, and then we try to strive the factors in Najdi’s stories by specific examples in chapter two. This paper assumes that the author utilizes linguistic, rhetorical and poetical principles. The present research attempts to prove this subject by carefully studying his works, analyzing the details and comparing the writer’s stories with the linguistic, rhetorical, and structural principles.