Pazhuhish-i Zaban va Adabiyyat-i Farsi
Year:2013 | Volume:- | Issue:30|Papers Count:7

Myth had inspired poets and authors in all cultures and they had applied it based on their contemporary circumstances and up to an acceptable level. Due to this, Myths were sometimes respected and sometimes disrespected and despicable.One of these periods is the period which is often called Holy Defense Period and or War Literature. Poets and writers of this period had used national and religious myths to awaken resistance and persistence morale against enemy. Symbols and myths were like a media in this period. Motivating audience to participate in war fields is indebted to these symbols and myths.The current article is to discuss about national and religious myths in Holy Defense Poetry and their view toward Myths and attempts to clarify how much these mythical names were effective in motivating audiences to war against enemy.

The Great Event of Holy Defense not only affected all life aspects of Iranians, but also it explained and determined a special value system by its entrance into literary and artistic works; and Holy Defense artists believe that their duty is to preserve and custody this value system. Therefore every kind of change and transmutation in these values caused reactions of these artists and gradually made a movement named “Protest”; meanwhile, Holy Defense poetry and cinema has made “Protest” its main content. This convergence is shown in two kinds of social and political Protests in this interdisciplinary article. To review the Protest element in Holy Defense art, not only we named different famous faces in its poetry and cinema, but also we focused on works of one of the most famous Holy Defense cinema artists named “Ibrahim Hatami-Kia” and poets named “Alireza Qazve”.

Qeysar Aminpour (1960-2007) is one of the famous representatives of Revolution and Resistance Literature. In the first poesy of Qesar Aminpour (poems of two books named Morning Breath and Sudden Mirrors) which are composed during war years, death and its different manifests are the most brilliant concepts in his poetry. He did not mention to natural death in this period and views war-caused deaths from two viewpoints: 1- people viewpoint: death is a disastrous event for innocent children and women and it has an abominable face which shows the brutality of enemy and the obscenity of war; 2- combatants’ viewpoint: death, i.e. martyrdom, has a sublime value and poet always tries to produce a beautiful manifest of death. After clarifying these mentioned viewpoints, we tried, in two sections of Martyrdom and Martyr, to introduce artistic methods of Qeysar Aminpour in dealing with Concept of Death from second viewpoint (Martyrdom) through Metaphor, Simile and Symbol- with mentioning to artistic beauties of his poetry- and finally we decoded some other of his poets based on these data and knowing his literary method and thinking system.

According to the role of Simorgh (Roc) archetype among authors and artists, we see effective presence of Simorgh in classical Persian texts having different functions like mythical, epic, philosophical, mystical and so on roles. Among these functions, it has shapes of birds, human, gods, and angels and so on in early periods; and it has different forms, features, and functions due to presence of myth; while in contemporary world, Simorgh is no longer a strange and mysterious being, and it is a multi-patterned bird in literature and other forms of art. This shows that Simorgh has got to objectivity from abstraction in the historical transition to contemporary art and literature; and it has declined from its original fine status in contemporary poetry instead of improving or at least stopping in being applied in previous sublime uses.

Linguistic changes would be analyzed this article in social context and based on element of time. Development in word role is one of the linguistic changes whose root shall be sought in social construct. “Night” is one of the concepts whose fundamental semantic change in literature can be regarded as signs of great social changes in Iran. Authors attempt to seek these changes by using synchrony and diachrony analysis method. We can categorize four periods of change in word “Shab” (i.e. Night), so that Night represents nature and a epical sign in classical poems. However, with a fundamental change in social context particularly in Middle Iran, Night has become a symbolic concept of Mysticism; in historical path of Iranian nation and its changing context during Constitution and emergence of Modernism, it got an indexical status and got the meaning of mishap and fate; finally, in fourth period, it is regarded as a metaphor of political authority, so it become a figural symbol along with spreading political Tyranny in the new period.

This article explains functional and hermeneutic aspects of “Introduction” poetic prose of in speech of “Hussein, Inheritor of Adam” in work series No. 19 of Ali Sharia’ti. Here, “Introduction” is assumed as an independent literary work and close to a drama text that based on its theme and components carries functional works into audience and causes social action in its audience. In other hand, its hermeneutic aspect signifies author’s existential problems about human and destiny and helps audience understand historical role of author despite his efficiency. Ashura is the central axis in “Introduction” that carries two aspects of efficiency and hermeneutic in position of a tragic drama. This article explains its claim based on a mixed theoretical framework came to this conclusion that “Introduction” is located below “Kaviriat” based on its method and content and also in categorized as “Islamiat and Ejtema’yiat” and in this view it can be regarded to have features of a literary text.

Qeysar Aminpour is one of the most famous and distinctive artists of Iran’s Contemporary Literature who had tried to compose poem in different areas and poesy forms. He is a critical poet and his poems involves social criticism with philosophical background from 1980s with “Morning Breathe” (1985) to 1990s with “Sudden Mirrors” (1994) and 2000s with “Flowers are all Sunflowers” (2001) and “Grammar of Love” (2008). Among all theses, and based on discourse and deep structure changes of Qeysar Aminpour poems in these three periods, author attempts to analyze the Protest issue which is one the mental problems of poets and authors from past to now and contemporary human is involved with it based on his/her surrounding issues in 4 sections of nature, naturology of Protest, existentialism, teleology, and moral grandeur and dignity of Protest.