THE CRITISIM OF SEYYED HASSAN HOSSEINI’S POETRY FROM THE VIEWPOINT OF IMAGINARY

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KARIMI A.; VAGHARI K.

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Journal: LITERARY ARTS Year:2012 | Volume:3 | Issue:2 (5) Page(s): 93-116

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Information Journal Paper

Title

THE CRITISIM OF SEYYED HASSAN HOSSEINI’S POETRY FROM THE VIEWPOINT OF IMAGINARY

Author(s)

KARIMI A. | VAGHARI K. | Issue Writer Certificate

Keywords

IMAGINATIONQ2

SIMILEQ2

METAPHORQ2

SYMBOLQ2

FIGUREQ2

MMETONYMYQ2

PARADOXQ3

SYNAESTHESIAQ2

SEYYED HASSAN HOSEINIQ2

Abstract

Imagery is indirect expression of covert meaning beyond the words and classic poets are informed of the valve of the appropriate, timely and suitable image processing. Seyyed Hossan Hosseini's is work from the point of view of Imagery. In this paper, it is tried to be analyzed imagery in poet' s collections, on the basis of elements including: similie, METAPHOR, SYMBOL, metonymy, FIGURE, PARADOX, synaeshesia.In the SIMILE part, in seyyed Hassan Hosseini’s works, detailed and eloguent SIMILE, works detailed, eloguent SIMILE and sensational have much frequency. On the basis of topic, tenor is often the poet, himself/herself, the poet’s hero/heroine and abstract elements and from the point of view of vehicle, natural elements, objects, animals, religious, national elements and nearly abstract elements are rarely used. Among the various kinds of METAPHORs, ironic and explicit METAPHORs have high frequency and also, in personification, the poet has noted the abstract concepts and used them increasingly. His constructive elements of IMAGINATION, from the point of view of vehicle, are generally natural elements, objects, animals, and images related to eternal God, poet and his/her characteristics, religion, prophet and the hosehold of the prophet of Islam, the images related to revolution, war and martyr that organize the constructive elements of IMAGINATION from the point of view of tenor. The poet in all of his works has used the figurative documents.In the part of the SYMBOLs, Seyyed Hassan Hosseini, has used the three sources of SYMBOL, that is, nature, national, mythological customs and religion, but more than all he has used nature for presentation of images and expressing of his feeling. The applied SYMBOLs in his poetries are generally conventional and customary. The application of elements of nature in the position of SYMBOL has led to forming of social SYMBOLism in his works. Almost all of the available metonymies in poet’s works in the point of view of vehicle, current metonymy and from the point of view of clarification and hiding, are kinds of indication. FIGURE is used in different interest indication. FIGURE is used in different interests in his poetries that FIGURE to organic and imperative interest is seen more than other kinds. PARADOXes are expressed in two forms, expressional and documental, that their numbers are set in a medium level. Also, about SYNAESTHESIA, some times, two external senses are assigned to each other and sometimes an external sense to a mental case; whereas, the first one is more frequent.

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APA: Copy

KARIMI, A., & VAGHARI, K.. (2012). THE CRITISIM OF SEYYED HASSAN HOSSEINI’S POETRY FROM THE VIEWPOINT OF IMAGINARY. LITERARY ARTS, 3(2 (5)), 93-116. SID. https://sid.ir/paper/156977/en

Vancouver: Copy

KARIMI A., VAGHARI K.. THE CRITISIM OF SEYYED HASSAN HOSSEINI’S POETRY FROM THE VIEWPOINT OF IMAGINARY. LITERARY ARTS[Internet]. 2012;3(2 (5)):93-116. Available from: https://sid.ir/paper/156977/en

IEEE: Copy

A. KARIMI, and K. VAGHARI, “THE CRITISIM OF SEYYED HASSAN HOSSEINI’S POETRY FROM THE VIEWPOINT OF IMAGINARY,” LITERARY ARTS, vol. 3, no. 2 (5), pp. 93–116, 2012, [Online]. Available: https://sid.ir/paper/156977/en

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