تناقض هایی کم ژرف یا در ژرف؟! (وا کاوی گونه های پارادوکس در غزل حسین منزوی) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
پارادوکس یا متناقض نما، از صنایع ادبی دارای پیشینه در ادبیات کهن پارسی و از شناخته شده ترین آرایه های شعر امروز در علم بدیع معنوی است. حسین منزوی به عنوان یکی از شاعران نوآور معاصر، به اندازه قابل توجهی از این شگرد شاعرانه بهره برده است. تکرار واژگانی و مفهومی، نوآوری و شگفت انگیزی، می تواند از شاخص های تعیین تناقض نماهای کم اثر یا «کم ژرف» و تأثیرگذار یا «درژرف» باشد. در این جستار، کوشش بر آن است که با روش تحلیلی-توصیفی، تعریف مشخصی از تناقض های کم ژرف و درژرف ارائه شود و در ادامه با بررسی هایی که از حضور این آرایه ادبی در غزل های منزوی صورت گرفته، به این پرسش پاسخ داده شود که سهم هرکدام از این تناقض ها در غزل او چه میزان است. نتایج به دست آمده از این پژوهش حاکی از آن است که تکرارهای واژگانی و مفهومی در ساخت تناقض های غزل او به مراتب بیشتر از نوآوری و شگفت انگیزی در مجموع این تناقض ها است.Shallow or deep contradictions?! (Analysis of types of paradoxes in Hossein Manzovi's Ghazal)
Paradox is a literary craft that has a precedent in ancient Persian literature and is one of the best-known arrays of modern poetry in spiritual science. Manzavi, as one of the innovative poets in contemporary poetry, has usually dealt with this poetic technique. Lexical and conceptual repetition, innovation and surprise can be among the indicators of determining the contradictions of less effective or shallow and effective or deep. In this research, an attempt is made to provide a specific definition of shallow and deep contradictions based on the descriptive analytical method, and then to answer this question by examining the existence of this literary array in isolated sonnets. Let's find out the contribution of each of these contradictions in his sonnet; The results obtained from this research indicate that the lexical and conceptual repetitions in the construction of contradictions in his sonnets are far more than the innovation and surprise in the totality of these contradictions. 1. IntroductionParadox is derived from (Paradoxum) in Latin, the origin of which is the Greek word Paradoxon, composed of para meaning opposite or "contrary to" and doxa meaning opinion. (Webster, under Paradox) A large part of the beauties and innovations of the literary language is the result of breaking the linguistic structures and mental habits and escaping from the traditional constraints. Among the emerging arrays that can be designed and evaluated in the literary arts is the art of contradiction or contradictory names, which is completely new in the literary arrays books. Apparently, the first person who proposed this array in Persian literature was Mohammad Reza Shafiei Kodakani. (Ahangari-Kiasri, 64: 1389). Contradictory, it generally causes the words and meaning to stand out and as a result arouses the audience's thought and excitement, and it has a real depth that is obtained through interpretation and interpretation. There are many pure paradoxes in different periods of Persian poetry, and one of the poets who used this literary array a lot in the contemporary period is "Hossein Manzavi". The aim of the upcoming research will be to deal with the criteria for distinguishing strong or weak paradoxes and to reflect this assessment in isolated sonnets. Therefore, it is necessary to carry out this writing and analyze the contradictory types in the isolated sonnet from Dighai. It is known that the new and novel paradoxical images are much more enjoyable and thought-provoking than the old and repeated subjects which also cause escapism and reminiscence of taste. It is new and surprising that these two are related to each other, that is, when an image and a combination outside of the old and repeated topics are presented to the reader, it attracts his attention and makes him think. It has This novelty is accompanied by "surprise and surprise", therefore it leads to the persuasion of the aesthetic sense and excitement of the audience, and literary and eloquent speech is created. (Wazilah, 1386: 159) They are involved in being strong or weak. Repetition, innovation and surprise can all be among the most important factors. In this research, by analyzing isolated sonnets, we have tried to answer the following questions in addition to examining the mentioned cases:- What are shallow and deep contradictions?- How weak and shallow are the contradictions used in isolated sonnets and how strong and deep?2. Research methodThe method of this research is analytical-descriptive and of a qualitative type, and it has been done using library sources, and primary data has been obtained through the study of numerous books and articles in the field of literary criticism and poetry classics.3. DiscussionIf we have an overview of the beginning of the formation of the paradox industry in Persian poetry and literature until today, we will realize that these paradoxes do not have the same degree, level and level of influence, and the reason for that is the level of individual sensitivity, which is completely different in each person. . The noteworthy point is that what determines the level of these individual sensitivities are factors such as repetition, surprise and innovation. It is very clear that exemplary and repetitive contradictions cannot be interesting and attractive for the audience, and precisely for this reason, the term "shallow" has been used for these contradictions, which have little impact on the audience's mind. On the other hand, it is the innovation and surprise that makes the audience happy at the moment. Such contradictions are called "deep" in this article. It should be kept in mind that one of the factors that cause shallow contradictions is the use of repeated words and concepts, which will be an obstacle to creating a sufficient impact on the mind and psyche of the audience or listener. Profound paradoxes are contradictions that the reader or listener, at the same time as reading or hearing it, like a bolt of lightning that hits the brain, is confronted with it and suddenly realizes its impact. What plays a role in the emergence of these paradoxes is the presence of factors such as innovation and surprise. With a quick look at his biography, literary career and collection of isolated poems, it is possible to understand that love is one of the most fundamental elements of his poems. Also, this exploration shows why the reputation of this singer is permanent in the sky of our lyric poetry today. The main factors in the formation and expansion of paradoxical images and concepts in Ghazal al-Mozavi are the expression of romantic issues. Among the other contradictory-representational platforms in isolated poetry and sonnets, we can mention the following: the suffocation of the pre-revolution era, martyrdom, unkindness and narrow-mindedness of his contemporaries. (Rahimi Zanganeh, Najafi, 1392: 859)4. ConclusionAccording to the studies conducted from the background of articles similar to this research, we can get the impression that currently there is no division to recognize paradoxes that are less effective and impressive on the mind of the audience. Therefore, after determining the factors that create each type of these contradictions by mentioning various examples from different periods of Persian poetry, they were also investigated and divided into isolated sonnets. The term and division of shallow and deep contradictions is proposed for the first time in this article; The criterion of distinction in this category is effective factors such as lexical and conceptual repetition in shallow contradictions and innovation and surprise in deep contradictions. Based on the collection of examples of contradictions in the collection of isolated sonnets, the findings of this research show that the examples of contradictions of this poet are formed more in lexical and conceptual repetitions than in innovation and surprise. He said that the use of this array in isolated sonnets is more about everyday life and passing poetic words rather than tense mental conflicts.5. ReferencesAhangeri Kiasary, R. (2010). deliberation in the paradoxical art, development of Persian language and literature teaching, NO2th, 64-66, Tehran: winter.Akhavan sales, M. (2012). 3books (in the small yard of autumn in prison, life says, but we must live, hell but cold), Tehran: winter.Atare Neishahboori, Sh.F. (2001). oshtor nameh, by attempt of Mehdi Mohaghegh, Tehran: asso eitron of cultural works and glories.Bahmani, M.A. (1395). complete works of poem, Tehran: Nagah.Bidele Dehlavi, M.A. (1962). Complete works, Vol1, correction by khal Mohammad khasteh and Khalil Allah khalili, Kabol: pohani ministry of author ship and direct ship.Dehlavi, A.Kh. (1982). Complete works, by attempt of M.Darvish, Tehran: saadi.Forooghi Bastami, M.A. (1978). complete works, by attempt of M.Darvish (Mohammad Elmi), Tehran: Javidan.Hafiz, khajeh sh.M. (1998). complete works of lyrics, correction by Ghazvini Ghani, Tehran: Asatir.Hafiz, khajeh sh.M. (2009). complete works of lyrics, correction by Nahid Farshad Mehr, Tehran: Ganjineh.Kashani, K. (1997). complete works, vol1, correction by Mehdi Sadri, Tehran: Hamrah.Khaghani shervani, A.B. (1996). complete works of poems, Vol1, correction by Mir Jalaldin Kazazi, Tehran: Markaz.Molana, J.M. (1995). complete works, vol1 and 2, correction by Badi Alzoman Frozanfar, Tehran: rad.Monzavi, H. (2006a). Az shokaran and shaker, correction by Mehdi Khatibi, Tehran: Aferinesh.Monzavi, H. (2006b). Tigho Termeh And toazol, correction by Mehdi Khatibi, Tehran: Aferinesh.Monzavi, H. (2020). collection of poems, correction by Mohammad Fathi, Tehran: Naghah.Natoori Zadeh, M. (2023). blunt with love, Boushehr: ghalam dad.Nazami Ghanjavi, Elyas Ben Yousef. (1995). Makhzen Alasrar, correction by barat zanjani, Tehran: Tehran University.Nazami Ghanjavi. (1991). Pange gangj, by attempt of Hossein Pezhman Bakhtiyari, Tehran: Pegah.Rahimi Zangganeh, E, Najafi, A. (2013). consideration of kinds of synthetic and virtual paradox in Monzavi lyrics, researches congress of Persian and literature, 853-860, Tehran.Rastgoo, S.M. (1989). unbecoming, keyhan cultural magazine, 6th year No9, 29-31, Tehran: Azar.Saadi, M. (2006). saadi’s lyrics, correction and expel nation by Gholam Hossein Toussefi, Tehran: sokhan.Saeb Tabrizi’s. (1364). complete works, Vol1, by attempt of Mohammad Ghahraman, Tehran: company of scientific and cultural publisher.Saeb Tabrizi’s. (1991). complete works, Vol6, by attempt of Mohammad Ghahraman, Tehran: company of scientific and cultural publisher.Sanaei Ghaznavi’s. (2002). complete works, by attempt of Parviz Babaei, Tehran: azad mehr.Sawoji, S. (1367). complete works, by Mansour Moshfegh, Tehran: Safi Alishah.Shabesteri, M. (1989). Golshane Raz, by attempt of Samad Movahed, Tehran: golshan.Shamse langrodi, M. (2017). complete works of poems, part 1, Tehran: Nagah.Vahidian Kamyar, T. (1995). paradox in Persian literature, expert magazine of language and literature, 271-294, Mashhad.Vahidian Kamyar, T., Nadari Paykar, M. (2016). saadi’s special methods in two rhetoric’s art, contradiction and paradoxical, Bahar Adab magazine, 9th year, No1, 97-113, Tehran.Vazileh, F. (2007). paradoxical in hafiz’s lyrics, magazine of Persian language and literature, 3th year NO7, 149-172, Tehran: summer.
تبلیغات
