1استادیار گروه زبان و ادبیات فارسی دانشگاه ولی عصر (عج) رفسنجان، رفسنجان، ایران
2دانشیار گروه زبان و ادبیات فارسی دانشگاه ولی عصر (عج) رفسنجان، رفسنجان، ایران
3دانشآموختۀ زبان و ادبیات فارسی دانشگاه ولی عصر (عج) رفسنجان، رفسنجان، ایران
چکیده
در بیست سال اخیر بیش از بیست مجموعه شعر از شعرای شهرستان رفسنجان چاپ شده است که برخی از آنها به‌ویژه مجموعههایی که سرودکهای سپید را دربردارند، در شمار بهترین نمونههای موفق شعر معاصر شمرده میشوند. افزون بر این، نوآوری در قالب رباعی به شکل سه‌گانی، رباعی‌های نیمایی، تک‌بیت‌‌های نیمایی، شش‌پاره و قالب‌های ترکیبی نیز، بخشی از تلاش شعرای این سامان برای تأثیرگذاری بر شعر معاصر است. بررسی صناعات ادبی مانند ایهام کاربردی، آشنایی‌زدایی در تلمیح، و تفحّص در شعرسازترین آرایه‌ها از قبیل استعاره‌ها، نمادها و واج‌آرایی‌ها در آثار شعرای رفسنجان نشان میدهد که این شعرا به‌خوبی از این عناصر برای توسّع کلام و هدایت اندیشۀ مخاطب برای اهداف ارزشی شعر و لذّتبخش کردن آن برای مخاطب، بهره بردهاند. این پژوهش به شیوۀ تحلیلی–توصیفی به شناسایی زیبایی‌های ادبی شعر شعرای رفسنجان پس از انقلاب اسلامی می‌پردازد. حاصل پژوهش نشان میدهد که اساس زیبایی شعر شعرای رفسنجان، بر نوآوری در موسیقی و واج‌آرایی، ایهام، استعاره، نماد و آشنایی‌زدایی بنا نهاده شدهاست.
Aesthetics of Rafsanjan poets’ poems after the Islamic Revolution
نویسندگان [English]
Saeed Hatami1؛ Hameed Jafari Qarye Ali2؛ Ali Haidarizade3
1Assistant professor of Persian Language and Lliterature, Vali Asr University of Rafsanjan, Rafsanjan, Iran
2Associate Professor of Persian Language and Literature, Vali Asr University of Rafsanjan, Rafsanjan, Iran
3M. A. Graduate of Persian Language and Literature, Vali Asr University of Rafsanjan, Rafsanjan, Iran
چکیده [English]
Aesthetics of Rafsanjan poets’ poems after the Islamic Revolution The study, deploying the descriptive-analytic approach, examines the aesthetics of the Rafsanjan poets’ poems after the Islamic Revolution. The results of the study show that the aesthetics of Rafsanjan poets’ poems has been based on innovation in music and alliteration, vagueness, metaphor, symbolism, and defamiliarization. 1. Statement of the problem In this paper, the viewpoint of Rafsanjan poets on poetry music, forms and figures is examined, the poets’ interest in poetry aesthetics is indicated, and the poets’ innovations and attempts are assessed along the way. 2. Forms The works of Rafsanjan are more in forms of sonnet, masnavi, quatrain, couplet, four-piece, Nimayi, Sepid, short poem, triad in quatrain (trio, two-rhyme quatrain, Nimayi short poem in quatrain form), Nimayi single-verse, Nimayi semi-verse, and rhyme-less sonnet. 3. Music of the poem 3.1. Alliteration Double alliteration, continuous alliteration, and discrete alliteration, are different types of alliteration in Rafsanjan poets’ poems from an external viewpoint, and from a practical and purpose-based view, one can mention the pleasing but meaningless poem. In the pleasing but meaningless poem, the music resulting from sound repetition is not related to the meaning at all. 3.2. Inversion Is a figure of speech which is made by inverting the word order of a compound or a sentence and creates a new meaning. 3.3. Vagueness Here, only the vaguenesses are mentioned which are not cited obviously in classical new books: 3.3.1. Linked verbal vagueness with the same letters It is a type of vagueness in which when the reader reads two (or more) words, they notice the presence of another word. 3.3.2. Linked verbal vagueness with different letters It is a type of vagueness in which the reader, when reading it, feels that from the link of the sounds of some words, they hear the sounds of another word or compound. 3.3.3. Verbal verbal vagueness In this kind of vagueness, a word, when read, evokes another word with a colloquial pronunciation, which has a separate meaning; however, in relation to the word having the vagueness with, is pleasant. 3.3.4. Allusion vagueness Allusion vagueness occurs when a word refers to two events at the same time, so that its semantic load, at the beginning, would refers to an accident and its implicit semantic load which comes to mind refers to another event. 3.3.5. Practical vagueness Sometimes the reader reads a poem and pronounces a word in such a way that the hearer thinks that they are the audience, however, as they continue reading, they find out that they were wrong and laughs for their mistake: Be Quiet!, a sound is coming from the sky The sound comes from God’s feast (Heydarizade, A2012: 77) 4. Defamiliarization in allusion for creating humor Likening today's lovers and beloveds to Leyli and Majnoun and making them get together contrary to the original story, is a kind of defamiliarization in allusion for creating humor: There is a reason Majnoun would go on strike In the first night of his marriage (Jahanbakhsh, 2013: 16) 5. Expressive figures of speech In Rafsanjan poets’ poems, most similarities are in association with the cultural and economic characteristics of the region and it seems that the poets of Rafsanjan have expanded a little the “Maknie” metaphor; the features of the metaphor in their poems are: personification, animal likening and plant likening. Regarding the use of symbol one can state: In the poems of the region, most symbols are from natural phenomena and are more intended to induce ethical messages. Generally, using animal symbols is the best way to create humor in their poems. Conclusions General assessment of the poems from Rafsanjan poets indicate that poems in different lyric, religious, humorous, and social types in classical, Nimayi, and short poem types have developed seriously and each have been developed in works of one of the poets and has been decorated with figures of speech. Innovation of Rafsanjan poets in quatrain and Sepid short poems and also attending to some of verbal games and figures of speech, in a way that they have had an undeniable role in creating meaning, has made the field dynamic.
کلیدواژه‌ها [English]
Contemporary literature, aesthetics, innovation in short poems and quatrain form, Rafsanjan poems
مراجع
منابع
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