Document Type : Original Article
Authors
1
Ph.D. student of Persian Language and Literature Department, University of Mohaghegh Ardabili, Ardabil, Iran.
2
Professor of the Department of Persian Language and Literature, University of Mohaghegh Ardabili, Ardabil, Iran (corresponding author).
3
Professor of the Department of Persian Language and Literature, University of Mohaghegh Ardabili, Ardabil, Iran
4
Professor of the Department of Persian Language and Literature, University of Mohaghegh Ardabili, Ardabil, Iran .
10.22034/jmzf.2024.402940.1151
Abstract
Prime, a trans-array approach
Shahabadin Vatandoust Bakdilou[1], Shokrolah Pouralkhas[2], Khodabakhsh Asadollahi[3], Bizhan Zahirinav[4]
Abstract
Today, literature and poetry have a more comprehensive definition than mere literary expression with academic meanings and tools. Literature is the collection of all the scientific abilities of the language in the field of structure and richness. The artistic creativity of the poet and the employment of excellent compositions and themes lead to the production of a literary and artistic work, which can be found in the excitement and expansion of the audience.
The aim of this research is to reach the communication network of all the factors related to the language and the appearance of the word, which not only carries the meaning, but also creates a different meaning and concept from the apparent meaning that results from the phonetic, lexical or visual mechanism.
A network that is referred to as "artwork". Artistic device (prime) is a meta-array approach to the aesthetic tools of language in poetry, which formalists consider to be the art of alienating language from the mind of the audience.
Introduction
The foundation of art is original elements, themes, hidden images and the music of words, which leads to poetic discovery in the form of meaning. Vocabulary highlights and defamiliarizations that remove the dust of habit from words and combinations and create a lasting artistic-literary work. Ghazals of Iraqi style, especially Diwan Shams, Saadi and Hafez, are precious works which by formalistic analysis and examination, convincing and solid evidences are found in them.
Statement of the problem and research questions
Usually, aesthetic issues in poetry are measured with literary arrays, but the formalist theory has opened a new way in literary criticism, which instead of separating word and meaning, emphasizes the union of the two in the form of shape. In this regard, the following questions are answered:
How can the works of art in Molavi's, Saadi's and Hafez's ghazals be interpreted?
What do the topics of "dominant aspect", "surprising", "defamiliarization" and "foregrounding" have to do with the art-making component?
Research Methodology
By studying a library of reliable sources and extracting comprehensive evidence from relevant poems based on formalistic criticism, the author has analyzed poetic examples and considered the prominent role of words and phrases in the association of meaning.
Discuss
In this research, the prominent role of language in terms of words and combinations, systematic images and the music of words has been investigated by presenting various art forms and norm deviations and the involvement of rhetorical sciences.
Conclusion
Literary and artistic creations depend on the highlighting of words, combinations and aesthetic themes with the organized confusion of ordinary speech, which elevates poetry to the level of "artwork". In this regard, the poet is not satisfied with mere arrays, he paints with words and plays music. With phonetic, rhetorical, visual and auditory works of art, it avoids habit, defamiliarizes and breaks norms. His arrays are no longer trivial and repetitive. By composing multifaceted verses, he makes a new innovation. For example, Molvi reaches his dominant form in music by using sounds, nationalities, repetition, self-made lines and incomprehensible words along with Etanin and Afa'il and Orad Khanghahi.
With his simple and noble language, Saadi weaves all kinds of arrays together in the form of a spider's web in the sonnet, and Hafez uses all the elements and tools of poetry in terms of language, meaning and music to be able to use arrays.
[1]. PhD student of Persian language and literature, University of Mohaghegh Ardabili, Ardabil, Iran.
e.yasser68@gmail.com
[2]. Professor of the Department of Persian Language and Literature, University of Mohaghegh Ardabili, Ardabil, Iran (corresponding author).
pouralkhas@uma.ac.ir
[3]. Professor of the Department of Persian Language and Literature, University of Mohaghegh Ardabili, Ardabil, Iran.
Kh.asadollahi@gmail.com
[4]. Professor of the Department of Persian Language and Literature, University of Mohaghegh Ardabili, Ardabil, Iran.
zahihinav@yahoo.com
Received date: 1402/03/27 (2023/06/17) Accepted date: 1402/06/27 (2023/06/27)
Keywords
