شعر زبان

The present article explains the language games of Mohsen Mazkhori's poems in the self-referential halo (halehhaye khod erja)collection of poems; The clinical and physiological study of playing is based on the views of Derrida and Wittgenstein. This way of playing has emerged in postmodern poetry and has reached its peak in language poetry - one of the types of postmodern poetry. The poet of the poem modernizes the vocabulary, syntax and music of each of his poems in accordance with the situation of the same poem and uses phonetic organs, sounds and syllables to create music and induce content and convey feelings and moods. Considering that all the mentioned features are present in the poems of "selfreferential auras" can be considered as one of the successful types of language poetry. The question of the research is what the difference is between mazkhouri poetry and other types of language poetry, and which musical technique was used in the self-referential auras, and what was meant by the special use of non-sense sounds. The findings showed that, in the conceptual dimension, Mazkhouri was able to teach practical and rereading literary theories that has been used in the poetry, and in the musical dimension, by using the breath technique and the way of reciting the poem, he recreates and induces a situation or a state in the poem.

Post-structuralist thinking in literature caused the production of texts that lack an sequence of actions in narrative and intentional coherence. These writings, which are called non-text, are actually countertexts that popularize counterculture, and their purpose is to combat and change the conventional standards of syntax and rhetoric, the usual ways of thinking and traditions in culture. Dark countertext  , which was invented by one of the scholars of western philosophy named Dr. Mehdi Khabazi Kenari, was created as a result of the conflicts between his tradition and western philosophy, and he tries to solve it by reproducing the tradition. Therefore, the Dark countertext is an ontological and epistemological issue that shows how the poet looks at mankind and the world and how he lives in a philosophical perspective. Philosophically, blackness in Dark countertext means ontological and epistemological darkness and ambiguity, which is produced as a result of the subject's constant skepticism . It, also, indicates unrecognizability, constant transformation and endless traces from a linguistic point of view, it refers to the non-determinism of language and denies any origin and purpose for language. In this approach, language is living and dying and is in a constant struggle of conscious and unconscious. Language refers to itself to reveal its dysfunctional nature. Words in Dark countertext have independent and temporary territory. The temporary (in) coexistence of words indicates the impossibility of thinking about reality and its expression. Therefore, with Dark countertext, the world is not felt or understood, but merely written.

The theory of poetry of "linguistics" is attributed to Reza Braheni, who made him famous during the leading poetry. Language poetry has innovation and abnormality. Influenced by the Western school and Derrida's linguistics, Braheni denies the meaning and his poems live in a language game, without external reference in a text-language world. language game, word movement, and a series of meaningless texts were events that took place in this text-language world, But Dal poetry, which is one of the literary genres of the school of the originality of the word, is alive to the word according to the theory of "man-word"; Man is alive, and as long as man is alive, no field of art will be obsolete from the word. Everything that is revealed in man already exists and is present in the word, and everything that is revealed in the word already exists and is present in man, and these two are co-creators and creators of each other. Therefore, Dal-poetry is word-character and plays a role in the text. Dal-poetry is word-character. The word is alive, it is an actor and it plays a role. In this research, which has been done by descriptive-analytical method by using library resources, we intend to study "Language Poetry" by Reza Braheni and “Dal-Poetry", one of the literary genres of the word originality School, from the perspective of intellectual origins and their characteristics and differences.

During 1990s, certain trends appeared in Persian poetry, which were generally different in terms of both language and method of expression and content from those from the previous periods. The common aspect of all the poetical trends from the 1990s was transcending beyond the common and normal language and expression of Persian poetry. One of the most important and most influential poetic trends from 1990s was “the Language poetry” trend, pioneered by Reza Baraheni. In this study, the Language Poetry trend is analyzed. The theory of “linguality” proposed by Baraheni is briefly introduced, in the first place, followed by figuring out the main indicators of Language poetry from among his viewpoints. The most important indicators of the language poetry are syntactical discordance, de-semanticization, multiphonicity, projective dislocation, polylogia or lingual lunacy and so forth. It is argued that there is a gap between poetical theory and poetical implementation in the poetry of Baraheni as in Nima and Shamlu.

Controversial games and tricks in the field of language of postmodern sonnet is what has been examined in present study. We have tried, avoiding prejudice, to study the course of language and its games that goes sometimes to the border of waggery and dysphasia. The noticeable point is that the poet confronts language differently in the postmodern way of thinking, and the researcher faces the overcoming of language and form on meaning and content, respectively. In this view,"language" does not serve meaning definitely, but language and aesthetics can be the ultimate goal of the author, what does not coincide with the aesthetic criteria of traditional scholars. But the most important question about the pathology of postmodern sonnet becomes: "How justified is the abnormality or norm-confronting of postmodern poets and their departure from language rules?" It has been tried, in present research, to study the common language games in Iran's postmodern sonnets to find the answer of above mentioned question.

The impacts that contemporary poetry in Iran has received from the mid-twentieth century literary and philosophical schools should be critically and deeply scrutinized. This essay explores the emergence of contemporary poetry in Iran and in line with one of the prominent movements of postmodern American Poetry, which is, “Language Poetry.” The two key concepts in language poetry that have influenced recent poets of Iran are “story-telling” and the “routine.” The researcher answers two questions: How does language poetry define story-telling and how this definition is reflected in contemporary poetry of Iran? How are the routine and identity related in the contemporary poetry of Iran and America? This research shows that both schools define story-telling as a kind of experimental autobiography in which pieces of everyday life, images, and sounds from media and consumerist culture, vague memories, myths, and the unconscious are woven together. Recent poetry in Iran shows a deconstructive approach towards poetry, story-telling, and identity. Of course its rich tradition creates some differences such as the recurrent, yet scattered presence of mythological figures. This analysis reveals the affect of media on the most private realms of life regardless of culture and geography. Contemporary poetry in Iran purges emotionalism and lyricism in order to return to vague stories of everyday life; it diverts from heroic (epic), didactic, romantic, and revolutionary inclinations to scattered autobiography. This degree of fragmentation in language and meaning reveals the rapid technological and psychologically-disturbing changes in contemporary life, whether in Iran or America.