shamlu

Nonverbal communication, or body language, is one of the essential tools that any discourse consciously or unconsciously utilizes to construct its visual messages. In poetry and literary texts, due to the inherent limitations in fully, accurately, and flawlessly conveying the poet’s embedded concepts and emotions—caused by constraints such as meter and rhyme, lexical deficiencies, and the lack of appropriate conceptual equivalents, particularly for expressing emotions such as anger, fear, joy, and sorrow—the poet is compelled to use another language known as body language or nonverbal communication. This form of communication often proves to be more truthful and expressive than verbal language and oral expression.This study, emphasizing the significance of nonverbal communication in literary texts, aims to provide a practical model for analyzing the functions of nonverbal communication in Shamlu’s poetry. Using a descriptive-analytical method, the study examines, extracts, and reports these functions. The findings indicate that although all six functions of nonverbal communication are present in Shamlu’s poetry—sometimes reinforcing and complementing meanings and at other times contradicting verbal communication—the substitutive and conflicting functions are more prominently manifested.

As a fundamental element in the poetic system, deviation is the most effective form of defamiliarization and linguistic foregrounding. It disrupts the conventional structural rules of poem and thus generates a wide range of thematic, formal and linguistic variations within poetry. In Persian free verse which lacks meter and rhyme, poets have widely used deviation to foreground and enhance their poetic language. The current descriptive-analytical research, using a library method, examines deviation in the works of six free verse poets based on Geoffrey Leech’s formalist approach. The study highlights the impact of this approach on distinguishing the language and form of poem. The frequency of various types of deviation by these poets differs according to their ideational and literary experience. Poets like Shāmlū, Mūsavi Garmārūdi and Seyed Hasan Hosseini have used semantic, lexical, orthographic and literary deviations to create distinct and independent styles from their predecessors, but poets like Ātashi, Najdi and Shams Langrūdi have mainly paid attention to linguistic and literary deviations. The present research, identifying instances of deviations, examines the type and frequency of deviation in Persian free verse as well.

In this essay, in an analytical-descriptive form, the quality of content and language influence of three well-known contemporary Persian poets, from the materialistic worldview of the West, is examined based on three theories, when Marxist thought spread among a number of intellectuals, as a result of closer contact with the West, modernist poets such as Shamlu, Akhwan Tahir and Forough Farrokhzad also interacted with the modern literature of the Western world.Influenced by the thought of philosophers such as: Nietzsche, Sartre and Marx about God, man and religion, they spread a hostile conventional attitude in the content and themes of their poetry. Although this flow does not have a deep philosophical and theological basis and its nature is based on an imitative, poetic and superficial attitude towards these categories, but in these forms, there are also signs of negative and materialistic thoughts towards religion. . . . . . . .

Examining Eschatological Elements in the Poems of Ahmad Shamlou IntroductionOne of the enduring and widely debated topics that has been the focal point of discussions among individuals, theorists, philosophers, religions, cultures, and nations is the concept of the world's ultimate fate. The idea of a beginning for the world implies that humanity consistently perceives the world in a linear path and envisions a destiny for it. Such a perspective leads to various cultures and nations, based on their ways of life, intellectual foundations, beliefs, traditions, and collective experiences, offering diverse predictions about the fate of the world. These predictions, at times, become influential and give rise to multiple movements on a societal level.Although eschatology is a significant topic in theology and divinity, it has also found prominence in broader fields such as literature and art, giving rise to a literary genre known as eschatological or apocalyptic literature.

Prosaic Odes or blank poem as a new phenomenon in Persian and Arabic literature, opened a new horizons for the viewers, which is a complete symbol of the departure from traditional poetry and its drastic transformation. Although this new type of poetry has made a drastic change in terms of music and prosodic rhythms, it is not devoid of musical elements and the poet has filled this gap with various tricks. One of the elements that plays an important role in strengthening the internal music of this type of literature and highlighting the theme is the element of repetition. This research intends to investigate the function of repetition in the prose collections of the contemporary Iraqi poet Yahyã Samãvi and the Blank Poems by Ahmad Shãmlü through analytical-descriptive method. The results of this study show; The phenomenon of repetition has been used in various forms. In addition to creating a part of the inner music and improving its melodic structure, the element has enriched the semantic aspect and beauty of this type of literature. Repetition in celestial and inclusive poems plays an important role in the coherence of the poem and the pleasure of listening and strengthening the melodic structure of the text, conveying the poet's inner feelings and emotions, creating space and more influential words in the reader's soul, seeing the image and keeping it in the audience's mind. And it has had the explanation of the intellectual orientations of both poets and the coherence and adherence of the text, and is considered as one of the most important stylistic features of both poets.

Ahmad Shâmlu is considered as the founder of the “White poetry” in Persian literature. A wide range of themes are treated in his poetry, from love and woman to liberty and egalitarianism, as well as death and existential issues. Charles Baudelaire is not only known to be the pioneer of a school called “Decadence” but also a forerunner of Symbolism in French poetry. The principal themes used in his works are city and urban life, woman and love, death and spleen, liberty and modernity. Despite a hundred years dividing Shâmlu and Baudelaire, we could still search some similarities between their works and personalities. In this paper we will try to study some examples of these essential topics. Besides that, we shall try to point out to the resemblances and the differences between the conceptual approaches of the Iranian and the French poet in regards to these themes. The method used in this research is a thematic one, borrowed from the approach of Philippe Chardin in his article “Thématique comparatiste” (1989).

For a long time, literature has been of special interest to great analysts and critics, while focusing on psychology, sociology and politics, and its original mechanisms. In this regard, Shamlu and Adonis are respectively the contemporary poets in Persian and Arabic literature, and have both directed poetry and literary works to normative form and meaning. The current article's theoretical framework, using a descriptive-analytical method relyies on Adler's theory of inferiority felling and focuses on such aspects as the relation of literature to psychology and Adler's theory of inferiority feeling and its effect on the artistic background of these two poets. The current article attempts to match these axes with the works of these two poets giving rise to a new approach for researchers and readers. One of the results of this study is that both poets have experienced the same psychological process in their artistic careers; this sets the ground for implementing this psychological process and its manifestations on their poetic experience. Moreover, these two poets experienced the same negative conditions at the beginning of their youth and this has led to their tragic literature, followed by a dialectic between humiliation and redress.

This article is a comparative sociological study and it shows some effects of changes in social relations which is the result of modernity in iranian and arabic communities.
This study inspects the Iranian and Arabic community and its deals with the female symbols as the one of social development indicators. Based on this, the use of female symbols and myths was assessed and compared in Abdol Vahab Albayati & Ahmad Shamlu’s poems.
This study ultimately concludes that female symbol’s log in to poetry, not as a beginning of a course but it’s the result of a circulation which tries to change social relations and create a new balance between two powers in society. Addressing female symbols, in addition to give poet the possibility of addressing the mythical topics; is an attempt to empower the hidden half of the population that was held back for years. And this is not a feminist effort, but it’s blowing lyrics the spirit of gentleness and describes the hidden part of the community that would appear in the light of modernity and this effort has many examples in both Persian and Arabic literature.

This study aims to analyze the image-making process by focusing on the role of imagination. Maintaining the subjective nature of the image, we consider a structure for it, under titles such as the central image, the image tool, the image expression and function, and mental image of the text. Then, different kinds of images are presented in terms of surface and depth, statics, dynamism, painting, cinematic, openness, wideness, limited and close up, and independence. Overall, an image is called “independent” when its elements have an exclusive nature and independent properties in such a way that they can function apart from the poetry. It can be said that the formation and application of independent images in Shamlu’s poetry were influenced by the ruling literary expression, and language and discourse flows and orientation of the time. The research method in the present study is descriptive-analytical methodology. The sample texts include Shamlu’s one hundred poems. The main criteria for the section of the sample were that they should be brief and have imagery. The results show that the aforementioned factors had a significant effect on the independence of the images. Allusive and figurative expressions served as the main literary expression in Shamlu’s poetry. Language flows and its effects on independent images indicates Shamlu’s social status as a social poet; and social-political discourse had dominant roles in the formation of independent images of Shamlu’s poems.

Imagery is one the fundamental elements in poetry. Innovation in imagery and emphasis on the individual points of view have an important effect on the rhetorical attribute of poem. Because of this we debate about this traits of shamlu’s poem. Individualism, objectivity and innovation are three traits of shamlu’s imagery which we discuss about it in this article. Then we mention examples of shamlu’s poems about roots of imagery. One of the important roots of shamlu poetic imagery is the modern life. In shamlu’s poem, life of a modern cities artistically is reflected and a also poet with a perfect masterpiece invents contemporary images from this type of life can be seen. Beside this, shamlu attains in his poetic imagery to the myths. Mythology of shamlu contains more elements of Greek mythology. shamlu with assistance of myth, affair as well as transition of his idea and point of view. Iranian myth is the other mythological root of shamlu’s imagery.in this section Ferdowses Shahname has an effect and shamlu with a usage of Iranian ancient heroes efforts influnce the addressees.

Althoagh a pronoun is not as varced as the other words such as an arjective, an adverb, anoun or the other grammatical categories, a can be ??? of the most impostant words by which a poet can playand be a goooe device for creativity and r??etics. The present research tries to focus on the poet’s cre-tivity using pran??ns and their artistic functions in a poes through chamlas poems. The method to do so is descript??ve and ane??ytic. thes linguistic category, which is more or less siteady in formad and non-literary works, can serve as agond basis fer creativity and fovegrounding in sha??lu’s poems. The most import and pronominal functions in his poems can be studied in the frelds of ???? structre and disconrse. The former consist’s of li??aistic and sematic fore g???nding through combination, pronmical cooles ???? traditionalism, syntactic sleills, brevity, mu???andetc. the latter consists of conesion, ambiga??ty, extension contrast, ???? focus and suspension etc. these are the most important functions of pronovuns in shamlu’s poems. To be of a great value in his poems regarding aesthics.

Man experiences time in two ways: first، the external، unstable، and transitory time which is eventually presented in the form of death; second، the internal time that by poetic imagination of which، man tries to remain immortal. This study tries to study the concept of death as a common experience in the poems of these two poets. First، the definition of time is provided and then the understanding of these two poets of this concept is explored. This study shows that both Adonis and Shamlu—to get rid of time and to unite with eternity—employ some strategies such as turning back to the past time، mythology، and love. Thus the common look of these two poets at the concept of time along with their comprehensive looks at human beings'' concerns and anxieties would be considered as the movement of contemporary literature towards world literature.

The most important and fundamental yet hidden concept in Nima’s Manli and Shamlu’s Roxana is the belief in an ideal world beyond the reach of the real world as well as the existence of a pessimistic and loathsome attitude towards the real world and also the efforts to create and evoke a world full of serenity and success, so that one lives away from the turbulence, instability, pain, fever and fret of this world. Since Nima was influenced by the 19th century French Symbolism, it can be concluded that he, also, was under the influence of Transcendental Symbolism as it is reflected in some of his poems dealing with the ideal world and transcendental symbols. This article is a comparative study trying to highlight the similarities of the aforementioned poems. It attempts to show how both Shamlu and Nima look at the real world and how they portray their belief in an ideal world in their poems. This article probes the background of this belief and the reasons behind it. It tries to show how Nima hopefully and resolutely steps in his utopian world while Shamlu, who was suspicious of it, fails to go beyond the realistic world, despite his efforts.

This is a comparative study between two outstanding poets from two different cultures and civilizations. We try to show the effect of modern attitude on the two poets, T.S. Eliot and Ahmad Shamlu. For this purpose, we explain the word modern in the first part, then the history of modernity in Iran and Europe is described in brief. At the end, their similar thoughts and works are compared on the basis of modernity and literary modernism characters. Also we go through details of modern thinking in the above poets. We can brief our reasons for choosing these two poets for comparative study in these factors as: First, they lived approximately at the same political, social and cultural context, which led them to create the same works and thoughts. Second, Shamlu is known as social poet and, like Eliot, lived in a revolutionary period. Eliot was under the impression of the world war and modernism, and Iranian poet had experienced 28th Mordad coup deta and the 2nd world war. Also he experienced the period of transition from traditional to modern society. So these poets have many similar characters for comparative study.

Shamlu's poetic language is different from the language of his contemporary poets. This difference results from his deep and extensive study of ancient verse and prose. One main difference is that ancient words and word combinations that were common in Khorasani and Iraqi styles are so naturally exploited in his poetry that his poetry is not only unhurt but provides a link between ancient language and today's conversational language.The bidimensionality of Shamlu's poetry has created a new special style, which can be rightfully called "Shamlu's Individual Style." It must be acknowledged that he is better than his contemporaries in the appropriate use of language. His poetry is a concise summary of the language from Roudaki to Hafiz. Almost all ancient stylistic features can be seen in Shamlu's poetry.

One of the most prominent features of Shamlu’s poems concerning content and ideas, is human and social themes. Shamlu’s intimacy to human and his emotions, are the direct result of his personal life and experiences. Indeed, the central core of Shamlu’s poetry consists of People and human values, that is, free human with passion and love. The present article, some elements of human-confidence, are investigated in Ahmad Shamlu,s poetry.