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  3. Analyzing the cognitive style of the poems of three poets from the east of Gilan (Bijan Najdi, Mohammad Hossein Mahdavi (M. Moayed), Faramarz Mohammadipour)

Analyzing the cognitive style of the poems of three poets from the east of Gilan (Bijan Najdi, Mohammad Hossein Mahdavi (M. Moayed), Faramarz Mohammadipour)

Number of pages: 175 File Format: word File Code: 31584
Year: 2013 University Degree: Master's degree Category: Literature - Persian Language
Tags/Keywords: Bijan Najdi - Contemporary literature - Faramarz Mohammadipur - Literary styles - Mohammad Hossein Mahdavi - poetry - Poets of East Gilan - Structure oriented - stylistics
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  • Summary of Analyzing the cognitive style of the poems of three poets from the east of Gilan (Bijan Najdi, Mohammad Hossein Mahdavi (M. Moayed), Faramarz Mohammadipour)

    An academic thesis for obtaining a master's degree M.A))

    - Abstract

    Structural stylistics is one of the new schools that is used today for scientific and accurate knowledge and to achieve the unique characteristics of literary works and also to compare these works. This treatise has analyzed four collections of poems written by three poets from the east of Gilan. A collection of "Sisters of this summer" by Bijan Najdi, a collection of "Nargis-e-Honuz" composed by Mohammad Hossein Mahdavi (M. Moayed) and the collections "I gave my heart to the sea" and "Pishani Bahar" from Faramarz Mohammadipour's poems. Najdi is a deconstructive and experimental writer who wrote and composed his works in realist, surrealist and postmodern styles. M. Muayed is considered one of the modernist poets of the 40s and 50s, whose poetic style can be considered as belonging to the new wave of modern Persian poetry, and Mohammadipour is one of the poets who tends more towards Iraqi and Indian styles in his ghazals and couplets, and Nimai style in his free poems. The present thesis seeks to explain the stylistic features of Najdi, M. Muayed and Mohammadipour's poems. The necessity of writing this treatise is to determine the position and dignity of the poems of these three poets in contemporary literature and to analyze and examine the stylistics of their poems. The research method of this study is analytical and based on the theory of structuralist stylistics. Based on this, the poems of the above three poets have been analyzed on three linguistic, literary and intellectual levels. The obtained results show that Najdi is an anti-rational, love-believing and extroverted poet, M. Muayed can be considered an extroverted, moderate and moderate poet, and the combination of introversion and extroversion of Mohammadipour has made his poems popular.

    Keyword: Bijan Najdi, Mohammad Hossein Mahdavi (M. Moayed), Faramarz Mohammadipour, structuralist stylistics

    Chapter 1

    Introduction and generalities

    1-1 Introduction

    The style and method of each writer or speaker is the special method that aims, He expresses his feelings and emotions through it. Style has a close relationship with the form and content of the work, in such a way that the stylist can find the repeated forms of a literary work as well as the linguistic and intellectual structure of the work. On the other hand, it can deal with the genealogy and relationship of the work with the works before and after it. For this reason, it can be said that stylistics is not limited to identifying the methods of expression and the way of speaking, but it also identifies the way the author and poet are in the work and even the way the reader receives it. In this treatise, the works of three poets from the east of Gilan are studied. Bijan Najdi is one of the prominent poets and writers of contemporary literature. He is a deconstructive and experimental writer. The sense of poetry is one of the tools that takes Najdi to new stations of human concerns. Najdi sometimes surprises and confuses the audience by using an unconventional structure and mixing reality and dreams. The use of such spaces in Najdi's poems and writings has caused him to be considered a follower of surrealism, realism and postmodern styles.

    M. Moayed is among the poets of the contemporary new wave. His use of metaphor, irony, and simile, as well as the creation of novel and new meanings from used concepts, made his poems seem more prominent. He gives special importance to the language, form, structure, myths and also the tonality of the words.

    One ??of the most important factors that caused M. Muayed's poems to be paid less attention than the poets of his time is his isolation and on the other hand the difficult language of his poems, which sometimes reminds of the language of ancient prose.

    Mohammaddipour is also one of the contemporary poets. His attention to the simplicity and honesty of the language and away from any complexity and ambiguity, his concern for the creation of creative and poetic moments and also to reach a language independent of his poetic features, which has made him distinguished from his peers. Also, his tendency towards Nimai, Indian and Iraqi style and his approach to the literature of stability and Ashura poems have given a special effect to his poems.. The current thesis seeks to find the stylistic features (linguistic, literary and intellectual) in the poems of the above three poets and which stylistic features are of high frequency in their poems, and also seeks to explain how the intellectual world of these poets is connected with their language. Moayed and Mohammadipour have conducted researches, those are brief and comprehensive researches that may or may not be able to show the poetic base of these three poets, so knowing their poetic dignity in contemporary literature requires extensive research. The application that can be imagined from conducting this research is that because the collection of poems of these poets is rich in all kinds of stylistic features and is a suitable example to show all kinds of European and Persian styles, as a result, it can be a worthy model for future researches about contemporary literature. To analyze and examine the style (linguistic, literary, intellectual) in their poems relatively.

    -2- Statement of the research problem

    Style has been defined from different perspectives. From a linguistic point of view, style is a special selection of words, expressions and phrases. From the point of view of worldview and thought, style is the result of worldview and introspection, which is displayed in a special way of expression. From the point of view of structuralism, style is a deviation from the norm.

    One ??of the factors that separate styles is the time period of the poet and the way of expressing them. The poets of East Gilan have used various literary styles in their poems. The individual and innovative emotions and free thinking of the Iraqi style, the glory of words, narrowness and unbounded imagination and the formal and spiritual artificiality of the Indian style are evident in their works. On the other hand, following the innovations of Nima Yoshij Tani, some of the poets of the east of Gilan also stepped into the field of new poetry, and later, the poetry of Speid Shamlu and other leading forms have also found capable paths among the poets of Gilan, and they have even become the creators of poems and styles of poetry. The name of poets has become widespread. We know that various methods can be used to explain the cognitive style of a work. The most practical way to examine a literary work is a stylistic exploration from the three perspectives of language, literature, and thought, which necessarily include many structural, linguistic, and intellectual approaches. Based on this, this research aims to, Najdi poems, m. to discuss Moayed and Mohammadipour in three linguistic, literary and intellectual structures. What is Moayed and Mohammadipour?

    How do each of these poets communicate with their audience according to their style?

    What are the most favorite themes of these three poets?

    How does sustainable literature crystallize in the poetry of the poets of East Gilan?

    1-4 - The importance and necessity of research

    The style, method and method of each writer or speaker that expresses his intentions, feelings and emotions through it. Style has a close relationship with the form and content of the work in such a way that the stylist can find the repeated forms of a literary work as well as the linguistic and intellectual structure of the work. On the other hand, it can deal with the genealogy and relationship of the work with the works before and after it. What is important in this research is that stylistics is not only limited to identifying the methods of expression and speech, but also identifies the way the author and poet are in the work and even the way the reader receives it. Due to the fact that a small number of writers and researchers about the works of Najdi, M.

  • Contents & References of Analyzing the cognitive style of the poems of three poets from the east of Gilan (Bijan Najdi, Mohammad Hossein Mahdavi (M. Moayed), Faramarz Mohammadipour)

    List:

    Abstract.. 1

    Chapter One: Introduction and Generalities

    1-1 Introduction.. 3

    1-2- Statement of research problem.. 5

    1-3- Research questions.. 5

    1-4- Importance and necessity of research. 5

    1-5 - Background of the research.. 6

    1-6 - Research objectives.. 6

    1-7 - Hypotheses.. 7

    1-8- Definitions of key words.. 7

    1-9- Limits and scope of the research.. 7

    Chapter two: theoretical foundations and definitions (stylistics) structuralist)

    2-1- An introduction to style and stylistic approaches. 10

    2-2- Definitions of style.. 10

    2-3- New review of style.. 11

    2-4- Art-creating style.. 12

    2-5- Literary style.. 12

    2-6- Stylistics.. 13

    2-7- Stylistic analysis. 14

    2-8- Style in literature.. 14

    2-9- Meaning and importance of style theory. 14

    2-10- The work of stylistics.. 15

    2-11- A look at some ideas of the past about style. 16

    2-12- Linguistic stylistics. 16

    2-13- Typology (typology) of styles. 17

    2-14- The position of style research.. 18

    2-15- Definitions of style from the point of view of stylists. 18

    2-16- Naming styles.. 19

    2-17- Concepts of style.. 19

    2-17-1- Period style.. 19

    2-17-1-1- Iraqi style. 19

    2-17-1-2- Indian style. 20

    2-17-2- Personal style. 20

    2-17-3- Literary style.. 21

    2-18- Goals of stylistics. 21

    2-19- Stylistic schools. 21

    2-19-1- Descriptive stylistics. 21

    2-19-2- Developmental stylistics. 21

    2-19-3- Constructivist stylistics. 22

    2-20- Important currents in new stylistics. 22

    2-21- Style and stylistics in Iran. 22

    2-22- The concept of style in ancient works. 23

    2-23- Contemporaries.. 23

    2-24- Periods of Persian poetry.. 23

    2-25- Nimai style.. 24

    2-26- Methods of new poetry.. 24

    2-27- European literary schools. 25

    2-27-1- Realist or realism. 25

    2-27-2- surrealism Surrea. 25

    2-27-3- Postmodernism or Francoism. 26

    2-28- The method of studying stylistics of texts. 26

     

    Chapter three: Introduction of Bijan Najdi, Mohammad Hossein Mahdavi (M, Moayed) and Faramarz Mohammadipour

    3-1- Biography of Bijan Najdi. 29

    3-1-1- Characteristics of Najdi stories and poems. 30

    3-1-2- Najdi's death.. 31

    3-1-3- Bijan Najdi's works. 31

    3-2- Biography of Mohammad Hossein Mahdavi (M. Moid). 32

    3-2-1- Education M. Moayed in Iran. 33

    3-2-2- The poetic feature of M. affirmative 33

    3-2-3- M. Muayed's poetic style. 35

    3-2-4- Moayed's works.. 35

    3-2-5- Characteristics of multiple collections of Moayed's poetry. 35

    3-3- Biography of Farmarez Mohammadipour. 37

    3-3-1- Responsibilities of Mohammadipour. 37

    3-3-2- Mohammadipour's poetic style. 38

    3-3-3- The poetic characteristics of Mohammadipour. 38

    3-3-4- Mohammadipour's works. 38

    3-3-5- Other works.. 39

    Chapter 4: Stylistic analysis of the poems of Bijan Najdi, Mohammad Hossein Mahdavi (M. Moayed) and Faramarz Mohammadipour

    4-1 Stylistics of the poems of Bijan Najdi. 41

    4-1-1 The method of examining the cognitive style of texts. 41

    4-1-1-1 Linguistic Level (Literally Level). 43

    4-1-1-1-1 phonetic level or phonostylistics. 43

    4-1-1-1-1-1 types of poetry music. 43

    4-1-1-1-1-2 Choosing beautiful and unique language functions. 44

    4-1-1-1-1-3 Phonemic arrangement. 45

    4-1-1-1-1-4 pun. 47

    4-1-1-1-1-5 repetitions. 49

    4-1-1-1-1-6 rejection and opposite. 51

    4-1-1-1-2 lexical level or stylistics of words. 51

    4-1-1-1-2-1 Etymology of words and adjectives in Najdi poems. 51

    4-1-1-1-2-2 Arabic words used in Najdi poems. 52

    4-1-1-1-2-3 Najdi approach to ancient words of literary tradition. 52

    4-1-1-1-2-4 Old words of literary tradition in Bijan Najdi's poems. 53

    4-1-1-1-2-5 Vocabulary construction (simple and non-simple words). 53

    4-1-1-1-2-6 frequent words in Bijan Najdi's poems. 55

    4-1-1-1-3 Syntactical level or sentence stylistics. 56

    4-1-1-1-3-1 Lexical composition. 57

    4-1-1-1-3-2 creative and fresh combinations. 57

    4-1-1-1-3-3 additional compounds. 58

    4-1-1-1-3 -458

    4-1-1-1-3-4 descriptive compounds. 58

    4-1-1-1-3-5 unconventional sentence structure. 58

    4-1-1-1-3 -6 Verb. 60

    4-1-1-1-3-7 Eliminating the verb. 61

    4-1-1-2 Literary Level. 61

    4-1-1-2-1 contrast (conformity or plate). 62

    4-1-1-2-2 Observance of example (proportion). 62

    4-1-1-2-3 Hint. 63

    4-1-1-2-4 Guarantee. 64

    4-1-1-2-5 sensitivity. 64

    4-1-1-2-6 Paradox. 64

    4-1-1-2-7 simile. 65

    4-1-1-2-7-1 Types of similes used in Najdi poems. 65

    4-1-1-2-7-2 The likeness of the sender. 65

    4-1-1-2-7-3 eloquent simile (compressed). 66

    4-1-1-2-8 metaphor. 67

    4-1-1-2-8-1 Masrraha metaphor. 67

    4-1-1-2-8-2 Metaphor of Makaniya (irony). 68

    4-1-1-3 Philosophical Level. 69

    4-1-1-3-1 Worldview of Najdi poems. 69

    4-1-1-3-2 Time and its manifestations in Najdi poems. 70

    4-1-1-3-3 Extraversion. 73

    4-1-1-3-4 Najdi isolationism. 73

    4-1-1-3-5 Anti-rationalism and love in Bijan Najdi's poems. 74

    4-2 Stylology of M. Muayed's poems. 75

    4-2-1 Linguistic Level (Literally Level). 75

    4-2-1-1 phonetic level. 75

    4-2-1-1-1 Types of puns in M. Muayed's poems. 75

    4-2-1-1-2 phonology. 78

    4-2-1-1-3 repetitions. 79

    4-2-1-1-4 rejection and opposite. 80

    4-2-1-2 lexical level. 80

    4-2-1-2-1 Genealogy of words and vocabulary of M. Moayed's poems. 81

    4-2-1-2-2 Some Arabic words of M. Muayid's poems. 81

    4-2-1-2-3 The use of some Arabic words and terms in M. Muayid's poems. 81

    4-2-1-2-4 M.'s approach in favor of ancient words of literary tradition. 82

    4-2-1-2-4-1 Ancient words of literary tradition in the poems of M. Muayed. 82

    4-2-1-2-5 Subjectivity and objectivity of words in M. Muayed's poems. 82

    4-2-1-2-6 Vocabulary construction (simple and non-simple words). 83

    4-2-1-2-7 Vocabulary and its conceptual relationships. 84

    4-2-1-2-8 frequent words of M. Moayed's poems. 84

    4-2-1-2-8-1 Examples of frequent words in M. Muayid's poems. 84

    4-2-1-2-9 Omar and Habab. 85

    4-2-1-2-10 examples of drunkenness and drunkenness in M. Muayed's poems. 85

    3-2-1-3 syntactic level. 86

    4-2-1-3-1 Lexical composition. 86

    4-2-1-3-2 old compositions of literary tradition. 86

    4-2-1-3-3 additional compounds. 86

    4-2-1-3-4 descriptive compounds. 87

    4-2-1-3-5 unconventional sentence structure. 87

    4-2-1-3-6 Verb. 89

    4-2-1-3-7 Eliminating the verb. 89

    4-2-2 Literary Level. 90

    4-2-2-1 types of analogy. 90

    4-2-2 – 1-1 wide analogy. 90

    4-2-2- 1-2 compact simile (eloquence). 91

    4-2-2-1-3 The similes of M. Moyed's poems confirm the validity of the sides of the simile. 92

    4-2-2-2 The elements of nature in M. Moayed's similes. 94

    4-2-2-3 metaphor. 94

    4-2-2-3-1 Masrraha metaphor. 94

    4-2-2-3-2 metaphor of Meknia. 95

    4-2-2-3-3 metaphorical addition. 95

    4-2-2-4 irony. 97

    4-2-2-5 spiritual industries. 97

    4-2-2-6 contradictory view or paradox. 98

    4-2-2-7 sensitivity. 98

    4-2-2-8 Observance of example (proportion). 99

    4-2-2-9 contradictions. 99

    4-2-2-10 hint. 100

    4-2-2-11 adaptation. 101

    4-2-3 Philosophical Level. 102

    4-2-3-1 M. Moayed's poems and his attitude towards the world. 103

    4-2-3-2 Extraversion. 104

    4-2-3-3 Destiny and determinism. 104

    4-2-3-4 Anti-rationalism and desire for love in the poems of M. Muayid. 105

    4-3 Researching the cognitive style of Faramarz Mohammadipur poems. 107

    A- Poems from the collection "I gave my heart to the sea". 107

    4-3-1 Linguistic Level (Literally Level). 113

    4-3-1-1 phonetic level or phonostylistics. 113

    4-3-1-1-2 types of puns in Mohammadipour's poems. 113

    4-3-1-1-3 phonology. 114

    4-3-1-1-4 word repetition. 114

    4-3-1-2 Lexical level or stylistics of words. 115

    4-3-1-2-1 Mohammadipour's approach to Arabic vocabulary. 115

    4-3-1-2-2 building vocabulary (simple and non-simple words). 115

    4-3-1-2-3 frequent words in Mohammadipour's poems.

Analyzing the cognitive style of the poems of three poets from the east of Gilan (Bijan Najdi, Mohammad Hossein Mahdavi (M. Moayed), Faramarz Mohammadipour)
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