List of Articles هنجارشکنی

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  1 - Contra-reading and De-canonization as Tagi-Danesh’s Manifest Style
  Rajab Tohidiyan
  10.30495/dk.2020.672387
  Taqi Danesh, one of the early Qajar and late Pahlavi‘s traditional and anonymous poets, tremendously influenced by poetry of Khorasani, Azerbaijani, Iraqi, and especially Hindu style. Regarding Taghi Danesh‘s lyrics and poems and taking famous Hindu poets in More

  Taqi Danesh, one of the early Qajar and late Pahlavi‘s traditional and anonymous poets, tremendously influenced by poetry of Khorasani, Azerbaijani, Iraqi, and especially Hindu style. Regarding Taghi Danesh‘s lyrics and poems and taking famous Hindu poets into consideration, two contradictory views (co-reading and contra-reading) could be grasped. In other words, once he followed traditional, repetitive, cliché and one-dimensional literary styles (poetic style of Khorasani, Azerbaijani and Iraqi) in poetic elements and phenomenon, famous fictitious, historical, mythic and Qurani characters. And another time breaking the norms and contra-readings represents dramatically contradictory views to the same subjects and issues. The object of contra-reading in Tagi-Danesh poetics is to achieve “alien concept” and avoid long literary traditions of one-dimensional, cliché and repetitive, characters, famous mythic, Qurani, historical meanings and concepts in custom and literary norms. His recent vision looks from different angel to these issues, judges them contrary to custom and leaves from canon the religious Qurani characters and elements. The present study attempts to extract contra-readings and De-canonization from Taghi-Danesh poetics and presents the findings alphabetically. The results show that Tagi-danesh following Indian poets has remarkably applied contra-readings and sharecropper.                                                                                        Manuscript profile
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  2 - An Investigation on Shamloo’s Poems using Critical Aesthetics
  fariba mirzamohammadnia mohamadali gozashti aliyeh yuseffam
  It can be claimed that Critical Aesthetics is the most important achievement gained from the Frankfort School. As critical Aestheticians believe, noble art should be able to free itself from homogeneity and similarity induced by dominant governments. It should, also, be More

  It can be claimed that Critical Aesthetics is the most important achievement gained from the Frankfort School. As critical Aestheticians believe, noble art should be able to free itself from homogeneity and similarity induced by dominant governments. It should, also, be able to actualize free meaning creation in a world where the origin of meaning is being devastated. In the present article, the art of Shamloo was investigated descriptively and analytically, from the stated perspective. The process followed was extracting case examples from the original text and analyzing them according to the theory. Since his poems are in close relationship with local texture of society, the study necessitates accessing sociological perspectives, as well. In this article, Shamloo’s versatile views toward prevalent semantic norms and the deficiencies of the modern society in this regard are categorized under different headings. His most frequent semantic norm breaking occurs in the domain of conventional ideological beliefs, binary contradictions, and the manifestation of the modern society. Here, Shamloo’s explicit objections target the values dominating the modern society. This way, his coherent thought construct is pictured behind his poems to help the reader to discover the ideology of his work and picture the poet’s world view. Manuscript profile
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  3 - It is only the Sound that remains
  Rafât Hadgi zadeh
  Since the very beginning of the first edition of her poetry collection in 1331, till the end of her thirty two years of life in 1345, Farokhzad wrote poetry with her own style of expression and language.  With her particular use of diction, and unique imagery, she More

  Since the very beginning of the first edition of her poetry collection in 1331, till the end of her thirty two years of life in 1345, Farokhzad wrote poetry with her own style of expression and language.  With her particular use of diction, and unique imagery, she could depict a different world in an old- fashioned, male-oriented society which dominated the Persian Literature. A look upon the history of Persian Literature reveals that one seldom encounters conservative writings of women commenting on the traditional restrictions with no rights to express their views since the old conventional system regarded man as strong, logical, ruler, and speaker, yet woman as obedient, illogical, and silent.  The symbol of a good woman was “an angel in the house” submissive, and patient who totally sacrificed herself at home.  In this poem, Farokhzad finds empty the place of creative, thinking women in the domain of Art and Culture, and with such claim as “why should I stop”  begins her struggle. Obviously such  male- oriented society at that time could not accept such non-conventional ways, norm violated language, bold expressions,  and truthful diction coming from a woman but Forough, the Iranian woman created a new atmosphere where she could resist the conventional traditions of society and fight for expressing her independent identity.  Manuscript profile