واکاوی سیر تحول عناصر محتوایی غزل و شعر زنان معاصر ایران
محورهای موضوعی : ادبیات فارسی
حسین سلیمی
1
(دانشگاه خلیج فارس بوشهر، گروه زبان و ادبیات فارسی، بوشهر، ایران.)
علی محمد محمودی
2
(دانشگاه سلمان فارسی کازرون، گروه زبان و ادبیات فارسی، کازرون، ایران.)
کلید واژه: شعر, تحول غزل, زنان شاعر معاصر,
چکیده مقاله :
هدف پژوهش حاضر واکاوی سیر محتوایی تحول غزل و شعر زنان معاصر ایران می‌باشد. جامعه مورد بررسی شعر و غزل زنان از عهد مشروطه تا آغاز دهۀ نود معاصر است. نمونه پژوهش شعر ژاله قایم مقامی، شعر و غزل سیمین بهبهانی و فروغ فرخزاد بود. طرح پژوهش توصیفی-تحلیلی و گردآوری اطلاعات از طریق کتابخانه ای و منابع پژوهشی دیجیتالی انجام شد. برای تحلیل از شیوه جریان‌شناسی شخصیت محور محتوای غزل زنان و سیر مهم‌ترین تحولات آن در بستر تاریخ معاصر استفاده شد. نتایج نشان داد، کلیت و کیفیت شعر زنان در این دوره رو به کمال بود. غزل زنان ایران معاصر، پس از غزل سیمین بهبهانی و فروغ فرخزاد به سمت افق‌های نو و آزاداندیشانه ای حرکت کرده است که از میان جریان‌های فکری درون فرهنگی و برون فرهنگی ایران، دو نوع غزل متعهد، اجتماع‌محور و غزل پست مدرن و گاه نیز غزل زبان‌گرای ساختارشکن بیشترین سهم را دارد. غزل زنان نیز هم چون شعر آزاد نیمایی مجال بروز عواطف زنانه را یافته و غزل از حالت کلاسیک و یک صدایی به جریان‌ها و صداهای متعددی وارد شده است. مطالعۀ غزل زنان در این صدسال یعنی مطالعۀ صدسال جامعه‌شناختی شعر زنان و به تبع آن جامعه ایرانی است.
The present study aim was to investigate the evolution of the content of lyric poetry in contemporary Iranian women lyrics works. The studied universe was the poetess lyric poetry from the Constitutional Era to the beginning of the contemporary nineties decade. The sample of the study was the lyrics poetry of Jaleh Ghaem Maghami, the poetry and the lyrics of Simin Behbahani and Forough Farrakhzad. The research method was descriptive-analytical and data collection was done through the library and digital research resources. To analyze the data, personality-centered trend methodology of the content of poetess's lyric poetry and its significant developments in the context of contemporary history were applied. The results showed that the totality and quality of women's poetry in this period were evolved progressively. The lyric poetry of contemporary Iranian women, after the lyric poetry of Simin Behbahani and Forough Farakhzad, had moved towards new and freethinking horizons. Among the intra-cultural and extra-cultural currents of thought in Iran, two types of committed lyric poetry, community-oriented and postmodern lyric poetry, and sometimes deconstructed linguistic lyric poetry, had the largest share. Women's lyric poetry, like Nimai's free verses, had found the opportunity to express feminine emotions, and the lyric poetry, entered into various currents and polyphonic from the classical and monophonic state. The study of women's lyric poetry in the late hundred years meant the hundred-year sociological study of women's poetry and, consequently, Iranian society.
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