نوع مقاله : مقاله پژوهشی
نویسندگان
1 طالبة الدکتوراه، قسم اللغة العربیّة وآدابها، کلّیة الآداب والعلوم والإنسانیّة، جامعة خلیج فارس، بوشهر، إیران.
2 أستاذ مشارک، قسم اللغة العربیّة وآدابها، کلّیة الآداب والعلوم والإنسانیّة، جامعة خلیج فارس، بوشهر، إیران.
3 أستاذ مشارک، قسم اللغة العربیّة وآدابها، کلّیة الآداب والعلوم والإنسانیّة، جامعة خلیج فارس، بوشهر، إیران
4 أستاذ، قسم اللغة العربیّة وآدابها، کلّیة الإلهیات والمعارف الإسلامیّة، جامعة شهید تشمران أهواز، أهواز، إیران.
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
In all languages, a word is recognized as the core term, serving as the foundation for other words that maintain the same meaning while appearing in new forms based on the perspective of the speaker, writer, or poet. These variations are referred to as marked words. Wadī‛ Sa‛ādah and Hafez Mousavi are two poets whose poems contain numerous similarly marked words in terms of both structure and meaning, to the extent that the use of these words can be considered a literary trick of the poems of these two poets. This study, which employs a descriptive analytical method, aims to examine the structure of the highlighted words in the poems of Sa‛ādah and Mousavi, as well as to articulate the most significant meanings of these words in relation to the American School of Comparative Literature. An analysis of the prose poems by these two poets reveals that, in addition to their sentences, they present the highlighted words in descriptive and supplementary combinations, utilizing straightforward language that is accessible and uncomplicated. The highlighted words in their poems are either derived from societal conditions or inspired by the beauty of nature. Consequently, both poets employ techniques such as simile and metaphor to craft meaningful words and phrases that occasionally attribute human characteristics to inanimate objects and elements of nature, while at other times, they visualize the impossible through historical references. This approach facilitates an engaging experience for readers by transforming their works into open texts. The predominant theme of the highlighted words in the poems of these two poets is the portrayal of the suffering and pain experienced by contemporary individuals.
Introduction:
Marked words are terms that carry implicit meanings and appear in the text for some reason and are derived from the marked words that underlie the speaker's speech, feelings, viewpoints and ideas. Marked words in poetry have a broader scope for usage because the language of poetry is implicit and aligns with the meanings of these terms. Wadī‛ Sa‛ādah (1948), a Lebanese poet, and Hafez Mousavi (1954), an Iranian poet, employed similar contexts and meanings in their literary styles. Although the two poets are not historically connected, their stylistic similarities, thematic resonance, and shared literary influences allow for a comparative analysis of marked words and their meanings in their respective poems, as per the principles of American comparative literature. Sa‛ādah and Mousavi frequently utilized marked words, likely due to the nature of their poetic language, which addresses painful issues such as war and the struggles of contemporary humanity. Their texts vividly depict scenes of suffering and human anguish, prompting the use of marked words in an implicit and imaginative manner. Unmarked words, in contrast, fail to convey the depth of these pains, tragedies, and challenges to the reader.
The most important questions that this research attempts to answer are:
How did the marked words appear in the poems of Wadī‛ Sa‛ādah and Hafez Mousavi?
What are the connotations of the marked words in the poems of the two poets?
What are the similarities and differences between the marked words are employed in the poetic literary works of these two poets?
Method:
This research, which was conducted using a descriptive-analytical method, aimed to analyze the poems of Hafez Mousavi and Wadī‛ Sa‛ādah with a focus on marked words. To establish a cohesive framework for studying the works of Mousavi and Sa‛ādah, this research examines marked words in the context of descriptive combinations, additional combinations, and complete sentences.
Results and Discussion:
- The marked words in Sa‛ādah and Mousavi’s poems are presented as descriptive and supplementary structures, in addition to complete sentences. These structures and sentences are considered marked due to their contradiction with the realities of the world.
- The vital marked additional structures appear in the poems of the two poets based on implicit metaphors and their characteristics. In these structures, the additions correspond to the unmarked words, and these additions guide the structures toward the marked words, providing a suitable platform for expressing the diverse positions and ideas of the two poets through their choice of words.
- The additional marked inanimate structures are the most marked words in Saadeh and Mousavi's poems, which are presented through the use of simile. Both components of these marked words can be compared to the unmarked words, allowing for various meanings to be inferred from these structures. Consequently, this is one of the factors that renders the texts of both poets open to multiple interpretations by readers, enabling them to derive different concepts from these words based on their individual perspectives.
- Another part of the marked words in Saadeh and Mousavi's poems is dedicated to marked sentences. The two poets consider the most improbable and imaginary actions arising from history, myth, or culture in these sentences. Most of these sentences, in addition to the aesthetic aspects, contain specific meanings, social or human discourses, and many symbols.
- One of the most prominent features of the marked words in the poems of the two poets is their adaptation from the natural world. Most poets who have grown up in the bosom of nature - if not all of them—cannot remain indifferent to this source of inspiration. In contrast, the poems associated with the postmodern style often diminish the vibrancy of nature, drawing their imagery primarily from everyday life. The function of the marked words is to convey emotions and feelings, translating their poetic experiences in relation to the universe, man and his beliefs. Their poetic style tends towards imaginary and suggestive images away from directness, and is often intertwined with unrealistic events to foster creativity and uniqueness in poetic discourse. Some of this creativity is achieved through the use of marked words.
These two poets employ a style that occasionally offers a space to forget what happened to them, and so we find them traveling through words in the world of dreams. The two poets have succeeded through their poetic endeavors by utilizing both distinctive language and through the use of marked words and other ancient and modern poetic arts, and they were even able to share the suffering and hopes of the recipient through the imagination of interpreting the hidden meanings and connotations of the two poets’ poems; because Sa‛ādah and Mousavi are dedicated poets who have chosen to articulate the pain and sorrow of society as a central theme in their message, and so we find the majority of the meanings of marked words in their poems directed to the problems and failures of contemporary man.
Conclusion:
The research findings indicate that the poems of Sa‛ādah and Mousavi blend romantic tendencies in the early stages of their literary works and the postmodern style in their later works. It is evident that their use of marked words is influenced by these two styles. Both poets aimed to employ simple and unambiguous language to convey marked words, deliberately avoiding mythological symbols and an epic tone. The marked words in their poems are presented through descriptive and supplementary structures in addition to standard sentences. These structures and sentences are considered marked due to their contradiction with the realities of the world. The additional marked inanimate structures are the most marked words in the poems of Sa‛ādah and Mousavi, which appear based on the simile technique. One of the most obvious features of the marked words in the poems of the two poets is the adaptation of some of these words from the natural world.
کلیدواژه‌ها [English]
عنوان مقاله [العربیة]
واژه‌های نشاندار و دلالت‌های آن در اشعار ودیع سعادة و حافظ موسوی
چکیده [العربیة]در همۀ زبان‌ها یک کلمه به عنوان کلمۀ هسته شناخته می‌شود، اما همین کلمه سرچشمۀ واژه‌های دیگری است که با حفظ همین معنى براساس دیدگاه گوینده/ نویسنده/ شاعر در فرمی نوین پدیدار می‌گردند که به آن کلمات نشاندار می‌گویند. ودیع سعادة و حافظ موسوی از جمله شاعرانی هستند که واژگان نشاندار هم‌ساخت و هم‌معنا در اشعارشان پربسامد است؛ تا آنجا که می‌توان به کارگیری این واژگان را از ترفندهای ادبی اشعار دو شاعر دانست. این پژوهش که بر اساس روش توصیفی تحلیلی انجام شده است، سعی در بررسی ساختار واژه‌های نشاندار و بیان مهمترین معانی آنها در اشعار ودیع سعادة و حافظ موسوی بر اساس کاربرد آنها در مکتب ادبیات تطبیقی آمریکایی دارد. بررسی اشعار منثور این دو شاعر نشان داد که آنها علاوه بر جمله، واژه‌های نشاندار اشعارشان را در قالب ترکیب‌های وصفی و اضافی با زبانی ساده و به دور از پیچیدگی عرضه داشته‌اند. کلمات نشاندار اشعار دو شاعر یا برگرفته از جهان و شرایط جامعه است و یا متأثر از زیبایی‌های طبیعت است. از این روی، این دو شاعر با استفاده از تکنیک‌های تشبیه و استعاره، واژه‌ها و جملاتی نشاندار می‌آفریند و بدین ترتیب شرایطی را برای حضور مؤثر خوانندگان در متن و تبدیل متون خود به متون باز فراهم می‌آورند. به تصویر کشیدن رنج و درد انسان معاصر معنای غالب واژگان نشاندار این اشعار است.
کلیدواژه‌ها [العربیة]
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