نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشیار، گروه زبان وادبیات عربی، دانشکده ادبیات فارسی و زبان‌های خارجی، دانشگاه سمنان، سمنان، ایران
2 دکتری زبان وادبیات عربی، دانشکده ادبیات فارسی و زبان‌های خارجی، دانشگاه سمنان، سمنان، ایران.
3 کارشناس ارشد زبان وادبیات فارسی، دانشکده ادبیات فارسی و زبان های خارجی، دانشگاه سمنان، سمنان، ایران
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Piergirou's semiotics, as a discourse-centered theory, analyzes linguistic signs within a text based on the codes to which they belong. The aesthetic codes in the Giro model are derived from inductive signs in poetry that engage with imagination and evoke emotions. Consequently, this framework provides clarity to the ambiguous signs that the human mind and psyche encounter. In this context, the analyst confronts signs that have taken on a militaristic form. The color green serves as a poetic, inductive, and provocative symbol in the works of Qaysaraminpour and Amal Danqol, two renowned Arab-Persian poets. Through the creation of an imaginative space and the establishment of dual contrasts, it evokes beauty and conveys semantic richness, often yielding multiple interpretations. Therefore, this article aims to analyze the connotation of the color green in the poetry of Amal Danqol and Qaisar Aminpour, utilizing a descriptive-analytical method as a multi-layered linguistic sign within the framework of Pierre Giraud's aesthetic codes. The findings of the research indicate that the color green holds significant importance in the perspectives of both poets. In some instances, this color is regarded as a symbol of emotions and feelings of the heart, as well as a spiritual and sacred element. Given the original significance of the color green as a representation of nature, both poets, in their comparison of the village and the city—while favoring the village over the city—view peace and comfort as inherent qualities associated with the color green. In addition, the color green in the works studied symbolizes life, hope, fertility, freshness, and vitality. Each of these concepts is represented through the imagery of and birth, unique intentions and thoughts.
Introduction:
Color is a powerful element that has been extensively utilized in literature as a form of representation. It is regarded as one of the most effective natural influences. Colors significantly impact the development of individuals' personalities. Depending on a character's profession, disposition, and emotional state, their reactions will vary, which is evident in their actions, words, and behavior. Poets and writers have recognized this phenomenon and have employed color as a visual cue to craft imaginative imagery in their works. Among these, green is one of the colors that has garnered significant attention in contemporary literature, where it has been imbued with various meanings and concepts. It has become a rich and widely utilized element that adds depth and beauty to poetic works. This color is typically associated with themes such as nature, life, hope, freshness, and vitality.
Amal Danqol and Qaisar Aminpour are two poets who have paid special attention to the implicit and symbolic meanings associated with the color green. Through their unique imagery, they have crafted both common and diverse interpretations. In general, poetry creates a discourse that consists of codes and signs, which function across various dimensions and depend on an understanding of the external context. On this basis, Pierreguirou's semiotics, which focuses on the study of codes, enables a profound understanding of linguistic signs. By utilizing linguistic and social cues, it possesses a strong capacity to analyze the implicit meanings associated with the color green. This approach examines the various semantic, cultural, linguistic, and social dimensions of each literary text, revealing its hidden layers.
Method:
Poets and writers have employed symbols, such as the color of words, to convey their intentions and thoughts. This topic has also garnered interest from researchers who study and analyze its implications. In this context, the significance of the present study lies in examining the frequency of the word in the poems of Amal Dunqul and Qeisar Aminpour. Interdisciplinary and comparative studies not only contribute to the enrichment of the corpus of language and literature but also facilitate a deeper interpretation and explanation of texts, revealing their implicit intentions and ideas. The present study employs a descriptive-analytical method and references library resources to critique and examine Amal Dunqul's poems in Maqtal al-Qamar and Sudden Mirrors by addressing the Words of Swallow and Flying Without Wings by Qeisar Aminpour from the perspective of Pierreguirou's semiotic theory. The evidence and documentation presented in Qeiser Aminpour's works, along with the analyses and studies conducted in this research, exhibit no thematic or conceptual similarities with previous research in this field. Consequently, the preceding essay, supported by citations from reliable sources, offers a new understanding and analysis of the poems of Qaiser and Danqol.
Results and Discussion:
The primary objective of Pierre Girou's semiotics is to understand and interpret social signs and behaviors, as well as to decipher the meaning of each within a coded system. The signs in the text convey implicit, hidden, and secondary meanings. This crucial concept illustrates that their accurate interpretation and understanding rely on the codes that generate them. The codes are categorized into three types: logical, aesthetic, and social codes. Aesthetic codes refer to experiences that are connected to feelings and emotions. These codes, represented by symbolic signs, illustrate the relationship between humans and nature. In the poem, al-Danqul creates a beautiful juxtaposition between the opposing words. In the case of Amal Dunqol, the recurring use of the color green may symbolize life, growth, nature, and hope. This color can represent freshness, a reconnection with nature, or even the aspiration for a brighter future. In this part of the poem, the phrase "green shade of summer" refers to an image of a lush and pleasant summer, reminiscent of the natural beauty of the environment in which it was created.
Green shade of summer conveys a sense of freshness and vitality. Furthermore, it stands in contrast to urban and industrial life, which is often dry and soulless. This image of a lush summer symbolizes a joyful and tranquil period that the poet has experienced, far removed from the stresses of city living. Caesar also explores themes such as: who is greener than a thousand springs, and someone amazing. The color green is interpreted as a symbol of vitality, freshness, and fertility. Personality as being more vibrant than the ever-renewing spring. The stock and the combination further emphasize that the abundance of vitality, freshness, and fertility associated with the color green has no place in spring itself. Therefore, the poet views the existence of a person who brings joy and freshness as a source of wonder and admiration.
Conclusion:
Amal views the green dandelion as a symbol of life, freshness, hope, and vitality. It typically conveys these meanings in conjunction with two vital organs of the body—the heart and the eyes—presented together in a manner that emphasizes their semantic proximity. Aminpour, drawing on these meanings and concepts, has implicitly used the term "the color" several times. By presenting a figurative and circular image, he associates happiness, joy, and contentment with the color green. Also, by focusing on the tangible and social aspects of the "traffic light ," it has transformed into an abstract concept. She perceives standing and waiting at a traffic light as a state of anticipation, hope, growth, movement, and re-mobilization. Another manifestation of the color word "green" in Amal Dunqol's poem is expressed through the contrast between the village and the city. This contrast arises from the natural and authentic charm that, unlike modern environments, is found in the simplicity of rural life. This theme is illustrated in Amal Danqol's poem through the imagery of colored veins on the knee of an elderly, thin woman. Despite her frail appearance, she perceives life in the soulless, industrial atmosphere of the city as ugly and complicated. Aminpour also established a contrast. While listing the characteristics of both, she considers the village to be preferable to the city. it is believed that although life in the village is hard and burdensome, the clear and sunny sky, the vibrant green atmosphere, the clean air, the comfort, the peace, and the glimmer of hope can all be found in the village.
کلیدواژه‌ها [English]
عنوان مقاله [العربیة]
دلالة اللون الأخضر فی شعر أمل دنقل وقیصر أمین‌بور علی ضوء الرمزیّة الجمالیّة لبییر جیرو
چکیده [العربیة]إنّ السیمیائیة عند بییر جیرو تعتبر نظریة تقوم علی تحلیل أنظمه العلامات الخطابیة والبنیات اللغویة اعتمادا علی الرمزیّة المتعلقة بها. إنّ رمزیّة الجمالیّة فی نظریة جیرو تقوم علی أنظمة العلامات الشعریة التی تثیر الخیال والعاطفة، لذا یسبب بتأطیر العلامات المبهمة وذات عدة الدلالات والتی تواجهها ذهن الإنسان وضمیره. فی هذه الحالة المؤول یعالج العناصر اللغویة التی تشکل أنظمة فی العلامات الشعریة والجمالیّة. فی هذا الأثناء إنّ اللون الأخضر فی شعر أمل دنقل و قیصر أمین بور یخلق فضاء خیالیا والذی ِیؤدّی إلی التقابلات اللغویة والثقافیة، کما یتضّمن المعنی و یتعدد التأویلات؛ فمن هنا هذه المقاله تناولت دلالة اللون الأخضر فی شعر دنقل وأمین بور بالمنهج الوصفی التحلیلی وقامت بدراستها کعلامة لغویة تتشکل البنی الدلالیة العمیقة علی أساس نظریة رمزیّة الجمالیّة لبییر جیرو. فی نهایة المطاف وصلت إلی أنّ اللون الأخضر فی شعر الشاعرین یحتلّ مکانا ممتازا حیث إنّه قد یتشکل رمزا أو نمادا عاطفیا أو قلبیا أو قدسیا ومعنویا. بالنظر إلی طبیعة اللون الأخضر وهی رمز لطبیعة فإنّ الشاعرین یتطرقان من خلاله إلی الموازنة المدینة و القریة وقد یتفاضلان القریة علی المدینة لهدوءه، کما أنّ اللون الأخضر من الألوان التی تؤدّی إلی الهدوء.إضافة إلی ذلک أنّ اللون الأخضر فی شعر دنقل وأمین بور یعدّ رمزا للحیاة والأمل والطرواة وهی هذه کلّها تدل علی الانتهاض والانتماء.
کلیدواژه‌ها [العربیة]
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