Animism in Sohrab Sepehri's poems (original) (raw)
Related papers
Romanticism extended to different countries around the Europe in eighteenth and nineteenth century. This school not only includes European countries but also countries outside the continent like Iran. Similarly, Romanticism developed some of its features out of Iranian contemporary literature. Sohrab Sepehri, the contemporary Iranian poet, has always been at the center of Romanticism investigation in Iran. Regarding Morse Peckham's view of Romanticism, this could be inferred that Sepehri has made a voyage from the "static mechanism" to "dynamic organicims". Sepehri's change of view causing this journey was his acquaintance with the Far Eastern mysticism. Therefore, the present study aims to investigate this phase shifting by focusing on its effect on his poems.
Manzar, the Scientific Journal in Landscape, 2023
The love of nature and its beauty has been the source of the creation of many artistic works. Meanwhile, poetry has been no exception, and nature’s expression is observed in the works of the poets, especially contemporary poets, each of whom has spoken from a unique perspective and is disparately concerned about nature. Among the contemporary poets, Nima Youshij and Sohrab Sepehri, as modernist poets, have special credit and positions. Regarding the significance of nature in Iranian art, this paper analyzes and explains the views of Nima and Sohrab on the subject of nature and seeks to identify the similarities and differences in the types of attitudes of these two poets toward nature. On this basis, it analyzes the qualitative content of the poems by Sohrab and Nima with an interpretive method. The findings show that the poems of Sohrab and Nima share common aspects in concepts like the novelty of looking at nature and its elements, transformation in nature, nature as a safe place, and seeing the natural elements as living and animate things. However, they are different in concepts such as the special theosophical view of nature, holism, and specificity, phenomenological look at nature, nature as a symbol, native and local nature, and social view of natural elements. It seems that the major difference between these two poets is in their holism and specificity.
From Nima Yushij to Sohrab Sepehri: A Development of Modern Persian Poetry
Routledge Handbook of Post Classical and Contemporary Persian Literature, 2023
In the first half of the 20th century, Nima developed an early form of modern Persian poetry with unequal lengths of lines and a different notion of rhyme. Nima developed a poetic form that was not symmetrical in its shape and music and was (partially) free from restrictions of rhyme and meter. At the same time Nima was theorizing a modern “politically-engaged” Persian poetry, Hushang Irani (1925–1973) deviated from Nima’s poetic modernism through developing a modern apolitical surrealistic Persian poetry. Irani’s poetry possessed (nonreligious) mysticism along with synesthesia and personification, leading to a particular kind of surrealism. Inheriting an unprecedented combination of characteristics from two pioneers of modern Persian poetry, Sohrab Sepehri’s contribution to Persian poetry is apolitical poetry in a modified Nimaic metrics whose mysticism goes beyond Sufism.
2012
The study of the pedagogic aspects of the literary works deals with the text’s attempt to convey moral teachings with the aim of social reformation. One of the The most frequent concept in this field is “literature of commitment”, which emphasizes the necessity of social engagement on the part of the writer. According to this view, the poet’s duty is to reflect the shortcomings of the society and the world in general. However, it frequently happens that the followers of this view toward literature accuse some poets of being indifferent towards the social problems. Sohrab Sepehri, the modern Iranian poet, has been accused by many critics of being an isolated mystic and not a committed poet. This article aims to find some evidence in Sepehri’s poems, which would approve the the idea that he was not ignorant of the social issues of his environment and had even some suggestions to solve these problems.
Defamiliarization in Sohrab Sepehri’s Poetry DEFAMILIARISATION DANS LA POESIE DE SOHRAH SEPEHRI
2012
The tendency of the human beings to get used to the things, people and objects around them is an undeniable matter which is usually referred to as habitualization. Art (and in particular literature) is what helps us see the familiar in an unfamiliar and fresh way. As a distinctive feature of literature, defamiliarization refers to any process which tears away the reader’s familiar and habitual ways of looking at the world. Most of the methods of defamiliarizing technique include the creative use of everyday language and common concepts. The aim of this article is to show how Sohrab Sepehri, the Iranian modern poet, has made use of various methods of defamiliarization in his poems and also, to indicate the ways that these techniques serve the aim of changing the reader’s mode of perception back from the trite, automatic patterns of everyday life.
A Comparative Study of Wordsworth and Sepehri's Poetry in the Light of IbnArabìs Philosophy
Sohrab Sepehri and William Wordsworth's poems, have repeatedly been compared as they both reflect Pantheism and Emerson's Over-Soul, yet they have never been studied in the light of Ibn Arabi's Philosophy. The theory of Constant Immanence or renewal of creation expressed by Ibn Arabi can be regarded as an umbrella term to read the selected poems of Sepehri and Wordsworth and detect the similarities between these poets of two distinct milieu. Ibn Arabi's innovative ideas of constantly renewing creation of the cosmos, the relationship between Man and Nature, Perfect Man and the love of religion have been depicted impressively centuries later in Sepehri and Wordsworth's works. There is a wide tendency to compare the poems of these two poets of different milieu due to their special outlook to nature and their very individualistic worlds and their wide acceptance by both elite and common readers of poetry.
Mystical Love Metaphors: A Cognitive Analysis of Sohrab Sepehri’s Poetry
GEMA Online Journal of Language Studies, 2016
Metaphor in poetic texts has been discussed from different perspectives. Philosophers and rhetoricians conceive of metaphor as an instrument utilized in the composition of literary texts, though metaphor proper was construed as ornamentation within a text. In cognitive linguistics, metaphor is not only confined to literary studies but it has become a commonality among all the sciences that address issues related to language and mind and it demonstrates the various ways we perceive our experiences. The present study is an investigation of mystical love metaphors in Sohrab Sepehri’s poetry by drawing upon conceptual metaphor theory (CMT). Studying mystical metaphors via conceptual metaphor theory will provide a clearer perception of the ambiguous mystical concepts and can provide an exact explanation of the mapping of an abstract concept based on a concert one. The present paper will be focused on Sohrab Sepehri, a contemporary Persian poet and painter, renowned for his composition of...
Objectivism and Context in the Contemporary Persian Poetry
CSCANADA, Canadian Social Science, 2017
Modernity changed the life and literature of the Middle East. Developments of literature in Iran were reflections of sociopolitical transformations. Turmoil that induced yell of freedom against systems, was expressed in new forms and styles within poetic creativity. Poets broke the old chain of habitual language to convey their objective social outlook in an engaged literature. They also used the new kinds of self-expression and subjectivity to emphasize poetic freedom even beyond social boundaries. In this concern, different technical traits and poetic streams emerged in Iran during last 100 years and the poetic scene seems to be fluctuating between objective—social perspective from one hand and personal—subjectivism from another hand. This paper is trying to shed a light on these transformations and fluctuations.
Metaphor and Imagery in Persian Poetry
Metaphor and Imagery in Persian Poetry, 2011
Persian literature is essentially symbolic. This is reflected in the abundant use of rhetorical fijigures in both prose and poetry, and also in the prominent place of poetry in Persian culture. As Ehsan Yarshater observes "Poetry is the most signifijicant artistic achievement of Persia, and, as an art with wide scope, sustained energy and universal appeal, provides the broadest stage for artistic and intellectual expression." 1 This volume is a collection of essays on classical Persian literature, focusing mainly on Persian rhetorical devices, especially imagery and metaphors, and theories about them. From the outset of Persian literature in the tenth century, authors have used various literary devices to embellish their writings, and to make them more persuasive, while Persian rhetoricians wrote rules for making such devices, in both Arabic and Persian. The importance of the use of these devices is emphasized in various poetic manuals. A poem without literary embellishments would be considered inelegant. 2 Rules for rhetoric fijigures, imagery and metaphors are stipulated in rhetorical manuals. There are many works on the science of rhetoric but the most original is without doubt the Asrār al-balāgha ('Secrets of Eloquence') by ʿAbd al-Qāhir Jurjānī (d. 471/1078), which, as De Bruijn indicates, "changed the course of literary theory. . ." Jurjānī treats the use of imagery, simile (tashbīh), metaphor (istiʿāra), analogy (tamthīl), and several other tropes. 3 His analyses were taken over by later literary critics such as Sakkākī (d. 626/1229) who wrote Miftāḥ al-ʿulūm and in 1