Document Type : علمی - پژوهشی
Author
Assistant Professor, Department of Persian Language and Literature, Kowsar University, Bojnord, Bojnord, Iran
Abstract
The present study examines and studies the poetry of the second millennium of the mountain deer (Shafiee Kadkani, 2016) in order to examine the centers of meaning as a researchable problem that can lead to a more accurate typology of modern Persian poetry; By asking these questions, what are the centers of meaning reproduction in the second millennium of mountain deer, what kind of relationship are they with each other, as a result of the interaction of these centers, how the process of infinite symbolism proceeds and finally what effect the multiplicity of centers of meaning production has on the sensory-aesthetic flow of poetry? The results show that in the second millennium, the relationship between poetry and painting is intercultural and interdisciplinary. The openness of the visual discourse of the "Mosque / Old Mosque" tile allows the poet to escape from the sphere of the closed sign and the monophony of today / now to the sphere of the open sign and the polyphony of yesterday / of the past. By transforming the iconic function of tile symbols into a symbolic function in poetry, the physical space or sub-space of the tile becomes a macro-space or virtual space and promotes the birth of meaning in a mixed, multidimensional, hierarchical flow in the deep space of ancient Iranian history. In this process, a discourse space is created in which the contradictions achieve coexistence and interaction instead of denying each other, and the "tile of the old mosque" hosts all the discourses. In the process of other signs, tile icons become indexes and, through combined metaphors, create a deep and subtle dimension of meaning that refers to "self." In this poem, the inner sense is the strongest sensory-perceptual dimension that disables the external senses and in the form of pure experiences, shows the way to the unconscious in the form of beautiful and unique images. Due to the fact that in this poem, the dominant center of production of meaning is the history and culture of Iran, it is classified as a cultural boast. The research has been done with a poststructuralist semiotic approach and descriptive-analytical method.
Keywords
)
Send comment about this article