سطوح بلاغی خیال در تصاویر شعر معاصر

هدف مقاله حاضر آن است تا با بررسی روند تصویرسازی‌های ادبی در قلمرو تخیّلات شاعرانه که از مباحث بنیادین و قابل‌توجّه در بلاغت امروزی است؛ به معرفی سطوح مختلف خیال در این تصاویر بپردازد. مساله بنیادی این مقاله که نگارندگان در پی پاسخ‌گویی به آن هستند، کیفیت ظبقاتی تصاویر شعری معاصر از نظرگاه خیال و سطوح ادراکی شاعران، گذر از لایه‌های سطحی ومیانی تخیّل آن‌ها به لایه‌های درونی و عمیق و نمایش توانایی‌های شاعران در عرصه خیال‌پردازی و هنر تصویرگری آن‌هاست. در این راستا پس از معرفی لایه‌های مختلف تصویر در دو حوزه تصویر سطح و تصویر اعماق و معرفی تصاویر اثباتی و اتفاقی با ذکر نمونه‌هایی برای هرکدام این نتیجه حاصل می شود که میزان پیچیدگی شبکه تصویری در شعر شاعران مختلف ارتباطی مستقیم با شبکه ذهنی آنان دارد به گونه‌ای که سطوح مختلف این تصاویر به تدریج جزو ویژگی‌های سبکی آن شاعران می‌شوند

Rhetorical facets of imagination in contemporary poetry

AbstractThe present article deals with the trend of literary imaginative descriptions in the purview of poetical imaginations which have been regarded greatly in the discourse of rhetoric’s. The different facets of imagination of these imageries are also introduced in this article. Throughout this study poetical demonstrations are dealt with on the basis of their indications, functions and profundity. Meanwhile overcoming superficial and intermediate layers of imagination towards inner and profound thoughts would represent the domination of the poets in depiction of imagery. For this purpose, an introduction of numerous imagery layers with their deep and superficial, positive and subsidiary nature is presented through some exles. The result suggests that the extent of imagery complexity among many poets has a direct relation to their subjectivity in such a way that different levels of imageries are internalized as a unique stylistic feature of any individual poet. He endeavors to ornament his poem through imagery devices. Yousefi says: “any poem in which there is not imagery cannot be regarded as a poem. “The attractiveness of such imagination and the success or failure of the poet in conveying this imagery is a matter of poet’s tendency in using imagery devices. Through this article the contemporary poems are analyzed from the view point of objectivity and subjectivity. Furthermore, the poems are studied on their functions. The analysis has been carried out from two perspectives idiosyncratic features of the poet and the characteristics of the era in which he has lived. The exles presented in this article are selected from among the poets with different linguistic backgrounds and unique ideologies. The reason behind this specific consideration is an indication of a generalizability rather than a representativeness of few poets with their idiosyncratic styles. Therefore, the results indicate the style characteristics of poet’s era more than any criteria.1The nature of images: In Persian “illustration” is a equivalent for “image” in European literature. It was 1st introduced to Persian poetry by Shafeei Kadkani in his salient book known as “Types of Imagery”. It goes: A manipulation of the concept of nature an man by the poet whereby he tries to make a relation between man and nature. It is the thing we call “imagination” or “illustration”. Admittedly others have proposed definitions of their own.11 Different expressions of imagery: As Fotohi Rood Mojani has noted, illustrations are classified on the basis of their functions as positive (objective) versus imaginative (subjective). He also attributes deep and surface values for images on the basis of their covert (internal) and overt (external) feature and for this very reason the article is founded on a description of different imagery levels. Furthermore an analysis of poetical illustrations based on their subjectivity and objectivity (deep surface) characteristics is proposed. For the purpose of better understanding these concepts and their related terms are discussed in detail.Internal and external perspective of imageries: poetic images are elaborated from superficial descriptions to more profound ones in accordance with their imagery functions. It is quite clear that such imagination is more of 2ndary kind. For this very reason the illustrations are known as superficial and substantial manifestations.Superficial descriptions: from artistic and literary point of view as well as their functionality, superficial descriptions are the simplest poetic representations through which the poet presents the simplest kind of imaginations –what Hawks describes them just appealing to the public and without any poetical emotion or “ description “Profound (deep) imageries: Core of these illustrations is figures of speech that encompass richness and profundity. These figures make the host of literary devices of any language: Symbol, allegory, paradox, myth, mythical allusion are le imagery devices for deep understanding. This means a descriptive creation by the poet.Functional descriptions: Poetical imageries can be considered from functional perspectives as positive and imaginative illustrations. The foundation for this taxonomy are the extent of sensibility, feasibility of imagination, their concordance with intellectual rationales, language standards, public acceptability and its emotional and imaginative criteria.Positive Imageries: The poet endeavors to confirm his ideology through this kind of imagery. Since the purpose is an affirmation of the present situation, there is no logic for any imagination, emotion and hyperbole (Confirmation is far beyond imagination). It is sensible, clear and in line with intellectual foundations. It is supported by the public and enjoys high readability of people. In sum it could be said that the poet tries eagerly to provide positive criteria for his ideology.Imaginative Imageries: While positive imageries are based on logic and rational, imaginative illustrations are a host of dissimilation, paradox and great imagination. They are exciting devices with which the poet surpasses the ordinary life and goes beyond the habits of his reader. These images are unconsciously uttered by the poet. Thus a lack of rationale, intellectual thinking and decidedly rare are among the most significant characteristics of this kind of imagery.ResultsFocusing on imageries of contemporary poetry in Iran, the researcher has founded that the extent of visual or imagery illustrations by many poets has a direct relation to their mental (inner) complication in such a way that different indications of these imageries have been internalized as idiosyncratic style of any individual poet. Meanwhile the high frequency of such imageries reflects the prominent of a given style of the era in which the poets have experienced. But what can be said in certain is the fact that notable poets have been interested more on imageries having multitude connotations of imagination. They are somehow worried about public understanding of manifestations of their poetical imageries which have been shaped in these intervening and everlasting complexes