نوع مقاله : مقاله پژوهشی
نویسنده
دانشجوی زبانشناسی دانشگاه پیام نور استان کرمانشاه مرکز اسلام آباد غرب
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسنده [English]
Contemporary ghazal, especially post-Simin's ghazal, underwent many changes in the seventies. And after that, it continued with post-modern sonnets in the eighties. Until in the 90s, with the emergence of many streams of ghazal, it moved with the mixed ghazal, which is a combination of formats, and finally with the maxi-mal ghazal (extended) by Arash Azarpik, who is one of Simin Behbahani's students, and in the 70s with the minimal ghazal. And speech is considered one of the forerunners of Ghazal - he accepted the non-normative side. Because the classic sonnet with a specific number of verses and a specific theme has been considered a popular writing format for centuries. The Nima revolution breathed the first innovative attitudes into the spirit of poetry and especially the sonnet, which Simin Behbahani initiated and later continued by his students according to the appropriate time and place.Maxi Mal's ghazal, with direct connection with the spirit of the ghazal, has moved from that traditional form to new perspectives. The classic sonnet that carried lyrics and romantic discourses between the lover and the beloved. With Nima's revolution, he accepted the social side, and with Maxi Mal's sonnet, he has opened various windows towards new contents, fresher emotions, and finally, transformation in the form and structure of a form. In this article, we intend to list the components of the maximal (extended) ghazal and examine it while introducing this genre.
کلیدواژهها [English]