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Appendix 4043

Appendix 4043

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Published by Bahare Shirzad

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Published by: Bahare Shirzad on May 20, 2012
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1
Extract 4.1-
Introducing the founder of 
 NEW WAVE
poetry: Ahmadreza Ahmadi who appliedthe semantic art of visualization through poetry and established
 New Wave
genre.
Extract 4.3- It illustrates a sample of New Wave poetry kept visualization, free-versestructure, semantic area and remodelled through rendering.WHITEFound freedom of the color of whiteAnd how flightless, have flown away
To the whitness of dove’s wing
 
White…
 
White…
 
Colorless…
 
Now…
 Here I have landed
 
2
Extract 4.4-
Opposition with the new wave
Although Ahmad Reza Ahmadi was considered among well-known poets of the 60s, and hispoems and those of other new wave poets were being published in most of the intellectualmagazines of that time, but the new wave faced a lot of opposition, and that abrupt and en massedevotion paid by the youth and the poets was replaced by opposition from traditionalists and
some modernists. Shams Langroudi writes about the new wave: “later on, the new wave faced
with a pathetic decline, and erroneous sentences filling up these publications together withharmonic articles known as political poetry, plagued the modern poetry with a tragic stagnation
and humiliation”.
 
 
3
Reza Baraheni from the opposition front against the new wave wrote the following about Ahmad
Reza Ahmadi: “Ahmadi’s poetry is the con
frontation of sincerity with misunderstanding.
Ahmadi’s objects are not viewed in a contractual form. Ahmadi’s view towards the form of 
objects and interpretation in words is exactly like someone walking on his hands, watchingdownwards and thinks as if pe
ople and objects sizes are upside down… Ahmadi is not ever 
-lasting, since he does not have enough content to prevent perishing among all the messy colors
and fragrant and smells of life”.
After a while, opposition against the new wave became overestimated; because the complex andvisionary language was not understandable for people, and the problem was doubled for thecontent poetry, because not only its language was not understandable for ordinary people, butalso could not satisfy professional and serious audiences of poetry. In addition to language, theharmony of poems was making people desert poetry. As mentioned earlier, Ahmad Reza
Ahmadi’s poems completely lacked inner harmonic rhythm, being so called prose, and Rouyayi
also, returning to the rhythm
 – 
but not in its traditional meaning
 – 
used a kind of connecting
rhythms called “multi
-
rhythmic” in his poems. Because people’s taste at that time was not
acquainted with these two styles (non-rhythmic in the new wave, and multi-rhythmic in contentpoetry)
, and due to their habitual liking of rhythmic poems, “the new wave” and “content poetry” were not welcomed to a high level in 70s.
 
Here, Isma’eel Nouri Ala, who was among the most active poets, interpreters and defendants of 
the new wave (in 60s and 70s), suggested a sort of revision
 – 
of course out of compassion and inorder to amend the poetry.It should also be noted that before that, Nouri Ala took proper measures in order to propagate thenew wave. Together with a number of poets (Ahmad Reza Ahmadi, Mohammad Ali Sepanloo,Ghaffar Hosseinin and Nader Ebrahimi), he established Torfeh publications in order to defendthe new wave and support the poets of this movement, and by publishing a number of scraps and

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