Analysis and interpretation of Modality and Syntactic Voice in Literary texts of Arash Kangargar and Derafsh Kaviani Poetry

Subject Areas : Persian language and literature texts

Seyyed Hossein vahid arab ¹ (PhD Student in Persian Language and Literature, Karaj Branch, Islamic Azad University, Karaj, Iran.)
Ahmad Zakeri ² (Associate Professor of Persian Language and Literature, Karaj Branch, Islamic Azad University, Karaj, Iran.)

Received: 2021-01-09 Accepted : 2021-01-09 Published : 2020-09-22

Keywords: حماسه, modality, آرش کمانگیر, Derafsh kaviani, Syntactic layer, Layered Stylistics, وجهیت, صدای دستوری, لایۀ نحوی, درفش کاویان, Arash the Archer, Epical poem,

Abstract :

In stylistic analysis of text and viewpoints of the poet, it is important to examine and identify “categories of modality and syntactic voice” of the layered stylistics structure. The purpose of this paper is to understand the correlation between modality with meaning of speech, degree of certainty of lyrics, and determination of the poet's words. In order to discover the relationship between the poet's language and his insight and worldview using a descriptive-analytical method, three syntactic modality variables including verb, adverb and adjective as well as two active and passive syntactic voice were examined in two valuable collections of contemporary poetry, Arash the Archer and Derafsh Kaviani. The research findings indicated that there is a consistent and complementary relationship between syntactic structures and speech content. Indicative mood, as a dominant mood with definite degree of expression, makes statement about Arash the Archer and Derafsh Kaviani. With great interest and based on the needs of society, Kasraei and Mosadeq tried to restore those myths. Passive voice is the most frequent syntactic voice. However, in the texts of this study, as the sentences with intransitive and copular verbs cannot be passive, they work in the opposite way of diagnostic criteria so the active voice overcome the passive voice and adds to the authoritative power of the speaker's words. Four stylistic components – dynamic poetic syntax, emotional and idealistic stylistic form, two views of hope and disappointment, and overt and covert position – are created by the confluence of two syntactic layers.

References:

کتاب­ ها

احمدی، بابک (1372) ساختار و تاویل متن، جلد اول، تهران: نشر مرکز.

فتوحی، محمود (1391) سبک­شناسی، نظریه­ ها، رویکردها  و روش­ ها، چاپ اول، تهران: سخن.

درپر، مریم (1392) سبک­شناسی  نامه­ های غزالی  با رویکرد تحلیل گفتمان انتقادی، چاپ اول، تهران: انتشارات علم.

روزبه، محمد رضا (1383) شرح، تحلیل و تفسیر شعر نو فارسی، چاپ اول، تهران: انتشارات حروفیه.

شریفی، فیض (1391) شعر زمان ما، سیاوش کسرایی، چاپ اول، تهران: انتشارات نگاه. .

طاهری، قدرت الله (1392) بانگ در بانگ، تهران: نشرعلمی.

فرشیدورد، خسرو ( 1388) دستورمفصلامروز، تهران: سخن.

کسرایی، سیاوش (1387) مجموعه اشعار، از آوا تا هوای آفتاب، تهران: نگاه.

لنگرودی، شمس (1377) تاریخ تحلیلی شعر نو، جلد 2، تهران: نشر مرکز.

مصدق، حمید (1340) منظومۀ درفش کاویان، تهران: انتشارات توکا.

مقالات

رحمانی پرهیزکار، زهرا و گلفام، ارسلان (1393) بررسی طرح­ واره­ های وجهیت در زبان فارسی با رویکرد شناختی، فصلنامۀ مطالعات زبان و گویش­ های غرب ایران، دانشکدۀ ادبیات و علوم انسانی، دانشگاه رازی کرمانشاه سال اول، شمارۀ 4، صص118-101.