Volume 16, Issue 4 (2025)
LRR 2025, 16(4): 1-35 |
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Farajzadeh Z, Algooneh Juneghani M. Tension as an Influential Factor in the Configuration of Poetry. LRR 2025; 16 (4) :1-35
URL: http://lrr.modares.ac.ir/article-14-61772-en.html
URL: http://lrr.modares.ac.ir/article-14-61772-en.html
1- Master’s student of Persian language and Literature, University of Isfahan, Isfahan, Iran.
2- Associate Professor of Persian language and Literature, University of Isfahan, Isfahan, Iran ,M.algone@ltr.ui.ac.ir
2- Associate Professor of Persian language and Literature, University of Isfahan, Isfahan, Iran ,
Abstract: (2772 Views)
Tension, as one of the concepts proposed by formalists and structuralists, can lead to a structured whole in a literary work. Accordingly, the study of tension among the poetic components is of particular importance. However, it seems that despite the studies that deal with tension and its application in different texts, there is no systematic research which deals with tension and its structural factors. On the other hand, Manouchehr Atashi's poems have special features due to their stable structural framework, and a reading that can study the issue of tension and how it occurs in his poems seems necessary. Accordingly, in this research, applying the methodology of the structural semiotics, we have studied tension and its structural components in Manouchehr Atashi's poems with an analytical-descriptive approach. The research question entails an analysis of the degree to which Atashi’s poem uses tension and its constitutive components, as well as an analysis of the discourses configuring the poem. Therefore, it becomes clear that although at first glance, the components of a literary work are not related to each other, and are indeed in opposition, the tension leads the contradictory components in the whole unit to come together and thus to end in the structural configuration of the poem.
1. Introduction
This study examines the concept of self-sufficiency of a literary work and the whole signifying system from different perspectives. A literary work, as a whole, consists of components, each playing a role, with varying approaches clarifying the factors constituting the whole signifying system. Among these factors, "tension" is significant in constructing the work. The concept of tension is essential in formalist and structuralist criticism. Formalists believe that contrast and tension among elements of a poem result in a structured whole, with the complexity of a literary text arising from its tension. For tension to occur, at least two parts are needed, acting like positive and negative electric poles against each other. Consequently, according to Saussure, the fundamental structural relationship in a semiotic system is opposition, where the value of each sign stems from its relationships with other signs. This opposition leads to the text's polarization, creating an environment where elements gravitate towards one of the poles. Such orientation implies the alignment of elements on different sides, resulting in tension. Tension manifests at three levels: ordinary discourse, phenomenological discourse, and deconstructive discourse. This research, using structuralist semiotics, examines signs across these three levels, demonstrating how Manouchehr Atashi's poetry, influenced by these methods, achieves a coherent whole. It appears that Atashi's poetry leans more towards phenomenological and deconstructive discourse rather than ordinary discourse.
Research Question(s)
The following research questions were raised:
1. What methods has Manouchehr Atashi’s poetry used to achieve structuring?
2. How has Manouchehr Atashi’s poetry been influenced by tension to become a meaningful whole?
2. Literature Review
The concept of tension in literature has been explored in two ways: unrelated contexts and relevant contexts to this research. Studies in the first category apply tension analysis without addressing its structuring factors. For instance, Rabiei (2019) analyzes Mehdi Akhavan-Sales's poem "Qasedak" using New Criticism but does not explore the factors contributing to a structured whole. Similarly, Heidarian Shahri (2013) uses formalist criticism to analyze tension in two works, and Shairi (2016) investigates tension systems within Paris School semiotics, but these perspectives are not the focus of this study.
In the second category, studies such as Payandeh (2006) use tension and formalist views to understand Sohrab Sepehri's poem "The Address," aiming to present alternative interpretations without examining tension as a structuring factor. This research expands the theoretical meaning of tension from the second category. Greimas discusses the transition from structuralist to phenomenological systems of meaning, incorporating dynamic and fluid interpretations overlooked by rigid structuralism.
This study, based on structuralism, aims to analyze the dynamics of meaning in non-narrative poetry and demonstrates that structuralism can examine the fluidity of meaning in phenomenological and deconstructive discourses. The essay explains the theoretical foundations, applies them to Manouchehr Atashi's poetry, and conducts a structural reading of his work.
3. Methodology
In this research, we aim to analyze the signs at three levels: conventional discourse, phenomenological discourse, and deconstructive discourse, using a structuralist semiotics approach. The purpose of this study is to demonstrate how, despite the opposition of signs, they converge towards an overarching concept through the aforementioned methods and to what extent Manouchehr Atashi is influenced by these techniques.
4. Results
Atashi's poetic oeuvre, upon close examination, reveals a marked inclination towards phenomenological and deconstructive discourses, diverging from the conventional literary frameworks typically associated with his contemporaries. This observation prompts a deeper investigation into the underlying philosophical and linguistic foundations that characterize his body of work.
The temporal context of Atashi's poetic contributions—most notably during the 1960s—necessitates an exploration of the broader intellectual currents that may have influenced his departure from traditional discourse. The era's distinctive socio-political and cultural milieu undeniably played a role in shaping the thematic and stylistic evolution of his poetry. Consequently, this research posits that Atashi's work cannot be adequately comprehended through the lens of conventional discourse alone. Instead, it requires an analytical framework that accounts for the nuanced interplay between phenomenology and deconstruction.
Phenomenology, with its focus on the lived experience and subjective perception, offers a valuable perspective for interpreting Atashi's poetry. This philosophical approach emphasizes the importance of individual consciousness and the way in which reality is experienced and constituted through perception. By applying phenomenological analysis, one can discern the ways in which Atashi's poetry endeavors to capture the essence of human experience, often eschewing conventional narrative structures in favor of a more fluid and introspective exploration of themes such as identity, memory, and existence.
Concurrently, deconstruction—a critical methodology that seeks to uncover and subvert the inherent contradictions and instabilities within texts—provides a complementary lens for examining Atashi's work. Deconstructive analysis reveals the multiplicity of meanings and interpretations that arise from the intricate play of language in his poetry. By dismantling the traditional binaries and hierarchies that underpin conventional discourse, Atashi's poetry invites readers to engage in a more dynamic and open-ended interpretative process.
Therefore, this research aims to elucidate the extent to which phenomenological and deconstructive discourses prevail in Atashi's poetry, as opposed to conventional literary paradigms. Through a rigorous and methodical examination of his poetic texts, this study will assess the relative prominence of these discourses and their implications for our understanding of Atashi's contributions to modern Persian literature. Ultimately, this research seeks to contribute to the broader scholarly conversation on the intersection of poetry, philosophy, and literary theory, while highlighting Atashi's unique position within this intellectual landscape.
1. Introduction
This study examines the concept of self-sufficiency of a literary work and the whole signifying system from different perspectives. A literary work, as a whole, consists of components, each playing a role, with varying approaches clarifying the factors constituting the whole signifying system. Among these factors, "tension" is significant in constructing the work. The concept of tension is essential in formalist and structuralist criticism. Formalists believe that contrast and tension among elements of a poem result in a structured whole, with the complexity of a literary text arising from its tension. For tension to occur, at least two parts are needed, acting like positive and negative electric poles against each other. Consequently, according to Saussure, the fundamental structural relationship in a semiotic system is opposition, where the value of each sign stems from its relationships with other signs. This opposition leads to the text's polarization, creating an environment where elements gravitate towards one of the poles. Such orientation implies the alignment of elements on different sides, resulting in tension. Tension manifests at three levels: ordinary discourse, phenomenological discourse, and deconstructive discourse. This research, using structuralist semiotics, examines signs across these three levels, demonstrating how Manouchehr Atashi's poetry, influenced by these methods, achieves a coherent whole. It appears that Atashi's poetry leans more towards phenomenological and deconstructive discourse rather than ordinary discourse.
Research Question(s)
The following research questions were raised:
1. What methods has Manouchehr Atashi’s poetry used to achieve structuring?
2. How has Manouchehr Atashi’s poetry been influenced by tension to become a meaningful whole?
2. Literature Review
The concept of tension in literature has been explored in two ways: unrelated contexts and relevant contexts to this research. Studies in the first category apply tension analysis without addressing its structuring factors. For instance, Rabiei (2019) analyzes Mehdi Akhavan-Sales's poem "Qasedak" using New Criticism but does not explore the factors contributing to a structured whole. Similarly, Heidarian Shahri (2013) uses formalist criticism to analyze tension in two works, and Shairi (2016) investigates tension systems within Paris School semiotics, but these perspectives are not the focus of this study.
In the second category, studies such as Payandeh (2006) use tension and formalist views to understand Sohrab Sepehri's poem "The Address," aiming to present alternative interpretations without examining tension as a structuring factor. This research expands the theoretical meaning of tension from the second category. Greimas discusses the transition from structuralist to phenomenological systems of meaning, incorporating dynamic and fluid interpretations overlooked by rigid structuralism.
This study, based on structuralism, aims to analyze the dynamics of meaning in non-narrative poetry and demonstrates that structuralism can examine the fluidity of meaning in phenomenological and deconstructive discourses. The essay explains the theoretical foundations, applies them to Manouchehr Atashi's poetry, and conducts a structural reading of his work.
3. Methodology
In this research, we aim to analyze the signs at three levels: conventional discourse, phenomenological discourse, and deconstructive discourse, using a structuralist semiotics approach. The purpose of this study is to demonstrate how, despite the opposition of signs, they converge towards an overarching concept through the aforementioned methods and to what extent Manouchehr Atashi is influenced by these techniques.
4. Results
Atashi's poetic oeuvre, upon close examination, reveals a marked inclination towards phenomenological and deconstructive discourses, diverging from the conventional literary frameworks typically associated with his contemporaries. This observation prompts a deeper investigation into the underlying philosophical and linguistic foundations that characterize his body of work.
The temporal context of Atashi's poetic contributions—most notably during the 1960s—necessitates an exploration of the broader intellectual currents that may have influenced his departure from traditional discourse. The era's distinctive socio-political and cultural milieu undeniably played a role in shaping the thematic and stylistic evolution of his poetry. Consequently, this research posits that Atashi's work cannot be adequately comprehended through the lens of conventional discourse alone. Instead, it requires an analytical framework that accounts for the nuanced interplay between phenomenology and deconstruction.
Phenomenology, with its focus on the lived experience and subjective perception, offers a valuable perspective for interpreting Atashi's poetry. This philosophical approach emphasizes the importance of individual consciousness and the way in which reality is experienced and constituted through perception. By applying phenomenological analysis, one can discern the ways in which Atashi's poetry endeavors to capture the essence of human experience, often eschewing conventional narrative structures in favor of a more fluid and introspective exploration of themes such as identity, memory, and existence.
Concurrently, deconstruction—a critical methodology that seeks to uncover and subvert the inherent contradictions and instabilities within texts—provides a complementary lens for examining Atashi's work. Deconstructive analysis reveals the multiplicity of meanings and interpretations that arise from the intricate play of language in his poetry. By dismantling the traditional binaries and hierarchies that underpin conventional discourse, Atashi's poetry invites readers to engage in a more dynamic and open-ended interpretative process.
Therefore, this research aims to elucidate the extent to which phenomenological and deconstructive discourses prevail in Atashi's poetry, as opposed to conventional literary paradigms. Through a rigorous and methodical examination of his poetic texts, this study will assess the relative prominence of these discourses and their implications for our understanding of Atashi's contributions to modern Persian literature. Ultimately, this research seeks to contribute to the broader scholarly conversation on the intersection of poetry, philosophy, and literary theory, while highlighting Atashi's unique position within this intellectual landscape.
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