Document Type : Original Article
Authors
1
Assistant Professor of Persian Language and Literature, University of Kurdistan
2
Persian Language and Literature, Faculty of Language and Literature, University of Kurdistan, Sanandaj, Iran
Abstract
Discourse analysis is an interdisciplinary approach. This new approach seeks to analyse texts by a close reading of it. The present study tries to analyse Simin Behbahani's poetry by taking advantage of critical discourse analysis, reflecting the political, social and other issues as well as illustrating the mutual relations between poetry (as a text) and society, accordingly, in this way to explain the available discourses in her poetry. In this research, among the different approaches of discourse analysis, the writer uses Fairclough's critical discourse analysis. Since this theory -to acknowledge many analysts - seems to be more comprehensive than other methods. Fairclough’s method includes three levels, textual practice (description), discourse practice (interpretation) and social practice (explanation). In this study, five poems of Simin Behbahani that are selected from her collected poems, are analysed in order to bring to the light the basic discourse components in the three levels which are analysed based on discourse analysis in order to determine, formal, individual and sociological aspects. In this analysis, it is concluded that the formal language features of Simin's poetry such as sounds, words, verbs, modal verbs, semantic relationships, synonyms, rephrasing, formal and semantic consistency, give her poetry a kind of discourse value and ideological aspect. Therefore, the aim of the researcher is to explain the type of discourse which is existed in Behbahani’s poetry and the way it relates to social structures. Finally, the dominant discourse in her poetry are as follows: social discourse, feminist (feminine centered), common people (cultural), moral, love and political discourses. Although the most obvious discourses in Behbahani’s poetry are social and feminist ones.
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