Document Type : Original Article
Authors
1
PhD student in the Department of Persian Language and Literature, Shahrekord Branch, Islamic Azad University, Shahrekord, Iran.
2
Associate Professor, Department of Persian Language and Literature, Shahrekord Branch, Islamic Azad University, Shahrekord, Iran.
3
Associate Professor, Department of Persian Language and Literature, Shahrekord Branch, Islamic Azad University, Shahrekord, Iran
Abstract
The poetry of the Constitutional era should be regarded as a space for the emergence of protest, anti-hegemonic, and socially awakening discourses, where language is not merely a tool of expression but is considered a social and ideological act. Among these, Mirzadeh Eshghi stands out as one of the most prominent poets who, by employing linguistic, phonetic, and rhetorical techniques, represented the political discourse of the Constitutional era through committed poetry. This study, drawing on Norman Fairclough’s critical discourse analysis theory and applying his three-level model (text analysis, discursive practice, and social practice), examines the functions of internal music and rhetorical tone in Mirzadeh Eshghi’s poetry. At the first level, through linguistic analysis of selected verses, it is demonstrated how repetition, alliteration, parallelism, and wordplay serve to enhance the protest tone and persuade the audience. At the second level, by analyzing the rhetorical style and intertextuality of the poems, the role of poetry in the production and consumption of political discourse is explored. At the third level, the social function of poetry within the context of power relations, particularly in opposition to political despotism and dominant discourses is investigated. The findings of this study indicate that the internal music and rhetorical style in Eshghi’s poetry are not merely aesthetic elements but, as discourse-shaping tools, play a fundamental role in creating a protest tone, representing collective identity, and organizing social action.
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