واكاوي سير تحول عناصر محتوايي غزل و شعر زنان معاصر ايران

An Analysis of Evolution Content Elements of Poetesses Lyric Poetry in Contemporary Literature of Iran

هدف پژوهش حاضر واكاوي سير محتوايي تحول غزل و شعر زنان معاصر ايران مي‌باشد. جامعه مورد بررسي شعر و غزل زنان از عهد مشروطه تا آغاز دهۀ نود معاصر است. نمونه پژوهش شعر ژاله قايم مقامي، شعر و غزل سيمين بهبهاني و فروغ فرخزاد بود. طرح پژوهش توصيفي-تحليلي و گردآوري اطلاعات از طريق كتابخانه اي و منابع پژوهشي ديجيتالي انجام شد. براي تحليل از شيوه جريان‌شناسي شخصيت محور محتواي غزل زنان و سير مهم‌ترين تحولات آن در بستر تاريخ معاصر استفاده شد. نتايج نشان داد، كليت و كيفيت شعر زنان در اين دوره رو به كمال بود. غزل زنان ايران معاصر، پس از غزل سيمين بهبهاني و فروغ فرخزاد به سمت افق‌هاي نو و آزادانديشانه اي حركت كرده است كه از ميان جريان‌هاي فكري درون فرهنگي و برون فرهنگي ايران، دو نوع غزل متعهد، اجتماع‌محور و غزل پست مدرن و گاه نيز غزل زبان‌گراي ساختارشكن بيشترين سهم را دارد. غزل زنان نيز هم چون شعر آزاد نيمايي مجال بروز عواطف زنانه را يافته و غزل از حالت كلاسيك و يك صدايي به جريان‌ها و صداهاي متعددي وارد شده است. مطالعۀ غزل زنان در اين صدسال يعني مطالعۀ صدسال جامعه‌شناختي شعر زنان و به تبع آن جامعه ايراني است.

The present study aim was to investigate the evolution of the content of lyric poetry in contemporary Iranian women lyrics works. The studied universe was the poetess lyric poetry from the Constitutional Era to the beginning of the contemporary nineties decade. The sample of the study was the lyrics poetry of Jaleh Ghaem Maghami, the poetry and the lyrics of Simin Behbahani and Forough Farrakhzad. The research method was descriptive-analytical and data collection was done through the library and digital research resources. To analyze the data, personality-centered trend methodology of the content of poetess's lyric poetry and its significant developments in the context of contemporary history were applied. The results showed that the totality and quality of women's poetry in this period were evolved progressively. The lyric poetry of contemporary Iranian women, after the lyric poetry of Simin Behbahani and Forough Farakhzad, had moved towards new and freethinking horizons. Among the intra-cultural and extra-cultural currents of thought in Iran, two types of committed lyric poetry, community-oriented and postmodern lyric poetry, and sometimes deconstructed linguistic lyric poetry, had the largest share. Women's lyric poetry, like Nimai's free verses, had found the opportunity to express feminine emotions, and the lyric poetry, entered into various currents and polyphonic from the classical and monophonic state. The study of women's lyric poetry in the late hundred years meant the hundred-year sociological study of women's poetry and, consequently, Iranian society.