| چکیده انگلیسی مقاله |
Ugliness, a philosophical concept, has been scrutinized throughout history from different vantage points. Some consider ugliness merely the lack of aesthetic, rejection of aesthetic, fundamental evil, valueless, and formless. At the same time, some believe that ugliness is the other side of the aesthetic coin, part of our existence that explicates new facets of our being. This study investigated the essential role of ugliness theory in literary studies within a systematic paradigm. The rhetorical and philosophical concept of beauty has been studied, and the reasons for the lack of ugliness studies in the literature have been investigated. Furthermore, the benefits and applications of studying ugliness theory have been delineated, and it has been applied to one poem of Hafez. Applying ugliness theory to one poem revealed that ghazals (short lyric poem) of Hafez are not inconsistent and incoherent, as has been claimed by some literary critics. The study has demonstrated consistency and coherence in ghazals of Hafez which necessitates using ugliness theory in the revision studies of literary works such as Hafez’s.
Extended Abstract
This study aims to provide a helpful solution to the aesthetic criticism of the text with a fresh approach. Despite the increasing interest in Hafez studies and the efforts of Hafez scholars, an array of approaches to interpreting Hafez lyric poetry remains understudied. Even though Hafez poetry and other Persian literary texts have been extensively studied, no analysis has been made of the philosophical concept of ugliness and its sub-branches. This study examines how Hafez uses literary tricks to highlight ugliness through the use of Karl Rosenkrantz's aesthetic theory of ugliness in a lyric.
The aesthetics of ugliness argues that ugly is defined by negating beauty, rather than by connecting it to any conventional concept associated with condemnation, such as evil or materialism. Rosankranz, like Walter Benjamin, emphasized the ugly nature of aesthetic canons and their active role in the metropolis. His collection of caricatures and popular prints is extensive. Living and teaching in Koenigsberg, Rosenkranz simultaneously reacted to and illuminated urban phenomena from afar. "Aesthetics of Ugliness", published four years before Baudelaire's Fleurs du Mal makes a significant contribution to both modernist experiments and the theory of beauty in the twenty-first century. First published in English, “Aesthetics of Ugliness” analyzes the concept of ugliness through modernist aesthetics and literature studies.
Rosencrantz's ugliness aesthetics theory was used to further explore the aesthetic aspects of Hafez poetry, and after applying and reviewing a lyric by Hafez, it was concluded that theory fits perfectly to analyze Hafez work. One of the most effective ways to express oneself is through literature. A ghazal, for example, was found to have a form and structure that are harmonious, despite its apparent incoherence, and the poet applies seemingly distant artistic structures to convey a single and coherent subject, as well as its beauty and ugliness. If the reader applies the cited theory and takes into consideration the identification of the single form present in each text, she or he will be unable to advocate personal opinions, but can instead present a theory based solely on the structure and texture of the text. Each text is analyzed according to this theory on four levels (form, style, inferiority, and ugliness). To achieve an objective examination of each text, the theory can be used as an efficient and appropriate tool to find its essence outside of the highlights and contradictory views of its artistic appearance. As a result, the reader is liberated from confusion.
This theory helps readers comprehend literary texts through the use of the form of each text and the explanation of the highlights. As a result, it provides theoretical and practical tools for the criticism of any text as well as qualitative criteria for measuring the quality of literary works.
It was found that by identifying precise relationships between contradictory and reciprocal artistic structures, one can gain a deeper understanding of the text's internal components and dark areas, which are demonstrated by the correlation of these contradictions and contrasts within the text's overall harmony and coherence. Because Hafez methods of using symmetry, contrast, contradiction, proportion, balance, humor, and ugliness create harmony and unity in the text, which finally reveals another aspect of Hafez artistic creations to the reader, the use of contradictions in the text paves the way for the emergence of a special artistic order that can in no way be regarded as incoherent or disturbing.
A theoretical analysis is provided in this article utilizing the library technique. In this examination, Hafez words and thoughts are examined from the standpoint of ugly aesthetic theory, which leads to a system of techniques and solutions for better understanding of literary texts. Among other artistic devices, the authors illustrate how the poet used comedy, absurdity, confrontation, and ambiguity to represent some of society's most unappealing aspects during this period.
|