نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشیار/پردیس هنرهای زیبا
2 گروه هنرهای نمایشی، دانشکدگان هنرهای زیبا، دانشگاه تهران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
The subject of this article is to explain the emergence of romantic drama in the history of Iranian dramatic literature and to know its first components, which historically appeared first in the play Fate of Parviz in 1284/1324 AH; However, despite the presence of elements such as love, lyrical literature, fantasy, split subject and aesthetic state in the first romantic drama as well as in the works of playwrights after Owais, it was not customary to use the word romantic for these works, or there was no self-awareness about it. Until, for the first time, Abulhasan Khan Foroughi used the word "romantic style" in the preface of his work called Shidosh and Nahid 1335/1295 and formulated his work under romanticism as an expression of literary modernity. Foroughi also tried to define romanticism as a national style by relying on themes such as love, pacifism and patriotism, or being aware of the "romantic style" which implied relying on national historical and cultural categories. Based on the historical data, the hypothesis of the authors is that due to the presence of the mentioned components in the two works of Fate Parviz and Shidosh and Nahid, these two works can be considered as the first romantic drama and the first self-awareness towards the "romantic style". And the authors' second hypothesis is that before the plays of Owais and Foroughi, there were signs of romantic drama in Iran; But these signs were limited to a few shades of romanticism in the plays of writers such as Akhundzadeh and Narimanov. In order to explain the mentioned cases, the authors will base the theoretical framework of the article on the opinions of early German romantics. Friedrich Schlegel used the term romantische poesie as a literary form in a magazine called Athenaeum in 1798; In defining romantic poetry, he contrasts it with classical poetry; On the other hand, the early romantics depended on subjectivism to a great extent in drama in order to reorganize this turbulent world. They are considered early romantics and their goal is the unity between reason and emotion; One can observe concepts such as self-realization, education, and cognitive state. The mentioned concepts are used for the purpose that in order to achieve unity, one must express one's self, which is both a carrier of reason and emotion, while being free. In the meantime, education can be done by relying on the true expression of oneself, and these things are realized under an aesthetic state. That is, a government that gives formality to the expression of senses and allows people to see political issues as aesthetic works rather than as moral requirements, so the authors will examine the mentioned works by considering these concepts in order to be able to understand the limits of romanticism in Iran. and also show when the romantic drama was created in the history of dramatic literature of Iran and in what history and work the self-awareness of romanticism became important.
کلیدواژهها [English]
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