Abstract:
For the first time، Julia Kristeva، while exploring Bakhtine''s ideas such as «dialogical logic» and their application to literary texts، introduced the term of «intertextuality». She considered intertextual relations and considerations as rationales in freeing the literary text from a limited semantic system. From then on، Kristeva and other post-structuralists such as Roland Barthes extended many of the ideas associated with «dialogism» and they approved that every literary text have a continuous and solid link with other texts. From this perspective، none of the text is lone and novel rather and emerged and derived from different and plural cultural origins. In this paper، for applying the intertextuality theory to the contemporary Iranian poetry، we have chosen poems of Qeysar Aminpour and believe that intertextual relations and considerations in his poetry have institutionalized a remarkable essence of dialogism and have substantially led to complete the meaning of his text. In other words، we believe that the intertextual considerations and relations in Aminpour''s poetry fulfill two principal functions: «create the character of dialogism» and «help complete the basic implications of meaning». In this paper، apart from explaining the results which are obtained in the light of intertextual reading of Aminpour''s poetry، it aims to examine the possibility of applying this theory to other poetry especially the contemporary Iranian poetry
Machine summary:
Intertextual Relations and Attention to Dialogism in Poetic Language Keisars Aminpour * Ebrahim Salimi Kouchi Assistant Professor of French Language and Literature, University of Isfahan, Isfahan, Iran Received: 2013/05/12 Accepted: 2013/08/28 Abstract Julia Kristeva first introduced the term "intertextuality" in an essay regarding Bakhtin's ideas, such as the "logic of dialogism," and the application of some of them in examples of literary texts.
" Bakhtin and many researchers who after him have thought about the application of sub-theories and perspectives of dialogism and intertextuality have mostly chosen the literary genre of the novel; because many of these thinkers believed that poetry is the highest example of monologism and the novel is the finest example of polyphony (Namvar Motlagh, 2008: 401); therefore, the present article also harbors the desire to answer the following innovative questions: 1.
From the perspective of intertextual observations, the phrase "Or, as my sister Forugh said/ your own hands/ in which garden / did you plant lovingly?" (Amin Pour, 1388: 114), is an explicit invitation for the reader's participation in discovering and understanding the meaning; in other words, this mode of expression by the poet shows his trust in the existence of known facts and a collection of 17 Paul Eluard 18Omano of values and social beliefs shared with the reader; a collection of presuppositions that could be the result of a brief familiarity with the themes and semantic coordinates of Forugh Farrokhzad's poems.
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