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Extract 4.1- Introducing the founder ofNEW WAVE poetry: Ahmadreza Ahmadi who applied
the semantic art of visualization through poetry and establishedNew Wave genre.
Extract 4.3- It illustrates a sample of New Wave poetry kept visualization, free-verse
structure, semantic area and remodelled through rendering.
WHITE
Found freedom of the color of white
And how flightless, have flown away
To the whitness of doves wing
White
White
Colorless
Now
Here I have landed
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Extract 4.4- Opposition with the new wave
Although Ahmad Reza Ahmadi was considered among well-known poets of the 60s, and his
poems and those of other new wave poets were being published in most of the intellectual
magazines of that time, but the new wave faced a lot of opposition, and that abrupt and en masse
devotion paid by the youth and the poets was replaced by opposition from traditionalists and
some modernists. Shams Langroudi writes about the new wave: later on, the new wave faced
with a pathetic decline, and erroneous sentences filling up these publications together with
harmonic articles known as political poetry, plagued the modern poetry with a tragic stagnation
and humiliation.
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Reza Baraheni from the opposition front against the new wave wrote the following about Ahmad
Reza Ahmadi: Ahmadis poetry is the confrontation of sincerity with misunderstanding.
Ahmadis objects are not viewed in a contractual form. Ahmadis view towards the form of
objects and interpretation in words is exactly like someone walking on his hands, watching
downwards and thinks as if people and objects sizes are upside down Ahmadi is not ever-
lasting, since he does not have enough content to prevent perishing among all the messy colors
and fragrant and smells of life.
After a while, opposition against the new wave became overestimated; because the complex and
visionary language was not understandable for people, and the problem was doubled for the
content poetry, because not only its language was not understandable for ordinary people, but
also could not satisfy professional and serious audiences of poetry. In addition to language, the
harmony of poems was making people desert poetry. As mentioned earlier, Ahmad Reza
Ahmadis poems completely lacked inner harmonic rhythm, being so called prose, and Rouyayi
also, returning to the rhythmbut not in its traditional meaningused a kind of connecting
rhythms called multi-rhythmic in his poems. Because peoples taste at that time was not
acquainted with these two styles (non-rhythmic in the new wave, and multi-rhythmic in content
poetry), and due to their habitual liking of rhythmic poems, the new wave and content
poetry were not welcomed to a high level in 70s.
Here, Ismaeel Nouri Ala, who was among the most active poets, interpreters and defendants of
the new wave (in 60s and 70s), suggested a sort of revisionof course out of compassion and in
order to amend the poetry.
It should also be noted that before that, Nouri Ala took proper measures in order to propagate the
new wave. Together with a number of poets (Ahmad Reza Ahmadi, Mohammad Ali Sepanloo,
Ghaffar Hosseinin and Nader Ebrahimi), he established Torfeh publications in order to defend
the new wave and support the poets of this movement, and by publishing a number of scraps and
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poetry series and writing numerous articles helped a great deal to accelerate the movement of the
new wave (Ahmadi,2008: 351-353).
Extract 5.1- selected contemporary English poets that they have poems in which distinctive
characteristics ofNew Wave are emerged while there is no actual definition of style in the TL
(English). Poets such as Martyn Crucefix and Gerald England.
Gerald England
MID-DECEMBER by Gerald England
A full moon shines
over the morning frost;
the lanes are full of late-fallen leaves;
walking across the mulch
is almost as tricky
as treading over ice.
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In town the carol-singers are in
crowding the shopping-mall,
while a group of muffled musicians
play by the outside market.
This year but two robins
on the early christmas cards;
the squirrel still runs along the fence
skirting our newly-erected shed.
OCTOBER FORECAST by Gerald England
"Bright with sunny periods
some cloud, occasional showers"
says the local TV forecast.
It has been persistently precipitating
for more than twelve hours.
On the doorstep
a soggy mass of pulp
is all that is left
of my note to the milkman.
The dog wags her tail
in a desperate message;
I open the back door,
she steps out,
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stops,
looks round,
then dashes for the nearest
patch of green,
does that she has to do.
Back inside,
the hearthrug
doubles as a towel.
Only an incoming aircraft
breaks the greyness
of the birdless sky.
Outside my window,
the sodden rosebush
drips
Martyn Crucefix
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Extract 6.1- The selected poems of Ahmadreza Ahmadi for translation from the collection
All My Poetry/ .
1.
2.3.4.5.6.
Extract 6.2- The selected poems of Yadollah Royaee for translation from the book On
Empty Roads/ .
1.2.
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Extract 6.3- The poetry selection of Bijan Elahi for translation from the book Some Poems
of Three Yester Eras/ .
1-2-3-4- Dupin Detects5-6-
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Extract 6.4- The selected poems of Bahareh Shirzad for translation from the book Love
Poems of Naked Wire/ .
1-2-3-4-5-6-
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Extract 7. AUDIOVISUAL INTERVIEW
(1) What triggers or inspires a poem? Does it come from within (feelings, emotions, etc.)
or from observation of day-to-day life, or both, OR from other sources (e.g. being
commissioned to write a poem!)?
(2) Is it possible to distinguish between a 'commissioned/mechanical' poem and one that
emanates or springs from the heart - so to speak? If yes, what are the distinguishing
factors?
(3) Content (message) or form (code)? Which one takes precedence over the other - if at
all? If one had to be sacrificed for the other, which way around would it be? Example: ifa 'rhyme' was unavailable for a particular 'message', would you settle for a 'non-rhyme'
(and keep the message intact) or would you 'massage' the 'message' to fit the rhyme?
(4) Whats your opinion on semantic visualization (i.e. imagination and inspiration
formed as a poem on the page)?
(5) Does New Wave poetry which its features transferred through these translations
correspond the need of liberation for contemporary poets and modernism in poetry?
(6) How far modernism in poetry can go? And finally what is your advice to newcomers?
Extract 7.1- Mimi khalvati:
Mimi Khalvati has published seven collections with Carcanet Press,
including The Meanest Flower (2007), which was a Poetry Book Society Recommendation and
shortlisted for the TS Eliot Prize. Her most recent collection, Child: New and Selected Poems
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1991-2011 is a Poetry Book Society Special Commendation. Mimi is the founder of The Poetry
School, where she teaches, and was the Coordinator from1997-2004. She was poet in residence
at the
Royal Mail and has held fellowships with the Royal Literary Fund at City University,
at the International Writing Program in Iowa and the American School in London.
Her awards include a Cholmondeley Award from the Society of Authors, a major Arts
Council Award and she is a Fellow of the Royal Society of Literature.
Current President, John Mole, is a well-known poet. John is
currently Poet in Residence for the City of London, critic and jazz clarinettist.
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