چکیده :
بیان مسئله: جریان شعری حجم در تاریخ شعر معاصر جریانی بیانیه‌محور بوده و از الگوها و ساختارهای ویژه‌ای پیروی کرده است.
خوانندگان شعر حجم نیز در طول زمان با خوانش نظریات یدالله رؤیایی از ظرفیت‌های متفاوت فلسفی، زبانی و زیبایی‌شناسانۀ آن آگاه شده‌اند؛ در این پژوهش به نقش عرفان در بوطیقای تصویر شعر یدالله رؤیایی پرداخته می‌شود.
روش: پژوهش حاضر با محوریّت‌بخشیدن به نقش عرفان در بوطیقای تصویر شعر رؤیایی، به سطوح متفاوتی از این تأثیرگذاری در بُعد اخلاقی و مفاهیم عرفانی دست یافته است.
در این راستا، به‌دلیل ظرفیت‌های لبریخته‌ها و هفتاد سنگ قبر، تحلیل و بررسی مجموعۀ این ویژگی‌ها بر این دو دفتر شعری انجام می‌شود.
یافته‌ها و نتایج: بوطیقای تصویر در شعر یدالله رؤیایی مجموعه‌ای از ظرفیت‌ها و وجوه متفاوت است که الگوها و ساختارهای خود را از بیانیه‌های شعر حجم و نظریات یدالله رؤیایی می‌گیرد؛ وجوه متفاوتی مانند وجوه زبان‌شناسانه، پدیدارشناسانه، زیبایی‌شناسانه و عارفانه.
دستیابی به وجوه مختلف یادشده مسئله‌ای است که در گذار از بیانیۀ شعر حجم و سیر تاریخی نظریات یدالله رؤیایی به وقوع می‌پیوندد.
بررسی عرفان و نقش آن نیز در بوطیقای تصویر شعر رؤیایی در گذار از این مباحث و تمرکز بر بیانیۀ دوم حجم‌گرایی و حواشی شعر حجم امکان‌پذیر بوده است.
عرفان با کنشی دوسویه در بُعد اخلاقی، ریشه‌های تربیت ذهنی حجم، خوانش و نویسش را در تأثیرپذیری از پدیدارشناسی هوسرلی یافته و از آنجا به ساختمان حضور غیر و دیگری رسیده و در تأثیر مفاهیم عرفانی، به سروده‌هایی با تکانه‌های عاطفی، زبان عارفانه یا با بافت و ساختار شطحیات عینیّت بخشیده است.
spacement poetry is a manifest-based movement in the history of contemporary poetry in iran that follows specific patterns and structures.
by reading yadollah royaee's ideas, the readers of spacement poetry become aware of its different philosophical, linguistic, and aesthetic capacities.
accordingly, the poetic of the image in royaee's poetry is a complex of different capacities and aspects which takes its patterns and structures from spacement poetry.
the aspects include lingual, phenomenological, aesthetic, and mystic, but achieving them is a problem that takes place through the manifest of spacement poetry and the historical development of yadollah royaee's opinions.
mysticism and its role in royaee's poetry are also possible through these subjects as well as through concentration on the second manifest of spacement and the margins of this type of poetry.
for this reason, the present study has achieved different levels of mysticism in ethics and mystical concepts by concentrating on the role of mysticism in this area.
in other words, mysticism has found its roots in educating the spacement mind, reading, and writing with a mutual action in ethical aspects and then reached the structure of presence of the other, and objected the effects of mystical concepts through poems with emotional impulses, mystical language, and the context and the structure of 'shathiyat'.
in this regard, the authors focused on "labrikhteha" and "haftad sange ghabr", which are elaborated on in the study.
introduction
poetic of the image in yadollah royaee's poetry is a mixture of various functions which have found their structure in stylistic patterns and features of this poet and also in mind education of spacement.
this education is an abstract of patterns, spacement poetry manifests, and royaee's ideas and have objected to different lingual, aesthetic, phenomenological, and mystical capacities through the effect of poetic of the image in royaee's poem.
mysticism and its role in royaee's poetry, as the pioneer of spacement poetry, have been achieved by concentrating on the poet’s ideas and going through the first manifest of spacement and focusing on the second one, which was a completion of different aspects of that manifest.
therefore, by focusing on the role of mysticism, the current research has studied its action in two aspects of ethics in mental education of spacement and of the mystic in patterns and stylistic features of royaee's poem.
in other words, this mystical role has a mutual action affected by husserl's phenomenology from the ethical aspect and by the texture, atmosphere, and structure of the mystics shathiyat.
it is worth mentioning that the writers focused on "labrikhteha" and "haftad sange ghabr".
review of the literature
in studying the role of mysticism in the poetics of the image in yadollah royaee's poem, the reader of spacement poetry faces a kind of philosophy-mysticism and finds its most important aspects in the effect of theory subjects of spacement poetry from husserl's phenomenology, the language of shathiyat, and the deep concepts of mysticism.
here, the subject of husserl's phenomenology connects with the ethical dimension.
the feature of conscious experiences of humans finds its roots through berentano in the middle ages back to aristotle.
in fact, by discussing ethics in his discussions, husserl followed some subjects that reach the age of intellectualism of europe through kant and heum and was accompanied by plato and aristotle (smith, 2015).
yadollah royaee has also mentioned this subject (ethics) in the second manifest of spacement and explained a mysticism rooted in ethics, then he reached husserl's phenomenology.
ethics, passing ethics, clearance, and avoidance are repeatedly mentioned in the second manifest.
ethics is mixed with mental education of spacement.
moreover, "education of reading" is an important issue in which royaee mentions the transference of the face and presents such an equation: "reading- transference of the face- studying" (royaee, 2018, p.
180).
it can be stated that spacement poets somehow practice spacement ethics that take them to avoidance, which means "clearness and avoidance" that itself reaches the structure of "the presence of the other" in husserl's ideas.
in fact, my connection with the world in husserl's phenomenology represents in the spacement poetry stream via concepts like outside-being of me, outside-being of the world, transference of the face, spacement ethics, clearance, and avoidance.
the laic mysticism issue which is also mentioned in the manifest somehow finds its roots in the philosophical effects of husserl's phenomenology.
accordingly, concepts like doubt, rejection, and other are mentioned in the manifest, which all are rooted in the philosophical thinking of spacement poetry.
the effect of mystic concepts of the form and the structure of shathiyat on the development of ideas in spacement poetry has been discussed and is clearly presented in "labrikhteha" and somehow in "haftad sange ghabr".
that is why the poems of "labrikhteha" are outstanding for their aesthetic form, mystical content, and the usage of mystic symbols, like the circle, spinning, other and so on, which are completely related to philosophical and aesthetic structure and the content of shathiyat.
for example, in the following piece of the poem, the concepts of i and other are clearly outstanding:
whenever i am, comes from you
when all of me comes from all of you
i go away from what is me
and then it is something
runs to me.
(royaee, 2008, p.
461)
or in the following piece of the poem, the sudden emotional strike or impulse has shortly happened, which clearly shows the effect of the structure of shathiyat:
a tree with crazy branches
and the echo leaves
on the body of the mountain
the article of the protection of flowers in the garden (royaee, 2008, p.
520).
methodology
the current study is based on a library study in which the authors refer to philosophical and literary books and take notes from them and analyze the information.
results
the current study studied the role of mysticism in the poetics of the image in yadollah royaee.
it is concluded that mysticism had a mutual action in that poetry: one refers to the ethical dimension in mental education of spacement, reading, and writing and finds its roots in the effect from husserl's phenomenology and the structure of the presence of the other.
it should be noticed that this dimension of the role of mysticism cannot be achieved unless by passing through the first manifest of spacement poetry, the historical ideas of yadollah royaee, and the concentration on the second manifest of spacement poetry and its margins.
the other action in texture and structure and the language of poem pieces finds its roots in the effect of mystical shathiyat and objects the creation of some places with emotional impulses and a language affected by shathiyat.
also, for the mystical and ethical capacities of "labrikhteha" and "hafted sange ghabr", the author has concentrated on these two poetic collections.