aliakbar noresideh; Sayyed Reza Mirahmadi; Roghayeh poorbairam
Abstract
After passing through the stage of structuralism, semiotics laid the groundwork for issues such as body, perception, feeling, and presence, and gradually shifted to a phenomenological ...
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After passing through the stage of structuralism, semiotics laid the groundwork for issues such as body, perception, feeling, and presence, and gradually shifted to a phenomenological perspective. In other words, the process of meaning-making is open and fluid, and confronts us with a presence whose biological senses, perceptions, and experiences are the source of linguistic production. Accordingly, the main foundations of meaning are sensory-perceptual perceptions that, through a physical and sensitive presence, convey their lived experience through languag. Therefore, in this study, a short poem by the Syrian poet Adonis (1930) entitled "Al-mezana" was selected and studied by descriptive-analytical method. The approach of this research is phenomenology and its tool is semiotics. The purpose of this study is to investigate the poet's life experience and how emotions are transformed into meaning and the role of subject and object in realizing the meaning of experience. Phenomenological analysis of Adonis's poem "The Al-mezana / minaret" shows thatThe phenomenology of the signs mentioned in Adonis's ode shows that meaning and experience are two separate processes that are aligned with each other. Another important point in obtaining the meaning and experience of individualization is the direction that Adonis, as the narrator, gives to the main stage in order for the event of discourse to occur. Adonis has provided the source of the production of the signification of the forgetfulness of Eastern culture from the point of view of the weeping minaret and the end with the chimney. Thus, from the point of view of how phenomena begin, end, and are chosen, the narrator's view is taken, and as a result, a possible image of the phenomenological scene is created.Adonis has provided the source of the production of the signification of the forgetfulness of Eastern culture from the point of view of the weeping minaret and the end with the chimney. Thus, from the point of view of how phenomena begin, end, and are chosen, the narrator's view is taken, and as a result, a possible image of the phenomenological scene is created.
