7/31/2019 Appendix 4043

1/12

1

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

7/31/2019 Appendix 4043

2/12

2

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.

7/31/2019 Appendix 4043

3/12

3

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

7/31/2019 Appendix 4043

4/12

4

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.

7/31/2019 Appendix 4043

5/12

5

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,

7/31/2019 Appendix 4043

6/12

6

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

7/31/2019 Appendix 4043

7/12

7

7/31/2019 Appendix 4043

8/12

8

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.

7/31/2019 Appendix 4043

9/12

9

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-

7/31/2019 Appendix 4043

10/12

10

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-

7/31/2019 Appendix 4043

11/12

11

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

7/31/2019 Appendix 4043

12/12

12

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.