Mohammad Javad Imani Khoshkhoo; Bahareh Naji
Abstract
If we consider that voice is a reflective ability of actors for narrating themselves and others’ lives and a sort of significant choice to reform the current situation, so the Constitutional era’s satiric poetry is a unique form in terms of constructing the public voice: an appearance of ...
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If we consider that voice is a reflective ability of actors for narrating themselves and others’ lives and a sort of significant choice to reform the current situation, so the Constitutional era’s satiric poetry is a unique form in terms of constructing the public voice: an appearance of critical poetic form towards the society. In this research, the contexts of public voice’s formation have been historically explained and by studying four main poets of this era-based on Albert Hirschman's voice theory, themes and the manner of public voice has been analyzed. The effective factors in formation and development of public voice is: frustration arising from comparison between Iran and modern countries, absence of easy opportunities for exit (although it’d got possible), national loyalty sentiments and the possibility of voice’s effectiveness due to weakness of sovereignty. Public voice in the constitutional era has been unequivocal. While this voice is straight and distinctional in criticizing of public culture, it is rather oblique in criticizing politics (Shah, politicians and colonialism). Regardless of the validity of these poetries, satire was so a fantastic form to appear the horizontal collective public voice that paved the way of construction of collective political identities and – accordingly - vertical voice towards dominants.
