نوع مقاله : علمی ـ پژوهشی
نویسندگان
1 استادیار زبان و ادبیات فارسی پژوهشگاه میراث فرهنگی و گردشگری. تهران، ایران.
2 دانشیارزبان و ادبیات فارسی، گروه عمومی، حسابداری، دانشگاه سراوان، سراوان، ایران.
کلیدواژهها
عنوان مقاله English
نویسندگان English
Introduction
Contemporary Persian poetry is characterized by diversity in form, language, and aesthetic orientation. However, its social reception does not depend solely on literary quality; it is also shaped by the ways in which poetry is represented and circulated through media. Among media institutions, television has a particularly important role because of its wide reach and cultural authority. In recent years, television programs devoted to poetry have become influential spaces in which poetic taste is introduced, organized, and evaluated for a broad audience.
This article examines how television may promote or modify contemporary poetic style through the lens of reception theory. The central concern is not only what kind of poetry appears on screen, but also how audiences interpret and respond to it. The case study of *Sarzamin-e She’r* provides a useful context for analyzing the relationship between media form, poetic representation, and audience reception. The study asks how the program represents contemporary poetic styles, which aesthetic tendencies it privileges, and how viewers decode its messages.
Materials & Methods
This research uses a qualitative design. The data are drawn from two main sources: first, content analysis of the television program *Sarzamin-e She’r*; second, in-depth interviews with audiences and viewers of the program. The analysis focuses on several dimensions of the program, including the types of poems presented, thematic choices, the mode of performance, the role of judges and critics, and the overall visual and auditory framing.
Theoretical interpretation is based on reception theory, particularly the ideas of Hans Robert Jauss and Stuart Hall. Jauss’s concept of the “horizon of expectation” is used to explain how audiences bring prior assumptions to their engagement with poetry. Hall’s encoding/decoding model is used to classify audience responses into preferred, negotiated, and oppositional readings. This framework makes it possible to examine poetry not as a fixed meaning, but as a mediated cultural product whose significance is shaped through interpretation.
Discussion & Result
The analysis shows that *Sarzamin-e She’r* is not simply a poetic competition, but a media event that organizes and legitimizes a particular view of contemporary poetry. The program gives special prominence to modern poetic forms, especially Nimaic and free verse, while classical forms are less central or appear in more limited contexts. This suggests that the program promotes a contemporary poetic taste aligned with modern literary developments rather than reproducing a strictly traditional canon.
everal features of the program contribute to this effect. The selection of poets, the competitive structure, the language of evaluation, and the combination of visual and musical signs all work together to encode a particular aesthetic message. Poetry is not presented as an abstract literary object, but as a public and performative cultural practice. In this sense, the program helps move poetry out of elite literary spaces and into a broader social arena.
At the same time, audience reception is not uniform. Interviews indicate that viewers do not all interpret the program in the same way. Some accept its poetic values and approve of its aesthetic direction, corresponding to preferred readings. Others partially accept its message but also question some of its choices, which reflects negotiated readings. A smaller group resists or challenges the program’s implicit hierarchy of poetic forms, representing oppositional readings. This diversity supports the reception-theory claim that meaning is not fixed by the media text alone.
The main result of the study is that television can function as an active producer of cultural meaning. *Sarzamin-e She’r* does not merely reflect contemporary poetry; it helps define which poetic styles are visible, legitimate, and desirable in the public sphere. In doing so, it contributes to the reconfiguration of Persian poetic aesthetics in contemporary media culture.
Conclusion
The findings show that television can play a significant role in shaping the development and reception of contemporary poetry. Through its structure, selection criteria, and presentation style, *Sarzamin-e She’r* promotes modern poetic tendencies and encourages the public visibility of poetry. Reception theory helps explain why the effects of the program are not identical for all audiences: viewers interpret its messages in different ways depending on their expectations, experiences, and cultural positions.
Overall, the article concludes that television is not a passive intermediary in literary culture. Rather, it is an active institution that can influence poetic taste, establish aesthetic hierarchies, and transform the relationship between poetry and its audience. The case of *Sarzamin-e She’r* demonstrates that media can reshape the social life of poetry by bringing it into new forms of public circulation and cultural recognition.
کلیدواژهها English
