Document Type : Original Article
Authors
1 communication، humanity، azad، tehran
2 Assistant Professor, Department of Communication Sciences, Tehran East Branch, Islamic Azad University, Tehran, Iran
3 Faculty Member, Tehran East Branch, Islamic Azad University, Tehran, Iran
Abstract
The pervasiveness of social networks among poets has been accompanied by changes in production, distribution and consumption in the field of poetry and these changes cannot be ineffective in the situation of individuals and literary currents. This article is a qualitative study that examines the legitimacy of the so-called postmodern Ghazal movement on the basis of a part of Bourdieu's theoretical system (Based on the relationship between cultural capital and symbolic capital) and according to the above changes. Contemplating the articles that are in the manifesto of this current, it turns out that the use of the postmodern suffix for sonnets, (By Seyed Mehdi Mousavi, whom Wikipedia considers the father of postmodern lyric poetry) is an example of the forgery of symbolic capital Which is reflected in the repetition of words and phrases that have a high frequency in the words of postmodern critics and poets. In the second part, reflecting on Mousavi's Instagram page It turns out that the audience, not only plays a direct role in the poetry distribution cycle through "sharing" but also has had an undeniable effect on the distribution process by producing symbolic capital through likes and comments and promotes the poet's position in the literary field, a situation that derives its legitimacy from this symbolic capital.
Keywords
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