Document Type : پژوهشی اصیل
Authors
1
PhD Student at dept. of Persian Language and Literature, University of Zanjan
2
Associate Prof. at dept. of Persian Language and Literature, University of Zanjan
3
Associate Prof. of Persian Language and Literature, University of Zanjan
Abstract
This study aims to investigate the concept of Zaum and its manifestations in the song-games of Fars Province. Zaum is a linguistic and artistic phenomenon first conceptualized by the Futurists within a theoretical framework. As it was concerned with music and poetry, it subsequently became one of the sources of Russian Formalism. A preliminary definition of Zaum may be formulated as follows: if a sequence of sounds generates a word that does not belong to any existing language and has merely a musical value, or if semantically meaningful words, when combined in sequence, produce a meaningless construct that retains only musical value, such formations are considered instances of Zaum. In essence, Zaum functions beyond the domain of meaning. It refers to a language that operates beyond meaning, placing primary emphasis on form, sound, and musicality. Findings indicate that Zaum is not merely a modern poetic device, but has long existed in vernacular speech, lullabies, incantations, and verbal games. Based on the modular structure of language (phonology, morphology, syntax, and semantics), this research identifies and explains four types of Zaum: phonetic, morphological, syntactic, and semantic. Examples from Persian song-games such as “Bilikoo Bilikoo,” and “Kalaagh Par” are analyzed as instances of phonetic, morphological, syntactic and semantic Zaum. Results show that Zaum functions as a formalist device, serving the purposes of defamiliarization, focus on linguistic form, and foregrounding of sound.
Keywords
Subjects
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