In this article, we will explore the impact and implications of Hushang Irani on modern society. From its emergence to its influence on different aspects of daily life, Hushang Irani has played a crucial role in shaping various fields, such as politics, economics, technology and culture. Through in-depth analysis, we will examine how Hushang Irani has evolved over time and how it has shaped the perceptions and actions of people around the world. Additionally, we will address the controversies and debates that Hushang Irani has generated, as well as its potential impact in the future. This article seeks to provide a comprehensive and insightful view on Hushang Irani and its importance in contemporary society.
Hushang Irani | |
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Born | 1925 Hamedan, Iran |
Died | September 4, 1973 Paris, France | (aged 47–48)
Resting place | Behesht-e Zahra |
Occupation |
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Period | 1948–1956 |
Literary movement | Modern literature, Surrealism |
Notable works | Spicy Violet on Grey Grey |
Hushang Irani (Persian: هوشنگ ایرانی; 1925 in Hamedan – 4 September 1973 in Paris) was an Iranian poet, translator, critics, journalist and painter. He is one of the pioneers of "The New Poetry" and surrealism in Iran.
Founded in 1950, Khorus Jangi (Persian: خروس جنگی, The Fighting Cock) was a small artistic group that published a journal by same title. In the beginning, Khorus Jangi was not significantly different from other literary journals of the time. A year later, however, Hushang Irani, the enfant terrible of modernist Persian poetry, joined the group. Under his influence, the journal was transformed into a radical modernist literary journal. It published Irani's poems, which no other literary journal of the day, and even almost no literary critics on those days, would dare to acknowledge as poetry. Irani has shrewdly observed and anxiously realized how the potentials that Nima had introduced into Persian poetry were being co-opted: Nima and modernist Persian poetry were in the process of becoming mainstream. Understanding this double edge of youthful tradition, Irani had both praised and condemned Nima.
From the book "Some Designs" (Persian: چند دِسَن), Tehran, April 1952