To create meaning by specific arrangement of sounds is a trend in poetic diction which was dominant in Iran during 80’s and 90’s. A major characteristic of this trend was the formation of poetic as well as objective atmospheres. The findings of the present article prove that this approach simultaneously focuses on sound, movement and meaning. When this technique is accompanied with meaningful linguistic combinations, the readers will find it difficult to get the meaning, but when it concentrates on phonological forms of expression, the readers will encounter with a meaningless poetry in which rhythmical movement is fast and incessant.
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