دانشگاه گیلان نقد و نظریه ادبی 2476-7387 6 1 2021 03 21 Silent Voices in Discursive Conflicts in Sa’di’s Golestan صداهای خاموش در کشمکش‏‎های گفتمانی سده هفتم از دید سعدی در گلستان 5 29 4423 10.22124/naqd.2020.16633.1999 FA سعیده قاسمی دانشجوی دکتری زبان و ادبیات فارسی دانشگاه علامه طباطبائی تهران، ایران نعمت الله ایران زاده دانشیار رشته زبان و ادبیات فارسی دانشگاه علامه طباطبائی تهران، ایران محمدحسن حسن زاده نیری دانشیار رشته زبان و ادبیات فارسی دانشگاه علامه طباطبائی تهران، ایران Journal Article 2020 05 23 Adopting a new historicist methodological approach, this paper examines the representation of the various classes in 7th-century Iranian society in Sa’di’s Golestan against the background of contemporary conflicting discourses about social class. It connects the disruption of contemporary notions concerning social order, as well as the attribution of new meanings to existing signifiers, with the displacement of the center of power in the 7th century AH. The paper also suggests that Golestan’s resistance to certain discourses and groups indicates the emergence of new centers of power and new discourses in society. On the other hand, in line with the principles of new historicism, the paper shows how the lower strata and silenced minorities in society appear in Golestan and rise from objecthood to subject status and sometimes actually use the same ideology that places them at the bottom of the social ladder to resist their leaders. Due to the intertextual approach in this article, other texts are also used for comparison and analysis. The method adopted is, moreover, based on Foucault’s theory of power and resistance. Extended Abstract Introduction Based on the historicity of texts, the present study examines the representation of various classes and discourses in the power network of the 7th-century Iranian society. Disruption in notions concerning social order and the emergence of new signifieds for previous signifiers occur following changes in power, resulting in changes in prevalent discourses. The resistance detectable in Golestan against some discourses and powerful groups suggests the emergence of new powers and discourses. The present paper shows that the marginalized, silenced minorities of the society find a way to be heard. This study focuses on Golestan, but, the intertextual method can be employed to examine other contemporary texts as well. Theoretical Framework In the present study, a great work of Persian literature is examined in its social, political, historical and cultural context. In this paper, the dominant discourses, anti-discourses, and silenced voices in the field of power relations in Sa’di’s Golestan have been studied. Methodology The paper mainly draws upon new historicism, which is influenced by Foucault’s theory of power. For the reading of the text in question in this study, critical discourse analysis and rhetorical techniques have been utilized. Discussion and Analysis Golestan was written at the time of transition of power, which led to changes in values, discourses and classes. Golestan resists some discourses in an attempt to develop an anti-discourse. One discourse Sa’di resists in his book through ideological and rhetorical devices is the discourse developed by the state. He frequently challenges the decisions made by the king, offers his political position against the Mongols, and supports the masses. He also criticizes the discourse developed by Sufis by writing about issues the Sufis and their followers strongly disagreed with. Conclusion The main centers of power in the 7th century in Iran were the rulers and the Sufis. Sufis eliminated silenced voices of different religions, genders and classes through their ideological power and, thus, strengthened the hegemony of the rulers. Using the discourse analysis and the Foucauldian approaches to explain the relationship between the dominant discourse and the subjugated discourse, it is concluded that a new account of history can be identified in works of literature. The suppressed voices of the marginalized groups can be heard and these micro-narratives can even stand against macro-narratives. In such an analysis the boundaries between historical and literary text are eliminated, resulting in a better understanding of both. Bibliography Althusser, L. 1386 [2007]. Id’oloji va Saz-o-Barg-ha-ye Id’olojik-e Dowlat. R. Sadrara. Tehran: Cheshmeh. Fairclough, N. 1379 [2000]. Tahlil-e Enteqadi-e Gofteman. F. Shayestehpiran et al. (trans.). Tehran: Markaz-e Motale’at va Tahqiqat-e Resaneh-ha. Foucault, M. 1386 [2007]. Eradeh beh Danestan. N. Sarkhosh and A. Jahandideh (trans.). Tehran: Ney. Foucault, M. 1387 [2008]. Danesh va Qodrat. M. Zaymaran. Tehran: Hermes. Foucault, M. 1389 [2010]. Nazm-e Ashya: Dirineh-shenasi-e Olum-e Ensani. Y. Emami (trans.). Tehran: Motale’at-e Farhangi va Ejema’i. Greenblatt, S. 1980. Renaissance Self-Fashioning. Chicago: The University of Chicago. Kusch, C. 1396 [2017]. Osul va Mabani-e Tahlil-e Motun-e Adabi. H. Payandeh. Tehran: Morvarid. Sa’adi. 1385 [2006]. Kolliyat. M. A. Foroughi (ed.). Tehran: Hermes. Storey, J. 1397 [2018]. Motale’at-e Farhangi darbareh-ye Farhang-e Aammeh. H. Payandeh (trans.). Tehran: Agah. Tyson, L. 1394 [2005]. Nazaryeh-ha-ye Naqd-e Adabi-e Mo’aser. M. Hossienzadeh. Tehran: Hekayat-e Qalalm Novin. در پژوهش حاضر، با مبنا قرار دادن تاریخیتِ متون ادبی به نمایاندن طبقات برتران و فروتران و همچنین گفتمان‏‎های جاری زمان و تعارض موجود میان‏ آنها در شبکه قدرتِ قرن هفتم پرداخته شده‌است. رخ نمودنِ شکاف‏‎هایی میان مفاهیم ناظمان و برهم‏زنندگان نظم، فرایندی است که از پسِ تغییر جریان قدرت برآمده‏‎است‏ و پیروِ آن، مدلول‏های جدیدی برای دال‏های پیشین در متون شکل گرفته؛ چراکه گفتمان‏ها با تغییر مرکز قدرت دچار دگرگونی و تعارض شده‏‎اند. رویکرد مقاومتی متن در برابر برخی از گفتمان‏‎ها و گروه‏‎های مقتدر، نشان‏‎دهنده وجود قدرت‏های اصلی و همچنین گفتمان‏‎سازی نوینی در جامعه است. درعین‌حال، در کشمکش‏های گفتمانی، مطابق با آرمان تاریخگرایی نو، نشان داده شده که چگونه لایه‏‎های فرودین یا اقلیت خاموش‏‎شده جامعه در متون به صدا درمی‏‎آیند و با این چندصدایی از ابژه‏‎بودگی به جایگاه سوژ‏گی برمی‏‎نشینند و گاه خود از طریق همان ایدئولوژی که آنان را در طبقه رعیت جای داده، به تأدیب پیشوایان می‏‎ایستند. جامعه آماری بر کتاب گلستان سعدی استوار است؛ درعین‏‎حال با توجه به رویکرد بینامتنی، به متون همزمان با آن نیز پرداخته شده؛ روش اتخاذشده در جستار نیز بر مبنای نظریه قدرت و مقاومت فوکو است.

https://naqd.guilan.ac.ir/article_4423_96c886946c3ca7098d9f075c61ae9e59.pdf

دانشگاه گیلان نقد و نظریه ادبی 2476-7387 6 1 2021 03 21 Title as Paratext in Persian Poetry and Prose from the 5th to the 9th Century AH پیرامتن عنوان در نظم و نثر فارسی از قرن پنجم تا نهم هجری 31 54 4463 10.22124/naqd.2020.13600.1759 FA عبدالله آلبوغبیش استادیار زبان و ادبیات فارسی دانشگاه علامه طباطبائی تهران، ایران فاطمه گل بابائی دانش آموخته کارشناسی ارشد زبان و ادبیات فارسی دانشگاه علامه طباطبائی تهران، ایران. Journal Article 2019 06 16 Paratextuality is a fundamental concept in the process of discovering the significations of literary texts, which, according to Gerard Genette, includes signs that guide the reader to the contents of the literary text. Among all types of paratext, titles as the most prominent one in terms of extensivity and variation of function, have a high potential for analysis based on Genette’s theories. This paper has analyzed the titles of the most famous classical works in Persian literature from the 5th to the 15th century AH, classifying their titles in five categories: genre, character, author, technique and direct titles. In this categorization, technical titles are subdivided into two types: rhyming and metaphorical. The metaphorical sub-category has also two kinds: discursive and extra discursive. In general, metaphorical titles are more complex and thus make more compact semantic signification in comparison with the rhyming type. In a stylistic perspective, the titles of the first period are simple and short, whereas in the periods that follow, we find more complex and difficult titles. Moreover, due to the literary capabilities of authors, generic evolutions and contents of the literary texts, other titles emerge which extend vertically, not horizontally, and induce semantic implications. Generic displacement and appearance and disappearance of various genres are another property which can be perceived from the titles. The present study shows that in comparison with elements relating to character and place, the element of time has a far less influence in the process of choosing a title. Moving toward atomistic views instead of holisticism, pursuing a kind of conflict between myth and history, absence of the individuality of the author as an active identity, and removing history from the titles of literary works are among the other issues derived from the analysis of the titles of classical Persian literary works. Extended Abstract Introduction The title of a literary text is of essential importance in a literary work, as it shapes some of its signification and helps us discover meanings implied or hidden in the text. The present paper aims to understand the relationship between title (as paratext) in classical Persian texts and the text as a whole so as to uncover the criteria used by literary writers in choosing titles for their works. This paper also seeks to identify patterns followed in the titles of old literary texts and also discuss the changes in these patterns. The statistical population of the present study includes all classical Persian prose and poetry produced from the 5th to the 9th century AH. Theoretical Framework Gerard Genette’s ideas about paratext are drawn upon here to study the importance of the title in Persian poetry and literary prose over a period of about five centuries. Different elements of the paratext are examined here and titles are divided into five categories based on genre, character, author, technique and whether they are literal or figurative. Methodology To gather the data, the historical documentary methodology was used, while the descriptive-analytical approach, with an emphasis on Gennette’s ideas, was adopted to analyze the data. Discussion and Analysis Five types of titles have been identified in classical Persian prose and poetry: genre-centered titles, as in The Shahnameh, character-centered titles as in Layla and Mjanun, author-centered titles, such as in Qabus-Nameh, technique-centered titles, as in Kashful-Mahjub, and direct, theme-centered titles, as in the Chahar-Maqaleh. Each of these titles possesses specific characteristics, with some of them being more common. Different titles belong to specific periods in classical Persian literature, or are at least used more frequently. Conclusion The titles of classical Persian prose were divided into five categories. The technique-centered titles are of two types of rhyming and metaphorical. The metaphorical titles are more complex with more significations. In genre-centered titles a kind of struggle between mythology and history can be identified. Author-centered titles are quite rare and no individualized Iranian subject can be found in them. The titles in the first period of Persian literary style are simple and short, while in the 8th and 9th centuries they become more complex. In this period, titles are mostly of the narrative type, indicating a transition from the epic to history and imagination. Bibliography Albughobaish, A. and Golbabaie, F. 1397 [2018]. “Naqd-e Zistboum-Garayaneh-ye Dastani Koutah az Gholamhosein Sa’edi.”Adabyat-e Parsi-e Moaser. 8/1: 79-97. Balkhi, H. 1365 [1986]. Maqamat-e Hamidi. R. Anzabinejad (eds.). Tehran: Nashr-e Daneshgahi. Bahar, M. 1373 [1994]. Sabkshenasi. Tehran: Amirkabir. Ebrahimi Hariri, F. 1383 [2004]. Maqaleh-Nevisi dar Adabyat-e Farsi va Ta’sir-e Maqamat-e Arabi dar an. Tehran: University of Tehran. Genette, G.1997. Paratexts: Thresholds of Interpretation. J. E. Lewin (trans.). Cambridge: Cambridge University Press. Hadjviri, A. A. 1394 [2015]. Kashful-Mahdjub. M. Abedi (ed.). Tehran: Soroush. Khatibi, H. 1386 [2007]. Fan-E Nasr dar Adab-e Farsi. Tehran: Zavvar. Namvar-Motlaq, B. “Taramatniyat: Motale’eh-ye Ravabet-e Yek Matn ba Digar Matn-ha.” Pazhuheshnameh-ye Olum-e Ensani 56: 83-98. Sa’di, M. 1375 [1996]. Kolliyat-e Sa’di. M. A. Forughi (ed.). Tehran: Nahid. Safa, Z. 1356 [1977]. Tarikh-e Adabyat dar Iran. Tehran: Amirkabir. پیرامتنیت به‌مثابه مفهومی بنیادین در مطالعات ساختارگرایانه ادبیات می‌تواند علاوه بر کشف دلالتمندی متن ادبی، داده‌هایی را درباب سازمان‌بندی اندیشگانی نویسنده و شاعر و فضای فرهنگی و اجتماعی زیسته در آن به دست دهد. از میان گونه‌های مختلف پیرامتنیت، «عنوان» در جایگاه شاخص‌ترین پیرامتن از نظر گستردگی و تنوع کارکرد، ظرفیت بالایی برای تحلیل و واکاوی دارد. پژوهش حاضر با نگاهی به نگره‌های ژنت درباب پیرامتن و به روش توصیفی تحلیلی، پیرامتن عنوان‌ را در شناخته‌شده‌‌ترین متون منظوم و منثور سنت ادبی فارسی از قرن پنجم تا نهم هجری بازاندیشی کرده‌است. پژوهش پیش‌رو در یک صورت‌بندی نسبی، عنوان‌های مورد مطالعه را در پنج گروه ژانرمحور، شخصیت‌محور‌، مؤلف‌محور، شگردگرا و مستقیم طبقه‌بندی کرده‌است. در این دسته‌بندی، عنوان‌های شگردگرا دارای دو گونه مسجع و استعاری‌اند و عنوان‌های استعاری نیز به دو گروه عنوان‌های گفتمان‌گرا و فراگفتمانی صورت‌بندی می‌شوند. به‌طورعام، عنوان‌های استعاری در مقایسه با عنوان‌های مسجع شبکه دلالت‌های معنایی پیچیده‌تری را ایجاد می‌کنند و بنابراین، تراکم و انباشت معنایی بیشتری نسبت به عنوان‌های مسجع دارند. از منظری سبک‌شناختی، عنوان‌های دوره نخست ساده و کوتاه‌اند اما در دوره سپسین سبک‌شناختی، عنوان‌ها گسترده و دیریاب می‌شوند؛ اما، در پرتو توانایی مؤلف، دگرگشت‌های ژانریک و محتوای متن، عنوان‌هایی ظهور می‌یابند که به‌جای گسترش افقی، گسترش عمودی یافته، دلالت‌های معنایی متکثری را القا می‌کنند. میل به جزئی‌نگری به‌جای کلیت‌گرایی، پی‌گرفتن گونه‌ای نزاع اسطوره و تاریخ، فردیت‌نیافتن مؤلف به‌مثابه هویتی کنش‌مند و تاریخ‌زدایی از عنوان بخش دیگری از دستاوردهای برون‌تراویده از واکاوی عنوان‌های آثار ادوار مورد مطالعه است.

https://naqd.guilan.ac.ir/article_4463_5043566e8e78eac8385b6dbdd144c980.pdf

دانشگاه گیلان نقد و نظریه ادبی 2476-7387 6 1 2021 03 21 The Carnivalesque in Doktor Noon Zanash ra Bishtar az Mosaddeq Doost Darad کارناوال‌گرایی در دکتر نون زنش را بیشتر از مصدق دوست دارد 55 80 4417 10.22124/naqd.2020.15444.1918 FA فاطمه جمشیدی شال دانشجوی دکتری، زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه خوارزمی تهران، ایران. محمد پارسانسب استاد زبان و ادبیات فارسی دانشکده ادبیات و علوم انسانی دانشگاه خوارزمی تهران، ایران Journal Article 2020 01 19 Through the genealogy of novelistic prose, which is a ground for polyphony, an objection to idealism and cultural monophony in every society, Mikhail Bakhtin examines the phenomenon and notion of “carnival”. According to Bakhtin, a novel, just like carnivals of old times, as the domain of togetherness of all dominant and submissive voices, is the presence of all rejected forms of human beings and languages and ideas, and is a domain where democracy is manifested along with freedom from every constructed hierarchical subjugations. In his theory of the carnivalesque, the novel’s capacity to oppose any dominion along with a capacity for critical thinking, lies the ability to construct a network of polyphonic items, grotesque realism, vulgar language, alienation, crowning and eviction. Through developing indeterminate subject, threshold chronotope and contrastive plot, Shahram Rahimian, in his novel Doktor Noon Zanash ra Bishtar az Mosaddeq Doost Darad (Dr. N. Loves His Wife More than Mosaddeq) manages to create a carnivalesque universe which challenges many ruling discourses and constructed norms. This article starts with a brief introduction to Bakhtin’s carnivalesque theory and offers a re-reading of the abovementioned novel through this theory. The findings of this critical view on the novel confirm the dominance of the discourse of “commitment” in Iranian contemporary history, the development of self-consciousness in the reader towards the possibility of subjectivity and his/her ability to leave behind the boundaries of dominion, and the interaction between society’s political sphere and critical thinking. Extended Abstract Introduction According to Bakhtin, the carnivalesque challenges the discourses and constructed norms of totalitarian states. In the novel, as in carnivals of the ancient times or the Middle Ages, all forms of human being, language, and ideas find a way to emerge. Carnivalesque novels challenge the discourses of power and dominant social and political culture through critical discourses. In his novel Doktor Noon Zanash ra Bishtar az Mosaddeq Doost Darad, Shahram Rahimian creates a carnivalesque universe to represent the problematic human in a polyphonic, modern world. The present article analyzes Rahimian’s novel based on Bakhtin’s theory and concludes that by creating unconventional possibilities in the ideas and actions of individuals, this novel questions many of the official, dominant norms and helps the reader achieve self-consciousness toward subjectivity, indeterminism and critical capacity. Theoretical Framework Bakhtin’s idea of carnival and how is has found its way into novels provided the present study with a tool to study different elements of the carnivalesque in a Persian novel. Methodology The descriptive-analytical method has been employed in this study to delve into elements of the carnivalesque in the novel in question. Discussion and Analysis In Doktor Noon Zanash ra Bishtar az Mosaddeq Doost Darad, the dominant discourse of power is in contrast with culture and discourse of the common people, which promises a carnivalesque world. Our analysis of characters, chronotope and plot in this novel revealed a network of carnivalesque elements. In this novel rules and principles are unstable and devoid of significance and various forms of polyphony can be identified. Conclusion Some elements of the carnivalesque novel and critical thinking could be identified in our study of the characters, plot, narration, and language of the novel Doktor Noon Zanash ra Bishtar az Mosaddeq Doost Darad. In this novel, the discourse of “commitment”, which has been reproduced in different periods in the contemporary politics in Iran, is criticized. This discourse turns the individuals into an object destined to serve collective values and objectives. By relying on the potentials of the carnivalesque narration, the author tries to make the readers aware of the capacities of their bodies, language and everyday life to participate in political action to achieve freedom. Bibliography Bakhtin, M. 1391 [2012]. Takhayol-e Mokalemeh-i: Jostarha-I Darbareh-ye Roman. R. Pourazar. Tehran: Nay. Bakhtin, M. 1396 [2017]. Masa’el-e Boutiqa-ye Dostoyevski. N. Moradyani (trans.). Tehran: Hekmat. Bakhtin, M. 1984. Rabelais and His World. H. Iswolsky (trans.). Bloomington: Indiana University Press. Foucault, M. 1390 [2011]. Tarikh-e Jonoun. F. Valiani (trans.). Tehran: Hermes. Goldmann, L. et al., 1390 [2011]. Daramadi bar Jame’eh-shenasi-e Adabyat. M. Pouyandeh (trans.). Tehran: Naqsh-e Jahan. Holquist, M. 1395 [2016]. Mokalemeh-garayi: Mikhail Bakhtin va Jahansh. M. Amirkhanlou. Tehran: Niloufar. Knowles. R. 1391 [2002]. Shakespeare va Karnaval pas as Bakhtin. R. Pourazar (trans.). Tehran: Hermes. Payandeh, H. 1394 [2015]. Goshoudan-e Roman: Roman dar Partov-e Nazaryeh va Naqd-e Adabi. Tehran: Morvarid. Rahimian, Sh. 1383 [2004]. Doktor Noon Zanash ra Bishtar az Mosaddeq Doost Darad. Tehran: Niloufar. Tobias, R. B. 1392 [2013]. Bist Kohan-Olgou-ye Payrang va Tarz-e Sakht-e An. A. Rahneshin (trans.). Tehran: Saqi. میخاییل باختین در تبارشناسی نثر رمانگرا، که بستر چندصدایی، مقابله با ایدهآلیسم و تکسویگی فرهنگ هر جامعه است، به پدیده و مفهوم «کارناوال» میرسد. به زعم او رمان همچون کارناوال‎های اعصار گذشته، میدان همایندی صداهای فرادست و فرودست، ظهور همه گونههای طردشده از آدمیان و زبان و ایدهها، و تجلی دموکراسی و آزادی از انقیاد سلسلهمراتبهای برساخته است. او با طرح مسأله کارناوال‌گرایی ظرفیت ضداقتدار و کنش انتقادی رمان را در ایجاد شبکهای از مقولات چندصدایی، رئالیسم گروتسک، زبان کوچهوبازار، بیگانهبودگی و تاجگذاری و خلع ید می‎داند. شهرام رحیمیان در رمان دکتر نون زنش را بیشتر از مصدق دوست دارد، با طرح سوژه نامتعین و کرونوتوپ آستانهای و پیرنگ تقابلی، جهانی کارناوالی خلق کرده که بسیاری از گفتمان‎های غالب و هنجارهای برساخته را به چالش میکشد. در این مقاله، ضمن معرفی اجمالی «کارناوالگرایی» باختین، به بازخوانی رمان یادشده از این منظر پرداختهایم. نتایج بهدستآمده از پژوهش به نگاه انتقادی اثر، به غلبه گفتمان تک‌سویه «تعهد» در تاریخ معاصر ایران، ایجاد خودآگاهی در خواننده نسبت به امکان سوژگی و تواناییاش در فراروی از مرزهای سلطه، و برهم‎کنش فضای سیاسی جامعه و تفکر انتقادی گواهی میدهند.

https://naqd.guilan.ac.ir/article_4417_df46721735f1ce18d1dc4fad410c27ee.pdf

دانشگاه گیلان نقد و نظریه ادبی 2476-7387 6 1 2021 03 21 An Analysis of Conversational Implicatures in a “Ghazal” of Hafiz based on Grice’s Inference Theory محاسبه تضمن‌های کلامی در غزلی از حافظ با بهره‌گیری از نظریه استنباطی گرایس 81 106 4570 10.22124/naqd.2021.12485.1651 FA مریم رشیدی استادیار مرکز معارف اسلامی و ادبیات فارسی دانشگاه صنعتی اصفهان، ایران Journal Article 2019 02 03 In discourse analysis, Grice’s inference theory – particularly, his ideas on implication – is quite helpful in determining the speaker’s intention as well as discovering and justifying the relations between discourse and its illocutionary force in verbal communication. Likewise, Grice’s verbal implications can be useful in interpreting and analyzing literary texts which are filled with figures of thought and words and sentences which usually have implicit and metaphorical meanings. Following Grice’s inference theory and his cooperative principles, this paper studies the quality of deviation from standard language norms and it’s transformation into mystical and literary language in a ghazal of Hafiz in order to calculate and infer the implicit meanings within a methodic and systematic framework. Therefore, at first, Grice’s theory and concepts such as conversational implicatures are presented and further elaborated on with a discussion of appearance appropriateness in classical rhetoric. Then, adopting a descriptive-analytic method, the first ghazal of Hafiz is studied, and the intentions beyond his words are extracted. This analysis shows that this ghazal does not feature Grice’s cooperative principles, and has deviated from standard language norms. Thus, Hafiz has used words and sentences in other meanings, and has created a mystical-literary language in a syncretic ghazal. The present paper’s main contribution is the justification and explication of Hafiz’s mystical language in the ghazal in question using reliable devices in pragmatics. Extended Abstract Introduction Grice’s inference theory is one of the best tools for discourse analysis and language pragmatics as it provides us with instructions for textual analysis as well as inferring meaning, and enables us to analyze literary texts within a specific methodical framework as an artistic manifestation of the standard language. The present study investigates the tools Hafiz uses to turn the referential language into emotional-artistic language and how he goes beyond the standard language to create implicit meaning. To this end, the first ghazal in his Divan is analyzed using Grice’s ideas and those of semantics scholars from the past. The present paper hypothesizes that there are meanings beyond the formal meaning of the linguistic elements in this ghazal. Theoretical Framework Grice’s inference theory, in which, unlike other types of verbal implications, the context of the text or discourse is of greater importance, has provided the present study with a specific framework to investigate possible meanings existing beyond the formal meaning of the first ghazal in Hafiz’s Divan. Methodology The present study adopts the descriptive-analytical approach to investigate the conversational implicatures of one of Hafiz’s greatest poems. Discussion and Analysis While Grice recommends avoiding ambiguities in the use of language, Hafiz has taken the opposite way. In this ghazal, he has repeatedly employed ambiguous, indirect, and figurative language, which is an important part of his style of poetry and the mystical language. However, he has used mystical, symbolic language in a coherent way so that mystical implications can be detectable. Conclusion The analysis of the verbal implications employed by Hafiz in the first ghazal of his collection of poems, using Grice’s inference theory, indicates that Hafiz has deliberately deviated from the rules and norms of standard language, to which Grice refers to as the cooperative principle. Hafiz communicates his mystical messages indirectly through a literary-mystical language. His deviation from the standards has provided his language with the qualities needed for a mystical communication of ideas. These qualities are the logical qualities of conversational implicatures, which help the sender of mystical messages and implications establish successful communication and interaction with the reader. Bibliography Aqagolzadeh, F. 1390 [2011]. Tahlil-e Gofteman-e Enteqadi. Tehran: Entesharat Elmi va Farhangi. Fazilat, M. 1385 [2006]. Ma’nashenasi va Ma’ani dar Zaban va Adabyat. Kermanshah: Razi. Halliday, M. 1393 [2014]. Zaban, Baft va Matn. M. Monshizadeh and T. Ishani (trans.). Tehran: Elmi. Lyons, J. 1391 [2012]. Daramadi bar Ma’nishenasi-e Zaban. K. Safavi (trans.). Tehran: Elmi. Safavi, K. 1391 [2012]. Ashnayi ba Zabanshenasi dar Motale’at-e Adab-e Farsi. Tehran: Nashr-e Elmi. Safavi, K. 1391 [2012]. Neveshteha-ye Parakandeh. Tehran: Nashr-e Elmi. Shairi, H. 1388 [2009]. “Az Neshanehshenasi-e Sakhtgara ta Neshanehshenasi-e Goftemani.” Naqd-e Adabi: 2/8: 33-51. Shamisa, S. 1393 [2014]. Ma’ani. Tehran: Mitra. Yarmohammadi, L. 1391 [2012]. Daramadi beh Goftemanshenasi. Tehran: Hermes. Yule, G. 1393 [2014]. Karbordshenasi-e Zaban. M. Amouzadeh and M. Tavangar. Tehran: Samt. در گفتمان‌شناسی برای کشف و توجیه رابطه صورت و بار منظوری سخن در ارتباط کلامی و تشخیص منظور گوینده، بهره‌گیری از نظریه استنباطی گرایس بهویژه تضمن و تلمیح مطرح در آراءِ او بسیار اهمیت دارد. در تحلیل متون ادبی نیز که صحنه حضور صور خیال است و غالباً کلمات و جملات، حامل معانی ضمنی و مجازی است، تضمن‌های کلامی گرایس، قابلیت و کارایی لازم برای توجیه و تفسیر معانی ضمنی را داراست. پژوهش حاضر با استفاده از نظریه استنباطی و اصول همکاری گرایس و نیز مبحث اقتضای ظاهر در معانی سنتی، چگونگی عدول از هنجارهای زبان خودکار و تبدیل آن به زبانی ادبی- عرفانی را در غزلی از حافظ بررسی و معانی تلویحی و تضمن‌های عرفانی آن را در چارچوبی روشمند، محاسبه و استنباط میکند. بدین منظور ابتدا نظریه گرایس تشریح و با مبحث اقتضای ظاهر تکمیل می‌شود. سپس با تکیه بر آن و با بهره‌گیری از روشی توصیفی- تحلیلی، نخستین غزل دیوان حافظ بررسی و پیام‌های افزون بر کلام او که معنای مقصود اوست استخراج می‌شود. این تحلیل نشان می‌دهد که حافظ در این غزل با عدم رعایت اصول همکاری گرایس و عدول از هنجارهای زبان معیار، کلمات و جملات را در معانی دیگر به‌کار برده و با ایراد کلام برخلاف مقتضای ظاهر، زبانی عرفانی را در قالب غزلی تلفیقی پدید آورده‌است. تحلیل زبان عرفانی در آثار ادبی از حوزه‌های جدید ادبیات عرفانی است و دستاورد تحقیق حاضر، توجیه و تبیین علمی و روشمند زبان عرفانی حافظ در غزل مورد نظر، با استفاده از ابزارهای قابل ‌اتکاءِ کاربردشناسی زبان است.

https://naqd.guilan.ac.ir/article_4570_e8fa97e3c5e61929fc3e3dfcb0012d48.pdf

دانشگاه گیلان نقد و نظریه ادبی 2476-7387 6 1 2021 03 21 Plot-making Devices in Children’s Fiction: A Semiotic Approach آرایه‌های پیرنگ‌ساز»‌ در داستان‌های کودک: با رویکرد نشانه‌شناسی 107 134 4552 10.22124/naqd.2021.16487.1990 FA امیر حسین زنجانبر دانشجوی ارشد رشته زبان‎شناسی رایانشی، دانشگاه تهران، ایران Journal Article 2020 05 07 Plot is a set of sequences of events within the framework of a causal system. The present study argues that “narrative ornament” is a phonetic or semantic element in excess of the plot; it is also for the aesthetic enrichment of the narrative, and if removed, it does not distort either the plot’s causal system, or the central core of the story. The counterpart of a “narrative ornament” is a “plot-making figurative device,” which cannot be removed from the plot. The aim of the present study is to introduce these figurative devices which are not purely aesthetic elements, but, rather, form the structure of the plot in children’s stories. The paper aims to find out if the definition of figures of speech can be semiotically generalized to plot-making figurative devices. In this regard, the study first describes the three elements in Peirce’s semiotics, i.e., “the sign, object, and interpretant”. Then, using a descriptive-analytical method, and making reference to a brief list of figures of speech, the article expands the definition of figures of speech to the semiotic definition of the plot-making devices. The present study for the first time highlights the narratological and non-rhetorical function of literary embellishment. Since the traditional poetry-related categorizations of figures of speech cannot be applied in the analysis of the narrative text, a study of figures of speech in narratives seems to be of great significance in literary criticism. Extended Abstract Introduction The present paper draws on Peirce’s semiotic approach to extend the poetical functions of literary figures of speech to narratological functions in children’s stories. Since the traditional poetry-related categorizations of figures of speech cannot be applied to the analysis of the narrative text, a study of figures of speech in narratives seems to be of great significance. The present study seeks to answer two questions: how can we move from superficial applications of figures of speech to their narratological ones? And, based on Peirce’s categorization, how can the categorization of literary figures of speech be applied to plot-making devices in children’s stories? Theoretical Framework The present study adopts Peirce’s semiotic approach to provide a semiotic illustration of literary figures of speech. It is argued here that these figures are not just aesthetic elements but help develop the plot in stories, including children’s stories. Methodology The article describes Peirce’s semiotic approach and defines the elements of plot. The descriptive-analytical approach is then adopted to apply the definition of literary figures of speech to a semiotic definition of the elements of plot. Here, the literary figures mainly used in poetry are identified and redefined with regards to children’s stories. Discussion and Analysis The present study offers twenty six plot-related figures of speech, claiming that numerous figures of speech from literary texts and poetry can be applied to children’s stories. It is shown here that Peirce’s iconic, symbolic and indexical signs – words, phrases and phonemes – are not just a specific form of symbolic signs. In other words, figures of speech are not limited to words, as a specific form of symbolic signs, but can be applied to iconic and indexical signs as well. Conclusion The super-structural, concrete functions of literary figures of speech can be utilized in a different way and turned into infrastructural, axial elements to create the plot of a story. The plot-related figures of speech can be analyzed in the works by a writer or a group of writers so that the characteristic style is identified and the mental schemata of the writers are figured out. In Rumi’s stories, for instance, the figures of speech are mainly based on indexical signs. However, in children’s stories, these figures can be mostly based on iconic signs. Bibliography Barthes, Roland.1977. Image, Music, Text. London: Hammersmith. Nikolajeva, M.aria 2002. “Growing up: The Dilemma of Children’s Literature.” In: D. Sell Roger (ed.). Children’s Literature as Communication. Philadelphia: John Benjamins. 111-136. Pierce, C. S. Collected Writings. Charles Hartshome, P. Weiss, and A. W. Burks (eds.). Cambridge: Harvard University Press. Radjabi, Z. 1397 [2018]. “Negareshi bar Talmih-e Adabi bar Asas-e Rouykard-ha-ye Novin dar Naqd-e Adabi va Motale’at-e Beynareshteh-i.” Naqd-e Adabi 11/43: 7-37. Zanjanbar, A. and Karimidoustan, Gh. 1399 [2020]. “Radeh-bandi-e Neshaneh-shenakhti-e Sujeh-ha-ye Takhayyoli dar Dastan-ha-ye Koudak az Manzar-e Nazaryeh-ye Amikhtegi-e Mafhumi.” Zabanpajuhi 12/37: 177-195. پیرنگ مجموعهای از توالی حوادث داستان است در چارچوب نظام علّی. درواقع، پیرنگ ماده داستانیِ شکلنیافتهای در ژرفساخت روایت و مستقل از شیوه روایتگری و گشتارهای زبانیِ روساخت است. از منظر این پژوهش، آرایهها دو گونهاند: روایی و پیرنگی. «آرایه روایی»، شگردی آوایی یا معنایی، مازاد بر پیرنگ، و برای غنیسازی زیباییشناختیِ روایت است و اگر از روایت حذف شود، نظام علّیِ پیرنگ و هسته مرکزی داستان مخدوش نمیشود. دوگانِ هر «آرایه روایی» یک «آرایه پیرنگی» است که از پیرنگ قابلحذف نیست. هدف پژوهش پیشِ‌رو معرفی نشانهشناختیِ آرایههای اخیر است که نه بهعنوان شگردهایی صرفاً زیباییشناختی بلکه بهعنوان سازههایی پیرنگساز در داستانهای کودک -در تناظر با آرایههای ادبی- قرار دارند. مسئله پژوهش چگونگی بازتاب نشانه‌شناختیِ آرایهها در ژرفساخت داستانها و منظومههای روایی کودک است. در همین راستا، این پژوهش ابتدا الگوی سهوجهیِ نشانهشناسی پرس مبتنی بر «بازنمون، تفسیر، موضوع» را توصیف، سپس با رویکردی تحلیلیتوصیفی تعریف آرایههای ادبی را به تعریف نشانهشناختیِ دوگانِ پیرنگسازش گسترش میدهد. پژوهش حاضر برای نخستینبار به کارکرد روایتشناختی و غیربلاغیِ علم بدیع توجه میکند. ازآنجاکه دسته‌بندیهای شعرمحورِ سنتیِ آرایهها، بسندگی لازم را برای تحلیل متون روایی ندارند، بنابراین پژوهشهای روایتمحور در زمینه آرایهها از ضرورتهای نقد ادبی بهشمار میآیند.

https://naqd.guilan.ac.ir/article_4552_3be9d35590a68c8c8018dbb02617a7c7.pdf

دانشگاه گیلان نقد و نظریه ادبی 2476-7387 6 1 2021 03 21 Representations of Gender Roles in University Textbooks on Iranian Medieval History based on Van Dijk’s Discourse Analysis بازنمایی نقش‎های جنسیتی در کتاب‎های تاریخ دانشگاهی ایران دوره میانه بر مبنای رویکرد تحلیل گفتمان وندایک 135 158 4162 10.22124/naqd.2020.13105.1716 FA مریم طاهرزاده دانش‌آموخته دکتری گروه زبان و ادبیات فارسی واحد علوم و تحقیقات دانشگاه آزاد اسلامی تهران، ایران زهرا ابوالحسنی چیمه دانشیار پژوهشکده سازمان سمت تهران، ایران زهیر صیامیان گرجی استادیار گروه تاریخ دانشگاه شهید بهشتی تهران، ایران Journal Article 2019 04 27 Ideology is the essential belief of a group with special political, social and religious opinions. This study follows Van Dijk’s discourse analysis approach which introduces the distancing strategy to explain the ways in which writers promote the positive characteristics of “us” by marginalizing the positive characteristics of “them”. Historical accounts in educational textbooks are, likewise, a place for the representation of such ideological constructs which are hidden in the accounts and narratives of the realities of the past. The present paper studies Persian and translated history textbooks (on the Samanid, Ghaznavid, Saljuqid, and Qarakhanid periods) in which the gender differences between men as “us” and women as “them” can be detected. The findings of the paper indicate that, firstly, both Iranian and foreign authors have mentioned few names of or roles for women, and, secondly, both groups of writers only emphasize the role of women in connection to marriage, and, thus, ignore the important part women played in Iranian history. This biased representation of women in history textbooks, which, ultimately, favours men, affects the students’ perception of gender roles. Extended Abstract Introduction Van Dijk (2004) believes that ideologies, as a system of the ideas of social movements and groups, not only reflect different groups’ understanding of the world but are also a basis for the social action of all members of the group. Jaan Mikk (2000) holds that textbooks shape the destiny of a nation. They reflect ideological, gender and social policies of a country. The present study adopts Van Dijk’s approach to comparing gender representations in four textbooks written by the Iranian historian Abolqasem Forouzani on Iranian history and two other history books in The Cambridge History of Iran series on the same period translated by Hassan Anousheh. Theoretical Framework Van Dijk’s approach is adopted in the present article to study the representations of gender in some Iranian history textbooks written by Iranian and Western historians. In this study men are referred to as “us” and women as “them” and the ideology of gender is investigated in both groups of textbooks. Methodology All the words used in both groups of books were counted and the ones related to men and women were identified in order to be compared in both groups. The t-test was conducted to see whether the differences were significant or not. Discussion and Analysis Compared to non-Iranian historians, Iranian historians, influenced by the scholars of Iranian medieval period, have used men’s names more than the women’s in their accounts of historical events. According to Van Dijk, power and dominion can be expressed by marginalizing some members of the group, which is usually carried out by ignoring them or not accepting them. In the textbooks by Iranian historians, women are depicted as submissive and unimportant, resulting in underestimating their role throughout history. Conclusion The findings of the present study indicate that the ideology of gender inequality in university history textbooks in Iran underestimates the role of women in the history of the country by non-critical reconstruction of gender roles in Iranian medieval history. Moreover, it plays a great part in shaping the worldview of university students toward gender roles. Given the significant role of school and university textbooks in institutionalizing different ideologies in students at schools and in universities, the findings of this study can help us understand the ways in which ideologies are reproduced in the history books by Iranian authors and the translated history books written by non-Iranian historians and scholars. Bibliography Both, A. 2003. Teaching History at University: Enhancing Learning and Understanding. London: Blackwell. Boyle, J. A. 1385 [2006]. Tarikh-e Iran Cambridge az Amadan-e Slajuqian ta Forupashi-e Dowlat-e Ilkhanan. H. Anousheh (trans.). Tehran. Amirkabir. Forouzani, A. 1389 [2010]. Qarakhanian, Bonyangozaean-e Nokhostin Selseleh-ye Tork-e Mosalman dar Fararud. Tehran: SAMT. Forouzani, A. 1390 [2011]. Tarikh-e Tahavolat-e Siasi, Edjtema’i, Eqtesadi va Farhangi-e Iran dar Dowreh-ye Samanian. Tehran: SAMT. Forouzani, A. 1393 [2014]. Saljuqian az Aghaz ta Farjam. Tehran: SAMT. Forouzani, A. 1395 [2016]. Ghaznavian az Paydayesh ta Foroupashi. Tehran: SAMT. Frye, R. N. 1385 [2006]. Tarikh-e Iran az Forupashi-ye Dowlat-e Sasanian ta Amadan-e Saljuqian. H. Anousheh (trans.). Tehran: Amirkabir. Miles, J. 2004. ‘Become the Man that Women Desire’: Gender Identities Dominant in Email Advertising Language. London: Sage. Taylor, F. 2003. “Content Analysis and Gender Stereotypes in Children’s Books” Teaching Society: 31. Van Dijk, Teun A. 2004. Ideology and Discourse. London: Sage Publication ایدئولوژی‎ها نظام‎های باورهای بنیادین یک گروه و اعضایش هستند که با ایده‎های اجتماعی و سیاسی سروکار دارند و به سلسله مراتب اجتماعی و مناسبات قدرت معنا می‌دهد و صورت‌بندی‌های نابرابر اجتماعی فرهنگی مانند جنسیت را طبیعی کرده و حقیقی می‌سازند. رویکردهای تحلیل گفتمان، متن را عرصه تجلی ایدئولوژی پنهان در زبان در نظر می‌گیرند که طبق رویکرد وندایک در راهبرد ایدئولوژیکی فاصله، نویسندگان با تاکید بر نکات مثبت «ما»، ویژگیهای مثبت «آنها» را به حاشیه می‎رانند. روایت گذشته در متون آموزشی تاریخ نیز مجالی برای بازنمایی این برساخته‌های ایدئولوژیک است که در شیوه‌های روایت و گزارش و بیان واقعیت گذشته خود را پنهان می‌کند. مساله مقاله حاضر آشکارسازی چنین راهبردهایی در بازنمایی نقش‌های جنسیتی در کتاب‌های دانشگاهی تاریخ ایران در دوره میانه از سامانیان تا قراخانیان در انتشارات سازمان سمت و ترجمه تاریخ ایران کمبریج است. بهمنظور آشکار ساختن تفاوت‎های احتمالی در نگاه نویسندگان ایرانی و خارجی به نقش زنان در تاریخ ایران دوره میانه، چهارکتاب درسی بومی و دو کتاب مرجع غیربومی مرتبط به‌عنوان پیکره داده‎ها بهصورت کمی، کیفی و تطبیقی مورد بررسی قرار گرفته است. در این تحقیق مشخص شد با توجه به اینکه نویسندگان کتابهای تاریخ بومی و غیربومی مورد مطالعه قرار گرفته، از جنس مذکر هستند و ایدئولوژی های معاصر، نابرابری جنسیتی در تاریخ را بدیهی و طبیعی تلقی می‌کند، از مردان به‌عنوان گروه «ما» و از زنان به‎عنوان گروه «آنها» یاد شده‎است.

https://naqd.guilan.ac.ir/article_4162_e24e2d5b9b23df4aa426a420aa37199f.pdf

دانشگاه گیلان نقد و نظریه ادبی 2476-7387 6 1 2021 03 21 Transnarration and Transnarrative Travel: Types and Applications تراداستان و سفرِ تراداستانی: گونه ها و کاربست ها 159 190 4551 10.22124/naqd.2021.16719.2009 FA علیرضا فرحبخش دانشیار زبان و ادبیات انگلیسی دانشگاه گیلان، رشت، ایران. Journal Article 2020 06 16 Drawing upon such theoretical principles as intertextuality, transtextuality, and hypertextuality, the present article seeks to introduce the notion of transnarration and its various kinds and applications in narrative genres. Put another way, the purpose of this narratological study is to define transnarration and transnarrative travel, and discuss their stratifications and categorisations in various forms of narrative. Here, the central questions are: what are transnarration, transnarrative travel, and their different kinds in narrative genres? How can the characteristic features of transnarration be traced and analysed in genres that incorporate micro or macro narrations? To answer these questions, the present study makes frequent use of key terms associated with intertextuality, Genette’s hypertextuality in particular, as well as of narrative elements, characters specifically, in an attempt to illustrate and exemplify different manifestations, categorisations, and sub-categorisations of the notions in question. The article divides transnarrative travel into outwardly (bilateral and unilateral) and inwardly (in even and uneven narratives) and argues that transnarration is, in effect, the textual and semantic expansion of a narrative and its penetration into another via the intertextual transportation and the simultaneous appearance of major or minor characters. The paper demonstrates that the character’s reciprocal or one-sided travel from a hypotext into a hypertext, from a hypertext into a hypotext, among even or uneven narratives within a single narrative work, from a main to a frame story or among possible stories in a multi-plotted and metafictional narrative work are all manifestations of transnarration and transnarrative travel. Extended Abstract Introduction Drawing upon such theoretical principles as intertextuality, transtextuality, and hypertextuality, the present article seeks to introduce the notion of transnarration and its various kinds and applications in narrative genres. The purpose of this narratological study is to analyze transnarration and transnarrative travel and discuss their categorizations in various forms of narrative. Here, the central questions are: what are transnarration, transnarrative travel, and their different kinds in narrative genres? How can the characteristic features of transnarration be traced and analyzed in genres that incorporate micro or macro narrations? To answer these questions, the study makes frequent use of key terms associated with intertextuality, Genette’s hypertextuality, in particular, as well as of narrative elements to illustrate different features of transnarration in various narrative forms. Theoretical Framework The present study uses the term transtextuality and some related terms, developed by Genette, to examine the textual and narrative interactions in narratives. The main characteristic feature of transnarrative, which turns it into a special kind of intertextuality and transtextuality, is the travel of the character from his context and narrative realm to another one. Methodology In the present paper, first, Genette’s transtexuality and the related terms are illustrated and, then, transnarration and the transnarrative travel, and their different kinds in narrative genres are studied. Discussion and Analysis Transnarration and transnarrative travel possess numerous functions. Transnarration is utilized to create a satirical atmosphere, emphasize metafictional and transnarrative elements, or undermine the writer’s authority. Allusions in transnarration also play a great part. The narrative or semantic structure and the characterization of the hypotext and hypertext constantly undergo changes and development and intertextual and transtextual relations are developed between the hypotext and hypertext and their narrative elements. Conclusion In the present study, the concepts of intertextuality, transtextuality and hypertextuality were discussed in order to examine transnarration, transnarrative travel and their different kinds and applications in different narrative genres. Transnarrative travel is divided into outwardly travel (bilateral and unilateral) and inwardly travel (in even and uneven narratives) and it is argued that transnarration is, in effect, the textual and semantic expansion of a narrative and its penetration into another via the intertextual transportation and the simultaneous appearance of characters. Therefore, the character’s reciprocal or one-sided travel from a hypotext into a hypertext, from a hypertext into a hypotext, among even or uneven narratives within a single narrative work, from a main to a frame story or among possible stories in a multi-plotted and metafictional narrative work are all manifestations of transnarration and transnarrative travel. Bibliography Allen, G. 1389 [2010]. Baynamatniat. P. Yazdanjou (trans.). Tehran: Markaz. Barthes, R. 1977. Image-Music-Text. Stephen Heath (trans). New York: Hill and Wang. Bazerman, C. and P. Prior (eds.). 2004. What Writing Does and How It Does It: An Introduction to Analyzing Texts and Textual Practices. New Jersey: Lawrence Erlbaum Associates. Genette, G. 1992. The Architext: An Introduction. Berkeley: University of California Press. Genette, G. 1997a. Palimpsests: Literature in the Second Degree. Lincoln: University of Nebraska Press. Genette, G. 1997b. Paratexts: Thresholds of Interpretation. Lincoln: University of Nebraska Press. Hutcheon, L. 1985. A Theory of Parody. London: Routledge. Kristeva, J. 1986. “Word, Dialogue, and Novel.” The Krestiva Reader. Toril Moi (ed). New York: Columbia University Press. Namvar Motlaq, B. 1386 [2007]. “Taramatniat: Motale’eh-ye Ravabet-e Yek Matn ba Digar Matn-ha.” Pajuhesh-nameh-ye Olum-e Ensani 56: 83-98. Sokhanvar, J. and Sabzian Moradabadi, S. 1387 [2008]. “Baynamatniat dar Roman-ha-ye Peter Ackroyd.” Pajuhesh-nameh-ye Olum-e Ensani 58: 131-144. هدف جستارِ حاضر این است که برپایه چارچوبهای نظری پیرامون بینامتنیت، ترامتنیت و بهویژه بیش‌متنیتِ ژنتی مفاهیم مرتبطِ تراداستان و سفرِ تراداستانی را معرفی و مصادیق آنها را در آثار روایی معرفی و تحلیل نماید. به بیان دیگر، هدف این پژوهشِ روایتشناختی توصیف تراداستان و سفرِ تراداستانی و دستهبندی انواع مختلف آن در ادبیات داستانی است. پرسشهای اصلی این مقاله عبارتند از: تراداستان و سفرِ تراداستانی شخصیتها چیست و انواع و گونههای مختلف آن کدامند؟ تراداستان و سفرِ تراداستانی چگونه در ژانرهای کاربردپذیر، نظیر رمان، داستان کوتاه، اشعار روایی، نمایشنامه و فیلم مصداق پیدا میکند؟ برای پاسخ به این پرسشها، این جستار با بهرهگیری از اصطلاحات مرتبط با ترامتنیت، بهخصوص بیش‌متنیت، و تکیه بر عناصر داستان، به‎ویژه شخصیت‌پردازی، بهعنوان مهمترین عنصر تراداستانی، مؤلفههای تراداستان را در انواع مختلف آثار روایی بررسی میکند. در این مقاله، سفرِ تراداستانی به سفرِ برون‌روایتی، شامل تراداستان برون‌روایتیِ دوسویه و یک‌سویه، و سفرِ درون‌روایتی، شامل سفر درون‌روایتی در داستانهای همتراز و ناتراز دستهبندی شده‌است. یافتههای این پژوهش نشان می‌دهند که تراداستان، فرارویِ یک داستان از طریق سفرِ برون‌متنی یا درون‌متنیِ شخصیت یا شخصیتهای اصلی داستان است. به عبارت دیگر، هرگاه شخصیتی با تغییر یا بدون تغییرات ظاهری و رفتاری، وارد روایتی دیگر در همان اثر یا اثری پیشینه یا پسینه شود، کنش داستانی و معنای متن بسط مییابد و بیش متنیت و فرارویِ متنی و روایتی حاصل میگردد. سفرِ شخصیتها از زیرمتن به رومتن، از رومتن به زیرمتن، در میان داستانهای همتراز و درون‌متنی در یک اثر فراداستانی و چندپیرنگی و نیز در روایتهای درون‌متنی و ناتراز در داستانهای اصلی و فرعی یک اثر روایی همگی مصادیق و نمونههایی از تراداستان و سفرِ تراداستانی هستند.

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دانشگاه گیلان نقد و نظریه ادبی 2476-7387 6 1 2021 03 21 An Introduction to the Theory of Prose درآمدی به نظریه نثر 191 210 4524 10.22124/naqd.2021.15332.1908 FA علیرضا فولادی دانشیار گروه زبان و ادبیات فارسی دانشگاه کاشان، ایران. Journal Article 2019 12 29 The widespread use of prose in written and spoken language has not led experts to regard it as an equivalent of verse. On this basis, we do not yet have a specific definition of prose. Perhaps the reason for this shortcoming is either the difficulty of defining this kind of speech or its existential self-evidence. But philosophers, rhetoricians, orators, stylists, critics, and linguists have, more or less, tended to describe, and sometimes define, prose. Adopting a descriptive-analytical method, the present article has tried to offer a logical definition for prose after introducing the existing definitions. Having assessed the views of the predecessors, the article concludes that prose is “connected speech”, but the feature that distinguishes prose from verse is that in prose only the phonetic-syntactic rules of language dictate the order of the discourse, whereas in verse, meter and rhythm are loaded with rules that determine the arrangement of words. Moreover, the paper discusses rhythmic prose, prose poetry and rhyming prose in terms of their prosaic and verse properties. Extended Abstract Introduction Although we speak in prose and most written works are in prose, the need for a definition of prose is still critical. Without a definition of prose, it is impossible to understand it or other forms of verbal communication. The present paper tries to examine the existing definitions of prose and offer a more comprehensive one. Attempt is made here to investigate the nature of prose as an important issue in the theory of prose. Theoretical Framework Different definitions and descriptions of prose by numerous scholars have been studied closely in the present paper in an attempt to offer a more comprehensive definition of the prose. Methodology The preset paper applies the descriptive-analytical method to the study of the main ideas in the theory of prose in order to come up with a new definition for prose. Discussion and Analysis To define the prose, its nature and distinctive features are of importance. It can be concluded that prose is “connected speech”, but the feature that distinguishes prose from verse is that in prose only the phonetic-syntactic rules of language dictate the order of the discourse, whereas in verse, meter and rhythm are loaded with rules that determine the arrangement of words. In this study, rhythmic prose and prose poetry have been also discussed in terms of their specific features. Conclusion The results of our investigation into the ideas of scholars from the past and present show that prose is connected speech, while poetry is disconnected speech. In other words, prose follows phonetic-syntactic rules and poetry is based on rhythm and meter. And while connection in prose is the ordinary form of speech, in poetry disconnection is intentional in order to achieve poetical purposes. Moreover, rhythmic prose can be defined as prose combined with rhetorical meter, and prose poetry emerges when poetry and rhetorical prose are combined. Bibliography Al-Razi, Sh. 1373 [1994]. Al-Mo’jam fi Ma’air Al-Ash’ar Al-Adjam. S. Shamisa (ed.). Tehran: Ferdowsi. Aristotle, 1392 [2003]. Khetabeh. E. Sa’adat. Tehran: Hermes. Haqshenas, A. M. 1383 [2004]. “Seh Chehreh-ye Yek Honar: Nazm, Nasr va She’r dar Adabyat.” Motale’at va Tahqiqat-e Adabi 1 & 2/1: 47-69. Khatibi, H. 1366 [1987]. Fann-e Nasr dar Adab-e Parsi. Tehran: Zavvar. Plato, 1398 [2019]. Dowreh-ye Asar-e Aflatun. M. Lotfi va R. Kaviani. Tehran: Kharazmi. Sartre, J. P. 1348 [1969]. AdabyatChist? A. Nadjafi and M. Rahimi (trans.). Tehran: Zaman. Shafi’ie-Kadkani, M. R. 1370 [1991]. Mousiqi-e She’r. Tehran: Agah. Shklovsky, V. 1385 [2006]. “Honar Hamchon Farayand.” Nazaryeh-ye Adabyat: Matn-ha I az Formalist-ha-ye Rous. A. Tahayi (trans.). Tehran: Akhtaran. Todorov, T. 1377 [1998]. Manteq-e Goftegou-i Mikhail Bakhtin. D. Karimi. Tehran: Markaz. Zarrinkoub, A. 1382 [2003]. Arastou va Fann-e She’r. Tehran: Amirkabir. کاربرد فراگیر نثر در زبان گفتار و نوشتار باعث نشده‌است تا صاحب‌نظران عملاً آن را هم‌ارز نظم تلقی کنند. براین‌پایه، هنوز یک تعریف مشخص از نثر در اختیار نداریم. شاید دلیل این کاستی، دشواری تعریف این نوع سخن یا بداهت وجودی آن باشد؛ اما فیلسوفان، بلاغیان، عروضیان، سبک‌شناسان، منتقدان و زبان‌شناسان، ضمن بحث‌های عام‌تر یا خاص‌تر، کمابیش به توصیف و گاه تعریف نثر تمایل نشان داده‌اند. مقاله حاضر با روش توصیفی- تحلیلی کوشیده‌است پس از واکاوی تعریف‌های پیشین نثر به تعریف منطقی آن بپردازد این مقاله به دنبال نقد دیدگاه‌های پیشینیان، سرانجام نتیجه می‌گیرد که نثر عبارت است از «کلام متّصل»، ولی مشخصه ممیّز بارز نثر در مقابل نظم، این است که در نثر، قوانین آوایی- نحوی زبان بر چیدمان سخن حکم می‌راند و در نظم، قوانین وزنی- موسیقایی از بیرون روی آن قوانین بار می‌شود و چیدمان سخن را دگرگون می‌کند. همچنین نثر موزون، شعر منثور، نثر ادبی و نثر مسجع از جهت عوامل نثریت و نظمیت آنها مورد بحث قرار گرفته‌اند.

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دانشگاه گیلان نقد و نظریه ادبی 2476-7387 6 1 2021 03 21 Pierre Bayard’s Idea of “Applied Literature” and Shoshana Felman’s Notion of “Implication”: A Lacanian Perspective بررسی پیشنهاد «ادبیات کاربردی» پی‌یر بَیار و ایده«استلزام» شوشانا فلمن از منظر ژک لکان 211 234 4794 10.22124/naqd.2021.15516.1923 FA ناتاشا محرم زاده دانشجوی دکتری پژوهش هنر، دانشگاه هنر تهران، دانشکده علوم نظری و مطالعات عالی هنر، استان تهران، شهر تهران، ایران مسعود علیا استادیار دانشگاه هنر تهران، دانشکده علوم نظری و مطالعات عالی هنر، استان تهران، شهر تهران، ایران Journal Article 2020 01 21 Employing a descriptive-analytical method, this article, first of all, deals with some of the criticisms on the methodology of “applied psychoanalysis”. Then, discussing Pierre Bayard’s idea of “applied literature” and, at the same time, referring to the 17th seminar of Jacques Lacan, The Other Side of Psychoanalysis, the paper points out that the terms “applied psychoanalysis” and “applied literature” seem to presuppose an external relationship between literature and psychoanalysis. On the contrary, Felman’s notion of “implication” is based on a simultaneously internal and external relationship between the two domains. In this way, the article highlights the weaknesses of Bayard’s idea and the stronger foundation of Felman’s arguments. Finally, in the context deliberately created for the conflict between these positions and points of view, the paper returns to some other aspects of Lacanian ideas such as the description of the term extimité and his subtle use of the English word “without”, asking whether it can be said that psychoanalysis is not “without” literature. Extended Abstract Introduction The present paper aims to identify a special form of relationship between psychoanalysis and literature. It adopts the ideas of Pierre Bayard and Jacque Lacan to examine some of the weakness of applied psychoanalysis. Bayard believes that the literary critic should primarily focus on literature, while the prevalence of different theories, including psychoanalysis, has turned literature into a field for psychoanalysts’ desired harvest. Felman’s idea of implication suggests that Bayard’s applied literature ultimately leads to turning attention from psychoanalysis to literature. In the present paper, we will highlight the weaknesses of Bayard’s ideas and the main principles of Felman’s view. Theoretical Framework The ideas of Bayard and Lacan about literature and psychoanalysis have been examined and compared here. Felman’s notion of implication also helped us gain a better understanding of Bayard idea of applied literature. Methodology The present study adopts the descriptive-analytical method. It applies the ideas of Lacan and ShoshanaFelman’s idea of implication to examine the relationship between literature and psychoanalysis. Discussion and Analysis The conjunction ‘and’, in discussions on ‘literature and psychoanalysis’, indicates a kind of subjugation rather than relationship. Literature seems to be subjugated to psychoanalysis in writings about the relationship between literature and psychoanalysis. After examining the Lacanian roots of Felman’s discussion, we clarified why his ideas of implication is based on stronger foundations compared to Bayard’s idea of applied literature. Conclusion The relationship between literature and psychoanalysis cannot be reduced to a relationship between two separate fields. Psychoanalysts have explicitly or implicitly named their writings literary texts. It is worth noting that Sigmund Freud received Goethe Prize, rather than a scientific prize, for his contribution to the literary culture and Lacan considered his Écrits a literary text. Based on Felman’s idea of implication we tried to show that a change in our attitude toward both fields of literature and psychoanalysis is needed. Bibliography Bayard, P. 1999. “Is It Possible to Apply Literature to Psychoanalysis?”. American Imago 56/3: 207-219. Felman, Sh. 1985. Literature and Psychoanalysis: The Question of Reading: Otherwise. Baltimore: Johns Hopkins University Press. Felman, Sh. 2003. Writing and Madness: Literature, Philosophy, Psychoanalysis. M. Noel Evans et al. (trans.). Stanford: Stanford University Press. Lacan, J. 1966. Écrits. Paris: Seuil. Lacan, J. 1991. L’Envers de la Psychanalyse. Paris: Seuil. Lacan, J. 1992. The Ethics of Psychoanalysis. J. A. Miller (ed.). D. Porter (trans.). New York/London: W. W. Norton and Company. Lacan, J. 2007. The Other Side of Psychoanalysis. J. A. Miller (ed.). R. Grigg (trans.). New York/London: W. W. Norton and Company. Movalleli, M. 1391 [2002]. Mabani-ye Ravankavi-e Freud-Lacan. Tehran: Nay. Rabaté, J. M. 2012. “Psychoanalysis Applicable or Inapplicable: The Case of Literature.” The Literary Lacan: From Literature to Lituraterre and Beyond. Santanu Biswas (ed). Salt Lake City: Seagull Books. Rabaté, J. M. 2014. The Cambridge Introduction to Literature and Psychoanalysis. Cambridge: Cambridge University Press. در این مقاله با استفاده از روش توصیفی- تحلیلی نخست به طرح برخی انتقادهای مطرح‌شده حول روش «روانکاوی کاربردی» پرداخته‌ایم. آنگاه به بهانه طرح پیشنهاد «ادبیات کاربردی» پی‌یر بَیار و با ارجاع به سمینار هفدهم ژک لکان، آن روی دیگر روانکاوی، به اشکالات و معضلات پیشنهاد بَیار اشاره کرده‌ایم و در خلال بحث مروری داشته‌ایم بر ابعاد ایده «استلزام» نزد شوشانا فلمن که بر فرض رابطه‌ای همزمان درونی و بیرونی بین ادبیات و روانکاوی استوار بوده‌‌است، و ضمن رجوع به ریشه‌های لکانیِ بحث فلمن روشن کرده‌ایم که چرا معتقدیم ایده «استلزام» فلمن، پایگاهی به‌مراتب مستحکم‌تر از پیشنهاد «ادبیات کاربردی» بَیار دارد. سرانجام در بستری که تعمداً برای تضارب آرا ایجاد شد بار دیگر با بازگشت به برخی جوانب نظریه لکانی، ازجمله شرح اصطلاح extimité و نحوه استفاده ظریف لکان از کلمه انگلیسیwithout، این پرسش را مطرح کرده‌ایم که آیا می‌توان گفت روانکاوی بدون ادبیات نیست؟

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دانشگاه گیلان نقد و نظریه ادبی 2476-7387 6 1 2021 03 21 A Semio-semantic Study of a Sufi Narrative in Bahawalad’s Ma’arif نشانه ـ معناشناسی روایتی شطح‌گونه از کتاب معارف بهاءولد 235 258 4572 10.22124/naqd.2021.17424.2079 FA صدیقه نصری دانشجوی دکتری ادبیات فارسی، گرایش حماسی دانشگاه اصفهان، ایران محمدرضا نصراصفهانی دانشیار زبان و ادبیات فارسی دانشگاه اصفهان، ایران اسحاق طغیانی اسفرجانی استاد زبان و ادبیات فارسی دانشگاه اصفهان، ایران Journal Article 2020 08 23 This study aims to investigate and analyze the consequences of trauma through the lens provided by Slavoj Žižek. He believes that the unexpected intrusion of the Real into the Symbolic order is called trauma, which gains meaning only in retrospect. Different subjects respond differently to a trauma. According to LaCapra, the usual responses of subjects to trauma are “acting out” and “working through”. The process of “acting out” contains traumatic symptoms including arousal, intrusion and constriction. But by “working through”, the subject tries to come to terms with the traumatic experience and the related loss through mourning. Žižek contends that the continuum of various reactions to trauma ends with the birth of a new subject known as the post-traumatic subject. The prominent consequence of indirect experience of a traumatic event is that an external crisis leads to an internal one, since trauma operates retroactively and attenuates the successful functioning of signification. Therefore, trauma becomes a disorder which entails traumatic symptoms that affect identity and meaning. Extended Abstract Introduction Traumas occur as a result of direct or indirect encounters with unexpected traumatic events. The symptoms of a trauma appear after such an encounter. Such an experience leads to different individual and social consequences. Reactions to a trauma are regarded as a continuum. Immediate reactions such as flight and freeze can be located at one pole of this continuum and post-traumatic disorders and the birth of a new subject at the other pole. The survivors/victims of a trauma suffer from the traumatic event and are devastated by its remembrance. They carry the memory of the traumatic event in their mind, and experiencing it again or trying to avoid remembering it is painful to them. Theoretical Framework Žižek believes that trauma results from the unexpected intrusion of the real into the symbolic and gains meaning in the structure of the deferred action. Different people show different reactions to trauma. LaCapra maintains that reactions to trauma can be divided into “acting out” and “working through”. Žižek holds that in the continuum of different reactions to trauma, it eventually results in the birth of a new subject called post-traumatic subject. Methodology The symptoms of trauma and its consequences have been psychoanalytically examined in the present study. The consequences of a trauma are the individual and social effects of experiencing a traumatic event on the subject. In this study, first the concept of trauma and its definitions by Freud, Lacan and Žižek are studied and then the “acting out” and “working through” reactions and symptoms of struggling with trauma and the post-traumatic subject are introduced. Findings Traumas work retroactively and appear as disorders with symptoms that affect the identity of the subject and attenuate the functioning of signification. If the disorder resulting from the trauma worsens, its symptoms appear as disruption in cognition and identity. The traumatic event changes the subject’s perception of the self, others and the world. The subject gradually develops a feeling of inefficiency and uselessness, loses its integrity and turns into a new subject with no emotional participation or enthusiasm, completely unfamiliar with their previous identity. Conclusion The main components of trauma studies are constantly changing and redefined, as a result of which numerous patterns and models have been developed to represent the concept of trauma, its symptoms and its consequences. In the present study, by relying on the ideas of the contemporary philosopher Slavoj Žižek, one of the important psychoanalytical models of trauma, and its symptoms and consequences were analyzed. It is concluded that following a traumatic event, individuals undergo an internal transformation. In other words, an external crisis turns into an internal crisis. From a psychoanalytical perspective, due to the direct or indirect experience of a sad event, these subjects suffer a kind of internal crisis, which can be for two reasons: first, because of the retroactive nature of trauma, and second, due to the attenuation of signification. Select Bibliography Berger, J. 2004. “Trauma without Disability, Disability without Trauma: A Disciplinary Divide.” JAC 24: 563-582. Bistoen, G. Craps, S. & Vanheule, S. 2014. “Nachträglichkeit: A Freudian Perspective on Delayed Traumatic Reactions.” Theory & Psychology 24/5: 668-87. Caruth, C. 1996. Unclaimed Experience: Trauma, Narrative, and History. Baltimore and London: The Johns Hopkins University. Herman, J. 1992. Trauma and Recovery. New York: Basic Books. LaCapra, D. 2001. Writing History, Writing Trauma. New York: The Johns Hopkins University Press. Luckhurst, R. 2008. The Trauma Question. London and New York: Routledge. McFarlane, A., B. Van der Kolk. 1996. “The Black Hole of Trauma.” In: Van der Kolk et al. (eds.). Traumatic Stress: The Effects of Overwhelming Experience on Mind, Body, and Society. New York: The Guilford. Žižek, S. 1989. The Sublime Object of Ideology. New York: Verso. Žižek, S. 1994. The Metastasis of Enjoyment: Six Essays on Woman and Causality. New York: Verso. Žižek, S. 2008. “Descartes and the Post-traumatic Subject”. Filozofski Vestnik 24/2: 9-29. دانش نشانه‌شناسی پس از طرح نظریات فردینان دوسوسور، از مهمترین کلیدهای تحلیل مباحث زبانی روایات و متون به حساب می‌آید. تحلیل‌های نشانه- معناشناسی در حوزه روایات ادبی، هنری و عرفانی و اساطیری نیز می‌کوشد تا مدلول‌ها و مفاهیم ذهنی و تجربیات عرفانی روایت‌گران را مورد بحث و تحلیل قرار دهد. روایت مکاشفه بهاءولد عارف بزرگ سده ششم هجری قمری و پدر و استاد بزرگترین شخصیت عرفانی منظومه‌های عارفانه، مولانا جلال‌الدین رومی، حکایت از آن دارد که سالک راه حق پس از قرار گرفتن در مقام جستجوگر خداوند می‌تواند به جلوه‌هایی از عالم غیب دست یابد که با بسط وجود و هویت انسانی او همراه است. مسأله بسط وجود به لحاظ نشانه-معناشناسی هم مفهومی است از فروریختن قالب‌های اولیه وجود سالک و هم صیرورت و شدن او را در جریانی وجودی و متافیزیکی همراه با بودنی در ساحت غیب تعیین می‌کند. پژوهش حاضر بیانگر این دستاورد است که مکاشفات عارفان، تنها تحولی در ساحت ذهنیت و مفاهیم زبانی نیست بلکه بیانگر تغییر وجود، بسط و سعه منِ عارفانه و شدن دوباره سالک نیز هست.

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دانشگاه گیلان نقد و نظریه ادبی 2476-7387 6 1 2021 03 21 A Critique of the Linear Method in Literary Historiography نقد شیوه خطی در تاریخ‌نگاری ادبی 259 274 4416 10.22124/naqd.2020.15196.1903 FA حسین هاجری استادیار زبان و ادبیات فارسی پژوهشکده تحقیق و توسعه علوم انسانی سازمان مطالعه و تدوین کتب علوم انسانی دانشگاهها (سمت)، تهران، ایران Journal Article 2019 12 15 The linear style has been the common approach of literary historiography from the past to the present. Despite its educational value and facilitating the learning of literary history, this method cannot be an effective method for accurate literary historiography, and ultimately leads to incomplete and ambiguous reports about literary events. The present article examines some of the weaknesses of this method in the study of the history of literature and identifies five common shortcomings that exist in contemporary literary historiography: Failing to describe gradual changes in literary works and traditions Failing to identify multiple relationships between literary events Symbolically interconnecting points of rupture Homogenizing different historical periods regardless of the actual contribution of each Determining the beginning and end of literary events contrary to historical facts Extended Abstract Introduction The linear style has been the common approach to literary historiography from the past to the present. This method, despite its educational value and its capacity for facilitating learning about the main events in the history of literature, is not an effective method for research in literary historiography as it ultimately leads to incomplete and ambiguous reports on literary events. The present study examines some of the weaknesses of this method in the study of the history of literature and identifies some common weaknesses in contemporary literary historiography, such as its inability to describe gradual changes in literary works and traditions, its inability to identify multiple relationships between literary events, and its tendency to symbolically interconnecting periods that are separate and homogenizing different historical periods regardless of the actual contribution of each. Theoretical Framework Linear methodology in history, introduced by Ahmad Pakatchi, provides the framework of the present study. Methodology The present study uses the descriptive-analytical methodology to examine linear methodology in historiography. Discussion and Analysis In the present paper the principles of the linear method of historiography have been identified and discussed and the problems resulting from this method have been pointed out. Conclusion Despite its different educational advantages, the linear method of writing about the history of literature results in the production of an incomplete, ambiguous image of the history of literature. Therefore, it seems that in literary research, particularly in research papers, theses, and dissertations, new methods should be utilized so that more precise and comprehensive results are achieved. Bibliography Fotouhi, M. 1395 [2016]. “Negahi beh Sabk-e Hendi.” Markaz-e Pajuheshha-ye Irani va Eslami. http://www.cgie.org.ir/fa/news/129897. Homayi, J. n.d. Tarikh-e Adabyat-e Iran. Tehran: Foroughi. Jafarinejad, A. 1386 [2007]. “Nofuz-e Farhang, Zaban va Adabyat-e Farsi dar Farhang va Hoviyat-e Melli-e Hendustan va Shebheh-Qarreh.” Nameh-ye Parsi 12/1 & 2. Mohammadi-Malayeri, M. 1379 [2000]. Tarikh va Farhang-e Iran. Tehran: Tous. Pakatchi, A. 1388 [2009]. “Naqd-e Olgouha-ye Khati dar Pajuhesh-e Tarikhi-e Andisheh-ye Siasi-e Eslam.” Ravesh-shenasi dar Motale’at-e Siasi-e Eslam. A. A. Alikhani. Tehran: Emam Sadeq University. Safa, Z. 1363 [1984]. Tarikh-e Adabyat-e Iran. Tehran: Ferdowsi. Sarli, N. 1392 [2013]. “Naqd va Bazandishi-e Dowreh-bandi dar Tarikh-e Adabi.” Faslnameh-ye Elmi Pajouheshi-e Naqd-e Adabi 23: 11-36. Shiri, Q. 1389 [2010]. “Pichidegi-ha-ye Sabk-e Esfahani ya Hendi va Zamineh-ha-ye Paydayesh-e An.” Pajuheshha-ye Zaban va Adabyat-e Farsi 5: 44-45 Zarrinkoub, A. 1392 [2013]. Tarikh-e Mardom-e Iran az Payan-e Sassanian ta Payan-e Al-e Bouyeh. Tehran: Amirkabir. Zarghani, M. 1388 [2009]. Tarikh-e Adabi-e Iran va Qalamrow-e Zaban-e Farsi. Tehran: Sokhan. شیوه خطی، رویکرد رایج تاریخ‌نگاری ادبی از گذشته تاکنون بوده‌است. این شیوه به‌رغم دارا بودن ارزش آموزشی و تسهیل یادگیری وقایع تاریخ ادبیات، نمی‎تواند برای پژوهش‌های دقیق تاریخ‌نگاری ادبی روشی کارا باشد و درنهایت به عرضه گزارشی ناقص و مبهم درباره وقایع ادبی منجر می‎شود. این مقاله به بررسی برخی کاستی‎های این شیوه در مطالعه تاریخ ادبیات فارسی می‎پردازد و پنج کاستی رایج آن را که در بینش تاریخ‌نگاری ادبی معاصر ریشه دوانده‌است به شرح زیر معرفی می‎کند: 1-ناتوانی در توصیف تغییرات تدریجی آثار و سنت‌های ادبی؛ 2-ناتوانی در شناسایی روابط چندگانه بین وقایع ادبی؛ 3-پیوسته نشان‌دادن مقاطع گسست به صورت نمادین؛ 4-همگن‌سازی دوره‌های مختلف ادبی بدون توجه به سهم واقعی هریک و 5-تعیین آغاز و انجام وقایع ادبی برخلاف واقعیت‌های تاریخی.

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دانشگاه گیلان نقد و نظریه ادبی 2476-7387 6 1 2021 03 21 Representations of Character in Cheshmhayash and Del-e Koor: A Symbolic Interactionist Study بازنمایی عنصر شخصیت‌ در رمان چشمهایش و دل کور با کاربست نظریه «خود» در رویکرد جامعه‌شناختی«کنش متقابل نمادین» 275 295 4550 10.22124/naqd.2021.16859.2024 FA مرتضی هادیان دانش‌آموخته دکتری زبان و ادبیات فارسی واحد تهران جنوب داشگاه آزاد اسلامی، تهران، ایران منصوره ثابت زاده استادیار گروه زبان و ادبیات فارسی واحد تهران جنوب داشگاه آزاد اسلامی، تهران، ایران حسین ابوالحسن تنهایی دانشیار گروه علوم اجتماعی واحد تهران مرکز داشگاه آزاد اسلامی، تهران، ایران Journal Article 2020 06 17 Narratology considers the element of character to be the drive behind roles and actions in a narrative. The sociological theory of “symbolic interactionism” is also concerned with how actions occur. Employing this sociological approach, we can expand the critical method of narratology and introduce new aspects in sociological studies of narrative texts. Using the “self” theory in the sociological approach of “symbolic interactionism”, this article discusses the types of action and the types of character in Bozorg Alavi’s Cheshmhayash (Her Eyes) and Esmael Fasih’s Del-e Koor (The Blind Heart). Therefore, the narrative style of the two authors in the production of character is analyzed and compared. The article considers the narrative character as “self” in the symbolic interactionist theory. The novel Cheshmhayash has two types of active and passive “collective self”. The active “collective self”, in a concerted effort, narrates the story in opposition to the political structure. Thus, the novel’s “self” is marginalized in political relations. It narrates the first and second halves of the Pahlavi period. Characterization in Del-e-koor is determined by a “social me” and form a violent and self-serving “collective self” at the core of the society depicted in the novel. The active characters’ individualistic opposition to this “collective self” leads to their marginalization in the novel’s social life. Extended Abstract Introduction Barhtes regards character as a participant rather than a being. As one of the most important elements of a novel, character is an individual participant who finds textuality in every narrative. The symbolic interactionist theory is mainly concerned with actions. This theory regards society as a collection of actions and reactions and adopts a realistic, down-to-earth outlook toward the study of the collective life and behavior of humans. Blumer conducts his research in the real world and bases his interpretations on naturalistic inquiry. Therefore, the characters in the novels Cheshmhayash and Del-e Koor can be analyzed using the symbolic interactionist theory. Theoretical Framework The present paper relies on the idea of Blumer to study the characters in two Persian novels. Blumer’s ‘self’ is developed through the relation between ‘I’ and the ‘social me’. As a participant in a narrative, character is inseparable from actions and events, which eventually determines its features. Methodology The present study employs the descriptive-analytical approach to illustrate different kinds of character and utilizes the symbolic interactionist theory and Herbert Blumer’s idea of ‘self’ to represent characters’ social status in two Iranian novels. Discussion and Analysis In Cheshmhayash two kinds or characters are represented: a character with traditional, religious ideas, represented by Rajab and Farangis’s mother; and, the other one is a modern ‘self’, represented by Makan and Farangis. The pressure on the part of the semantic network and social structures in Del-e Koor deprive ‘I’ of freedom in its encounter with the ‘social me’ and ‘self’ of characters. The characters in Cheshmhayash are divided into educated ones whose properties have been confiscated by the government, and another group of educated people from poor families. Each of these characters is an ‘individual self’ that acts in the ‘collective self’. In Del-e Koor, a kind of ‘collective self’ forms the society and characters of two different ‘individual self’ types, which are in conflict with each other. Conclusion The characters in Cheshmhayash are divided into two types. In one group the ‘social me’, as structural and cultural facts, dominate the ‘I’. In this novel, characters, as the ‘collective self’ act against the ruling power, and the most important action is the characters’ struggle for freedom. In Del-e Koor, the dominant norms, i.e., the ‘social me’ dominate the ‘I’ and subjugates the ‘self’. The characters, by accepting the hegemony of the ‘social me’ act against the violent, opportunist ‘collective self’. The struggle between individuals and also between the individual and society is of great significance. Bibliography Alavi. B. 1372 [1993]. Cheshmhayash. Tehran: Negah. Barthes, R. 1975. “Introduction to the Structural Analysis of Narrative.” New Literary History 6:2. Blumer, H. 1969. Symbolic Interactionism. Englewood Cliffs: Prentice-Hall Inc. Blumer, H. 1388 [2009]. Konesh-e Motaqabel-gara-ye Namdin. H. Abolhasshan Tanhayi (trans.). Tehran: Negah-e Aval. Fasih, E. 1372 [1993]. Del-e Koor beh Revayati Digar. Tehran: Nashr-e No. Ferrara, F. 1974. “Theory and Model for the Structural Analysis of Fiction.” New Literary History 5:2. Lauer, R. H. and Handelm W. H. 1977. Social Psychology: The Theory and Application of Symbolic Interactionism. Boston: Houghton Mifflin. Tanhayi, H. 1378 [1999]. “Jaygah-e Nazaryeh-ye Herbert Blumer dar Jame’eh-shenasi-e Ma’refat.” Majaleh-ye Daneshgah-e Esfahan (Olum-e Ensani) 10/1&2: 39-58. Webster, R. 1382 [2003]. Pishdarami bar Motale’eh-ye Nazaryeh-ye Adabi. E. Dehnavi (trans.). Tehran: Rouznegar. روایت‌شناسی، عنصر شخصیت را پیشبرنده نقشها و کنشها در روایت داستانی به شمار میآورد. نظریه جامعه‌شناختی «کنش متقابل نمادین» نیز بر چگونگی بروز و ظهور کنش دقت نظر دارد. با بهرهگیری از این رویکرد جامعهشناختی میتوان روش نقد را در روایتشناسی گسترش داد و جنبههای تازهای را در نقد متون روایی معرفی نمود. این مقاله ساختار «خود»، گونههای شخصیت، جهتگیری کنش و فرجام شخصیتهای رمان چشمهایش و دل کور را با کاربست نظریه «خود» در رویکرد جامعه‎شناختی «کنش متقابل نمادین» بازنمایی میکند. «من اجتماعی» به‌مثابه واقعیتهای ساختی و فرهنگی بر یک دسته از «خودِ» شخصیتهای رمان چشمهایش سلطه دارد و دسته دیگر برمبنای «من» با اندیشندگی کنشگری میکنند. در رمان چشمهایش شخصیتها با دو نوع «خود جمعی» منفعل و کنشگر ترسیم میشوند. «خود جمعیِ» کنشگر با یک همکنشی، روایت داستان را در تقابل با ساختار سیاسی پیش میبرد. نتیجه کنش آنان حاشیهرانی از مناسبات سیاسی جهان رمان است. شخصیتها در رمان دل کور تحت تعیّن «من اجتماعی» هستند و «خود جمعیِ» خشن و منفعت طلبی را در جامعه رمان تشکیل میدهند. فرجام ضدیت «خود»های فردیِ کنشگر با «خود جمعی»، حاشیهرانی از مناسبات اجتماعی است.

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