تحلیل فرمالیستی درون‌مایۀ «عشق» در داستان کودکانۀ یخی که عاشق خورشید شد اثر رضا موزونی، براساس نظریۀ درون‌مایگان

Love is a pivotal human emotion and a prevalent motif in lyrical literature. Informed by Tomashevsky’s introspective methodology, this study explores the tangible depiction and embodiment of love in Reza Mouzuni’s children’s story, titled “The Ice That Fell in Love with the Sun.” The thematic framework of a literary piece, in Tomashevsky’s view, is a tiered system comprising a collection of hierarchical micro-themes, at the base of which are atomic motifs. In other words, the interplay of constituent motifs shapes the thematic framework of all literary works. Tomashevsky posits that thematic analysis is inextricably linked to the examination of the motif system and its underlying motivations. Motivation is defined as the rationale which validates the inclusion of a specific atomic motif within the thematic system of a literary work. In differentiating between Fabula and Syuzhet, Tomashevsky elucidates the correlation and placement of each motif within Fabula and Syuzhet, categorising motifs into two types: dynamic/static and free/bound. This descriptive-analytical study seeks to investigate the functional structure of atomic motifs within the molecular system in light of the romantic theme of the above-mentioned story. This study concludes that the lyrical thematic framework is informed by the interplay of micro-lyrical themes across both Fabula and Syuzhet levels.
Extended Abstract
1. Introduction
Love is a significant human emotion and a common theme in lyrical literature. Eastern mystics associates death and absence with the eternal connection in the afterlife. This mystical approach towards love and at-oneness influences our Child Literature. In this context, one can consider the hero's self-destructive actions against his lover as a way of conceptualising love in Eastern Young Adult literature (Zanjanbar, 1402 [2023]: 88). In sharp contrast with Western self-destruction, which represents freedom from the burden of this world, Eastern self-destruction is associated with the Day of Judgment and Otherworldly at-oneness. “The Ice That Fell in Love with the Sun” is a lyrical picture book which conceptualises love in the form of the self-destructive actions of an ice cube. The ice cube’s love for the sun, as well as its transmogrification as a sunflower, is a reincarnation of full-fledged Mithraism in Children’s Literature. In Greek mythology, Clytia’s love for Apollo and her transcendence as a sunflower is proof of the universality of Mithraism. The same childlike and Mithraistic representation of love is the reason behind choosing the above-mentioned work as the subject of study. This study aims to explore the horizontal and vertical correlations in motifs which represent the molecular system of love’s thematic framework in “The Ice That Fell in Love with the Sun.” In this respect, the study aims to answer the following questions: A) What are the written and imagistic motifs in the above-mentioned work? B) What is each motif’s function according to Tomashevsky’s categorisation? And C) How do the interactions of the motifs shape the theme of love? This study is unique in investigating the functions of imagistic motifs as well as written ones.
2. Methodology
Informed by Tomashevsky’s Thematics Theory, the present article explores the free/bound and static/dynamic motifs as well as their motivation.
3. Theoretical Framework
3.1 Fabula and Syuzhet
Fabula refers to the chronological sequence of events in a narrative; Syuzhet is the re-presentation of those events.
3.2 Theme
A theme is a universal idea or underlying meaning explored throughout a work of literature. Although it functions as a means of unification, it does not necessarily need to be echoed throughout every detail of the work (Tomashevsky, 1392 [2013]: 298-299).
3.3 Motif
A continuous division of micro-themes eventually leads to atoms, called “motifs.” In this respect, the relation between theme and motif is of the part to the whole. Atomic motifs, for Tomashevsky, form molecular structures, which, in turn, form bigger interconnected structures within the thematic framework.
3.4 Free and Bound Motifs
The motifs which cannot be omitted are bound motifs;  those which may be omitted without disturbing the whole causal-chronological course of events are free motifs.  Bound motifs are in some way the core of the work, while free motifs belong to the stylistic periphery. Literary tradition is seen as more determinant on the use of free motifs, which give each kind of writing its determining quality.  We see that bound motifs are bound by the laws of the Fabula: time and causality.  Free motifs, on the other hand, are bound by the laws of the Syuzhet and artistic relevance.
3.5 Static and Dynamic Motifs
This division cuts across the previous one: free motifs are usually static, but not all static motifs are free.  This classification derives from a conception of the fabula as the transition from a static situation to a different static situation.  From this very definition, we see that the basic action scheme must include both static and dynamic motifs, even though in Tomashevski's view, the Fabula consists most characteristically of bound motifs, while most motifs introduced at the Syuzhet level are static.
3.6 Motivation
For a story to be coherent, there must be a motivation for the incorporation of each motif. This necessity, according to Tomashevsky, is called “motivation” (Tomashevsky, 1392 [2013]: 314). He classifies motivation into three categories: Compositional Motivation, Realistic Motivation, and Aesthetic Motivation.
4. Discussion and Analysis
The title, “The Ice That Fell in Love with the Sun,” is motivated by the thematic framework of the narrative, which consists of three micro-themes: A) Freezing, B) Elasticity, and C) Journey (motion). The freezing micro-theme contains descriptions of winter hibernation and the body of the ice; the elasticity micro-theme covers the majority of the narrative, from meeting the sun till melting down; and the journey micro-theme entails the ice cube’s journey from starting to melt till transmogrification and reincarnation in the form of the flower. All of the above-mentioned micro-themes correlate with other micro-themes, and can be divided into atomic motifs.
5. Conclusion
Adopting a formalist approach, this study explores the hierarchical correlation between the thematic framework of the narrative and micro-themes. The atomic motifs are at the bottom of this hierarchical structure. The motifs reveal two interactions: a horizontal interaction with other motifs, and a vertical interaction with other themes. Even isolated motifs, though being un-romantic, when inside the thematic framework, function romantically due to the vertical and horizontal motif interactions. In “The Ice That Fell in Love with the Sun,” personification functions as a means of representing a tangible depiction of love. These fictional characters take the form of multi-layered characters interacting with other layers. The ice possesses both inhuman and human characteristics. In this respect, characterisation is both realistic and motivated. The narrative framework prescribes that the transcendental motif must only be a sunflower. In this regard, the compositional, realistic, and aesthetic motivation becomes a vessel for motif interaction, which, in turn, forms the thematic framework of love. Contrary to other adult romantic narratives, the motifs in Child Literature are not bound to the text but can also support the thematic framework via images.
Bibliography 
Mouzuni, R. 1389 [2010]. Yakhi ke Ashegh-e Khorshid Shod. Tehran: Paravaresh Fekri. [In Persian].
Tomashevsky, B. 1392 [2013]. “Daroon Mayeh-gan.” Nazariyeh-e Adabiyat: Matnha-ei az Formalist-ha-e Rous. Atefeh, T (trans.). Tehran: Dot.   (“Thematics,” Theory of Literature)  [In Persian].
Zanjanbar, A. 1402 [2023]. “Mafhoom-sazi-e Khod-virangary dar Dastan-ha-e Koudak bar asas-e Tarhvareh-ha-e Karbord-Shenakhti.” Zaban-Shenakht. Vol 14. Issue 2. 79-97.