بررسی سبک شناختی دنیاهای محتمل در داستان عرفانی دقوقی از مثنوی مولانا (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تبیین مسئله: در سبک شناسی شناختی، نظریه دنیاهای محتمل برای درک پیرنگ های متضاد و متناقض روایت ها به کار می رود. اصول این نظریه نوع خوانش روایت ادبی و تأثیرات متقابل متن و خواننده را تبیین می کند. روایت شناسی دانشی بینارشته ای است؛ به همین سبب، رویکرد پساکلاسیک آن با رشته های دیگر ارتباط نزدیکی دارد و اهمیت رابطه میان علوم و روایت را آشکار می کند. روش در این جستار با تکیه بر نظریه دنیاهای محتمل، ارتباط میان مفهوم جهان های موازی در فیریک و معناشناسی روایت در متون عرفانی با روش تحلیلی توصیفی بیان می شود. حکایت دقوقی از دفتر سوم مثنوی ، ویژگی های فراداستان، پسامدرن و سورئالیسم را دارد و به همین علت، آگاهی از مبحث هستی شناسی کوانتوم و جهان های موازی در علم فیزیک می تواند در فهم این روایت پیچیده و دیگر متون عرفانی مؤثر باشد و مخاطب را به تفکر درباره مرز میان واقعیت و خیال وادارد. یافته ها و نتایج: در این داستان، کنش ها و اتفاقاتی که در ساحل رخ می دهد، تداعی گر جهان موازی است که درگاه ورود به آن، ساحل دریاست. با توجه به تعریف های ارائه شده از «دسترسی ها»، راویِ فراداستانی به خلق دنیای محتملی دست می زند که دسترسی به آن به صورت زمانی، زبانی، طبیعی و اشیا است و البته بسامد دسترسی های طبیعی بیشتر است.A Study of the Cognitive Style of Possible Worlds in the Daqoqi Gnostic Tale of Mowlana's Masnavi
In cognitive stylistics, the theory of probable worlds is used to understand the contradictory plots of narratives. The principles of this theory explain the type of reading of the literary narrative and the interactions between the text and the reader. Similarly, Quantum physicists emphasize the multiplicity of universes and call them parallel universes. This issue can be explored in narratology under the name of possible worlds. Ryan divides multi-world narratives into three types of stories: fantasy and science fiction (world exploration narrative), intermittent history, and time travel. The fit of probable worlds with the real world can be studied in terms of access to real-world conditions that include 1) access to a time when the history of the probable world is different from the history of the real world, 2) linguistic access, 3) the use of language that leads the reader to the probable world, 4) natural access, 5) violations of the laws of physics, logic, mathematics, etc. 5) the real world, and 6) access to objects that are incompatible with the probable world with the real world. Introduction Sometimes in literary texts, anecdotes are processed in such a way that it is not possible to understand them based on the principles of classical narratology, but based on Quantum ontology the contradictions in the plot of these narratives can be justified. The Daqooqi story can be analyzed using Ryan’s first approach to possible worlds (i.e. the discovery of several worlds). In this type of narrative, all worlds belong to a continuum of time and space, and entering another parallel world and traveling between multiple worlds takes place through a gateway that Ryan calls the wormhole narrative. Usually, these two worlds are two completely opposite realms. Also, the seashore is a gateway to a parallel world. After enduring many austerities, Daqouqi enters the unnamed beach at an indefinite time and sees things that are different from the principles that apply to our world. The appearance of seven lighted candles with light that reaches the top of the sky and their successive transformation into seven luminous men and seven luminous, praying trees, seeing the sinking ship, and the eventual disappearance of all these scenes at the end of the story can be access to another world that a particular dervish has stepped into through revealing. Materials and Methods In this study, the possible worlds in the story of Daqooqi according to Ryan's theory (2006) in the article ‘from parallel universes to possible worlds: on to logical pluralism in physics, narratology, and narrative’. The descriptive method and content analysis, in accordance with the principles of cognitive stylistics, are used for data analysis. Results It seems that the prayer in the story draws Daqooqi’s attention to the material world, cuts him off from the parallel world, and hides from him seven chosen people due to the change in frequency and fluctuations. In mystical interpretations, this phenomenon occurs due to coming out of the state of unconsciousness and astonishment and returning to oneself. In this story, the frequency of natural access is higher due to the accessibility of time, language, nature, and objects. The poet uses the past tense in the initial verses of the story to create accessibility of time. Names, verses, hadiths, allusions, and literary and mythological allusions throughout the story are tools for constructing the possible world and indicating linguistic access, which is usually displayed to the reader using a selective point of view. In Natural Access, the poet proposes verses that violate the fixed laws of the real world and lead us to his probable world. The qualitative and quantitative changes of the seven candles are among those in which the poet chooses a sequential point of view to show it. Descriptions have been used for access to more objects. The objects mentioned in the Daqouqi story also carry symbolic meanings. Daqooqi is made by Rumi's mind, so it can be said that Rumi has opened the way to other worlds during discovery and intuition. In this story, the actions and events that take place on the beach are reminiscent of a parallel world, the gateway to which is the beach. According to the definitions of accesses, the trans-fiction narrator creates a possible world to which access is temporal, linguistic, natural, and objects, and the frequency of natural accesses is higher.
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