خوانشی تطبیقی از برساخت هویت در نمایشنامه های دو نسل از نمایشنامه نویسان ایرانی و غیرایرانی (اکبر رادی و آگوست ویلسون، محمد چرمشیر و شیلا استفنسن) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
جهان معاصر را عصر هویت های متکثر می نامند. کنکاش در مقوله «هویت» به عنوان یکی از مفاهیم مهم در حوزه ی مطالعات فرهنگی و اجتماعی، سال هاست وارد ادبیات پژوهشی ملت ها شده است. ایران به عنوان یکی از دیرنده ترین هویت های ملی همواره در مرکز توجه محققان قرار داشته است؛ اما در بحث مطالعات تطبیقی حوزه هویت، به ویژه در مطالعات هنر و مشخصاً در حوزه ادبیات نمایشی، کمبود این دست از پژوهش ها احساس می شود. این مطالعه، پژوهشی کیفی با تمرکز بر مقوله هویت در ادبیات نمایشی است. در یک خوانش تطبیقی بین دو نسل از نمایشنامه نویسان ایرانی و غیرایرانی (اکبر رادی و آگوست ویلسون، محمد چرمشیر و شیلا استفنسن) آثاری متناسب با موضوع بررسی و انتخاب شد. در قالب نظریه زمینه ای، مفاهیم مشترک هویتی آنان با روش کدگذاری های محوری و انتخابی تعیین گردید. مجدد این سرنمون ها با گواهمندی به نظریات استوارت هال درزمینه ی بازنمایی هویت، بازخوانی شدند. از این مطالعه می توان نتیجه گرفت: نمایشنامه نویسان موردبحث، در برساخت هویت نمایشنامه های خود از مؤلفه های مشترک زبانی، حافظه جمعی، مکان، سبک زندگی، فرهنگ و تقابل آن بافرهنگ دیگری و سیاسی کردن بدن استفاده کرده اند و در این میان تنها اختلاف معنی دار بین مؤلفه ها در اندک شاخصه هایی در سبک زندگی و جغرافیای نمایشنامه ها است.A Comparative Reading of Identity Morphology in Plays by Two Generations of Iranian and Non-Iranian Playwrights (Akbar Radi and August Wilson, Mohammad Charmshir and Shelagh Stephenson)
Contemporary world can be considered as the age of pluralistic identities. Identity, as one of the most important concepts in the field of nation’s socio-cultural studies, has been analysed for many years. Dramatic literature and drama are the subjects to represent the sense of being in the suspended no-where; a place between reality and meta-reality that alongside running discourse Logic, follows heterotopia structure. Questioning about identity is one of the most fundamental questions in life which by that, people and society; from micro to macro scale present an image of what they are or what they need to be. At the individual scale, identity is the gate of entering the social world, whilst it is also the tool of survival, development and prospect among other societies in macro scale. In retrospect, the experience of immigration and diaspora would have dramatically affected contemporary identities. In this regard, predicting the new identity’s side effects are a bit problematic because the roots of preceding identity were traditions and practices, and based on their long history, those traditions were resistant. Due to a lot of changes brought by modernity and then post-modernity with more intensity, contemplating the consequences (positive or negative) of issues have become more unpredictable.
Iran has been a focus of research but in comparative identity field, especially in art and dramatic literature, there seems to be a shortage. In this qualitative research with concentration on identity in dramatic literature, mutual concepts of selected plays from two generations of Iranian and non-Iranian playwrights (Akbar Radi and August Wilson, Mohammad Charmshir and Shelagh Stephenson) are used in a comparative study of contextual theory formwork through axial coding and. Also, according to Stuart Hall's point of view in the category of identity and representation, these findings were re-read. Hall believed that cases existed by which media did the opposite and instead challenged the status quo; as a result, audiences did not always interpret the messages in the ways intended by the producers.
Arising during the late nineteenth century, early media theories were developed in a historical context, often referred to as the era of mass society, when industrialization was on the rise and societies were transitioning from predominantly agrarian lifestyles to a more commercially centered industrialized structure based around the growth of large cities. The transformations of the industrial era were far more than economic, giving rise to changes in every aspect of daily life, including social structures and interpersonal interactions.
The result suggests that the features of identity in both groups and generations are similar or even equal. Although there are some un-mutual features which are unavoidable, there is no meaningful difference between them. In the construction of identity, those selected Iranian and non-Iranian dramatists have used the common components of language, collective memory, place, lifestyle, culture and its confrontation with another culture and, politicaliziation of the body. The only significant difference between the components is in the lifestyle and geographic origin of the plays.
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