اقتباس و برگرفتگی بینافرهنگی در دو نسخه تصویرسازی شده از داستان هفتواد و کِرم، با استفاده از نظریه ترامتنیت ژرار ژنت (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نگاره هفتواد و کِرم به عنوان اثر رضا هروی، تجلی گاه هنرِ هند در بستر هنر ایران است. این اثر برگرفته از نگاره دوست محمد، نقاش برجسته صفوی بوده و در آلبوم جهانگیر نگهداری می شود. مسئله، علت بازآفرینی و اقتباس اثر دوست محمد توسط فردی به نام رضا هروی و در دربار هند می باشد. این پژوهش در تلاش است تا به دو سوال پاسخ دهد: در این فرآیند برگرفتگی، چه نظام های نشانه های در آن تغییر یا حذف یافته که منجر به تغییر معنا شده است و این دو نگاره چه تفاوت هایی با هم دارند؟ هدف، دستیابی و تشخیص نوع دگرگونی ها در بیش متن رضا هروی می باشد. تاکنون در مورد آثار اقتباسی هِروی هیچ پژوهشی صورت نگرفته و لذا خلاء اطلاعاتی وجود دارد. این پژوهش توصیفی- تحلیلی و تطبیقی بوده و دو نگاره مد نظر از دو هنرمند را با روش ترامتنیت ژرار ژنت بررسی نموده است. بر اساس نتایج بدست آمده و با بهره گیری از نظام های نشانه ای، در نگاره رضا هروی، جهانگیر و اردشیر پادشاه ساسانی در تقابل هم آمده درصورتی که در اثر دوست محمد، هفتواد و اردشیر مقابل هم هستند لذا در این تراگونگی به واسطه تعویض و تغییر نظام های نشانه ای در نگاره هروی، معنا با نوع دگرگونی غالب جایگشت، به طور کلی عوض شده است.Intercultural adaptation in the two illustrated versions of the story of Heftavad and Kerm, using Gerard Genett's theory of Transtexualite
The painting of Haftavad and Karam, as a work by Reza Heravi, is a manifestation of Indian art in the context of Iranian art. This work is taken from the painting of Dost Mohammad, a prominent Safavid painter, and is kept in Jahangir's album. The issue is the reason for the re-creation and adaptation of Dost Mohammad's work by a person named Reza Heravi in the Indian court. This research tries to answer two questions: In this process of derivation, what sign systems have been changed or removed that have led to a change of meaning? And what are the differences between these two paintings? The purpose is to achieve and identify the type of changes in Reza Heravi's text. So far, no research has been done on Reza Heravi's adaptations. This research is descriptive-analytical and comparative and examines the two drawings considered by two artists by Gerard Gennet's transtexualite method. Based on the results obtained and using symbolic systems, in the paintings of Reza Heravi, Jahangir and Ardeshir, the Sassanid king is also in opposition. However, due to Dost Mohammad, Haftavad and Ardeshir are facing each other Therefore, in this transtexuality due to the change and change of sign systems in Reza Heravi's painting, the meaning has been completely replaced by the dominant type of transformation. Adaptation and derivation in an intercultural-linguistic and transnational study takes place following the connection between cultures and between two different societies. In these intercultural derivation, the differences and similarities between the two works of Indian and Iranian society were studiedThis article, after examining three stages of the body of studies, found that the hypertextuality by Reza Heravi with the dominant type of permutation is related to the work of Dost Mohammad. This transtexualite, by changing some of the sign systems in the adapted work, has created a huge transformation in the second hypertextuality. Most of these changes are related to the replacement of important fictional and pictorial characters in the plurals of Dost Mohammad and Reza Heravi, because after the exchange of the statues of Ardeshir and Haftavad with Jahangir and Ardeshir, the meaning has changed in general due to adaptation. The new meaning is that Ardashir is condemning the Seventy in the first painting, but as a result of the adaptation, Ardashir is reproaching the universal. It can be said; This change of meaning is due to Heravi's adaptation of the signs mentioned earlier; It is purposeful, and the painter humorously condemns the universal forms of extremism in wine and opium, and chooses as a counselor who was once the powerful ruler of Iran in the Sassanid era Therefore, it can be concluded that the political approach also dominates this work and the image, despite its appearance, is king (Jahangir) centered and is a kind of propaganda discourse in the work. As a result, Reza Heravi's adaptation, both in terms of changes and in terms of the structural view of transcripts, has led to a quantitative and qualitative change in her prefaces.
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