نقدی بر بلاغت تصویر محمود فتوحی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
بلاغت سنتی جوابگوی بررسی بسیاری از تصاویر شعر مدرن ازجمله تصاویر شاعران سمبولیست و وابستگان تصاویر انتزاعی نیست؛ به همین سبب باید مبانی تازه ای پی ریزی کرد تا با آن بتوان زیبایی این آثار را نشان داد و تحلیل، بررسی، تطبیق و مقایسه میان تصاویر با این مبانی انجام شود. بلاغت تصویر محمود فتوحی با جداکردن تصاویر مربوط به هر مکتب ادبی ازجمله کلاسیسم، رمانتیسم، سمبولیسم، اسطوره و ایماژیسم، برای هرکدام مبانی تصویری ویژه ای و کارکردهای خاصی را تبیین کرده است؛ با این مبانی و ویژگی های تصویری که برای هر مکتب مطرح می کند می توان شعر شاعران آن مکتب را بررسی و تحلیل کرد. نگارندگان در این پژوهش، کتاب بلاغت تصویر محمود فتوحی رودمعجنی را با دیدگاهی انتقادی بررسی و تحلیل می کنند. از آنجا که اشکالات کتابِ منظور متعدد است و هیچ گونه شباهت ساختاری و درونمایه ای با هم ندارند، نگارندگان از دسته بندی اشکالات پرهیز می کنند و به ترتیب صفحات کتاب هر اشکال را با شماره ای جداگانه نشان می دهند و آنها را توضیح و تشریح می کنند. تعداد اشکالات کتاب به ده عدد می رسد؛ ازجمله مهم ترین این اشکال ها می توان به تناقض و یکدست نبودن نگاه نویسنده به موضوع نگرش کلی، نمونه های شعر بی تصویر و اعتقاد به بی معنایی اشاره کرد.A Critique of Mahmoud Fotouhi's Image Rhetoric
Since traditional rhetoric is not an answer to the study of many images of modern poetry, including the images of symbolist poets and their dependents on images, new foundations must be laid by which the beauty of these works can be analyzed. Mahmoud Fotouhi’s book Image Rhetoric , by separating the images related to each literary school, including classicism, romanticism, symbolism, myth, and image, has explained specific visual principles and functions for each of them. By means of those principles and image characteristics that he presents about each school, the poetry of the poets of the mentioned schools can be examined and analyzed. In this research, the Image Rhetoric book of Mahmoud Fotouhi has been critically examined. Since the problems of the book in question are numerous and do not have any structural or thematic similarities, the authors refrained from categorizing the problems and indicated the pages of each case with a separate number. The results show that the book has 10 problems. The most important problems are the contradictions and inconsistencies of the author’s view about general attitude, examples of unimagined poetry, and the belief in meaninglessness. Introduction The image, or what is referred to as imaginary images, is considered one of the basic features and pillars of poetry. Nezami is among those who agree with this view and called it falsehood: “Do not twist in his poetry and in his art/ because his lies are his best” (as cited in Vahid Dastgardi, 2009, p. 66). In fact, it is through imagination that poetry is considered false and the dimensions of objects change, and it is possible to penetrate and capture objects and phenomena. As can be seen in Nezami’s poetry, he is an image-oriented poet. Among contemporaries, Nader Naderpour and Yadullah Royaei have given more importance to the image than others. Royaei clearly declares in the book ‘ from the Red Platform’ that “a poem is not a poem if it does not have an image, it is an admonition, and a sermon, what we call an image today, was called a fantasy in the past. A poem without an image is a low-value poem” (Royaei, 2017, p. 151). Forough Farrokhzad says about the image in Naderpour's poetry: “Naderpour's poetry is completely empty in terms of content. He is a skilled illustrator, but what does the image do for me? What does he want to express with these pictures? It doesn't say anything; it has nothing to say. In terms of form, it is a ruler and centimeters” (Farokhzad, n.d, p. 13). However, Naderpour himself has admitted that “I never use the image just for the sake of the image, because this element, like the word, is a means to create understanding” (Naderpour, 1966, p. 4). In general, the image and method of its application and its necessity have always been disputed. According to Forough Farrokhzad’s words, it is clear that the image was separate from the meaning, while in modern poetry, the image and the meaning cannot be imagined separately and are mixed together. One of the disadvantages of traditional rhetoric is that it imagines the image separately from the meaning, regardless of the context and structure of the text. Another disadvantage of traditional rhetoric is the belief in definite meaning. In other words, traditional rhetoric does not accept images that can be interpreted (e.g. new symbols created by the poet) and has no way to analyze them. One of the good features of Fotouhi’s book of Image Rhetoric is dealing with these types of images and presenting myth as an image (although before him Shamisa also presented myth as an image in his Bayan book). Also, the divisions provided by Jarjani about paradox, allegory, and divisions are related to allegory, separating the characteristics of the image in each school and explaining the functions of the image in each of these schools. The artistic-literary aspect is one of the novelties of Fotouhi’s book. Materials and Methods The research method in this descriptive-analytical study is the library method. In this research, using the above method, the rhetoric of Mahmoud Fotouhi’s image has been examined from a critical point of view. Results In modern rhetoric, belief in the definitive, singular, and final meaning is considered incorrect. In a literary text, whenever we want to return a literary line to fluent prose, it loses many of the semantic features of the previous text, and it is never possible to fully understand what is written in the literary line. Regarding the issue of meaning, it is never complete and is always ‘absent’. Some critics think that the absence of meaning means ‘meaninglessness’. However, there is no meaninglessness, and in Saussure's opinion, there is always a signification with everything. Fotouhi has spoken of both definite meaning and meaninglessness, and this is a wrong perception of meaning, especially in extending it to the image. In classicism, the meaning serves the image, and in modern poetry, they often cannot be separated and mixed together. Fotouhi believes that a poet who does not have a general attitude is a poet without style, and this shows that in his view, the general attitude is the main and key component, while it is possible that a poet constantly changes his point of view in his poems. For such a poet, ‘instability’ and ‘change’ are the basic elements of his poetry, and his style is also formed based on these two elements, and it cannot be said that he is a poet without style. Some of the examples of poetry that Fotouhi mentions in the chapter on non-image poetry have images that should be noted. Many of these imageless verses become poems by being placed in the structure of the poem and the context they have, not by themselves alone. Just as it is not right to examine an image independently of its structure, it is not correct to examine a verse alone, and it is necessary to examine a verse in connection with other verses and in a conversational context. In this regard, many of the verses that appear to be prose become poems.
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