تحلیل بینانشانه ای نقاشی اکفراستیک «تقدیر» از مهدی زمانی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ترجمه بیناوجهی و بینانشانه ای از بصری به کلامی، به طور سنتی، از دوره یونان، اکفراسیس نامیده شده است. با نظر به توسع انواع انتقال معنی از طریق ترجمه، اکفراسیس نیز تنوع و گستردگی یافته و امروزه انتقال معنی از بازنمود کلامی به بصری را نیز شامل می شود. پژوهش های موجود ترجمه بینانشانه ای کلامی-بصری را از منظر تفاوت ماهوی میان گسسته و پیوسته بودن دو نظام نشانه ای و یا از منظر تفاوت در رمزگان نگریسته اند. مسأله اصلی در این پژوهش این است که تولید کننده هر کدام از متن ها چگونه معنا را بازنمایی نموده و انتقال می دهد. در مقاله حاضر با رویکرد نشانه شناسی اجتماعی، مبتنی بر زبانشناسی نقشگرای هلیدی و گرامر بصری کرس و لیوون (2006)، اکفراسیس نقاشی خط از مهدی زمانی با عنوان «تقدیر» -که برگردان یک متن شعری (هنر کلامی) است- بررسی شده است. فرضیه تحقیق این است که بازنمایی و انتقال معنا در هر کدام از متن مبدأ و مقصد با تکیه به گرامر خاص هر کدام و با بهره گیری از ظرفیت های سطوح فرانقشی رخ می دهد. نتایج تحقیق نشان می دهد در برگردان از متن کلامی به بصری، معنی نه به صورت تطابقی بلکه به صورت سازواره ای از گرامر کلامی به بصری ترجمه شده و فرانقش های سه گانه به صورت غیرتطابقی به یکدیگر ترجمه شده اند. ترجمه فرانقش منطقی، دامنه استعاری ترجمه را در متن مقصد افزایش داده است.Intersemiotic Analysis of Ekphrastic Painting "Destiny" by Mehdi Zamani
Abstract
In this research, based on socio-semiotic approach, an ekphrastic painting titled Destiny by Mehdi Zamani analyzed. the so called ekphrasis is a calligraphy painted as a representation of a poem by Rumi. The research method is functionalist visual grammar of Kress and Leeuwen (2006). For analyzing the verbal text (initial text), I used the Functional Linguistics of Halliday (1976, 2014). The results of the research show that in the ekphrastic representation, the meaning is not translated adaptively but as a structure and a metafunctional translation. The three metafunctions are translated non-adaptively to each other. Therefore, what the verbal text represents, for example, in the form of logical metafunction, is expressed by a different metafunction in the ekphrastic text; i. e. in an ideational or interactional metafunction. The complexity of logical metafunction has increased the metaphorical aspect of ekphrastic representation in the target text. The results show that a significant part of the meaning of the verbal text is represented beyond the self-awareness of the producer of the target text. Finally, the results demonstrate that contrary to intertextuality, which expands the borders of the "signified", the ekphrastic representation has expanded the borders of the "signifier".
Keywords: Ekphrasis, Mahdi Zamani, Intersemiotics, Calligraphy, Verbal Text, Visual Text, Representation
Introduction
Many researchers (Heffernan, 1993; Pop, 2010; Cluver, 1997, 1998: 40; Bruhn, 2001: 559; Yacobi, 1999: 28; Persin, 1997: 11; Sager Eidt, 2001: 19-21; and Robillard, 1998: 53-72) have examined ekphrasis mostly from the point of view of classifying its types. They have not paid attention to how the meaning is represented from the source text to the destination text in an ekphrastic intersemiotic translation from the verbal to the visual text and how the meaning is transferred. Therefore, it is necessary to contrast the separate ways of the two semiotic systems for presenting meaning and making communication.
The ekphrastic method should not be confused with the traditional illustration. Unlike multimodal (verbal/visual) texts, in which meaning is born from the interaction of different modes (text and image), there are always two independent texts in ekphrasis, each of which has its own complete meaning.
By choosing a calligraphic painting by Mahdi Zaman, which was produced based on a poem that the painter attributed to Rumi, the present research put forward the following hypothesis based on the Functional Linguistics of Halliday (1976; 1994; Halliday & Matthiessen, 2014) and the Visual Grammar of Kress and Leeuwen (2006): Representing verbal meaning in the visual mode requires that any intersemiotic mechanism be done in the form of translating two separate grammars to each other.
Materials and Methods
In this article, I intended to examine the ekphrastic painting (calligraohy) entitled "Destiny" from a functional perspective based on the Visual Grammar of Kress and Leeuwen (2006). In a verbal/visual intersemiotic relationship, each of the verbal and visual semiotic systems has its own grammar. Therefore, I used different theories for each source and destination text. In this way, to explain the mechanisms of representing meaning in the verbal mode, I used Halliday's Functional Linguistics, and for the visual text, I used Kress and Leeuwen's Visual Grammar Theory.
Discussion of Results and Conclusions
The source text, which was the basis of ekphrasis, was a verse of a poem that the artist attributed to Rumi. Of course, attribution of this verse to Rumi was not true, while it was taken from the following bi-verse poem, the composer of which was not known; thus, it had been wrongly attributed to Rumi in the virtual space:
"Every moment I surrender to my destiny, I am calmer than a deer and more fearless than a lion;
Every moment I try to plan my work, pain after pain and chain after chain comes to me".
Mahdi Zamani (painter) mentioned only the second stanza as the source text, while the title of the calligraphy (ekphrastic text), contained the verbal sign that was in the first stanza of the poem: "Destiny". Therefore, the scope of representation of the target text was beyond the source text that he specified.
The source text was beyond what the target text producer (painter) pointed to. The title of the painting, which was a verbal sign in the first stanza, was actually a metaphorical form of the verb "appreciation", which was a transitive verb and its explicit object was "destiny". Therefore, the opposition of destiny-appreciation was formed and it was necessary to see how the painter represented this structural opposition in his painting. The revelation of this contrast showed that much more abstract levels of meaning were also involved in the ekphrastic translation and it was necessary to pay attention to the ways of their transmissions.
The complex level of logical metafunction, which was revealed in the form of the logical relationship ‘if... then...’ in the relationship between destiny-appreciation (surrender and peace) was shown in the form of a metaphorical system in the ekphrastic (top/below (ideal/non-ideal) representation This meant that the top was the place of the lack of chains and thus the place of peace and the bottom was the place of the chains in the composition system. It indicated that the chains appeared to be one continual when the actor tried to plan at all the moments.
The results of the analysis showed that in the intermodal and intersemotic translations from the artistic text of the poem to the artistic text of the painting, the transmission of meaning and representation did not occur in a corresponding manner, but simultaneously within the framework of the grammatical system of each semiotic system. The meaning was rearranged according to the metafunctional tools of that system. Metafunctional correspondence did not exist in the intersemiotic translation, but each text created its own metafunctional system of representation. Of course, both of them took a full advantage of all the intellectual, interpersonal, textual, and logical metafunctions. A large part of the meaning was unconsciously transferred from the source text to the terget text because contrary to the self-awareness of the painter (ekphrastic producer), the analysis of the text showed that more elements of the surroundings of the verbal text were represented in the target text.
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