بررسی انگاره های کارناوالی در نمایشنامه ی رومئو و ژو لیت از دیدگاه باختین (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
مفاهیمی که میخائیل باختین، نظریه پرداز روس، در عرصه ی نقد و نظریه ی ادبی طرح کرده، امکانات جدیدی پیش روی تحلیلگران آثار هنری به ویژه در حوزه ی ادبیات، تئاتر، و سینما قرار داده است. یکی ازمهم ترین مفاهیم در دایره ی اصطلاحات او، مفهوم کارناوال است. این واژه یکی از مهم ترین محور های اندیشه ی او و از جمله مبسوط ترین مباحث او به شمار می رود. با آن که کارناوال با اجرا و آیین و از این طریق با تئاتر پیوند دارد، اما وقتی از"نوشته ی کارناوالی" سخن به میان می آید کاربست ادبی آن در چشم انداز باختین مورد نظر است و مشخص کننده ی آن دسته آثار ادبی است که در آنها ویژگی های کارناوال در زمینه ای نوشتاری به ظهور می رسد. باختین رمان را بهترین زمینه برای تحقق ویژگی های کارناوالی دانسته است، اما بعد از او منتقدین تئاتری با عطف توجه به پیوند دیرپای آیین و نمایش استدلال کرده اند که تئاتر و اجرا امکانات بسیار وسیع تری فراهم می کند که مورد توجه باختین قرار نگرفته است. در مقاله ی حاضرنمایشنامه ی رومئو و ژولیت نوشته ی ویلیام شکسپیر بر اساس مفهوم کارناوال بررسی و تحلیل می شود: در ابتدا، توضیحات مختصری درباره ی مشخصه های کارناوال و ویژگی های" نوشته ی کارناوالی " ارائه وسپس تحقق این عناصر را در نمایشنامه ی رومئو وژولیت به بحث گذاشته می شود.Carnivalesque in Romeo and Juliet
Mikhail Bakhtin is arguably one of the greatest literary theorists in the twentieth century. He introduced theories in a variety of fields including psychology, philosophy, linguistics, and literary criticism. The extraordinary conditions under which he lived and worked attract the attention of not only literary scholars, but also political scientists, cultural historians and even biographers. It is believed some of the theories introduced by him had been inspired by the events in his eventful life. He has introduced numerous innovative theories among which the concept of carnival is one of the most intriguing. Caryl Emerson has rightly considered this concept to be "the weakest, least consistent , and most dangerous category in Bakhtin's arsenal." This concept is introduced in the book "Rabelais and His World". In this book he successfully locates Rabelais' book in the popular cultural forms that surrounded him. Thus the readers' attention is drawn to a gay, life-affirming and anti-authoritarian attitude to life in the Middle Ages. One of the most important notions through which Bakhtin makes the transition from popular-festive life to the writing of Rabelais is the notion of grotesque realism . At first glance grotesque seems to be a familiar word . However, his grotesque realism is a special notion. It is based on the material and the bodily. In this notion the body which eats, digests, copulates and defecates in an exaggerated and grotesque way is celebrated. The most interesting characteristic of this body is the fact that in this body "becoming" rather than "completion" is evident. Bakhtin himself refers to this celebration of the uncompleted as "gay relativity". In this notion great importance is attached to what he calls "lower body stratum" and some organs in the body are of particular importance. Other elements of carnival include crowning and uncrowning, subversion of authorities, the language of the market place and carnival laughter. Carnivalized writing includes writings in which the spirit of carnival is found. This study sets out to analyze the classic play "Romeo and Juliet" written by William Shakespear considering the elements of carnivalized writing. There has been a lot of controversy over years as to whether "Romeo and Juliet" should be considered to be a tragedy or not. While some critics have conveniently omitted all the happy scenes , others have considered them to be essential to the integration of the play. Particularly in this study these scenes are of great significance. This study reveals that this play can be considered to be carnivalized writing and the ambivalence of carnival imagery is evident in it. Moreover, the relativity of official certainties and also instances of crowning followed by uncrowning can be found in this play. Furthermore, the language of the market place can be observed in this play specifically in characters who belong to lower social classes. In all these a pattern is traced in the play in which analogues can be found for Shakespeare's writing in carnival and popular-cultural forms. This analysis can result in innovations in performing this play.
تبلیغات
