ظرفیت های زبان جنسیتی در دراماتیک کردن نمایش های رادیویی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
درام رادیویی بازتابی از زندگی حقیقی انسان ها و دیالوگ های نمایشی وجه دراماتیزه شده مکالمات انسانی است. اما در علم زبانشناسی بین زبان زنانه و مردانه تفاوت هایی اثبات شده وجود دارد که هریک حاصل هویت اجتماعی متفاوت آنهاست که به آن زبان جنسیتی می گویند . زبان جنسیتی تحت تاثیر فرهنگ و اجتماع ویژگی های متفاوتی را خلق می کند. لذا همین ویژگی ها در دیالوگ های نمایشی نیز سرایت کرده و هویدا می شود. در پژوهش حاضر هدف براین است که تاثیر حضور زبان جنسیتی در یک درام رادیویی در موقعیت های نمایشی را کشف کرده ونشان دهد چطور دیالوگ های مردانه و زنانه با توجه به جنس گوینده و موضع او می تواند بر میزان دراماتیک شدن یک اثر، بیافزایند. چنانچه با توجه به مبانی نظری تحقیق (نظریه تفاوت) و بعد از تحلیل محتوای کیفی ده نمایش پخش شده از شبکه رادیویی جوان در دهه هشتاد مشخص شد که استفاده از زبان جنسیتی در دیالوگ ها منجر به خلق دونیروی برابرو متضاد کلامی می شود که تعادل دراماتیک اثر را تضمین می کند. این دو نیرو لازم و ملزوم یکدیگرند از برآیند آمیزش آنها می توان شاهد پیشبرد فضای دراماتیک اثر و خلق موقعیت های نمایشی بود.Dramatization of Radio Shows and the Capacities of Language and Gender
Radio drama is a reflection of actual human lives and performance dialogues represent dramatized form of human discourse. However, in the science of linguistics, there are evident differences between female and male languages, each of which stems from their divergent social characteristics, referred to as gender language. This feature has diverse elements according to cultural and social influences and it has also extended to performance dialogues. The act of “dialogue” is the most significant unit of analysis in this study. The definition used in this study is: a human condition that can (only) be conducted correctly upon gaining an accurate understanding of the social settings and his or her interactions. The definition is further discussed as an act that can only be performed between humans that enjoy freedom and consciousness, and the outcome of their dialogue leads to a third situation, which is understood to being a sensible state. From the view of linguistics studies, the features of male and female languages become clear that some of these characteristics are in contradiction with settings of a dramatic dialogue, and some others are more in line. Thus, the use of gender language can directly affect dialogue and dramatic settings if the author has a gender specific orientation to the use of language and the significance that it can have in the dialogue. This study hypothesizes that gender-based language leads to the creation of dramatic settings in a performance act. To prove this assumption, efforts were made to first identify unique features of male and female language, and then denote how its presence in dramatic radio dialogues affects the performance -- considering its parameters – as well as how it can facilitate the development of the dramatic setting. Considering the theoretical principles of research (diversity theory) and following the analysis of quality contents of 10 performance broadcasts from “Javan” Radio Network in the past decade, it was determined that utilization of gender language in dialogues leads to the creation of two equal and opposite rhetorical forces that guarantees the dramatic balance of the performance. These two forces are in correlation and the outcome of their association appears to facilitate the development of dramatic setting of a performance and the creation of more emotional impact. The language of gender is also a mode of generating “balance” in the elements of drama, when the two elements of feminine and masculine confront each other, the elevation of a dramatic act can be anticipated, since when these two forces are equal, it leads to a soaring confrontation that leaves the audience powerless to predict. The balance between the two forces does not denote a broad balance and a lack of action. It rather points to the parity of the powers, where personalities can be freely introduced and interact along the lines of creating new senses. These two balancing powers can generate dialogue. Hence, under such circumstance, formation of an authentic dialogue and the creation of action can be anticipated. Working in parallel, these two forces can generate as well as advance the drama of the script.
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