بررسی ساختار و گونه روایی داستان بعثت پیامبر (ص) در ادبیات و نگارگری بر اساس نظریه ژپ لینت ولت (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ولت، روایت را ابزار مشترک بیان در گونه های مختلف ادبی و هنری؛ دربرگیرنده سه موقعیت: راوی، کنشگر و مخاطب می داند. به زعم او، از تقابل میان راوی و کنشگر، دو گونه روایت همسان و غیرهمسان با زیرمجموعه ها و الگوهای روایتی ویژه ای شکل می گیرد. تاکنون این نظریه تنها در آثار ادبی بررسی شده، پس مقاله حاضر، گونه های روایی و طرح ساختاری نظریه ولت را هم زمان در اشعار و نگاره های داستان بعثت پیامبر مدنظر قرار می دهد. روش تحقیق توصیفی- تحلیلی، نحوه گردآوری مطالب کتابخانه ای است و اشعار عطار، ژولیده، ریلکه و نگاره های جامع التواریخ ، مجمع التواریخ و سیره النبی ، انتخاب شد. فرضیه پژوهش تاییدی بر گفته ولت است که روایت را مختص متون ادبی ندانسته، بلکه تحلیل هنرهای گوناگون چون نگارگری را امکان پذیر می سازد. نتیجه آنکه، شعر ندای محمد، ریلکه، از نوع روایت ناهمسان، با گونه متن نگار و زاویه دید صفر است. در اشعار عطار و ژولیده نیشابوری، زاویه دید صفر و ابیات ابتدا از نوع ناهمسان و متن نگار است که در ادامه به روایت همسان کنشگر تغییر می کند. تمامی تصاویر از نوع ناهمسان، گونه روایتی از نوع کنشگر با زاویه دید بیرونی است.The Studying of Structural and Typology of Narrative in the Story of Prophet Muhammad (p.b.u.h.) in Literature and Painting by Jaap Lintvelt Theory
One of the common elements of textual language is the element of "narration", so that narration as a means of expression has served different literary and artistic forms. The historian uses the narrative to express the message in the film and the painter in order to express the events of history, the views and the hearings. In fact, each of the linguistic types uses the narrative as an adjunct to its own purposes. In the English language, the term narrative is used to describe any narrative that has an incident, personality, quotes, speech, and actions of characters, whether it is a discipline or a prose. Jaap Lintvelt is one of the contemporary thinkers who takes narrative as a common expressive tool in different types of literary and artistic works. The important uses of narration is in any literary genres and in different kinds of art. He, in his book, "Aspects de la narration: thématique, idéologie et identité", considers each narrative constituting three position-takings; narrator position, actor position and audience position. The conflict between narrator and actor shapes two types of narratives: similar narratives and dissimilar ones that each include some subcategories and follow a certain pattern of narrative. This theory has only been used in the literary context; however this article tries to examine narrative types and Jaap Lintvelt’s structural project at the same time in poetry and illustrated the stories of Prophet Muhammad (Peace be upon him and his progeny). The method used in this project is descriptive- analytical and date-gathering is relied on library and poems of famous poets such as, Attar Neyshabouri , Zholideh Neyshabouri and Rainer Maria Rilke. Also this paper depictions of the books, Jami 'al-tawarikh (The Compendium of chronicles) Rashid-al-Din Fazl Allah Ṭabib Hamadāni, vizier to the Mongol Il-khans Ḡāzān (r. 1295-1304) and Öljeitü (Uljāytu; r. 1304-16), Majma' al-Tavarikh Hafiz-i Abru or ʿAbd-Allāh Nur- b. Loṭf-Allāh b. ʿAbd-al-Rašid Behdādini (also Ḵᵛāfi or Haravi; 833/June 1430) ,Siyer-i-Nebi al-Darir ,(Ottoman Turkish: سیر نبی ) is a Turkish epic about the life of Muhammad, in which the moment of descent of first divine verses by Gabriel to prophet Muhammad(Peace be upon him and his progeny), is described and visualized. The hypothesis of this project is a way of approving Lintvelt’s theory that does not confine narrative to literary texts, but it can be used to examine various arts including illustration. According to the theory, the result obtained from this research shows that, The poem “ Call of Muhammad” written by Rainer Maria Rilke is the narrator of the story world of heterogeneous (narrator ≠ actors), type narrative auctorial and narrative perspectives or the angle of view is "look-back" or "zero angle". Narrative perspectives in Attar Neyshabouri and Zholideh Neyshabouri’s poems are zero and at first, the lines are heterogeneous and auctorial but in Continuance it changed to the same story the narrator's world with narrative active type. In all illustrations, narratives are heterogeneous with narrative active type and narrative perspectives are the "look out" or "outside view".
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