فرآیندهای بومی سازی در شعر «ایمان بیاوریم به آغاز فصل سرد» براساس نظریه لوتمان (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
آفرینش های ادبی گاه محصول بومی سازی ها و خلاقیت هایی است که هنگام ورود متن از سپهر نشانه ای بیگانه به نظام خودی اتفاق افتاده است. با وجود الهام گیری فروغ در شعر «ایمان بیاوریم به آغاز فصل سرد» از «سرزمین هرز» الیوت، هر یک از دو اثر مورد بحث به شیوه خودشان یگانه و منحصربه فرد هستند. اگرچه تغییراتی که ورود متن جدید در فرهنگ ادبی مقصد ایجاد کرده، بیشتر از بومی سازی ها به چشم می آید، هنگام عبور از مرز و ورود به نظام، متن از جنبه های مختلف؛ از جمله ساختار ادبی، تغییراتی در جهت ذوق و سلیقه بومی داشته و شاعر با جابه جایی، افزایش و کاهش عناصر سازنده متن مبدأ، آن را با مقتضیات ادبی و فرهنگی جامعه فارسی زبان، هماهنگ و به اصطلاح بومی سازی کرده است. تبیین راهکارهای بومی سازی در حرکت از فرانظام (متن مبدأ) به نظام (متن مقصد) بر اساس نظریه یوری لوتمان، اساس مقاله حاضر است که نشان می دهد این تغییرات تا حدود زیادی به شعر فروغ هویت ادبیِ بومی و ملی بخشیده و در بستر آن، خلاقیت های بی نظیری پدید آمده است.Domestication Strategies in the Poem "Let Us Believe in the Beginning of the Cold Season" Based on Lotman's Theory
Literary works are sometimes the result of the domestication and creativity that have occurred when transferring the text from the foreign semiotic system to the domestic system. Although Farokhzad's poem Let Us Believe in the Beginning of the Cold Season was inspired by Eliot's Wasteland, each of these two literary works is unique in its own way. In spite of the fact that changes brought about by transferring a text to the target literary culture are more pronounced than domestication, the text undergoes changes in many aspects, including literary structure in order to conform to the target audience. Moreover, by shifting, increasing, and decreasing the constituent elements of the source text, the poet domesticates it according to the literary and cultural requirements of the Persian-speaking community. This study aims to explain domestication strategies when transferring the texts from meta-system (source text) to system (target text) according to Lotman's theory. Results show that these changes have substantially given a sense of indigenous and domestic literary identity to Farokhzad's poetry and led to phenomenal creativity.
Keywords: Domestication, Forugh Farokhzad, Wasteland, T S Eliot, Yuri Lotman.
Introduction
Literary inspiration has always been a way to get new ideas and a method for creation and innovation. In many cases, the inspiration takes place from a foreign culture, and new concepts and patterns are introduced to the literary system by external influences. In the 1940s, with the publication of the translation of the poem The Waste Land by T. S. Eliot, Iran's literary system faced a kind of symbolic invasion and although naturally for a while the imported norms were too foreign and revolutionary for the audience; but the victory of the new trend made literature more flexible and rich. Thomas Stearns Eliot, an American-British poet, playwright, critic, and editor (1888-1965) published The Waste Land in 1932 and became the leader of the Modernist movement in the Western world with the transformation he created in English poetry. The Waste Land is a picture of the world situation after the World War (R.K. Abjadian, 2010: 65). In 1964, Bahman Sholevar translated this work into Farsi under the name "Sarzamin-e Harz" in Arash magazine. This poem is written in five different sections: "The Burial of the Dead", "A Game of Chess", "Fire Sermon", "Death by Water" and "What the Thunder Says".
Forugh Farrokhzad (1967-1934) was one of the influential contemporary poets. After writing three collections of "The Captive", "Wall" and "Rebellion" which were published in the 1930s, she led to a great revolution that resulted in two collections: "Another Birth" and "Let Us Believe in the Beginning of the Cold Season". The poem "Let Us Believe..." is one of the best poems of contemporary literature. This work is associated with a completely social perspective and an approach to the political atmospheres of her time and a painful image of life, and the poet presents it with new techniques that show localization in many cases. According to Shafiei Kadkani, "the work form and poetic atmosphere and poetic world of poets like Eliot have been influential in Forugh's work. Those spiritual and spatial cuts of the last poems of “Another Birth” and all "Let Us Believe...", consciously and unconsciously, were influenced by Eliot and especially The Waste Land. (ibid: 227)
In this article, we will answer the questions that in the direction of literary localization, what changes did the poem "Let Us Believe in the Beginning of the Cold Season" have in the process of being inspired by "The Waste Land" and to what extent have the localization solutions added to the beauty and power of the poem "Let Us Believe..."?
Literature Review
Juri Lotman, the founder of the Tartu-Moscow school of cultural semiotics, in his various pieces such as Culture and Explosion, The Structure of the Artistic Text, and Universe of the Mind, has discussed the semiotic theory of culture. Along with other theorists who were developers of analytical models of semiotics, he presented a model that analyzes culture and cultural productions as structures arising from signs, within the world in which humans live. Lawrence Venuti has also described his theory under the title of binary of domestication and foreignization in his book entitled The Translator's Invisibility. He believes that sometimes translation brings the foreign text under the control of the ideologies and discourses of the target language and adjusts it with the values, beliefs, and representations of the target culture (ibid.: 68).
In the field of research related to the localization of translation in contemporary Persian poetry, Ahmad Karimi-Hakkak in the fourth chapter of the book "Recasting Persian Poetry" (2005) by using Lutman's theory in some examples of Bahar, Iraj-Mirza, and Parvin Etesami’s poems has shown the art of localization and analyzed the effect of translation on these poems. This work is a new movement in the field of interdisciplinary research of translation and literature and has opened a new path for the researchers of these two fields, and the present research is an effort to continue this path. Also, an article by Akbar Shayan Seresht et al. (2018) compared localization methods in Persian translations of La Fontaine's Tale of the Crow and the Fox and analyzed localization in verse translations that had become a fashion in its time. The importance of this article is that during it, several verse translations of a foreign work were examined based on Lutman's theory, and a kind of evolutionary process was shown in the verse translations. These two studies overlap with the present article in terms of using Lotman's theory of cultural semiotics, but the analysis of localization in Forugh Farrokhzad's poetry is a new step taken in this direction; because Forugh is usually mentioned as a defamiliarizing and alienating poet, and the creativity that emerged in the context of localization in her poetry has remained unknown.
Much research has been done about Forugh's poetry, and it would take a long time to mention their titles; however, this article is the first research that examines the artistic and poetic structure of the poet's poem and the poem "Let Us Believe in the Beginning of the Cold Season" based on a scientific theory in order to explain the strategies and creativity of its localization that has not been shown so far.
Methodology
The present research was carried out in a descriptive way and with the method of content analysis and an attempt to recognize and interpret the signs, and Lotman's theory was used to explain how the signs relate to the text and the extratextual context. According to Lutman's opinion, culture is a constructive generator that creates a social sphere around humans, and cultures in the process of attracting and rejecting a new membrane space, when elements and signs enter from the meta-system (foreign symbolic sphere) into the system (native sign sphere), are constantly being produced and reproduced, and it is possible to somehow manage and plan the created spaces. “The border basically acts like a special filter that selectively includes both "texts" (what is related to the domestic culture) into the sphere from other fields of culture, and "not-Texts” (what is taken from foreign culture)” (Lotman, 1990: 137). "Texts can have a social function because of the limit of permeability and translatability" (Sarafraz et al., 2016: 88). The basic link between text structures and extra-textual context, dual opposition between nature (non-textuality), intra-textual and extra-textual relations are features that Lutman mentions in his innovations. It is considered obvious that in conventional cases, the members of each culture consider themselves as domestic and the members of other cultures as foreigners (other). On the domestic side, life is orderly and meaningful; outside of it, there is chaos and disorder that is impossible to understand. This theory will enable us to understand how the poet has used different language possibilities in a new way and meaning to make them serve her specific goals.
Results
Successful examples of literary borrowing cause revolution in the body of culture. One of the important factors in the dynamics of cultures is the influx of accidental texts from other cultures. The 40s in Iran is an explosive period from the point of view of cultural semiotics, and such periods are the basis for the creation of outstanding artists. A part of these creations is the product of localizations and creativity that happened when the text entered the domestic system from a foreign sign sphere. The meaning-making process in the new text is the result of re-formulating the elements of the foreign culture through the native culture. In this article, localization in the structure of the poem "Let Us Believe in the Beginning of the Cold Season" by Forugh Farrokhzad, which was inspired by Eliot's Wasteland, is analyzed based on Lotman's theory. The results of the research show that the poet expressed the cultural and social characteristics of her era by making changes in the original text.
By shifting, increasing, and decreasing the elements of the original text, the poet adjusted it to the literary and cultural requirements of the Persian-speaking society and moved from the meta-system to the system of native aspects, and the poet reconstructed her essence and personality through being inspired by Eliot's poetry. The essence of her character, which is an Iranian woman, is considered an individual set of important social codes, and in the process of inspiration, it has caused cultural differences compared to the culture of origin. With the help of repetition of some phrases and symbols, the poet has maintained the longitudinal connection of the poem so that in a structure with a diverse arrangement of the subject, the repetitions keep the thread of the reader's thoughts and in this way, the stanzas of the poem are connected to each other with keywords. In Forugh's poem, the narrative characteristic of connecting different historical periods of Eliot's poem turns into different scenes from her life period; meaning that it has become the past, present, and future of her life. In most cases, Forugh has preferred to create an artistic image suitable to domestic culture for the concepts imported from the meta-system. She adapted the myth to her personal feelings as well as the Islamic tradition, and sometimes she made a personal myth that is symmetrical with the myth that came from the meta-system. In the process of Forugh's inspiration from Wasteland, a complex text was reconstructed in a complex way, which is related to a very wide range of cultural functions. In this process, Forugh used the symbols and content of Iranian mystical texts, and localization in interaction with defamiliarization led to the richness of the poem, and the text gained credibility and reliability in the cultural memory of Iranian society. Because the poet has related the elements of the foreign culture in a deliberately planned way with the elements of the domestic culture which are in the center of the sphere of symbols.
تبلیغات
