ژست و استعلای سوژه در غزلی از مولانا (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ابراهیم کنعانی* امید وحدانی فر ** اکرم صفی خانی*** چکیده در جستار حاضر، به کاربرد ژست در یکی از غزل های روایی مولانا پرداختیم. در این گفتمان، مولانا سوژه ای را به تصویر می کشد که با تمرین و ممارست در ژست همان می شود که از آن ژست انتظار داشته است. سوژه های مولانا ازطریق تعامل با ژست و در قالب جسمانه و استعلا شکل می گیرند و در فرایندی مبتنی بر نظام تطبیق به نوعی هم حضوری با ژست دست می یابند؛ اما مسئله ی اصلی این است که سازوکار چنین وضعیتی چیست و برپایه ی کدام راهبردها و کارکردهای گفتمانی تحقق می پذیرد. برپایه ی این، در پژوهشِ پیش روی با استفاده از شیوه ی تحلیل محتوا تلاش شده است تا چگونگی مواجه شدن سوژه با ژست و تأثیر آن بر نظام زبانی و معنایی مولانا تبیین شود. پرسش اصلی پژوهش این است که ژست بر اساس چه شرایطی تولید می شود و چگونه سوژه را از وضعیت جسمانه ای به وضعیتی استعلایی مبدل می کند. فرض ما این است که فشاره ی حسی- ادراکی و حسی- شهودی زمانی که از حد خود فراتر می رود، ژست تولید می شود. سوژه با تکرار و درونی سازی ژست برساخته ی خود (ژست استعلایی)، به سوژه ای استعلایی استحاله می یابد؛ بنابراین ژست با قابلیتی دووجهی، ازطرفی سوژه را از دیگر ژست ها، نقاب ها و تصاویر رهایی می بخشد و ازطرفی به میانجی خودِ ژست، سوژه از فضای جسمانه- ژستیک به فضای استعلایی ارتقا می یابد و به یک هم حضوری مطلق می رسد. * استادیار زبان و ادبیات فارسی دانشگاه کوثر بجنورد ebrahimkanani@gmail.com (نویسنده ی مسئول) ** استادیار زبان و ادبیات فارسی دانشگاه بجنورد o.vahdanifar@gmail.com *** دانشجوی کارشناسی ارشد ادبیات روایی دانشگاه کوثر بجنورد ak.safikhani@gmail.com تاریخ دریافت مقاله: 29/3/ 1400 تاریخ پذیرش مقاله: 1/12/1400The gesture and transcendence of the subject in a lyric by Rumi
Ebrahim Kanani The Assistant Professor of Persian Language and Literature. Department Faculty of Humanities, Kosar University of Bojnord, Bojnord, Iran ebrahimkanani@kub.ac.ir Omid Vahdanifar Assistant Professor of Persian Language and Literature, Department Faculty of Humanities, University of Bojnord, Bojnord, Iran. Akram Safikhani MA Candidate of narrative literature Kosar University of Bojnord. Bojnord. Iran. Introduction In the present article, we used gesture in one of Rumi's narrative sonnets. In this discourse, Rumi portrays a subject who, by practicing and practicing in a gesture, becomes what he expected of that gesture. Rumi's subjects are formed through interaction with the gesture in the form of body and transcendence, and in a process based on the system of adaptation, they achieve a kind of co-presence with the gesture. But the main question is what is the mechanism of such a situation and based on which strategies and discourse functions it is realized. The main question of the research is under what conditions the gesture is produced and how it transforms the subject from a physical state to a transcendental state. Our hypothesis is that sensory-perceptual and sensory-intuitive pressure produce a gesture when it exceeds its limit. The subject transforms into a transcendent subject by repeating and internalizing his constructed gesture (transcendental gesture) Thus, the gesture with two-dimensional capability, on the one hand, frees the subject from other gestures, masks and images, and on the other hand, through the gesture itself, the subject is elevated from the physical-gestural space to the transcendent space and reaches an absolute presence. Methodology In the present study, how the subject encounters the gesture and its effect on Rumi's poetry system can be explained. The aim is to show by the method of content analysis that the subject transcends with the help of gesture and again represents the experience through that gesture. Subject related research in works: In the Shadow of the Sun: Persian poetry and deconstruction in Rumi's poetry (Pournamdarian, 2009), "From Lacan to Rumi Lacan's view of the subject's mental development in Rumi's views" (Shiri Et al., 2012), "Existential-oriented sign-semantics: from interaction to transcendence based on the discourse of Rumi and the Chinese" (Shairi and Kanani, 2015) and "The other and its role in Rumi's discourse" (Kanani, 2019), in a way They have dealt with the confrontation of commands and subjects and others. Gesture research has also been conducted in non-literary Persian texts. Therefore, the interaction of the two categories of subject and gesture with each other and their role in how to form semantic occasions in Rumi's poetry has not been studied. Therefore, the present study has examined the effect of gesture on the subject in a lyric by Rumi from a new perspective. Results and Discussion In the course of Rumi's thought, it is obvious that we have descended into the material world; A world in which we have a language with form and gesture. Rumi believes that we have been thrown into this world from an eternal, meaningful and pre-linguistic world. We had a substance in that world and we were in unity and by stepping into the material world, we became multiplied and caught in the chains of language and gestures. In this world, we resort to language and body language and gestures to understand each other, but a surplus of that original meaning remains that cannot be represented in this way. For this reason, the subject in Rumi's sonnet has a desire for transcendence and the world. The subject begins a journey to achieve this goal. This journey begins with myself and me, then reaches the stage of unconsciousness, and finally leads to absolute presence. Therefore, in order to achieve transcendence, one must abandon the physical, verbal and gestures path and walk in an intuitive path, without gestures and stillness. But in this path, he must use the factor
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