نقد و تحلیل خویشکاری های موش و گربه شیخ بهایی (بر اساس نظریه ولادیمیر پراپ) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ولادیمیر پراپ، فولکلورشناس روسی در نظریه ابداعی خود به بررسی ریخت شناسانه قصه های پریان روسی پرداخت. او با توجه به طبقه بندی داستان ها که بیشتر براساس محتوا و درون مایه آن ها بود، رده بندی خود را روی فرم و ساختار این داستان ها بنا نهاد. وی نخستین گام در تحقق فرضیه خویش را شناخت و تعیین عناصر ثابت و متغیر قصه ها دانست. این مقاله به بررسی و تحلیل ریخت شناسانه داستان موش و گربه شیخ بهایی می پردازد که از قصه های تو در تو و چندین لایه تشکیل شده است؛ به طوری که این داستان در مجموع، مرکب از 34 داستان فرعی است. این پژوهش بر اساس شیوه پژوهش های اسنادی و توصیفی کتابخانه ای و مبتنی بر روش تحلیل محتوا و هرمنوتیک صورت گرفته و سعی شده است بر مبنای اصول ریخت شناسی ولادیمیر پراپ به تحلیل خویشکاری و تعیین بسامد و مقایسه تطبیقی آن ها پرداخته شود. نتیجه، بیانگر این است که در میان این داستان ها روابط بینامتنی محکمی وجود دارد. از سی و پنج حکایت این اثر، علاوه بر ۳۱ خویشکاری پراپ، هفت خویشکاری در این مقاله برای اولین بار مورد بحث قرار گرفته است که عبارتند از: خویشکاری های «فرار»، «شایعه پراکنی»، «التزام کردن»، «تهدید کردن»، «مخفی شدن»، «شرط بندی» و «طرد».Analyzing the Function of Sheikh Bahai’s Cat and Mouse Based on Vladimir Propp’s Theory
In his innovative theory, Russian folklorist Vladimir Propp examined the morphology of Russian folktales. Unlike former classifications of these stories which were mostly based on content and theme, Propp’s classification is based on the stories’ form and structure. He realized the first step in rectifying his hypothesis was recognizing and determining the fixed and variable elements of the stories. This article examines and analyzes the morphology of Sheikh Bahai’s Cat and Mouse which consists of several frame narratives and multilayered stories within stories so that this story is composed of a total of thirty-four sub-stories. This article is based on library research and adopts a descriptive hermeneutic content analysis approach and attempts to probe the functions, determine their frequencies, and study them comparatively based on Propp’s morphology. The findings indicate that there are strong intertextual relationships among these stories. Of the thirty-five tales in this work, in addition to Propp’s thirty-one functions, for the first time, seven more functions are discussed in this article which include "escape", "gossip", "commitment", "menace", "hiding", "wager", and "abandonment".Keywords: Sheikh Bahai, Cat and Mouse, Morphology, Function, Vladimir Propp.IntroductionSheikh Baha'i is one of the most prolific authors of different sciences and knowledge. His works were favored by scholars after him, and on many of them, many explanations and margins, sometimes more extensive than the original text, have been written by him and others.The term "morphology" means the study and recognition of forms, which Vladimir Propp (1895-1970 AD), a Russian formalist (Scholes, 2013), first used in his most important work, "Fairy Tales Morphology" ( Propp, 1928) and used it to mean "description of stories based on their constituent units and the relationships of these units with each other and with the whole story" (Propp, 1368). Literature ReviewPropp called the smallest building unit of these stories "role", "function" or "self-interest". (Ricoeur, 2014). "Propp realized that if many folk tales of Russian fairies are carefully examined, a basic and similar story will be found in all of them. He tried to show how a hundred stories examined by him are actually different forms of the same basic plan. Propp, by examining a collection of a hundred stories with similar compositions, drew out the structure of the "king of stories" (Scholes, 2003). The basis of prop analysis is the basics of narratology; that is, "a set of general rules about narrative genres, systems governing narration (storytelling) and plot structure" (Makarik: 1384), this definition is that "a narrative is a text in which a change from a situation is recounted in a more modified state. Therefore, the change of situation or event is the fundamental element of the narrative and is subject to the focus of the study of Propp" (Tolan: 1386).In addition to the opening scene, which he does not consider as self-made (Propp, 1368), Propp proposed thirty-one "functions" in the analysis of Russian fairy tales (Propp, 1928; Propp, 1368) and in this In the article, 7 self-cares have been added to them, and their frequencies are listed in the main text of the article in the form of a table in "Cat and Mouse". Another important issue that Propp states is the explanation of the seven main categories of characters in fairy tales including 1-hero; 2-Princess (gift); 3- The giver; 4- Helper; 5- Hero sender (mediator); 6- Wicked; 7-False hero. (Propp, 1928; Propp, 1368).3.MethodologyThe main purpose of this research is to answer these questions, what is the frequency of the functions of the prop pattern in the story of the mouse and the cat, and can these functions be reduced or added, and what is the criticism of the prop pattern based on the analysis of this story, and the heterogeneities of this and what are the prop stories?The working method is based on documentary and descriptive library research, and according to the content analysis method, based on the principles of Vladimir Propp's morphology, it has been tried to analyze self-care and determine the frequency and compare them in the story of the cat and mouse. ConclusionAccording to the analysis of the cat and mouse story of Sheikh Bahai based on the Propp theory, the following results were obtained:- Examining the functions of the mouse and cat shows that despite the shifting of functions, thirty-eight functions were found in these stories. Seven new functions can be added to prop functions. which includes the activities of "escape", "spreading rumours", "commitment", "threat", "concealment", "betting" and "rejection".- Regarding the characters in the stories, it should be said that the characters do not always have a fixed role; sometimes the villain becomes the hero of the story, sometimes the helper becomes the villain or the hero, and even sometimes the hero of the story becomes the villain. For example: in some stories, after realizing his mistake, the villain repents and transforms. As a result, he is classified as a hero.- Propp emphatically claims that it is unlikely that "seeking hero" and "victimized hero" can exist together in a story, but it seems that this claim is correct only for stories with one movement and not for stories that have more than one movement. Sometimes it happens that the hero of one movement of the story is the "seeker" and the hero of the other movement of the story is the "victim". Like the story of "The King's Son and the Minister's Daughter" in which, if we consider the princess as the hero, the hero is considered a victim, and the searcher hero, who is the son of the king's brother, searches for her. So, here we add this exception to Propp's theory because we see both the hero-seeker and the victim.- The helper in these stories does not always have a transcendental aspect. There is a point about receiving magical objects; it is that these objects, unlike fairy tales, are often spiritual; such as prayer, inspiration, revelation, revelation, advice and guidance, etc., which may be used by the helper and even the hero.- Magical tools, contrary to Propp's opinion, do not always have a supernatural and magical aspect. In the analysis of the story of the mouse and the cat, magic spells are wise or deceptive words and behaviors, curses and prayers, Asma Azam, repentance, Gabriel, Diwan Hafez, imaginary objects, animals, and murder.In the end, it should be said that the results obtained from Sheikh Bahai's cat and mouse analysis, although not detailed and precise, are very consistent with the results of Propp's analysis and his proposed 31 self-care, for example, self-care. Dichotomous words in this story do not have much frequency and due to the narrator's art in telling the story, no specific rule can be provided for the order of the sequence of actions and their order. But the structural pattern of these stories is almost in agreement with the pattern of prop folk tales. Of course, with some changes, it can be matched with the elements of religious culture that are mentioned in the same conclusion based on the text of the article, and based on the results of this article in the analysis of the role of characters, heroes, helpers, magical tools, receiving magical objects, and even revised the number of thirty-one self-works and functions of the prop pattern.
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