نقد و تحلیل ساختاری عنصر تکرار در واژانه مبتنی بر واژانه های نیلوفر مسیح (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
واژانه یکی از ژانرهای مکتب اصالت کلمه است. این مکتب در اوایل دهه هفتاد و توسط آرش آذرپیک یکی از شاگردان بانو سیمین بهبهانی با انتشار کتاب جنس سوم و ارائه مانیفست خود، اعلام حضور و تا کنون بیش از سی ژانر ادبی را به ادبیات نوین و پسانیمایی ایران و ادبیات پسامدرن جهان معرفی نموده است. واژانه، ژانری فراساختارگرا است که واژگان در آن کلمه- شهروندانی در جامعه مدنی متن بوده و هر یک دارای مقام جامع وجودی و موجودی هستند و در آن شعریّت متن و روایت در هم تنیده شده اند. به گونه ای که آثار با فراروی از قاعده همنشینی-جانشینی، و تمرکز توجه به مینی مالیسم در ادبیات و ساختار حسی-هندسی خلق شده اند که به هر زبانی که ترجمه شوند، ساختار حسی-هندسی خود را حفظ خواهد کرد و ادبیت متن حفظ خواهد شد. در این مقاله که با استفاده از منابع کتاب خانه ای و به شیوه توصیفی-تحلیلی تدوین شده، عنصر تکرار که یکی از عناصر ساختاری موجود در شعر است، در ژانر واژانه و به طور مشخص در آثار شاعر کُرد زبان ایرانی «نیلوفر مسیح» مورد بررسی و تحلیل قرار گرفته و مشخص می شود که واژانه ضمن آن که بین صورت و محتوا وحدت ایجاد کرده، یک ژانر فراساختارگرا است که در آن عنصر تکرار توانسته علاوه بر ایجاد فرم، معنای ثانویه و هرچه دیداری تر نمودن اثر سبب تأکید و تکوین آثار نیز شود.Criticism and Structural Analysis of the Repetition in the “Vazhaneh” Based on Niloofar Masih's Vazhaneh
Introduction Vazhaneh is one of the genres of the School of Word Originality. This school announced its presence in the early seventies by Arash Azarpeyk, one of Simin Behbahani's students, with the publication of the Third Genus book and his manifesto. So far, this school has introduced more than thirty literary genres to the modern and post-nimaie literature of Iran and the postmodern literature of the world. Vazhaneh is a Fara-structuralist genre in which vocabularies are the citizens of the civil society of the text. Each has a comprehensive position of existence and being, in which the poetry of the text and narration are intertwined. These works have been created by avoiding the rule of coexistence-substitution, paying attention to minimalism in literature, and having a sensory-geometric structure in such a way that the sensory-geometric structure and the literariness of the text will be preserved in whatever language they are translated. In this article, which was compiled using library sources and in a descriptive-analytical way, the element of repetition, which is one of the structural elements in poetry, is examined and analyzed in the Vazhaneh genre and specifically in the works of the Iranian Kurdish poet "Niloofar Masih." In this article, it is clear that Vazhaneh, while creating unity between form and content, is also a Fara-structuralist genre. In this article, it is clear that vocabulary creates unity between form and content and is also a Fara-structuralist genre. In this genre, the element of repetition has created a form. In addition to creating a secondary meaning and making the work more visual, it can also emphasize and develop the work. Methodology The research method in this article is based on different bases: A) Based on the goal: descriptive-analytical (expressing the essential rules and describing and analyzing the finding). b) Based on the background of the research: developmental-promotional (this research is in continuation of the research related to the element of repetition in literary works). c) Based on the data collection method: documentary or library (it refers to written sources, including books, articles, and theses.) Discussion From the time of Ferdinand de Saussure until now, dealing with structures has been the most critical pleasure and preoccupation of researchers in various sciences, including literature. The hypothesis of the systematic nature of language led the critics to consider literature as systematic and to find the same distinction between literary and non-literary language that Saussure found between language and speech and the method of syntagmatic and paradigmatic. The structural linguistics approach focuses on examples and different aspects of language, that is, speeches. In this theory, the critic examines and analyzes various examples and types of literature, that is, different genres and how to follow or deviate from the norms. Vazhaneh is the literary genre of the Fara-structuralist School of Orianism and the most accessible literary genre in the world. This genre was invented based on the human-word theory, which is the result of a humanistic and sociological perspective that is one of the prominent theories of this school. This genre was known as Oriyank at the beginning of its creation. Vazhaneh turns to "poem-word" in poetry and its sub-genres, to "story-word" in fiction and its sub-genres, and to "text-word" in Fara-text style and its sub-genres. (cf. the introduction of Azarpeyk, Hashemi, 1400, 28) The Vazhaneh genre, by going beyond the speech chain or the rule of substitution, practically goes beyond language's linear and one-dimensional features. In this genre, a word has a linear and horizontal relationship and a vertical and geometric relationship with other words. These connections (horizontal or chain, vertical and geometric) create a secondary meaning and are not subject to a time extension. That is, due to the visual-written nature of Vazhaneh's text, we must simultaneously pay attention to the geometry and unique arrangement of those words to understand the meaning. While the chain always consists of two or more consecutive units, and an element gains its value when it is placed on a chain and is in opposition to the element before and after it. In fact, to a large extent, it derives its meaningfulness from this pattern. (Azarpeyk, 2017: 12) One of the features of Vazhaneh is its structure and form. Every feeling or message can have its unique form and structure. In the meantime, the text and arrangement of words, which is usually the result of literary intuition, the outpouring of emotion and feeling, or even the result of understanding an intellectual and philosophical matter, is closely related to the codes of the text. Discovering the basis of the relationship between two words brings the audience into the text. Sometimes, two words with special arrangements contain a special meaning. For example, there is a simile, metaphor, contrast, permission, irony between two words, and it is the responsibility of the audience of the text to discover the meaning and primary and secondary connection of these words. So, in Vazhaneh, the centrality of communication is the responsibility of all text elements. (Ahmadi, 2017: 24) Conclusion According to the examples of this poetry, Repetition in vocabulary has different types: Repetition for emphasis/Repetition that creates secondary meaning/Repetition to create form/ /repetitions that occur in nature and the result is onomatopoeia/Repetition to create a more substantial feeling/repetition to show practical continuity. Therefore, it can be said that Repetition is one of the elements that Niloofar Masih has used in her Vazhaneh and has been able to display meanings, forms, emotions, original sensory-geometric music, and new content, and how to look at nature with particular attitudes. Therefore, Repetition is one of the indicators of maintaining and integrating the structure of the text.
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