غیاب امر بدنی در منظومه خسرو و شیرین نظامی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
غیاب؛ به عنوان ویژگی ذاتی زبان، دارای دو سطح است. سطح اول، غیاب در سطح معمولی زبان و سطح دوم، غیاب مضاعف که مربوط به ادبیات است. شاعران با استفاده از فنون و ترفند های بلاغی، برخی مضامین را یا به منظور خلق زیبایی یا به دلیل محدودیت های اخلاقی که برای خود قائل می شوند و یا منع و کنترل های اخلاقی و سیاسی که در جامعه وجود دارد، به غیاب می رانند. نظامی از جمله شاعرانی است که با مهارت فراوان، با توجه به محتوای منظومه های عاشقانه اش، غیاب را از ساده ترین سطح تا ممنوع ترین شکل آن برای بازنمایی امر بدنی در شعر خود به کار گرفته است. جامعه آماری تحقیق حاضر، خسرو و شیرین نظامی است که در آن ابیاتی که امر بدنی در آن ها به غیاب رانده شده است، به شیوه کتابخانه ای گردآوری شده و به روش تحلیلی- توصیفی و استفاده از تکنیک تحلیل محتوا مورد تجزیه و تحلیل قرار گرفته اند، سپس براساس حوزه های معرفتی-رفتاری به کار گرفته شده توسط شاعر، طبقه بندی شده اند. در ادامه مشخص گردیده است که شاعر از پانزده حوزه معرفتی- رفتاری استفاده کرده است. بیشترین فراوانی ابیات دارای غیاب امور مگو و امور تابویی مربوط به کشاورزی با25 درصد و احجار و سنگ های قیمتی با 15 درصد کل ابیات است. در میان حوزه های به کار گرفته شده، حوزه های آیین سوارکاری و حوزه ادویه و اغذیه با 2 درصد مجموع ابیات سطح دوم و سوم دارای کمترین فراوانی ابیات هستند.Hiding body matters in the poem of Khosrow and Shirin Nezami
Absence as an inherent feature of language has two levels. The first level, the absence in the normal level of language and the second level, the double absence which is related to literature. By using rhetorical techniques and tricks, poets use some themes either to create beauty or because of the moral limitations they place on themselves or the moral and political prohibitions and controls that exist in the society. They take absent. Nizami is one of the poets who skillfully, according to the content of his romantic poems, has used absence from the simplest level to the most forbidden form to represent the physical matter in his poetry. The statistical population of the present research is Khosrow and Shirin Nizami, in which the verses which the physical aspect is absent, They have been collected in a library manner and have been analyzed by analytical-descriptive method and using the content analysis technique, then they have been classified based on the epistemic-behavioral domains used by the poet. In the following, it is clear that the poet has used fifteen cognitive-behavioral domains. The highest frequency of verses has the absence of unquoted matters and taboo matters related to agriculture with 25% and stones and precious stones with 15% of all verses. Among the fields used, the fields of horse riding and spices and food have the lowest frequency of verses with 2% of the total number of second and third level verses.
Extended
1-Introduction
The literature; Indirect way of expressing the thought and escape from the normal logic of speech. Therefore, in reporting moments and thoughts, the artistic men use various forms of imagination and way of conveying meanings in an indirect way (Shafi'i Kodkani, 1987 :139). "The semantic change of words has been and is one of the most important topics of attention of belletrists and linguists. In linguistics, Saussure's important point of view based on the fact that a system language is one of signs has been accepted. Langackre; He considers language as a system of linguistic signs, each of which connects a semantic symbol to a phonetic symbol. In this attitude, semantic symbols are not fixed and predetermined, but they are considered mental processes. In referring to them, Langacker uses conceptualization instead of concept. The term concept conveys a fixed meaning in a way, but the term conceptualization emphasizes the dynamic nature of meaning in this attitude" (Rasekh Mahand, 2009: 10). The speech of a speaker is not like the speech of ordinary people, it is an imaginery speech that is different from ordinary words, either in meaning, in the way of looking, in feeling, or in understanding issues. These differences are not only in the type of look, but also in the words that the author uses and the imagination that he makes with these words (Zif, 1997: 4).
1-1 Statement of the problem and research questions
Absence in Dehkhoda's dictionary means something instead of something else, covering something by something else and disappearing. (Dehkhoda, 1998: under the title of absence). Here, it is meant by the absence of indirect expression of the contents and concepts that the poet is excused from naming explicitly due to moral limitations. Absence of the physical means ambiguity in the description, expression of the unknown, complex and description through the relationship between the lover and the beloved, from the simplest to the most taboo. The main questions raised in this research are as follows: 1- How are the levels of representation of physical absence in the poem of Khosrow and Shirin? 2- How are the representations based on the absence of the physical matter formed in terms of aesthetics? 3- What are the main supports of based on absence representation?
2-Research Methodology
In the present study, all the verses of Khosrow and Shirin Nizami's poetry, which had the absence of physical matter, have been collected in a library style. The research method is descriptive. The collected data and verses were qualitatively examined and analyzed using the content analysis technique and classified into three levels.
3- Discussion and review
In any type of signification, the signifier and the signified are on both sides of the sign. A signifier is the sound, visual or movement aspect of any sign that causes a mental image of that sign to form for the audience or receiver. The act of signification is organized based on substitution, in such a way that the signifier becomes the signified or exemplified by the substitute. For this reason, language is always associated with absence, because the signifier is used or replaced in the absence of the signified or exemplar (Kaller, 2013: 20). The feature of substitution of language can present absent things such as past and future (Yol, 2010 :15).
1-2. Absence of the first level
Absences of this level include metaphors and allusions that can be seen in the words of most Persian language poets.
2-2. Absences of the second level, absences of unquoted
The absence of the second level, which we have interpreted as "unquoted", includes verses that are not strictly forbidden, are not recognized as mere taboo matters, and the necessity of hiding and expressing them indirectly is much less than the third level, and in a sense, it can be said that there is a balance between their action and aesthetic necessity. In the absences of the second level, the poet in order to show the desired absence in the verses, ironies and affairs of unquoted, from various behavioral-cognitive areas and from the customs and accessories and necessities of various aspects of human life and nature such as marriage customs and rituals. And dowry has benefited from agriculture and horticulture, royal ritual and treasury, horse riding, trade, drinking wine, etc. The verses of the second level (unquoted) extracted from this poem were 15 verses, and among the specified fields, the fields of mixing and natures, stones and precious stones had the highest frequency with 20% of the verses, and among the other used fields, there is no salient differences.
3-2. Absence of the third level, unquoted of unquoted
We have interpreted the absence of the third level as " unquoted of unquoted ". In the verses of this level, the necessity of hiding means acting overcomes on necessity of aesthetic means state, and it means a state of confusion and includes a set of concepts, themes or allusions that cannot be expressed directly in society and literature. The reason for not being able to express these concepts is the limitations that exist for the poet. Therefore, the poet has to use special literary tricks to express what he has in his mind and is not free to express, otherwise tenderness will give way to humor. In this level as well as in the second level of the poet from various epistemic-behavioral fields such as treasure, stones and precious stones, agriculture and gardening, royal ritual and treasury, war and battle, marriage and dowry, nature and natural manifestations and etc.
4- Conclusion
Sometimes the absence used to represent the poet's intended concept is completely natural, That is, there is no special prohibition for it, which mostly includes metaphors and elementary allusions. but sometimes the unquoted concepts and prohibitions related to the body, which is not possible to express, either at the level of society or at the level of literature, has been reperesented by using absence and the tools of creation of absence, and the taboo body matter he wants in the envelope of ambiguity. It is necessary to mention that language has an absence by nature, that is, when we replace words with objects, language goes into absence, and this absence is doubled in literature and by using rhetorical tricks. Nezami has mostly used of rhetorical techniques to show the absence of the physical is related to metaphor and irony. In this research, first, verses from the mentioned poem that have the absence of the physical, have been collected. Then, they are classified under the three general headings of the first level, the second level or unquoted affairs, and the third level of unquoted. In the absence of the first level, there are many examples in this level for organs such as eyes, faces, hair, lips and teeth etc. The second level or unquoted affairs has 9 distinct epistemological-behavioral areas, the highest frequency of verses with absence in this level is related to treasure, stones and precious stones and the field of mixing and natures with 20% of verses and the lowest is related to the areas of Food and spices, animals and several other fields with 7 percent. The third level, which we have interpreted as unquoted, this level also has 13 distinct areas, in this level, agricultural and horticultural areas with 29 percent and stones and precious stones with 15 percent of the verses of this level have the highest number of verses. And the field of riding rituals and mixing and natures have the lowest frequency of verses with 2 percent of verses. Finally, it is important to mention that the number of taboo verses extracted from the poem of Khosrow and Shirin Nizami in both the second level (unquoted) and the third level (unquoted of unquoted) was 68 verses. According to the division of verses into different epistemic-behavioral areas and based on statistical analysis, in total both levels, the field of agriculture and horticulture with 25% of the total number of taboo verses and the area of treasure, stones and precious stones with 16% of the total number of verses have the highest frequency which shows the poet's special attention to these two areas to create taboo concepts, on the other hand, the areas of food and spices and animals have the least frequency with 2% of the total number of verses and have been less attractive to the poet for literary creations.
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