بازنمایی جنسیت در شعر فروغ فرخزاد و احمد شاملو: تلفیق شعرشناسی شناختی و تحلیل گفتمان انتقادی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
مقدمه: شعرشناسی شناختی به مثابه روشی برای خوانش ادبیات که الگوهای شناختی را به شعر تعمیم می دهد، باید بتواند به پرسش های مطرح در نظریه های ادبی، از جمله تاثیر جنسیت، پاسخ گوید. رابطه زبان و جنسیت، متأثر از روابط قدرت و نیازمند تحلیل گفتمان انتقادی است. هدف پژوهش حاضر بررسی بازنمایی جنسیت در شعر فروغ فرخزاد و احمد شاملو است. روش کار: در مطالعه حاضر شعرشناسی شناختی با تحلیل گفتمان انتقادی Fairclough تلفیق و چارچوب نظری حاصل برای بررسی اشعار به کار گرفته شد. دو اثر از فرخزاد و شاملو برای مطالعه انتخاب و تمام خوانی شدند. جنسیت بر اساس موارد زیر در اشعار ردگیری شد: اشاره مستقیم یا ضمنی به مرد و زن، اشاره به زنان یا مردان در نقش های مختلف، اشاره به تجربیات مختص به یک جنسیت، استفاده از حوزه کنش جنسی برای مفهوم سازی و انتساب زنانه و مردانه به اشیا و پدیده های فاقد جنسیت. بر اساس این موارد بریده های متنی تعریف و با استفاده از چارچوب نظری تلفیقی بررسی شدند. یافته ها: بازنمایی زنان و مردان در شعر فرخزاد و شاملو را می توان در سه محور تبیینی زنان و مردان به عنوان والد، زنان و مردان به عنوان سوژه رابطه و زنان و مردان مستقل از یکدیگر دسته بندی کرد. در محور اول هر دو شاعر گفتمان غالب را طرد می کنند، اما در دو محور دیگر شاملو عمدتاً مؤید گفتمان غالب و فرخزاد در مقابل آن است. نتیجه گیری: بازنمایی جنسیت در شعر فرخزاد و شاملو از خلال بررسی فضاهای رقیب آشکار می شود. فضاهای رقیب در شعر فرخزاد بیشتر میان انواع زنان و در تقابل با گفتمان غالب و در شعر شاملو میان جنسیت ها و با به حاشیه راندن جنسیت زنانه شکل می گیرد.Gender representations in the poetry of Frough Farokhzad and Ahmad Shamlou: Integrating cognitive poetics and critical discourse analysis
Introduction
Cognitive poetics used as a literary theory for reading literature and generalizes cognitive principles to poetry, and it should be able to answer the questions raised in literary theories, including the influence of gender on texts (2). Considering language as an embodied and experimental concept can open the way for the gender-based study of literary works with a cognitive poetics approach (3) mbodiment transcends biology, encompassing the intricate interplay between the body and personality. It is reflected across a spectrum of topics, notably gender (5). Later studies, relying on the fact that no clear boundary exists between sex and gender, have more or less distanced themselves from assuming these concepts as independent and dual and have focused on their interactive relationship (9). Power relations in language and gender studies are explored using critical discourse analysis (11). The integration of cognitive poetics with critical discourse analysis has been done in this research in order to optimize it for investigating the representation of gender in poetry. "Another Birthday" by Forough Farrokhzad and "Aida in the Mirror" by Ahmed Shamlou are among the most prominent books published in the 40s S.H. (60s A.D.), in which gender and its representation are of central importance. The present study made an attempt answer the following questions: 1) How are men and women represented in the poetry of Farrokhzad and Shamlou? 2) What is the relationship between the representation of women and men in the poetry of Farrokhzad and Shamlou with gender discourses in the forties?
Methods
The current research is a qualitative and data-based study. The research data was collected by reading two books, "Another Birthday" by Forough Farrokhzad and "Aida in the Mirror by Ahmed Shamlou. The books were published in Tehran in 1342 and 1343 H.S. (1963 and 1964 A.D.), respectively.Another Birth contains thity-five poems, andAida in the mirrorcontains twenty-seven poems (actually 13 poems, one of which contains four poems, and another poem contains 12 poems). Fairclough’s model, including three levels of description, interpretation, and explanation, was used in this study to organize cognitive poetics around gender. In order to find gender-related items in the text, items with enough implications to be gendered were considered. This method prevents gender speculation. For example, considering the female gender for the narrator of a poem whose singer is a woman can only be correct if there are sufficient reasons for this claim in the poem itself. Otherwise, the narrative may be about an abstract object, character, or identity that cannot be definitively identified due to the poem’s complexity. Based on this, the items extracted from the poems are placed in one of the following categories: 1) Direct or implicit references to men and women in the poem; 2) References to women or men in different roles (mother, father, lover, wife, and the like); 3) Referring to experiences specific to one gender (such as giving birth); 4) Using the sexual activity field (such as conceptualizing based on sex); 5) Attributing females and males to genderless objects and phenomena (such as trees).
According to the expansion of each item in the poem, one or more clauses or the entire poem was considered a text fragment. At the level of description in each text fragment, gender in the field of origin and destination of conceptual metaphors, megametaphor (if any), the ratio of women and men with cognitive ideal models, over-specificity and under-specificity of gendered subjects and action chains of gendered participants were investigated. The literary schema was used to interpret the discourse practice at the interpretation level. At the level of explanation, the results of the previous levels were organized in the form of patterns of representation of women and men in relation to gender discourses in the forties.
Results
Gender tracing based on five established criteria led us to seventy-six samples in Another Birthday and forty-three inAida in the Mirror. The findings were in three explanatory axes: Women and men as parents, women and men as subjects of the relationship, and women and men independent of each other. The first axis showed that childbearing in these two works is activated in the pattern of reproduction and drives men and women to the two lower spheres of mating (in Shamlu’s poem) and rape (in Farrokhzad’s poem). The concept of birth is only used to conceptualize natural or abstract phenomena positively. These two approaches create a gap in that part of the dominant discourse that values men's reproductive power and women’s fertility. In addition, Farrokhzad challenges and rejects the valuing of women as procreative mothers. However, this does not mean the complete rejection of the concept of motherhood. The concept of motherhood is included in the nurturing mother model in relationships between men and women. The second axis indicated that at the level of the relationship, Shamlu sees the woman as the subject of a romantic relationship. A woman is conceptualized as a lover or combination with a nurturing mother (a faithful and nursing woman) or in the image of an ethereal woman (pure and incorporeal). Both cases are models of the Armani women cluster. This model disrupts the discourse of commodification of the body with a traditional point of view. The man of Shamlu’s poem feeds on the love power of this ideal woman to become stronger and more victorious. This is the dominant discourse in which the faithful and submissive woman is influential in the man’s growth in the power hierarchy. In Farrokhzad’s poetry, no boundary was found between romantic and physical relationships. What happens in a relationship is becoming one, and men and women reach an equal point in the ups and downs of the relationship, and this path is a natural path. At the same time as activating the egalitarian discourse, Farrokhzad also rejects the commodification of the body. The results of the third axis revealed that inAida in the Mirror, the woman appears once outside a relationship (with a man) or as a parent (for a child). However, the man, in addition to these two positions, is also present actively in an independent. In the dominant discourse, a woman is always defined in relation to a man, and a man is the one who can grow in the power hierarchy. In Farrokhzad’s poetry, men are depicted as belonging to an egalitarian discourse like women. However, women appear with different roles in the poem to be challenged as manifestations of the dominant discourse. Notably, the narrator sees herself as separate or different from these women.
Conclusion
The discourse of hegemonic masculinity and, consequently, modern submissive femininity were the two dominant discourses in the 1340s S.H. in Iran, which also overlapped with the discourse of body commodification. Competing discourses included egalitarian discourses and anti-body commodification discourses. Disturbing the existing discursive order required demarcation with modern government-made femininity and traditional femininity, denying the independence of female identity. Men’s and women’s reproductive power is the only part of the dominant discourse that is rejected with similar intensity by Shamlou and Farrokhzad. The signs of rejecting body commodification in Shamlu’s poetry are rooted in the traditional view that protecting women’s dependence is in the dominant discourse. The model of a nurturing mother, which is part of the dominant discourse, also leads to the image of an ideal woman in Shamlu’s poem in combination with a lover. The man of his poetry has the characteristics of a hegemonic man. In his poetry, competing spaces between genders happen by backgrounding the female gender. The women’s representation in Farrokhzad’s poetry moves on the border that is necessary to disrupt the existing discourse order. Her poetry is less polarized than the male and female genders, and competing spaces are mainly formed between different types of women. This characteristic, along with the use of the female body and experience in conceptualization,shows her confrontation with the dominant discourse on different levels.
Ethical Consideration
Compliance with ethical guidelines
The researcher did not use any clinical examination on humans and animals. All ethical principles have been observed.
Author’s contributions
The first author wrote the draft paper. After reviewing and applying some corrections by other authors. The final version was compiled under the responsibility of the second author.
Funding
This research has been done at the author’s expense.
Acknowledgment
This Article is a part of my PhD dissertation at The Institute for Cognitive Science Studies. The authors appreciate all experts and professors for their advice.
Conflict of Interest
The authors declared no conflict of interest.
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