خوانش بیش متنی آثار مهرانا زارعی با پیش متن هایی از سینمای غرب
آرشیو
چکیده
یکی از مهمترین ویژگیهای هنر معاصر، بازگشت به گذشته و بازیابی متنهای ادبی و هنری آن است، از سویی هنرمندان معاصر بسیاری آثار خود را با اقتباس از آثار هنری و ادبی گذشته تولید کرده اند که مهرانا زارعی نیز از این امر مستثنی نیست. از سوی دیگر نگارگری ایرانی که یکی از ناب ترین جلوه های فرهنگ ایرانی- اسلامی است، دارای ویژگی های مضمونی و ساختاری متعددی است که مورد مداقه بسیاری از پژوهشگران قرار گرفته و استفاده از نگارگری در هنر معاصر و معانی ضمنی بازتاب آن از دغدغه های اصلی پژوهش حاضر است . زارعی، هنرمند معاصری است که پیش متن چهار اثر شاخص خود را که در طی سال های 1396ه.ش. تا 1398ه.ش. خلق کرده، از تصاویر ستارگان زن سینمای غرب در دهه 1960م.، ادبیات ایرانی و نگاره های اسلامی برگزیده است. گزینش از میان آثار این هنرمند بر اساس ویژگی های ساختاری هریک از آثار و نیز یک دستیِ بیش متن های ارائه شده بوده است، تا نگارنده در خوانش هریک از آثار به جمع بندی همگونی نائل شود. هدف مطالعه حاضر چگونگی ارتباط میان آثار زارعی و پیش متن های برگرفته از سینمای غرب و هنر و فرهنگ ایرانی- اسلامی و کشف ارتباطات پنهان میان آنها است و مترصد است به پاسخ پرسش هایی نظیر: الف-چگونگی تبیین رابطه آثار مورد مطالعه با پیش متن های خود،ب-تغییرات صورت گرفته در نگاره ها با تاکید بر سینمای غرب دست یازد. پژوهش حاضر به شیوه توصیفی-تحلیلی و تطبیقی به بررسی آثار پیش گفته با روش ترامتنیت و رویکرد بیش متنی و با مراجعه به منابع کتابخانه ای و جستجوی اینترنتی تصاویر و موارد مورد نظر را پالایش و گزینش نموده است. در مجموع چنین می توان گفت که ارتباط میان متن های پیشین و پسین از نوع درزمانی و بینافرهنگی بوده و بیش متن ها با تغییر و تراگونگی در پیش متن ها ایجاد شده اند. فرآیند اقتباس آثار زارعی از سینمای غرب نیز شامل تغییرات فرهنگی، روایی، زمانی و محیطی بوده است.Hypertextual reading of Mehrana Zarei's works with pretexts from western cinema
One of the most important features of contemporary art is returning to the past and recovering its literary and artistic texts, on the other hand, many contemporary artists have produced their works by adapting past artistic and literary works, and Mehrana Zarei is no exception. On the other hand, Iranian painting, which is one of the purest manifestations of Iranian-Islamic culture, has many thematic and structural features that have been studied by many researchers. The use of painting in contemporary art and its implicit meanings are one of the main concerns of the present research, and based on this, the works of contemporary artist Mehrana Zarei have been studied. Zarei is a contemporary artist who wrote the pretext of his four prominent works that were created during 2017until 2019 created, selected from the images of female stars of western cinema in the 1960s, Iranian literature and Islamic paintings. The selection among the works of this artist has been based on the structural characteristics of each of the works and also the uniformity of the presented polytexts, so that the author can achieve a homogenous summary in the reading of each of the works. The purpose of this research is to study the relationship between Zarei's works and pretexts taken from Western cinema and Iranian-Islamic art and culture and to discover the hidden connections between them, and it aims to answer questions such as: A- How to explain the relationship between the studied works and their pretexts and b- the changes made in the images with emphasis on the western cinema. The present research has refined and selected the desired images and items in a descriptive-analytical and comparative way by examining the above-mentioned works with the method of transtextuality and multitextual approach and by referring to library sources and internet search. In general, it can be acknowledged that the connection between the earlier and later texts is temporal and intercultural, and multi-texts are created by changing the pre-texts. The process of adapting Zarei's works from western cinema has also included cultural, narrative, temporal and environmental changes.Based on hypertextuality, which focuses on the relationship and influence of past texts in the creation of new texts, and its purpose is to study the relationship between texts with each other over time and how artworks are derived from cultural and artistic pretexts. Iranian artist, Mehrana Zarei, has created four works of adaptation, which are the focus of this research, based on pretexts of the images of female stars of Western cinema in the 1950s-1960s. These pre-texts, which are part of the aesthetic system and structural features of Hollywood cinema and the common discourses of that period, have roots in the culture of modernity and its consequences. Therefore, the works from Hollywood cinema have always been the focus of most countries, and many texts have been dedicated to its description and analysis, and governments have continuously sought to show them in their countries. But there have never been paintings based on western cinema, hand hanging for imitation or adaptation of Iranian artists. For this reason, this is the first time that an Iranian artist has made such an obvious adaptation of the glamorous cinema of the golden years of Hollywood and depicted four of her works based on them. The importance is due to the fact that through hypertextual relationships and overlaps, there is a kind of cultural and artistic transfer and influence, which is from the West to Iran, but with a completely different approach in creating style diversity. Also, the display of these adapted works in several domestic exhibitions has added to its brilliance.The study of hypertextual relationships presented in this article shows that Zarei, with a little difference, adopted the same method in borrowing and adapting pretexts, and pretexts in the process of creating hypertexts due to the temporal and intercultural relationship of the texts, as well as the influence of metatextual factors such as differences They have undergone changes and transformations in their cultural, artistic and religious background and context. Also, the effects of her academic education in the appearance of manuscripts related to medical sciences, as well as the extensive use of Persian literature in the studied paintings, are not far off. These changes and transformations, which indicate the type of tragonism of the pretexts, were mostly based on their structural characteristics, which were accompanied by various changes including cultural, narrative, temporal, environmental and internal changes including deletion, increase and substitution, which led to the preservation of the structure and creating There has been a change in the style and content of hypertexts compared to pretexts. As the reflection of the formal form and structure of pretexts is clearly visible in the structure of hypertexts. In fact, it seems that Zarei has created works that have only preserved the formal structure of the pre-texts and by changing the style and content of the pre-texts, he has created independent hypertexts related to her contemporary Iranian society. But in fact, the structural feature of western cinema is formed with its insight and thematic features and is rooted in the common discourses of that time. Therefore, Zarei's works, by borrowing their identity from Western cinema, while being influenced by extratextual factors and creating various changes and contradictions, have started to transfer the visual tradition of Western cinema to Iran and have influenced it in a way and given it an Iranian flavor.
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