تحلیل روایت شناسانه به بند کشیدن ضحاک در شاهنامه بایسنقری بر مبنای نظریه ژرار ژنت (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
روایت شناسی یکی از روش های تحلیل روایت است. نظریه پردازانی در زمینه روایت شناسی به تحقیق پرداخته اند از جمله آنها می توان به ژرار ژنت اشاره نمود. از نظر ژنت برای تحلیل روایت پنج عامل وجود دارد: تداوم، بسامد، نظم که به زمان مربوط می شوند و دو عامل دیگر وجه و لحن هستند. هدف از این پژوهش، انطباق روایت تصویری به بند کشیدن ضحاک در شاهنامه بایسنقری بر اساس عوامل تحلیل کننده روایت در نظریه ژنت است. روش تحقیق توصیفی – تحلیلی بوده و گردآوری مطالب کتابخانه ای است. براین اساس این سؤال مطرح است که چگونه نقاش داستان ضحاک را بر اساس تصویر، روایتگری نموده است؟ عناصر روایت در نظریه ژنت چگونه با روایت تصویری نگاره منطبق می شود؟ از نتایج تحقیق چنین برمی آید که باتوجه به تفاوت های ساختاری میان متن کلامی و متن تصویری برای نگارگر این امکان وجود نداشت که همچون شاعر از پیوستگی تصویر برای نشان دادن رخدادها استفاده کند؛ بنابراین نگارگر تلاش کرده بود تا توالی زمان رخدادها را شکسته و با پیوند دو یا چند رخداد یک تصویر را به نمایش بگذارد. همچنین با مداخله در مواردی چون زمان و وجه، نقش مخاطب را پررنگ تر کرد. می توان گفت نقش نگارگر در لحن به مثابه بیان تصویری پررنگ تر بوده و به عنوان دانای کل عمل کرده است.A Narratological Analysis of the Imprisonment of Zahhak in Baysunghur Shahnameh Based on the Theory of Gérard Genet
Narratology is one of the methods of understanding the principles governing narratives. Many theorists have researched in the field of narratology. Gérard Genet is one of the most prominent structuralists in this field. Genet's theory focuses on how to look at the text and allows the reader to understand how texts are internalized in other texts. Accordingly, there are five factors to analyze the body of a narrative: continuity, frequency, order, face and tone – which are related to time. Interestingly one of the characteristics of the art of painting in Iran is its connection with poetry. One of the goals of painters has been to use visual themes and spaces in poems. The stories of Shahnameh have been illustrated many times by painters. These stories, in addition to entertaining function, have an educational and moral aspect. The story of chaining Zahhak is one of the stories of the Shahnameh, which has an educational aspect due to the dominance of light over darkness and good over evil. It has inspired the painters who emphasized the permanence of this part of the story, that is, to drawing oppression and darkness and portraying and narrating it in different ways in different periods and schools according to the characteristics unique to their time. The purpose of the present research is to analylze the visual narrative of the arrest of Zahhak in Baysunghur Shahnameh according to the factors describred in Genet's theory of narratology. The research method was descriptive-analytical, while describing the visual space, its interrelation with the verbal text has been explored. Visual and written data collection was desk-based. Consequently, questions have been raised: how can the narrative analysis of the mentioned image be based on Genet's theory? Also, how did the painter show the time in the picture? Due to the structural differences between the verbal text and the visual text, it is not possible for the painter to use the continuity of the image to show the events like the poet. By using the story and its features, the poet can follow the connection of events step by step and in this way use all the verbal capacities such as the orderly sequence of events, the repetition of story spaces and the continuity of an event. But this capacity does not exist for the painter. Therefore, he tries to break the time sequence of events and display image by connecting two or more events and in this way by intervening in things such as face, it draws new angles for the audience and makes the role of the audience more colorful from this point of view. It can be said that the painter's role is more colorful in tone as a visual expression and acts as an omniscient.
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