مبادئ الاستلزام الحواري في أشعار وليد سيف وفقاً لنظرية التداولية (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
إن التداولیه فرع من السیمیائیه، وهی تهت م بالتواصل کوظیفه لغویه. وبما أ ن السیاق له دور مهم فی التداولیه، فهی تتطرق إلی أنواع السیاق، ومنه: سیاق المخاطبین، وهذا یشمل المتکلم والمخاطب. فالمتکلم یختار المفردات ویر تبها حسب قصد یتابعه فی الکلام، وإفاده المخاطب من الأهداف المه مه التی لا یمکن إهمالها. ظهر مصطلح الاستلزام فی حقل الدرس الفلسفی المرتبط بدراسه الجوانب الدلالیه والتداولیه المتعلقه باللغات الطبیعیه؛ فمعنی الاستلزام فی اللغه یدور حول مصاحبه الشیء وعدم مفارقته؛ وأما فی اصطلاح الدارسین، فهو علاقه منطقیه تربط قضیه أو جمله أو عده جمل بمسار استدلالی حجاجی. یرجع الفضل فی طرح ظاهره الاستلزام إلی غرایس الذی اصطلح علیها بالاستلزام الحواری أو التخاطبی، وجعل ک ل همه إیضاح الاختلاف بین ما یقال وما یقصد. هذه الدراسه تتمحور حول مبادئ الاستلزام الحواری فی أشعار ولید سیف الشاعر الفلسطینی وفقاً لنظریه التداولیه اعتماداً علی المنهج الوصفی التحلیلی؛ وعزمنا أن یکون البحث فی أربعه محاور، هی: قاعده الکم، وقاعده الکیف، وقاعده المناسبه، وقاعده الطریقه. والدلیل الأساسی لاختیار هذا الشاعر أن قصائده قد اشتملت علی دلالات مستلزمه غیر مباشره، تُستنبط من خلال السیاق التداولی لهما. وتوصل البحث إلی أ ن الشاعر لم یستخدم الاستلزام النموذجی أو المعمم الذی یتطابق فیه معنی الخطاب مع قصد المرسل؛ إذ لم تسعفه المعانی الحرفیه فی التعبیر عن مکنون فؤاده؛ فخرج إلی المعانی الضمنیه المستلزمه، والتی خرق فیها قواعد مبدأ التعاون الأربع )الکم، والکیف، والمناسبه، والطریقه(.Principles of Dialogic Imperatives in Walid Seif's Poetry: A Pragmatic Perspective
Pragmatics is a newly emerging science, concerned with the usable and communicative aspect of language, which appeared as a result of the shortcomings of previous studies in their procedures and results. Pragmatics has emerged to combine structures, semantics, and context, and the latter is a new field born from the heart of linguistics. It is the most important linguistic field developed and flourished in Western linguistic culture with the aim of studying the meaning and adjusting it in a context of use. It focuses on linguistic functions and their characteristics and is more concerned with communication procedures in general. It tries to answer the following questions: What do we do when we speak? What do we say exactly? What should we know in order to remove the ambiguity from the sentences? Discussions of pragmatics have multiplied and diversified, but they are studied for one purpose, which is to reveal the meanings intended by the speaker, and the most important of these topics is the dialogic implication that the focus of this research is on because it is an important element that the speaker resorts to in order to express his intentions using indirect language. The listener infers from the meaning intended by adopting his mental abilities, as well as the communicative context in which language is used. This theory was based on the principle of cooperation, which was endorsed by Grace. He saw the need for the interlocutors to follow it and follow its guidance in the dialogue. This principle has branched out from four rules that control the course of the dialogue, namely: the quantity rule, the quality rule, the occasion rule, and the method rule, so any violation of one of these rules leads to a disruption of the dialogue process. The interlocutors’ speech shifts from the explicit meaning to the implicit meaning according to the denominator, or the context of the case. As a result of this divergence, the dialogical imperative appears, which changes with the change of the context in which it is mentioned, provided that the principle of cooperation is respected. The Quantum Rule: Make your contribution to the dialogue to the extent required, without adding to or detracting from it. “This rule is considered a semantic limit intended to prevent the interlocutors from increasing or decreasing the amount of interest required” (Taha, 2000, p. 103). A poetic model for violating the quantum rule" in Walid Seif's poems: Salma is a body that opens from the mud and oozes secrets / Salma is not a moon that rises from the sphere of poetry / Salma is a brutal moon that rises from Falak buttons / Salma is a flower of fire blooming in the fever of prices / Salma be a bomb that opens the prison doors / And a hurricane is released from my chest (Saif, 1971, p. 20). The poet has violated the quantum rule in this poetic text. As if the poet was asked who is Salma, it is assumed that the poet should respond to the required amount without adding to or detracting from it. But the poet's answer was more than required. His answer came by repeating the name Salma, assuring the questioner that he had nothing but a kind of obsession. The poet violated the principle of quantity by verbosity through the appendix, fulfilling a psychological need for the poet who liked to expand and lengthen the words. The Rule of Quality: Do not say what you think is incorrect, and do not say what you do not have evidence for. Its intent is to “prevent false allegations or prove falsehood. For this reason, the speaker is asked not to use any of the phrases except those that have been based on evidence proving their sincerity” (Salah, 2005, p. 88). A poetic model for "violating the rule of quality" in Walid Seif's poems: And the detective in the room takes a puff of his cigarette. He looks through the window at a woman bursting like a ripe plum (Saif, 1979, p. 160) If it is assumed that one of the poet's friends asked him this question: What was the appearance of the informant in the interrogation room? Then, the poet replied to him, claiming that he had a cigarette in his mouth, taking a breath from it, and looking at the woman who exploded like a ripe plum. The place of implication here is in the poet’s answer when he said: (Like a ripe plum). Breath trance the breach of the quality rule was achieved through the poet's use of simile. The Appropriate Rule: This rule states the need for: “Your essay fits your position, and aims to fit what is required at every stage” (Baateesh, 2014, p. 108). Make your speech relevant to the topic. This rule relates to the need to adhere to the topic of the dialogue. A poetic model for "violating the appropriate rule" in Walid Seif's poems: The sun is still shining there, and the informant / breathes the smell of roast meat / speaks! A drop of blood falls in the memory of the buried woman / Now confess/ What?!/ That the flowers of Palestine/ Bloom in my body, that the knife/ Don't bite Turn away from my skin color of the earth / and the gunpowder of rejection (Saif, 1979, pp. 61-62) The detective's personality insists on extracting something from Zaid Al-Yassin's memory, and the act of the matter in the dialogue included rebuke and insistence, revealing a psychological component that the informant practices in the interrogation room. The recipient imagines that he is in front of a scene of violent representation. An executioner stands with his whip over the victim’s head: Speak, … Confess now! The victim replied: With what? Because she has nothing to admit. And if we look at the answer of the victim (Zaid Yassin), we find that what he said is not an answer to the question of the informant. Because it violates the principle of appropriateness by subject. The rule of method: This rule “is not related to what was said, but to what is meant to be said, and the manner in which it should be said. Its aim is to avoid turmoil, boredom, and brevity. It is linked to the basic rule that we express by “commitment to clarity” (Fadl, 1992, p. 199). A poetic model for "violating the rule of the method" in Walid Seif's poems: And I saw an old woman staggering in the streets / looking for her share of this world in piles of rubbish / carrying in her basket a moon. And the remains of an apple and a newspaper/ talking about floating the currency on the waste mountain of butter / and the price list (Saif, 1979 AD, pp. 66-67). The poet here depicts the movement of a staggering old woman, looking for her share in the piles of waste, carrying in her basket a moon from a tin, in this passage the recipient is surprised when he finds this old woman talking about the floating of the currency, the price list, and how the moon can carry her in a basket from a tin. Here, we see an unexpected response, how an old woman is looking for her share in piles of waste, how this old woman is carrying the moon in her basket, and how this old woman is talking about floating the currency and the price list. All of these responses were not explicit and the phrases are full of ambiguity and lack of care for brevity and clarity in speech. In this dialogue, the poet penetrated the principle of the method, which stipulates the necessity of adhering to clarity in speech and avoiding ambiguity, ambiguity, and vagueness. The speakers, especially the creative ones, frequently resort to expressing their goals, purposes, and positions, through the metaphorical use of utterances, and they rely a lot on the dialogue imperative. The poet Walid Seif resorted to the dialogic imperative because the thoughts that he wanted to express do not fit the literal meaning of the words, and for this, he resorted to implicit meanings and distant interpretation.