مطالعه تطبیقی متن و تصویر در نسخه چاپ سنگی امیر ارسلان نامدار از منظر هویت فرهنگی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
داستان امیرارسلان نامدار از داستان های عامیانه ادبیات ایران در دوره قاجار است که این مقاله تلاش می کند با تطبیق متن و تصویر، ساختارهای پنهان و آشکار فرهنگی و هویتی آن را واکاوی و ضمن بازیابی ریشه های فرهنگی مستتر در این داستان، نمودهای آن را در تصاویر نسخه چاپ سنگی سال 1317 ه . ق معرفی و مطالعه کند. داستان امیرارسلان از مشهورترین قصه های بلند رمانس وار است که در دوره گذار از قصه به رمان جای می گیرد. امیرارسلان در میانه دوره قاجار نوشته شده و برخی ویژگی-های داستان های سنتی و کهن ایران و برخی ویژگی های رمان و داستان جدید در آن قابل مشاهده است. روش تحقیق در این مقاله، توصیفی-تحلیلی با رویکرد تاریخی و روش جمع آوری اطلاعات کتابخانه ای بوده است. نتایج پژوهش نشان می دهد که به علت وجود هویت های چندگانه در فرهنگ و جامعه دوره قاجار، لایه های هویتی متعدد در ادبیات و هنر این دوره قابل بازیابی است. از این رو، در داستان امیرارسلان نامدار، سه لایه وجود دارد: لایه هویتی فرنگی مآبی در اولین سطح قرار دارد و پس از آن لایه هویتی ایرانی-اسلامی در دومین سطح و لایه هویتی باستان گرایی در سطح زیرین یا ضعیف تر هویت های ادبی و بصری قرار گرفته است.Cultural Identity and the Comparative Study of Text and Image in the Lithographed Manuscript of Amir Arsalan Namdar
The story of Amir Arslan Namdar is one of the famous folk stories of Persian literature from the Qajar era and one of the most famous romance stories that marks the transition from the short story to the novel. Amir Arslan was written in the middle of the Qajar era and includes some features of traditional and ancient Persian stories, as well as some features of novels. This feature is also evident in the illustrations of many lithographed manuscripts of the book. This article aims to explore the cultural identity and features of this story using a cultural studies approach. It analyzes the hidden and obvious cultural and identity structures of the story by comparing the text and image, while also exploring the hidden cultural roots in this story. The article introduces and studies these cultural aspects, specifically focusing on the illustrations of the lithographed manuscript from 1317 AH. Introduction The indicators of cultural studies include the importance of culture in the study of social structure, anthropological and sociological studies, studies focused on popular culture, the discussion of subcultures, their analysis, and their relationship with the dominant culture, as well as the cultivation of the relationship between cultural forms and the sociological approach to culture. One of the significant sources for the social-cultural history of Iran is the folk stories that were created and discussed according to the social, cultural, political, and economic conditions of their time, revealing the rituals and customs of each period. The political, economic, social, and cultural situation of society has a direct effect on folk literature. The story of Amir Arslan is one of the popular and valuable stories of the Qajar era, providing a complete reflection of Persian literature in the late 13th century Hijri. This article compares the text and image, examining the content of the story from the perspective of cultural identity and the visual representations within it. It introduces the visual and content aspects of the lithographed manuscript of Amir Arslan Namdar (dated 1317 AH) available in the collection of manuscripts at Iran's National Library. The article aims to uncover the identity and cultural structures of the text and image through a cultural studies approach. Literature Review Among the researches carried out on the story of Amir Arslan and the study in the field of literature of the Qajar period, there is a book From Story to Novel written by Hadi Yavari, which was published in 1390 by Sokhan publishing, and the author in this book deals with various aspects of the story. The most detailed research on Amir Arslan was done by Mohammad Jafar Mahjoub, which was published in three issues and in the form of a series of articles in Sokhan journal in 1339 and 1340. Also, William L. Hanaway (1991), Gholamhossein Yousefi (1357) and Christophe Balay (1377) have published articles on the subject of this story, which mostly investigated and studied its literary aspects. Methodology The research method in this article is descriptive-analytical with a historical approach, and the information was collected from library data. Conclusion The results indicate that throughout their history, Iranians rediscovered their real identity and identity elements in the face of different challenges, including Iskander's attack and Hellenistic culture, the Arab attack and the arrival of Islam, the invasion of Turk and Mongol peoples, and exposure to the West. The Firang style can be considered as one layer of identity in Qajar culture, gradually formed and stabilized in response to Western influence. Archaism can be seen as a result of Iran's encounter with Western civilization, serving as a means to preserve a culture that faced European invasion. Naser al-Din Shah, along with other Qajar kings, considered himself fascinated and related to the Sassanid ancestors, emphasizing the golden and proud era of ancient Iran in the history of the country. This principle of antiquity spread throughout Qajar culture and particularly influenced Qajar-era art. In an attempt to overcome decline and backwardness, intellectuals turned to the golden period of Iran's history, adding another layer of identity to Qajar culture, referring to ancient Iran. Furthermore, the legacy of Islam and Shia thoughts, inherited from previous eras, particularly the Safavid era, served as a means of legitimacy among the people for the Qajars. References to Islam, the Muslim religion, and Islamic characters can be found in folk stories. The story presents Islam with respect, aiming to be pleasant and acceptable to the general population and gain their favor. The research results also indicate that due to the existence of multiple identities in Qajar culture and society, multiple identity layers can be identified in the literature and art of this era. In the story of Amir Arslan Namdar, three layers of identity can be observed: the identity layer of Firang style at the first level, followed by the traditional Iranian-Islamic identity layer at the second level, and the identity layer of archaism at the lower or weaker level of literary and visual identities. According to the cultural studies approach, it was found that the diverse culture of the people in the Qajar period encompassed these layers of identity. In addition to them, the article discusses the passivity of women in society, the prominent role of spells, magic, etc., and the interest of the population in these areas.