تبیین شاخصه های نوشتار زنانه در دو رمان او یک زن و بازی آخر بانو
آرشیو
چکیده
یکی از مفاهیم مهم مطرح در حیطه نقد ادبی معاصر را باید ادبیات زنانه به شمار آورد. در پی جنبش زنان برای نیل به حقوقی مساوی با مردان، نوشتار زنانه به عنوان بخشی از نقد فمنیستی در میانه قرن بیستم به وجود آمد. در این پژوهش که به روش توصیفی- تحلیلی تدوین شده، نوشتار زنانه در دو رمان بازی آخر بانو از بلقیس سلیمانی و او یک زن از چیستا یثربی بررسی و تحلیل شده است تا به این پرسش ها پاسخ داده شود که الگوهای نوشتار زنانه در این دو رمان تا چه میزان قابل بازنمایی هستند و در این حوزه این دو رمان چه شباهت ها و چه تفاوت هایی دارند. در آثار مورد نظر این نکته حاصل گردید که زبان شخصیت ها تحت تأثیر جنسیت نویسنده است و معیارهای زبان زنانه در مقایسه با زبان مردانه، با فراوانی بیش تری تکرار شده اند. به کارگیری زبان خاص زنانه در این رمان ها تا حدود زیادی منطبق با نظریات زبان شناسان است. تحلیل آماری هر یک از مشخصه ها نشان داد که بلقیس سلیمانی و چیستا یثربی در زمینه استفاده از لایه های واژگانی، لایه نحوی و لایه محتوایی عملکردی مناسب و به جا داشته اند. خصوصیات نوشتار زنانه در دو اثر بازی آخر بانو و او یک زن ، سبک نوشتاری زنانه را از سبک مردانه جدا می سازد. لایه واژگانی در رمان بازی آخر بانو با ۶۲ درصد و در رمان او یک زن با ۸۲ درصد بالاترین بسامد را در بین سایر لایه های مورد نظر دارد.Elucidating the Characteristics of Women’s Writing in She, A Woman and Bānu’s Last Game
Women's literature has emerged as a significant component of feminist criticism in contemporary literary discourse. This development followed the women's movement for equal rights and gained prominence in the mid-20th century. In Iran, the Constitutional Era brought transformations that allowed women to enter various cultural and social domains. As modern society positioned itself against backwardness and superstitions, the concept of gender equality began to take root. Feminism sought to address inequality in language, challenging the predominantly male-oriented language of writers and poets, which often led to the suppression of women's voices. As this perspective expanded and female self-awareness grew, women writers of fiction made significant progress. They created new forms of communication between audience and writer by infusing their work with unique feminine emotions, feelings, and linguistic structures. From a stylistic-cognitive approach, a distinct type of writing can be attributed to female authors. Their works often focus on the identity and position of Iranian women, showcasing efforts to discover themselves and break free from societal norms. Women's writing, as a branch of feminist criticism, is considered a cognitive term. It suggests that female writing possesses distinct characteristics and components that can be examined in terms of vocabulary, sentence structure, imagery, and themes in the works of female writers. This unique style of writing has allowed women to create powerful narratives that challenge traditional literary norms and provide new perspectives on women's experiences and identities. By doing so, women writers have not only contributed to the literary landscape but also to the broader discourse on gender equality and women's rights. Women's writing reveals distinct linguistic features and traits, rooted in their unique emotions and experiences, which are less common in men's writing. The historical dominance of men in various aspects of life—culture, politics, history, language, and religion—has often resulted in women's confinement and limited expression. A fundamental challenge for women in defining their existence through writing is essentially a technical one; existing sentence structures often fail to adequately capture their characters and experiences. These limitations have prompted women writers to express gender issues and concerns in their works, advocating for linguistic transformation by depicting experiences such as childhood, mother-daughter relationships, marriage, sexuality, and femininity. Two notable works in Iranian fiction literature that exemplify this trend are She, A Woman by Chistā Yathrebi and Bānu’s Last Game by Belqays Solaymāni. In these novels, the authors aim to highlight gender inequalities, challenge misconceptions, and critique social customs regarding women. They present a feminine perspective on women's presence in society through their distinctive writing styles. Characteristics of women's writing in these works include: use of evocative sounds and color-rich words, extensive use of modifiers and emotional attributes, exploration of feminist themes, representation of women's experiences, depiction of childhood experiences, mother-daughter relationships, marriage, sexual issues, and femininity. These elements indicate a different understanding of women's position in the world compared to men's perspectives. Notably, the language of the characters in these works is influenced by the gender of the writer, with linguistic criteria of feminine language appearing more frequently than masculine language. Through such writing, women authors not only challenge traditional literary norms but also contribute to the broader discourse on gender equality and women's rights in society. Feminine writing and the influence of gender on language have garnered significant scholarly attention. Calvet distinguishes between sociolinguistics, which views language as a social subject, and social linguistics, which considers social forces as those that influence language. Through literature, women have sought to express a unique identity distinct from its masculine counterpart. The expansion of feminist ideas has significantly altered the tone and content of women's stories. A particular style and context now dominate these narratives, with many female writers consciously incorporating feminist thoughts to convey specific ideas. Feminine writing is essentially an interpretation of a particular feminine perspective in a work. As Fattāhi explains, "Feminine style means gendering literature based on the experience and perspective of women. This style insists on creating a feminine shape, voice, and content distinct from male voices. Women's writing means addressing issues, problems, and particular emotions of women to recognize the feelings and sensitivities of gender. Women's specific issues encompass situations and experiences unique to women both mentally and physiologically, which men cannot fully capture in their writing due to lack of direct experience.” In French feminist theory, feminine writing and perspective is a term defining women's writings. It posits that women's writings have a specific discourse closer to the body, emotions, and the unknown—elements often suppressed by social conventions. Writing and literature serve as important realms for revealing secrets and the unsaid, offering a space for imagination and creativity. This approach to writing not only highlights the unique experiences of women but also challenges traditional literary norms and contributes to the broader discourse on gender in society. By emphasizing these distinct perspectives, feminine writing enriches the literary landscape and provides valuable insights into the female experience. This research employed a descriptive-analytical method with a stylistic approach, focusing on the novels She, A Woman by Chistā Yathrebi and Bānu’s Last Game by Belqays Solaymāni. The study first elucidated the characteristics of women's writing style in these works, then demonstrated these features using examples from each novel. The analysis revealed deliberate portrayal of feminine writing by both authors. The characteristics of women's writing in these novels encompass linguistic layer (including vocabulary, expressions, intensifiers), syntactical layer (including interrogative forms, imperatives, directives), Stylistic layer (including attention to detail, simplicity in writing, short sentences), and Content layer (including feminism, self-discovery, self-exploration, existential concerns). Both authors demonstrated similar perspectives regarding these aspects, effectively applying the criteria of women's writing and integrating them into their characters' actions and behaviors. However, some differences in the authors' approaches were noted. Belqays Solaymāni's approach in Bānu’s Last Game appears to encompass a broader and more profound exploration of feminine writing aspects compared to Chistā Yathrebi's She, A Woman. Statistical breakdown of feminine writing elements indicated that Belqays Solaymāni in Bānu’s Last Game has employed the vocabulary layer by 62%, the syntactical layer by 13%, the stylistic layer by 7%, and the content layer by 11%, while Chistā Yathrebi in She, A Woman has utilized the vocabulary layer by 82%, the syntactical layer by 6%, the stylistic layer by 3%, and the content layer by 7%. These findings highlight the authors’ conscious efforts to employ feminine writing techniques, while also revealing differences in their emphasis on various aspects of this style. The study contributes to our understanding of how contemporary Iranian women authors utilize feminine writing to express their unique perspectives and experiences.