کاربرد عناصر اساطیری در داستان های فانتزی کودکان دهه ی هشتاد (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
کاربرد عناصر اساطیری در داستان های فانتزی کودکان دهه ی هشتاد عمران صادقی* بیژن ظهیری ناو** مهدی رستمی*** چکیده اسطوره یکی از مهم ترین موضوعات بشر است که در سراسر فضای زندگی او جریان دارد. اسطوره امری پویاست و بازتاب این پویایی در تمام کارهای بشر به ویژه ادبیات جلوه گر است. ادبیات کودکان و نوجوانان نیز از این تأثیر برکنار نیست. گستره ی این بازتاب به ویژه در گونه ی فانتزی آشکارتر است. در این پژوهش در ابتدا تعریفی مختصر از اسطوره ارائه داده شده است؛ آن گاه ویژگی های بینش اسطوره ای بررسی شده و سپس درباره ی ویژگی های عناصر اسطوره ای و شیوه ی به کارگیری آن در داستان های منتخب کودکان و نوجوانان بحث شده است. جنبه های بررسی شده در این مقاله عبارتند از: ویژگی های انسان گیاهی، شخصیت های اساطیری مانند غول و پری، جادو، پیکرگردانی و آنیمیسم. بررسی این پژوهش نشان داد استفاده از عناصر اسطوره ای برای نویسنده ی داستان فانتزی یک هدف نیست؛ بلکه یک وسیله ی بسیار کارآمد است. او می تواند با این عناصر، دنیایی نو و سرشار از شگفتی را برای مخاطب خلق کند. زیرا کودک اسطوره زی است و هنوز لایه های ناخودآگاه ذهن او با جهان اسطوره ای و پیوندهای آن در ارتباط است؛ پس بیشترین لذت را از داستان خواهد برد. واژه های کلیدی: ادبیات کودکان، اسطوره، آنیمیسم، جادو، فانتزی. * استادیار زبان و ادبیات فارسی دانشگاه محقق اردبیلی emransadeghi1@gmail.com (نویسنده ی مسئول) ** دانشیار زبان و ادبیات فارسی دانشگاه محقق اردبیلی zahirinav@uma.ac.ir *** استادیار زبان و ادبیات فارسی دانشگاه سلمان فارسی کازرون dr.rostami@kazerunsfu.ac.ir تاریخ دریافت مقاله: 2/7/1399 تاریخ پذیرش مقاله: 25/2/1400Mythological insights into children's fantasy stories of the eighties
Introduction Myth is one of the original sources of children's stories. Every child's imagination contains all the experiences that human beings have had in their history. The scope of this reflection is especially evident in the fantasy genre. Fantasy also has an essential affinity with myth. The direction of both implies something beyond reality. Myth should be considered as a Minoan story, the origin of which is usually unknown, and is a description of a natural action, belief, institution, or phenomenon that is inextricably linked to religious mirrors and beliefs. In children's stories, elements of myth and fantasy are widely used. Method The present study aims to investigate the connection between the fantasy stories of children and adolescents with myths in a descriptive-analytical way by studying the fantasy stories of the eighties. In our opinion, these aspects are the origin of fantasy stories. The aspects studied in this article are: plant-human characteristics, mythical characters such as giants and fairies, magic, the archetype of the hero's journey and sculpting, and animism. The stories studied in this research have been selected from the authors of the field of children and adolescent literature. Discussion Using mythical elements is not a goal for a fantasy writer, it is a very effective tool. With these elements, he can create a new world full of surprises for the audience. Because the child is a myth and the subconscious layers of his mind are still connected to the mythical world and its connections; So he will enjoy the story the most. The story of 6,000-year-old Green Man by Fariba Kalhor is based on the ideas of plant-human myths. This story is a description of a green human life that is six millennia old. He has been the companion of many people and scientists. Even the title of the eleventh chapter of the book is human-plant. The six-thousand-year-old green man, like the legend of Gil the Lost, seeks the mystery of immortality. Another story in which human-plant features are evident is the famous pea story of Qasemonia. This story is rooted in the Persian myth of the plant growing from tears. In chickpea stories, which have been rewritten based on ancient stories, we encounter the birth of a plant from human eyes. The story of the grove fairy by Hossein Fattahi uses mythical characters such as the fairy. In creating the unreal characters of the story, in addition to the capacities of those characters, the author has also paid attention to their mythological aspects, such as pigeons and crows. The important point is that the author pays attention to the ecology of the southern region. The author has chosen the characters of his story from the birds and plants of the same area. The grove fairy, who is one of the most important characters in the story, is originally a palm tree. Animals are often used in children's stories; As we saw in this story or in the story of autumn on the train, written by Mohammad Kazem Mazinani, part of the story is based on the relationship of the child's character with animals. The magic object expresses one of the most important human needs. Many fantasy stories are based on the pattern of the magical object, and we will confine ourselves to the story of the three magical whistles. In this story, too, the child character of the story takes refuge in a magical whistle in the face of danger and insecurity. The fantasy world is also a world of wonders. Some of these creations are in the form of animal-shaped sculptures in fantasy stories. The two stories of the boy who became a crow by Mohammad Kazem Mazinani and the wolves do not cry are written by Mohammad Reza Yousefi based on metamorphosis. Rebellion against oneself and against one's false traits can be the basis for writing a beautiful educational story. To do this, the author has resorted to symbolism, the wolf is a symbol of the ugly and predatory aspect of man. A large part of the texts produced for children and adolescents deal with the issue of animism in different forms, which, in addition to representing the mythical mentality of their creators and their audiences, in addition to poems, poems, anecdotes and poems. Are also important from an aesthetic point of view. The animation of objects is very evident in the story of autumn on the train. Conclusion Mythology is the source of inspiration for children's stories. Because every child in his imagination provides the seeds of all the experiences that human beings have gone through in their history. The child discovers fire like a primitive human. There is no way that the early man walked and the child did not walk in his childhood world and his games. The subconscious layers of the child's mind are still connected to the mythical world and its connections, and therefore the poet and writer of children and adolescents in the moment of composing poetry for them, especially poetry in which the dominance of consciousness is less, inevitably Myths take refuge in their mentality and communicate with that audience through that part of their mind. Many aspects of mythic insight are influential in children's stories, especially children's fantasy stories. But in the meantime, mythical characters, the re-creation of mythical stories, the archetype of the hero's journey, and animism have an undeniable effect. Applying myth to a fantasy writer is not a goal but a very effective tool. Using mythological elements, he can create a new world full of surprises for the audience. It can be said that any story that has benefited the most from the myth has been more welcomed by children and teenagers. The space that pervades fantasy stories is highly dependent on mythological elements, especially animism and discernment. Diagnosis in fantasy stories is not cross-sectional; It can be seen throughout the text of the story. As it turns the story into a whole. The use of these recognitions has helped a lot in instilling a special fantasy space that is an expression of wonder.
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