جامعه شناسی غزلیات انوری و سعدی با رویکرد زبان شناسی نقش گرای هلیدی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
انوری ابیوردی و سعدی شیرازی از غزلسرایان برجسته سده 6 و 7 ه.ق در عرصه غزلیات عاشقانه اند که وجود فاصله یک صد ساله بین آن دو بررسی غزلیاتشان را از منظر جامعه شناسی حائز اهمیت می سازد. در مقاله حاضر با تکیه بر رویکرد زبان شناسی نقشگرای هلیدی که برای زبان نقش مهمی در بازنمایی جهان واقع و پدیده های اجتماعی قائل است، تحولات معنایی غزلیات انوری و سعدی و نحوه انعکاس بافت موقعیتی فردی و اجتماعی آنان در ساختار غزل، موضوع تحقیق قرار گرفته است. بنابراین، پرسش اصلی تحقیق حاضر این است که انواع فعل در غزلیات سعدی و انوری چه تحولات اجتماعی و فرهنگی را منعکس می سازد. بدین منظور، برمبنای روش توصیفی- تحلیلی و مبتنی بر نظام گذرایی فعل در زبان شناسی نقشگرا، بسامد هر یک از فرآیند های فعلی - شامل رابطه ای، مادی، وجودی، کلامی، رفتاری و ذهنی- را در 100 غزل آغازین دیوان هر یک از دو شاعر مذکور استخراج کرده و نوع کارکرد هر فرآیند در پیوند با نقش بینافردی و گستره متنی هر یک با یکدیگر مقایسه شده است. نتیجه این بررسی نشان می دهد که غزلیات انوری غالباً مبتنی بر تجارب عاشقانه شخصی و به تمام معنا غزل است، حال آن که غزل سعدی دارای معانی و مفاهیم گوناگون فردی، اجتماعی، اخلاقی و تربیتی است که به شیوه ضمنی در سطوح استعاری، تمثیلی و کنایی زبان نمود پیدا کرده است.The Sociology of Anvari's and Saadi's lyric based on Functional linguistics Halliday
Anvari Abivardi and Saadi Shirazi are prominent poets in the field of lyric poetry, both of them are famous for composing love lyric poems. However, given the 100-year gap between the two poets, it is important to examine their lyricism from a sociological perspective. Therefore, In the article based on Functional linguistics Halliday which has given to language an important role in the representation of the real world and social phenomena, the semantic changes of the lyric form in Anvari and Saadi's poems have been analyzed and how the individual and social situational context is reflected In transitive language system in the structure of Anvari and Saadi's sonnets, the subject of research has been included. For this purpose, first the frequency of each of the current processes in the first 100 lyric poems of each of the two mentioned poets is extracted, then the type of function of each process in relation to the interpersonal role and textual scope of each is compared. The study show that Anvari's sonnets are often based on personal romantic experiences and lyric in every sense, while Saadi's sonnets have various individual, social, moral and educational meanings and concepts that are implicitly and implicitly metaphorically . Introduction Love is the main theme of the Persian Ghazal. Undoubtedly, Anvari can be considered as one of the prominent poets of the romantic Ghazal belonged to the 6 th century. Dignifying of Ghazal form by Anvari and also his numerous Ghazals has made him different from the others poems, so that he has been named as the second most prominent Ghazal composer in the mentioned century, after Sanai. Making close the language of the Ghazal to the spoken language and its evolutionary effects on Saadi (Mahgub,1971: 582). also are the aspects of the Anvari’s importance ( Saboor, 2005: 341, Shamisa, 1983: 66). In spite of the Anvari’s influence on Saadi’s rhyme and rhythm, presentation of the romantic experiences (dashti, 2002: 133) in their poems are different, because there is a space of time about hundred years between their periods of lives and in this time the poetic meanings have been promoted and also, the social and cultural contexts have been changed. Actually Saadi’s Ghazal is an artistic description of love. It is not an experience or a personal emotion. Also, it is not anand total matter. Saadi’s art gives inclusiveness and general emotion to his subjects. Because,the emotion and the love described in his works is an emotion which has been mingled to the humankind attributes.The beauty described in Saadi’s Ghazal is an ideal beauty which includes the humankind attributes (Ebadian, 1993:98). Considering the history of Ghazal in several centuries, the significant changes have occurred in both format and content of Ghazal which makes it necessary to research in this field. Research Method According to the Halliday's functional grammar, language has various functions in society and social phenomena. The functional approach are supposed to explain the language nature and its relationship with the structures such as culture and society. ( Leech and Short, 1981: 76).Halliday has mentioned three functions for the language: the ideational, interpersonal, and textual metafunctions. The ideational function is classified into two functions: experiential and logical functions. In experiential function, the ability of representing the experiences in language is called transitivity system. Transitivity system is a feature of a sentence which is used for specifying the various processes in the sentence (these processes are presented in the verbs).Therefore, determining the processes and their frequencies by studying the verb kinds makes it is possible to aware of the experiences and the thoughts of a poem. In analyzing the text using experiential approach, the kind of the process which (is) being done is significant. A process is an event, action, emotion, speech or existence (and inexistence). The process contains three key elements chosen by the transitivity system from among the available options in the language system. The elements of the process are as follows: 1. the process itself 2. The participants 3. The circumstances related to the process The participants are the involved elements which determine time, place, method, causes and the circumstances of a process. The processes, the participants and the context of the events usually are represented in grammar in the form of the verbal, the nominal or the adverbial groups. Halliday introduces three main processes called material, mental and relational process and also, three subsidiary processes called behavioral, verbal and existential processes. Discussion Comparing the use of the material process in Anvari’s Ghazals via Saadi’s one considering the extent and the method of the text shows that in Anvari’s Ghazal the text extent is enclosed to the romantic trades. Since the participants in the material process are usually the lover and the beloved, the mood of the verb is mostly the first person (related to the lover) or is the second or the third person singular (related to the beloved). But in Saadi’s Ghazals the text extent isn’t enclosed just to the romantic trades and he also presents his experiences and social trainings in the way that sometimes the interaction between lover and beloved is presented for training an ethical matter and not just for mentioning the romantic relationship. Also, about the material process and the interpersonal function of the language it could be mentioned that Saadi has mostly used the second person.Comparing the use of the mental process in Anvari’s Ghazal via Saadi’s one considering the textual metafunction of the language (the connection between the ideational metafunction and the context) shows that the emotions and the thoughts of Anvari is in the scope of the quiddity and the nature of love. Considering the interpersonal metafunction it could be said that Anvari has mostly used the first and the third person (lover and beloved). Therefore, the personal feelings of the lover/ the poem for the beloved and her actions and her ethical characteristics are mostly presented. The mental processes which address generally have been mostly used in Saadi’s Ghazals, because he is not satisfied with presenting just his personal feelings, he also uses the love for presenting his social critique. By comparing the verbal processes of these two poems, it reveals that the speakers in the Anvari’s Ghazals mostly presents their desires and their romantic dialogues, but in Saadi’s Ghazals the way of loving is also mentioned by the lover or the advisers.In Anvari’a Ghazal because of existing the thematic coherence and the vertical constant cohesion in the verses, the subjects mostly are the lover and the beloved which their behavioral reactions depend on love. But in Saadi’s Ghazals because of the subject extension, there is not a vertical constant cohesion in the verses. So, the subject can contain the other social subjects, besides lover and beloved Conclusion Sociological analysis of Anvari’s Ghazal and Saadi’s one considering the present processes shows that the processes usage are considerably different in these two poems’ works. The action extension of the material process in Anvari’s Ghazal is enclosed to the romantic trades done by two actives means lover and beloved. But the action extension of the material process in Saadi’s Ghazal is not enclosed just to the romantic events, he presents his experiences and social trainings in the way that sometimes the interaction between lover and beloved contains an ethical training.The mental processes in Anvari’s Ghazal contain the feelings and the thought of the poem in the scope of the quiddity and the nature of love. But in Saadi’s Ghazal, love is used for presenting political and social critique.Also, considering these poem’s usage of the verbal process shows that the speakers in the Anvari’s Ghazal mostly presents their desires and their romantic dialogues, but in Saadi’s Ghazals the way of loving is also trained to the lover by the advisers.In Saadi’s Ghazal, proportional to the behaviors variety, the behaviors contain the whole of the social relationships, but in Anvari’s Ghazal, the biological behaviors are more personal and limited. The existential process usage in Anvari’s Ghazal determines the existence or inexistence of what happens in the world of love, but Saadi thinks about what should exist as the necessity of loving.The relational process in Anvari’s Ghazal has been mostly used for describing the beauty of the beloved, the romantic statuses and the situation of the lover, but in Saadi’s Ghazal, a considerable amount of this process describes the way of loving which shows the didactic aspect of his works. References 1- Aghagolzadeh, Ferdows and colleagues,2011, Stylistics of Story Based on Verb: A Stylistic Approach, Journal of Spring Literature of Shiraz, Year 4, Number 1, pp. 254-243. 2- Amirkhanloo, masumeh. 2915, the stylistic of Hafez's Ghazal base on the verb, functional approach, Adab farsi magazine , 5 years, 2 number, autumn and winter. 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