بازنمایی روان ادراکی نوستالژی تصعیدی مولانا در ساحت گفتمان روایی نی نامه (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
بیان مسئله: مطالعات جدید روان شناختی به طور اقناع کننده ای اثبات می کنند که متغیر نوستالژی با میزان آگاهی و گستره شناختی افراد رابطه ای بسیار عمیق دارد؛ ازهمین رو، نباید نوستالژی را فقط مفهوم و برایندی حسی و حسرت آور از یادکرد گذشته های خاطره انگیز دانست که پیامدی فروکاسته و انفعالی درپی دارد. نوستالژی در فهم واقعی، کارکردی عقلانی و کنشی فعال تلقی می شود که می توان با ایجاد زمینه گفته پردازی و بهره گیری از شریک گفتمانی به مبانی خلاقانه و مولد آن دست یافت. روش: این مقاله درپی پاسخ دادن به این پرسش ها به روش مطالعه کتابخانه ای به شیوه ای تحلیلی است: 1) آیا می توان نی نامه را یک متن نوستالژیکی عالی متفکرانه و کدهای زبانی آن را نوعی زبان رفتاری تصعیدی دانست؟ 2) آیا می توان رابطه ای معنادار از امتزاج نوستالژی و تصعید در نی نامه به دست آورد؟ یافته ها و نتایج: تمایلات واپس زده و تصعیدی به هیچ شکلی در روند زندگی انسان فراموش نخواهند شد و پیوسته به هر طریقی فرد را در چنبره و مخمصه فشار نیروهای درونی قرار می دهد؛ بنابراین، این نیروها یا از مجاری زبان و یا از رهگذر ارگانیسم، خود را بروز می دهند؛ از اینجاست که شعر و شاعر در مطالعات روان شناختی بسیار مهم و جدّی به شمار می روند. قدر مسلم با اتکای همین مفاهیم، مولانا توانسته است نی نامه را با ساحتی گفتمانی روایی برای تبیین جهانی متفکرانه نوستالژی و زبانی تصعیدی مدبرانه فراهم آورد.The Psychocognitive Representation of Sublimated Nostalgia of Rumi in the Field of Narrative Discourse of Neynameh
Modern psychological studies convincingly prove that the variable nostalgia is in close relationship with the awareness and cognitive scope of people. Nostalgia, therefore, is actually a rational function capable of achieving innovative, productive bases via providing and using a background for rhetoric and discourse partners. Repressed, sublimative desires manifest themselves through either language or organism. This is essentially the reason why poems and poetry are deemed highly important in psychological studies. Drawing on these notions, Rumi succeeded in explaining a thoughtful, nostalgic world, defining a sublimative language in a skillful fashion. Using library research, the present study tries to find answers to two research questions: 1) Is it possible to consider Neynameh as a nostalgic, thoughtful text, and its linguistic codes as some sublimative behavioral language? 2) Can anyone elicit a significant relationship out of the mix of nostalgia and sublimation in Neynameh ? Introduction Based on semantic semiotic understanding and structural linguistics, it can be said that there is a coherent and continuous connection between literature and psychoanalysis. So by relying on this belief, it can be acknowledged that poetry is important, and, due to its inherent ability, it “brings the language to the position of emergence” (Bashlar, 1998, p. 138). A very worthy part of the totality of literature is “an irreducible quality” (Barth, 1378: 65). This nature of irreducibility and quality of poetry is basically a mental-psychological result. Basically, in poetry, there is a continuous dialectic between the two elements of mind and psyche with profound cognitive and perceptive aspects. Therefore, behind that, they stimulate the mind to a creative effort to create rational psychological aspects. Based on this principle, it is no longer possible to say that poetry is merely a sensory category and is far from the dimensions of intellectual and documented experience. Of course, this is the neglected point that is less considered in the studies of literary texts and works. Therefore, “every thought is a poetic reflection, poetry is also a thought” (Gray, 1998, p. 89). It is important not to forget that “between enlightened and self-aware elements and unconscious elements, there are certain relationships in poetry” (Spender, 1998, p. 208). We should know if these elements appear in the mental-linguistic world of the poet in an emotional form. This poetic emotion is the same as poetic thought because the emotion in its existential truth cannot be characterized without thought and mental function. In any case, when in today's literary essays, emotional poetic language is spoken about, the meaning is the same as the emotion that was listed. This emotion is a variable of formal language and thought. Henry Meshunik considers poetry as a “word-subject” (Ahmadi, 2008, p. 88). It is a scholarly speech. Because the originality of the poem is an imaginative language, which contains the mental image with all its semantic dimensions in its center and scope. This is the dignity and exaltation that should be clarified. The poet not only reflects but also captures and expresses what belongs to poetry. And poetry is the true life and the expression of understanding and the universal scope of mind and soul. It is certain from here that nowadays poetry is considered a serious expression of the poet himself, and the words are the storehouse of his unconscious mind and the crystallization of his repressed wishes. Now, if the phenomenological intention is at work, it is the psychological study entries that can delve into the mental dimensions of language and a stable relationship between the depth of these two, which can explain the psycho-cognitive epistemological dimension of the poet from the perspective of poetry. This study tried to rely on these scientific foundations by using two psychological terms, nostalgia and sublimation, to examine the emergence and crystallization of one in the other in Rumi's Neynameh . We all know that Rumi benefited from a special intellectual and psychological system in creating his literary-mystical works. In his works, including Masnavi , intuitive knowledge is present alongside intellectual knowledge. He has tried a lot to include his learnings and personal and spiritual life experiences in the textual layers of Masnavi , especially in Neynameh . Review of the Literature So far, no research has been written with such a nature and approach; only two articles have been compiled on the subject of sublimation and nostalgia, which are briefly introduced: “Examination of the sense of nostalgia in Rumi's Masnavi with an attitude towards the functions of the desire to return” written by Marghoub and Sarami (2017) led to the conclusion that the sadness of homelessness and distance is the desire to renew the situation and to return to the original. It has also been said that by expressing the nostalgic feeling, Rumi expressed the desire to return in functions such as longing, seeking, the pain of separation, the function of interest except for the whole, the function of attraction to gender (sexual union), beauty, and conflict of right “The process of psychological sublimation from Maulvi's point of view” was written by Karim Pasand (2019). The author believes that Mawlavi considers the sublimation mechanism to be the cause of the flourishing of human's internal potential forces in a desirable way in the society, which causes human progress and excellence. On the other hand, with the help of the sublimation process, the inner desires of man, among other things, lead to acceptable and desirable channels in the society, including marriage. Methodology The present analytical study tried to answer two research questions by the method of library study: 1) Is it possible to consider Neynameh as a highly thoughtful nostalgic text and its language codes as a kind of sublimated behavioral language? 2) Is it possible to obtain a meaningful relationship from the combination of nostalgia and sublimation in Neynameh ? Results The findings of this research show that Neynameh , which is presented with a discourse-narrative structure and with a nostalgic sublimation foundation, is in fact an extract of the perceptive and psychological psyche of Mowlana. As discussed in detail, modern psychological studies have proved in an argumentative and inferential way that the function of nostalgia is exclusively in the area of longing or remoteness, alienation, meanings, and concepts. When we actually believe that Mawlana is a thoughtful and reasonable mystic, then surely his type of nostalgia is active intellectual and not passive sensual like the romantics. Despite the fact that it has been said that mysticism is basically nostalgia in its essence, what is crystallized and noticeable in Neynameh is a combination of nostalgia and sublimation. Tailored and personalized creative vocabulary constructions including my friend, my secrets, my head and my moan, or poison, antidote, demsaz, mushtaq, hadith, blood, story, madman, Muharram, intelligence, unconsciousness, language, customer, ear, fish, water, and day have proven these two functions in a simultaneous hierarchy in a signistic way. The method of using the interrelated and concrete language propositions has created a meaningful, nostalgic, thoughtful interactive role and the sublimated conceptual function in Neynameh . This method of creative production and compilation of linguistic structures has led to transferring the pressure of internal psychological forces to the level of categories. The scholarly formulations in Neynameh have prepared this space and opportunity for Rumi to use the narration of Neynameh with two methods of direct and interventionist and indirect narration. It is quite clear that this kind of behavior and manner, as is evident in Neynameh , is completely specific and related to Mowlana himself. Basically, Neynameh 's narration has a smooth-acting outcome, so in this way, Rumi can achieve exaltation and lightness through discursive space creation, and at the same time, he maintains the active and rational nostalgic foundations by observing the framework of structural thinking and documentary language elements. Another part of the findings of this research shows that Rumi has had a trend (not a situation) in Neynameh . His state-centered work has a sublimation function, and the linguistic propositions, exaggeration, and the proportionalization of each of them introduce the same flow and state-based principles. Therefore, what can be mentioned in Neynameh in general is that it is a purposeful and fundamentally nostalgic-sublime series.
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