نشانه شناسی نظام پوشاک در مثنوی مولوی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نظام پوشاک از نظام های بسیار مهم است که در متون ادبی حضور چشمگیری دارد. مولوی از جمله شاعرانی است که توانسته است نظام نشانه های زبانی پوشاک را به نشانه های ادبی تبدیل کند. او با کاربرد واژگان و نشانه های روزمره پوشاک، نشانه های تازه ای را در متن حکایت خلق می کند. این پژوهش بر آن است که با روش توصیفی- تحلیلی به بررسی و تحلیل نشانه های پوشاک در حکایت هایی از مثنوی با رویکرد نشانه شناسی بارت به ویژه نظریه هم سازه و ناسازه بپردازد. در این نظریه، بارت معنا و مفهوم نشانه را به معنای صریح، محدود نکرده و تلاش می کند که الگویی را طراحی کند تا در کنار معنای صریح به معنای ضمنی نشانه ها دست یابد. بررسی تحلیلی این نظریه در حکایت هایی از مثنوی نشان می دهد که مولانا نشانه ها را در معنای قراردادی آن ها به کار نمی گیرد، بلکه با خلق نشانه های جدید و همچنین تفسیر و تأویل حکایت ها به خوانشی نو از نشانه های اولیه دست می یابد که این نشانه ها با کل نظام نشانه ای مثنوی در پیوند است.Semiotics of the Clothing System in Molavi's Masnavi
The clothing system is one of the important systems that have a significant presence in literary texts. Molavi is one of the poets who were able to transform the system of language signs of clothing into literary signs. He creates new signs in the text of the story by using words and everyday signs of clothes. This research aims to investigate and analyze the symbols of clothing in the stories of Masnavi with Barthes’ semiotic approach, especially the theory of Doxa and Paradox. In this theory, Barthes does not limit the meaning and concept of the sign to the explicit meaning and tries to design a model to achieve the implicit meaning of the signs in addition to the explicit meaning. Analytical investigation of this theory in anecdotes from Masnavi shows that Rumi does not use symbols in their conventional meaning, rather by creating new signs as well as interpreting the stories, he achieves a new reading of the primary signs, which are connected with the entire system of signs in Masnavi. Keywords : Semiotics, Clothing System, Rumi, Masnavi Manavi, Barthes. Introduction The land of Iran has long been the cradle of mystical thoughts and many literary works have been created in this field. Masnavi Manavi is an educational book, the presence of mystical terms, and literary and cultural issues has made it difficult for those who are less familiar with the mind and language of Molavi to understand the concepts of the verses. By using signs in the literary text, he intends to make signs the way to enter the world and to know it, and from an external and objective sign, he created an idea in his mind and transformed everything that existed in his mind in an individual and distinct form into a conceptual form that indicates the same type of people, and by using this concept and meaning, they acquire an innumerable treasure of signs. When a symbolic system such as clothing is placed in a literary text, all the factors that make up the text and the tools of text production are used to form the concept of the literary work, and linguistic and literary tools as well as the process of combining and substituting words all affect the meaning of the text. These factors put the appearance and physical aspects of the signs in favor of the mental force in the same way so that the implicit meaning of the clothing sign is formed. "The very ancient imagination of weaving and tailoring provides many opportunities for Rumi to show the manifestations of God or love, using the metaphor of the great weaver of fate or the tailor of life." (Schimel, 1375: 9) which is used in Masnavi and Ghazliat of Shams to express instructions and create new themes. In this essay, we are trying to analyze the symbols of clothing in the Masnavi and also determine their role in the process of Molavi's imagination in expressing mystical themes, how Molavi was able to transform the symbols of clothing into new symbols? Literature Review Researchers have made countless studies about the value and importance of Molavi's Masnavi and the role of this work in the process of mystical didactic poetry. However, semiotic analysis is something that has been very little discussed so far and is limited to a few Ghazals. In the book Shokouh Shams, Annemarie Schimmel mentioned the artistic functions of the clothing system in Shams's Ghazals in the fantasy section. (Schimel, 1375: 225). No article was found about the subject of the present article, "Semiotics of Clothing System in Masnavi". Many books and articles have been written about semiotics and its various theories. Regarding the clothing system, Roland Barthes discusses the formation of the structure in the book Semiotics of Clothing. Barthes writes in the book The Fashion System: Fashion system is a language. Regardless of the individual way of dressing, it is a systematic field of signs and rules. At the same time, the abstract form of the language finds a material expression here and is close to the written language. Barthes is mostly trying to prove the point that even in special clothing systems, the rules and principles of linguistics prevail. He has done this by reviewing several fashion magazines. The main motive of this work was to understand meanings with the help of signs. (Ahmadi, 2013: 221). The symbolic system of clothing works like any other symbolic system through the axes of selection and combination (syntactic structure). For example, the language in the clothing system consists of: 1.Opposite of pieces and parts of clothing, whose changes create a change in meaning. (type of hat used). 2.The rules that exist on the continuity of the parts among themselves or on the length or width of the body, and the speech in the clothing system include all the phenomena related to the irregular construction or the individual method of covering (clothing size, degree of cleanliness, makeups, and personal ornaments). (Barthes, 1370: 37). As we can see in the presented examples, the signs of clothing are exposed in an interconnected system in society, and according to the culture of each society, it can be interpreted into countless secondary meanings. The reflection of clothing signs in literary texts and poets' use of implied meanings, taking into account its cultural context, needs more investigation and reflection, which we are looking for in this article. Methodology Our research method in this research is an analytical and descriptive method with Barthes’ semiotics approach. First, we extracted the clothing semiotic system in Masnavi, and then we classified these signs based on frequency, and then we analyzed these signs based on Barthes’ semiotics approach, which has independent research in this field, and showed How Molavi uses this system along with systems and elements and other things in the process of imagining in the Masnavi and turns them into new signs so that he can introduce his mystical thoughts to the minds of his audience. Theoretical Framework There are different approaches to semiotics, among all of them we chose Barthes' semiotic approach. Barthes considers the purpose of semiotic research to be the reconstruction of the function of signification systems according to a kind of structuralist process. According to him, the text is a structure of signs that has determined and assumed values, these values get their determinations from the signified field. The relationship between sender and receiver with values and meanings is under the influence of their interpretation. (Ahmadi, 1382: 224) Barthes, following Saussure, believes that in a semiotic system, meaning is not an independent or self-contained matter, but rather it is the differential aspect of the sign that constitutes meaning. (Selden and Widdowson, 2004: 139) In this model, the signifier and the signified join together in the first level to form the second group of signifiers, or in simpler terms, the expression level in the secondary signification system is based on the expression level and the content level of the primary signification system. In general, Barthes is not compatible with the ultimate meaning and signifier of the sign. (Algoneh Junqani, 2016: 20) In this context, he achieves a kind of semiotics that acts as a meta-language, and this program is formed by changing Barthes' attitude about the hierarchical relationships of explicit and implicit meanings in the sign. (Algoneh Junqani, 2016: 27) As a result, Barthes puts forward an equivalent with the title of paradox in order to criticize the obvious and also to reveal the ideological implications of doxa. We must keep in mind that doxa with the process of naturalization pretends as if it is the real thing, undoubted, and indisputable; however, in opposition to that, the paradox is a semiotic approach that is basically aimed at criticizing the obvious; in this way, in this system, signs act on the basis of pre-existing signs. Therefore, in the model proposed by Barthes, we come across a semiotic system that operates on two distinct levels. Based on this model, it is possible to design and explain two real and hypothetical levels of implication. In this regard, Barthes emphasizes that those implied meanings that appear in the second order are formed through the relationship between the implied signifier and the natural signified. (Algoneh Junqani, 2016: 13). This is the result of the coexistence between the layers of the text, each of which has been objectively realized based on the selection of different codes in the act of communication. And it is not a product, but a process that is the product of complex interactive relationships between layers of cohabitation and different cultural codes. (Sojoudi, 2013: 271) The clothing system also acquires meaning according to the social context in which it is formed. Apart from that, it is also used in the implied meaning. In Masnavi, Rumi has been able to use it as a means to express his mystical teachings, and by analyzing and examining the signs and creating new signs, he has provided the basis for a new reading of the primary signs. These signs make his language more literary. In this research, we will analyze the clothing system in the Masnavi with the approach of the theory of doxa and paradox and its use in the Masnavi. Conclusion In this research, it was shown that each of the signs of clothing does not act as a fixed and frozen sign, but its role in the text is dynamic, variable, fluid, and active, which causes the production of different meanings in mystical and literary language. The selection of each of the words Khorqeh, Poustin, Charaq, Jameh, Faraji, etc. instead of other signs in the axis of substitution and placing those signs in a specific place of the linear chain, expressing Rumi's skill in creating different meanings for signs. The signs of clothing were the main symbols of the allegories that Rumi has shaped the desired structure of the narrative and allegory by considering the existing relationships between the clothing system, and by creating order among these structures, he has created different layers of the text, and finally, by referring the codes and symbols within the text to each other, he expresses the educational and mystical result of the narrative. In these allegories, the signs of the clothing system have moved from explicit signified to implicit signified such as: body, worldly dependencies, need and pain, world, sperm and blood, hypocrisy, and human lifetime. Fourteen allegories with this theme were found in the six books of the Masnavi, and the main result about these signs can be expressed in the following diagram: Diagram 1: Frequency of implied meanings of clothing signs We also found that in Rumi's language, the movement of linguistic signs from everyday language towards literary signs has an artistic function, and by using literary arrays such as simile, metaphor, irony, etc., as well as contrasts in the words, the possibility of expanding the meaning has been provided for the poet, and the usual and common signs in the literary text have been turned into spiritual and mystical signs. And these significations of Rumi are a confirmation of the theory of the infinity of signs, which was put forward by Barthes and some semioticians.
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