تحلیل انواع گونه های هنجار گریزی در برخی از نقاشی های مدرن بر اساس الگوی لیچ (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هنجار گریزی به عنوان یکی از شگردهای بیانی و روش برجسته سازی در دنیای ادب و هنر به معنای خروج از معیار عادی و آشناست که در پی آن، مخاطب در مواجهه با اثر به درنگ واداشته می شود و معنا به تأخیر می افتد. جایگاه، نقش و اهمیت هنجار گریزی در متون ادبی و هنری به حدی است که منتقدان به بررسی آن از زوایای مختلف پرداخته اند و در این زمنیه نظریات و الگوهایی نیز ارائه نموده اند که به نظر می رسد لیچ توانسته الگویی نسبتاً جامع ارائه نماید. ازاین رو، با توجه به خصلت آشنازدا و مبهم نقاشی مدرن، هدف این پژوهش، شناسایی و تحلیل انواع گونه های هنجار گریزی در برخی از نقاشی های مدرن بر اساس الگوی لیچ است. پرسش مطرح شده این است که کدام یک از روش های هنجار گریزی موردنظر لیچ در نقاشی های مدرن قابل شناسایی است؟ روش این پژوهش توصیفی - تحلیلی و تطبیقی است و اطلاعات به روش کتابخانه ای گردآوری شده است. نتیجه اینکه از آنجاکه یکی از خصلت های اصلی هنر و بخصوص نقاشی مدرن، آشنایی زدایی و برجسته سازی در زمینه فرم و محتوی است؛ در برخی از نقاشی های مدرن با انواع هنجار گریزی های موردنظر لیچ یعنی آوایی (استفاده از عناصر بومی)، نوشتاری (برهم زدن ساختار اشکال)، نحوی (جابجایی اشکال از جای اصلی و واقعی شان) و معنایی (تغییر معنای آشنا) روبرو می شویم.Analysis of anomalous species in some modern paintings based on Leach pattern
Abnormality as one of the expressive tricks and methods of highlighting in the world of literature and art means going beyond the normal and familiar standard, after which the audience is delayed in the face of the work and the meaning is delayed. The place, role and importance of aberration in literary and artistic texts is such that critics have examined it from different angles and in this regard have also offered theories and models that Leach seems to have been able to provide a relatively comprehensive model. Therefore, due to the familiar and ambiguous nature of modern painting, the purpose of this study is to identify and analyze the types of abnormalities in some modern paintings based on the Leach model. Contrary to the familiar and conventional methods of expression before them (the Renaissance tradition), modern painters tested new, unfamiliar and abnormal methods of expression. Modern painters break the boundaries of the common visual system and the definitions and techniques of the art of painting, and by creating unusual, unconventional, complex and ambiguous images, they cause the audience to reflect, focus and think. In fact, they have tried to see the world in a different way and to portray it in a new way, and in this way, lead the audience to receive a new visual and semantic experience. This is why we encounter all kinds of highlights and norms in modern painting. Abnormality as one of the methods and techniques of de-familiarization and on the other hand the stylistic features of literary works means deviation from the norm, the usual way, conventional and familiar. The question is, which of Leach's norm-avoiding methods can be identified in modern painting? The method of this research is descriptive-analytical and comparative and information is collected from library sources.
anomaly pattern in the composition of a modern painting can be identified.
From this point of view, in modern painting, we encounter the emergence of some of Leach's desired aversions. Modern art is known as a new method and expression tradition in the history of painting, whose artists broke the norm by violating the common pictorial tradition. Just as the writer or poet violates the phonetic rules of the standard language by using indigenous elements, so do modern painters achieve this through the use of indigenous images and shapes. If the poet or artist escapes from the syntactic rules of language by displacing the constituent elements of the sentence by considering the artistic elements of the sentence, in painting, too, the artist achieves syntactic aberration by displacing the forms from their original place., if the spelling of a word is inconsistent with its pronunciation, textual aberration is used, the same thing that happens in the art of painting by disrupting the structure of shapes, a semantic aberration that in literature means a kind of deviation in sentence construction that is visually equivalent. It is in such a way that a visual element is used in the painting frame contrary to the conventional semantic rule.
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