تحلیل ساختار و کارکردهای کلان روایت ها در قصاید مدحی( مطالعه موردی قصاید فرخی سیستانی) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
متن و معنی قصاید مدحی، در ساختاری روایی ساماندهی می شود. شاعر تلاش می کند تا بر اساس تاریخ، تجربه و علوم مختلف، روایت های خرد را که قدرت نظام سازی ندارند به حاشیه براند یا آنها را در روایتی جامع و واحد که سیاست و مذهب حاکم از آن حمایت می کنند، حل نماید. همین امر موجب شکل گیری کلان روایتهایی مانند آزادی و عدالت، رفاه و توسعه و در نتیجه «سایه خدا بودن پادشاه» در قصاید مدحی است. این روایت های ساخته شده، دیگر نیاز به تایید یا تصدیق علمی و بیرونی ندارد، بلکه بلاغت درونی شعر و قرارداشتن شاعر در ساختار قدرت، مشروعیتی درونی به آن ها می دهد. در این مقاله تلاش شده تا با روشی توصیفی و تحلیلی و با تأسی از اندیشه های فرانسوا لیوتار، به این پرسش پاسخ داده شود که ساختار و شیوه های شکل گیری کلان روایت ها در قصاید مدحی چگونه است؟. می توان کلیت سازی، بدیهی جلوه دادن حقیقت های ایدئولوژیک، مشروعیت بخشی های زبانی، طرد و جذب، گفتمان سازی و نفی تناقضات اجتماعی، از مهمترین پیامدهای زبانی و معنایی شکل گیری کلان روایت در قصاید مدحی دانست.Analysis of the structure and functions of metanarratives in praise poems( Case study: Odes of Farrokhi Sistani)
The text and meaning of the poems of praise are organized in a narrative structure. The poet tries to marginalize micro-narratives that are not capable of systematization based on history, experience and various sciences. Or solve them in a comprehensive and unified narrative supported by the ruling politics and religion. this leads to the formation of metanarratives such as freedom and justice, prosperity and development, and as a result, "the shadow of God " in praise poems. these narrations no longer need scientific or external confirmation, but the inner rhetoric of poetry and the poet's place in the power structure gives them internal legitimacy. In this article, an attempt has been made to study the structure and methods of formation of metanarratives in praise poems in a descriptive and analytical method and using the ideas of François Lyotard. Generalization, the obvious display of ideological truths, linguistic legitimacy, rejection and absorption, discourse, and the negation of social contradictions, are among the most important linguistic and semantic consequences of the formation of metanarrative in praise poems.
Extended Abstract
1-Introduction
This study attempts to analyze the linguistic and semantic methods and techniques that make the Praise odes considered as a kind of tool and medium of the meta-narrative. To achieve this purpose, Divan of Farrokhi was chosen because he is one of the leaders of the praise and eulogy in Persian literature who has achieved fame and popularity in his time, and later, many poets have praised him following his Praise odes. Hence, Farrokhi should be called a clear example of a eulogist or worshiper, because this theme and format is more visible in his divan and odes than anything else and can be considered a prominent feature of his poetry (Yousefi, 1995: 344-345). According to the common structure and purpose of the Praise odes, Farrokhi's method in creating the meta-narrative can be extended to other eulogists.
2-Research questions and Research Methodology
The research method of this article is descriptive and analytical and based on Lyotard's theory in the field of meta-narrative. The most important questions that this research seeks to answer are: 1- How is a Praise ode composed? 2- What are the methods of legitimizing the power by meta-narratives? 3- What are the most important linguistic and semantic consequences and functions of the formation of meta-narratives in Praise odes?
The most important purpose of this research is to analyze the ways of forming power and truth in a literary text. In other words, the purpose of this study is to address two-way relationship between power and the literary text, and on the other hand, the role of the literary text in the production of power. The necessity of such research becomes apparent when most of the research that has been done in the field of the Praise ode is more concerned with the moral and aesthetic aspects of these texts, while less attention has been paid to the mechanism of discourse and empowerment of these poems.
Discussion
In traditional societies, myths are among the constructive media of meta-narratives. Myths create meta-narratives that are the crystallization of the ideals, motives and goals of the system, and individuals in society understand their function and identity based on the goals of these meta-narratives. Making a hero from a praiseworthy character is one of the requirements of Praise odes so that they can embody the product and summary of the goals of their meta-narratives in his/her feature. Since the praised character has historical and natural weaknesses, the poet uses a kind of linguistic trick or falsification in order to justify this character. This falsification usually begins with the titles and characteristics attributed to praised person. To do this, first, by giving positive and valuable titles, it empties real and negative characteristics and finally makes him full of the signs of a hero. Every meta-narrative has to be discursive in order to legitimize its own knowledge and achieve a specific purpose. The Praise odes can build meta-narratives when they benefit from discourse. Each ode has a multi-part structure: lyricism or lyric, escapism to eulogy, praise or eulogy, law and prayer. Each part, in appearance, separately develops signs within themselves: lyricism or lyric (nature and beloved), escapism to eulogy (praise, courage, generosity, etc.), law and prayer (poet, wealth and peace, etc.). New semantic connection and identification with these signs, which are seemingly scattered and each sign has a different semantic concept, is the same relation that the poet performs and builds a discourse leading to a meta-narrative. Ultimately, this discourse leads to a kind of centralism in the Praise odes. Every meta-narrative needs to create a kind of centrality and coherence in order to establish its goals in order to be able to solve different ideas and reduce them to one center. The linguistic and social manifestation of such centrality and dominance in the ode is commendable or praiseworthy. Praised subject is the special connection, and it is a special sign that other signs are organized. Liberation, prosperity, freedom, justice and progress are the most important concepts that governments promote through the creation of meta-narratives. Each meta-narrative tries to provide a general and comprehensive narrative of experiences, various historical events and cultural and social phenomena. This inclusiveness leads to the elimination of differences that are inconsistent with the prevailing discourse. Terror, assassination, dictatorship, monophony, and any concept that contains totalitarianism will be the consequences of the meta-narrative. The meta-narrative has no choice but to suppress conflicting ideas in order to achieve generalization in the social and political arenas. Among the consequences of this generalization is the outbreak of numerous wars. In the Praise odes, a large part of praised identity depends on the war and its epic implications; because the most important element of the eulogy or praise is the courage, and this courage is manifested through wars. The universality of praised ideas is the most important feature of the eulogy and the praise as the meta-narrative. For this reason, praised issue becomes a mythical, and transcendental human being (beyond time and beyond place). Accordingly, it is given the right to war and bloodshed so that it can give a homogeneous structure to society and the world. This generalization and inclusion is not limited to the semantic and content tricks of the ode, but also the linguistic possibilities have a major role in the meta-narrative.
Conclusion
The king is the shadow of God". This sentence is one of the most important meta-narratives that has been formed in the Iranian-Islamic tradition. This meta-narrative has led to the direction and reduction of all narrations and discourses that oppose and agree with the realization of this slogan. The Praise odes reconstruct and strengthen this meta-narrative and other meta-narratives with various tricks. The eulogist, through discourse-making, first connects different sciences and discourses into a meta-narrative, and with the same power of composition and plot, directs his ode in a certain direction. The eulogist, by centralizing the praised person, who is either the king or those in power, seeks to marginalize the masses, which ultimately introduces all the conflicting discourses with the grand narrators as anti-religious and abnormal, and with the same trick, he (the poet) praises the atrocities, looting, and murders of the praised person. In this process, the king or praised person is introduced as a generous righteous person that is precisely in order to establish and consolidate the grand intentions of the narrative of the king's shadow. However, reliance on a particular meta- narrative, especially when it comes to legitimizing power, leads to dogmatism and authoritarianism in the social sphere; but when this meta-narrative is placed in the text of the odes, due to the literary and metaphorical aspects of the text, it changes into a unifying and cohesive thing and consolidates and strengthens the meta-narrative. The most important consequences of the formation of meta-narratives in Praise odes can be considered as semantic centralism, closed language and linguistic totalitarianism through plural pronouns and signs.
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