واکاوی نظریه هنری فارابی در حوزه صنعت شعری برمبنای رویکرد صورت گرایی روسی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
فارابی ازجمله فیلسوفان و اندیشمندان مسلمان قرن چهارم هجری است که نظریاتی در حوزه فلسفه هنر به طور خاص درباره شعر دارد. آراء فارابی روایتی دیگر از بوطیقای ارسطوست. ارسطو در بوطیقای خویش از محاکاتی سخن می گوید که هدف از آن تقلید صرف نیست؛ بلکه باز آفرینی و لذت از اثر هنری جدید است و اثر ادبی را چون پدیده ای مستقل می بیند. حال مسئله این است که باوجود صورت گراخواندن ارسطو ازسوی برخی محققان و بدیهی بودن تأثیر پذیری فارابی از وی تا چه میزان می توان آراء فارابی را متمایل به صورت گرایی دانست. به این منظور در این مقاله دیدگاه هنری فارابی درباب شعر، به ویژه محاکات (باز نمایی) با استفاده از روش توصیفی تحلیلی محتوا برمبنای آراء صورت گرایان روس بررسی شده است. این بررسی با مراجعه به برخی آثار وی ازجمله «مقاله فی قوانین صناعه الشعراء»، «جوامع الشعر»، «رساله فی التناسب و التألیف»، گفتارهای شعری از إحصا العلوم ، آراء أهل المدینه الفاضله ، فصول منتزَعَه انجام شده است. با بررسی دیدگاه صاحب نظران درباره صورت گرادانستن ناقدان قدیم یونان از جمله ارسطو و ناقدان قدیم ادب عربی ازجمله فارابی همچنین با مروری بر دیدگاه های ارسطو که فارابی را بزرگ ترین شارح آثار وی می دانند و نیز با مراجعه به آثار و آراء خود فارابی و تبیین آنها این نتیجه حاصل شد که رویکرد غالب بر آراء فارابی درباره صنعت شعر صورت گرایی است.Analyzing Farabi's Artistic Theory in Poetic Creation in the Field of Poetic Industry Based on Russian Formalism Approach
Al-Farabi, a prominent Muslim philosopher and thinker of the 4 th century Hijri, made significant contributions to the philosophy of art, particularly in the realm of poetry. Al-Farabi's perspective on poetry echoes Aristotle's concept of "Mimesis," which emphasizes the re-creation of observed phenomena rather than mere imitation, resulting in the enjoyment of a new artistic creation. This viewpoint positions literary works as independent phenomena. This article sought to investigate the extent to which Al-Farabi's ideas aligned with formalism, given his influence by Aristotle. Employing a descriptive method and content analysis, the study drew on the insights of Russian Formalists, particularly regarding Mimesis (re-creation), to analyze Al-Farabi's artistic views on poetry. The examination encompassed several works of Al-Farabi, including "An Essay on the Rules of Poetry", "Poetry Collections", "A Treatise on Proportion and Composition", as well as poetic speeches from "Iihsa’ Aleulum", "Ara’ Ahl Almadinat Alfadhila", and "Fusul al-Montazaea". By scrutinizing the perspectives of experts, who considered ancient Greek critics, such as Aristotle, as formalists, alongside the views of Al-Farabi, a prominent figure in Arabic literary criticism, and by delving into Al-Farabi's own works and opinions, it became evident that formalism strongly influenced Al-Farabi's notions regarding the poetry industry. Keywords : Ancient Literary Criticism, Farabi, Aristotle, Mimesis, Formalism. Introduction In the realm of poetry, Farabi's approach has diverged from that of many other writers as he did not produce an extensive independent work on poetry criticism. Instead, his legacy comprises a reinterpretation of Aristotle's perspectives. If we can establish Aristotle's predominant stance on poetry, it can also be inferred as Farabi's prevailing approach. Esteemed authors, such as Jane Riesman and Wilfred Greene, among others, have asserted that "in classical art and aesthetics, there is substantial evidence indicating a preoccupation with form" (Risman et al., 2021, p. 110). Specifically referencing Aristotle, they note that in his "Butiqa", Aristotle has advocated for the arrangement of parts to form a harmonious whole or organism (ibid.). These statements about Aristotle suggest a formalistic inclination in his approach. Aristotle's emphasis on evaluating poetry based on internal textual criteria rather than external factors and his refusal to assign didactic value to poetry can be viewed as indicative of his formalistic perspective. Additionally, in the book "Philosophy of Aristotle's Art", Mohammad Zimran posits that Aristotle's concept of order corresponds to the proper arrangement of components later conceptualized as "form" (Zaymaran, 2009, p. 42). These studies underscore Aristotle's formalistic approach, prompting the question of the extent to which Farabi's reiteration of Aristotle's thoughts aligns with a formalistic interpretation. Therefore, this article aimed to elucidate Farabi's perspective and approach to art, particularly in the context of poetry. Materials & Methods A preliminary examination of experts' perspectives on Aristotle, ancient Greek criticism, and ancient Arabic criticism suggested that since Aristotle, as a representative of his era's criticism, was labeled a formalist and given that Farabi's ideas represented another iteration of Aristotle's works, it followed that Farabi's approach to poetry could be viewed through the lens of formalism. To thoroughly investigate Farabi's works and analyze his viewpoints within the formalist framework, we had to carefully scrutinize his writings and juxtapose them with Aristotle's approach to ascertain the alignment of Farabi's opinions. To achieve this, we employed a descriptive method-content analysis rooted in the principles of Russian formalism. The extracts from some of Farabi's works, including "al-Risalah fi Qavanin Sana’at al-Sho’ara", "Javami al-Sha’ar", "Risalah fi al-Tanasob va al-Ta’alif", as well as poetic discourses from "Ihsa al-Ulum" and "Ara Ahl al-Madinah al-Fadhilah", were meticulously examined to reveal and probe Farabi's viewpoints. In contrast to the prevailing tradition of studying literature, which often involves interdisciplinary connections with fields, such as history, sociology, and psychology, Russian formalism, which emerged in the early 20 th century, emphasized the distinct characteristics of literature (Makaryk, 2011, p. 198). Consequently, the fundamental tenets of their theory, such as literaryness and defamiliarization, were the primary focus of our discussion in this article. By considering the literaryness of the text in literary analysis and exploring the process of defamiliarization, we aimed to substantiate a formalist perspective. Research Findings According to Farabi, the creation of poetry involved two primary elements: Mimesis and Rhyme. Farabi posited that Mimesis forms the foundation of poetry with other elements serving to perfect the poem rather than adding more poetry to it. In the initial stage, Mimesis is achieved through imagination, which corresponds to semantic construction and other elements related to language construction aid in perfecting Mimesis. The literary form comprises semantic and linguistic constructions. Similar to Aristotle, Farabi offered a distinct explanation of how the literary form of poetry is shaped and how poetry acquires its unique character. Farabi contended that the human soul favors complexity over simplicity and comprehends meanings more effectively when presented in a different form. This distinct form of word combination is achieved through appropriate rhyme, tone, and rhythms, which intensify the transmission of imagination in speech. This section elucidated how the literary form was shaped according to Farabi and the significance of the literary form in the relationship between word and meaning or matter and form. From Farabi's perspective, the essence of a literary work lay in the creation of imagination and Mimesis, which, according to formalists, was akin to defamiliarization, a concept that represented an evolved form of what philosophers previously referred to as Mohakat. Discussion of Results & Conclusion 1) Firstly, Farabi's profound influence by Aristotle, who is considered the greatest commentator of, and secondly, Aristotle's formalist approach affirmed Farabi's approach as formalist. This conclusion was drawn from the insights of experts and the works of Aristotle and Farabi. In essence, both Aristotle and Farabi espoused a formalist approach. 2) The examination of Farabi's surviving works, such as "al-Risalah fi Qavanin Sana’at al-Sho’ara", "Javami al-Sha’ar", "Rasalah fi al-Tanasob va al-Ta’alif", "poetic discourses from Ihsa al-Ulum", and "Ara Ahl al-Madinah al-Fadilah", alongside the extraction of expressions and opinions about Farabi from various reliable sources, led to the discovery that Farabi indeed adopted a formalistic approach as indicated by his own writings and previous studies by expert researchers. 3) Upon careful examination of Farabi's viewpoints, it became evident that his moral, educational, and cognitive objectives for poetry did not diminish his attention to the structure and form of poetry. Farabi's detailed discussions on the language of poetry, Mimesis, the conditions and factors of artistic expression, imagination and rhetorical techniques, as well as the musicality of words, demonstrated that his focus on the epistemological functions and the impact and influence of the text and social factors aligned with formalism rather than contradicting it.
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