هنرسازه های ترکیبی، مختص مختصات بلاغت فارسی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
بلاغت فارسی پس از اسلام، نخست از آبشخور قرآن و بلاغت عربی سرچشمه می گیرد و در ادامه، توأمان با ترجمه آثار حکمای یونانی، بلاغت اسلامی و به تبع آن بلاغت فارسی به طور عمیق تحت تأثیر آثار و بلاغت غربی قرار می گیرد. از این رو، هنرسازه های ادبی، خاصه ابزارهای زیبایی شناختیِ دانش بیان در بلاغت فارسی متأثر است از دستگاه بلاغی عربی و غربی؛ و یا دست کم مشترک با آن ها. اما با غور و وارسی سامان بلاغت و مداقه در صناعات ادبی فارسی درمی یابیم که گونه ای از این شگردها، یعنی هنرسازه های ترکیبی علی رغم وابستگی و هم بستگی با شگردهای بلاغی عربی و غربی، از استقلال و انحصار ویژه ای برخوردارند که مانند آن را در سایر دستگاهای بلاغی نمی بینیم. این جستار که با شیوه توصیفی تحلیلی نوشته شده است، می کوشد تا با بررسی شباهت های شگردهای دستگاه بلاغت فارسی با دستگاه های بلاغی عربی و غربی، نشان دهد که هنرسازه های ترکیبی مختص مختصات بلاغت فارسی است و سایر دستگاه های بلاغی محروم از این گونه از ابزارهای زیبایی شناسی اند. نتیجه این جستار تأیید می کند که بلاغت فارسی با توجه به قابلیت بازتابندگی عناصر فرهنگی و قومی شگرد کنایه و نیز دوگانه خوانی ابعاد لازمی و ملزومی آن، و همچنین به سبب مختصات ذاتی زبان فارسی در حوزه ترکیب پذیری، با امتزاج شگردهای منفرد، صناعات مستقل و منحصری می سازد که خاص بلاغت فارسی است و به نظر می رسد که در دیگر دستگاه های بلاغی (عربی و غربی) نشانی از آن نمی بینیم. البته این موضوع بیش از آنکه ادعایی باشد، دعوتی است از متخصصان حوزه های مزبور، که درنهایت، چه نظر نگارنده رد شود و چه پذیرفته، دستاورد جدیدی برای حوزه بلاغت محسوب خواهد شد.Combined Artworks, Specific to the Coordinates of Persian Rhetoric
After Islam appearance, Persian rhetoric first originates from the Quran and Arabic rhetoric, and later, by translating the works of Greek philosophers, Islamic rhetoric and accordingly Persian rhetoric is deeply influenced by Western works and rhetoric. Therefore, the literary works, especially the aesthetic tools of the knowledge of expression in Persian rhetoric are influenced by the Arabic and Western rhetorical manners; or at least they have some similarities. However, by considering the system of rhetoric and reviewing Persian literary industries, we find out that a type of these techniques, i.e. combined artworks, despite the dependence and correlation with Arabic and Western rhetorical techniques, is of special independence and monopoly. They have found that we do not see the same in other rhetorical manners. This survey, which is written in a descriptive-analytical way, tries to show that by examining the similarities between the methods of Persian rhetoric and Arabic and Western rhetorical manners, the combined artworks are specific to the coordinates of Persian rhetoric and other manners. The result of this research confirms that Persian rhetoric, due to the ability to reflect the cultural and ethnic elements of irony, as well as the double reading of its essential and necessary dimensions. Of course, this issue is more than a claim, it is an invitation from the experts in the aforementioned fields, which ultimately, whether the author's opinion is rejected or accepted, will be considered a new achievement for the field of rhetoric.
Extended Abstract
After Islam appearance, Persian rhetoric first originates from the Qur'an, and this book becomes a source of inspiration and the extraction of rhetorical rules. Factors such as justifying the challenge and proving Quranic rhetoric, the influence of non-Arabic works (Persian, Roman, Greek, and Indian) in Islamic culture, etc., provide the necessary prerequisites for motivating Muslim rhetoricians and formulating rhetorical opinions. But over time, especially from the 2nd century of Hijri onwards, with the translation of the works of Greek philosophers, Islamic rhetoric is strongly influenced by it, and especially it imposes rhetorical and logical standards on classical rhetoric. During this period, some of the works of Greek philosophers such as Plato and Aristotle were also translated into the official language of that time, i.e. Arabic, and left a positive impact in the field of Islamic rhetoric. With these explanations, what is certain is that Persian rhetoric after Islam was formed and matured under the influence and under the influence of Arabic (Islamic) and Greek (Western) rhetoric. One of the manifestations of this influence is the presence of common literary works, especially the aesthetic tools of expression in Persian rhetoric.
However, by considering the system of rhetoric and reviewing Persian literary industries, we find that a type of these techniques, i.e., hybrid art structures, despite the dependence and correlation with Arabic and Western rhetorical techniques, is of special independence and monopoly. They have found that we do not see the same in other rhetorical manners (Arabic and Western). Of course, this issue is more than a claim, it is an invitation from the experts in the aforementioned fields, which in the end, whether the author's opinion is rejected or accepted, is considered a new achievement for the field of rhetoric. In more precise terms, if there are no combined works of art in the Western and Arabic rhetorical system, while the author's opinion is correct, a special and different aspect of the climate of Persian rhetoric will be displayed, and if the aforementioned techniques are in the Western rhetorical system, Arabic and... can be observed, opening a new horizon for new and comparative studies in this field (exploring the structure of images of rhetorical manners of other languages).
This essay, which is written in a descriptive-analytical way, tries to show that by examining the similarities of Persian rhetorical manners with Arabic and Western ones, that the hybrid art forms are specific to the coordinates of Persian rhetoric and the rhetorical manner of other cultures. They are deprived of this kind of aesthetic tools.
Despite the differences between Persian, Arabic, and Western rhetorical manners, in general, these manners are common in using some literary techniques, especially the individual artifices. The point to be noted in this regard is the relative similarity and independence of strategies in different rhetorical manners; That is, literary elements such as simile, metaphor, etc., have an almost similar and independent presence in the geography of Western, Arab, and Persian rhetoric, and each method has an aesthetic function, separate and apart from other methods. However, in the context of Persian rhetoric, in addition to being separate and independent, these techniques also have a mixed and mixed quality, and this is the dividing line between Persian rhetoric and Arabic and Western rhetoric.
Considering the ability to reflect the cultural and ethnic elements of irony, as well as the double reading of its necessary and necessary dimensions, and also due to the inherent coordinates of the Persian language in the area of combinability, with the combination of individual techniques, independent industries and It creates a uniqueness that is specific to Persian rhetoric and we do not see a sign of it in other rhetorical manners (Arabic and Western). It is the existence of these art structures that ultimately causes the formation of the Indian style, and the construction of many images of this style have been created with the help of these art structures, and basically the analysis of the structure of the Indian style images (and many other images) styles without using these combined tools will be better and incomplete.
At the end of this research, it is necessary to repeatedly acknowledge that the topic of this survey (the relevance of composite works of art to Persian rhetoric) is more than a claim, it is an invitation to experts in the field of rhetoric in other languages and an opening of horizons. New for new and comparative studies in this field (exploring the structure of images of rhetorical manners of other languages).
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