اقتباس و برگرفتگی در نسخه های عبری و فارسی دوره صفوی با رویکرد ترامتنیت ژرار ژنت (مطالعه موردی: بهرام نامه 1112 ه.ق. و هفت پیکر 1076 ه.ق.) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
بهرام نامه به عنوان اثری فارسی-عبری، متجلی هنر قوم یهود در بستر هنر ایران می باشد. این اثر برگرفته از نسخه فارسی هفت پیکر قرن11ه.ق. بوده و با انتخاب و تغییر برخی نظام های نشانه ای خاص در آن، نسخه اقتباسی بهرام نامه خلق شده است. مساله، علت بازآفرینی و اقتباس نسخه عبری هفت پیکر از نسخه فارسی آن در دوره صفوی می باشد. هدف، دست یابی و تشخیص نوع دگرگونی ها در بیش متن بهرام نامه است و پرسش ها عبارتند از: 1) در فرآیند برگرفتگی، تغییر کدام یک از نظام های نشانه ای در نسخه عبری، منجر به تغییر معنا شده است؟ 2) دو نسخه فارسی و عبری هفت پیکر چه تفاوت هایی با هم دارند؟ بررسی بهرام نامه به همراه پیش متن های موجود می تواند خلأ مطالعاتی در این زمینه را پر نماید. این پژوهش توصیفی- تحلیلی و تطبیقی بوده و دو نسخه مد نظر را با رویکرد ترامتنیت ژرار ژنت بررسی نموده است. روش گردآوری اطلاعات نیز به صورت کتابخانه ای (فیش برداری) و مشاهده می باشد. بر اساس نتایج به دست آمده بهرام نامه با گذار از بینامتنیت به بیش متنیت چیزی بیش از تقلید یا بازتولید متن را نشان می دهد. این کتاب، هفت سلوکِ یاد شده در شعر نظامی را تغییر داده و با مشابهت سازی صوری از داستان هفت گنبد، تمثیلی از دین موسی و آیین یهود را نشان می دهد؛ یعنی از هم حضوری شعر نظامی به اقتباس رسیده است. نشانه ها، گاه، از نوع ارجاع به یهودیت بوده و گاه، نقل قولی از نظامی. لذا، این متن مصور در چرخش مداوم از اسلام به یهودیت و بالعکس در نوسان بوده و گونه غالب تغییرات، جایگشت است.Adaptation and Derivation in Hebrew and Persian Manuscripts of the Safavid Era through Gerard Genet's Transtextuality: Bahram-Nameh (1112 AH) and Haftpeikar (1076 AH)
Adaptation and Derivation in Hebrew and Persian Manuscripts of the Safavid Era through Gerard Genet's Transtextuality: Bahram-Nameh (1112 AH) and Haftpeikar (1076 AH)As a Persian Hebrew work, Bahram-Nameh represents Jewish art in the context of Iranian art. This work is derived from a Persian manuscript of Haftpeikar and by choosing and changing some special sign systems in it, an adapted manuscript of Bahram-Nameh was created. The problem is the reason for the re-creation and adaptation of the Hebrew manuscript of Haftpeikar from its Persian manuscript in the Safavid era. The goal is to achieve and identify the type of transformations in the Bahram-Nameh hyper textual. Questions: In the derivation process, what sign systems were changed or removed in the Hebrew manuscript that led to a change in meaning? what are the differences between the two Persian and Hebrew manuscripts of Haftpeikar? Examining Bahram-Nameh together with the available pretexts can fill the void of studies in this field. The statistical population includes paintings of the Haftpeikar section of the Persian manuscript of Khamsa of Nizami in 1076 A.H. and the paintings of the Hebrew manuscript named "Bahram-Nameh" belonging to 1112 A.H. The images of the paintings of both manuscripts are available on the website of the British Museum. The study sample also includes seven paintings from both books called Seven Places. This research is descriptive-analytical and comparative and has examined the two manuscripts in question with the approach of Gérard Genets’ Intertextuality. The method of collecting information is also in the form of a library (recording) and observation. In Iran, much research has been done regarding adaptation, but so far Persian-Hebrew works have not been examined with this approach. Outside of Iran, there have been researches about Persian-Hebrew manuscripts and most of them have been published in Hebrew, but none of them are from the point of view of derivation and adaptation. In this article, we are faced with the adaptation of the tradition of Jewish illustration from Iranian paintings and after that with the literary pre-text, so it is also a cross-cultural study and the formulation of the research has several different sign systems. One is literary (the text of Haftpeikar of Nizami) and the other is pictorial, which includes illustrations of the Persian and Hebrew manuscripts and the Lampstand of Menorah. The paintings of the Hebrew manuscript could not be created without a visual pretext, i.e. the pictures of the Persian manuscript could not be created and it can be said that the relationship between these two is based on pretext because the number of figures, the totality of the work and the creation of space all confirm this issue. On the other hand, the illustrations of the Persian manuscripts are also taken from the literary text of Khamsa of Nizami. In its heart, the Hebrew manuscript contains references to the Menorah candlestick, so this Lampstand is also a pretext for the Hebrew manuscript. Based on the acquired results, Bahram-Nameh shows something more than the imitation or reproduction of the text by transitioning from intertextuality to hypertextuality. This book has changed the seven conducts mentioned in Nizami's poetry and by simulating the appearance of the Haftgonbad story, it shows an allegory of the religion of Moses and the Jewish religion, which means it has been adapted from the coexistence of Nizami's poetry. The signs are sometimes a reference to Judaism and sometimes a quote from Nizami, so this illustrated text fluctuates in a continuous rotation from Islam to Judaism and vice versa, and the dominant type of change is Transposition. The adaptation in the Hebrew manuscript of Haftapeikar was formed in cultural-linguistic and international research, following the connection between two different Iranian and Jewish communities during the Safavid era. In this study, the difference between two hypertexts was investigated. In the first step, it was determined that Bahram-Nameh has a literary pretext of Khamsa of Nizami and a pictorial over text of Haftpeikar (11th century A.H.). By examining the cases considered in the collection of studies, it was determined that the Hebrew text related to the Persian manuscript of intertextuality is the dominant form of transposition. The changes that have been made in some symbolic systems of the paintings of Haftpeikar have led to huge changes and transformations in the second adapted and hypertextual work (Bahram-Nameh). Most of these transformations are related to the replacement and displacement of the days of Friday and Sabbath in the Hebrew text compared to the Persian text because in this way we encounter the exchange between the images of the Bahram-Nameh and the Menorah candlestick as a symbol of Judaism. This study is interdisciplinary, i.e. between literature, painting, and religion. The second hypertext (Hebrew manuscript) was produced based on the changes made in the Iranian manuscript and accordingly the literary text of Khamsa of Nizami. These changes are the result of a change in the text of Haftpeikar Khamsa of Nizami, so the literary text of Haftpeikar Nizami is a pretext for Bahram-Nameh. The creation of the illustrations of the Hebrew manuscript has been made possible in such a way that if it is examined with the criteria of Genets’ theory, in terms of quantity and size, it has been reduced in size compared to the Persian manuscript, which can be expressed in terms of external structure and appearance. From a qualitative point of view, the Hebrew manuscript has changed. Also, there was an intertextual relationship between Bahram-Nameh and Menorah paintings as a symbol of Judaism, and due to this influence, the style of the works has changed. The identification and replacement of the seven stages of conduct and the seven places with the seven branches of the Menorah and the seven planets has been done, and following that and in a broader sense, the Nizami mystical conduct has been oriented towards Jewish mysticism. These changes have occurred in the painting tradition of Iranians, and therefore, the art of Jews residing in Iran has tended to be hidden among Iranian art and culture. In the adapted work of Bahram-Nameh, the confusion of the arrangement of the images itself means an order in the Jewish religion, which, in accordance with the Iranian hypertext, has an unusual expression to achieve enlightenment and transcendental truth. In this study, the relationship between two hypertexts is based on the influence system. In the Hebrew manuscript, we have a movement from intertextuality to hypertextuality. On the surface, the Hebrew manuscript is depicted exactly according to the pentagram and tells the stories of Bahram Gur, but on the inside it has references to the Jewish tradition. The number seven is sacred in Islamic and Jewish thought and is a level of perfection and excellence. On the surface, the Hebrew manuscript is depicted exactly according to the pentagram and tells the stories of Bahram Gur, but on the inside it has references to the Jewish tradition. Therefore, by dealing with authentic Iranian stories and by producing the manuscript, the artist has pursued a goal, which is a metaphorical comparison and expression of Moses and the Jewish religion, which reminds the audience secretly and with implicit concepts. According to Genets’ theory of intertextuality, among the four possibilities of intertextuality (quotation, allusion, reference, and plagiarism) and six hypertextual possibilities, co-presence and overlap are both present. A series of Jewish religious elements have been formed in the context of Iranian art and literature, which has led to the change of Nizami's poetry. In this way, the Persian-Hebrew text of Haftpeikar has been in constant rotation from Islam to Judaism and vice versa, and thus the gender and nature of the images have changed compared to the text and writing of Khamsa of Nizami.
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