بررسی تکرار در قصه های صمد بهرنگی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
صمد بهرنگی (1318-1347) از پایه گذاران ادبیات کودک و نوجوان، در طول حیات کوتاه خود بیش از بیست قصه برای کودکان و نوجوانان به رشته تحریر درآورد. افزون بر آن چندین مقاله درباره مسائل تربیتی و اجتماعی ازجمله آثار به جامانده از اوست. با توجه به تسلطی که به شیوه های آموزش و سبک های یادگیری دانش آموزان داشت، از ابزار قصه در طول دوران معلّمی خویش بهره جست. پیرنگ اصلی آثارش از جهان بزرگسالان گرفته شده، اما گویش متعلق به دنیای کودکان است. یکی از ویژگی های اصلی افسانه های عامیانه و ادبیات کودکان، عنصر هنرآفرین تکرار است. بهرنگی با بهره گیری از عنصر زایای تکرار یا دوگان سازی، گونه تازه ای از قصه های فرهنگ عامه را آفرید که ضمن بیان اندیشه های تحول خواهانه در لباس تمثیل، به شکلی آگاهانه به منظور مطالعه و رشد آگاهی و پرورش تفکر انتقادی کودکان در نظر گرفته شده بود. در این مقاله کاربرد انواع تکرار (کامل افزوده و ناافزوده، پژواکی، فاصله دار و ناقص) در سراسر قصه های بهرنگی به روش تحلیلی آماری بررسی شده است و به دلیل بسامد بالا (777 مرتبه با 260 گونه در 17 قصه) می توان آن را به عنوان مشخصه سبکی او در نظر گرفت که افزون بر کارکرد زیبایی شناختی، در القای اندیشه های نویسنده به مخاطبان خاص خود (کودک و نوجوان) و اثرگذاری بر تربیت و رشد شخصیت آنان نقش به سزایی دارد.آشنایی با جزئیات و مختصات یکی از عناصر سازنده و مؤثر این قصه ها از دستاوردهای این پژوهش است که می تواند برای نویسندگان جوان در جهت اعتلای ادبیات کودکان ایران راه گشا باشد و بر نظرگاه پژوهشگران این عرصه دریچه ای تازه بر واکاوی آثار و تألیفات برجسته و ماندگار این حوزه بگشاید. همچنین جدا از نقش قصه به عنوان یکی از ابزارهای تربیتی، تسلط بر مؤلفه های ساختاری قصه هایی از این دست می تواند در آموزش زبان فارسی به غیرفارسی زبانان و یا دانش آموزان دو زبانه ایرانی در سال های نخستین ابتدایی بسیارکارآمد باشد.Analyzing Repetitive Narrative Patterns in Samad Behrangi’s Stories
Samad Behrangi (1939-1968) was a pioneering figure in children's and adolescent literature. During his teaching career, he not only leveraged his mastery of teaching methods and learning styles, but also created a new type of popular stories. These stories used the generative element of repetition to convey revolutionary ideas in the form of allegory. This technique was consciously employed to cultivate children's critical thinking and awareness.This article analyzed the use of complete repetitions, spaced echoes, and incomplete echoes throughout Behrangi's stories using statistical methods. The high frequency of 777 instances across 260 types in 17 stories suggested that repetition was a core stylistic component of his writing. Beyond its aesthetic function in conveying the author's ideas, this repetitive narrative patterning also had a significant impact on the development of the reader's personality.Identifying the details and dynamics of this constructive and effective narrative element can open new avenues for young writers seeking to advance Iranian children's literature. It also presents opportunities for researchers to deepen their analyses of works in this field. Additionally, mastering the structural components of such stories can prove highly effective in teaching Persian to non-Persian speakers or Iranian bilingual students in the early years of elementary school, beyond just the role of stories as educational tools. Keywords: Samad Behrangi, Story, Repetition, Aesthetics, Style.IntroductionOne of the defining features of folk tales and children's literature is the artistic use of repetition. Repeating certain words and phrases, particularly in dialogue, creates a fluid and intimate connection with the audience, allowing them to deeply engage with the unfolding narrative. Leveraging this generative element of repetition or dualization, Samad Behrangi pioneered a new style of popular storytelling that conveyed transformative ideas through the medium of allegory. This conscious narrative technique was employed to cultivate children's awareness and critical thinking.The key questions this research aimed to address were:- Is the frequency of repeated and compound words significantly high across Behrangi's story collection?- What are the dominant structural patterns of repetition utilized? - What are the underlying reasons and motivations for Behrangi's use of repetitive narrative elements?- Can repetition be considered a core structural and stylistic component of his storytelling approach?By investigating these aspects, the study sought to uncover the nuances and dynamics of Behrangi's innovative use of repetition as a literary device to shape the genre of children's literature in Iran. Materials & MethodsThis study employed a statistical analysis approach to investigate the use of complete repetitions, spaced echoes, and incomplete echoes throughout Samad Behrangi's stories. Beyond their aesthetic function, these repetitive narrative elements played a significant role in conveying the author's ideas to his target audience of children and adolescents, thereby influencing their education and personality development.Behrangi consciously utilized the generative device of repetition to create a new style of popular storytelling. The story collection analyzed in this research included the following titles: Oldoz and the Crows, The Pigeon-Fancier Bald, Oldoz and the Talking Doll, The Boiled Beet Salesboy, The Story of the Snowflake, The Old Woman and Her Golden Chick, The Story of Mad Dumroll, The Legend of Love, One Peach and a Thousand Peaches, Kouroghloo and Bald Head Hamzeh, The Little Black Fish, Talchoun, Nameless, Habit, Orange Peel, Adi and Budi, Looking for the DestinyBy analyzing the patterns and frequencies of Behrangi's use of repetitive narrative structures across this representative body of work, the study aimed to elucidate the role of repetition as a core stylistic and structural element in his pioneering approach to children's literature. Research FindingsBased on the statistical analysis presented in Charts 1 and 2, the most prevalent type of repetition in Behrangi's stories was complete repetition, accounting for 74.23% of the total instances (193 cases, 478 occurrences). Within this category, non-added complete repetition (307 repetitions, 111 cases) made up the largest share at 42.96%. The highest diversity in this group was observed in the phonetic and adverbial subcategories. Incomplete repetition ranked second with 37 cases and 245 occurrences comprising 14.23% of the total. The word "Naneh" (meaning "mother") as the most frequently repeated instance within the incomplete repetition category was used 151 times. Given Behrangi's emphasis on the importance of children's education, this recurrent use of the word "Naneh" was believed to underscore his thematic focus on the mother's role in shaping and developing the child's personality. Overall, the data revealed a significant prevalence of complete repetition, particularly the non-added variety, throughout Behrangi's stories. This strategic use of repetitive narrative structures suggested that repetition played a central structural and stylistic role in his pioneering approach to children's literature. Discussion of Results & ConclusionAnalyzing literary works through diverse approaches can deepen our understanding of texts. One such approach is to examine the authors’ stylistic choices, including the quantity and types of words, terms, and phrases used in their writings. Vocabulary and word formation processes, such as repetition, are among the most crucial morphological features to consider. Repetition is a prevalent device found in myths, folktales, and children's literature, serving as one of the defining characteristics of these narrative forms. Repetition of specific words and sentences, particularly in dialogues, can create a fluid and intimate connection with the audience. As readers or listeners engage with the text, they are drawn into the rhythm and flow of the repeated elements, fostering a closer connection to the unfolding events and experiences.As linguist Ferdinand de Saussure theorized, language is a coherent system, in which each component is interdependent and derives its value from its relationship to the whole. Building on this, narratologist Tzutan Teodorf proposed that all stories possess inherent grammatical structures. From this perspective, when repetitive linguistic units, such as words or phrases, are employed within the narrative components, they can be understood as contributing to the overall coherence and cohesion of the text. The current study investigated the effect and linguistic function of repetition in the context of Samad Behrangi's stories, which were primarily aimed at child and adolescent audiences. By analyzing the prevalence and patterns of repetitive structures in Behrangi's work, this research shed light on how the author's strategic use of repetition shaped the narrative experience and potentially influenced the education and personal development of his young readers.Storytelling, tracing back to the origins of human civilization, has long been one of the most common means of transmitting experiences and knowledge. In the history of Iranian children and young adult literature, Samad Behrangi stands out as one of the most influential figures in creating new stories inspired by ancient legends.If we consider the power of literary style to be shaped by both aesthetic elements and the syntactic potential of vocabulary, the narrative structure of Behrangi's stories can reveal that one of his distinctive stylistic components is the use of repetition within the context of tales intentionally written for children and adolescents.Behrangi's strategic choice of specific vocabulary and frequent word combinations sometimes imbued his stories with a rhythmic quality and at other times gradually aligned the reader's fluid mindset. By employing the generative element of repetition or duplication, Behrangi crafted a new genre of popular fiction that, akin to the works of Hans Christian Andersen, conveyed transformative ideas in the form of allegory with the conscious aim of cultivating children's awareness and critical thinking. Furthermore, the remarkably high frequency of the repetition process (777 occurrences) across 260 distinct repetitive types, predominantly in the form of complete repetition within Behrangi's 17 stories, stood as a hallmark of his approach to word and phrase selection in narrative construction. This stylistic technique served not only an aesthetic function, but also as an effective means of conveying the author's ideas to his target audience of children and adolescents, thereby stimulating their critical thinking, idealism, and intellectual development. This research endeavor, which delved into the details and coordinates of one of the constructive and impactful elements of Behrangi's stories, can pave the way for young writers to enhance Iranian children's literature, open new avenues for researchers in this field, and provide a useful tool for teaching Persian to non-native speakers or bilingual Iranian students. Additionally, the study has identified new types of repetition, which the authors have categorized as complete repetition (added to the beginning and middle of the base word, added to the middle and end of the base word) and two-sided meaningful incomplete repetition.
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