طبقه بندی تصویرهای بخش پهلوانی شاهنامه بر پایه نظریل تصویرشناسی ادبی محمدرضا شفیعی کدکنی و نظریه سینمایی ژیل دلوز (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هدف پژوهش حاضر خوانش و دسته بندی تصویرهای بخش پهلوانی شاهنامه برپایه دو دیدگاه ادبی و سینمایی است: دیدگاه محمدرضا شفیعی کدکنی و نظریه سینمایی ژیل دلوز. وجه مشترک در هر دو نظرگاه مسئله وجود حرکت و زمان در تصویر است. جستار پیش رو با بهره گیری از یک نظریه ادبی و یک نظریه سینمایی مدرن به طبقه بندی دیگری از تصویرهای شاهنامه دست یافت. براین اساس انواع تصویر عبارتند از تصویرهای 1- بلاغت مبنا. 2- روایت مبنا. 3- زبان مبنا. 4- کنش مبنا. 5- گفت و گو مبنا. دسته بندی این تصویرها در دو گروه حرکت و زمان نتیجه نهایی جستار پیش روست. روش پژوهش بر بنیان مطالعات بینارشته ای و به شیوه تطبیقی تحلیلی است.Classifying the Cinematic Images in the Heroic Age of Ferdowsi’s Shahnameh: A Deleuzian Reading
Informed by Gilles Deleuze’s “cinematographical theory” and Mohammad-Reza Shafiei Kadkani’s literary opinions on imagery, the present article endeavours to read and classify the images in the heroic age of Ferdowsi’s Shahnameh. The common ground between Deleuze and Kadkani is movement and time. This study categorises the images into two groups, namely, movement and time, and five categories: 1) rhetoric-based, 2) narrative-based, 3) language-based, 4) action-based, and 5) dialogue-based. This comparative-descriptive research locates itself at the crossroads of interdisciplinary studies. Extended Abstract1. IntroductionGilles Deleuze, by analysing the contemporary and classical cinema of Europe and America, and Mohammad-Reza Shafiei Kadkani, by exploring the fourth-century Persian poetry, investigated the creation of movement and time. By pinpointing the creation of movement and time in Ferdowsi’s Shahnameh, this study aims to answer the following questions: What are the effective criteria in the cinematic-literary structure of the images in Ferdowsi’s Shahnameh, in the light of Deleuzian “cinematography” and Kadkani’s literary opinions? And how can a new categorisation of images be in accordance with movement and time? The present study employs Deleuzian theories and Kadkani’s opinions to identify, extract, and categorise the cinematic images in Ferdowsi’s Shahnameh.2. MethodologyInformed by interdisciplinary studies, this comparative-descriptive research explores movement and time in three steps: first, it identifies the literary techniques employed in the creation of movement and time in the heroic age of Ferdowsi’s Shahnameh in accordance with Shafiei Kadkani’s literary opinions; second, it comparatively analyses and correlates the data in the light of Deleuzian “time-image” and “movement-image” theories; and third, it categorises the images in accordance with movement and time.3. Theoretical FrameworkThis study is informed by Deleuzian theories and Kadkani’s opinions on movement and time in images. Image, according to Kadkani, is a combination of colours, shapes, meaning, movement, and time. In the same line, for Deleuze, an image has movement and time. A montage is the bridge between movement-image and time-image. In this respect, the present study categorises the images of the heroic age of Shahnameh in two steps: first, it categorises the images into five categories: 1) rhetoric-based, 2) narrative-based, 3) language-based, 4) action-based, and 5) dialogue-based; and second, it places the images into two groups: movement-image which includes rhetoric-based, language-based, and action-based images, and time-image, which includes narrative-based and dialogue-based images.4. Discussion and AnalysisOne can trace the history of movement and image in Persian literature to Unsuri, the tenth-century poet who explicitly mentions movement and image. In his analysis of images in Ferdowsi’s Shahnameh, Kadkani mentions multiple factors which contribute to the creation of movement in images, such as similies and short metaphors, image-content correlation, poetic hyperbole, horizontal/vertical image moderation, epithets, colours, brevity, image compression, verbiage, and time. In movement-image, a significant factor in the passage of time, according to Deleuze, is the hero’s ability to act; the image is in no case bound to the present time and has a certain temporal density. In time-image, the image has a mixed sense of the past and the future, which has no correlation with actuality. In addition, the present time moves between the past and the future. 5. ConclusionTime is the centre of movement-image and time-image. According to Deleuze, time-image is a trip to the past, as a mission to regain the destroyed identity after WWII. Contrary to Deleuze, Ferdowsi constantly interacts with the smooth movement of the world amid incidents. This temporal perspective locates itself at the crossroads between the forward momentum of time and the “immortal time.” At this crossroad, in an attempt to regress to the past, humans criticise the socio-historical ideology of the previous social structure and their understanding of the present. 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