بررسی و تحلیل داستان های «حاجی مراد و زنده به گور» صادق هدایت بر اساس نظریه کارناوال میخاییل باختین
آرشیو
چکیده
بخش مهمی از نظریه منطق گفت وگوی میخاییل باختین را کارناوال به خود اختصاص داده اس ت. وی کارن اوال را در تضاد با جشن های رسمی کلیسا و با هدف براندازی مناسبات مقتدرانه و خشک مطرح کرد و معتقد است که پیدایی و گسترش کارناوال و فرهنگ برآمده از آن به واژگونی سیستم ارزشگذاری که بالاترین رتبه را به فرهنگ ممتاز رسمی می دهد، منتهی می شود. ویژگی اساسی رویکرد کارناوالی عبارت است از دوگانگی، چندآوایی و خنده. کاربست کارناوال در ادبیات داستانی پیچیدگی هایی دارد که تحلیل آن ها بر ژرفا و تازگی اثر می افزای د. برخ ی داس تان های کوت اه صادق هدایت از جمله «داستان حاجی مراد و زنده به گور» آثاری هستند که از قابلیت خوانش کارناوالی برخوردار می باشند. این قابلی ت، ژرف ای قل م صادق هدایت و انعط اف نظر ی ه باختین را حکایت می کند. تحلیل مؤلفه های کارناوالی با داستان های هدایت، ه دف اص لی پ ژوهش محس وب می شود. برای این منظور ابتدا به تبیین ادبیات کارناوالی و سپس به خلاص ه داستان و نهایت اً ب ه تحلی ل کارن اوالی این آثار می پردازیم. یافته های پژوهش در این زمینه بیانگر این است که در این دو داستان نمودها و مؤلفه های کارناوالی همچون طنز، خنده، مرگ و چندصدایی و همچنین شاخص های گروتسکی دیده می شود که در داستان زنده به گور نمود این نظریه نسبت به داستان حاجی مراد چشمگیر و پررنگ تر است.Study and analysis of the stories "Haji Murad and Buried alive" by Sadegh Hedayat based on Mikhail Bakhtin's carnival theory
IntroductionCarnival is one of the components of Bakhtin's dialogic theory. Carnival is a critical subculture that ridicules prevailing rituals, customs, and morals and prevailing norms. Bakhtin repeatedly reminds us that during carnival, people laugh at themselves, and this is where the humor of carnival comes into play. On the other hand, humor is one of the techniques of social and political criticism in society. Therefore, we can conclude that humor and carnival have a multi-directional relationship. Following the threads of humor, the blending of voices, the breaking of boundaries, and the inversion of roles in the works of Sadegh Hedayat allow us to look at them from a Bakhtinian perspective; Therefore, in this research, first, all the components of carnival are extracted from the stories "Haji Murad" and "Buried alive" by Sadegh Hedayat, and then we will explain and analyze the most important and frequent of them based on Bakhtin's thoughts, in order to reach an answer to these questions:-Are the stories "Haji Murad" and "Buried alive" by Sadegh Hedayat considered works with carnival elements?-What are the most prominent components of carnival in the stories "Haji Murad" and "Buried alive " by Sadegh Hedayat? Research MethodologyThis research was conducted based on a descriptive-analytical method and using library resources. DiscussThe Dictionary of Literary Criticism states: "Carnival refers to popular and public celebrations in which social classes are transformed. Clowns, kings, fools become wise, and saints are ridiculed. "Campus and hell, heaven and earth, good and evil, joke and seriousness, are mixed together, and the relativity of all claims is displayed with sweet humor" (Moqdadi, 1999: 389).Carnival is not separate from everyday life; carnival should not be considered an event that only occurs on holidays and special occasions; in short, during carnival, life itself is played out, and over a period of time, play becomes life. In fact, carnival is life itself presented in the form of a show. Among the most basic components of carnival, we can mention carnival polyphony, carnival humor, carnival folklore, carnival laughter, and so on. ConclusionConsidering Sadegh Hedayat's tense era, examples and instances of this theory can be seen in his stories. Components such as humor, death, laughter, folklorism, polyphony, etc. One of the components of Carnival is the discussion of dialogue and polyphony in the stories, through which the author refers to the expression of the characters' attitude and the treatment of their intellectual and spiritual atmosphere, as well as to the explanation of the intellectual atmosphere prevailing in the work. He provides the audience with the information needed to develop and expand the story without the direct intervention of the author; All dialogues have a simple and unadorned language in accordance with the characteristics of the characters in the story, whose tone and linguistic features are completely appropriate and compatible with the characters. On the other hand, the author describes their lives and problems by processing different characters with different thoughts and opinions. In the grotesque elements section, Sadegh Hedayat has mostly explained and described dark and disgusting spaces, among which the story Buried alive is in the first place compared to the story of Haji Murad. In the following, the creation of strange scenes and grotesque confrontations, grotesque caricatures, comic elements, grotesque atmosphere, etc. are seen in the stories; Because these matters require a comic atmosphere, while in most of the stories of the director, a violent, serious, and sometimes terrifying atmosphere and atmosphere prevails. The reaction of folk literature, through the boundary-breaking it creates between the main world and the secondary world (fantasy), turns the results of carnivalism, which involves the destruction of defined boundaries, onto itself.
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