تحلیل ساختار روایی رمان های فریبا وفی بر مبنای رویکرد سارا میلز در سه سطح گفتمان، جملات و واژگان با تکیه بر پرنده من و رؤیای تبّت
آرشیو
چکیده
تجارب زنان و تفاوت آن با تجارب مردان، زمینه ساز شکل گیری رویکردهای مختلفی در زمینه پیوند زبان و جنسیت شده است. زنان و مردان در کارگرفتِ برخی ویژگی های زبانی گرایش های متفاوتی دارند و همین امر سبب تفاوت زبان آنان با یکدیگر می شود. در این پژوهش سعی می شود به شیوه توصیفی – تحلیلی به این پرسش اصلی پاسخ داد که در ساختار روایی رمان های فریبا وفی تفاوت میان زبان زنان و مردان در قالب شاخص های مدّنظر سارا میلز در سطح واژگان، جملات و گفتمان، چگونه نمود یافته اند؟ یافته ها حاکی از آن است که در بافت متنی این رمان ها، زبان زنان در هر سه سطح، مطابق با پیش بینی های مدّنظر سارا میلز است. ازآنجاکه نویسنده، زنی است که درباره زنان می نویسد، بسامد استفاده از واژگان مخصوص زنان در نوشتار وی فراوان است، هم چنین استفاده از تصویرگری دقیق، جزئی نگری، بهره گیری از واژگان جنسیتی، رنگ واژه ها، سوگندواژه ها، واژگان عاطفی و مانند این ها. زن های این رمان ها از تردیدنماها، تشدیدکننده ها و تقریب نماهای بیشتری استفاده کرده اند و با پرهیز از به کارگیری دُشواژه ها و استفاده از درخواست های غیرمستقیم، زبانی مؤدبانه را برای گفت وگوهای خویش برگزیده اند. بسامد قابل توجه جملات کوتاه، استفاده از نشانه های فرازبانی سه نقطه، توصیفی، ناتمام، محافظه کارانه و مشارکت گرا با مؤلفه های مدّنظر سارا میلز همخوانی دارد. در سطح گفتمان نیز تعدد شخصیت های زن، زاویه دید سوم شخص، متن روایی و راویگری نویسنده، اشاره به پیشینه خانوادگی، جایگاه اجتماعی زنان، اشاره به بحران های عاطفی و هویتی در زندگی زنان دیده شد. بسامد قابل توجه حضور شخصیت های زن در جریان پیشبرد روایات، نوستالژی، آداب و رسوم و خرافات، امید و انتظار از نمودهای مؤلفه های مورد بحث به شمار می روند.Narrative Structure Analysis of Fariba Vafi's Novels Based on Sara Mills' Approach at Three Levels: Discourse, Sentences, and Vocabulary, Focusing on My Bird and Dream of Tibet
The literary genre of the novel is one of the genres in which the different use of language has led to stylistic differences between male and female novelists. This stems on the one hand from differences in their personal and social experiences, and on the other hand from the gender differences and worldviews of these writers. Fariba Vafi, in her works, deals with the description of women, their place in society, and their attitude towards their own identity. The characters Vafi introduces sometimes lose their dominance in the social arena and display their damaged identities. Identity is Vafi's main concern in her novels. The novella My Bird is the most powerful contemporary novel in addressing the issue of women's identity. In her novels, especially My Bird and the Dream of Tibat, Fariba Vafi speaks of women who have not achieved a clear understanding of themselves and others; women who usually look at their surroundings with pessimism. Societal expectations of men and women in various domains lead to different social behaviors and also influence their linguistic behavior. Therefore, gender as a non-linguistic factor in male and female speakers creates extensive linguistic differences that can be examined and are noteworthy at three levels: vocabulary, sentences, and discourse.
Introduction
The novel, as a literary genre, exhibits stylistic differences between male and female authors due to variations in language use. These differences stem from disparities in personal and social experiences as well as gender and worldview. Fariba Vafi, in his works, portrays women, their societal roles, and their perspectives on identity. The characters she introduces often lose their dominance in social settings, revealing their fractured identities. Identity is the central concern in Vafi's novels. The short novel My Bird is one of the most powerful contemporary works addressing the issue of women's identity. In her novels, particularly My Bird and Dream of Tibet, Vafi speaks of women who have not achieved a clear sense of self or others—women who often view their surroundings with skepticism. Societal expectations of men and women in various domains lead to different social behaviors, which also influence their linguistic behavior. Thus, gender, as a non-linguistic factor, creates significant linguistic differences between male and female speakers, observable at three levels: vocabulary, sentences, and discourse.
Methodology
This descriptive-analytical study, using library resources, seeks to answer the main question:
To what extent do the stylistic components of "female characters' language" in Fariba Vafi’s novels align with Sara Mills' proposed components at the levels of "discourse," "vocabulary," and "sentences"?
Findings
The findings of this study reveal that female characters in Vafi's novels predominantly use standard language and rarely employ colloquial speech. One reason for this could be the social class of the women in these works, who are mostly educated and affluent. It must be acknowledged that Vafi has accurately crafted the language of his works in terms of standard and conservative usage, aligning with linguistic stereotypes of male and female language. On the other hand, a feminine atmosphere and spirit dominate these novels, which may stem from women's inherent tendency toward politeness in social behaviors, including linguistic behavior. Instead of using vulgar or highly offensive words—characteristics of male language—women in these works use less harsh and impolite words when necessary. Additionally, the use of colloquial vocabulary is minimal, clearly reflecting the influence of the author's gender on the narrative language.
Discussion
A comparison of the results indicates that the use of authoritative language by female and male characters is significant and aligns with linguistic stereotypes and Mills' proposed components. This is because women tend to use polite language, which limits their use of authoritative or intensifying forms. Vafi has paid attention to the gender of his characters in creating "authoritative language." Women in his novels are polite and "participatory" in their speech, rarely using commands or authoritative sentences. Statistical results related to women's language in the two novels show that, despite differences in the novels' themes, there is no significant variation in the use of gender markers, and the author maintains a relatively consistent frequency pattern.
Conclusion
In the discussed novels, a significant portion of the verbal actions and reactions of female characters arise from the cultural context of a patriarchal society. The women in these novels, due to low self-confidence resulting from living in patriarchal societies, use more hedges, intensifiers, and approximators. They avoid offensive words and opt for indirect requests, choosing polite language for their dialogues. Some of these words are related to biological distinctions and women-specific activities, while others are tied to women's particular concerns and preoccupations. The frequency of these words reflects the author's precise and distinctly feminine perspective, successfully creating a tangible and natural world and drawing feminine vocabulary from the lived experiences of women. The lexicon of feminine vocabulary in these novels primarily focuses on the emotional and psychological dimensions of women, followed by words related to physical and biological distinctions, as well as social and familial activities. Another characteristic of women's language in these novels is the use of imagery and attention to detail. In both works, approximately one-quarter of the total vocabulary used benefits from the characteristics of feminine language.
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