تحلیل کنش گفتار و گشتارهای آن در معراج نامه های فارسی با رویکرد اقتباسی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
معراج نامه ها متونی روایی هستند که به طور اخصّ به سیر ملکوتی پیامبر (ص) اطلاق می شوند. پدیدآورندگان این متون، آثارشان را با تقلید یا اندکی تغییر از متون متقدّم سروده اند. در این مقاله، با رویکرد کنش گفتار سرل و بیش متنیّت ژنت، و روش تحلیلی توصیفی، به بررسی تأثیر و تأثّر ساختاری و زبانیِ معراج نامه ها می پردازیم. فرض بر این است که ارتباط این متون، بیش متنی است و راویان متأخّر به صورت آگاهانه در سرودن اشعارشان به راویان متقدّم نظر داشته اند. با بررسی 26 پی رفت مشابه به این نتیجه رسیدیم که آثار سنایی و خاقانی با 17 شاعر تابع، پیش متن سایر متون بوده و سنایی، قوّامی، اخسیکتی و مولانا تابع دیگر شاعران نبوده اند. تغییر نسبت به تقلید در شاعران متأخّر بیشتر بوده، گشتار کمّی افزایش از نوع گسترش زیبایی شناختی و گشتار کاربردی از نوع کیفی درونی بسامد بالاتری داشته است. متنوّع ترین کنش های گفتاری از آنِ هلالی و پربسامدترین مربوط به خواجو است. دلایل بسامد بالای کنش های گفتاری در پی رفت های مشابه عبارت اند از: بیان جزئیّات، افزودن آرایه و اپیزود کنشی و کنشگران، توصیف، طرح مباحث تعلیمی و اخلاقی، ایجاد تقابل بین دو مفهوم یا شخصیت، گفت وگوسازی و استفاده از شخصیت های کمکی.The Analysis of Speech Act and its Transformation in Persian Mirajnamehs based on Borrowing Approach
Mirajnamehs are narrative poetry that refer specifically to the Ascension of the Prophet Muhammad (PBUH). The creators of these poetic texts have composed their works by imitating or slightly changing the prior ones. Following the approach of Searle’s speech act and Genet’s hypertextuality, the analytical – descriptive method, and library research tools, this study explores the structural and linguistic interplay of Mirajnamehs. It was hypothesized that the poetic texts were hypertextually connected and the contemporary narrators consciously followed the prior narrators in composing their poems. Examining 26 similar sequences indicated that not only the works of Sanai and Khaqani with 17 subordinate poets were hypotexts of other texts, but also Sanai, Qawwami, Akhsikati and Molana were not subordinate to other poets. Moreover, it clarified that contemporary poets had a greater tendency for the change rather than the imitation. In addition, it revealed that the quantitative generative transformation of the aesthetic expansion type as well as the applied transformation of the qualitative internal type had a higher frequency. Furthermore, it showed that the most diverse speech acts were those of Helali and the most frequent ones belonged to Khajoo. All things considered, detailing, adding figures of speech and act episodes and actors, description, educational and moral discussions, creating a contrast between two concepts or characters, creating dialogues and using auxiliary characters were the reasons for the high frequency of speech acts in similar sequences.
1. Introduction
The idea of ascension has been in the human's mind since the beginning of his creation. After the emergence of religions, it was accepted as a common belief among the followers of all religions that human came from the sky and returns to the sky. Among Muslims, Miraj only refers to the ascension of the Prophet (PBUH). During the history of Islam, based on the prophet's Miraj, there have been travelogues called Merajnameh.
Research Question(s)
The study aims to answer the following research questions:
1. How are the Mirajnamehs linked to each other?
2. To what work each Merajnameh owes its narrative and linguistic structure , and in this regard, what transformations, sequences and similar or different statements have been used by each of them ?
2. Literature Review
Despite the vastness of the topic of Miraj in the works of Persian poetry, no background has been found in the subject area of this article. The present article is considered to be innovative because it is the pioneer in analyzing and classifing a group of classical Persian texts ( poetical Merajnamehs) from the perspective of new theories
3. Methodology
Text relationships are divided into five categories from the perspective of Genet's transtextuality: intertextuality, paratextuality, metatextuality, architextuality, and hypertextuality. Hypertextuality is an approach that deals with the link between two texts and the extent to which one is derived from the other in terms of inspiration. Texts' derivation is divided into two general categories : imitation and adaptation.
Changing texts to create new works is called transformation. The concept of transformation in this type of relationship is the changes that occur in the hypertext compared to the hypotext. Transformation is divided into two types: quantitative and pragmatic. Quantitative transformation is the change in the volume of the hypotext (expansion or reduction) (Genette, 1997, p.309). The reduction of the text is done in three ways: Excision. In this method, a part of the content of the hypertext is surgically removed. Cancision: The author removes a part of the text in a manner similar to carving a sculpture for aesthetic and stylistic purposes. Summary: In this method, two methods of excision and carving are used simultaneously. The expansion of the text is also done in three ways: extension, expansion and augmentation (Genette, 1997, pp. 229-262).
The pragmatic transformation includes changes in many of the main themes of the story, and it itself is divided into motivational transformation, qualitative transformation and value transformation. The proposed motivation in the hypotext may be mentioned in the hypertext without changing it. In another case, the motivation in the hypotext is removed. In the third mode, a motivation in the hypertext may take the place of the motivation in the hypotext (Genette,1997, pp. 324-330). The value transformation is also divided into three categories. In the first mode, hypertext is revalued. In this way, the character of the story reforms the value system related to behaviors and motivations in a better way. In the second mode, the text becomes devalued when the hero of the story is degraded from her heroic greatness , or when a literary work mocks the previous work. The third mode is transvaluation in which the text adds value to what was worthless in the hypotext or devalues something valuable (Genette, 1997, pp. 343-354). In the intermodalization transformation, a variation occures in the internal function, the method of narration and presentation without changing the genre. But in the intramodalization transformation, narration may turn into drama and drama into narration (Genette, 1997, p. 227).
John Searle classified the speech acts along with their codes as follows: 1. Assertive/Representative: To express an event or report a process; 2. Directive: To express a request, issue an order, express a suggestion or raise a question; 3. Expressive : To express people's feelings and mentality towards events; 4. Commissive: to express the speaker's commitment to practical realization in the future; 5. Declaration : To name the notification, event.
4. Results
Examining 26 similar sequences indicated that not only the works of Sanai and Khaqani with 17 subordinate poets were hypotexts of other texts, but also Sanai, Qawwami, Akhsikati and Molana were not subordinate to other poets; moreover, it clarified that contemporary poets had a greater tendency for the change rather than the imitation. In addition, it revealed that the quantitative generative transformation of the aesthetic expansion type as well as the applied transformation of the qualitative internal type had a higher frequency. Furthermore, it showed that the most diverse speech acts were those of Helali and the most frequent ones belonged to Khajoo. All things considered, detailing, adding figures of speech and act episodes and actors, description, educational and moral discussions, creating a contrast between two concepts or characters, creating dialogues and using auxiliary characters were the reasons for the high frequency of speech acts in similar sequences.
تبلیغات
