تحلیل شخصیت های منظومه ویس و رامین بر اساس الگوی کارپمن (با تأکید بر شخصیت های ویس، رامین، موبد، دایه) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
مثلث کارپمن که توسط استیون کارپمن طراحی شده است، الگویی روان شناختی بوده و بیانگر عملکرد افراد در یک مثلث روانی درام است. در هر ضلع مثلث کارپمن، یک نقش وجود دارد که افراد درطی تعامل با یکدیگر و با جابه جایی در نقش های سه گانه، در این مثلث، باقی می مانند. نقطه مقابل مثلث درام کارپمن، مثلث تد است که شخصیت های سه گانه با آگاهی ازطریق فکر و رفتار خود، از مثلث درام نجات می یابند. در این مقاله، شخصیت های اصلی منظومه ویس و رامین براساس الگوی شخصیتی کارپمن مورد بررسی قرار می گیرند. پیرو این تحلیل روان شناختی، چهار شخصیت موبد، ویس، رامین و دایه، در جایگاه های آزارگر، قربانی و ناجی، ایفای نقش کرده و با چرخش های رفتاری در این نقش های سه گانه در مثلث درام باقی می مانند. مطابق با نتیجه به دست آمده، الگوی ثابتی بر شرایط و روابط مختلف انسانی حاکم است که در داستان های مختلف نیز بازتاب دارد؛ بر این اساس، افراد در شرایط جبری محتوم، محکوم اند و جز با ذهن آگاه، قادر به تغییر شرایط و رهایی از مثلث درام نیستند.Analysis of Weiss and Ramin system characters based on Karpman's model (with emphasis on the characters of Weiss, Ramin, Mobed, Dayeh)
The Karpman triangle, designed by Stephen Karpman and named after him, is a psychological model that expresses the performance of people in a psychological drama triangle. In the triple sides of Karpman's triangle, there are three roles that people remain in this triangle while interacting with each other and moving in the triple roles. The opposite point of Karpman's drama triangle is Ted's triangle, where the three characters with awareness Through their thinking and behavior, they are saved from the drama triangle. In this article, the author examines the main characters of Weiss and Ramin based on Karpman's personality model, following this psychological analysis, Mobed, Weiss, Ramin and Daye played roles as abusers, victims and saviors and with Behavioral turns in these three roles remain in the drama triangle. The purpose of this research is to investigate the characters of the Weiss and Ramin system according to Karpman's drama triangle, and according to the results, a fixed pattern governs various human conditions and relationships. which is also reflected in different stories, based on this, people are condemned in inevitable forced conditions, who are not able to change the conditions and get rid of the drama triangle except with mindfulness.1. IntroductionThe science of psychology and literature, while being independent, are closely related to each other, and combining these two sciences in literary and psychological studies can be very beneficial; This means that literary works can be a useful source for psychologists to better understand the human soul, mind and personality, and on the other hand, using the achievements of psychology can help to better understand literary works. The researcher or literary critic in such studies tries to explore the hidden angles, behavioral conflicts and psychological signs in the characters of literary works so that the characters of the text can be prepared for analysis.Weiss and Ramin poem by Fakhruddin Asad Gorgani, which is considered one of the first Persian romantic poems, is one of the works that can be analyzed from different aspects and approaches of psychology. Analyzing the psychology of the characters and events of this system can help clarify the hidden angles of this story.This research tries to answer the question that each of the characters of the research is reflected in which of the roles of Karpman's triangle.2. Research questions and Research MethodologyIn this research, the main characters of Weiss and Ramin's system are examined and analyzed from a psychoanalytic point of view, in a descriptive-analytical method and based on library sources.3. DiscussionIn traditional societies, myths are among the constructive media of meta-narratives. Myths create meta-narratives that are the crystallization of the ideals, motives and goals of the system, and individuals in society understand their function and identity based on the goals of these meta-narratives. Making a hero from a praiseworthy character is one of the requirements of Praise odes so that they can embody the product and summary of the goals of their meta-narratives in his/her feature. Since the praised character has historical and natural weaknesses, the poet uses a kind of linguistic trick or falsification in order to justify this character. This falsification usually begins with the titles and characteristics attributed to praised person. To do this, first, by giving positive and valuable titles, it empties real and negative characteristics and finally makes him full of the signs of a hero. Every meta-narrative has to be discursive in order to legitimize its own knowledge and achieve a specific purpose. The Praise odes can build meta-narratives when they benefit from discourse. Each ode has a multi-part structure: lyricism or lyric, escapism to eulogy, praise or eulogy, law and prayer. Each part, in appearance, separately develops signs within themselves: lyricism or lyric (nature and beloved), escapism to eulogy (praise, courage, generosity, etc.), law and prayer (poet, wealth and peace, etc.). New semantic connection and identification with these signs, which are seemingly scattered and each sign has a different semantic concept, is the same relation that the poet performs and builds a discourse leading to a meta-narrative. Ultimately, this discourse leads to a kind of centralism in the Praise odes. Every meta-narrative needs to create a kind of centrality and coherence in order to establish its goals in order to be able to solve different ideas and reduce them to one center. The linguistic and social manifestation of such centrality and dominance in the ode is commendable or praiseworthy. Praised subject is the special connection, and it is a special sign that other signs are organized. Liberation, prosperity, freedom, justice and progress are the most important concepts that governments promote through the creation of meta-narratives. Each meta-narrative tries to provide a general and comprehensive narrative of experiences, various historical events and cultural and social phenomena. This inclusiveness leads to the elimination of differences that are inconsistent with the prevailing discourse. Terror, assassination, dictatorship, monophony, and any concept that contains totalitarianism will be the consequences of the meta-narrative. The meta-narrative has no choice but to suppress conflicting ideas in order to achieve generalization in the social and political arenas. Among the consequences of this generalization is the outbreak of numerous wars. In the Praise odes, a large part of praised identity depends on the war and its epic implications; because the most important element of the eulogy or praise is the courage, and this courage is manifested through wars. The universality of praised ideas is the most important feature of the eulogy and the praise as the meta-narrative. For this reason, praised issue becomes a mythical, and transcendental human being (beyond time and beyond place). Accordingly, it is given the right to war and bloodshed so that it can give a homogeneous structure to society and the world. This generalization and inclusion is not limited to the semantic and content tricks of the ode, but also the linguistic possibilities have a major role in the meta-narrative.4. ConclusionThe drama triangle is the collective unconscious choice of mankind; In this triangle, one group becomes the abuser, one group becomes the victim, and another group becomes the savior. Humans, sometimes according to social and religious conditions, change their role in the three roles of abuser, victim, and savior and remain in the drama triangle, and it is only with awareness that they get out of their dramatic role and enter the Ted triangle. By analyzing the three characters of Karpman's triangle of shame, one can understand the social and cultural conditions of any time. In Weiss and Ramin's poem, Weiss in the role of the victim is a symbol of the victimized women of the patriarchal society, and Mobed in the role of the persecutor is a symbol of the tyranny and male authority of these societies. The fearless communication between men and women, lack of commitment and betrayal, ethnic wars over women, entrusting children to nannies, the role and companionship of parents in the lives of adopted children, are among the cultural conditions at the time of the creation of Weiss and Ramin's system.In Weiss and Ramin's poem, Weiss in his first dramatic role is a victim of the prevailing social conditions and the authority of the patriarchal society of the land of Meru. He has a hidden grudge and revenge against the tyrannical patriarchal society and although he is desperate, he has a dialectical personality. In the drama triangle, some characters play the main role. In this system, Weiss, Ramin, Mobed, and Dayeh are the main roles of the drama triangle, and by changing their roles, they maintain the dramatic triangle of a character until the end of the story. Accordingly, Weiss and Ramin play the role of the victim and, like other victims, change the role of the abuser. Mobad is an abuser who changes the role of the victim. The nanny is Weiss and Ramin's savior, and sometimes she enters the role of a victim and then turns into a persecutor. Shahro plays both the role of abuser and victim, and of course, the color of his abuser is more prominent. In this system, the group remains in the same main role until the end of the story; Viro in the role of victim and Zard in the role of savior are among these.5. ReferencesAbdullahzadeh, T., Turkamani, V., Sadeghi, E. (2019), Weiss's character with the perspective of Alfred Adler's inferiority complex theory, <em>Adab Ghanai Research Journal</em>, Volume 18, No. 35, pp. 123-140.Asad Gorgani, F. (1958). <em>Weiss and Ramin</em>, by Mohammad Jaafar Mahjoub, first edition, Tehran: Andisheh publishing company.Byrne, E. (2018). <em>What do you say after greeting</em>, translated by Mehdi Karache-Daghi, Tehran: PikanEghbali, E., Qamari Givi, H. (2004). 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