نشانه شناسی کهن الگوی زن وحشی با توجه به شخصیت فرانک و تهمینه براساس تقابل و تشابه (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
از آغاز پیدایش دانش نشانه شناسی در جهان بیش از چند دهه می گذرد که در این زمینه از چشم اندازهای گوناگون به شناسایی و بررسی نشانه ها پرداخته شده است. نشانه شناسی روشی پژوهشی است که سعی در تأویل معنا از صورت دارد. تقابل، در زبان شناسی و نشانه شناسی و نیز در نقد ساختارگرایی و پساساختارگرایی، عنصری اساسی و مفهومی کلیدی است که در تفسیر و تأویل معنا به آن توجه می شود. کهن الگویی زن وحشی مبحث جدیدی است که از یافته های یونگ اخذ شده است. کلمه «وحشی» به مفهوم منفی امروزیِ آن، یعنی مهارشدنی نیست. این کهن الگو به مفهوم مادر ازلی و نخستین موجود سلاله مادر با ویژگی یاریگر، خردمند و پرورنده... است. مقاله حاضر به موضوع نشانه شناسی و تقابل و کهن الگوی زن وحشی با توجه به شخصیت فرانک و تهمینه می پردازد. در این پژوهش با توجه به کهن الگوی زن وحشی، شخصیت فرانک یاریگر نیک، در برابر عنصر شر (ضحاک) و ازنظر خویشکاری مادرانه از جنبه ای شبیه و ازجهتی در تقابل با تهمینه است. فرانک نماد مادر پرورنده و تهمینه نماد مادر فروگیرنده است؛ بنابراین شخصیت فرانک در برابر تهمینه در تقابل است. در این پژوهش، نماد به عنوان یک عنصر نشانه شناسی به درک کهن الگو کمک می کند. نشانه شناسیِ نمادهای سپندارمذ، آناهیتا، گاو برمایه، پری و... در این دو داستان، فهم ما را از داستان پذیرفتنی تر می کند. تقابل نور و تاریکی را می توان به صورت پنهان در خویشکاری فرانک یافت، صورت دیگری از آشتی ناپذیری نیک و بد که زیربنای اساطیر ایرانی است.Semiotics of the Archetype of the Wild Woman in Light of the Characters of Franck and Tahmineh: A Study Based on Contrasts and Similarities
The field of semiotics has evolved over several decades, exploring signs from various perspectives. Semiotics is a research method that seeks to derive meaning from form. Key elements such as opposition are fundamental in linguistics and semiotics, particularly in structuralism and post-structuralism, which focus on interpretation and meaning-making. The archetype of the Wild Woman, derived from Jung’s findings, is a contemporary theme. The word wild in its commutation refers to something that is untameable or uncontrollable. This archetype represents the primordial mother and a nurturing, wise figure. This study examines semiotics, opposition, and the Wild Woman archetype through the characters of Farank and Tahmineh. Within this framework, Farank symbolizes the benevolent mother in contrast to the malevolent element (Zahhak), while also sharing maternal qualities with Tahmineh. Frank embodies the nurturing mother, whereas Tahmineh represents the suppressive mother, positioning them in opposition. In this study, symbols serve as essential semiotic elements that enhance our understanding of the archetype. The semiotic analysis of symbols like Sepandarmaz, Anahita, and the cow as a source of sustenance in these narratives deepens our comprehension of the stories. The contrast of light and darkness reflects the irreconcilable struggle between good and evil, a foundational aspect of Iranian mythology, which can subtly be found in Farank and Tahmineh’s maternal role. Keywords: Semiotics, Wild Woman Archetype, Nurturing Mother Farank, Suppressive Tahmineh, Opposition and Similarity.IntroductionThis study examines the intersection of semiotics and the Wild Woman Archetype in analyzing mythological characters Faranak and Tahmineh from the Persian epic Shahnameh. Semiotics, which studies signs and symbols, provides a framework for decoding cultural and societal meanings in myths. The research highlights opposition and symbolism in shaping archetypes, referencing theories by Peirce (triadic sign model) and Ferdinand de Saussure (language as a relational system). Estés’ (2007) Wild Woman Archetype, central to the analysis, redefines female heroism through Jungian psychology, framing it as natural feminine power, resilience, and transformative journeys. Though superficially similar, Faranak and Tahmineh represent distinct aspects of this archetype. Faranak embodies resistance against tyranny (Zahhak), symbolizing collective female strength and agency. Tahmineh’s heroism delves into the personal and emotional dimensions of womanhood. Their contrasting roles underscore archetypal duality-collective defiance versus individualized struggle highlighting how myths encode gendered narratives. The study dissects symbolic elements (e.g., natural imagery, heroic deeds) and structural oppositions (power/submission, society/individual).Findings reveal Shahnameh’s mythic language, rich in symbols, aligns with Estés’ archetype, providing insights into ancient Persian notions of femininity. By positioning these characters within semiotic and archetypal frameworks, the research illustrates how myths preserve marginalized female narratives while challenging patriarchal constructs. Bridging semiotics, Jungian theory, and literary analysis, the study demonstrates the Wild Woman Archetype as a lens to reclaim and reinterpret female agency in cultural and historical contexts. Materials and MethodsIn this study, through library research and using a descriptive-analytical method, a semiotic analysis of the Wild Woman Archetype and the contrasting characters of Faranak and Tahmineh has been conducted. Research FindingsThis study examines the duality of the "nurturing mother" and the "restricting mother" by combining Saussure’s theories of signifier/signified and Peirce’s triadic model of the sign (icon, index, and symbol). Symbols such as Faranek (embodying fertility and resilience, aligned with Jung’s anima and the Zoroastrian Spandarmad) and Tahmineh (destructive maternal love) are analyzed. Signs like the cow (life-giving) and the mountain (a boundary between order and chaos) function as semiotic tools—through natural resemblance and causal relationships—to reinforce values such as fertility and resilience in collective memory.Furthermore, the heroic journey of Fereydun, guided by Faranak, illustrates the interplay between the anima (the feminine unconscious) and the animus (the masculine conscious). By re-examining women’s roles, this study challenges patriarchal narratives in Shahnameh and highlights the connection between myths and cultural-cognitive frameworks. It underscores how ancient symbols and archetypes continue to shape societal values and identity. Discussion of Results and ConclusionsAccording to Clarissa Estés' (2007) Wild Woman Archetype presented in this research, several significant differences between Faranak and Tahmineh are highlighted. The concept of opposition—whether in myths with good versus evil, light versus darkness, or within characters to reveal deeper meanings—holds a special place in literary studies. Aspects of an archetype manifest in varied depictions. This archetype is described extensively in the book, showing similarities to ancient Iranian goddesses like Sepandaramaz, Anahita, and Dena. It represents the primordial mother and first being of the matriarchal lineage, with Faranak embodying all these traits, symbolizing the archetypal primordial mother. Although on the surface there are functional similarities between Faranak and Tahmineh, they differ in essence.The opposition of light and darkness, conveying the dichotomy between good and evil in Iranian mythology, is subtly evident in Faranak’s function. Faranak embodies the helper of good, standing against Zahhak. Both are described as wise in Shahnameh; however, Faranak’s wisdom integrates intuition. Both are eloquent, yet their purposes and outcomes in speech differ. Faranak makes multi-stage efforts to combat malevolence and unveil shadows. Her goal is achieving power and awareness, while Tahmineh’s sole aim is acquiring power. Their fundamental difference lies in the concept of the nurturing mother, embodied by Faranak, and the encompassing mother, embodied by Tahmineh. This distinction underscores the nurturing mother’s primordial role to strengthen and guide the hero or child, aiding the female hero’s transformative journey.
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