انگیختگی آوایی در سوره طه (با تأکید بر نظریه هینتون) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نظریه تصویرگونگی آوایی که از زیرشاخه های دانش نشانه شناسی است، پیوند انگیخته دال را با مدلول نشان می دهد. این نظریه، بافت و ساختار زبان را متاثر از شناخت حسی انسان از جهان پیرامون می داند. در واقع انگیختگی آوایی از برجسته ترین ارکان زیبایی شناختی و آفرینش هنری در قرآن است که به منظور انتقال معنا و عینیت بخشیدن به مفاهیم انتزاعی مورد استفاده قرار می-گیرد. در این راستا هدف از انجام پژوهش حاضر آن است که در سوره طه با تکیه بر روش توصیفی تحلیلی و با استفاده از الگوی پیشنهادی هینتون و همکاران او، ضمن بررسی چگونگی ارتباط دال با مدلول، ذاتی یا قراردادی بودن این ارتباط مورد مطالعه قرار گیرد همچنین درجات انگیختگی نشانه ها بر روی یک پیوستار از شفاف ترین درجه تا تیره ترین آن، معین گردد. یافته های پژوهش نشان می دهد که انواع نمادهای تصویرگونه در سوره طه عبارتست از: عینی، تقلیدی، ترکیبی و قراردادی. در این سوره، نشانه های عینی شامل عبارت های ندا، تحضیض و تعجب دارای بیشترین میزان انگیختگی هستند، پس از آن به ترتیب نشانه های تقلیدی شامل واژگان صوت آوا، نمادهای ترکیبی که به واسطه تکرار همخوان یا واکه خاص پدید می آیند و نشانه های قراردادی که با توالی دو واج معین ایجاد می شوند، در سطوح دوم، سوم و چهارم پیوستار جای می گیرند.Phonological Arousal in Surah Ṭaha (with Emphasis on Hinton’s Theory)
The purpose of the present research is to study the relationship between the signifier and the signified in Surah Ṭaha (Qur’an 20) based on the model proposed by Hinton and his colleagues, investigating whether this relationship is intrinsic or conventional. Furthermore, the study aims to determine the degrees of arousal of the signs on a continuum, ranging from the clearest to the most obscure levels. In fact, by studying how the word interacts with its external examples, this research seeks to offer a new reading of the text of the Surah, as well as to uncover new dimensions of its hidden layers of meaning. In addition, it endeavors to reveal aspects of the Qur'an’s miraculous nature to the audience and to stimulate their emotional engagement. Research Methodology: This research is based on the descriptive-analytical method and the application of Hinton's theory of sound symbolism. Initially, the description of Hinton's theory and his phonetic continuum has been discussed, then the ambiguity and transparency of words in the text of Surah Ṭaha (Qur’an 20), as well as the inherent or conventional nature of the relationship between words and meanings in this Surah, have been examined at four levels: iconic, imitative, composite, and arbitrary. Finally, the research findings and results are presented. Research Findings: The research findings show that based on Hinton's theory, there are four types of inspired signs in Surah Ṭaha (Qur’an 20): iconic, imitative, composite, and arbitrary. Iconic signs, expressed through words and phrases such as “wayl” (woe), “alā” (behold), and “mā” (expressing wonder), exhibit the highest degree of iconicity, as they directly reflect emotional states. Imitative symbols, including onomatopoeic words such as “khuwār” , “ahushshu” (I strike down), “tagha” (to transgress), and “yunfakh” , occupy the second level of motivation. Composite and arbitrary signs possess lower levels of motivation, ranking third and fourth respectively on the continuum of sound symbolism. According to the research findings, and based on Hinton’s theory, the relationship between the signifier and the signified in Surah Taha (Qur’an 20) is sometimes intrinsic and natural, and at other times conventional and symbolic. In the case of iconic signs, such as vocative, exhortative, and exclamatory particles, as well as in imitative symbols like the onomatopoeic words “yunfakh” and “tagha” , the relationship between word and meaning is motivated; thus, these words are considered transparent. In fact, these words and phrases show a greater tendency toward lexical transparency and iconicity on Hinton’s proposed continuum. In composite signs, created through the repetition of specific vowels or consonants, and in arbitrary symbols, observed in words such as “khashā” (to afraid), “khashiʿa” (to be submissive), “qabas” (a spark), and “qabd” (to seize), the relationship between signifier and signified is symbolic; therefore, these words and signs are considered opaque and tend toward conventionality within the axis of sound symbolism. Based on Hinton’s views, the principle of motivation does not conflict with the principle of conventionality; rather, the two complement each other. Even the most iconic words of Surah Ṭaha (Qur’an 20) exhibit degrees of opacity. For instance, the word “tagha” is more opaque than “khuwār” , which presents a natural imitation of the sound of a cow. Similarly, the word “ahushshu” , an imitative onomatopoeic symbol, shows greater opacity compared to the iconic sign “wayl”. This suggests that the degree of iconicity for each sign is relative to other signs. Conclusion: The study of the linguistic signs in Surah Ṭaha (Qur’an 20) shows that phonological motivation is one of the most prominent aesthetic elements and artistic creation in the Qur’an, which plays an important role in conveying meaning and objectifying abstract concepts. Based on the results of the research, the types of iconic symbols present in this Surah include: iconic (direct), imitative, composite, and arbitrary. In this Surah, the iconic signs—such as vocative, exhortative, and exclamatory expressions—exhibit the highest degree of arousal. Following them, in descending order, are the imitative signs, represented by onomatopoeic words; the composite symbols, formed through the repetition of specific consonants or vowels; and finally, the arbitrary signs, created through the sequential arrangement of particular phonemes, which occupy the third and fourth levels of the continuum, respectively.
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