تحلیل کنش های گفتاری بر اساس آرا جان سرل در سه منظومه مهدی اخوان ثالث (آخر شاهنامه، زمستان و از این اوستا) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
اصطلاح کنش گفتاری از اصطلاحات زبان شناسی و فلسفه زبان است.کنش گفتاری به عملی گفته می شود که در نتیجه یک گفته عمدی رخ می دهد. زمانی که گفته ای تحریک آمیز و عمدی بیان می شود، به قصد اینکه جریان یا کنشی به راه بیفتد، هم از کنش گفتاری صحبت می کنیم. این نظریه نشان می دهد که منظور از بیان بعضی جمله ها کاری نیست که در حال انجام آن هستیم؛ بلکه خود عمل و یا بخشی از عملی است که قصد انجام آن را داریم. جان سرل [1] نیز به پیروی از استادش، آستین[2]، کنش های گفتاری را به پنج دسته اظهاری، اعلامی، تعهدی، ترغیبی و عاطفی طبقه بندی می کند. در این پژوهش، سه مجموعه «آخر شاهنامه»، «زمستان» و «از این اوستا» از مهدی اخوان ثالث مورد بررسی قرار گرفته است. نتایج به دست آمده حاکی از این است که کنش اظهاری با 948 مورد بیشترین کاربرد و کنش تعهدی با 5 مورد کمترین کاربرد را دارد. همچنین در کتاب «زمستان» بیشترین تعداد کنش های گفتاری و در کتاب «از این اوستا» کمترین تعداد کنش های گفتاری به کار رفته است. این اظهار باورها بر احساسات و عواطف او پیشی می گیرد و شعر اخوان بیش از آن که عاطفی و یا متعهد باشد، در پی اثبات باورهای شاعر از زمانه خویش است. کم بودن تعداد کنش های تعهدی یا اعلامی نیز نشانه عدم تعهد یا مرتبه پایین قدرت اجتماعی این شاعر است. روش پژوهش توصیفی - تحلیلی با استفاده از منابع کتابخانه ای است. [1]. Searle, J. R. [2]. Austin, J. L.A Study of Speech Acts Based on John Searle’s Theory in Three Poems by Mahdi Akhavan-Sales (“Akhar-e Shahnameh,” “Zemestan,” and “Az In Avesta”)
The concept of speech act is a cornerstone of both linguistics and philosophy of language. A speech act is an action performed through an intentional utterance. When a deliberate and illocutionarily forceful utterance is produced with the intent of initiating a process or eliciting an action, it constitutes a speech act. This theory posits that the function of certain utterances is not to describe an action in progress but to perform the intended act or a component thereof through the very act of speaking. Following his mentor J. L. Austin, John Searle classifies speech acts into five categories: assertives, directives, commissives, expressives, and declarations. This study examines three poetic collections by Mehdi Akhavan-Sales: “Āḵhar-e Šāhnāme,” “Zemestān,” and “Az In Āvestā.” Quantitative analysis reveals that assertives are the most frequent speech act with 948 occurrences, while commissives are the least frequent with only 5 instances. The collection “Zemestān” contains the highest number of speech acts, whereas “Az In Āvestā” exhibits the fewest. The predominance of assertives indicates that the poet's affirmation of beliefs takes precedence over emotional expression. Akhavan-Sales's poetry is primarily concerned with substantiating the poet's convictions about his historical era rather than being emotive or commitment-oriented. The low frequency of commissives and declarations further suggests the poet's limited illocutionary authority or relatively low social power. The research employs a descriptive-analytical method based on library resources. Introduction Language has been one of the most significant social phenomena in human history since ancient times, with its origins tracing back to the emergence of the earliest human communities. Beyond facilitating human speech and serving as a communicative system, one of its primary characteristics is that language functions as a carrier of human thought and plays a pivotal role in shaping individuals’ ideas. Consequently, the study of language holds profound importance (Ghobadi, 1400: 2). Language serves as the instrument for establishing interpersonal communication. However, while communication constitutes its primary function, language also fulfills numerous subsidiary roles. Regarding its communicative role, it must be noted that the sender and receiver are typically positioned in direct interaction, with message transmission occurring synchronously (Kheirabadi & Sameni, 1395: 13). Austin was the first philosopher to argue that there exists a significant class of linguistic utterances that take the grammatical form of declarative sentences yet are neither true nor false, as the speaker’s intention in producing them is not to describe a state of affairs or reality, but rather to perform an action through the utterance itself (Abdollahi, 1387: 29). Pragmatics is a branch of linguistics that examines the influence of context on meaning. One of the prominent theories within pragmatics is speech act theory. In this framework, meaning is not analyzed solely in terms of semantic features or truth conditions but is conceptualized as an action that effects change in the external world. Speech act theory was first introduced by J. L. Austin in the 1940s, developed through a series of lectures he delivered at university, and subsequently refined and disseminated more comprehensively in linguistics by his student, John Searle (Kazemi & Jamshidi, 1395: 4). Another effective method for interpreting the implicit dimensions of a text is the analysis of its speech acts. Among all approaches in general pragmatics, speech act theory has garnered the greatest attention (Levinson, 1977: 226, as cited in Khosravi, 1396: 2). Speech act theory situates language within the context of human action and investigates the functions and objectives of such actions as realized through utterances (Poitras, 2008: 337, ibid.). Background of Research Numerous research studies and publications have been produced on the theory of speech acts and the works of Mehdi Akhavan-Sales until now, and some of them will be mentioned: The article “Analysis of the Shath Genre Based on Speech Act Theory” (Zarghani & Akhlaghi, )1391) employs speech act theory to examine the literary genre of shathiyāt. The authors first delineate the foundations of this genre by tracing the historical development of speech act theory. Drawing on Ruzbehan Baqali Shirazi’s explications, they then select forty shath statements and classify them according to Searle’s fivefold taxonomy. In “Speech Acts and Their Significance in Text Analysis” (Amouzadeh & Ramazanzadeh, (1385), the authors provide a concise overview of speech act theory from the perspectives of Austin and Searle before analyzing its performative functions in Simin Daneshvar’s novel Jazireh-ye Sargardani (The Island of Bewilderment). Another relevant study is “The Fivefold Speech Acts in Sohrab Sepehri’s Poem ‘The Sound of Water’s Footsteps’” (Abdollahian & Bagheri, (1396). The authors introduce the objectives of speech act theory and subsequently examine its application in Sepehri’s “Sedā-ye Pā-ye Āb.” While the aforementioned studies exemplify research in this domain, no independent investigation entitled "Speech Acts in the Poetry of Mehdi Akhavan-Sales: An Analysis Based on Austin and Searle’s Theory" has been conducted to date. Accordingly, the present study represents the first of its kind. Method of Research The study employs a descriptive-analytical methodology based on documentary and library resources. The research process begins with the systematic collection of written materials on Austin and Searle’s speech act theory, including books, journal articles, and dissertations. Concurrently, the complete poetic corpus of Mehdi Akhavan-Sales under investigation is compiled. Key theoretical constructs and analytical frameworks are then extracted and categorized from the scholarly sources. In the subsequent phase, the frequency and distribution of speech act types across Akhavan-Sales’s poetry are quantitatively and qualitatively analyzed. Conclusion In the three collections, a total of 1,868 speech acts have been identified: 948 assertives, 486 expressives, 402 directives, 5 commissives, and 27 declarations. The statistical analyses aim to reveal the approximate frequency of speech acts in each collection, thereby identifying the dominant types and the work containing the highest concentration. The predominance of assertives indicates that the poet seeks to depict the nature of phenomena and articulate his convictions, presenting his world as it is or as he believes it to be through poetry. These assertions, often manifested as protest or evidential reasoning, take precedence over emotional expression, rendering Akhavan-Sales’s poetry more concerned with substantiating the poet’s sincere beliefs about his era than with emotive or commitment-oriented functions. Conversely, the scarcity of commissives and declarations suggests either a lack of obligation and accountability or a relatively low degree of social power. For one or both of these reasons, Akhavan-Sales does not aim to transform the world and instead engages with phenomena rationally. Furthermore, “Zemestān” exhibits the greatest linguistic richness in terms of both the poet’s communicative intent and the audience’s interpretive access due to its significantly higher density of speech acts compared to the other two collections.
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