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خوانش آمریکایی آفریقایی سفیدهای لورن هانسبری و بررسی مفاهیم دلالت و صدای دوگانه ی هنری لوییس گیتس | ||
| پژوهش ادبیات معاصر جهان | ||
| دوره 26، شماره 1، شهریور 1400، صفحه 39-55 اصل مقاله (483.67 K) | ||
| نوع مقاله: مقاله علمی پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22059/jor.2019.270875.1773 | ||
| نویسندگان | ||
| فاضل اسدی امجد1؛ محسن حنیف2؛ طاهره رضایی3؛ مریم جلالی فراهانی* 4 | ||
| 1استاد ادبیات انگلیسی، دانشگاه خوارزمی، تهران، ایران | ||
| 2استادیار ادبیات انگلیسی، دانشگاه خوارزمی، تهران، ایران | ||
| 3استادیار ادبیات انگلیسی، دانشگاه علامه طباطبایی، تهران، ایران | ||
| 4گروه مترجمی زبان انگلیسی، واحد تفت، دانشگاه آزاد اسلامی، تفت، ایران | ||
| چکیده | ||
| لورن هانسبری نه‌‌تنها برای نمایش اشکال مختلف نقاب استعمار، بلکه برای تأکید بر بزرگداشت فرهنگ آفریقایی آمریکایی می‌نوشت. نمایشنامة «سفیدها»ی وی، با محوریت آفریقا و طرح پرسش‌هایی در زمینة بحث آزادی آفریقا خلق شده است. هانسبری در همگی آثارش ازجمله سفیدها، با حذف و انکار تاریخ و فرهنگ آفریقایی‌ها برای حفظ هژمونی اروپای غربی، آمریکا و نیزکلیشه‌سازی از نمایش افراد آفریقایی-آمریکایی‌های مخالف بود. هنری لوییس گیتس چهرة معاصر در پژوهش‌های آفریقایی‌آمریکایی‌ها، صدای دوگانه را دو بخش می‌داند، صدایی که هم به‌زبان فرهنگ غالب و هم به‌زبان فرهنگ مغلوب سخن می‌گوید؛ یکی از بهترین نمونه‌های صدای دوگانه همانا دلالت است. وی به‌‌باز تعریف مفهوم دلالتمندی سوسور می‌پردازد. این مقاله مفاهیم صدای دوگانه و دلالت گیتس را در سفیدها جستجو می‌کند و به‌توصیف کاربرد این شگرد، نیز معرفی این مفاهیم به‌کمک مثال‌های نمایشنامه می‌پردازد. وی به‌این نتیجه می‌رسد که به‌خاطر همین فرهنگ‌ها و صداهای آفریقایی-آمریکایی‌ست که منحصر‌به‌فرد شده است. | ||
| کلیدواژه‌ها | ||
| هنری لوئیس گیتس؛ دلالت؛ لورن هانسبری؛ صدای دوگانه؛ سفیدها | ||
| عنوان مقاله [English] | ||
| An Investigation of Henry Louis Gates’ Notions of “Signifying” and “Double-voicedness” in Lorraine Hansberry’s Les Blancs | ||
| نویسندگان [English] | ||
| Fazel Asadi Amjad1؛ Mohsen Hanif2؛ Tahereh Rezaei3؛ Maryam Jalali Farahani4 | ||
| 1Faculty Member of Kharazmi University | ||
| 2Kharazmi University | ||
| 3Allameh Tabatabaei University | ||
| 4kish International Campus, University of Tehran | ||
| چکیده [English] | ||
| Abstract The African American female playwright Lorraine Hansberry in her great plays not only exposes the various brutal shapes that the powerful mask of colonialism takes, but also emphasizes the celebration of African American culture, custom, literature, experience, and achievements. Hansberry’s second play, Les Blancs, can be considered the first brilliant work written by an African American dramatist focusing on Africa and deliberately and intentionally posing questions in the context of African Americans liberation debate. Hansberry wrote Les Blancs as a reply to The Blacks written by Jean Genet, in which the French dramatist staged an awful portrayal of African Americans. Indeed, he presented them as the protagonists of whites[S1] . Lorraine Hansberry in all her plays, including Les Blanc, objects to the omission and disregard of the African culture, people, literature, history and custom in maintaining the Western European American hegemony. She also denounces the stereotypical representation and depiction of African Americans. Henry Louis Gates is the most influential contemporary scholar in African American Studies. He believes in “double- voicedness”, speaking the language of the dominant culture and the language of the subordinated culture simultaneously, and asserts “Signifyin(g)” as its epitome . Gates has adopted Saussure’s theories on signification and redefined the word and the concept. According to Henry Louis Gates, “Signifyin(g)” in African American context is a linguistic wordplay, or a deferral of meaning. It can even be considered as a self-conscious manipulation of meanings that highlights the playfulness of the mechanisms of language and meaning making. Gates believes that the African American concept of “Signifyin(g)” is completely different from its Saussurean meaning in Standard English. He states that by “Signifyin(g)” the differentiation between the “signification” of Standard English language and that of the African American vernacular meaning of the words are made and mentioned. Henry Louis Gates says that the Standard meaning functions according to the Saussurean law of meaning making, in which signifiers acquire meaning by differing from other existing signifiers. But the vernacular meaning is made in a very different manner. This paper intends to apply Henry Louis Gates’ notions of “Double- voicedness” and “Signifyin(g)” on Lorraine Hansberry Les Blancs in order to describe how this technique has made Hansberry’s works rich, prominent, and comprehensive as a significant contribution to the African American literature. The current article first, introduces and describes notions of “double- voicedness” and “Signifyin(g), second, discovers some epitomes and examples of them in the mentioned play, and, third, discusses how these two notions have made Hansberry’s work African. This study concludes that Lorraine Hansberry’s drama attains its uniqueness from these African American voices and cultures. Key words: Signification, Double-voicedness, Lorraine Hansberry, Henry Louis Gates | ||
| کلیدواژه‌ها [English] | ||
| Henry Louis Gates, Lorraine Hansberry, Signification, Signifying, Doubel-voicedness, Les Blancs | ||
| مراجع | ||
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Zingale, J. W. “The Plays of Lorraine Hansberry: Themes of Confrontation and Commitment.” A Thesis. New York: The Ohio State Universit, 1973. | ||
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