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اقتباس پسااستعماری، تقلید یا بومیسازی؟تجلی مرگ فروشنده اثر میلر در فیلم فروشندۀ فرهادی | ||
پژوهش ادبیات معاصر جهان | ||
دوره 26، شماره 2، بهمن 1400، صفحه 454-485 اصل مقاله (899.26 K) | ||
نوع مقاله: مقاله علمی پژوهشی | ||
شناسه دیجیتال (DOI): 10.22059/jor.2021.303469.1994 | ||
نویسندگان | ||
سیما زعفرانچی1؛ عذرا قندهاریون* 2؛ علی بهداد3 | ||
1کارشناس ارشد زبان و ادبیات انگلیسی، دانشگاه فردوسی مشهد، مشهد، ایران | ||
2دانشیار ادبیات انگلیسی و مطالعات فرهنگی، دانشگاه فردوسی مشهد، مشهد، ایران | ||
3استاد ادبیات انگلیسی و ادبیات تطبیقی دانشگاه کالیفرنیا، لس آنجلس، آمریکا | ||
چکیده | ||
در تاریخ سینمای ایران فیلمهای اقتباسی متفاوتی تولید شده است. ارتباط بین فیلم فروشندۀ اصغر فرهادی (1395)، به عنوان اقتباسی از مرگ فروشنده اثر آرتور میلر(1949) با نقدهای متفاوتی در ایران و غرب روبه رو شد. یافتن علت تنش بین گفتمانهایی که فیلم را نقد و بررسی کردهاند، هدف اصلی نگارش این مقاله است. با رویکردی پسااستعماری، بالاخص با عنایت به نظرات هومی بابا ( - 1949)، اثر فرهادی را در جهت روشن کردن رابطۀ میان غرب و شرق در سینمای ایران بررسی میکنیم. در این پژوهش، اقتباس فرهادی به عنوان تقلیدی از مرگ فروشندۀ میلر در نظر گرفته میشود؛ با مطالعۀ دقیق متن نمایشنامه و فیلم فرهادی، این نتیجه حاصل میشود که اقتباس فرهادی صرفاً تقلیدی هومی بابایی از یک نمایشنامۀ آمریکایی نیست و بین مفاهیم بومی سازی و فضای سوم، شناور است. عناصر فرهنگی و اجتماعی غربی و ایرانی در این فیلم به گونهای در کنار هم قرار گرفتهاند که هم برای مخاطب ایرانی ملموس باشد و هم برای بییندۀ غربی تداعی کنندۀ مرگ فروشنده باشد. | ||
کلیدواژهها | ||
اقتباس؛ فروشندۀ فرهادی؛ مرگ فروشندۀ میلر؛ تقلید؛ بومی سازی؛ فضای سوم | ||
سایر فایل های مرتبط با مقاله
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مراجع | ||
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